Uvodnik Foreword
Resni~nost bo barvna ali pa je ne bo! Either in Colour or Not At All! Simon Popek "Film je iznajdba, ki je v tehnolo{kem smislu zanimiv trend, a mu ne prerokujem posebne prihodnosti" (1897); "Zvo~ni film je modna muha, ki se ne bo obdr`ala, film je vendarle vizualni medij" (1928); "Barvni film je predrag, predvsem pa se s te`kimi kamerami in zahtevnim procesom razvijanja finan~no ne izpla~a" (1926). Na{teli smo le pe{~ico modrih prerokb, ki jim je zgodovina filma pokazala vrata; nekaterih so se znebili sami filmski inovatorji, drugih kon~ni uporabniki ali podporniki produkcije izrazne oblike, ki je v dvajsetem stoletju prevladala nad drugimi mediji ali umetni{kimi praksami. Sledile so {e druge, npr. odpor do 3D-tehnike, ki je sredi petdesetih let neslavno propadla, se v osemdesetih letih za hip vrnila, a znova izginila, da bi na prelomu stoletja z digitalizacijo dokon~no slavila in se odlo~ila ostati med nami. Za zmeraj, vsaj za potrebe spektakelskega vidika, ki je v tem hipu verjetno najbolj zanesljiv magnet, da se gledalci {e mno`i~no odlo~ajo za ogled tradicionalne kinematografske predstave. Ljubljanski mednarodni filmski festival je v tem kontekstu majhen, toda s strastjo oblikovan in voden pal~ek, ki ljudi v kina privablja z "druga~nimi" filmi. V~asih smo jih vrteli na filmskem traku, zadnje ~ase pove~ini le {e na digitalnih nosilcih. Tudi teh vsi niso sprejeli naklonjeno; slika je veljala za odbijajo~o, brez zrna in pravih kontrastov ter globine (spomnite se Dogme '95), a je ~as znova pokazal svoje. Digitalno je postalo stvarnost, ki bo ostala ‌ dokler kdo ~ez petdeset ali ve~ let morda ne iznajde novega nosilca. Liffe sku{a stvari `e nekaj ~asa postavljati v zgodovinski kontekst, kar so pokazale predvsem tematske ali nacionalne retrospektive. Letos se z retrospektivo Technicolor 100! spominjamo tehni~ne inovacije, ki je sedmi umetnosti od leta 1915 naprej prina{ala barve, prav barvni postopki massachusetskega Technicolorja so bili v vsej pionirski dobi in pozneje najbolj zanesljivi in zadovoljivi. Brez te`av seveda ni {lo, barvni filmi so v nemem obdobju veljali za izumetni~ene, nerealne, pretirano estetizirane, ~e{ filmska stvarnost je vendarle ~rno-bela! Ironi~no, isto velja danes za (enako malo{tevilno) ~rno-belo produkcijo, ki je ho~e{-no~e{ postala estetska izjava; realizma vendarle ni mogo~e podajati v monokromatski tehniki! Liffova tematska retrospektiva bo letos povsem v barvah, kar pa ne pomeni, da v celotnem programu ne boste na{li nobenega ~rno-belega filma sodobne produkcije. Vredno jih je izbrskati in si jih ogledati, `e zato, da se prepri~ate, kako je lahko sodobna stvarnost "vizualno izumetni~ena".
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"Technologically speaking, the invention of film is an interesting trend, but I don't think it has much of a future (1897); sound movies are a passing fad that won't stand the test of time, after all, film is a visual medium (1928); colour film is too expensive and, above all, it is financially unrewarding on account of the heavy cameras and painstaking development process (1926)." These are only a few knowledgeable forecasts which the history of cinema has proven inaccurate; some of these were disproven by cinematic innovators, and others by end users or those funding the production of the artistic form that is predestined to become the most prominent medium or artistic practice of the twentieth century. Other predictions followed, for example the opposition to 3-D technique which in mid 1950s experienced an inglorious decline, resurfaced momentarily in the 1980s, but vanished again only to eventually triumph at the threshold of the century and the advent of digitalisation, and resolve to stay for good. In other words, indefinitely, at the very least to serve the needs of spectacle film, a form of cinema that nowadays tends to be the most powerful magnet attracting spectators to traditional movie theatres. Within this context, the Ljubljana International Film Festival is one such small, but passion-driven miniature showcase that attracts spectators to cinemas by screening 'different' films. The films we show used to be on film reel, but today arrive mostly on digital carriers. It is also digital film that was greeted with scepticism by some; the picture was considered too irritating, lacking graininess, true contrast and depth (let's recall the Dogma 95 filmmaking movement), but it withstood the test of time. Digital cinema became a reality that's here to stay‌ until someone has invented a new carrier in fifty years' time or so. Liffe has been placing cinema in its historical context for quite some time now, mainly through theme and national retrospectives. This year, our Technicolor 100! retrospective is paying tribute to the technical innovation that in 1915 introduced the method of colour motion picture, and it was Technicolor, the trademark of colour film production from Massachusetts, that was the most reliable and efficient system of colour superimposition during the pioneering days of colour cinema and also further on. Problems did occur, though: during the silent era, colour film was considered artificial, surreal, overly aestheticised, and met with the claim that cinematic reality is intrinsically black-and-white! Ironically, today the same applies to (equally scarce) black-and-white production that has grown to become an aesthetic statement; reality simply cannot be portrayed using the monochromatic technique! This year, our theme retrospective will include only colour films, which doesn't mean that the festival programme won't feature some specimens of contemporary black-and-white cinema. They are well worth seeking out, at the very least for the simple reason of determining whether the present-day reality truly is 'visually artificial'.
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Perspektive Perspectives
Roddiny film Family Film Dru`inski film Olmo Omerzu
^e{ka, Slovenija, Nem~ija, Francija, Slova{ka Czech Republic, Slovenia, Germany, France, Slovakia 2015
re`ija/directed by Olmo Omerzu scenarij/screenplay Olmo Omerzu, Neboj{a Pop-Tasi} fotografija/cinematography Lukás Milota glasba/music tbc monta`a/editing Janka Vlcková igrajo/cast Daniel Kadlec, Jenovéfa Boková, Karel Roden, Vanda Hybnerová, Eliska Krenková, Martin Pechlát producent/producer Jirí ˇ Kone~ný produkcija/production Endorfilm ˇ ˇ Prímetická 4 140 00 Praha 4, Czech Republic E endorfilm�endorfilm.cz format/format DCP, barvni/colour dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 2015
Dru`inski film gledalca popelje v skrivnosti navidez povsem vsakdanje dru`ine, ki jo na~neta nepri~akovana dogodka. Je ponovna sestavitev sploh {e mogo~a?
Family Film probes into the secrets of an average family torn apart by an unexpected turn of events. Is genuine reconstruction at all feasible?
Mo` in `ena s psom odideta na kri`arjenje, njuna najstni{ka otroka pa ostaneta sama doma, kjer kon~no lahko u`ivata svobodo brez star{evskega nadzora. Starej{a h~i je dovolj zrela in odgovorna, medtem ko petnajstletnega sina tarejo zna~ilne najstni{ke te`ave. Potem se nekega dne star{a prenehata ogla{ati z drugega konca sveta. Sta postala `rtvi hudega neurja? Njun pes se je, kot ka`e, re{il, a se na samotnem otoku bori za pre`ivetje …
A married couple go on a cruise with their dog, leaving behind their two teenage children. The kids revel in their freedom from parental supervision. The elder daughter is mature enough to show good judgement and sense, but her fifteen-year-old brother is displaying typical adolescent behaviour. Then, all of a sudden, no word is sent from the parents spending their holidays on the other side of the world. Have they fallen victim to a devastating storm? It seems that the dog has been saved from harm and is fighting for survival on a deserted island.
"V Dru`inskem filmu se poigravam z idejo odtujenosti znotraj dru`inske celice, raziskujem tudi na~ine za 'ponovno sestavitev' dru`ine. Zanima me, kaj se zgodi, ko odstranimo lika kralja in kraljice iz 'dru`inske igre {ah': kateri dru`inski ~lani postanejo glavni akterji? Kako se porazdelijo vloge? Kako se odgovornost prenese na druge dru`inske ~lane? Da bi odkril vlogo, ki jo ima dru`ina v dana{nji dru`bi, in kak{ne vrednote predstavlja, dekonstruiram in rekonstruiram dru`ino v razli~ne mo`ne funkcionalne enote." (Olmo Omerzu)
prodaja/world sales Cercamon Majara 1, # 903 Dubai Marina PO Box 113, United Arab Emirates E sebastien�cercamon.biz & Arsmedia Stegne 5 1000 Ljubljana E info�arsmedia.si
Olmo Omerzu
filmografija/filmography
Rojen 1984 v Ljubljani. V letih od 2001 do 2003 je bil urednik Stripburgerja, 2004 pa je iz{el njegov prvi avtorski strip. Istega leta se je vpisal na {tudij filmske re`ije na pra{ki filmski {oli FAMU, na kateri je leta 2011 tudi diplomiral. Njegov ve~krat nagrajeni celove~erni prvenec Mlada no~ je bil premierno uprizorjen na berlinskem festivalu. Dru`inski film je njegov drugi celove~erec.
1998 2006 2006 2008
Born in 1984 in Ljubljana. Between 2001 and 2003 Omerzu was editor of the internationally acclaimed Stripburger comic magazine. In 2004 he published his first comic and began studying film direction at the Prague Film School, graduating in 2011. His first feature film, A Night Too Young, premiered at the Berlin Film Festival. Family Film is his second feature film.
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"In Family Film I play with the idea of alienation within the family unit, and I also investigate ways of 'reassembling' the family. I am interested in what happens when we remove the figures of the king and queen from the 'family game of chess': which family members become the main actors? How are the roles divided? How is responsibility transferred to others within the family? In order to discover the role that the family plays in today's society and which values it represents I dismantle and reconstruct the family into various possible functional units." (Olmo Omerzu)
Almir (kratki/short) Laska (Love/Ljubezen) (kratki/short) Slzy (Tears/Solze)(kratki dok./short doc.) Druhe dejstvi (Second Act/Drugo dejanje) (srednjemetra`ni/medium length) ˇ mladá noc (A Night Too Young/Mlada no~) 2012 Príli{ 2015 Roddiny film (Family Film/Dru`inski film)
Perspektive Perspectives
James White James White James White ZDA USA 2015
Josh Mond
re`ija/directed by Josh Mond scenarij/screenplay Josh Mond fotografija/cinematography Mátyás Erdély glasba/music Scott Mescudi monta`a/editing Matt Hannam igrajo/cast Christopher Abbott (James White), Cynthia Nixon (Gail White), Scott Mescudi (Nick), Makenzie Leigh (Jayne), Ron Livinston (Ben) producenti/producers Max Born, Antonio Campos, Melody C. Roscher, F.A. Eric Schultz produkcija/production Borderline Films Washington Square Films 310 Bowery New York, NY 10012, USA format/format DCP, barvni/colour dol`ina/running time 86'
^ustven portret mladega Newyor~ana, ki ga dru`inska tragedija prisili, da se kon~no za~ne spopadati s svojimi potla~enimi bole~inami ter sprejme odgovornost do sebe in svojih najbli`jih.
festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2015 (nagrada ob~instva/ Audience Award), Locarno 2015 (nagrada don kihot – posebna omemba/Don Quixote Award – Special Mention)
An emotional portrait of a young New Yorker facing his repressed feelings and taking responsibility for himself and his loved ones in the wake of a family bereavement.
James White je na prvi pogled zna~ilen predstavnik mlade generacije Newyor~anov, ki svoj vsakdan brezskrbno pre`ivljajo v vrtincu norih zabav in opoju prepovedanih drog. Kmalu pa izvemo, da James preboleva nedavno smrt svojega o~eta, poleg tega pa na nitki visi tudi `ivljenje njegove matere, ki se spopada s hudo obliko raka. ^e `eli biti v oporo umirajo~i materi, bo moral James kon~no odrasti ter prese~i vzorce svojega nepremi{ljenega in samodestruktivnega vedenja.
Seemingly a typical representative of the young New York, James White is a troubled twentysomething trying to stay afloat in the frenzied city. Retreating further into a hedonistic lifestyle replete with wild parties and illegal substances, James is trying to come to terms with his father's recent death. His mother's battle with a serious illness faces a series of setbacks that force him to assume more responsibility. With the pressure on him mounting, James must find new reserves of strength and profoundly alter his self-destructive and reckless behaviour patterns.
"Produkcija spominja na nogometno igro – igral bo{ in preprosto se preklemano vr`e{ v to. Med pisanjem scenarija sem zares do`ivljal stra{ne trenutke in monta`a je bila nadvse te`avna. Ne gre za avtobiografijo. V filmu je nekaj odlomkov in izku{enj iz mojega `ivljenja – kako sem skrbel za svojo mater –, vendar je odgovor zapleten, saj spominja na zrenje v popa~eno zrcalo. Samo tako sem se lahko tega lotil." (Josh Mond)
"When you go to production it's like you're going on the soccer field – you're going to play and you just fucking go. But there were definitely scary times in the writing phase and the editing was really difficult. It’s not my autobiography. There are things from my life and my experience – like taking care of my mother – but it's a complicated answer because it's like looking into a distorted mirror. It was the only thing I could do." (Josh Mond)
Josh Mond
filmografija/filmography
V New Yorku `ive~i producent in re`iser Josh Mond je skupaj z re`iserjema in producentoma Seanom Durkinom in Antoniom Camposom ustanovil kolektiv Borderline Films. Poleg tega, da je kot producent sodeloval pri trinajstih kratkih in celove~ernih filmih, je re`iral tudi {tevilne oglase in videospote. James White je njegov celove~erni prvenec.
2010 Kids in Love (kratki/short) 2013 Untitled Josh Mond Short (kratki/short) 2015 James White
prodaja/world sales Memento Films International 9 cité Paradis 75010 Paris, France E sales�memento-films.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
New York-based producer and director Josh Mond established the Borderline Films production company together with directors and producers Sean Durkin and Antonio Campos. Apart from producing thirteen short- and feature films, Mond has directed several music videos and commercials. James White marks his feature film debut.
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Perspektive Perspectives
Mustang Mustang Mustang Deniz Gamze Ergüven
re`ija/directed by Deniz Gamze Ergüven scenarij/screenplay Deniz Gamze Ergüven, Alice Winocour fotografija/cinematography David Chizallet, Ersin Gok glasba/music Warren Ellis monta`a/editing Mathilde Van de Moortel igrajo/cast ¸ Günes¸ Nezihe Sensoy (Lale), Doga ˘ Zeynep Doguslu (Nur), Elit Iscan ¸ ˘ (Ece), Tugba ˘ Sunguroglu ˘ (Selma), Ilayda Akdogan ˘ (Sonay), Nihal Koldas¸ (babica/grandmother), Ayberk Pekcan (Erol), Bahar Kerimoglu ˘ (Dilek), Burak Yigit ˘ (Yasin), Erol Afsin (Osman), Suzanne Marrot (Hanife), Serife Kara (prateta/great-aunt), ¸ Aynur Kömeçoglu ¸ ˘ (Emine), Sevval Aydın (Erin), Enes Sürüm (Ekin) producent/producer Charles Gillibert produkcija/production Bam film (Turkey) & CG Cinéma 9, cité Paradis 75010 Paris, France E production�cgcinema.eu & Vistamar Filmproduktion (Germany) & Uhlandfilm (Germany) & Doha film Institute (Qatar) format/format DCP, barvni/colour dol`ina/running time 97' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015, Karlovi Vari/Karlovy Vary 2015
prodaja/world sales Kinology 30, rue Moret 75011 Paris, France E gmelin�kinology.eu distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si
Re`iserka se v svojem celove~ernem prvencu na {tiri o~i sre~a z demoniziranjem `enske spolnosti v konservativni Tur~iji.
In her feature debut, Deniz Gamze Ergüven has a face-to-face confrontation with the demonisation of female sexuality in conservative Turkish society.
Za~etek poletja. V vasi na severu Tur~ije se Lale in njene {tiri sestre vrnejo iz {ole ter se nedol`no igrajo s skupino fantov. Domnevna razvratnost tega dejanja povzro~i {kandal z nepredvidljivimi posledicami. Dru`inski dom se postopoma prelevi v zapor, {olsko delo zamenjajo prakti~na gospodinjska opravila, za~ne se dogovarjanje porok. Toda pet sester vodi neustavljiva `elja po svobodi in i{~ejo na~in, kako obiti omejitve, ki jim jih nalaga dru`ba.
It's the beginning of summer. In a village in northern Turkey, Lale and her four sisters return home from school, innocently playing with a group of boys. The supposed debauchery of their games causes a scandal with unforeseen consequences. The family home progressively transforms into a prison, practical household chores replace school work and marriages start being arranged. The five sisters, driven by the same desire for freedom, twist the boundaries imposed upon them.
"Ena od stvari, ki me v Tur~iji najbolj motijo, je neprestano in gnusno seksualiziranje `ensk. Vem, da se to za~ne `e v rosnih letih – deklice tako obravnavajo `e v otro{tvu, {e preden postanejo `enske. Kot lik Lale v filmu sem bila najmlaj{a med sestrami, zato sem ta odnos zaznala {e kot majhna deklica." (Deniz Gamze Ergüven)
"One of the things that bothers me most in Turkey is the constant and hideous sexualisation of women. And I know this starts at a very young age – girls are treated this way when they are only children, before they even become women. Like the character of Lale in the movie, I was the youngest of all my sisters, so I became aware of these matters when I was a little girl." (Deniz Gamze Ergüven)
Deniz Gamze Ergüven
filmografija/filmography
Rojena leta 1978 v Ankari. V Johannesburgu je {tudirala zgodovino, nato pa se je preselila v Pariz, kjer je na filmski {oli La Fémis vpisala {e {tudij re`ije. Njen diplomski kratki film Bir damla su je prejel nagrado na filmskem festivalu v Locarnu. Scenarij za svoj celove~erni prvenec Mustang je napisala skupaj z re`isersko kolegico Alice Winocour.
2006 Mon trajet préféré (kratki/short) 2006 Bir damla su (A Drop of Water) (kratki/short) 2015 Mustang (Mustang)
Born in Ankara in 1978, Ergüven studied filmmaking at la Fémis after a MA in history in Johannesburg. Her graduation short film, Bir Damla Su, was awarded at the Locarno Film Festival. She co-wrote her first feature film, Mustang, with filmmaker Alice Winocour.
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Tur~ija, Francija, Nem~ija, Katar Turkey, France, Germany, Qatar 2015
Perspektive Perspectives
Hrútar Rams Ovna Islandija, Danska Iceland, Denmark 2015
Grímur Hákonarson
Odtujena brata v odro~ni dolini na Islandiji zdru`ita mo~i, da bi re{ila tisto, kar jima v `ivljenju pomeni najve~ – njune ovce. Gummi in Kiddi skrbita za svojo ~redo plemenskih ovac. A ~eprav si mo`akarja delita tako poklic kot zemljo, med seboj ne govorita `e {tirideset let. Ko Kiddijevo ~redo prizadane smrtonosna bolezen, oblasti s ciljem zamejitve bolezni odredijo odstrel vseh ovc v dolini. To bi {tevilne kmete vodilo v pogubo, saj jim ov~ereja pomeni edini vir dohodka. Gummi in Kiddi pa se ne predata kar tako. Vsak izmed njiju posku{a odgnati te`ave, kakor to najbolje zna: Kiddi s svojo pu{ko, Gummi z bistroumnostjo. Brata se bosta morala upreti oblastem, da bi re{ila tako sebe kot ~redo, ki sta jo podedovala od prednikov. "Na severu Islandije kot tudi v drugih pode`elskih predelih otoka je bila ov~ereja poglavitni na~in pre`ivetja in osrednji del njihove kulture vse do zadnjih let 20. stoletja. Tako so nekako islandske ovce {e danes {tevilnim ljudem nekaj svetega: predstavljajo ponos in '`ivljenje po starem', kot so ga v~asih poznali. Stoletja so imele ovce klju~no vlogo v pre`ivetju na pode`elju, globoko so zakoreninjene na otoku in tesno povezane z islandskim duhom." (Grímur Hákonarson)
In a remote Icelandic farming valley, two brothers who haven't spoken in 40 years have to come together in order to save what's dearest to them – their sheep. Brothers Gummi and Kiddi live side by side, tending to their ancestral sheep, considered one of the country's best. Although they share the land and a way of life, the men have not spoken to each other in four decades. When a lethal disease suddenly infects Kiddi's sheep, the authorities decide to cull all the animals in the area to contain the outbreak. This is a near death sentence for the farmers, whose sheep are their main source of income. But Gummi and Kiddi don't give up so easily – and each brother tries to stave off the disaster in his own fashion: Kiddi by using his rifle and Gummi by using his wits. As the authorities close in, the brothers will need to come together to save the special breed passed down for generations, and themselves, from extinction.
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 (nagrada Poseben pogled/Un Certain Regard Award), Transilvanija/Transilvania 2015 (najbolj{i film/Best Film, posebna nagrada `irije/Special Jury Award), Karlovi Vari/Karlovy Vary 2015
"In the north of Iceland, as in other rural parts of the island, sheep farming was a central part of people's livelihood as well as their culture, all the way up until the last years of the 20th century. So in a way the Icelandic sheep was and still is holy to a lot of people: it represents pride and the 'old way', the way people used to be. Sheep have played a pivotal role in rural survival here over the centuries, and they are deeply rooted to this land and closely connected to the Icelandic spirit." (Grímur Hákonarson)
Grímur Hákonarson
filmografija/filmography
Rojen na Islandiji 1977. Leta 2004 je diplomiral na pra{ki akademiji FAMU. Nase je prvi~ opozoril z diplomskim filmom Slavek the Shit; z njim se je leta 2005 uvrstil v sklop Cinefondation na filmskem festivalu v Cannesu, drugod pa je osvojil {e dvanajst festivalskih nagrad. Njegov naslednji film Bræðrabylta je leta 2007 do`ivel premiero na festivalu v Locarnu in s 25 nagradami velja za enega najbolj uspe{nih islandskih kratkih filmov.
2001 2002 2004 2005 2007 2010 2012 2013 2015
Born in 1977 in Iceland, Hakonarson graduated from FAMU – Film Academy in Prague in 2004. He rose to prominence with his graduate film, Slavek The Shit, which was selected for the Cinefoundation section of the 2005 Cannes Film Festival and won 12 festival prizes. His next film, Wrestling, which premiered at the 2007 Locarno Film Festival and won 25 festival prizes around the world, is one of the most successful short films from Iceland.
re`ija/directed by Grímur Hákonarson scenarij/screenplay Grímur Hákonarson fotografija/cinematography Sturla Brandth Grøvlen glasba/music Atli Örvarsson monta`a/editing Kristján Loðmfjörð igrajo/cast Sigurður Sigurjónsson (Gummi), Theodór Júlíusson (Kiddi), Charlotte Bøving (Katrin), Jon Benonysson (Runólfur), Gunnar Jónsson (Grímur), Þorleifur Einarsson (Sindri), Sveinn Ólafur Gunnarsson (Bjarni), Ingrid Jónsdóttir (Eygló), Jörundur Ragnarsson (Villi), Viktor Már Bjarnason (Finnur), Ólafur Ólafsson (Tóti), Jenný Lára Arnórsdóttir (Þórey) producent/producer Grímar Jónsson produkcija/production Netop Films Thingholtsstræti 23 101 Reykjavik, Iceland E grimar�netopfilms.com & Profile Pictures (Denmark) format/format DCP, barvni/colour dol`ina/running time 93'
prodaja/world sales New Europe Film Sales Czerniakowska 73/79 2nd Floor, Room 5 00–718 Warsaw, Poland E jan�neweuropefilmsales.com
Vardi Goes On Tour (dok./doc) Vardi Goes Europe (dok./doc) Last Words of Hreggvidur (kratki/short) Slavek the Shit (kratki/short) Bræðrabylta (Wrestling) (kratki/short) Sumarlandið (Summerland) Hreint hjarta (A Pure Heart) (dok./doc) Hvellur (dok./doc) Hrútar (Rams/Ovna)
distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si
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Perspektive Perspectives
Parabellum Parabellum Parabellum Argentina, Avstrija, Urugvaj Argentina, Austria, Uruguay 2015
Lukas Valenta Rinner re`ija/directed by Lukas Valenta Rinner scenarij/screenplay Ana Godoy, Lukas Valenta Rinner, Esteban Prado fotografija/cinematography Roman Kasseroller glasba/music Dino Spiluttini monta`a/editing Ana Godoy, Javier Favot igrajo/cast Pablo Seijo (Hernan), Eva Bianco (Celina), Martin Shanly (Juan) producent/producer Juan Pablo Martínez produkcija/production Nabis Filmgroup Nabis Argentina Distrito Audiovisual CF Buenos Aires, Argentina E info�nabisfilm.com format/format DCP, barvni/colour dol`ina/running time 75' festivali/festivals Rotterdam 2015
^rna komedija, v kateri se skupina prebivalcev Buenos Airesa v strahu pred apokalipso udele`i nadvse nenavadnega pre`ivetvenega te~aja. Izvrstna zna~ajska {tudija zna~ilnih predstavnikov argentinskega srednjega sloja, ki sku{ajo ube`ati enoli~nemu vsakdanu. Hernán, geolog v srednjih letih, zapu{~a svoj udobni dom v predmestju Buenos Airesa. Svojo ma~ko dá v posvojitev in odpove telefonsko naro~nino, zato se zdi, da odhaja za vedno. Kmalu se s skupino neznancev znajde v osamljeni hi{i sredi mo~virja ob ustju reke Tigre, nedale~ stran od Buenos Airesa. A vsi ti neznanci so se za pobeg iz udobja buenosaire{kega vsakdana odlo~ili iz istega razloga: udele`ili se bodo te~aja priprave na konec sveta ... "Pripravljali smo `e film Parabellum, ko so se leta 2012, ob izteku majevskega koledarja, {tevilni ljudje odlo~ili udele`iti pre`ivitvenih te~ajev, da bi se telesno pripravili na 'konec sveta'. Zdelo se mi je, da si ta zanimiva preplah in histerija zaslu`ita bli`nji vpogled. S~asoma sem ugotovil, da je to pripravljalno urjenje neke vrste pobeg iz resni~nosti in rutine. Dobil sem vtis, da je nekaterim izku{nja skorajda turisti~na." (Lukas Valenta Rinner)
prodaja/world sales Patra Spanou, Film Marketing and Consulting Yorck Str. 22 40476 Düsseldorf, Germany E spanoupa�yahoo.de
Hernán, a middle-aged geologist is renouncing the comfort of his home in suburban Buenos Aires. He puts his cat up for adoption, cancels his phone subscription and seems to be leaving forever. He arrives with a group of strangers to an isolated house on the Delta area of Tigre. Together, they train, following strict guidelines for what seems to be the preparation for the end of the world. "We were already working on Parabellum when in 2012, following the end of the Mayan calendar, many people started to participate in survival courses to physically prepare themselves for the 'end of the world'. I thought this panic and hysteria were intriguing and worth looking at. With time, it occurred to me that these preparatory trainings were a way of escaping reality and routine. I got the impression that, for some, the experience was an almost touristic one." (Lukas Valenta Rinner)
Lukas Valenta Rinner
filmografija/filmography
Rojen leta 1985 v Avstriji. Film je {tudiral v Buenos Airesu. Leta 2010 je posnel svoj prvenec, kratki film Carta a Fukuyama. Kmalu zatem je ustanovil avstrijsko-argentinsko produkcijsko hi{o Nabis Filmgroup. Parabellum je njegov prvi celove~erni film.
2010 Carta a Fukuyama (A Letter to Fukuyama) (kratki/short) 2015 Parabellum
Born in 1985 in Austria, Valenta Rinner studied film in Buenos Aires. He made his cinematic debut in 2010 with a short film, A Letter to Fukuyama. In 2012, he founded Nabis Filmgroup, an Argentine-Austrian production company. Parabellum (2015) is his first feature.
14
Fear of apocalypse prompts a group of Buenos Aires citizens to attend bizarre survival training. A black comedy and an insightful character study of Argentine bourgeoisie seeking to escape the monotony of daily routine.
Perspektive Perspectives
Pionery-geroi Pioneer Heroes Pionirji heroji Rusija Russia 2015
Natalija Kudrja{ova
Portret zadnje generacije pionir~kov nekdanje Sovjetske zveze, ki nikakor ne najdejo svojega prostora v divjem kapitalisti~nem utripu sedanjosti. Poeti~no-satiri~en pogled na podobo dana{nje Rusije.
A portrait of the last generation of former Soviet Union pioneers vainly seeking for their place under the Sun in the stark capitalist reality. A poetic and satirical take on contemporary Russian existence.
Veliki Novgorod, 1987. Olga se upira totalitaristi~nim metodam svojega u~itelja, Andrej na veliko naznanja odkritje tablete proti smrti, Katja nemo opazuje dedkovo ilegalno destilarno. Vsi trije so ~lani pionirske organizacije Vladimirja Ilji~a Lenina, polni naivnih sanj o prihodnosti. Petindvajset let pozneje jih sre~amo sredi Moskve. Olga je televizijska igralka, ki trpi za napadi panike, Andrej je politi~ni analitik, ki sku{a svojo praznino zapolniti z ra~unalni{kimi igricami, Katjo pa preganjajo nemirne sanje. Jasno je, da sodobna Rusija nikakor ne more izpolniti njihovih otro{kih pri~akovanj.
Veliky Novgorod, 1987. Olga makes a stand against her teacher's authoritarian teaching methods, Andrey is propagating an 'anti-death pill' in a jam jar and Katya observes her father distilling booze illegally behind closed doors. These three young schoolmates are all members of the 'Vladimir Illyich Lenin' Young Pioneer organisation and are full of childlike visions of the future. Over twenty-five years on, all three have now established themselves professionally in Moscow. Olga suffers from panic attacks, Andrey tries to fill his inner void with computer games, and Katya is pursued by unsettling dreams. It is clear that they have not really found their bearings in present day Russia.
"Na{a slika nikakor ni nostalgi~na. Pravzaprav govori o te`kem sprejemanju resni~nih vrednot, resni~nih idej v otro{tvu in pozneje v odraslosti, kako se spoprijeti z resni~nostjo brez vsakr{nih idej. V otro{tvu so nas u~ili, da moramo delati koristne stvari in biti pristni, kot dobri ljudje, danes pa je v Rusiji, in ne samo tam, te`ko izpolniti to obljubo in te`ko je tako `iveti." (Natalija Kudrja{ova)
re`ija/directed by Natalija Kudrja{ova scenarij/screenplay Natalija Kudrja{ova fotografija/cinematography Ruslan Gerasimenkov monta`a/editing Semijon Galperin igrajo/cast Natalija Kudrja{ova (Olga), Daria Moroz (Katja), Aleksej Mitin (Andrej), Varja [ablakova (Katja kot otrok/ Katya as a child), Sima Vibornova (Olga kot otrok/Olga as a child), Nikita Jakovlev (Andrej kot otrok/ Andrey as a child), Aleksandr Userdin (psiholog/psychologist), Jurij Kuznecov (Katjin dedek/Katya's grandpa) producent/producer Sergej Seljanov produkcija/production CTB Film Company 10, Kamennoostrovsky prospekt St. Petersburg, 197101, Russia E kino�ctb.ru format/format DCP, barvni/colour dol`ina/running time 116' festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015, Bukare{ta/Bucharest Cinepolitica 2015, So~i/Sochi 2015 (priznanje Zdru`enja ruskih filmskih strokovnjakov in kritikov/Diploma of the Guild of Russian Film Scholars and Film Critics)
"Our picture is not nostalgic at all. It is basically about the difficulty to accept real values, real ideas as a child and later as a grown-up how to deal with the reality with no ideas at all. During our childhood, we were taught to do something useful and to be real, like good human beings and now in Russia, and not only there, it is difficult to fulfil that promise and it is difficult to live like that." (Natalya Kudryashova)
Natalija Kudrja{ova/ Natalya Kudryashova
filmografija/filmography
Rojena leta 1978 v mestu Ni`nji Novgorod (nekdanji Gorki). Na tamkaj{nji gledali{ki {oli je {tudirala igro. Uveljavila se je kot gledali{ka igralka, medtem pa je na moskovski {oli dramskih umetnosti pod mentorstvom Anatolija Vasilijeva {tudirala {e re`ijo. Leta 2010 je bila nominirana za najbolj{o igralko na presti`nem festivalu Golden Mask Theatre. Pionirji heroji je njen celove~erni prvenec.
2011 Kholod (The Freeze) (kratki/short) 2012 Utro Lizi (Liza's Morning) (kratki/short) 2015 Pionery-geroi (Pioneer Heroes/Pionirji heroji)
prodaja/world sales Alpha Violet 18 rue Soleillet 75020 Paris, France E info�alphaviolet.com
Born in Gorki – now Nizhny Novgorod – in the Soviet Union in 1978, she studied acting at the Nizhegorodsky Theatre School before taking a directing course with Anatoly Vasiliev at the School of Dramatic Art in Moscow. Since 2001 she has appeared as an actress in numerous theatre productions. In 2010 she received nomination for Best Actress Award at the Golden Mask Theatre Festival. Pioneer Heroes is her first feature film.
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Perspektive Perspectives
La obra del siglo The Project of the Century Projekt stoletja Kuba, Argentina, [vica, Nem~ija Cuba, Argentina, Switzerland, Germany 2015
Carlos M. Quintela re`ija/directed by Carlos M. Quintela scenarij/screenplay Abel Arcos, Carlos M. Quintela fotografija/cinematography Marcos Attila glasba/music Vicente Rojas monta`a/editing Yan Vega igrajo/cast Mario Balmaseda (Otto), Mario Guerra (Rafael), Leonardo Gascón (Leo) producenti/producers Hernán Musaluppi, Natacha Cervi, Pablo Chernov produkcija/production Rizoma Virrey Loreto 3709 1427 Ciudad De Buenos Aires, Argentina E info�rizomafilms.com.ar format/format DCP barvni/colour dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2015 (nagrada tiger/ Tiger Award), Festival neodvisnega filma v Buenos Airesu/Buenos Aires International Festival of Independent Cinema 2015
Zna~ajska {tudija treh generacij Kubancev, ki skupaj `ivijo v majhnem delavskem stanovanju ob nedograjeni jedrski elektrarni, sovjetsko-kubanskem "projektu stoletja".
prodaja/world sales M-Appeal Prinzessinnenstr. 16 10969 Berlin, Germany E sales�m-appeal.com
V delavsko stanovanje, v katerem prebivajo sin Leo, o~e Rafael in ded Otto, nekega dne pridejo uslu`benci dr`avnega oddelka za dezinsekcijo, da bi po{kropili strup proti komarjem, ki prena{ajo mrzlico denga. Skupaj z njimi vstopimo v `ivljenje treh generacij Kubancev, ki so jih neobetavne `ivljenjske okoli{~ine prisilile v (ponovno) skupno bivanje. V Projektu stoletja, posnetem na osupljivem prizori{~u nikoli dograjene nuklearke in mravlji{~a delavskih blokov ob njej, se nadrealisti~ne podobe prepletajo s surovim psiholo{kim realizmom, ki ga re`iser {e dodatno podkrepi z edinstvenimi arhivskimi posnetki kubanske dr`avne televizije.
Men from the pest control department arrive to spray an apartment for dengue fever mosquitoes. Three Cuban men live here, son Leo, father Rafael and grandfather Otto, forced by circumstances to live together. The Project of the Century was shot on the fascinating location of the unfinished nuclear power station and workmen's blocks of flats huddled around it. Interspersed with beautiful, unique archival material from Cuban television, the social-realist atmosphere gradually makes way for a surreal, at times absurd sense of oppression.
"Ko snema{ filme na Kubi, se mora{ prepustiti toku. Naleti{ na te`ave – celo osnovne stvari, kot so izpad elektrike in pomanjkanje delujo~ih tiskalnikov, ki jih ne more{ razre{iti. Ustvarjati mora{ z bistvom stvari, kot se pripetijo, in ne skrbeti o kon~nem izdelku. ^etudi to pomeni spremembe scenarija v zadnjem hipu ali poenostavljanje mizanscene." (Carlos M. Quientela)
"To make films in Cuba you have to go with the flow. There are problems – even basic things like power cuts and not being able to find a working printer – which you can't fight. You have to work with the essence of things as they happen rather than worry about the finished product. Even if this means last-minute changes to the script or simplifications of the mise-en-scene." (Carlos M. Quientela)
Carlos M. Quintela
filmografija/filmography
Rojen leta 1984 na Kubi, kjer je tudi {tudiral film in scenaristiko. @e med {tudijem je posnel {tevilne kratke filme, ki so vzbudili zanimanje razli~nih filmskih festivalov. Njegov prvi celove~erni film La piscina je gostoval na ve~ kot dvajsetih mednarodnih filmskih festivalih, njegov drugi celove~erec Projekt stoletja pa je na festivalu v Rotterdamu prejel nagrado tiger.
2006 2007 2008 2011 2014 2015
Born in 1984 in Cuba, where he trained in film and screenwriting. During his studies he made a number of short films that attracted positive responses at various film festivals. His first feature, The Swimming Pool, screened at more than twenty international film festivals. The Project of the Century, his second fiction feature, won the Tiger Award at the Rotterdam Film Festival.
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Character study of three generations of Cubans living together in a small workers' apartment next to an unfinished nuclear power plant, the Soviet-Cuban 'project of the century'.
Ciudad sobre ruedas (kratki dok./short doc) Stand by (kratki/short) Contenadores (kratki/short) La piscina (The Swimming Pool) Buey (kratki/short) La obra del siglo (The Project of the Century/Projekt stoletja)
Perspektive Perspectives
Saul fia Son of Saul Savlov sin Mad`arska Hungary 2015
László Nemes
re`ija/directed by László Nemes scenarij/screenplay László Nemes, Clara Royer fotografija/cinematography Mátyás Erdély glasba/music László Melis monta`a/editing Matthieu Taponier igrajo/cast Géza Röhrig (Saul), Levente Molnár (Abraham), Urs Rechn (Biedermann), Todd Charmont (Braun), Sándor Zsótér (zdravnik/doctor), Marcin Czarnik (Feigenbaum), Jerzy Walczak (rabin/rabbi), Uwe Lauer (Voss), Christian Harting (Busch) producenta/producers Gábor Sipos, Gábor Rajna produkcija/production Laokoon Filmgroup Balzac u. 37 1136 Budapest, Hungary E office�laokoonfilm.com format/format DCP, barvni/colour dol`ina/running time 107'
Dosleden oris vsakdana v nacisti~nem koncentracijskem tabori{~u je zgodba o iskanju upanja v najtemnej{ih trenutkih ~love{ke zgodovine.
An uncompromising account of the life in a Nazi concentration camp, Son of Saul tells the story about finding hope in the darkest moments of human history.
Oktober leta 1944 v koncentracijskem tabori{~u AuschwitzBirkenau. Saul Ausländer je mad`arski ujetnik in ~lan sonderkommandov, skupine judovskih zapornikov, ki `ivijo lo~eno od preostalih sojetnikov in so prisiljeni sodelovati pri mno`i~nih usmrtitvah. Med delom v krematoriju Saul odkrije truplo de~ka, za katerega trdi, da je njegov sin. V trenutku razodetja si zada navidez nemogo~o nalogo: re{iti de~kovo truplo pred ognjem in najti rabina, da bo zrecitiral Kadi{, molitev za preminulega, ter omogo~il otroku dostojen pokop.
October 1944, Auschwitz-Birkenau. Saul Ausländer is a Hungarian member of the Sonderkommando, the group of Jewish prisoners isolated from the camp and forced to assist the Nazis in the machinery of large-scale extermination. While working in one of the crematoriums, Saul discovers the corpse of a boy he takes for his son. Saul decides to carry out an impossible task: save the child's body from the flames, find a rabbi to recite the mourner's Kaddish and offer the boy a proper burial.
"Filmi o koncentracijskih tabori{~ih so se mi vedno zdeli frustrirajo~i. Posku{ajo orisati zgodbe o pre`ivetju in juna{tvu, vendar po mojem mnenju resni~no poustvarjajo miti~no predstavo o preteklosti. Pripovedovanja sonderkommandov so po drugi strani konkretna, pri~ujo~a in otipljiva. Opisujejo natanko, v dramati~nem sedanjiku 'obi~ajno' delovanje tovarne smrti, njeno ureditev, pravila, delovni ritem, izmene, nevarnosti in najve~jo produktivnost. Oficirji SS so res za truplo uporabljali izraz Stück ('kos'). V tisti tovarni so proizvajali trupla. Te pripovedi so mi omogo~ile pogled skozi o~i pogubljencev tabori{~u smrti." (László Nemes)
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 (velika nagrada `irije/ Grand Jury Prize, nagrada FIPRESCI/ FIPRESCI Prize)
"I have always found movies about the camps frustrating. They attempt to build stories of survival and heroism, but in my mind they are in fact recreating a mythical conception of the past. The Sonderkommando accounts are on the contrary concrete, present and tangible. They precisely describe, in the here and now, the 'normal' functioning of a death factory, with its organization, its rules, work cadences, shifts, hazards, and its maximum productivity. In fact, the SS used the word Stück (parts) when speaking about corpses. Corpses were produced in that factory. These accounts allowed me to see it all through the eyes of the extermination camps' damned." (László Nemes)
László Nemes
filmografija/filmography
Rojen 1977 v Budimpe{ti. Leta 1989 se je z materjo preselil v Pariz, kjer je pre`ivel najstni{ki ~as. Sprva je {tudiral zgodovino in mednarodne odnose, nato pa vpisal {tudij filma na Sorboni. Na snemanju celove~erca Mo` iz Londona (2007), kjer je delal kot asistent Béle Tarrja, je v knjigarni naletel na knjigo o sonderkommandih, na podlagi katere je za~el na~rtovati svoj celove~erni prvenec Savlov sin.
2007 2008 2010 2015
prodaja/world sales Films Distribution 34, rue du Louvre 75001 Paris, France E alexis�filmsdistribution.com
Türelem (With a Little Patience) (kratki/short) The Counterpart (kratki/short) The Gentleman Takes His Leave (kratki/short) Saul fia (Son of Saul/Savlov sin)
distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si
Born in Budapest in 1977, Nemes spent his adolescence and young adulthood in Paris, having followed his mother who started a new life in the French capital in 1989. He first studied history and political studies, then cinema at the Sorbonne. While shooting The Man from London (2007) as Béla Tarr's assistant, Nemes came across a book about Sonderkommandos, on which he based Son of Saul, his feature debut.
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Perspektive Perspectives
La creazione di significato The Creation of Meaning Stvarjenje smisla Italija, Kanada Italy, Canada 2014
Simone Rapisarda Casanova re`ija/directed by Simone Rapisarda Casanova scenarij/screenplay Simone Rapisarda Casanova fotografija/cinematography Simone Rapisarda Casanova monta`a/editing Simone Rapisarda Casanova igrajo/cast Pacifico Pieruccioni (Pacifico), Alexander Auf der Heyde (Alexander), Benjamin Auf der Heyde (Benjamin), Siria Battelli (Siria), Bartolomeo Puccetti (Bartolomeo), Cinzia Bertuccelli (Cinzia), Maria Paola Casanova (Maria Paola) producent/producer Simone Rapisarda Casanova produkcija/production Ibidem Films H2j 3c5 Montreal, Canada E info�ibidemfilms.org format/format HDcam, barvni/colour dol`ina/running time 94' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2014 (nagrada sklopa Cineasti sodobnosti za najbolj{ega mladega re`iserja/Cineasti del presente – Prize for Best Emerging Director), Viennale 2014, Vancouver 2014, Torino 2014, Rotterdam 2015, Toronto – Hotdocs 2015, Doclisboa 2015
Nekonvencionalen dokumentarec, ki s svojo odprto formo – v njem lahko vidimo tako antropolo{ko {tudijo italijanske povojne dru`be kot tudi borgesovski labirint – gledalca odkrito "izziva" in ga vabi k sodelovanju.
Un unconventional documentary, whose open form – including both anthropological study of Italian post-war society and a Borgesian labyrinth – openly 'challenges' the viewer, inviting his participation.
Proti koncu druge svetovne vojne so v toskanskih Apuanskih Alpah nem{ke okupacijske sile pred umikom pobile na stotine nedol`nih civilistov. In prav tu, med pre`ivelimi ~lani odporni{kega gibanja, med katerimi {e danes `ivi spomin na takratne dogodke, se je rodil Pacifico in tu je ostal tudi vse `ivljenje. Pre`ivlja se kot pastir, njegov edini stik z zunanjim svetom pa je radio, po katerem poslu{a novice o svetu, ki mu je vse bolj tuj. A ~eprav `ivi odmaknjeno in skromno, zadnja svetovna gospodarska kriza prizadene tudi njega in ga prisili v prodajo zemlje, ki mu pripada. Med morebitnimi kupci je tudi Nemec, ki `ivi v bli`nji Pisi ...
Toward the end of WWII in Tuscany's Apuan Alps, German occupying forces massacre hundreds of civilians before retreating. There, among the reminders of the Resistance, Pacifico was born and raised. He is a shepherd whose only contact with the outside world is a radio which broadcasts news from a country that is increasingly foreign to him. But his isolation can't protect him from the economic crisis; he is forced to sell his land and a German who lives in Pisa is a potential buyer.
"Moj film pripoveduje preprosto zgodbo, ki se je porodila v procesu zbiranja drugih zgodb in je hkrati njihov odmev. Gledalce vabim, naj med ogledom ustvarijo lasten pripovedni lok ter tako dru`no z liki in z avtorjem dela sodelujejo v be`nem stvarjenju smisla/pomena. Naslov filma nas namre~ opominja na to, da ta, vse-preve~-~love{ki dispozitiv, ki mu pravimo 'smisel', lahko vznikne {ele takrat, ko se preteklost, sedanjost in prihodnost prepletejo v eno." (Simone Rapisarda Casanova)
prodaja/world sales Ramonda Inc. Pascale Ramonda 91, rue de Ménilmontant Maison fond de cour 75020 Paris, France E pascale�pascaleramonda.com
Simone Rapisarda Casanova
filmografija (izbor)/filmography (selection)
Rojen v Italiji, na Siciliji, a `e vrsto let `ivi in dela v Kanadi. Izobrazil se je za in`enirja informatike, a je pozneje na Univerzi York v Torontu pridobil {e diplomo iz filmske produkcije. S celove~ernim prvencem El árbol de las fresas se je uveljavil v mednarodnem prostoru, z drugim celove~ercem Stvarjenje smisla pa je na festivalu v Locarnu osvojil nagrado za najbolj{ega mladega re`iserja.
2002 2003 2007 2010 2010 2011 2013 2014
Born in Italy, lives and works in Montréal, Canada. A former computer scientist who holds a Master of Fine Arts degree in film production from the York University in Toronto. He came into international prominence with his feature debut, The Strawberry Tree. His next feature, The Creation of Meaning, earned him the prize for best upcoming director at the Festival of Locarno.
18
"My film tells a simple story that is itself both a collection and an echo of other stories. Viewers are invited to make up their own narrative thread and in doing so partake in an ephemeral creation of meaning together with the film's characters and the filmmaker. The film's title reminds us that only when the past, present and future meet can the all-too-human device we presumptuously call 'meaning' be created." (Simone Rapisarda Casanova)
Ti con zero (kratki dok./short doc) Through the Gate (kratki dok./short doc) Sweet Home (kratki dok./short doc) Domani, il vento (kratki dok./short doc) Ladybug (kratki dok./short doc) El árbol de las fresas (The Strawberry Tree) (dok./doc) In the Room of Forgotten Words (kratki/short) La creazione di significato (The Creation of Meaning/Stvarjenje smisla) (dok./doc)
Perspektive Perspectives
Superwelt Superworld Supersvet Avstrija Austria 2015
Karl Markovics
re`ija/directed by Karl Markovics scenarij/screenplay Karl Markovics fotografija/cinematography Michael Bindlechner glasba/music Herbert Tucmandl monta`a/editing Alarich Lenz igrajo/cast Ulrike Beimpold (Gabi Kovanda), Rainer WÜss (Hannes Kovanda), Nikolai Gemel (Ronnie Kovanda), Angelika Strahser (Sabine Kovanda), Thomaz Mraz (Georg Mikesch), Sibylle Kos (Helli), Harri Stojka (Geronimo) producent/producer Dieter Pochlatko produkcija/production Epo-film produktionsges m.b.h Wien, Austria E office�epofilm.com format/format DCP, barvni/colour dol`ina/running time 120'
Realisti~no zasnovano zgodbo vsakdanjega `ivljenja zaznamuje ob~utenje vsemogo~ne bo`anske razse`nosti. Nenavadna dru`beno-osebna refleksija, ki raziskuje ~lovekovo dovzetnost za razumevanje neoprijemljivega.
A realistically structured real-life story entering the supernatural realm of divine presence. An unusual reflection on social and personal issues, Superworld explores intuitive grasp of the unfathomable.
[tiridesetletna Gabi ima preprosto in dokaj enoli~no `ivljenje, razpeto med delom v supermarketu in dru`ino. Njen mo` je zaposlen kot cestni delavec, sin Ronnie je vojak, ki se {e vedno ni odselil iz gnezda, starej{a h~erka pa `ivi na Dunaju in se prika`e samo ob vikendih. A nekega dne se vse spremeni. Po nenavadni duhovni izku{nji je Gabi povsem druga~na. Dolgi samogovori, nerazumljiva tavanja in nenadna verska gore~nost postanejo del njenega vsakadana, to pa njeni najbli`ji te`ko razumejo.
40-year-old Gabi Kovanda, supermarket employee, leads an ordinary life between family and work. Gabi's husband is a roadman and her son Ronnie a soldier who still lives with his parents. Her older daughter lives in Vienna and only visits on the weekend. One day when Gabi comes home from work something happens that changes her life in a single moment. It isn't visible, it makes no sound, and yet it strikes her like a bolt from the sky. Gabi's family members find it hard to cope with her long monologues, incomprehensible ramblings and sudden religious zeal.
"V nasprotju s filmom Atmen je Supersvet bolj dialo{ki, glavna junakinja rada komunicira z zunanjim svetom. Filmsko pa se nisem preve~ zana{al na podobotvorne metafore: ni~ ni onkraj vidno zaznavnega. ^e je le bilo mogo~e, sem se tega izogibal, nedojemljivega, katerega glasu ne moremo sli{ati, katerega ne vidimo, katerega podobe si ne moremo predstavljati v skladu z Biblijo ali Koranom. V tem pogledu je razlika s filmom Atmen zelo jasna." (Karl Markovics)
festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015
"As opposed to Breathing, Superworld is a more dialogical film, the protagonist likes to talk to the outside world. But cinematically, I have not so much relied on image metaphors: what you see is what you get. I have avoided it where possible, the great unknown, whose voice we cannot hear, whose outward shape we do not see, after whom you cannot form an image in line with the Bible and Koran. In this respect the difference with Breathing is clear." (Karl Markovics)
Karl Markovics
filmografija/filmography
Rojen leta 1963 na Dunaju. Ob~instvo ga pozna predvsem kot igralca po vlogi in{pektorja Stockingerja v tv-seriji Komisar Rex. Njegovo ustvarjalno pot zaznamujejo {e druge televizijske in filmske vloge, preizkusil pa se je tudi v gledali{~u, operi in muzikalih. Kot re`iser je debitiral leta 2011 s celove~ernim filmom Atmen, Supersvet pa je njegov drugi celove~erec.
2011 Atmen (Breathing) 2015 Superwelt (Superworld/Supersvet)
prodaja/world sales Austrian Film Comission E office�filmcomission.at
Born in Vienna in 1963. He became known to a broader public in the role of Detective Inspector Stockinger in the television police series Kommissar Rex. Numerous TV and film roles followed, along with work in theatre, opera, and musicals. Markovics debuted as a director and screenwriter in 2011 with the feature film Breathing. Superworld is his second film.
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Predpremiere Avantpremieres
Le tout nouveau testament The Brand New Testament ^isto nova zaveza Belgija, Francija, Luksemburg Belgium, France, Luxembourg 2015
Jaco Van Dormael re`ija/directed by Jaco Van Dormael scenarij/screenplay Thomas Gunzig, Jaco Van Dormael fotografija/cinematography Christophe Beaucarne glasba/music An Pierlé monta`a/editing Hervé de Luze igrajo/cast Pili Groyne (Ea), Benoît Poelvoorde (Bog/God), Catherine Deneuve (Martine), François Damiens (François), Yolande Moreau (Bogova `ena/God's wife), Laura Verlinden (Aurélie), Serge Larivière (Marc), Didier De Neck (Jean-Claude), Marco Lorenzini (Victor), Romain Gelin (Willy), Anna Tenta (Xenia), Johan Heldenbergh (duhovnik/priest), David Murgia (Jezus/Jesus) producent/producer Jaco Van Dormael produkcija/production Terra Incognita Films Avenue Wolvendeal 63 1180 Bruxelles, Belgium E candice.falesse�climaxfilms.be & Climax Films (Belgium) & Après le Déluge (France) format/format DCP, barvni/colour dol`ina/running time 113'
Ste vedeli, da Bog `ivi in da z uporni{ko h~erko in te~no `eno stanuje v socialnem stanovanju v Bruslju? Nor~ava belgijska komedija svetopisemsko izro~ilo postavi povsem na glavo. Bog obstaja! @ivi v Bruslju, a je prava baraba, nemaren do svoje `ene in h~erke. O njegovem sinu vemo vse, o njegovi h~erki pa zelo malo. Njeno ime je Ea in ima deset let. Nekega dne se upre svojemu o~etu, vdre v njegov ra~unalnik, njen na~rt pa ima apokalipti~ne posledice. Vsem ljudem na svetu bo namre~ prek SMS sporo~il razkrila natan~en datum njihove neizogibne smrti ...
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 – [tirinajst dni re`iserjev/Directors' Fortnight, Karlovi Vari/Karlovy Vary 2015
prodaja/world sales Le Pacte 5, rue Darcet 75017 Paris, France E sales�le-pacte.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
God exists! He lives in Brussels. He's a real bastard, odious with his wife and daughter. We know a lot about his son, but very little about his daughter. Her name is Ea and is ten years old. One day, she revolts against her father, hacks his computer and leaks to the entire world their inevitable date of death by SMS.
"Nisem vernik, vendar pa sem imel katoli{ko vzgojo. Religije me zanimajo kot dobre zgodbe. Spominjam se, da sem se kot otrok spra{eval, zakaj Bog ni ni~esar storil, ko so njegovega Sina kri`ali. Zakaj ni~esar ne stori, ko otroci umirajo za levkemijo? Zakaj Batman re{uje ljudi, Bog pa ne?" (Jaco Van Dormael)
"I'm not a believer but I was brought up Catholic. I'm interested in religions as I'm interested in good stories. I remember wondering as a child why God didn't do anything when His son was crucified. Why doesn't He do anything when children are dying of leukaemia? Why does Batman save people, but God doesn't?" (Jaco Van Dormael)
Jaco Van Dormael
filmografija/filmography
Rojen leta 1957 v Ixelessu, Belgija. Po {tudiju na in{titutih INSAS v Bruslju in Lumière v Parizu je kariero za~el kot re`iser otro{kih gledali{kih predstav. Nato je v zgodnjih osemdesetih za~el snemati kratke filme, ki so prejeli vrsto nagrad. Njegovemu celove~ernemu prvencu Toto le héros so v Cannesu podelili nagrado zlata kamera za najbolj{i debitantski film. Re`ira tudi v gledali{~u in v operi.
1981 1991 1996 2009 2011 2015
Born in 1957 in Ixeless, Belgium. After studying film at the INSAS in Brussels and Louis-Lumiere Institute in Paris, Van Dormael started his career as a director of children's theatre plays. In the early 1980s, he then began directing award-winning short films. His first feature film, Toto the Hero, was awarded the Camera d'Or at Cannes for Best First Feature Film. He is also a theatre and opera director.
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Did you know that God is alive and lives in Brussels with his rebellious daughter and nagging wife? An off-the-wall Belgian comedy offers a refreshing new perspective on the Biblical tradition.
Stade 81 (dok./doc.) Toto le héros (Toto the Hero) Le huitième jour (The Eighth Day/Osmi dan) Mr. Nobody Kiss & Cry Le tout nouveau testament (The Brand New Testament/ ^isto nova zaveza)
Predpremiere Avantpremieres
Dheepan Dheepan Dheepan Francija France 2015
Jacques Audiard
Borec tamilskih tigrov se v iskanju bolj{ega `ivljenja odpravi v Francijo. Film, ki je re`iserju Jacquesu Audiardu prinesel zlato palmo na leto{njem filmskem festivalu v Cannesu.
Spotlighting a Tamil freedom fighter and his quest for a better life in France, Dheepan earned Jacques Audiard the Golden Palm Award at the 2015 Cannes Film Festival.
Dr`avljanska vojna na [rilanki se pribli`uje koncu. Dheepan se bojuje na strani borcev za svobodo, t. i. tamilskih tigrov. Njegova stran je pred porazom, zato se v upanju na bolj{e `ivljenje odlo~i, da skupaj z `ensko in dekletom, ki ju prej ni poznal, zbe`i v Evropo. Ko prispejo v Pariz, se nami{ljena dru`ina seli iz enega za~asnega doma v drugega, dokler se Dheepan ne zaposli kot hi{nik v zanikrnem predmestnem bloku. Z delom postopoma gradi novo `ivljenje za svoji "`eno" in "h~erko", a mu za~ne nasilje, ki mu je pri~a, ponovno odpirati vojne rane.
In Sri Lanka, the Civil War is reaching its end. Dheepan fights for the Tamil Tigers who are facing imminent defeat. He decides to flee, taking with him two strangers – a woman and a little girl – hoping that they will make it easier for him to claim asylum in Europe. Arriving in Paris, the 'family' moves from one temporary home to another until Dheepan finds work as the caretaker of a run-down housing block in the suburbs. He works to build a new life and a real home for his 'wife' and his 'daughter', but the daily violence he confronts quickly reopens his war wounds.
"Projekt sem zelo dolgo pripravljal, vse odkar sem zaklju~il Preroka. /.../ Sprva smo celo mislili narediti predelavo filma Slamnati psi (1971, Sam Peckinpah), ~eprav mu v kon~ni razli~ici ni prav ni~ podoben. Jaz sem si bolj `elel ustvariti ljubezensko zgodbo. /.../ Snemati francoski film v Franciji, v katerem liki govorijo tamilski jezik, se je sprva zdel nor projekt. Preprosto sem izbral tuje igralce in stvari prignal do njihovega skrajnega konca." (Jacques Audiard)
"It's a project that had been in the pipeline for a long time, since I finished working on A Prophet. /.../ To begin with, we even thought we would do a remake of Stray Dogs (1971, Sam Peckinpah), although it no longer resembles that at all in its finished version. It was more me that wanted to do a love story. /.../ Making a French film, in France, in which the characters speak in Tamil, was a project that seemed insane at the outset. I just took foreign actors and pushed things as far as I could." (Jacques Audiard)
Jacques Audiard
filmografija/filmography
Rojen leta 1952 v Parizu. Prihaja iz filmske dru`ine, njegov o~e je uveljavljen scenarist in re`iser Michel Audiard. Filmsko pot je za~el kot monta`er pri o~etovem filmu Bons baisers à lundi (1974), jo nadaljeval kot scenarist, leta 1994 pa s svojim prvim filmom {e kot re`iser. S filmoma Ko je zastalo moje srce in Prerok je ob dveh osvojenih baftah in nagradi `irije v Cannesu prejel kar 17 francoskih filmskih nagrad.
1994 Regarde les hommes tomber (See How They Fall/Poglej, kako ljudje padajo) 1996 Un héros très discret (A Self-Made Hero/Diskretni junak) 2001 Sur mes lèvres (Read My Lips) 2005 De battre mon coeur s'est arrêté (The Beat That My Heart Skipped/ Ko je zastalo moje srce) 2009 Un prophète (A Prophet/Prerok) 2012 De rouille et d'os (Rust and Bone/Rja in kost) 2015 Dheepan
Born in 1952 in Paris into a family of filmmakers. His father is screenplaywriter and director Michel Audiard. He started out in the film industry on the editing of Bons baisers à lundi (1974) directed by his father, and then began his career as a screenplay-writer. He made his directorial debut in 1994. He received the Cannes Grand Jury Prize, two BAFTA Awards as well as 17 Cesar Awards for A Prophet and The Beat That My Heart Skipped.
re`ija/directed by Jacques Audiard scenarij/screenplay Jacques Audiard, Thomas Bidegain in/and Noé Debré fotografija/cinematography Éponine Momenceau glasba/music Nicolas Jaar monta`a/editing Juliette Welfling igrajo/cast Jesuthasan Antonythasan (Dheepan), Kalieaswari Srinivasan (Yalini), Claudine Vinasithamby (Illayaal), Vincent Rottiers (Brahim), Marc Zinga (Youssouf), Franck Falise (preprodajalec/dealer), Sandra Murugiah (prodajalka/saleswoman) producent/producer Pascal Caucheteux produkcija/production Why Not Productions 3, rue Paillet 75005 Paris, France E whynot�wanadoo.fr & Page 114 (France) & France 2 Cinéma (France) format/format DCP, barvni/colour dol`ina/running time 109' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 (zlata palma/Golden Palm)
prodaja/world sales Celluloid Dreams 2 rue Turgot 75009 Paris, France E hengameh�celluloid-dreams.com distribucija/distribution 2i Film Primorska 26 10000 Zagreb, Croatia E info�2ifilm.hr
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Predpremiere Avantpremieres
Dom Home Dom Slovenija Slovenia 2015
Metod Pevec re`ija/directed by Metod Pevec scenarij/screenplay Metod Pevec kamera/camera Metod Pevec glasba/music Aldo Kumar monta`a/editing Janez Bricelj, Jurij Mo{kon nastopajo/with Kaja Skol, Lana Murzina, Antonija Jambro{i}, Sabina Bohar, [pela Pintar, Ruth Bra~evac, Damjan Habe, Katja Bilban, Majda Zorin, Renata [tovi~ek, Hasib Muharemovi}, Ifeta Muharemovi}, Rasim Makali}, Fadil Mehi}, Faik Musi}, Ferid Hamzi}, Ekrem Fazli}, Izet Velagi}, Hasib Umi}, Enes Malki}, Reuf Be{i}, Ahmet Smaji}, Mirko Jali}, Hamid Ferizovi}, Ejup Halilovi}, ^azim Salki}, Alenka Gril, Desa Muck, Primo` Bezjak producent/producer Danijel Ho~evar produkcija/production Vertigo Metelkova 6 1000 Ljubljana, Slovenija E info�vertigo.si format/format DCP, barvni/colour dol`ina/running time 82' festivali, nagrade/ festivals, awards Sarajevo 2015, FSF Portoro` 2015
Dokumentarec o nekdanjem samskem domu in njegovih dana{njih prebivalcih je Metod Pevec, ki se je v bloku tudi za~asno naselil, snemal sam, brez filmske ekipe.
Metod Pevec moved into a former workers' residence and shot the documentary about its current occupants singlehandedly, without the aid of a film crew.
V petnadstropnem bloku, ki je bil zgrajen kot samski dom gradbenih delavcev, danes `ivijo mo`je, ki so kot mladeni~i pri{li iz Bosne, trideset let kot gradbeni delavci gradili Slovenijo in po bankrotu teh podjetij ostali brez vsega. V prvem nadstropju stanujejo mladostniki iz ponesre~enih dru`in. Tukaj so tudi delo`iranci, ki i{~ejo najcenej{o streho nad glavo. Ve~ina ima v hi{i le le`i{~e; nih~e ne re~e, da je tukaj doma. Poleg socialne odrinjenosti imajo prebivalci {e nekaj skupnega: zgodbe.
The five-storied block of flats, built as a hall of residence for construction workers, is today inhabited by men who came from Bosnia as young adults, worked in Slovenia for thirty years as construction workers and were left stranded after the construction companies had gone bankrupt. Young people from dysfunctional families have occupied the first floor, which also houses dislodged people searching for the cheapest lodgings they can find. Most of them have only a bed; nobody calls this place their home. Apart from being socially marginalised, the dwellers have another thing in common: stories.
"Novinarje je vedno zanimal samo fenomen. Recimo izkori{~anje delavcev. Prihajali so z izdelanimi zgodbami. Junaki medijskih zgodb so praviloma negativci, v na{em primeru tajkunski direktorji, delavci so nastopali v bolj epizodnih ali celo zgolj ilustrativnih vlogah. Moj namen je bil diametralno nasproten. Mene so zanimali ljudje, stanovalci tega doma, njihova ~ustva, njihovo razo~aranje, njihov proletarski poraz, skratka, ~love{ka dimenzija." (Metod Pevec)
prodaja/world sales Vertigo Metelkova 6 1000 Ljubljana, Slovenija E info�vertigo.si distribucija/distribution Vertigo Metelkova 6 1000 Ljubljana, Slovenija E info�vertigo.si
Metod Pevec
filmografija/filmography
Rojen leta 1958 v Ljubljani. Filmski re`iser, scenarist, pisatelj in igralec. Na Filozofski fakulteti v Ljubljani je diplomiral iz filozofije in primerjalne knji`evnosti. Pred {tudijem in med njim je nastopal kot igralec v {tevilnih slovenskih in jugoslovanskih celove~ernih filmih in tv-serijah. Njegova najbolj znana vloga je lik partizana Berka v filmu Nasvidenje v naslednji vojni (1981) @ivojina Pavlovi}a.
1995 2003 2006 2007 2008 2011 2011 2012 2015
Born in 1958 in Ljubljana. Film director, screenwriter, author and actor, Pevec graduated in philosophy and comparative literature from the Faculty of Arts in Ljubljana. While a student and as a graduate, he was cast in numerous Slovenian and Yugoslav feature films and TV-series. His most remarkable appearance was the role of Partisan Berko in See You in the Next War (1981) by @ivojin Pavlovi}.
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"All the press was ever interested in was simply a phenomenon. Say, the exploitation of workers. Their stories were written beforehand. The protagonists of media stories tend to be villains, in our case tycoon directors, the workers were cast in minor or even illustrative roles. My aim was the polar opposite. I was interested in people, the inhabitants of this residence, their feelings, their disillusionment, their proletarian failure, in a word, the human dimension." (Metod Pevec)
Carmen Pod njenim oknom (Beneath Her Window) Film pred oltarjem (TV dok./TV doc) Estrellita – Pesem za domov (Estrellita – Take Away Song) Hit sezone (TV) Lahko no~, gospodi~na (Good Night, Missy) Aleksandrinke (The Alexandrians) (dok./doc.) Vaje v objemu (Practising Embrace) Dom (Home) (dok./doc.)
Predpremiere Avantpremieres
Eisenstein in Guanajuato Eisenstein in Guanajuato Eisenstein v Mehiki Peter Greenaway
Nizozemska, Mehika, Finska, Belgija The Netherlands, Mexico, Finland, Belgium 2014 re`ija/directed by Peter Greenaway scenarij/screenplay Peter Greenaway fotografija/cinematography Reinier van Brummelen monta`a/editing Elmer Leupen igrajo/cast Elmer Bäck (Sergej Eisenstein), Luis Alberti (Palomino Cañedo), Rasmus Slatis (Gri{a Aleksandrov), Jakob Öhrman (Eduard Tisse), Maya Zapata (Concepción Cañedo), Lisa Owen (Mary Craig Sinclair), Stelio Savante (Hunter Kimbrough) producenti/producers Bruno Felix, Femke Wolting, San Fu Maltha, Christina Velasco L. produkcija/production Submarine Arie Biemondstraat 111 1054 PD Amsterdam, The Netherlands E info�submarine.nl format/format DCP, barvni/colour dol`ina/running time 105'
Peter Greenaway v navdu{ujo~e inovativnem vizualnem slogu slovitega sovjetskega re`iserja Sergeja Eisensteina predstavi kot ekscentri~nega genijalca in s slavo zaslepljenega razuzdanca. Leta 1931 Eisenstein odpotuje v Guanajuato z namenom, da bi posnel film Naj `ivi Mehika. Daljna de`ela ga povsem prevzame z nebrzdanim utripom `ivljenja. Medtem ko njegov razum zaposlujejo filozofske dileme, s pomo~jo krajevnega vodnika Palomina odkriva tudi lastno seksualnost in do`ivi ~utno revolucijo. Zaradi ekscentri~nega in {kandaloznega vedenja se spre s svojim financerjem, ameri{kim pisateljem Uptonom Sinclairjem, kar {e pove~a pritisk na njegovo ustvarjanje. Ve~tedensko bivanje v eksoti~ni de`eli povzro~i bliskovito preobrazbo od konceptualnega filmskega ustvarjalca do umetnika, navdu{enega nad mehi{ko kulturo. "Vse `ivljenje `e prou~ujem Eisensteina. Raziskoval sem njegovo `ivljenje, si ogledal vse njegove filme, verjetno prebral vse, kar je kdaj koli napisal, obiskal njegovo knji`nico in prizori{~a snemanj. Vse to sem zdru`il v filmu o tem velikem mo`u, ki ga `e zelo dolgo ob~udujem, enem redkih filmskih inovatorjev in velikanu vizualne umetnosti." (Peter Greenaway)
In his inimitable innovative visual style, Peter Greenaway paints a vivid portrayal of the illustrious Soviet filmmaker Sergei Eisenstein, depicting him as an eccentric genius and libertine filled with the hubris of being a world-famed star director. In 1931 the Soviet director Sergei Eisenstein travels to Guanajuato to direct his film Que viva México. There he encounters a new culture and its dealings with death; he also discovers another revolution – and his own body. Chaperoned by his guide Palomino Cañedo, he vulnerably experiences the ties between Eros and Thanatos. Once there, he gets into difficulties with his American financier, the novelist Upton Sinclair. He undergoes the transition from a conceptual filmmaker into an artist fascinated by the symbols of Mexican culture. "I've been studying Eisenstein all my life. I have investigated who he was, watched all his films, read everything he'd probably ever written, visited his library and been to places where he has filmed. I've put all this together in this film about this great man I've admired for a long time, one of the very few innovators in cinema and great visualist." (Peter Greenaway)
Peter Greenaway
filmografija (izbor)/filmography (selection)
Rojen leta 1942 v Walesu. Po pridobljeni likovni izobrazbi je bil zaposlen kot filmski monta`er na vladnem Centralnem uradu za informiranje. Kmalu zatem je za~el snemati lastne filme. Proslavil se je kot re`iser celove~ercev in dokumentarcev, njegovo delovanje pa obsega tudi likovno ustvarjanje, pisateljevanje, instalacije, multimedijske projekte in razstave.
1982 1987 1988 1989
Born in Wales in 1942. After graduating in fine art he worked as an editor at the British government’s Central Office of Information. Shortly afterwards he started to make his own films. He rose to international prominence as director of feature-length films and documentaries. Besides a filmmaker, Greenaway is also a fine artist, author and creator of installations and multimedia projects.
festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015, Seattle 2015
1991 1993 1996 1999 2003 2007 2008 2012 2015
prodaja/world sales Films Boutique Köpenicker Strasse 184 10997 Berlin, Germany E contact�filmsboutique.com
The Draughtsman's Contract (Risarjeva pogodba) The Belly of an Architect (Arhitektov trebuh) Drowning by Numbers (Utapljanje v {tevilkah) The Cook, the Thief, His Wife & Her Lover (Kuhar, tat, njegova `ena in njen ljubimec) Prospero's Books (Prosperove knjige) The Baby of Mâcon (Otrok iz Macôna) The Pillow Book (Utele{ene knjige) 8 ½ Women The Tulse Luper Suitcases (@ivljenje v kov~kih) Nightwatching (No~na stra`a) Rembrandt's J'Accuse (Rembrandtov Obto`ujem) Goltzius and the Pelican Company (Goltzius in pelikanova dru{~ina) Eisenstein in Guanajuato (Eisenstein v Mehiki)
distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
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Predpremiere Avantpremieres
Francofonia Francofonia Frankofonija Aleksandr Sokurov
re`ija/directed by Aleksandr Sokurov scenarij/screenplay Aleksandr Sokurov fotografija/cinematography Bruno Delbonnel glasba/music Murat Kabardokov monta`a/editing Hansjörg Weißbrich igrajo/cast Louis-Do de Lencquesaing (Jacques Jaujard), Benjamin Utzerath (Franz Wolff-Metternich), Vincent Nemeth (Napoléon Bonaparte), Johanna Korthals Altes (Marianne), Andrej ^elpanov, Jean-Claude Caer, Aleksandr Sokurov, Francois Smesny, Peter Lontzek producenti/producers Pierre Olivier Bardet, Olivier Père, Thomas Kufus, Els Vandevorst produkcija/production Idéale Audience 6 Rue de l'Agent Bailly 75009 Paris, France E ideale�ideale-audience.fr & Le Musée du Louvre, Paris (France) & Zero One Film (Germany) & N279 Entertainment (The Netherlands) format/format DCP, barvni/colour dol`ina/running time 87' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2015, Toronto 2015, San Sebastian 2015, Vancouver 2015, London 2015
Aleksandr Sokurov se trinajst let po filmski mojstrovini Ruski zaklad ponovno vra~a v muzej, tokrat v pari{ki Louvre, kjer so se med nem{ko okupacijo dogajali kriti~ni trenutki njegove zgodovine.
Thirteen years after his cinematic masterpiece Russian Ark Alexander Sokurov is again focusing his gaze on a museum, spotlighting the Louvre in Paris, and events during the German occupation that changed the course of its history.
Pripoved o dveh izjemnih mo`eh: o Jacquesu Jaujardu, direktorju muzeja Louvre v Parizu, in o grofu Franziskusu Wolff-Metternichu, nacisti~nem oficirju med nem{ko okupacijo Francije. Mo`akarja z nasprotnih strani se morata za skupno mizo soo~iti z vpra{anjem ohranjanja neprecenljivih muzejskih zbirk v Louvru med drugo svetovno vojno, zato skleneta zavezni{tvo, ki presega vojne delitve. Film raziskuje razmerje med umetnostjo, mo~jo in Louvrom kot ~love{ko civilizacijo v malem ter se spra{uje, kaj nam umetnost pove o ljudeh v trenutku, ujetem v enega najbolj krvavih sporov v zgodovini ~love{tva.
The story of two remarkable men, Louvre director Jacques Jaujard and Nazi Occupation Officer Count Franziskus WolffMetternich – enemies then collaborators – whose alliance would be the driving force behind the preservation of museum treasures. Francofonia explores the relationship between art and power, the Louvre museum as a living example of civilisation, and what art tells us about ourselves even in the midst of one of the bloodiest conflicts the world has ever seen.
"Kaj bi bil Pariz brez Louvra ali Rusija brez Ermita`a, teh nepogre{ljivih narodnih spomenikov? Predstavljajte si barko sredi oceana, na njenem krovu so ljudje in umetni{ka dela neprecenljive vrednosti – knjige, slike, glasba, skulpture, {e ve~ knjig, plo{~e in drugo. Barka ne more vzdr`ati te`e, v njenem trupu se pojavijo razpoke. Kaj bomo re{ili? @ive? Ali nema, nezamenljiva pri~evanja preteklosti? Frankofonija je rekviem za izgubljenim, hvalnica ~love{kemu pogumu in duhu ter vsemu, kar povezuje ~love{tvo." (Aleksandr Sokurov)
prodaja/world sales Films Boutique Köpenicker Strasse 184 10997 Berlin, Germany E info�filmsboutique.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
"What would Paris be without the Louvre, or Russia without the Hermitage, those indelible national landmarks? Let's imagine an ark on the ocean, with people and great works of art aboard – books, pictures, music, sculpture, more books, recordings, and more. The ark's timbers cannot resist and a crack has appeared. What will we save? The living? Or the mute, irreplaceable testimonies to the past? Francofonia is a requiem for what has perished, a hymn to human courage and spirit, and to what unites mankind." (Alexander Sokurov)
Aleksandr Sokurov
filmografija (izbor)/filmography (selection)
Rojen v kraju Podorvika, Rusija. Na Univerzi Ni`ni Novgorod je kon~al {tudij zgodovine. ^eprav so ve~ino njegovih zgodnjih del takratne sovjetske oblasti prepovedale, je `e v osemdesetih vzbudil pozornost mednarodne filmske javnosti. Za svoje filme je prejel {tevilne mednarodne nagrade in velja za eno najve~jih imen sodobne ruske kinematografije.
1987 Odinokij golos ~eloveka (The Lonely Voice of Man/Osamljeni glas ~loveka) 1987 Moskovskaja elegija (The Moscow Elegy/Moskovska elegija) 1988 Dni zatmenija (Days of Eclipse/Somrak) 1989 Peterburgskaja elegija (Petersburg Elegy/Peterbur{ka elegija) 1996 Vosto~naja elegija (Eastern Elegy/Vzhodna elegija) 1997 Mat' i sin (Mother and Son/Mati in sin) 1999 Moloh (Moloch/Vladar) 2000 Ne`no (Dolce) 2002 Russkij kov~eg (Russian Ark/Ruski zaklad) 2003 Otec i sin (Father and Son/O~e in sin) 2007 Aleksandra (Alexandra/Aleksandra) 2011 Faust 2015 Francofonia (Frankofonija)
Born in Podorwikha, Russia. He graduated in history from the Nizhny Novgorod University. Although most of his early works were banned by the Soviet authorities, he drew the attention of international film circles in the 1980s. A preeminent figure of contemporary Russian cinema, his features have won a number of international awards.
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Francija, Nem~ija, Nizozemska France, Germany, The Netherlands 2015
Predpremiere Avantpremieres
Louder Than Bombs Louder Than Bombs Glasnej{a od bomb Norve{ka, Francija, Danska, ZDA Norway, France, Denmark, USA 2015
Joachim Trier
Dru`inska drama norve{kega re`iserja Joachima Trierja, ki je k svojemu prvemu angle{ko govore~emu projektu privabil impresivno igralsko zasedbo.
Family drama Louder Than Bombs, Norwegian filmmaker Joachim Trier's first English-speaking project, features an impressive cast.
Priprava razstave, posve~ene sloviti vojni fotografinji Isabelle Freed, tri leta po njeni nepri~akovani smrti naposled zdru`i njenega mo`a in oba sina. Ko na povr{je priplava neprijetna dru`inska skrivnost, so trije mo`je prisiljeni uvideti sami sebe v novi lu~i, pri tem pa morajo na novo opredeliti svoje najgloblje potrebe in `elje. Joachim Trier s svojim zna~ilnim hipnoti~nim, a obenem silovitim in vedrim slogom sestavi bogat mozaik skrbno izbranih detajlov in sanjavih pokrajin, v katerem osupljive podobe soo~i z neizprosnim razkrivanjem ~love{ke narave.
Three years after her unexpected death, the preparation of an exhibition celebrating the famous war photographer Isabelle Freed brings her husband and their two sons together for the first time in years. When an unsettling secret resurfaces, the three men are forced to look at each other and themselves in a new light, redefining their innermost needs and desires. With his signature hypnotic, yet often jolting and exhilarating storytelling pulse, Joachim Trier weaves a tapestry of cherrypicked details and dreamscapes, combining arresting imagery with a relentless exposure of human nature.
"Film se ukvarja z idejo razvoja v okviru dru`ine, z vpra{anjem so`itja, potrebo po lo~enosti in jazu, vlogi spomina. Abstrakten je, vendar v `ivljenju naletimo na ta vpra{anja. Odra{~al sem ob {tevilnih filmih ameri{ke zahodne obale: Kramer proti Kramerju, Navadni ljudje, Sobotni klub, ki vsi prikazujejo dru`ine iz predmestja z jesenskim listjem. Ugotoviti sem hotel, kako bi bilo ustvariti sodobno razli~ico filma, ki se ukvarja z dru`benimi odnosi in sodobno dru`ino." (Joachim Trier)
re`ija/directed by Joachim Trier scenarij/screenplay Joachim Trier, Eskil Vogt fotografija/cinematography Jakob Ihre glasba/music Ola Fløttum monta`a/editing Olivier Bugge Coutté igrajo/cast Jesse Eisenberg (Jonah), Rachel Brosnahan (Erin), Amy Ryan (Hannah), David Strathairn (Richard), Gabriel Byrne (Gene Reed), Isabelle Huppert (Isabelle Reed), Ruby Jerins (Melanie), Megan Ketch (Amy), Katrina E. Perkins (`enska na letali{~u/woman at the airport), Devin Druid (Conrad Reed), Venus Schultheis (Miriam), Sean Cullen (Lars Hecht), Peter Mark Kendall ({tudent/student) producent/producer Thomas Robsahm produkcija/production Motlys AS Sagveien 18 0459 Oslo, Norway E sigve�motlys.com & Arte France Cinéma (France) & Animal Kingdom (USA) & Bona Fide Productions (USA) & Memento Films Production (France) & Nimbus Film Productions (Denmark) format/format DCP, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015, München/Munich 2015, Melbourne 2015
"The film deals with the idea of development within a family, with the issue of togetherness, the need for separation and self, the role of memory. It is abstract, but we can relate to these issues in our life. I grew up with lots of American east coast shows: Kramer vs Kramer, Ordinary People, The Breakfast Club, all of which depict families in suburbs with autumn leaves. I was curious how to do a modern version of this kind of film, one which deals with social interaction and the modern family." (Joachim Trier)
Joachim Trier
filmografija/filmography
Rojen leta 1974 v Köbenhavnu. Odra{~al je v dru`ini filmskih ustvarjalcev. V mladosti je posnel veliko skejterskih filmov, nato se je vpisal na Evropsko filmsko akademijo na Danskem ter zatem {e na Britansko dr`avno filmsko in televizijsko akademijo (NFTS). S celove~ernim prvencem Repriza je osvojil glavno nagrado v Karlovih Varih, vrsto nagrad pa je prejel tudi za film Oslo, 31. avgusta.
1999 2001 2002 2006 2011 2015
prodaja/world sales Memento Films International 9 Cité Paradis 75010 Paris, France E sales�memento-films.com
Pietà (kratki/short) Still (kratki/short) Procter (Before Life, After Death) (kratki/short) Reprise (Repriza) Oslo, 31. august (Oslo, August 31st/Oslo, 31. avgusta) Louder Than Bombs (Glasnej{a od bomb)
distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
Born in 1974 in Copenhagen, Trier grew up in a family of filmmakers. As a young artist, he made a fair number of skateboarding films and then enrolled in the European Film College in Denmark and subsequently in the National Film and Television School (NFTS) in the UK. His feature debut, Reprise, won the main prize at the Karlovy Vary Film Festival and his second film, Oslo, August 31, also won a number of awards.
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Predpremiere Avantpremieres
El Club The Club Klub ^ile Chile 2015
Pablo Larraín re`ija/directed by Pablo Larraín scenarij/screenplay Daniel Villalobos, Guillermo Calderon, Pablo Larraín fotografija/cinematography Sergio Armstrong monta`a/editing Sebastián Sepulveda igrajo/cast Antonia Zegers (sestra/Sister Monica), Alfredo Castro (o~e/Father Vidal), Alejandro Goic (o~e/Father Ortega), Alejandro Sieveking (o~e/ Father Ramirez), Jaime Vadell (o~e/ Father Silva), Marcelo Alonso (o~e/ Father Garcia), Roberto Farías (Sandokan), Jose Soza (o~e/Father Matias) producent/producer Juan de Dios Larraín produkcija/production Fabula Holanda 3017, Nunoa 7770057 Santiago de Chile, Chile E contacto�fabula.cl format/format DCP, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015 (velika nagrada `irije/ Grand Jury Prize)
Kje se skrivajo in kaj po~nejo "kaznovani" duhovniki? Neprizanesljiva dru`benokriti~na obsodba gre{ne dvoli~nosti katoli{ke Cerkve, obarvana s pridihom mra~nega psiholo{kega trilerja.
How do the priests atone for their sins? Where do they hide repenting? A merciless, socially critical condemnation of the sinful hypocrisy of the Catholic Church with a tinge of dark psychological thriller.
Odro~na hi{a na ~ilski obali je nekak{no kazensko zato~i{~e za izolirano duhovni{ko skupnost. [tirje duhovniki, ki jih bremenijo razli~ni grehi preteklosti, si sku{ajo skupaj z redovnico, ki naj bi skrbela zanje, osmisliti enoli~no brezdelje. Ideja o sodelovanju na pasjih dirkah se zdi na prvi pogled kot bo`ji blagoslov. A s prihodom novega ~lana, pedofilskimi obto`bami in tragi~no smrtjo se navidezna idila poru{i in zdi se, kot da so mestecu zavladale demonske sile ...
A remote house on the Chilean coast makes for a penal colony for an isolated community of clergy. Four priests repenting for past sins live together with a nun, striving to create a sense of purpose in their idle lives. The idea to train their greyhound for the race comes as a true blessing. With the arrival of a new priest, sudden paedophiliac accusations and a tragic death, dark secrets come to light, exploring the past of these servants of God and shattering their fragile peace. It seems as if some demonic force has taken over the small town.
"Te`ave imamo s fikcijo. Morda pa so preprosto razburjeni, ker sem ta film posnel jaz, re`iser iz dru`ine, ki ne podpira levice. Vendar zgodbe pripadajo nam vsem. Ti ogor~eni odzivi so tako zna~ilno ~ilski in tako iz~rpavajo~i. Nekateri ljudje si dolo~ene dogodke lastijo in menijo, da imajo moralno pravico govoriti o njih." (Pablo Larraín)
prodaja/world sales Funny Balloons 4 bis rue Saint Sauveur 75002 Paris, France E contact�funny-balloons.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si
Pablo Larraín
filmografija/filmography
Rojen 1976 v Santiagu, ^ile. Po {tudiju filmske re`ije je ustanovil produkcijsko hi{o Fabula. Njegov tretji celove~erec Post Mortem je bil leta 2010 prikazan v glavnem programu bene{kega filmskega festivala, s filmom Ne! pa se je dve leti pozneje potegoval za oskarja v kategoriji tujejezi~nih filmov. Trenutno se z Gaelom Garcio Bernalom pripravlja na snemanje filma o Pablu Nerudi.
2006 2008 2010 2011 2012 2015
Born in 1976 in Santiago, Chile. Having graduated in film direction, Larraín founded a production company, Fabula. Post Mortem, his third feature film, screened within the scope of the 2010 Cannes Film Festival's main selection, while No (2012) was nominated for a Best Foreign Language Film Academy Award. He's currently working on a project about Pablo Neruda with Gael Garcia Bernal.
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"We have a problem with fiction. Or maybe they're simply upset that it's me making the film, a director coming from a family who is not in the left. But stories are there for all of us. These virulent reactions are so Chilean and so exhausting. There are people who believe they own certain events and thus have moral authority to talk about them." (Pablo Larraín)
Fuga Tony Manero Post Mortem Prófugos (TV-serija/TV series) No (Ne!) El Club (The Club/Klub)
Predpremiere Avantpremieres
Macbeth Macbeth Macbeth Velika Britanija, Francija, ZDA Great Britain, France, USA 2015
Justin Kurzel
Sodobna priredba klasi~ne Shakespearjeve tragedije, v kateri se v vlogi Macbetha in njegove soproge v`ivita Michael Fassbender in Marion Cotillard.
A contemporary adaptation of Shakespeare's classic tragedy, starring Michael Fassbender as the power-thirsty Scottish King and Marion Cotillard as Lady Macbeth.
Macbeth, zvesti general vojske kralja Duncana, v silovitih bojih pri Ellonu na [kotskem porazi Macdonwalda, izdajalca in voditelja uporni{kih sil. Po bitki skupaj s sovojakom Banquom naletita na tri `enske, ki Macbethu prerokujejo, da bo postal kralj. Vojaka sprva ne verjameta vznemirljivim napovedim. V oddaljenem Invernessu Lady Macbeth po dolgih letih mo`eve odsotnosti {e vedno `aluje za izgubo njunega edinega otroka. Novica o nenavadni prerokbi v njenih mislih zaseje seme vznemirljive ideje in na~rtovati za~ne umor kralja Duncana, da bi skupaj z mo`em lahko zasedla prestol.
Following a fierce battle in Ellon, Scotland, in which Macbeth, a loyal general of King Duncan's forces, has finally killed Macdonwald, a traitor and leader of rebel forces, he and fellow soldier Banquo encounter three women scavenging among the fallen soldiers, who foretell that Macbeth will become King of Scotland. Both men are unnerved by the prophecies but for the moment appear not to believe them. At Inverness, a letter from Macbeth arrives, informing Lady Macbeth of the prophecy. Lady Macbeth, who has not seen her husband over the long years of war and is grieving the loss of their only child, feels the seed of an idea grow in her mind. She plans for her husband to kill King Duncan so that they can assume the throne.
"Zanima me, kako nasilje opredeljuje ljudi; zanima me, kako ga ljudje izkoristijo za zapolnitev praznine v svojem `ivljenju. Mislim, da je Macbeth rojen iz sveta nasilja: bojevnik je, nasilje ga obkro`a, del njega je. Zares me je pritegnila zamisel, da ga skoraj osvobodi, {e zlasti z Duncanovim umorom, da se pogrezne vanj, v njem najde nekak{en mir. /.../ Ko se Lady Macbeth zazre v njegov '{korpijonov polni um', uvidi, da ni ve~ vrnitve. To je tisto, kar je tako tragi~no – ne more ga ve~ re{iti." (Justin Kurzel)
re`ija/directed by Justin Kurzel scenarij/screenplay Jacob Koskoff, Michael Lesslie, Todd Louiso fotografija/cinematography Adam Arkapaw glasba/music Jed Kurzel monta`a/editing Chris Dickens igrajo/cast Michael Fassbender (Macbeth), Marion Cotillard (Lady Macbeth), Elizabeth Debicki (Lady Macduff), Sean Harris (Macduff), David Thewlis (Duncan), Jack Reynor (Malcolm), Paddy Considine (Banquo), David Hayman (Lennox), Ross Anderson (Rosse), Lynn Kennedy (Witch), Maurice Roëves (Menteith), Paul Ellard ({kotski vojak/Scottish soldier), Seylan Baxter (~arovnica/witch) producenti/producers Iain Canning, Laura Hastings-Smith, Emile Sherman produkcija/production See-Saw Films 74 Rivington Street EC2A 3AY London, UK E info�see-saw-films.com format/format DCP, barvni/colour dol`ina/running time 113' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015
"I'm interested in how violence defines people; I'm interested in how people use it to fill something that’s not in their lives. And I think that Macbeth is born out of a world of violence: he's a warrior, he's been surrounded by it, he's part of it. The idea that he almost becomes liberated through it, especially with the murder of Duncan, and sinks into it, finds a kind of peace in it, was really interesting to me. /.../ When Lady Macbeth looks at him in 'scorpions of my mind,' she sees a point of no return. That's what's so tragic – she can no longer rescue him." (Justin Kurzel)
Justin Kurzel
filmografija/filmography
Rojen leta 1974 v mestu Gawler, Ju`na Avstralija. @e z diplomskim kratkim filmom Blue Tongue in celove~ernim prvencem Umori v Snowtownu se je prebil v netekmovalni izbor festivala v Cannesu. Slovi kot eden najbolj{ih gledali{kih scenografov v Avstraliji, poudarek na vizualnih elementih pa zaznamuje tudi njegovo filmsko ustvarjanje. Re`ira tudi oglase in glasbene videospote.
2005 2011 2013 2015
prodaja/world sales Studio Canal 1 Place du Spectacle 92863 Issy-Les-Moulineaux, France E laurence.lascary�canal-plus.com
Blue Tongue (kratki/short) Snowtown (Umori v Snowtownu) The Turning (omnibus) Macbeth
distribucija/distribution Blitz film & video distribution d.o.o. Dolenjska cesta 258 1291 [kofljica E marketing�blitz-film.com
Born in 1974 in Gawler, South Australia. It was already his graduation short film, Blue Tongue, and debut feature, Snowtown, that entered the out-ofcompetition selection of the Cannes Film Festival. Justin's background as one of Australia's best theatrical designers informs his strong visual storytelling as a director. Kurzel also directs commercials and music videos.
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Predpremiere Avantpremieres
La giovinezza Youth Mladost Italija, Francija, Velika Britanija, [vica Italy, France, Great Britain, Switzerland 2015
Paolo Sorrentino re`ija/directed by Paolo Sorrentino scenarij/screenplay Paolo Sorrentino fotografija/cinematography Luca Bigazzi glasba/music David Lang monta`a/editing Cristiano Travaglioli igrajo/cast Michael Caine (Fred Ballinger), Harvey Keitel (Mick Boyle), Rachel Weisz (Lena Ballinger), Paul Dano (Jimmy Tree), Jane Fonda (Brenda Morel), Mark Kozelek (on sam/ himself), Robert Seethaler (Luca Moroder), Alex Macqueen (kralji~in odposlanec/Queen’s emissary) producenti/producers Carlotta Calori, Francesca Cima, Nicola Giuliano produkcija/production Indigo Film Via Torino 135 00184 Rome, Italy E info�indigofilm.it & Medusa Film (Italy) & Barbary Films (France) & Pathé (France) & France 2 Cinema (France) & Number 9 Films (UK) & C-Films (Switzerland) format/format DCP, barvni/colour dol`ina/running time 118' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015, Karlovi Vari/Karlovy Vary 2015 (nagrada ob~instva/ Audience Award), Toronto 2015
prodaja/world sales Pathé International 2, rue Lamennais 75008 Paris, France E themba.bhebhe�pathe.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
Paolo Sorrentino po Neskon~ni lepoti s pomo~jo izvrstne igralske zasedbe ponudi vizualno osupljivo refleksijo ~lovekove sle po mladosti.
Featuring a stellar cast, Sorrentino's first film after The Great Beauty is a visually stunning reflection on the human lust for youth.
Fred in Mick sta stara prijatelja, ki se bli`ata osemdesetemu letu `ivljenja in u`ivata na po~itnicah v prijetnem hotelu ob vzno`ju Alp. Freda, upokojenega skladatelja in dirigenta, posku{a britanska kraljica prek svojega odposlanika prepri~ati, naj na slovesni prireditvi {e zadnji~ dirigira svoje naslovitej{e glasbeno delo, a Fred trmasto odklanja vsako vrnitev na oder. Mick, filmski re`iser, je medtem polno zaposlen in si prizadeva ~im prej kon~ati scenarij za svoj najnovej{i film. Prijatelja se zavedata, da so jima dnevi {teti in odlo~ita se, da se bosta skupaj soo~ila s prihodnostjo. Vseeno pa se zdi, da se z minevanjem ~asa nih~e razen njiju ne ukvarja prav pretirano.
Fred and Mick, two old friends approaching their eighties, are enjoying a vacation in a lovely hotel in the foothills of the Alps. The Queen of England sends her emissary to convince Fred, a retired composer and conductor who has no intention of returning to his music career which he dropped a long time ago, to conduct his most celebrated work at a gala concert for the very last time. Mick, a director, is still working, hurrying to finish the screenplay of his latest film. Both friends know that their days are numbered and decide to face their future together. But unlike them, no one else seems worried about the passing of time.
"Cainov lik ohranja distanco, kar je ganljivo, vendar pa to seveda ne zagotavlja sre~e, ampak dolo~eno umirjenost. Po drugi strani Keitlov lik obvladuje neusahljiva strast: re`iser je, ki se filmu predaja na `ivljenje in smrt, kar je v svetu kinematografije pogost pojav: film lahko postane prava obsedenost. Bolj sem podoben Keitlu, vendar se trudim postati bolj kot Caine." (Paolo Sorrentino)
"Caine's character keeps his distance from things, which is touching but of course doesn't guarantee happiness, but rather a certain calmness. On the other hand, Keitel's character is dominated by passion par excellence: he's a director who makes a movie a matter of life or death, which is quite a common phenomenon in cinema: a film can become a real obsession. I would tend to be like Keitel, but I'm working on becoming more like Caine." (Paolo Sorrentino)
Paolo Sorrentino
filmografija (izbor)/filmography (selection)
Rojen 1970 v Neaplju, Italija. Njegov prvenec L'uomo in più je bil leta 2001 uvr{~en na program bene{kega filmskega festivala, nato se je leta 2004 s srhljivko The Consequence of Love uvrstil na festival v Cannes ter po`el {tevilne dobre kritike in mednarodne nagrade. Leta 2008 je za film Mogo~ne` na festivalu v Cannesu prejel nagrado `irije, leta 2014 pa za Neskon~no lepoto {e oskarja za najbolj{i tujejezi~ni film.
1994 1998 2001 2001 2002 2004 2006 2008 2009 2011 2013 2015
Born in 1970 in Naples, Italy. In 2001, his debut film, One Man Up, was selected for the Venice Film festival, and his 2004 Cannes entry, a thriller The Consequences of Love, drew critical acclaim and won many international awards. Il Divo received the Jury Prize at the 2008 Cannes Film Festival. The Great Beauty received the 2014 Academy Award for Best Foreign Language Film.
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Un paradiso (kratki/short) L'amore non ha confini (kratki/short) L'uomo in più (One Man Up) La notte lunga (kratki/short) La primavera del 2002 – L’Italia protesta, l'Italia si ferma (dok./doc.) Le conseguenze dell'amore (The Consequences of Love) L'amico di famiglia (The Family Friend/Dru`inski prijatelj) Il divo (Mogo~ne`) La partita lenta (kratki/short) This Must Be the Place La grande bellezza (The Great Beauty/Neskon~na lepota) Youth (Mladost)
Predpremiere Avantpremieres
Mia madre My Mother Moja mama Italija, Francija Italy, France 2015
Nanni Moretti
Italijanski mojster Nanni Moretti se zna~ilno, avtobiografsko spoprime s smrtjo svoje matere, Johna Turturra pa postavi v eno najopaznej{ih komi~nih vlog leto{njega leta. Margherita, slovita italijanska filmska re`iserka, je sredi snemanja svojega novega filma. Glavna zvezda njenega projekta je Barry Huggins, nadle`en, a o~arljiv ameri{ki igralec, ki pa se zaradi svojih izpadov na snemanjih izka`e za te`avnega sodelavca. Ob vseh pritiskih pri nastajanju filma se mora Margherita spoprijemati {e z vse slab{im zdravjem svoje matere in z najstni{ko h~erko. ^eprav ji njen brat Giovanni vseskozi stoji ob strani, kmalu spozna, da ne more povsem lo~iti osebnega `ivljenja od poklicnega ustvarjanja.
Casting John Turturro in one of this year's most striking comical roles and coming to terms with the death of his mother, the Italian maestro returns to the autobiographical territories that characterised his earlier work. Margherita, a famous Italian director, is in the midst of her new film and is attempting to contend with Barry Huggins, the main actor – an annoying yet charming American with a penchant for exaggeration. Alongside the pressures on set, she must also deal with her hospitalised mother's deteriorating health and her adolescent daughter. Though her brother Giovanni is helpful and supportive, she quickly realises that it is impossible to separate her personal life from work on set.
"V filmu Sinova soba sem se lotil izganjanja nekega strahu. Tukaj nagovarjam izku{njo, ki je skupna {tevilnim ljudem. Smrt matere je pomemben `ivljenjski mejnik, `elel sem ga opisati brez kakr{nega koli sadizma do ob~instva. /.../ V dolo~enem trenutku pisanja scenarija sem se odlo~il, da bom vnovi~ prebral dnevnik, ki sem ga pisal med materino boleznijo. Menil sem, da bi tiste vrstice, izmenjave najinih misli, lahko dodale tehtnost in pristnost prizorom med Margherito in njeno materjo. Pravzaprav je bilo vnovi~no branje teh dnevnikov bole~e." (Nanni Moretti)
"In The Son's Room I was exorcising a fear. Here, I am referring to an experience that many people share. The death of one's mother is an important rite of passage in life, and I wanted to recount it without being sadistic whatsoever towards the audience. /.../ There was just a moment during the writing process when I decided to reread the journal I kept during the course of my mother's illness. I did it because I thought that perhaps our exchanges, those lines could add weight and help the scenes between Margherita and her mother to ring true. In fact, the rereading of these journals was painful." (Nanni Moretti)
Nanni Moretti
filmografija (izbor)/filmography (selection)
Rojen leta 1953 v Brunecku, Italija. Leta 1976 je na super osmi~ko posnel svoj celove~erni prvenec, v osemdesetih pa niz filmov, s katerimi se je uveljavil kot vodilni italijanski cineast svoje generacije. Mednarodni uspeh so mu prinesli filmi, kot sta Dragi dnevnik in April, s Sinovo sobo pa je osvojil tudi cansko zlato palmo. ^eprav je ve~ina njegovih del izrazito intimnih, Moretti z njimi vedno kriti~no presoja tudi italijansko dru`bo.
1976 1978 1981 1984 1985 1989 1990 1993 1998 2001 2006 2011 2015
Born in 1953 in Bruneck, Italy. In 1976 he made his first feature film in a Super-8 format, and in the 1980s a series of films with which he asserted himself as the pre-eminent Italian filmmaker of his generation. His international breakthrough came with Dear Diary, April and Son's Room, the last of which won the Palme d'Or at Cannes. Although most of his films are explicitly intimate in subject, they also deal with Italy's political situation and Moretti's views on it.
re`ija/directed by Nanni Moretti scenarij/screenplay Nanni Moretti, Francesco Piccolo, Valia Santella fotografija/cinematography Arnaldo Catinari monta`a/editing Clelio Benevento igrajo/cast Margherita Buy (Margherita), John Turturro (Barry Huggins), Giulia Lazzarini (Ada), Nanni Moretti (Giovanni), Beatrice Mancini (Livia), Stefano Abbati (Federico), Enrico Ianniello (Vittorio), Anna Bellato (igralka/actress), Toni Laudadio (producent/producer), Lorenzo Gioielli (tolma~/interpreter), Pietro Ragusa (Bruno), Monica Samassa (zdravnica/doctor) producenta/producers Nanni Moretti, Domenico Procacci produkcija/production Sacher film Via Raffaello Giovagnoli, 6 00152 Rome, Italy E sacherfilm�sacherfilm.eu & Fandango (Italy) & Le Pacte (France) & Rai Cinema (Italy) format/format DCP, barvni/colour dol`ina/running time 107' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 (nagrada ekumenske `irije/Prize of the Ecumenical Jury), nagrada David di Donatello (najbolj{a igralka, najbolj{a stranska igralka)/ David di Donatello Award (Best Actress, Best Supporting Actress)
prodaja/world sales Films Distribution 34, rue du Louvre 75001 Paris, France E alexis�filmsdistribution.com
Io sono un autarchico (I Am Self Sufficient/Jaz sem samozadosten) Ecce bombo Sogni d'oro (Sweet Dreams/Sladke sanje) Bianca La messa è finita (The Mass Is Ended/Ma{e je konec) Palombella rossa (Red Lob/Rde~a parabola) La cosa (The Thing/Stvar) (srednjemetra`ni/medium-length) Caro diario (Dear Diary/Dragi dnevnik) Aprile (April) La stanza del figlio (Son's Room/Sinova soba) Il caimano (The Caiman/Aligator) Habemus papam (We Have a Pope/Habemus papam: imamo pape`a) Mia madre (My Mother/Moja mama)
distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
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Nie yin niang The Assassin Morilka Hou Hsiao-hsien
re`ija/directed by Hou Hsiao-hsien scenarij/screenplay Xing Pei (kratka zgodba/short story), Hou Hsiao-hsien, Chu Tien-wen, Hsieh Hai-meng, Zhong Acheng fotografija/cinematography Mark Lee Ping Bing glasba/music Lim Giong monta`a/editing Huang Chih-chia igrajo/cast Qi Shu (Nie Yinniang), Chen Chang (Tian Ji’an), Satoshi Tsumabuki (~istilec ogledal/the mirror polisher), Ethan Juan (Xia Jing), Nikki Hsin-ying Hsieh (Huji), Sheu Fang-yi (Jiacheng, Jiaxin), Chun Shih, Yun Zhou (Lady Tian) producenti/producers Hou Hsiao-hsien, Liao Ching-song, Huang Wen-ying produkcija/production SpotFilms 4F., No.18, Lane 50, Sec. 3, Nangang Rd., Nangang District Taipei City 115, Taiwan E changchut�yahoo.fr & Sil-Metropole Organisation (Hong Kong) & Media Asia Films (Hong Kong) & Central Motion Pictures (Taiwan) & China Dream Film Culture Industry (Hong Kong) & Zhejiang Huace Film & TV (China) format/format DCP, ~b in barvni/b&w and colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 (nagrada za najbolj{ega re`iserja/Best Director Award), Sydney 2015, Jeruzalem/Jerusalem 2015
Tajvanski cineast Hou Hsiao-hsien predstavlja zgodbo o morilki v obdobju kitajske dinastije Tang. Nagrada za najbolj{o re`ijo v Cannesu.
Taiwanese filmmaker Hou Hsiao-hsien presenting the story of an assassin during the Chinese Tang Dynasty. Winner of the Cannes Film Festival Best Director Award.
Kitajska, 9. stoletje. Desetletno generalovo h~er Nie Yinniang ugrabi nuna, jo uvede v svet borilnih ve{~in in jo prelevi v izjemno morilko, ki mora opraviti s krutimi in skorumpiranimi lokalnimi glavarji. Ko ji nekega dne pri eni izmed nalog spodleti, jo po{ljejo nazaj h gospodarici v rojstno de`elo z ukazom, da mora ubiti mo{kega, ki mu je bila obljubljena – bratranca, ki zdaj vodi najve~jo voja{ko regijo na severnem Kitajskem. Po trinajstih letih azila se mora dekle soo~iti s svojimi star{i, spomini in potla~enimi ob~utki, predvsem pa se mora odlo~iti, ali bo `rtvovala mo{kega, ki ga ljubi, ali pa bo za vedno zavila s poti pravice i{~o~ih morilcev.
9th century China. 10-year-old general's daughter Nie Yinniang is abducted by a nun who initiates her into the martial arts, transforming her into an exceptional assassin charged with eliminating cruel and corrupt local governors. One day, having failed in a task, she is sent back by her mistress to the land of her birth, with orders to kill the man to whom she was promised – a cousin who now leads the largest military region in North China. After 13 years of exile, the young woman must confront her parents, her memories and her long-repressed feelings. She must choose to either sacrifice the man she loves or break forever with the sacred way of the righteous assassins.
"Vedno sem na strani `ensk. Njihov svet, njihova du{a se mi od vedno zdela veliko bolj zanimiva od mo{ke. @enske so bolj rahlo~utne in kompleksnej{e razmi{ljajo, njihov odnos do stvarnosti me privla~i. Lahko bi rekli, da so `enska ~ustva izostrena in precej vznemirljiva, mo{ki pa razmi{ljajo razumsko in so precej dolgo~asni. Poleg tega se `enska celovitost pri vsaki zelo razlikuje. /.../ Neodvisnost, odlo~nost, samota. Mislim, da so to tri lastnosti mojih `enskih likov." (Hou Hsiao-hsien)
prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E edevos�wildbunch.eu distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
"I'm always on the side of women. Their world, their psyches, always seem much more interesting to me than those of men. Women have their own sensibility and a more complex way of thinking, a way of relating to reality that intrigues me. You might say that women's feelings are sophisticated and rather exciting, whereas men tend to think rationally and are rather boring. Furthermore, women’s complexities vary greatly from one woman to the next. /.../ Independence, resolve, solitude. I think those are the three characteristics of my women characters." (Hou Hsiao-hsien)
Hou Hsiao-hsien
filmografija (izbor)/filmography (selection)
Rojen leta 1947 v Meixianu, Kitajska, odra{~al na Tajvanu. Leta 1972 je diplomiral na tajvanski Nacionalni akademiji umetnosti ter za~el delati kot asistent re`ije in scenarist. V za~etku osemdesetih let je skupaj z Edwardom Yangom in drugimi soustvarjal tajvanski novi val, ki je mo~no vplival na razvoj sodobne azijske kinematografije. Za svoje filme redno prejema najvi{ja festivalska priznanja.
1980 Jiushi liuliu de ta (Cute Girl) 1983 Fengkuei-lai-te jen (The Boys From Fengkuei) 1985 Tong nien wang shi (A Time to Live and a Time to Die/^as `ivljenja, ~as smrti) 1986 Lianlian fengchen (Dust in the Wind) 1989 Beiqing chengshi (City of Sadness/Mesto `alosti) 1993 Hsimeng jensheng (In the Hands of the Puppetmaster/Mojster lutk) 1995 Haonan haonu (Good Men, Good Women/Dobri mo{ki, dobre `enske) 1998 Hai shang hua (Flowers of Shanghai/[anghajsko cvetje) 2001 Qianxi manbo (Millennium Mambo/Mambo tiso~letja) 2003 Kôhî jikô (Café Lumière/Kavarna Lumière) 2005 Zui hao de shi guang (Three Times/Trikrat) 2007 Le Voyage du ballon rouge (Flight of the Red Balloon/Potovanje rde~ega balona) 2015 Nie yin niang (The Assassin/Morilka)
Born in 1947 in Meixian, China, grew up in Taiwan. Graduated from the Taiwanese National Academy of Arts in 1972, thereafter began to work as assistant director and scriptwriter. In the beginning of the 1980s, together with Edward Yang and others, formed part of the Taiwanese New Wave which considerably influenced the development of contemporary Asian cinematography. His films have regularly won the foremost festival prizes.
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Tajvan, Kitajska, Hongkong, Francija Taiwan, China, Hong Kong, France 2015
Predpremiere Avantpremieres
A Bigger Splash A Bigger Splash Nemirna obala Italija, Francija Italy, France 2015
Luca Guadagnino
Tilda Swinton, Ralph Fiennes, Dakota Johnson in Matthias Schoenaerts v vlogah ljubimcev in starih prijateljev, ki ob sredozemskem morju odprejo pandorino skrinjico spominov iz preteklosti.
An all-star cast in the roles of lovers and old friends, Tilda Swinton, Ralph Fiennes, Dakota Johnson and Matthias Schoenaerts open a Pandora's Box of old memories on the shores of the Mediterranean Sea.
Marianne Lane je legenda rock glasbe, ki je pravkar prestala operacijo na glasilkah, zato s svojim mlaj{im ljubimcem Paulom pre`ivlja nebe{ki oddih na vulkanskem otoku Pantelleria med Sicilijo in Tunizijo. Njune po~itnice zmoti prihod njenega starega prijatelja, slovitega glasbenega producenta Harryja, ki s sabo za name~ek pripelje svojo razvajeno h~erko Penelope. A to {e ni vse; pri{leka poleg nepri~akovane popestritve s seboj prineseta tudi prtljago nostalgi~nih spominov, ki razburkajo odnose med dopustniki in jih popeljejo na pot obujanja iskric iz preteklosti, s katere ne bo vrnitve.
Rock legend Marianne Lane is recuperating after her vocal-cord surgery on the volcanic island of Pantelleria, located between Sicily and Tunisia, with her younger lover Paul. Their heavenly break is interrupted by the unexpected arrival of iconoclast record producer and old flame Harry who brings his pampered daughter Penelope. What's more, he also brings with him a blast of delirious nostalgia, haunting memories that ruffle the vacationers’ feathers and unleash a torrent of emotions from which there can be no rescue.
"Zamislil sem si film o ljubezni, lepoti, po`elenju, seksu, spolnosti in nevarnosti nekdanjega ljubimca, ki s svojo bli`ino in dejanji spro`i destruktivno vedenje in obudi preteklost glavnih likov. Ko se ta preteklost razbrzda, iz likov potegne najbolj pristno razli~ico njih samih, vstopijo v zamotano mre`o spolnosti in gore~e sle, ki jih `ene na tema~no stran." (Luca Guadagnino)
"I envisioned a film about love, beauty, desire, sex, sexuality and the danger of an old lover who by his own presence and actions can trigger destructive behaviour and bring back the pasts of our lead characters. And by unleashing this past, our characters are drawn into their truest version of themselves and enter a tangled nexus of sex and burning desire, pushing them to a dark side." (Luca Guadagnino)
Luca Guadagnino
filmografija (izbor)/filmography (selection)
Rojen leta 1971 v Palermu, Italija. Otro{tvo je pre`ivel v Etiopiji. Z diplomskim delom o Jonathanu Demmu je na rimski univerzi La Sapienza diplomiral iz zgodovine in filmske kritike. Njegov celove~erni prvenec The Protagonists je bil predvajan na filmskem festivalu v Benetkah. Od tedaj so njegove filme zaznamovala pogosta sodelovanja z britansko igralko Tildo Swinton.
1999 2002 2003 2005 2009 2013 2015
Born in 1971 in Palermo, Italy, Guadagnino spent his childhood in Ethiopia. He graduated in history and critics of cinema from Rome's University La Sapienza, with a thesis on film director Jonathan Demme. His feature debut, The Protagonists, screened at the Venice Film Festival. Since then his films have often featured British actress Tilda Swinton.
re`ija/directed by Luca Guadagnino scenarij/screenplay Alain Page (zgodba/story), David Kajganich fotografija/cinematography Yorick Le Saux monta`a/editing Walter Fasano igrajo/cast Tilda Swinton (Marianne), Ralph Fiennes (Harry), Dakota Johnson (Penelope), Matthias Schoenaerts (Paul), Aurore Clément (Mireille), Lily McMenamy (Sylvie), Corrado Guzzanti (Maresciallo Carabinieri), Elena Bucci (Clara) producenta/producers Michael Costigan, Luca Guadagnino produkcija/production Frenesy Film Piazza Premoli 3 26013 Crema, Italy E office�frenesyfilm.com & StudioCanal (France) format/format DCP, barvni/colour dol`ina/running time 120' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2015, Busan 2015, London 2015
prodaja/world sales StudioCanal 1 Place du Spectacle 92863 Issy-Les-Moulineaux, France E laurence.lascary�canal-plus.com
The Protagonists Tilda Swinton: The Love Factory (kratki dok./doc. short) Mundo civilizado (dok./doc.) Melissa P. Io sono l'amore (I Am Love) Bertolucci on Bertolucci A Bigger Splash (Nemirna obala)
distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
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Queen of the Desert Queen of the Desert Pu{~avska kraljica ZDA USA 2014
Werner Herzog re`ija/directed by Werner Herzog scenarij/screenplay Werner Herzog fotografija/cinematography Peter Zeitlinger glasba/music Klaus Badelt monta`a/editing Joe Bini igrajo/cast Nicole Kidman (Gertrude Bell), James Franco (Henry Cadogan), Damian Lewis (Charles D. Wylie), Robert Pattinson (polkovnik/colonel T.E. Lawrence), Jenny Aguter (Florence Bell) producenti/producers Nick Raslan, Michael Benaroya, Cassian Elwes produkcija/production Benaroya Pictures 8383 Wilshire Blvd. Beverly Hills, CA 90211 Los Angeles, USA E general�benaroyapics.com & Palmyra Films (USA) format/format DCP, barvni/colour dol`ina/running time 125'
Romanti~na pustolovska drama veterana Wernerja Herzoga opeva neomajni `enski pogum in vztrajnost sredi ni~ kaj sentimentalnih prostranstev arabskega sveta.
festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015
Zgodba zgodovinarke, pisateljice, prevajalke in pustolovke Gertrude Bell, ki je po prvi svetovni vojni pomagala za~rtati meje med Orientom in britanskim imperijem, s pomo~jo Herzogove ljubezni do panoramskih posnetkov in poveli~evanja narave izzveni kot feministi~no obarvana razli~ica kultnega Lawrencea Arabskega. Gertrude Bell, izobra`ena mlada `enska, ki v Angliji ne najde snubca, se odpravi v Teheran. Po tragi~nem razpletu ljubezenskega razmerja z diplomatom Henryjem Cadoganom se odlo~i, da bo kot pustolovka prepotovala ozemlje otomanskega cesarstva. Poznavanje tujih jezikov in sre~anja s predstavniki tamkaj `ive~ih nomadskih skupnosti so jo proslavili kot neprecenljivo poznavalko razmer na Bli`njem vzhodu, cenjeno tudi pri imperialnih vladnih silah, {e zlasti britanski obve{~evalni slu`bi ... "Res je, da gre za prvi celove~erec, prvi igrani film. Zgodba se mi je porodila s tak{no silovitostjo in intenzivnostjo, zato mi med pisanjem scenarija ni pri{lo na misel, da gre za moj prvi film z `ensko protagonistko. Tudi med snemanjem se mi ni posvetilo. Mislil sem, da bi to moral storiti `e davno." (Werner Herzog)
prodaja/world sales Sierra/Affinity 9378 Wilshire Blvd. Beverly Hills, CA 90212 Los Angeles, USA E info�sierra-affinity.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si
The story of Gertrude Bell who, as historian, novelist and adventurer, played a decisive role in defining the new borders in the region after WWI. Herzog uses the vast desert landscapes to depict a panoramic epic about the woman who has gone down in history as 'the female Lawrence of Arabia'. As an educated young woman, for whom no suitable husband can be found in England, she journeys to Tehran. After a tragic love affair with diplomat Henry Cadogan, she decides to discover the region as an explorer. Against the backdrop of the disintegration of the Ottoman Empire she learns languages and meets Muslim dignitaries. Predestined to be a mediator between the Orient and the British Empire, she contributes to setting the course for the new political order in the Middle East as an indispensable member of the British secret service. "It's true it is the first feature film, the first narrative film. But the story came at me with such vehemence and intensity, that when I wrote the screenplay it didn't occur to me that this was my first with a female protagonist. Also when I was shooting it didn't occur to me. I thought I should have done it a long time before." (Werner Herzog)
Werner Herzog
filmografija (izbor)/filmography (selection)
Rojen leta 1942 v Münchnu. Odra{~al je v oddaljeni bavarski gorski vasi, odrezan od televizije, telefona in drugih naprav. Svoj prvi film je videl pri enajstih letih. Do danes je produciral, re`iral in napisal scenarij za ve~ kot {tirideset filmov, objavil ve~ kot deset knjig in re`iral prav toliko oper. Velja za enega najve~jih sodobnih re`iserjev, romanti~nega vizionarja in neutrudnega popotnika.
1968 1972 1982 1987 2005 2005 2007 2009
Born in 1942 in Munich. He grew up in a remote Bavarian village without TV, phone, or any other devices. He saw his first film at the age of 11. To date, he has produced, directed, or scripted over forty films, penned over ten books and directed as many operas. A romantic visionary and a tireless traveller, he is considered one of the foremost contemporary directors.
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Romantic adventure drama by veteran director Werner Herzog is an ode to relentless female courage and persistence in the vast expanses of the none too sentimental Arab world.
Lebenszeichen (Signs of Life/Znaki `ivljenja) Aguirre, der Zorn Gottes (Aguirre, The Wrath of God/Aguirre, srd bo`ji) Fitzcarraldo Cobra Verde (Slave Coast/Zelena kobra) Grizzly Man (^lovek grizli) The Wild Blue Yonder (Divje modro onstranstvo) Encounters at the End of the World (Sre~anja na koncu sveta) Bad Lieutenant: Port of Call New Orleans (Pokvarjeni poro~nik: New Orleans) 2010 Cave of Forgotten Dreams (Jama pozabljenih sanj) 2015 Queen of the Desert (Pu{~avska kraljica)
Predpremiere Avantpremieres
Sicario Sicario Sicario ZDA USA 2015
Denis Villeneuve
Napet obmejni triler se z vidika neizku{ene agentke FBI brez zadr`kov potopi v nasilen, nemoralen svet mehi{kih mamilarskih kartelov.
A searing emotional-thriller that views the intrigue, corruption and moral mayhem of Mexican drug wars from the perspective of an inexperienced FBI agent.
Agentka FBI Kate Macer s svojo ekipo v bliskoviti misiji razkrije skrivali{~e mehi{kega kartela, kar mo~no zaznamuje njeno osebno in poklicno `ivljenje. Agentko brez izku{enj v tovrstnih preiskavah povabijo k tajni ~ezmejni nalogi, ki jo vodi skrivnostni kolumbijski operativec, poznan pod imenom Alejandro. Kate je potisnjena v srce mehi{kega kriminalnega podzemlja; znajde se v svetu neusmiljenih morilcev, ameri{kih vohunov in nedol`nih civilistov, ki se ne po lastni krivdi znajdejo sredi boja proti mamilarskim kartelom. ^eprav se Kate {e naprej prepri~uje, da se je spustila v zakonit boj za pravico, stoji na vedno bolj trhlih temeljih ...
When Arizona FBI agent Kate Macer uncovers a Mexican cartel's house of death, her shocking find leads to profound consequences on both a personal and global level. Kate is recruited to join a covert black-ops mission headed by a mysterious Colombian operative known only as Alejandro. Even as Kate tries to convince herself she's on a hunt for justice, she is thrust into the dark heart of a secret battleground that has swept up ruthless cartels, kill-crazy assassins, clandestine American spies and thousands of innocents.
"Potrebujemo superjunake. Vendar pa v dana{nji stvarnosti junaki navadno nimajo ~istih rok. Spoprijemajo se z najte`jimi moralnimi odlo~itvami, tistimi, pred katere smo postavljeni, ko zremo v obli~je zla. Moralne odlo~itve Sicaria me prevzamejo. Kako dale~ bi morali iti za zaustavitev kartelov? Jih lahko ustavimo, ne da bi jim postali podobni?" (Denis Villeneve)
re`ija/directed by Denis Villeneuve scenarij/screenplay Taylor Sheridan fotografija/cinematography Roger Deakins glasba/music Jóhann Jóhannsson monta`a/editing Joe Walker igrajo/cast Emily Blunt (Kate Macer), Josh Brolin (Matt), Benicio Del Toro (Alejandro), Jon Bernthal (Ted), Jeffrey Donovan (Steve Forsing), Victor Garber (Jennings), Raoul Trujillo (Rafael), Maximiliano Hernández (Silvio), Lora MartinezCunningham (Jacinta), Daniel Kaluuya (Reggie), Alan D. Purwin (pilot), Kaelee Vigil (imigrantka/ immigrant woman), Kim Larrichio (Silviova `ena/Silvio's wife) producenti/producers Basil Iwanyk, Thad Luckinbill, Trent Luckinbill, Edward McDonnell, Molly Smith produkcija/production Thunder Road Pictures 1411 5th Street Ste 400 90401 Santa Monica, USA E barney�thunderroadfilms.com & Black Label Media (USA) format/format DCP, barvni/colour dol`ina/running time 121' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015, Toronto 2015, Deauville 2015
"We have a need for super heroes. However, in today's reality, heroes don't usually have clean hands. Heroes are in contact with the most difficult moral choices, the choices we must make when confronted by evil. Sicario's moral choices fascinate me. How far should we go to stop the cartels? Can we stop the cartels without becoming like them?" (Denis Villeneve)
Denis Villeneuve
filmografija/filmography
Rojen leta 1967 v kraju Trois-Rivières, Kanada. Kritiki ga pogosto predstavljajo kot enega najbolj nadarjenih re`iserjev njegove generacije. Z edinstvenim vizualnim slogom in sve`im pripovednim na~inom vedno znova prepri~a ob~instvo in filmsko kritiko, za svoje delo pa je na priznanih filmskih festivalih po vsem svetu prejel {tevilne nagrade. S filmom Ugrabljeni je zakorakal tudi v ameri{ko filmsko industrijo.
1998 2001 2009 2010 2013 2013 2015
prodaja/world sales Lionsgate Films 2700 Colorado Ave., Suite 200 Santa Monica, CA 90404, USA E internationalsales�lionsgate.com
Un 32 août sur Terre (August 32nd on Earth) Maelström Polytechnique Incendies (Incendies/@enska, ki poje) Prisoners (Ugrabljeni) Enemy Sicario
distribucija/distribution Blitz film & video distribution d.o.o. Dolenjska cesta 258 1291 [kofljica E marketing�blitz-film.com
Born in 1967 in Trois-Rivières, Canada, Villeneuve is critically acclaimed as one of the most talented directors of his generation. An internationally renowned and awarded filmmaker, his idiosyncratic visual style and fresh narration have repeatedly convinced the spectators and critics alike. Beginning with the film Prisoners he also began working in the American film industry.
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Predpremiere Avantpremieres
Pored mene Next to Me Srednje{olci Srbija Serbia 2015
Stevan Filipovi} re`ija/directed by Stevan Filipovi} scenarij/screenplay Stevan Filipovi}, Minja Bogavac fotografija/cinematography Maja Rado{evi} monta`a/editing Stevan Filipovi} igrajo/cast Hristina Popovi} (Olja), Mirjana Karanovi} (ravnateljica/principal), Dragan Mi}anovi} (Uglje{a), Slaven Do{lo (Lazar), Nikola Gli{i} (Strahinja), Milica Majki} (Jelena), Gorica Regodi} (Isidora), Darko Ivi} (Tadija), Jelena Puzi} (Sofija), Andrej Pipovi} (Matija), Matea Milosavljevi} (Sandra) producent/producer Branislav Jevi} produkcija/production Hypnopolis Batutova 4 11000 Beograd, Serbia E hypnopolis�gmail.com format/format DCP, barvni/colour dol`ina/running time 95'
No~, ki jo so{olci brez mobitelov in odklopljeni z interneta prisilno pre`ivijo v {oli, pregnete njihove odnose in pod vpra{aj postavi na{ pogled na mlado "facebook" generacijo.
festivali, nagrade/ festivals, awards Pulj/Pula 2015 (zlata arena za najbolj{i celove~erec/Golden Arena for Best Feature Film)
Olja je srednje{olska u~iteljica zgodovine, poro~ena s slikarjem, ~igar zadnja razstava je spro`ila nasilen odziv srbskih nacionalistov. Neke no~i Oljo prav zaradi te razstave napade skupina zamaskiranih huliganov, ki dogodek posnamejo in ga objavijo na YouTubu. Naslednjega dne Olja odkrije, da krivec za napad sedi v njenem razredu. U~encem vzhi~ena zase`e mobilnike in jih zaklene v {olo, kjer nimajo dostopa ne do {olskih telefonov ne do interneta. V tisti no~i se generacija, ki je bila odpisana, {e preden je sploh dobila prilo`nost, o sebi in svojih so{olcih nau~i ve~, kot bi si lahko mislili. "Gledalci vstopimo globoko v Oljino intimo – spremljamo njen pogovor s prijateljicami, sledimo ji v klub, z njo pre`ivimo napad huliganov in vse, kar sledi, da bi v nekem trenutku (po zaklenitvi u~encev) ostali 'sami' s tistimi stra{ljivimi bitji. A iz brezobli~nega kupa mladostnikov za~nejo kaj kmalu izstopati posamezniki s svojimi edinstvenimi zgodbami, ljubeznimi in strahovi. /.../ V njihovi dru`bi posku{amo pazljivo zru{iti stereotipe, ki jih porajajo njihove pojave." (Stevan Filipovi})
In studying the effects of 'school confinement' on a group of high-school students disconnected from the Internet, the film challenges the notions about the present-day Facebook generation. Olja is a high school history teacher, married to a painter whose latest exhibition provoked violent reactions from Serbian nationalists. One night, a group of masked hooligans attacks her. They film the attack and upload the clip to YouTube. The next day Olja discovers that some of her students were responsible. She takes away their mobile phones, and in the heat of the moment decides to lock them in the school building, also disconnecting the school phones and the Internet. During that night, a generation that was written off before they were ever given a chance will learn more than they ever expected about themselves and their classmates. "The viewers are allowed penetrating insight into Olja's intimacy – listening to her talk to her friends, following her to a club, experiencing hooligans' attack and everything that follows so that they might eventually (after the students have been locked up) stay 'alone' with those horrible creatures. But soon individuals with their unique stories, romantic attachments and fears start to emerge from the shapeless mass of teenagers. /.../ In their company, we aim to dispel the stereotypes provoked by their appearance." (Stevan Filipovi})
prodaja/world sales Taramount film d.o.o. Emilijana Josimovi}a 4/6 11000 Beograd, Serbia E info�taramountfilm.com
Stevan Filipovi}
filmografija/filmography
Rojen leta 1981 v Beogradu, Srbija. Na beograjski Fakulteti dramskih umetnosti je diplomiral iz filmske in televizijske monta`e. S svojima filmoma je doma po`el velik uspeh tako pri kritikih kot pri gledalcih. Srednje{olci, zmagovalec leto{njega puljskega festivala, je njegov tretji celove~erec.
2006 Sejtanov ratnik (Sheitan Warrior/[ejtanov bojevnik) 2010 [i{anje (Skinning/Stri`enje) 2015 Pored mene (Next to Me/Srednje{olci)
distribucija/distribution Karantanija Cinemas Ro`na dolina, Cesta 3/18 1000 Ljubljana E info�kcs.si
Born in 1981 in Belgrade, Serbia, Filipovi} graduated in film- and TV-editing from the Belgrade Faculty of Dramatic Arts. His first two films enjoyed enthusiastic reception from critics and audiences alike. Next to Me, winner of the Best Feature Film Award at this year’s Pula Film Festival, is his third full-length film.
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Predpremiere Avantpremieres
Cialo Body Telo Poljska Poland 2015
Małgorzata Szumowska
Nenavadna poljska stvaritev, ki v so`itju ~rne komedije in psiholo{ke drame izvirno zdru`uje tri zelo razli~ne teme: `alovanje za umrlimi, anoreksijo in priznavanje obstoja duhov. Srebrni medved za najbolj{o re`ijo na leto{njem Berlinalu.
An extraordinary and innovative Polish creation exploring three highly dissimilar topics in a blend of dark comedy and psychological drama: mourning for the dead, anorexia and acknowledging the existence of ghosts. Silver Bear for Best Director at the 2015 Berlin Film Festival.
Janusz, ki na prizori{~ih umorov ali smrti kot mrli{ki oglednik najde odgovore na {tevilna zagonetna vpra{anja, je v skrbeh za odra{~ajo~o h~erko Olgo. Vse namre~ ka`e, da anoreksi~no dekle, ki je {e vedno pod vtisom materine smrti, prevevajo samomorilne misli. Za pomo~ se obrne na psihoterapevtko Anno, ki je pred leti izgubila otroka in zdaj prakticira posebne oblike zdravljenja. Osamljena `enska, ki si majhno stanovanje v stolpnici deli z velikim pasjim prijateljem, pa ima {e en dar: komunicira z osebami, ki so od{le v onstranstvo ...
As a coroner, Janusz undertakes precise research, analysing the crime scene in minute detail. Yet when faced with his anorexic daughter Olga, still grieving for her dead mother, he feels helpless. Fearing that she might kill herself, he commits her to a clinic where Anna, a psychologist, carries out her duties. Years before, Anna lost her baby to cot-death and now sequesters herself and her big dog in a heavily barricaded flat and conjures up spirits who communicate with the living from beyond the grave.
"Hotela sem posneti film o anoreksiji. Dolgo sem razmi{ljala o njem, potem pa zamisel opustila, saj se mi je zdela tema preve~ hermeti~na in zaprta, da bi dosegla ob~instvo. Vendar sta mi v mislih {e vedno ostali zgodba o zgodbi Olginega zna~aja in ideja, da ima telo {tevilne pomene. Telo – fizi~no, astralno, mrtvo – lahko {tejemo za objekt, lahko ga obo`ujemo ali sovra`imo. Tako je ta zgodba vzniknila iz gradiva o telesu." (Małgorzata Szumowska)
"I wanted to make a film about anorexics. I thought about it for a long time but then gave up this idea as I felt that this theme would be so hermetic and closed that it would not reach the audience. However, the plot about the plot about Olga's character and the idea that a body has a lot of different meanings were still present in my mind. A body – physical, astral, dead – might be treated as an object, might be adored and hated. So this story has emerged from the material that the body is." (Małgorzata Szumowska)
Małgorzata Szumowska
filmografija (izbor)/filmography (selection)
Rojena v Krakovu na Poljskem leta 1973. Po kon~anem {olanju na Nacionalni filmski {oli v Lod`u je re`irala {tevilne kratke, dokumentarne in igrane filme. Je ena najvidnej{ih in najbolj cenjenih poljskih re`iserk ter rada posega po dru`benokriti~nih temah. Za svoje filme je prejela {tevilne nagrade na poljskih in mednarodnih festivalih; za film Telo na leto{njem Berlinalu tudi srebrnega medveda za najbolj{o re`ijo.
1998 1999 2000 2001 2004 2005 2007 2008 2011 2012 2015
Born in Krakow in 1973, Szumowska graduated from the National Film School in Łódz and subsequently began directing short, feature and documentary films. One of the most prominent Polish directors today, Szumowska's films tend to present a critique of present-day society. Her movies have received many international festival awards. Her last feature, Body, received the Silver Bear for Best Director at the 2015 Berlin Film Festival.
re`ija/directed by Małgorzata Szumowska scenarij/screenplay Małgorzata Szumowska, Michał Englert fotografija/cinematography Michał Englert monta`a/editing Jacek Drosio igrajo/cast Janusz Gajos (mrli{ki oglednik/ coroner), Maja Ostaszewska (terapevtka Anna/therapist Anna), Justyna Suwała (Olga), Ewa Dałkowska (prijateljica mrli{kega oglednika/coroner’s friend), Adam Woronowicz (zdravnik/doctor), Małgorzata Hajewska-Krzysztofik (mati mrtvega de~ka/dead boy’s mother), Ewa Kolasinska (medicinska sestra/nurse), Roman Gancarczyk (grobar/gravedigger), Władysław Kowalski (sosed/ neighbour) producenti/producers Jacek Drosio, Małgorzata Szumowska, Michał Englert produkcija/production Nowhere Narbutta 27 lok. 4 02–536 Warszawa, Poland E nowhere�nowherefilm.pl format/format DCP, barvni/colour dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015 (najbolj{a re`ija/Best Director)
prodaja/world sales Memento Films International 9 cite Paradis 75010 Paris, France E sales�memento-films.com
Cisza (kratki/short) ª (Seven Lessons of Love) (kratki/short) Siedem lekcji miłosci ˛ª Szczesliwy człowiek (Happy Man) Dokument ... (Documentary ...) (kratki/short) Ono (Stranger) Mój tata Maciek (My Father, Maciek) (dok./doc.) A czego tu sie˛ ba}? (Nothing to Be Scared Of) . 33 sceny z zycia (33 Scenes from Life/33 prizorov iz `ivljenja) Elles W imie˛ ... (In the Name of .../V imenu ...) Cialo (Body/Telo)
distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
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Predpremiere Avantpremieres
Victoria Victoria Victoria Nem~ija Germany 2015
Sebastian Schipper re`ija/directed by Sebastian Schipper scenarij/screenplay Olivia Neergaard-Holm, Sebastian Schipper, Eike Frederik Schulz fotografija/cinematography Sturla Brandth Grøvlen glasba/music Nils Frahm monta`a/editing Olivia Neergaard-Holm igrajo/cast Laia Costa (Victoria), Frederick Lau (Sonne), Franz Rogowski (Boxer), Burak Yigit (Blinker), Max Mauff (Fuß), André Hennicke (Andi), Anna Lena Klenke (mlada mati/young mother), Hans-Ulrich Laux (taksist/ taxi driver), Eike Frederik Schulz (gostilni~ar/barkeeper), Adolfo Assor (prodajalec v kiosku/seller at kiosk), Jan Breustedt (Rowdy), Ambar de la Horra (Viktorijina prijateljica/Victoria’s friend) producenti/producers Jan Dressler, Sebastian Schipper, David Keitsch, Anatol Nitschke, Catherine Baikousis, Christiane Dressler produkcija/production MonkeyBoy Berlin, Germany E jan.dressler�themonkeyboy.de & Deutschfilm (Germany) & Radical Media (Germany) format/format DCP, barvni/colour dol`ina/running time 140' festivali, nagrade (izbor)/ festivals, awards (selection) 6 nem{kih filmskih nagrad/6 German Film Awards, Berlin 2015, Hongkong/Hong Kong 2015, Sydney 2015, Los Angeles 2015, Jeruzalem/ Jerusalem 2015, Odessa 2015, Melbourne 2015, Toronto 2015
Spro{~en rejverski ve~er v Berlinu se prelije v kriminalno dejanje, re`iser Sebastian Schipper pa nas na to burno avanturo popelje v enem samem neprekinjenem posnetku.
Spotlighting an unrestrained rave night in Berlin that turns into a criminal act, director Sebastian Schipper takes us on this wild adventure in a single uninterrupted take.
Victoria je mlado {pansko dekle, ki ve~er pre`ivlja v berlinskih plesnih klubih. V enem izmed njih se zaklepeta s {tirimi mlaj{imi mo{kimi, ki se predstavijo z vzdevki Sonne, Boxer, Blinker in Fuß. Med Sonnejem in Victorio presko~i iskrica, zato izkoristita prilo`nost in se izmakneta drugim. Preostala trojica prekine njuno spogledovanje, saj ima druga~ne na~rte. Da bi poravnali stare dolgove, morajo izpeljati pretkan posel …
Victoria, a young Spanish woman, dances through the Berlin scene with abandon. She meets four mates outside a club who introduce themselves as Sonne, Boxer, Blinker and Fuß. They quickly get chatting. Sonne and Victoria take a fancy to each other and slip away from the group at the first opportunity. But their tender flirting is rudely interrupted by the others because, for these pals, the night is far from over. To settle an old debt they have to pull off a dodgy deal.
"Victoria je idealistka – ko se ne~esa loti, to stori z vsem srcem: ko igra klavir, to po~ne z vsem srcem; ko sre~a nekoga, ki ji je v{e~, se mu popolnoma preda. Tak{na oseba je. To se mi je zdel najbolj zanimiv vidik neprekinjenega posnetka, saj smo lahko vrline lika odkrivali skozi improvizacijo v enem posnetku, s pomo~jo interakcij med liki. Dialogov nismo mogli vnaprej zapisati, razvili so se z improvizacijo." (Sebastian Schipper)
prodaja/world sales The Match Factory GmbH Balthasarstraße 79–81 50670 Cologne, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
Sebastian Schipper
filmografija/filmography
Rojen leta 1968 v Hannovru, Nem~ija. Na {oli Otto Falckenberg v Münchnu je {tudiral igralstvo, nato pa je bil dve leti ~lan zasedbe teatra Münchner Kammerspiele. Kot igralec je nastopil v {tevilnih filmih, med njimi tudi v Angle{kem pacientu (1996) in Teci Lola, teci (1999). @e njegov celove~erni prvenec Absolute Giganten mu je prinesel prvo nem{ko filmsko nagrado. Vsi njegovi filmi od tedaj so bili svetovno premierno uprizorjeni na Berlinalu.
1999 2004 2008 2015
Born in Hanover, Germany in 1968, Schipper studied acting at the Otto Falckenberg School of the Performing Arts in Munich and subsequently spent two years in the Munich Kammerspiele ensemble. He has appeared as an actor in several films, including The English Patient (1996) and Run Lola Run (1999). His directing debut, Gigantic, won the German Film Prize. All of his subsequent films have been premiered at the Berlin Film Festival.
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"Victoria is an idealist – when she does something, she's all in: she plays the piano she's all in; she meets someone she likes, she's all in. This is the kind of person she is. For me, this was the most interesting aspect of the one take, as we could find these virtues of the character through the improvisation of the one take, through their interactions. Their dialogues, you couldn't write, this developed through the improvisation." (Sebastian Schipper)
Absolute Giganten (Gigantic) Ein Freund von mir (A Friend of Mine) Mitte Ende August (Sometime in August) Victoria
Predpremiere Avantpremieres
Gui Lai Coming Home Vrnitev domov Kitajska China 2014
Zhang Yimou
Veli~astna ljubezenska zgodba iz ~asa prelomnih politi~nih dogodkov, kakor jo vidi velikan kitajskega filma Zhang Yimou.
A glorious story of love unfolding during political upheavals as seen by the Chinese cinematic luminary, Zhang Yimou.
Lu Yanshi in Feng Wanyu sta predan zakonski par, ki se mora lo~iti, ko Luja zaprejo kot politi~nega zapornika in ga po{ljejo v delavsko tabori{~e. Feng v istem ~asu do`ivi nesre~o, v kateri utrpi hude po{kodbe in izgubi spomin. Ko Luja v zadnjih dneh kulturne revolucije vendarle izpustijo domov, ga `ena ne prepozna in {e vedno ~aka njegovo vrnitev. Lu tako postane tujec v lastnem domu, a je odlo~en, da bo obudil njuno skupno preteklost in `eni pomagal vrniti izgubljene spomine.
A devoted couple, Lu Yanshi and Feng Wanyu are forced to separate when Lu is arrested and sent to a labour camp as a political prisoner, just as his wife is injured in an accident. Released during the last days of the Cultural Revolution, he finally returns home only to find that his beloved wife has amnesia and remembers little of her past. Unable to recognize Lu, she patiently waits for her husband's return. A stranger alone in the heart of his broken family, Lu Yanshi determines to resurrect their past together and reawaken his wife’s memory.
"Take vrste film je zelo te`ko ustvariti. Posneti ga je treba v stanju spokojnosti. ^e bi samo za trenutek pomislil na prednosti in koristi, bi za{el z za~rtane poti. Zato mi film pomeni vrnitev v prej{nje ~ustveno stanje in zrelej{i pristop k ustvarjalnosti." (Zhang Yimou)
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2014 (izven tekmovalnega programa/Out of Competition)
"This type of film is very difficult to make. It needs to be made in a state of serenity. If I thought about benefits and profits even a little, then I would lose my way. That's why, for me, this film represents a return to an earlier state of mind and an older approach to creativity." (Zhang Yimou)
Zhang Yimou
filmografija/filmography
Rojen leta 1951 v Xianu, Kitajska. Med kulturno revolucijo je bil prisiljen prekiniti {tudij, pozneje pa je bil za vpis na Akademijo za film v Pekingu prestar, zato je diplomiral na oddelku za fotografijo. Leta 1988 je z Rde~im klasjem zmagal na festivalu v Berlinu in kitajskemu filmu odprl vrata na Zahod. Od tedaj je vodilno ime novega kitajskega vala, saj z vsakim filmom osvaja najvi{je festivalske nagrade.
1987 Hong gao liang (Red Sorghum/Rde~e klasje) 1991 Da hong deng long gao gao gua (Raise the Red Lantern/ Dvigni rde~o svetilko) 1999 Yi ge dou bu neng shao (Not One Less/Niti eden manj) 1999 Wo de fu qin mu qin (The Road Home/Pot domov) 2003 Ying xiong (Hero/Heroj) 2004 Shi mian mai fu (House of Flying Daggers/Hi{a lete~ih bodal) 2006 Man cheng jin dai huang jin jia (Curse of the Golden Flower/ Prekletstvo zlate ro`e) 2009 San qiang pai an jing qi (A Woman, a Gun and a Noodle Shop/ @enska, pi{tola in {pageterija) 2011 Jin líng shí san chai (The Flowers of War) 2014 Gui Lai (Coming Home/Vrnitev domov)
Born in 1951 in Xian, China, Zhang was forced to discontinue his studies owing to the Cultural Revolution. As he was subsequently considered too old to enrol at the Beijing Film Academy, he graduated from the Photography Department. In 1988 Red Sorghum received Best Motion Picture Award at the Berlin FF, thus paving the way to Chinese cinema into the West. Each of his films winning top festival awards, he is considered one of the most prominent names of the new Chinese cinema.
re`ija/directed by Zhang Yimou scenarij/screenplay Geling Yan (roman/novel), Jingzhi Zou (priredba/adaptation) fotografija/cinematography Xiaoding Zhao glasba/music Qigang Chen monta`a/editing Peicong Meng, Mo Zhang igrajo/cast Li Gong (Wanyu Feng), Daoming Chen (Yanshi Lu), Huiwen Zhang (Dan Dan), Tao Guo (Liu), Chun Li (Cui Meifang), Ni Yan (Li), Jia-yi Zhang (Dai), Peiqi Liu (Liu), Bai Qing Xin, Feng Zu (Deng), Xiaoyi Chen (Gong Suzhen), Jiali Ding (`ena g. Fanga/Mr. Fang's wife) producenti/producers Yueting Jia, Jerry Ye, Bill Kong, Li Li, Yifang Zhao produkcija/production Le Vision Pictures 11/F, Hongcheng Xintai Mansion 105 Yaojiayuan Road Chaoyang District 100025 Beijing, China format/format DCP, barvni/colour dol`ina/running time 111'
prodaja/world sales Wild Bunch 99 rue de la Verrerie 75004 Paris, France E cbaraton�wildbunch.eu distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si
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La Loi du marché The Measure of a Man Zakon trga Francija France 2015
Stéphane Brizé re`ija/directed by Stéphane Brizé scenarij/screenplay Stéphane Brizé, Olivier Gorce fotografija/cinematography Eric Dumont zvok/sound Emmanuelle Villard, Hervé Guyader monta`a/editing Anne Klotz igrajo/cast Vincent Lindon (Thierry Taugourdeau), Karine de Mirbeck (Thierryjeva `ena/Thierry's wife), Matthieu Schaller (Thierryjev sin/ Thierry's son), Yves Ory (referent na zavodu za zaposlovanje/employment agency counsellor) producenta/producers Christophe Rossignon, Philip Boëffard produkcija/production Nord-ouest films 41 rue de la Tour d'Auvergne 75009 Paris, France E jazoulay�nord-ouest.fr format/format DCP, barvni/colour dol`ina/running time 93' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 (najbolj{a mo{ka vloga/ Best Actor), Festival evropskega filma v Bruslju/Brussels European Film Festival 2015 (nagrada ob~instva/Audience Award)
prodaja/world sales MK2 55 rue Traversière 75012 Paris, France E juliette.schrameck�mk2.com distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si
Pikra socialna drama z izvrstnim Vincentom Lindonom v glavni vlogi osvetljuje `ivljenje v ~asu, ko so ljudje na trgu dela izena~eni s potro{nimi dobrinami.
Starring brilliant Vincent Lindon in the lead role, the bitter social drama focuses on the people treated as merchandise by the labour market law.
Enainpetdesetletni Thierry po dvajsetih mesecih neuspe{nega iskanja zaposlitve in {tevilnih absurdnih posvetih s svojim referentom na zavodu za zaposlovanje kon~no najde slu`bo varnostnika v supermarketu. A kmalu se znajde pred hudo moralno dilemo: je res pripravljen spregledati vsa poni`anja in se ukloniti izsiljevanju nadrejenih, da bi obdr`al to delovno mesto?
Fifty-one-year-old Thierry is an unemployed factory worker who finally lands the job of a store detective after twenty months of job hunting and numerous absurd discussions with his employment agency counsellor. Thierry soon confronts a serious moral dilemma: just how much an ordinary working man will compromise his integrity in the name of making ends meet?
"Moji filmi vedno obravnavajo intimnost, ne da bi osvetljevali ljudi v njihovem dru`benem okolju. Naslednji korak je bil opazovanje brutalnosti mehanizmov in menjav, ki obvladujejo na{ svet, ob zoperstavljanju ~love~nosti posameznika – ranljivega mo`a brez slu`be – in nasilja na{e dru`be." (Stéphane Brizé)
"My films have always dealt with the intimate, without highlighting human beings in their social environment. The next step was to observe the brutality of the mechanisms and exchanges ruling our world by juxtaposing one man's humanity – a vulnerable man with no job security – with the violence of our society." (Stéphane Brizé)
Stéphane Brizé
filmografija/filmography
Rojen leta 1966 v mestu Rennes, Francija. Po {tudiju se je preselil v Pariz, kjer se je sprva ukvarjal z gledali{ko re`ijo, kmalu pa se je v celoti posvetil snemanju kratkih, nato pa {e celove~ernih filmov. Zakon trga je bil na leto{njem canskem festivalu nominiran za zlato palmo.
1993 1996 1999 2005 2006 2009 2012 2015
Born in 1966 in Rennes, France, Brizé moved to Paris after graduation, and embarked on his career in theatre direction, before moving on to short and feature films. His 2015 film, The Measure of a Man, was selected to compete for the Palme d'Or at the 2015 Cannes Film Festival.
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Bleu dommage (kratki/short) L'oeil qui traîne (kratki/short) Le bleu des villes (Hometown Blue) Je ne suis pas là pour être aimé (Not Here to be Loved) Entre adultes (Among Adults) Mademoiselle Chambon Quelques heures de printemps (A Few Hours of Spring) La loi du marché (The Measure of a Man/Zakon trga)
Predpremiere Avantpremieres
Zvizdan The High Sun Zenit Dalibor Matani}
Hrva{ka, Slovenija, Srbija Croatia, Slovenia, Serbia 2015
Film o nevarnostih, {e bolj pa o nepremagljivi mo~i prepovedane ljubezni. Tri ljubezenske zgodbe se v treh razli~nih desetletjih zgodijo v sosednjih hrva{kih vaseh, obremenjenih z dolgo zgodovino medetni~nega sovra{tva.
A film about the dangers as well as the undeniable power of forbidden love. Three romantic attachments over three different periods in neighbouring Croatian villages burdened by the long history of interethnic violence.
V prvi zgodbi Srbkinja Jelena in njen hrva{ki fant Ivan na~rtujeta skupni pobeg v Zagreb, saj so leta 1991 trenja med prebivalci njunih vasi vsak dan huj{a. V drugi zgodbi se leta 2001 Nata{a iz Srbije vrne v doma~o vas, kjer se zaljubi v doma~ina Anteja, a grenak spomin na nedavno vojno obema prepre~uje, da bi se resni~no zbli`ala. V tretji zgodbi spoznamo Luko, ki ve~ kot desetletje po vojni {e vedno ne najde poguma za obisk svojega nekdanjega srbskega dekleta.
In the first story, set in 1991, a romantic attraction between Serbian Jelena and her Croatian boyfriend Ivan is shattered when love becomes a forbidden luxury in the pre-war atmosphere of madness, confusion and fear. In the second story, set in 2001, the war is over but the lovers Natasha and Ante find it impossible to turn their infatuation into an ongoing relationship: the scars of the war are still too fresh and cannot heal that easily. The third story takes place in 2011, when love can finally take root between Luka and his Serbian girlfriend, if the lovers can break free of the past.
"Vse se je za~elo z ne~im, kar je ponavljala moja pokojna babica. Ko smo omenjali dekleta, je dejala: 'Samo, da ni ena tistih ...', kar je pomenilo, da je za`eleno izogibati se srbskim dekletom. Ta 'za`elenost' se mi je zdela stra{no begajo~a. Ob globljem premisleku sem ugotovil, da zgodovina v ljudeh lahko povzro~i zmedo, jih navda s strahom in z ob~utkom la`ne varnosti, ko 'drugi' ni zraven." (Dalibor Matani})
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 (glavna nagrada `irije v sklopu Posebni pogled/Un Certain Regard Jury Prize), Sarajevo 2015 (nagrada C.I.C.A.E./C.I.C.A.E. Award), Pulj/Pula 2015 (velika zlata arena, najbolj{a re`ija, najbolj{a glavna mo{ka vloga, najbolj{a mo{ka stranska vloga, najbolj{a `enska stranska vloga/Big Golden Arena, Best Director, Best Male Leading Role, Best Male Supporting Role, Best Female Supporting Role)
"It all began with something my late grandmother used to say. When we talked about girlfriends, she would say 'As long as she isn't one of them...', which meant it would be desirable to avoid a girl of Serbian nationality. I found that 'desirability' terribly confusing. Digging deeper, I realised how history can throw people into confusion, make them scared and give them a sense of false security when 'the Other' is not present." (Dalibor Matani})
Dalibor Matani}
filmografija (izbor)/filmography (selection)
Rojen leta 1975 v Zagrebu. Leta 1993 se je vpisal na zagreb{ko Akademijo za dramske umetnosti. Njegov celove~erni prvenec Blagajni~arka bi rada na morje je bil nagrajen kot najbolj{i prvenec na festivalu v Cottbusu. Poleg te je za svoje delo prejel {e {tevilne druge doma~e in mednarodne nagrade, Zenit pa je bil letos nagrajen v Cannesu, Sarajevu in Pulju.
2000 Blagajnica ho}e i}i na more (The Cashier Wants to Go to the Seaside/ Blagajni~arka bi rada na morje) 2002 Fine mrtve djevojke (Fine Dead Girls/Prijetna mrtva dekleta) 2002 Su{a (Drought) (kratki/short) 2005 Sto minuta slave (100 Minutes of Glory) 2006 Volim te (I Love You) 2008 Kino Lika (Cinema Lika) 2009 Tulum (Party/@ur) (kratki/short) 2010 Majka asfalta (Mother of Asphalt) 2011 ]a}a (Father) 2011 Mezanin (kratki/short) 2013 Majstori 2015 Zvizdan (The High Sun/Zenit)
Born in Zagreb in 1975. He holds a degree in Film and Television Directing from the Academy of Dramatic Art in Zagreb. His feature debut, The Cashier Wants to Go to the Seaside, received the Best First Feature Film Award at the Cottbus Film Festival. Since then, the filmmaker has received various national and international prizes, most recently at the Cannes, Sarajevo and Pula film festivals for The High Sun.
re`ija/directed by Dalibor Matani} scenarij/screenplay Dalibor Matani} fotografija/cinematography Marko Brdar glasba/music Alen Sinkauz, Nenad Sinkauz monta`a/editing Tomislav Pavlic igrajo/cast Tihana Lazovi} (Jelena, Nata{a, Marija), Goran Markovi} (Ivan, Ante, Luka), Nives Ivankovi} (Jelenina, Nata{ina mama/Jelena and Natasha's mother), Dado ]osi} (Sa{a), Stipe Radoja (Bo`o, Ivo), Trpimir Jurki} (Ivanov, Lukin o~e/ Ivan and Luka's father), Mira Banjac (Ivanova babica/Ivan's grandmother), Slavko Sobin (Mane, Dino), Lukrecija Tudor (Dinka), Tara Rosandi} (Petra), Ksenija Marinkovi} (Lukina mama/ Luka's mother) producentka/producer Ankica Juri} Tili} produkcija/production Kinorama [ulekova 29, 10000 Zagreb, Croatia E ankica�kinorama.hr & Gustav film Stegne 7 1000 Ljubljana T 05-903.19.95 E petra�gustavfilm.si format/format DCP, barvni/colour dol`ina/running time 123'
prodaja/world sales Cercamon Majara 1, # 903 Dubai Marina PO Box 113, United Arab Emirates E sebastien�cercamon.biz
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Kralji in kraljice Kings and Queens
As Mil e Uma Noites: Volume 1, O Inquieto Arabian Nights: Volume 1, The Restless One 1001 no~: Nemiren Portugalska, Francija, Nem~ija, [vica Portugal, France, Germany, Switzerland 2015
Miguel Gomes re`ija/directed by Miguel Gomes scenarij/screenplay Miguel Gomes, Mariana Ricardo, Telmo Churro fotografija/cinematography Sayombhu Mukdeeprom, Mário Castanheira monta`a/editing Telmo Churro, Pedro Filipe Marques, Miguel Gomes igrajo/cast Miguel Gomes (on sam/himself), Adriano Luz (Luís), Carloto Cotta (prevajalec/translator), Diogo Dória, Rogério Samora (predsednik vlade/ Prime Minister), Crista Alfaiate ([eherezada/Scheherazade), Luísa Cruz (lastnica bordela/brothel owner), Maria Rueff (ministrica za finance/Minister of Finance), Chico Chapas (Xico Xapas), Dinarte Branco (Lopes) producenti/producers Sandro Aguilar, Thomas Ordonneau, Luís Urbano produkcija/production O Som e a Fúria Av. Almirante Reis, 113 – 5', Esc. 505 1150 014 Lisbone, Portugal E geral�osomeafuria.com & Shellac Sud (France) & Komplizen Film (Germany) & Box Productions (Switzerland) & Agat Films (France) format/format 35 mm, barvni/colour dol`ina/running time 125'
[eherezadine zgodbe so navdihnile ekscentri~no alegori~no satiro na temo zlomljene Portugalske v krempljih evropske var~evalne politike, znotraj katere re`iser stke tridelno tapiserijo frustracij, melanholije in burleske. Resni~no se prepleta z domi{ljenim, tragi~no s komi~nim in resno z absurdnim. V prvem delu se najprej sre~amo s portugalskimi delavci v krizi: na eni strani so odpu{~eni ladjedelni~arji, na drugi ~ebelar v boju z invazivnimi azijskimi ~ebelami, vmes pa re`iser osebno, ki pred na{imi o~mi zbe`i pred velikopoteznostjo zastavljenega projekta. Pripovedovanje nato prevzame [eherezada, ki pove tri zgodbe. V prvi afri{ki ~arovnik s svojim magi~nim sprejem za mo~no in dolgotrajno erekcijo vpliva na polo`aj Portugalske v pogajanjih z evropsko trojko. V drugi zgodbi spremljamo proces proti petelinu, ki je obto`en prezgodnjega kikirikanja, a pozneje vendarle dobi kar nekaj glasov na lokalnih volitvah. V tretji zgodbi sindikalist pred tradicionalnim novoletnim skokom v Atlantik intervjuva brezposelne delavce, na obali pa eksplodira nasedli kit.
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 – [tirinajst dni re`iserjev/Directors' Fortnight, München/Munich 2015, Sydney 2015 (najbolj{i film/Best Film)
"Tiso~ in ena no~ temelji na popularni kulturi, zato so zgodbe grajene zelo burno. Knjiga – veliko bolj kot film – je zelo skatolo{ka, v~asih nadvse nasilna. Je popolnoma pankovska. In ker izhaja iz popularne kulture, vsebuje ekstremne stvari, zelo neposredna ob~utja, in tudi primarne stvari. @elel sem, da film odzvanja to vrsto ~ustvovanja." (Miguel Gomes) prodaja/world sales The Match Factory GmbH Balthasarstr. 79–81, 50670 Cologne, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
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Inspired by Scheherazade's stories, the first instalment of Miguel Gomes' trio of pics acts as a melancholy paean to a broken Portugal and a denunciation of European financial control. All sorts of nonfiction and fiction stories are woven together in a tapestry of frustration, melancholy and burlesque. The first part combines the stories of three workers: The redundant shipyard worker's story is intercut with an account of a local apiarist who's fighting an invasive Asian wasp species. The third worker is Gomes himself who escapes his responsibilities when he realises the impossibility of the task before him. The storytelling job thus falls to his fictional protagonist, Scheherazade. First tale: What initially seems like a re-creation of a troika meeting slowly devolves into an absurd tale of an African wizard showing up with a spray that magically cures impotence. In the second tale a judge puts a cockerel on trial for crowing too early; the animal ends up getting a fair share of votes in a municipal election. The last section features a trade unionist interviewing unemployed citizens before a traditional dip in the Atlantic on New Year's Day and a beached whale that explodes. "Arabian Nights is based on popular culture, so the stories are structured in a very wild way. The book – much more than the film – is very scatological, sometimes very violent. It's completely punk, this book. And because it comes from popular culture, it has very extreme things, very direct feelings, and primal things too. I wanted this film to echo this kind of feeling." (Miguel Gomes)
Miguel Gomes
filmografija (izbor)/filmography (selection)
Rojen leta 1972 v Lizboni. Dokon~al je {tudij na tamkaj{nji Akademiji za film in gledali{~e, po {tudiju pa je v letih od 1996 do 2001 deloval tudi kot filmski kritik za razli~ne portugalske medije. V mednarodnem prostoru je nase opozoril `e s svojimi kratkimi filmi, sloves pa je utrdil s celove~ercema Na{ ljubi mesec avgust in Tabu – zadnji je prejel dve nagradi na festivalu v Berlinu in bil prodan v ve~ kot petdeset dr`av po svetu.
1999 2000 2004 2006 2008 2008
Born in 1972 in Lisbon, Gomes graduated from the Lisbon Film and Theatre School and worked as a film critic for the Portuguese press between 1996 and 2001. He rose to international attention already with his shorts. His feature films, Our Beloved Month of August and Tabu, solidified his international recognition. Tabu won two awards at the Berlin Film Festival and was sold to over 50 countries.
2012 2015 2015 2015
Entretanto (kratki/short) Inventário de Natal (kratki/short) A Cara que Mereces Cántico das criaturas (kratki/short) Carnaval: à procura de Paulo Moleiro (kratki/short) Aquele Querido Mês de Agosto (Our Beloved Month of August/ Na{ ljubi mesec avgust) Tabu As Mil e Uma Noites: Volume 1, O Inquieto (Arabian Nights: Volume 1, The Restless One/1001 no~: Nemiren) As Mil e Uma Noites: Volume 2, O Desolado (Arabian Nights: Volume 2, The Desolate One/1001 no~: Obupan) As Mil e Uma Noites: Volume 3, O Encantado (Arabian Nights: Volume 3, The Enchanted One/1001 no~: Za~aran)
Kralji in kraljice Kings and Queens
As Mil e Uma Noites: Volume 2, O Desolado Arabian Nights: Volume 2, The Desolate One 1001 no~: Obupan Miguel Gomes
[eherezadine zgodbe so navdihnile ekscentri~no alegori~no satiro na temo zlomljene Portugalske v krempljih evropske var~evalne politike, znotraj katere re`iser stke tridelno tapiserijo frustracij, melanholije in burleske. Resni~no se prepleta z domi{ljenim, tragi~no s komi~nim in resno z absurdnim. V drugi trojici zgodb [eherezada pripoveduje o pogubnih dru`benih posledicah portugalske "politike zategovanja pasu". V prvi zgodbi spoznamo ostarelega kriminalca, morilca Simaa, z boleznijo, zaradi katere se tudi ob prenajedanju ne zredi. Simao je zlo~inec na begu, a ker se tako dolgo uspe{no izmika osovra`enim oblastem, na koncu postane lokalni heroj. V drugi zgodbi spremljamo sodni proces, ki poteka pod milim nebom. Zasli{anje pod vodstvom stroge sodnice se sprva zdi sila preprosto, a se kmalu za~ne tako absurdno zapletati, da je po kaskadi prelaganja odgovornosti na koncu videti, kot da imajo prav vse pri~e v obravnavi umazane roke. Glavna junakinja tretje zgodbe je ljubka psi~ka Dixie, ki si jo med sabo podajajo prebivalci istega delavskega bloka – `ivahne predmestne zgradbe, za katero se zdi, da se v njej zgo{~ajo radosti in bole~ine celotnega naroda.
Portugalska, Francija, Nem~ija, [vica Portugal, France, Germany, Switzerland 2015 re`ija/directed by Miguel Gomes scenarij/screenplay Miguel Gomes, Mariana Ricardo, Telmo Churro fotografija/cinematography Sayombhu Mukdeeprom monta`a/editing Telmo Churro, Pedro Filipe Marques, Miguel Gomes igrajo/cast Crista Alfaiate ([eherezada/ Scheherazade), João Pedro Bénard (Humberto), Isabel Muñoz Cardoso (Ana), Margarida Carpinteiro (Mãe/ Glória), Chico Chapas (Simão), Carloto Cotta, Luísa Cruz (Juíza), Joana de Verona (Vânia), Eduardo Frazão, Pedro Inês (odvetnik/lawyer) producenti/producers Sandro Aguilar, Thomas Ordonneau, Luís Urbano produkcija/production O Som e a Fúria Av. Almirante Reis, 113 – 5', Esc. 505 1150 014 Lisbone, Portugal E geral�osomeafuria.com & Shellac Sud (France) & Komplizen Film (Germany) & Box Productions (Switzerland) & Agat Films (France) format/format 35 mm, barvni/colour dol`ina/running time 131'
Inspired by Scheherazade's stories, Miguel Gomes' trio of pics acts as a melancholy paean to a broken Portugal and a denunciation of European financial control. All sorts of nonfiction and fiction stories are woven together in a tapestry of frustration, melancholy and burlesque. Scheherazade tells three more tales. The crushing social impact of Portugal's recent austerity policies remains the running theme. Her first tale centres on an elderly fugitive Simao, suffering from a disease that prevents him from getting fat even though he eats heartily. He roams the countryside trying to elude the police, who are looking for him for several murders. In an ironic turn of events, he becomes a local hero simply because he manages to defy the much-hated authorities. The second tale shows a stern judge hearing a case that starts out quite simply but quickly grows so convoluted that everyone in the audience turns out to be implicated. The third tale follows the perspective of a poodle, Dixie, as she is shuttled between multiple owners in the same working-class suburban housing estate – a tower block that compresses the joys and sorrows of an entire nation.
Miguel Gomes
filmografija/filmography
Glej stran 48/see page 48.
Glej stran 48/see page 48.
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 – [tirinajst dni re`iserjev/Directors' Fortnight, München/Munich 2015, Sydney 2015 (najbolj{i film/Best Film)
prodaja/world sales The Match Factory GmbH Balthasarstr. 79–81, 50670 Cologne, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
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Kralji in kraljice Kings and Queens
As Mil e Uma Noites: Volume 3, O Encantado Arabian Nights: Volume 3, The Enchanted One 1001 no~: Za~aran Miguel Gomes
re`ija/directed by Miguel Gomes scenarij/screenplay Miguel Gomes, Mariana Ricardo, Telmo Churro fotografija/cinematography Sayombhu Mukdeeprom monta`a/editing Telmo Churro, Pedro Filipe Marques, Miguel Gomes igrajo/cast Crista Alfaiate ([eherezada/ Scheherazade), Bernardo Alves, Chico Chapas (Xico Xapas), Carloto Cotta (Paddleman), Jing Jing Guo (Ling), Quitério, Américo Silva (veliki vezir/Grand Vizier), Louison Tresallet (otrok/child), Gonçalo Waddington (Gonçalo) producenti/producers Sandro Aguilar, Thomas Ordonneau, Luís Urbano produkcija/production O Som e a Fúria Av. Almirante Reis, 113 – 5', Esc. 505 1150 014 Lisbone, Portugal E geral�osomeafuria.com & Shellac Sud (France) & Komplizen Film (Germany) & Box Productions (Switzerland) & Agat Films (France) format/format 35 mm, barvni/colour dol`ina/running time 125' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 – [tirinajst dni re`iserjev/Directors' Fortnight, München/Munich 2015, Sydney 2015 (najbolj{i film/Best Film)
[eherezadine zgodbe so navdihnile ekscentri~no alegori~no satiro na temo zlomljene Portugalske v krempljih evropske var~evalne politike, znotraj katere re`iser stke tridelno tapiserijo frustracij, melanholije in burleske. Resni~no se prepleta z domi{ljenim, tragi~no s komi~nim in resno z absurdnim. Protagonistka tretjega dela Gomesove sage je [eherezada sama. Ob slikoviti kulisi trdnjave Chateau d'If se sre~a z o~etom, velikim vezirjem, ki je v skrbeh, da bo njegovi h~eri kmalu zmanjkalo pripovedne niti. [eherezada nas nato popelje med svoje ljudi, na potovanje po "bagdadskem arhipelagu", kjer sre~a celo vrsto nenavadnih likov, med drugimi tudi brezbri`nega kazanovo Paddlemana, o~eta dvestotih otrok. V drugem delu filma se vrnemo na Portugalsko, med majhno skupino zanesenjakov iz lizbonskega barakarskega naselja, ki posku{ajo {~inkavce nau~iti ~ivkati razli~ne pesmi za tekmovanja v pti~jem petju.
prodaja/world sales The Match Factory GmbH Balthasarstr. 79–81, 50670 Cologne, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
50
Portugalska, Francija, Nem~ija, [vica Portugal, France, Germany, Switzerland 2015
Inspired by Scheherazade's stories, Miguel Gomes' trio of pics acts as a melancholy paean to a broken Portugal and a denunciation of European financial control. All sorts of nonfiction and fiction stories are woven together in a tapestry of frustration, melancholy and burlesque. Of all the stories that Scheherazade recounts in the three films, the one in which she herself is the star is the most lushly imagined. Shot at the evocative Chateau d'If, the film introduces both herself and her father, the Grand Vizier. As Scheherazade continues to tell her stories she meanders from the castle to the "Baghdad Archipelago", where she meets a variety of characters including the well-endowed Paddle Man, who has 200 children. The majority of the third film's two-hour running time chronicles the world of some Lisbon-area bird trappers who try to teach their chaffinches different songs for birdsong competitions.
Miguel Gomes
filmografija/filmography
Glej stran 48/see page 48.
Glej stran 48/see page 48.
Kralji in kraljice Kings and Queens
Mr. Holmes Mr. Holmes Gospod Holmes Velika Britanija, ZDA Great Britain, USA 2015
Bill Condon
Portret slavnega detektiva kot ostarelega in v spominih izgubljajo~ega se gospoda, ki bi se rad pomiril s preteklostjo. Mojstrski preplet intimne drame in dobrih starih tv-kriminalk. Sherlock Holmes je star 93 let. Je upokojen, prosti ~as posve~a gojenju ~ebel, ne nosi legendarnega klobuka niti ne kadi pipe. Je le senca slavnega detektiva, ki daje vtis, da so vse njegove juna{ke zgodbice in re{eni primeri plod domi{ljije njegovega zvestega pomo~nika Watsona. Njegova edina dru`ba v hi{i na pode`elju sta gospodinja, gospa Munro, in njen sin Roger, ki z zvedavo radovednostjo enajstletnika ob~uduje samotarskega gospoda, ~igar kabinet je poln skrivnosti. Sherlocka {e vedno preganjata spomin na njegov zadnji primer, zaradi katerega je kon~al detektivsko pot, in skrivnostno povabilo dru`ine Umezaki, da naj zaradi redke rastline obi{~e daljno Japonsko ... "^e `ivi{ predolgo, izgubi{ celoten krog svojih prijateljev in dru`ine. To se zgodi Holmesu v tej zgodbi. Starost bolj kot vse drugo prinese poni`nost, omajano prepri~anost o stvareh, v katere si v~asih verjel. Bolj gre za ob~utek, da ve{, kdo si in kaj po~ne{, vendar se bolj zaveda{ vseh mo`nosti." (Bill Condon)
A portrayal of the famous detective as an aged gentleman flooded by old memories and trying to make peace with himself. A masterful blend of intimate drama and good old TV whodunits.
festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015, Seattle 2015, Sydney 2015
Sherlock Holmes is now 93 years old. He has never worn the legendary hat and, rather than the pipe, has always preferred a cigarette. Long since retired, he steers clear of people and dedicates himself to bee-keeping. Much of what he is purported to have done in the heroic stories has simply been made up by his faithful associate, Watson. The only people he suffers to be around him are housekeeper Mrs. Munro and her small son Roger, whom Holmes is initiating into the secrets of his study. But sometimes Holmes' thoughts are beset by his last case that cost him his career and the Umezaki family’s mysterious invitation to visit Japan to see a rare plant. "If you live long enough, you lose your entire circle of friends and family, and that's what happens to Holmes in this story. Age brings humility more than anything, a sense of being less sure about the things that you were sure about before. It's more a bedrock of feeling you know who you are and what you do, but also more aware of all the possibilities." (Bill Condon)
Bill Condon
filmografija (izbor)/filmography (selection)
Rojen leta 1955 v New Yorku. Po {tudiju filozofije na univerzi Columbia se je posvetil filmu. Njegov prvi uspeh je bila drama Bogovi in po{asti, za katero si je leta 1998 prislu`il oskarja za najbolj{o priredbo scenarija. Za film Sanjske punce je leta 2006 prejel zlati globus, kot re`iser pa je podpisan tudi pod sklepna dela uspe{nice Somrak.
1998 2004 2006 2011
Born in 1955 in New York, Condon studied philosophy at Columbia University. He is best known for directing and writing the critically acclaimed film Gods and Monsters, which earned him the 1998 Academy Award for Best Adapted Screenplay. In 2006, he won a Golden Globe for his film Dreamgirls, and has directed the two final installments of the Twilight series.
re`ija/directed by Bill Condon scenarij/screenplay Jeffrey Hatcher, Mitch Cullin (roman/novel) fotografija/cinematography Tobias Schliessler glasba/music Carter Burwell monta`a/editing Virginia Katz igrajo/cast Ian McKellen (Sherlock Holmes), Laura Linney (ga./Mrs. Munro), Milo Parker (Roger), Hiroyuki Sanada (Tamiki Umezaki), Hattie Morahan (Ann Kelmot), Patrick Kennedy (Thomas Kelmot) producenti/producers Anne Carey, Iain Canning, Emile Sherman produkcija/production See-Saw Films 74 Rivington Street EC2A 3AY London, UK E info�see-saw-films.com format/format DCP 2K, barvni/colour dol`ina/running time 103'
prodaja/world sales FilmNation Entertainment 150 West 22nd Street 10011 New York, USA E info�wearefilmnation.com
Gods and Monsters (Bogovi in po{asti) Kinsey Dreamgirls (Sanjske punce) The Twilight Saga: Breaking Dawn – Part 1 (Somrak saga: Jutranja zora – 1. del) 2012 The Twilight Saga: Breaking Dawn – Part 2 (Somrak saga: Jutranja zora – 2. del) 2013 The Fifth Estate (Peta veja oblasti) 2014 Mr. Holmes (Gospod Holmes)
distribucija/distribution Continental film d.o.o. Stegne 3 1000 Ljubljana E manja.verbic�continentalfilm.si
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Kralji in kraljice Kings and Queens
The Lobster The Lobster Jastog Yorgos Lanthimos
re`ija/directed by Yorgos Lanthimos scenarij/screenplay Yorgos Lanthimos, Efthymis Filippou fotografija/cinematography Thimios Bakatakis monta`a/editing Yorgos Mavropsaridis igrajo/cast Colin Farrell (David), Rachel Weisz (kratkovidna `enska/shortsighted woman), Léa Seydoux (vodja samotarjev/loner leader), Ben Whishaw ({epajo~i mo{ki/ the limping man), John C. Reilly (sesljajo~i mo{ki/lisping man), Olivia Colman (direktorica hotela/hotel manager), Roger Ashton-Griffiths (zdravnik/doctor), Ashley Jensen (`enska s kola~ki/biscuit woman) producenti/producers Ed Guiney, Lee Magiday, Ceci Dempsey, Yorgos Lanthimos produkcija/production Element Pictures 21 Mespil Road Dublin 4, Ireland E info�elementpictures.ie & Scarlet Films (GB) & Faliro House (Greece) & Haeu et Court (France) & Lemming Film (The Netherlands) format/format DCP, barvni/colour dol`ina/running time 118' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015
Gr~ija, Irska, Velika Britanija, Francija, Nizozemska Greece, Ireland, Great Britain, France, The Netherlands 2015
Absurdno-komi~en pogled na sodobna partnerska razmerja v prvem angle{ko govore~em filmu gr{kega re`iserja Yorgosa Lanthimosa.
An absurd and comical take on modern-day relationships and the first English-language film by Greek filmmaker Yorgos Lanthimos.
V bli`nji prihodnosti morajo samske ljudi po pravilih Mesta aretirati in jih premestiti v Hotel, kjer imajo 45 dni ~asa, da si najdejo partnerja. ^e jim ne uspe, jih pretvorijo v `ivali po njihovi lastni izbiri in jih izpustijo v Gozd. Obupani Mo{ki po prvih neuspelih poskusih ob stiku z `enskami pri~ne razmi{ljati o pobegu iz Hotela…
A love story set in the near future where single people, according to the rules of The City, are arrested and transferred to The Hotel. There they are obliged to find a matching mate in 45 days. If they fail, they are transformed into an animal of their choosing and released into The Woods. After several futile attempts to connect with a woman, a desperate Man decides to escape from the Hotel.
"Zamisel za film se je porodila med debato o tem, kako se ljudem zdi, da morajo vedno biti v razmerju; kako drugi ljudje vidijo tiste, ki jim to ne uspe; kako te {tejejo za zgubo, ~e ne more{ biti z nekom; kaj vse ljudje naredijo, da bi bili z nekom; strah; in vse tiste stvari, ki nas spremljajo med iskanjem partnerja." (Yorgos Lanthimos)
prodaja/world sales Protagonist Pictures 42–48 Great Portland Street London W1W 7NB, GB E info�protagonistpictures.com distribucija/distribution Continental film d.o.o. Stegne 3 1000 Ljubljana E manja.verbic�continentalfilm.si
Yorgos Lanthimos
filmografija/filmography
Rojen leta 1973 v Atenah. Filmsko in televizijsko re`ijo je {tudiral na {oli za film Stavrakos v Atenah. Od leta 1995 re`ira celove~erce, gledali{ke predstave in televizijske oglase. S filmi Kinetta, Podo~nik in Alpe je razvil povsem samosvoj alegori~en slog pripovedovanja in se z njimi prebil med najvidnej{e evropske re`iserje.
2001 2002 2005 2009 2011 2015
Born in 1973 in Athens, Greece, Lanthimos studied film- and TV-direction at the Stavrakos Film School in Athens. Since 1995 he has been involved in filmmaking as well as in direction of theatre productions and TVcommercials. He became a prominent European filmmaker by developing his own absurdist and allegorical style of storytelling in Kinetta, Dogtooth and Alps.
52
"The idea for this film came from discussion about how people feel like they need to always be in a relationship; how other people see those who can't make it; how you're considered a failure if you can't be with someone; the lengths people go to in order to be with someone; the fear; and all those kind of things that follow us trying to mate." (Yorgos Lanthimos)
O kalyteros mou filos (My Best Friend) Uranisco Disco (kratki/short) Kinetta Kynodontas (Dogtooth/Podo~nik) Alpis (Alps/Alpe) The Lobster (Jastog)
Kralji in kraljice Kings and Queens
Queen of Earth Queen of Earth Kraljica Zemlje ZDA USA 2015
Alex Ross Perry
Silovita, klavstrofobi~na psihodrama o prijateljicah, ki se znajdeta pred travmati~nim razpadom njunega odnosa. Catherine se je zna{la v temnem obdobju svojega `ivljenja. Njen o~e, sloviti umetnik, je pred kratkim umrl, obenem pa jo je zapustil tudi njen fant James. Da bi si opomogla, se odpravi na oddih k najbolj{i prijateljici Virginiji. A ko prispe na njen vikend ob jezeru, tam ne najde na~rtovanega miru, saj jo tarejo spomini iz prej{njega leta, ko je v tej isti hi{i pre`ivljala ~as z Jamesom. Virginia se medtem vse pogosteje dru`i z Richem, njeno tamkaj{njo simpatijo, zaradi ~esar se za~ne odnos med prijateljicama krhati. "Odli~na zamisel se mi je zdela posneti `enski film, v katerem so `enske v ospredju in osvetljujemo njihove te`ave, mo{ki pa so samo naklju~ni tepci, ki so dele`ni njihove pozornosti in ne po~nejo drugega, kot da jim nasprotujejo. V filmu Svojeglavi Philip nisem `elel `ensk predstaviti kot gibala za mo{ko potovanje, v tem filmu pa to postanejo mo{ki. Med dolgim {tudijskim raziskovanjem za Philipa se mi je precej stvari razjasnilo, spra{eval sem se, ali bi lahko posnel film, ki ne govori o vpra{anjih mladega mo{kega, in ugotovil, da bi bilo imenitno ustvariti film, za katerega me ne vpra{ajo takoj: 'Ali ste glavni lik osnovali po sebi?'" (Alex Ross Perry)
re`ija/directed by Alex Ross Perry scenarij/screenplay Alex Ross Perry fotografija/cinematography Sean Price Williams glasba/music Keegan DeWitt monta`a/editing Robert Greene igrajo/cast Elisabeth Moss (Catherine), Katherine Waterston (Virginia), Patrick Fugit (Rich), Kentucker Audley (James), Keith Poulson (Keith), Kate Lyn Sheil (Michelle), Craig Butta (Gärtner) producenti/producers Elisabeth Moss, Alex Ross Perry, Adam Piotrowicz, Joe Swanberg produkcija/production Her Majesty September New York, USA E alexrossperry�gmail.com & Forager Film Company (USA) & Washington Square Films (USA) format/format DCP, barvni/colour dol`ina/running time 90'
A bracing, claustrophobic psychological drama and a thrilling examination of a deeply complex relationship between two women whose bonds of friendship are fraying.
festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015, Buenos Aires 2015, IndieLisboa 2015, New York 2015
Catherine has entered a particularly dark period in her life: her father, a famous artist, has recently died, and on the heels of his death she's dumped by her boyfriend James. Looking to recuperate, Catherine heads out to her best friend Virginia's lake house for some much needed relaxation. However, once Catherine arrives relaxation proves impossible to find, as she is overcome with memories of time spent at the same house with James the year before. But Virginia begins spending increasing amounts of time with a local love interest, Rich, and fissures in the relationship between the two women begin to appear. "I thought it would be great to make a woman's movie, where they’re front and center and it's their issues we're dealing with, while the men are just incidental doofuses who just hang around the margins and have nothing to do other than antagonize the women. On Listen Up Philip, I didn't want the women to act as functionaries for the men's journey but in this film that is what the men are. In talking about Philip for so long I started realizing things about it, and wondered if I could make a movie that doesn't deal with any of these issues of being a young man and how great would it be to make a movie where the first question I'm asked isn't, 'Is the main character based on you?'" (Alex Ross Perry)
Alex Ross Perry
filmografija/filmography
Rojen leta 1984 v okro`ju Bryn Mawr v Pensilvaniji. [tudiral je na {oli umetnosti Tisch na Univerzi v New Yorku. Filmsko pot je za~el z nizkoprora~unskim filmom Impolex, ki ga je posnel za petnajst tiso~ dolarjev. S filmom Svojeglavi Philip je osvojil posebno nagrado `irije na filmskem festivalu v Locarnu.
2009 2011 2013 2014 2015
prodaja/world sales The Match Factory GmbH Balthasarstraße 79–81 50670 Cologne, Germany E info�matchfactory.de
Impolex The Color Wheel The Sixth Year (segment) Listen Up Philip (Svojeglavi Philip) Queen of Earth (Kraljica Zemlje)
Born in Bryn Mawr, Pennsylvania in 1984. He attended the Tisch School of the Arts at New York University. He embarked on his cinematic career with a low-budget feature, Impolex, made for only USD 15,000. Listen Up Philip earned him Special Jury Prize at the Locarno FF.
53
Kralji in kraljice Kings and Queens
Ned Rifle Ned Rifle Ned Rifle ZDA USA 2014
Hal Hartley re`ija/directed by Hal Hartley scenarij/screenplay Hal Hartley fotografija/cinematography Vladimir Subotic glasba/music Hal Hartley monta`a/editing Kyle Gilman igrajo/cast Liam Aiken (Ned Rifle), Martin Donovan (~astiti/reverend Daniel Gardner), Aubrey Plaza (Susan Weber), Parker Posey (Fay Grim), Thomas Jay Ryan (Henry Fool), James Urbaniak (Simon Grim) producenta/producers Hal Hartley, Matthew Myers produkcija/production Possible Films 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com format/format DCP, barvni/colour dol`ina/running time 85' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2014, Berlin 2015 (nagrada ekumenske `irije/Prize of the Ecumenical Jury)
prodaja/world sales Cinedigm Entertainment 902 Broadway New York, NY 10010, USA E marketing�cinedigm.com
Tretji film o ~lanih dru`ine Grim je s humorjem za~injena pripoved o ma{~evanju, neuspehu in krvnih vezeh, ki jo odlikuje prepoznaven Hartleyjev posluh za ironijo in absurd.
The final part in Hal Hartley's trilogy about the Grims is a tale of revenge, failure and family ties that makes good use of Hartleyesque signature irony and absurd humour.
Ned se ob dopolnjenem osemnajstem letu odlo~i zapustiti program za za{~ito pri~, poiskati svojega o~eta Henryja in ga ubiti. Prepri~an je namre~, da je prav on kriv za dosmrtno zaporno kazen njegove mame Fay. Nad Nedovim na~rtom niti najmanj ni navdu{en njegov rejnik, ki `eli iz njega narediti vzornega kristjana, zaskrbljen pa je tudi stric. Pri svojem podvigu Ned naleti na Susan, ki je obsedena s {minko in literaturo ter presenetljivo dobro pozna zgodovino Nedove dru`ine ...
When Ned Rifle turns 18, he decides to leave the witness protection programme and kill his father Henry. His father is responsible for having put Ned's mother Fay in prison where she is now doing life for treason. Ned's foster father, who has encouraged him to become a Christian, is not at all happy about his plans, and Ned's uncle is also concerned. But then Ned meets Susan, a lipstick and literature fanatic, who knows a surprising amount about Ned's family’s doings.
"V letih pisanja scenarija za film Fay Grim je bil moj poglavitni cilj v zgodbo preliti nekaj tistega ~uda{tva ameri{kega `ivljenja po 11. septembru in na{e z vohunstvom pre`ete stvarnosti. V tistih letih je branje ~asopisov spominjalo na prebiranje vohunskega romana ali politi~ne srhljivke. Ugotovil sem, da bi bila Fay – z minimalno izobrazbo, naravno inteligenco in osnovno moralo, vendar ve~inoma ravnodu{na in sme{no kli{ejska – idealna predstavnica ameri{kega dr`avljana, vpletenega v izprijene in neracionalne mre`e mednarodnih odnosov. Po tej odlo~itvi sem vedel, da bom moral posneti {e tretji film, ki se bo osredoto~al na Neda, Henryjevega in Fayinega sina." (Hal Hartley)
"In the years I wrote Fay Grim my main interest was to convey something of the weirdness of American life after 9/11 and our new espionage-laden reality. In those years reading all the newspapers was like reading a spy novel or a political thriller. It occurred to me that Fay – minimally educated, naturally intelligent, basically decent, but habitually incurious and hilariously uniformed – would be the perfect representative American to tangle up in the vicious and irrational spasms of international relations. That decided, I knew I would have to make a third film somewhere down the line to be centered on Henry and Fay’s son, Ned." (Hal Hartley)
Hal Hartley
filmografija (izbor)/filmography (selection)
Rojen leta 1959 na Long Islandu, ZDA. Po {tudiju na newyor{ki univerzi je za~el pisati scenarije in snemati kratke filme. Debitiral je pri tridesetih letih s celove~ercem Neverjetna resnica, deset let pozneje pa si je s tragikomedijo Henry Fool v Cannesu prislu`il nagrado za najbolj{ega scenarista. Je eden najopaznej{ih soustvarjalcev ameri{kega neodvisnega filma.
1989 1990 1991 1992 1992 1993 1995 1997 1998 2004 2006 2013 2014
Born on Long Island, New York in 1959, Hartley studied at the State University of New York before starting to write screenplays and making short films. At the age of 30 Hartley made his feature debut with The Unbelievable Truth. His tragicomedy Henry Fool won Best Screenplay at Cannes in 1998. Hal Hartley is recognised as a trailblazer of independent American cinema.
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The Unbelievable Truth (Neverjetna resnica) Trust (Zaupanje) Ambition (Ambicija) (kratki/short) Surviving Desire (Hrepenenja) Simple Men (Preprosti ljudje) Amateur (Amater) Flirt Henry Fool The Book Of Life (Knjiga `ivljenja) The Girl From Monday Fay Grim My America Ned Rifle
Kralji in kraljice Kings and Queens
Heart of a Dog Heart of a Dog Pasje srce ZDA USA 2015
Laurie Anderson
re`ija/directed by Laurie Anderson scenarij/screenplay Laurie Anderson fotografija/cinematography Laurie Anderson, Toshiaki Ozawa, Joshua Zucker-Pluda glasba/music Laurie Anderson monta`a/editing Melody London, Katherine Nolfi igrajo/cast Archie (podganji terier/Rat Terrier), Gatto (podganji terier/Rat Terrier), Lolabelle (podganja terierka/Rat Terrier), Mali Will/Little Will (mejni terier/Border Terrier), Nitro (nem{ki ov~ar/German Shepherd) producenta/producers Dan Janvey, Laurie Anderson produkcija/production Canal Street Communications (USA) E mail�difficultmusic.com format/format DCP, barvni/colour dol`ina/running time 75'
Po petin{tiridesetih letih plodne umetni{ke poti se Laurie Anderson prvi~ resneje spopade s formo celove~ernega filma in se z njim spominja tudi svojega nedavno preminulega mo`a Louja Reeda.
With a prolific artistic career of 45 years to her name, Laurie Anderson boldly delves into the art of narrative filmmaking and uses the medium to pay tribute to Lou Reed, her recently deceased husband.
"@ivjo, ti mali butec. Vedno te bom imela rada," s temi besedami Laurie Anderson za~enja svoje filmsko potovanje, v naslovu katerega meri na svojo terierko Lolabelle, poginulo leta 2011. Film je zasnovan kot filmski esej, sestavljen iz spominov iz otro{tva, video dnevnikov, filozofskih premi{ljevanj o pomembnih dru`benih temah ter sr~nih poklonov umetnikom in mislecem, ki jo navdihujejo. Andersonova prek kola`a svoje glasbe, ro~no narisanih animacij, doma~ih filmov in slikarij razmi{lja o tem, kako si ljudje zami{ljamo in pripovedujemo zgodbe, da bi z njimi osmislili svoje `ivljenje.
"Hello, little bonehead. I’ll love you forever." So begins Laurie Anderson's cinematic journey through love, death and language. Revolving around Anderson’s beloved Rat Terrier Lolabelle, which died in 2011, Heart of a Dog is a personal essay that weaves together childhood memories, video diaries, philosophical musings and heartfelt tributes to the artists, writers, musicians and thinkers who inspire her. Fusing her own witty, inquisitive narration with original compositions, hand-drawn animation, home movies and artwork, Anderson creates a hypnotic, collagelike visual language out of the raw materials of her life and art, examining how stories are constructed and told to make sense of our lives.
"^eprav sem pogosto uporabljala podobe na ve~ zaslonih v ve~medijskih performansih, sem tokrat prvi~ poskusila povezati zgodbe v ohlapno strukturiranem igranem filmu ter uporabljala podobe in animacijo za dokon~anje povedi. Vpra{anje v osr~ju filma Pasje srce je: Kaj so zgodbe? Kako so ustvarjene in kako jih pripovedujemo? Vseskozi me je vodil duh Davida Fosterja Wallacea, katerega trditev, da je 'vsaka ljubezenska zgodba je zgodba o duhovih', mi je slu`ila za mantro. Moja vodnika sta bila tudi Wittgenstein in Kierkegaard." (Laurie Anderson)
festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2015, Telluride 2015, Toronto 2015, San Sebastian 2015, New York 2015, Adelaide 2015
"Although I have often used imagery on multiple screens in multi-media performances this is the first time I have tried to link stories in a loosely structured narrative film using imagery and animation to complete the sentences. The question at the center of Heart of a Dog is: What are stories? How are they made and how are they told? Throughout I was guided by the spirit of David Foster Wallace whose 'every love story is a ghost story' served as my mantra. My guides were also Wittgenstein and Kierkegaard." (Laurie Anderson)
Laurie Anderson
filmografija/filmography
Rojena leta 1947 v mestecu Glen Ellyn (Illinois, ZDA). Velja za eno najbolj uglednih in drznih ameri{kih umetnic. @e desetletja deluje kot performativna umetnica, skladateljica in glasbenica. Igra violino in klaviature ter poje v razli~nih eksperimentalnih in rockovskih skladbah. V {ir{o popularno kulturo se je prebila z uspe{nico O Superman (1981) in spremljajo~im albumom Big Science (1982).
1974 1986 1987 2005 2015
prodaja/world sales Celluloid Dreams 2 rue Turgot 75009 Paris, France E hengameh�celluloid-dreams.com
Dearreader: How to Turn a Book Into a Movie Home of the Brave (dok./doc.) What You Mean We? (TV) Hidden Inside Mountains (kratki/short) Heart of a Dog (Pasje srce) (dok./doc.)
Born in 1947 in Glen Ellyn (Illinois, USA), Anderson is one of America's most renowned and daring creative pioneers. American experimental performance artist, composer and musician who plays violin and keyboards and sings in a variety of experimental music and art rock styles. She became widely known outside the art world in 1981 with her single O Superman and the Big Science album (1982).
55
Kralji in kraljice Kings and Queens
Ryuzo to 7 nin no kobun tachi Ryuzo and His Seven Henchmen Ryuzo in sedem veli~astnih Japonska Japan 2015
Takeshi Kitano re`ija/directed by Takeshi Kitano scenarij/screenplay Takeshi Kitano fotografija/cinematography Katsumi Yanagijima glasba/music Keiichi Suzuki monta`a/editing Takeshi Kitano, Yoshinori Ota igrajo/cast Tatsuya Fuji (Ryuzo), Ben Hiura (Ichizo), Kojun Ito (Hide), Masanobu Katsumura (Ryuhei), Takeshi Kitano (Murakami), Masaomi Kondo (Masa), Hisako Manda (natakarica/ waitress), Akira Nakao (Mokichi), Akira Onodera (Yasu), Fumika Shimizu (dekle/girl), Atomu Shimojo (Tokunaga), Toru Shinagawa (Mac), Ken Yasuda (Nishi), Ken Yoshizawa (Taka) producenta/producers Masayuki Mori, Takio Yoshida produkcija/production Office Kitano 5-4-14 Akasaka Minato-ku Tokyo 107-0052 Japan E info�office-kitano.co.jp format/format DCP, barvni/colour dol`ina/running time 125'
Neutrudni mojster zvrsti Takeshi Kitano se s kombinacijo gangsterskega filma in komedije znova vra~a k pristopu, ki mu je prinesel svetovno slavo.
Blending gangster film and comedy, the indefatigable master of crime cinema Takeshi Kitano is returning with his signature approach that has earned him international repute.
Ryuzo je upokojeni ~lan gangsterske zdru`be jakuza, ki umirjeno `ivi s svojim sinom Ryuheijem. Ostareli gangster nekega dne prejme klic sleparja, ki se pretvarja, da je njegov sin, in od njega zahteva zajetno vsoto denarja. Ryuzo uvidi sleparjevo nakano; v `elji po ma{~evanju ponovno zdru`i tolpo svojih sedmih pajda{ev, a mo`je kaj kmalu spoznajo, da niso ve~ tako pri mo~eh kot neko~. Pred njimi je izziv, v katerem bodo morali, ~e bodo `eleli kljubovati veliko mlaj{im nasprotnikom, najprej prese~i svoje slabosti.
Ryuzo is a retired yakuza gangster who lives a quiet unassuming life with his son, Ryuhei. One day, the old gangster receives a call from an impostor pretending to be his son asking for a hefty sum of money. Ryuzo sees through the trick. Re-uniting his seven former henchmen to strike back, Ryuzo learns that they have all grown weak with old age. The elderly yakuza members soon learn that they must overcome their weaknesses if they are to prove to be a match against the much younger opponents.
"Ryuzo je zami{ljen kot izbruh smeha od za~etka do konca, brez kakr{nih koli ~emernih refleksij o `alostnem polo`aju starostnikov." (Mark Schilling, The Japan Times)
prodaja/world sales Pascale Ramonda 91 Rue de Menilmontant 75020, France E pascale�pascaleramonda.com distribucija/distribution 2i Film Primorska 26 10000 Zagreb, Croatia E info�2ifilm.hr
Takeshi Kitano
filmografija (izbor)/filmography (selection)
Rojen leta 1947 v Tokiu. Sprva je nastopal v gledali{~u, potem pa je pod psevdonimom "Beat" Takeshi postal ena najpopularnej{ih medijskih osebnosti na Japonskem. Re`ira, igra, vodi televizijske {ove, slika ter pi{e scenarije, kolumne in romane. Konec osemdesetih je re`iral svoj prvi film, danes pa velja za eno vodilnih osebnosti sodobnega japonskega filma. Z Ognjemetom je leta 1997 zmagal na bene{kem filmskem festivalu.
1989 1990 1993 1996 1997 1999 2000 2002 2003 2007 2008 2015
Born in 1947 in Tokyo. First performing in theatre and then, under the fictitious name of 'Beat', Kitano became one of the most popular Japanese media personalities. A director, screenwriter, actor, TV-show host, painter, columnist and novelist, Kitano directed his first film at the end of the 1980s, and is today one of the foremost figures of contemporary Japanese cinema. Fireworks received first prize at the 1997 Venice Film Festival.
56
"Ryuzo is intended as a laugh riot from beginning to end, with no glum reflections whatsoever on the plight of the aged." (Mark Schilling, The Japan Times)
Sono otoku, kyobo ni tsuki (Violent Cop/Nasilni policaj) 3-4 x jugatsu (Boiling Point/Vreli{~e) Sonatine (Sonatine/Sonatina) Kizzu ritân (Kids Return/Vrnitev otrok) Hana-bi (Fireworks/Ognjemet) Kikujirô no natsu (Kikujiro) Brother (Brat) Dolls (Lutke) Zatoichi (Zatoi~i) Kantoku banzai! (Glory to the Filmmaker!/Slava filmarju!) Akiresu to kame (Achilles and the Tortoise/Ahil in `elva) Ryuzo to 7 nin no kobun tachi (Ryuzo and His Seven Henchmen/ Ryuzo in sedem veli~astnih)
Kralji in kraljice Kings and Queens
Umimachi Diary Our Little Sister Sestrica Japonska Japan 2015
Hirokazu Kore-eda
Ne`na, otro{ke radosti polna `ivljenjska zgodba Kore-eda, posneta po predlogi istoimenske manga uspe{nice.
A delicate life story replete with childlike joy, Kore-eda's latest film is based on the eponymous manga bestseller.
Tri sestre – Sa~i, Jo{ino in ^ika – `ivijo v veliki hi{i v mestu Kamakura. Ko njihov o~e, ki je bil zadnjih petnajst let odsoten, umre, sestre odpotujejo na pode`elje, da bi prisostvovale njegovemu pogrebu. Tam sre~ajo plaho polsestro Suzu, s katero se hitro pove`ejo in jo povabijo, naj pride `ivet z njimi. Suzu sprejme, s tem pa se za {tiri dekleta za~ne novo `ivljenje radostnih odkritij.
Three sisters, Sachi, Yoshino and Chika, live together in a large house in the city of Kamakura. When their father – absent from the family home for the last 15 years – dies, they travel to the countryside for his funeral, and meet their shy teenage half-sister. Bonding quickly with the orphaned Suzu, they invite her to live with them. Suzu eagerly agrees, and a new life of joyful discovery begins for the four siblings.
"Ne zanima me samo lepota pokrajine v Kamakuri – ali {tirih sester –, ampak tudi sprejemajo~ odnos tega obmorskega mesteca, ki vsrka in prevzema vse. Gre za lepoto, ki izhaja iz ugotovitve – ne oto`ne, temve~ odkritosr~ne – da smo samo zrna peska, ki predstavljamo del ve~je celote, ter da bosta mestece in njegov ~as obstajala tudi, ko nas ve~ ne bo." (Hirokazu Kore-eda)
"What interests me greatly is not only the beauty of the scenery of Kamakura – or of the four sisters – but also the accepting attitude of this seaside town itself, absorbing and embracing everything. It is the beauty that arises from the realisation – not sorrowful but open-hearted – that we are just grains of sand forming a part of the whole, and that the town, and the time there, continue even when we are gone." (Hirokazu Kore-eda)
Hirokazu Kore-eda
filmografija (izbor)/filmography (selection)
Rojen leta 1962 v Tokiu, Japonska. Po diplomi je pri neodvisni hi{i TV Man Union posnel vrsto nagrajenih dokumentarcev. Leta 1995 je re`iral svoj celove~erni igrani prvenec Maboroshi no hikari in z njim nastopil v tekmovalnem programu bene{kega festivala. Mednarodno prepoznavnost mu je prinesel drugi film Po `ivljenju. Njegovi filmi rahlo~utno obravnavajo klju~na `ivljenjska vpra{anja, pogosto z otroki v osrednjih vlogah.
1995 1998 2001 2004 2006 2008 2009 2011 2013 2015
Born 1962 in Tokyo, Japan. After graduating Kore-eda joined the TV Man Union where he directed several prize-winning documentaries. In 1995, his directorial debut, Maborosi, entered the Venice International Film Festival's competition programme. His second film, After Life, brought him international acclaim. The director's works sensitively treat crucial human issues, often featuring children in leading roles.
re`ija/directed by Hirokazu Kore-eda scenarij/screenplay Akimi Yoshida (manga), Hirokazu Kore-eda fotografija/cinematography Mikiya Takimoto glasba/music Yôko Kanno monta`a/editing Hirokazu Kore-eda igrajo/cast Haruka Ayase (Sa~i/Sachi), Masami Nagasawa (Jo{ino/Yoshino), Kaho (^ika/Chika), Suzu Hirose (Suzu asano), Ryô Kase (Saka{ita/ Sakashita), Ryôhei Suzuki, Takafumi Ikeda (Hamada), Kentarô Sakaguchi (Tomoaki Fujii), Ohshirô Maeda (Futa Ozaki) producenta/producers Kaoru Matsuzaki, Hijiri Taguchi produkcija/production Fuji Television Network Inc 2-4-8 Daiba Minato-ku 137-8088 Tokyo, Japan E watanabh�gaga.co.jp & Toho Company (Japan) & GAGA (Japan) & Shogakukan (Japan) format/format DCP, barvni/colour dol`ina/running time 128' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015, Sydney 2015, Melbourne 2015
prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E sales�wildbunch.eu
Maboroshi no hikari (Maborosi) Wandafuru raifu (After Life/Po `ivljenju) Distance Dare mo shiranai (Nobody Knows/Nih~e ne ve) Hana yori mo naho (Hana) Aruitemo aruitemo (Still Walking/[e vedno zdru`eni) Kuki ningyo (Air Doll) Kiseki (I Wish/@elim si) Soshite chichi ni naru (Like Father, Like Son/Kakr{en o~e, tak{en sin) Umimachi Diary (Our Little Sister/Sestrica)
distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
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Kralji in kraljice Kings and Queens
Taxi Taxi Taksi Iran Iran 2015
Jafar Panahi re`ija/directed by Jafar Panahi scenarij/screenplay Jafar Panahi fotografija/cinematography Jafar Panahi monta`a/editing Jafar Panahi igrajo/cast Jafar Panahi, Hana Saidi (dekle/girl), Nasrin Sotoudeh (odvetnica/lawyer) producent/producer Jafar Panahi produkcija/production Jafar Panahi Film Production Teheran, Iran format/format DCP, barvni/colour dol`ina/running time 82' festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015 (zlati medved/Golden Bear, nagrada FIPRESCI/FIPRESCI Prize), Hongkong/Hong Kong 2015, Buenos Aires 2015, Sydney 2015, Moskva/Moscow 2015, New York 2015
prodaja/world sales Celluloid Dreams 2 rue Turgot 75009 Paris, France E hengameh�celluloid-dreams.com distribucija/distribution 2i Film Primorska 26 10000 Zagreb, Croatia E info�2ifilm.hr
Jafar Panahi kljub uradni prepovedi snemanja najde na~in, kako gledalce popeljati po ulicah Teherana. Zlati medved leto{njega berlinskega filmskega festivala.
Despite the official ban on filmmaking Jafar Panahi's defiant taxi drives candid camera through the streets of Teheran. Golden Bear Award at this year's Berlin Film Festival.
Rumeni taksi vozi po `ivahnih in barvitih ulicah Teherana. Razli~ni potniki vstopajo in izstopajo, vsak izmed njih pa se odkrito izpove o svojih pogledih na sodobni Iran. Njihov izpra{evalec je nih~e drug kot re`iser Jafar Panahi. Filmar je majhno kamero namestil na armaturno plo{~o avtomobila; v svojem mobilnem filmskem studiu sku{a med komi~nimi in dramati~nimi dogodki ujeti duha iranske dru`be.
A yellow cab is driving through the vibrant and colourful streets of Tehran. Very diverse passengers enter the taxi, each candidly expressing their views on present-day Iran while being interviewed by the driver who is no one else but the director Jafar Panahi himself. His camera placed on the dashboard of his mobile film studio captures the spirit of Iranian society through this comic and dramatic drive.
"Sem filmski ustvarjalec. Ni~esar drugega ne znam kot snemati filme. Kinematografija je moj izraz in smisel mojega `ivljenja. Ni~ mi ne more prepre~iti ustvarjanja filmov. Ko sem potisnjen v kot, se pove`em s svojo najglobljo notranjostjo. V tem najintimnej{em svetu, navkljub vsem omejitvam, nuja po ustvarjanju postane celo bolj gore~a. V ospredje postavim idejo Filma kot Umetnosti. Zato moram {e naprej snemati filme pod vsakr{nimi pogoji, da umetnosti izka`em spo{tovanje in se po~utim `ivega." (Jafar Panahi)
"I'm a filmmaker. I can't do anything else but make films. Cinema is my expression and the meaning of my life. Nothing can prevent me from making films. Because when I'm pushed into the furthest corners I connect with my inner self. And in such private spaces, despite all limitations, the necessity to create becomes even more of an urge. Cinema as an Art becomes my main preoccupation. That is the reason why I have to continue making films under any circumstances to pay my respects and feel alive." (Jafar Panahi)
Jafar Panahi
filmografija/filmography
Rojen leta 1960 v kraju Mianeh, Iran. Po {tudiju se je posvetil dokumentarcem, delal je kot asistent A. Kiarostamija. S prvim celove~ercem, Belim balonom, je v Cannesu osvojil zlato kamero za najbolj{i prvenec. Je eden najbolj cenjenih iranskih re`iserjev na Zahodu, doma pa eden najbolj preganjanih. Leta 2010 mu je iranska oblast za dvajset let prepovedala filmsko ustvarjanje.
1988 1991 1992 1992 1995 1997 2000 2003 2006 2010 2011 2013 2015
Born in 1960, in Mianeh, Iran, Panahi studied direction before starting his career as a documentarian and as assistant to Abbas Kiarostami. His debut feature, The White Balloon, won the Camera d'Or for Best First Feature Film at the Cannes Film Festival. Though a highly appreciated Iranian director in the West, in his homeland Panahi remains to be one of the most persecuted artists. In 2010 the Iranian authorities issued Panahi with a twenty-year ban on filmmaking.
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Yarali Bashlar (The Wounded Heads) (kratki dokumentarni) Kish (dokumentarni) Doust (The Friend/Prijatelj) (kratki) Akharin Emtehan (The Last Exam) Badkonake Sefid (The White Balloon/Beli balon) Ayneth (The Mirror/Ogledalo) Dayereh (The Circle/Krog) Talaye Sorkh (Crimson Gold) Offside (Ofsajd) The Accordion (kratki) In film nist (This Is Not a Film/To ni film) Pardé (Closed Curtain/Zagrnjena zavesa) Taxi (Taksi)
Kralji in kraljice Kings and Queens
Ghesse-ha Tales Teheranske zgodbe Iran Iran 2014
Rakhshan Bani-E'temad
re`ija/directed by Rakhshan Bani-E'temad scenarij/screenplay Rakhshan Bani-E'temad, Farid Mostafavi fotografija/cinematography Koohyar Kalari glasba/music Siamak Kalantari monta`a/editing Sepideh Abdolvahab igrajo/cast Habib Rezaei, Mohammad Reza Forutan, Mehraveh Sharifinia, Golab Adineh, Mehdi Hashemi, Hassan Majooni, Babak Hamidian, Negar Javaherian producentka/producer Rakhshan Bani-E'temad produkcija/production Kanoon Iran Novin No. 27, Mahnaz Alley Opposite Belal Mosque Vali-e Asr Ave., Tehran, Iran E info�irannovin.net format/format DCP, barvni/colour dol`ina/running time 88'
Teheranske zgodbe so prvi igrani film iranske re`iserke po osem leti trajajo~i samoprepovedi snemanja zaradi nezadovoljstva z dr`avno kulturno politiko.
Tales is Banietemad's first fictional film after almost a decade of self-imposed ban on filming spurred by the exasperation with the national cultural policy.
Film nas popelje v Teheran, kjer sledimo zgodbam sedmih ljudi razli~nih dru`benih plasti – intelektualcev, umetnikov, delavcev, javnih uslu`bencev. Enkrat je to zgodba o ~loveku, ki ga je poni`ala birokracija, drugi~ o odvisnosti od amfetaminov, spet tretji~ zgodba o poni`ani materi samohranilki. Realisti~ni pristop je nabit z empatijo, celotna slika pa tvori mozaik iranske dru`be, v kateri dru`beni polo`aj `ensk in vloga re`ima v `ivljenju obi~ajnih ljudi {e vedno ostajata osrednji nevralgi~ni to~ki.
Seven people in Tehran: intellectuals, artists, workers, civil servants. As if in a documentary, the camera accompanies them through their everyday lives. This journey takes in a man humiliated by the bureaucracy, a shamed and abandoned single mother, a terrifying snapshot of meth addiction and more. Their stories criss-cross and connect to become a mosaic of Iranian society in a genuinely empathic close-up, in which issues like the position of women and the role of the regime become tangible.
"Film Teheranske zgodbe je bil posnet v nenavadnih okoli{~inah za celove~erec. Nismo imeli prora~una ali dovoljenja za snemanje, vendar sta se vseeno zbrali skupina vrhunskih poklicnih igralcev ter najbolj{a in najbolj u~inkovita ekipa z izjemno energijo za uresni~enje tega filma. /.../ Tedaj je bilo najbolj{ima iranskima igralkama, Fatemeh Motamed Aria in Baran Kossari, prepovedano igrati. Snemanje smo morali kon~ati ~im prej, preden bi zadeli ob oviro ali bi morali popolnoma opustiti projekt. Vse te pomisleke sem imela v mislih med pisanjem scenarija." (Rakhshan BaniE'temad)
"Tales was made in unusual circumstances for making a feature film. There was no budget, no licence to make the film, and yet a group of highly professional actors and the best and most efficient crew gathered with exceptional energy to make this possible. /.../ Back then, two of the best actresses in Iran, Fatemeh Motamed Aria and Baran Kossari, were banned from acting. We had to wrap the film as quickly as possible before hitting an obstacle and having to stop the project altogether. I had all of these points in mind while writing the script." (Rakhshan Bani-E’temad)
Rakhshan Bani-E'temad
filmografija (izbor)/filmography (selection)
Rojena leta 1954 v Teheranu. Po {tudiju na tamkaj{nji Univerzi dramskih umetnosti je re`irala ve~ dokumentarcev za iransko televizijo. Leta 1987 je posnela svoj celove~erni prvenec in se uveljavila kot vodilna iranska filmska ustvarjalka. Njeni filmi izkazujejo mo~no socialno in politi~no zavest ter se ne bojijo odpirati zamol~anih tem iranske dru`be. Leta 2008 je prejela ~astni doktorat na Univerzi v Londonu.
1986 1988 1989 1995 1999 1999 2001 2002 2005 2006 2009 2014
Born in Tehran in 1954. After studying at the University of Dramatic Arts in Iran, she made several documentaries for Iranian television. In 1987, she directed her first feature film and gained renown as the leading Iranian filmmaker. Her films reflect intense social and political awareness and dauntlessly address the suppressed issues of Iranian society. In 2008, she received an honorary doctorate from London University.
festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2014 (najbolj{i scenarij/Best Screenplay), Rio de Janeiro 2014, Hamburg 2014, Vancouver 2014, Busan 2014, London 2014, Dunaj/Vienna 2014, Solun/Thessaloniki 2014, Beograd/ Belgrade 2015, Sydney 2015, Melbourne 2015
prodaja/world sales Noori Pictures 84, Avenue de la République 75011 Paris, France E katysh.01�gmail.com
Kharej az Mahdudeh (Off the Limits) Zard-e Ghanari (Canary Yellow) Pul-e Khareji (Foreign Currency) Rusari Abi (The Blue-Veiled/@enska z modrim paj~olanom) Banoo-Ye Ordibehesht (The May Lady/Majska gospa) Baran-O-Bumi (Baran and the Native/Baran in doma~in) Zir-e poost-e shahr (Under the Skin of the City/Pod ko`o mesta) Ruz-egar-e ma (Our Times) Gilane (Gilaneh) Khoon bazi (Mainline) We Are Half of Iran's Population (dok./doc.) Ghesse-ha (Tales/Teheranske zgodbe)
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Kralji in kraljice Kings and Queens
Trois souvenirs de ma jeunesse My Golden Days Trije spomini na mladost Francija France 2015
Arnaud Desplechin re`ija/directed by Arnaud Desplechin scenarij/screenplay Arnaud Desplechin, Julie Peyr fotografija/cinematography Irina Lubtchansky glasba/music Grégoire Hetzel monta`a/editing Laurence Briaud igrajo/cast Quentin Dolmaire (Paul Dédalus kot najstnik/as a teenager), Lou Roy-Lecollinet (Esther), Mathieu Amalric (Paul Dédalus kot odrasel/ as an adult), Dinara Drukarova (Irina), Cécile Garcia-Fogel (Jeanne Dédalus), Francoise Lebrun (Rose), Irina Vavilova (ga. Sidorov/Ms. Sidorov), Olivier Rabourdin (Abel Dédalus), Elyot Milshtein (Marc Zylberberg), Pierre Andrau (Kovalki) producent/producer Pascal Caucheteux produkcija/production Why Not Productions 3, rue Paillet 75005 Paris, France E whynot�wanadoo.fr & France 2 Cinéma (France) format/format DCP, barvni/colour dol`ina/running time 123' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015, München/Munich 2015, Jeruzalem/Jerusalem 2015
Dvajset let po filmu Kako sem se prepiral ... moje spolno `ivljenje je Arnaud Desplechin posnel predzgodbo tega prebojnega dela, v osrednjo vlogo pa znova postavil Mathieua Amalrica.
Twenty years after My Sex Life... or How I Got Into an Argument Arnaud Desplechin makes a prequel to this groundbreaking work, again casting Mathieu Amalric in the title role.
Paul Dédalus je antropolog, ki se iz Tad`ikistana po ve~ letih vra~a v Pariz. Na letali{~u ga ustavijo zaradi te`av s potnim listom. Odpeljejo ga v zasli{evalno sobo, kjer pa se v njem za~ne dogajati nekaj drugega, veliko bolj osebnega: sre~anje z lastnimi spomini. Tri filmska poglavja se Paul spominja otro{tva v Roubaixu, materinih izpadov norosti, najstni{kih let, potovanja v Sovjetsko zvezo, prijateljev in na koncu {e {tudija v Parizu. Bolj kot ~esar koli drugega pa se Paul spominja Esther, ki je bila srce njegovega `ivljenja.
Paul Dédalus is an anthropologist living in Tajikistan, about to move back to Paris. However, he runs into passport trouble at the airport. He ends up in an interrogation room to sort it out – and the real interrogation begins: of his own memories. Divided into three cinematic chapters, the story chronicles Paul's golden days: his childhood in Roubaix, his mother's attacks of madness, turning sixteen, his trip to the USSR, his friends and his years as a student in Paris. Above all, Paul remembers Esther. She was the heart of his life.
"Ko sem za~el pisati scenarij za ta film, si sprva nisem zami{ljal predzgodbe, samo film o mlaj{ih likih, najstni{ki film; o tem sem `e zelo dolgo sanjal. Ga bom sposoben napisati? V velikih skrbeh sem bil. Potem sem ugotovil, da je pravo vpra{anje: 'Bom sposoben pisati za igralce, ki {e nikoli niso stali pred kamero?' Iskal sem spro`ilo, nekaj, kar bi zanetilo moje zamisli, in to je bil koncept predzgodbe." (Arnaud Desplechin)
"When I started writing this film, I didn't start with the idea of a prequel, just the idea to write a film for younger characters, to make a teen movie; it was something I was dreaming of for a long time. Would I be able to write it? I had great anxiety. After that I realized the question was 'Will I be able to write for actors who have never been in front of a camera?' I was looking for a trigger, something to spark my ideas, and the prequel concept was this trigger." (Arnaud Desplechin)
prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E cbaraton�wildbunch.eu
Arnaud Desplechin
filmografija/filmography
Rojen leta 1960 v Roubaixu v Franciji. [tudiral je na pari{ki filmski {oli IDHEC (danes Fémis), diplomiral leta 1984. Sprva se je uveljavljal kot snemalec s kamero, leta 1991 pa je posnel svoj srednjemetra`ni prvenec. Junaki njegovih na videz kaoti~nih filmov vedno nihajo na meji normalnega.
distribucija/distribution 2i Film Primorska 26 10000 Zagreb, Croatia E info�2ifilm.hr
Born in 1960 in Roubaix, France. Studied at the IDHEC Paris Film School (present-day Fémis), graduating in 1984. At first establishing himself as cameraman, Desplechin made his middle-length debut in 1991. The characters in his seemingly chaotic films always tend to waver between the normal and abnormal.
1991 La Vie des morts 1992 La Sentinelle (The Sentinel) 1996 Comment je me suis disputé ... ma vie sexuelle (My Sex Life... or How I Got Into an Argument/Kako sem se prepiral ... moje spolno `ivljenje) 2000 Esther Kahn 2003 En jouant 'Dans la compagnie des hommes' (Playing 'In the Company of Men) 2004 Rois et reine (Kings and Queen/Kralji in kraljica) 2007 L'Aimée 2008 Un conte de Noël (A Christmas Tale/Bo`i~na zgodba) 2013 Jimmy P. (Jimmy P.: Psychotherapy of a Plains Indian/Jimmy P.: Psihoterapija prerijskega Indijanca) 2015 Trois souvenirs de ma jeunesse (My Golden Days/Trije spomini na mladost)
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Kralji in kraljice Kings and Queens
Rak ti Khon Kaen Cemetery of Splendour Veli~astno pokopali{~e Apichatpong Weerasethakul
Tajska, Velika Britanija, Francija, Nem~ija, Malezija Thailand, Great Britain, France, Germany, Malaysia 2015
Apichatpong Weerasethakul v svojem prepoznavnem, meditativnem slogu razmi{lja o ~asu, spominu, zavesti in o razli~nih oblikah bivanja ~love{kega uma.
In his signature meditative style Apichatpong Weerasethakul is pondering on time, memory, consciousness and different aspects of human mind.
Vojake, ki trpijo za skrivnostno spalno boleznijo, premestijo v za~asno kliniko v poslopju nekdanje {ole. Spominov polna stavba gospodinji in prostovoljki Jenjiri pomeni prostor razodetja, saj mora skrbeti za Itta, postavnega vojaka brez dru`ine. Jen se spoprijatelji tudi s Keng, jasnovidko, ki s svojimi parapsiholo{kimi sposobnostmi spe~im vojakom pomaga komunicirati z okolico. Zdravniki medtem posku{ajo laj{ati te`ke sanje vojakov s svetlobno terapijo. Morda celo obstaja povezava med boleznijo in starodavnim mitolo{kim najdi{~em, ki se skriva pod poslopjem. Magija, zdravilstvo, romantika in sanje v tem okolju tvorijo del Jeninega popotovanja v globlje zavedanje o sebi in o svetu okrog nje.
Soldiers with a mysterious sleeping sickness are transferred to a temporary clinic in a former school. The memory-filled space becomes a revelatory world for housewife and volunteer Jenjira, as she watches over Itt, a handsome soldier with no family visitors. Jen befriends young medium Keng who uses her psychic powers to help loved ones communicate with the comatose men. Doctors explore ways, including coloured light therapy, to ease the men's troubled dreams. Jen discovers Itt's cryptic notebook of strange writings and blueprint sketches. There may be a connection between the soldiers' enigmatic syndrome and the mythic ancient site that lies beneath the clinic. Magic, healing, romance and dreams are all part of Jen's tender path to a deeper awareness of herself and the world around her.
"Pred tremi leti je bil objavljen ~lanek o bolni{nici na severu, kjer se je pojavila skrivnostna bolezen, zaradi katere je bolni{nica morala v karanteno osamiti {tirideset vojakov. Podobo vojakov sem spojil z bolni{nico in {olo v Khon Kaenu. V teh treh letih je politi~ni polo`aj na Tajskem za{el v slepo ulico (v kateri je pravzaprav vse do danes). Prevzela me je tematika spanja in za~el sem si zapisovati svoje sanje. Mislim, da gre za na~in pobega pred stra{nimi razmerami na ulicah." (Apichatpong Weerasethakul)
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 – Posebni pogled/ Un Certain Regard, Jeruzalem/ Jerusalem 2015, Melbourne 2015
"There was a news story three years ago about a hospital in the north, where there was a mysterious disease that forced the hospital to quarantine 40 soldiers. I merged the image of the soldiers together with my hospital and my school in Khon Kaen. Over those three years, the political situation in Thailand had come to a dead end (up to the present actually). I was fascinated with sleeping and jotted down my dreams. I think it is a way to escape the terrible situations in the streets." (Apichatpong Weerasethakul)
Apichatpong Weerasethakul
filmografija (izbor)/filmography (selection)
Rojen leta 1970 v Bangkoku, Tajska. Sprva je snemal kratkometra`ne filme in videe. Njegovi umetni{ki projekti in celove~erni filmi so mu prinesli {tevilne nagrade, med njimi tudi v sklopu Poseben pogled v Cannesu leta 2002 za film Bla`eno tvoj, nagrado `irije v Cannesu leta 2004 za film Tropska bolezen. Leta 2010 je za film Stric Boonmee se spominja v Cannesu prejel {e najvi{je priznanje: zlato palmo.
2002 Sud sanaeha (Blissfully Yours/Bla`eno tvoj) 2003 Hua jai ra nong (The Adventures of Iron Pussy/Dogodiv{~ine jeklene muce) 2004 Sud pralad (Tropical Malady/Tropska bolezen) 2006 Sang sattawat (Syndromes and a Century/Sindromi in stoletje) 2010 Loong Boonmee raleuk chat (Uncle Boonmee Who Can Recall His Past Lives/Stric Boonmee se spominja) 2012 Mekong Hotel 2015 Rak ti Khon Kaen (Cemetery of Splendour/Veli~astno pokopali{~e)
Born in 1970 in Bangkok, Thailand. Initially involved in short-length films and videos, Weerasethakul's artistic projects and feature films have won numerous awards; e.g. Blissfully Yours received the Un Certain Regard prize at the 2002 Cannes IFF, Tropical Malady won the Jury Prize at the 2004 Cannes IFF, and in 2010 Uncle Boonmee Who Can Recall His Past Lives was bestowed the highest award, Palm d'Or.
re`ija/directed by Apichatpong Weerasethakul scenarij/screenplay Apichatpong Weerasethakul fotografija/cinematography Diego García monta`a/editing Lee Chatametikool igrajo/cast Jenjira Pongpas Widner (Jen), Banlop Lomnoi (Itt), Jarinpattra Rueangram (Keng), Petcharat Chaiburi (medicinska sestra/nurse), Tawatchai Buawat (in{truktor meditacije/meditation instructor), Sujittraporn Wongsrikeaw (boginja {t. 1/goddess #1), Bhattaratorn Senkraigul (boginja {t. 2/goddess #2) producenti/producers Apichatpong Weerasethakul, Keith Griffiths, Simon Field, Charles de Meaux, Michael Weber, Hans Geißendörfer produkcija/production Illuminations Films 187 Beach St. CT14 6LY Deal, UK E info�illuminationsfilms.co.uk & Kick the Machine Films (Thailand) & Anna Sanders Films (France) & Geißendörfer Film- und Fernsehproduktion (Germany) & Match Factory Productions (Germany) & ZDF/arte (Germany) & Astro Shaw (Malaysia) format/format DCP, barvni/colour dol`ina/running time 122'
prodaja/world sales The Match Factory GmbH Balthasarstraße 79-81 50670 Cologne, Germany E info�matchfactory.de distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
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Kralji in kraljice Kings and Queens
L'ombre des femmes In the Shadow of Women V senci `ensk Francija, [vica France, Switzerland 2015
Philippe Garrel re`ija/directed by Philippe Garrel scenarij/screenplay Jean-Claude Carrière, Caroline Deruas-Garrel, Philippe Garrel, Arlette Langmann fotografija/cinematography Renato Berta glasba/music Jean-Louis Aubert monta`a/editing François Gédigier igrajo/cast Clotilde Courau (Manon), Stanislas Merhar (Pierre), Lena Paugam (Elisabeth), Vimala Pons (Lisa), Antoinette Moya (Manonina mati/ Manon's mother), Jean Pommier (Henri), Thérèse Quentin (Henrijeva `ena/Henri's wife), Mounir Margoum (Manonin ljubimec/Manon's lover), Louis Garrel (pripovedovalec/voiceover) producenta/producers Saïd Ben Saïd, Michel Merkt produkcija/production SBS Productions 29 rue Danielle Casanova 75001 Paris, France E contact�sbs-productions.com & Close Up (Switzerland) & Arte France Cinéma (France) & Radio Télévision Suisse (Switzerland) format/format DCP, ~b/b&w dol`ina/running time 73'
Filmski pogled na enakost med spoloma, v katerem se pod taktirko Philippa Garrela zrcali daljni odsev francoskega novega vala. Pierre in Manon `ivita skromno. Popolnoma brez denarja snemata dokumentarne filme in shajata z ob~asnimi zaposlitvami. Pierre spozna mlado sta`istko Elizabeth, ki postane njegova ljubimka, vseeno pa zaradi nje no~e zapustiti Manon. Obdr`ati `eli obe. Potem Elizabeth odkrije, da ima ljubimca tudi Manon …
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 – [tirinajst dni re`iserjev/Directors' Fortnight, Jeruzalem/Jerusalem 2015, Melbourne 2015
prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E edevos�wildbunch.eu distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
Pierre and Manon live a hand-to-mouth existence. They make documentary films without a cent and they get by with odd jobs. Pierre meets a young intern Elisabeth who becomes his mistress. But Pierre doesn't want to leave Manon for Elisabeth – he wants to keep them both. One day Elisabeth discovers that Manon has a lover, too.
"Tematika dela je: `enski libido je prav tako silovit kot mo{ki. Osebno menim, da film V senci `ensk govori o enakosti med mo{kimi in `enskami v meri, ki jo filmska umetnost lahko dose`e. To je pomenilo zagotavljanje ogromne podpore `enskemu liku in zoperstavljanje mo{kemu: kinematografijo so zasnovali mo{ki, ki tudi vedno dolo~ajo na{o upodobitev, na{e na~ine videnja stvari in pripovedovanja o njih, vendar pa je, na sre~o, vedno ve~ tudi `enskih filmskih ustvarjalk. /.../ V protiute` sem `elel, da moj film zagovarja `ensko stali{~e, zadr`ano ob mo{kem." (Philippe Garrel)
"The subject is: the female libido is as powerful as the male libido. For me In the Shadow of Women is a film about the equality of men and women in as far as cinema can achieve this. Which meant providing enormous support for the female character, and going against the male one: cinema was designed by men and it is always them who determine our portrayals, our ways of seeing things and telling things, even though, fortunately, there are more and more women making films. /.../ To counterbalance this I wanted the film to be in defence of the woman and weighted against the man." (Philippe Garrel)
Philippe Garrel
filmografija (izbor)/filmography (selection)
Rojen leta 1948 v Boulogne-Billancourtu, Francija. @e kot fant je posnel {tevilne kratke filme, avtorsko pa se je izoblikoval ob akterjih francoskega novega vala. Nase je opozoril `e s celove~ernim prvencem Marie pour memoire. Za L'enfant secret iz leta 1982 je prvi~ prejel nagrado Jeana Vigoja. J'entends plus la guitar, eden vrhuncev njegovega opusa, mu je prinesel srebrnega leva, kar je ponovil leta 2005 s filmom Navadna ljubimca.
1967 1968 1970 1979 1988 1990 1993 1995 2001 2004 2005 2011 2013 2015
Born in 1948 in Boulogne-Billancourt, France, Garrel made numerous shorts during his youth. A child of the Nouvelle Vague, he continued his path with Marie for Memory, his debut feature. In 1982 Garrel was awarded the Jean Vigo Prize for L'enfant secret. One of the highlights of his career, I Don't Hear the Guitar Anymore, won the Silver Lion in Venice, an award he received the second time for Regular Lovers in 2005.
62
Philippe Garrel's cinematic contemplation of gender equality reflects subtle influences of the French New Wave.
Marie pour mémoire (Marie for Memory) Le révélateur La cicatrice intérieure (The Inner Scar) L'enfant secret Les baisers de secours (Emergency Kisses) J'entends plus la guitare (I Don't Hear the Guitar Anymore) La naissance de l'amour (The Birth of Love/Rojstvo ljubezni) Le coeur fantôme (The Phantom Heart) Sauvage innocence (Wild Innocence) Les amants réguliers (Regular Lovers/Navadna ljubimca) La frontière de l'aube (Frontier of the Dawn) Un été brûlant (That Summer) La jalousie (Jealousy/Ljubosumje) L'ombre des femmes (In the Shadow of Women/V senci `ensk)
Kralji in kraljice Kings and Queens
Rabin, the Last Day Rabin, the Last Day Zadnji dan Jicaka Rabina Izrael, Francija Israel, France 2015
Amos Gitai
Mojstrovina Amosa Gitaija ob dvajsetletnici umora izraelskega premierja Jicaka Rabina prina{a skrbno rekonstrukcijo tragi~nega dogodka in pronicljivo iskanje krivcev.
Amos Gitai's masterful tribute to Israeli Prime Minister, Yitzhak Rabin, on the 20th anniversary of his assassination meticulously reconstructs the tragic event and seeks to identify the culprits.
4. novembra 1995 v sredi{~u Tel Aviva po koncu politi~nega zborovanja v podporo izraelsko-palestinskemu mirovnemu procesu ustrelijo izraelskega premierja Jicaka Rabina. Njegov morilec, prijet na kraju dogodka, je petindvajsetletni Jigal Amir, gore~ privr`enec judovske vere, a ozadje tega tragi~nega dogodka z vsakim korakom razkriva tema~en in grozljiv svet, v katerem je bilo tak{no dejanje mogo~e. V dogodek so vpleteni tudi varnostniki, ki jim ni uspelo prepre~iti atentata, predvsem pa obkro`ajo~a subkultura sovra{tva, podprta s histeri~no retoriko, paranojo in politi~nimi spletkami, ekstremisti~nimi rabini ter izraelskimi naseljenci, ki jim vsaka te`nja po miru predstavlja izdajstvo.
On the evening of 4 November 1995, Prime Minister Yitzhak Rabin is shot down at the end of a huge political rally in the centre of Tel-Aviv. His killer apprehended at the scene turns out to be a 25-year-old Jewish observant. Investigation into this brutal murder reveals a dark and frightening world that made this tragic deed possible. A subculture of hate fuelled by hysterical rhetoric, paranoia and political intrigue. The extremist rabbis and militant Israeli settlers for whom peace meant betrayal. And the security agents who saw what was coming and failed to prevent it.
"Minilo je dvajset let. /.../ Vendar so mo`je, ki so omogo~ili umor na{ega predsednika vlade, {e vedno na prostosti. Pravzaprav nekateri od njih sedaj izkazujejo apetite po mo~i. Razburila me je vedno ve~ja navzo~nost nasilne judovske verske subkulture v osr~ju izraelske posvetne dru`be. /.../ Po mojem mnenju je bil Izrael izvorno politi~ni in ne verski podvig, politi~ni sklep dolge zgodovine trpljenja judovskega ljudstva." (Amos Gitai)
festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2015, Toronto 2015
"Twenty years have passed. /.../ But the men that made possible the killing of our prime minister are still around. In fact, some of them are now flirting with power. I am alarmed by the growing existence of a violent Jewish religious underground in the heart of Israeli secular society. /.../ In my mind Israel in its origins was a political endeavour, not a religious one, a political conclusion to a long history of suffering by the Jewish people." (Amos Gitai)
Amos Gitai
filmografija (izbor)/filmography (selection)
Rojen leta 1950 v Hajfi, kjer je {tudiral arhitekturo in tehniko ter za~el snemati prve filme. {tudij arhitekture je nadaljeval na Berkeleyju v Kaliforniji. Za izraelsko televizijo je ustvaril {tevilne dokumentarce; dva med njimi sta bila cenzurirana. Zaradi nesoglasij s cenzuro se je leta 1982 preselil v Pariz, kjer je nadaljeval z raziskovanjem vpra{anja emigrantov, pregnancev in zgodovine. Leta 1994 se je vrnil v domovino.
1980 1982 1989 1991 1995 1996 1996 1997 1998 1999 2002 2004 2015
Born in 1950 in Haifa, where he studied architecture and technical studies and became involved in filmmaking. Gitai furthered his study of architecture at the Berkeley University in California. He made numerous documentaries for the Israeli television, two of which were censored. Clashing swords with the censors, Gitai moved to Paris in 1982, and explored the issues of immigrants, exiles and history. He returned to his homeland in 1994.
re`ija/directed by Amos Gitai scenarij/screenplay Amos Gitai, Marie-Jose Sanselme fotografija/cinematography Eric Gautier glasba/music Amit Poznansky monta`a/editing Yuval Or igrajo/cast Yitzhak Hiskiya (vodja komisije/head of the commission), Pini Mittelman (~lan komisije/commission member), Michael Warshaviak (~lan komisije/ commission member), Einat Weizman (odvetnica komisije/ commission lawyer), Yogev Yefet (Rabinov atentator/Rabin's assassin), Tomer Sisley (Rabinov voznik/Rabin's driver), Ronen Keinan (odvetnik komisije/commission lawyer) producenti/producers Jean-Baptiste Dupont, Amos Gitai, David Kessler, Sylvie Pialat, Laurent Truchot produkcija/production AGAV Films 19, rue Martel Paris 75010, France E agav�amosgitai.com & LGM Cinema (France) & Les Films du Worso (France) & France 2 Cinema (France) & Orange Studio (France) & Hamon Hafakot (Israel) format/format DCP, barvni/colour dol`ina/running time 153'
prodaja/world sales Indie Sales 32, rue Washington 75008 Paris, France E info�indiesales.eu
Bayit (The House) Yoman Sadeh (Field Diary) Berlin-Yerushalaim (Berlin-Jeruzalem) Golem, l’esprit de l’exil (Golem, duh izgnanstva) Zihron Devarim (Stvari) Zirat Ha’Rezach (The Arena of Murder) Milim (Words) Tapuz (Orange) Yom Yom (Dan za dnem) Kadosh (Sveto) 11’09’’01 – September 11 (11. september) Promised Land (Obljubljena de`ela) Rabin, the Last Day (Zadnji dan Jicaka Rabina)
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Kralji in kraljice Kings and Queens
Comoara The Treasure Zaklad Romunija, Francija Romania, France 2015
Corneliu Porumboiu re`ija/directed by Corneliu Porumboiu scenarij/screenplay Corneliu Porumboiu fotografija/cinematography Tudor Mircea monta`a/editing Roxana Szel igrajo/cast Toma Cuzin (Costi), Adrian Purcarescu (Adrian), Corneliu Cozmei (Cornel), Radu Banzaru (prodajalec/ seller), Dan Chiriac (Lica), Iulia Ciochina (prodajalka/saleswoman), Marius Coanda (policist/policeman), Florin Kevorkian (Costi), Laurentiu Lazar (Petrescu), Ciprian Mistreanu (policist/policeman), Ana Maria Stegaru (Adrian), Cristina Cuzina Toma (Raluca) producenti/producers Marcela Ursu, Sylvie Pialat, Nadia Turnicev, Julie Gayet produkcija/production 42km Film Str. Costache Marinescu nr. 15 Sect 1, Bucharest, Romania E office�42kmfilm.ro & Les Films du Worso (France) & Rouge International (France) format/format DCP, barvni/colour dol`ina/running time 89’ festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 (nagrada posebni talent/A Certain Talent Prize), Karlovi Vari/Karlovy Vary 2015, Melbourne 2015
prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E sales�wildbunch.eu distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
Mojstrsko poigravanje z gledal~evimi pri~akovanji v romunskem filmu, ki lahkotno hodi po meji med pravlji~arstvom in zgodovino.
Masterfully juggling the viewers' expectations, Romanian filmmaker's The Treasure effortlessly walks the line between storytelling and history.
Costi `ivi mirno. Ob ve~erih rad prebira zgodbe svojemu {estletnemu sinu, da la`je zaspi. Njuna najljub{a je tista o Robinu Hoodu. Costi samega sebe vidi kot junaka – tistega, ki popravlja krivice in brani zatirane. Nekega ve~era ga nepri~akovano obi{~e sosed in mu pove skrivnost: na vrtu njegovih starih star{ev je zakopan zaklad, v to je prepri~an. ^e si Costi sposodi detektor kovin in mu ga pomaga najti, mu bo dal polovico tistega, kar bosta na{la. Costi je sprva skepti~en, a se ponudbi vendarle ne more upreti. Pajda{a imata en vikend ~asa, da najdeta plen.
Costi leads a peaceful life. At night he likes to read his 6-yearold son stories, to help him sleep. Their favourite is Robin Hood. Costi sees himself as the hero – righter of wrongs and defender of the oppressed. One evening, his neighbour pays him an unexpected visit and shares a secret: there's treasure buried in his grandparents' garden, he's sure of it. If Costi hires a metal detector to help locate it, he'll give him half of whatever they get. Sceptical at first, in the end Costi can't resist. The two accomplices have one weekend to locate the loot.
"Med monta`o izvirnega projekta sta mojo pozornost pritegnila vrt in hi{a, kjer smo iskali zaklad. Na{ polo`aj je spro`il kopico vpra{anj: Kak{na je na{a sedanjost? Kako jo izku{amo? Kak{en je na{ odnos do zgodovine? Med drugo svetovno vojno sta v hi{i `ivela dva nem{ka oficirja. /.../ Pozneje je hi{a postala lekarna, zatem konju{nica in otro{ki vrtec, vse do revolucije. Po letu 1989 je postala klub s striptizetami. /.../ U`ivam v raziskovanju zakopanih zgodb, ki jih film lahko odkrije." (Corneliu Porumboiu)
"While editing the original project, I was intrigued by the garden and house where we were searching for the treasure. Our situation sparked a number of questions: what is our present? How do we experience it? How do we relate to history? During World War II, two German army officers occupied the house. /.../ Later, the first house became a pharmacy, then a stables and a nursery school, up until the Revolution. After 1989, it re-opened as a striptease joint. /.../ I love to work on the kind of buried stories that film can unearth." (Corneliu Porumboiu)
Corneliu Porumboiu
filmografija/filmography
Rojen 1975 v Romuniji. Leta 2003 je diplomiral na Univerzi v Bukare{ti. Po {tipendiji Filmskega sklada je 2005 zre`iral svoj prvi celove~erni film Smo imeli revolucijo ali ne?, ki je bil premierno prikazan v sklopu [tirinajst dni re`iserjev v Cannesu in prejel nagrado za najbolj{i prvenec. Leta 2009 je njegov film Policijski, pridevnik osvojil nagrado `irije v sklopu Poseben pogled na filmskem festivalu v Cannesu.
2002 2003 2004 2006
Born in 1975 in Romania, Porumboiu graduated from the University of Bucharest in 2003. After receiving a Cinéfondation grant, he directed his debut feature, 12:08 East of Bucharest, in 2005. The film premiered in the Directors' Fortnight section in Cannes and received the Best Debut Film Award. In 2009, Police, Adjective won the Un Certain Regard Grand Jury Prize at the Cannes Film Festival.
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2009 2013 2013 2014 2015
Pe aripile vinului (Gone with the Wine) (kratki/short) Calatorie la oras (A Trip to the City) (kratki/short) Visul lui Liviu (Liviu's Dream/Liviujeve sanje) (kratki/short) A fost sau n-a fost? (12:08 East of Bucharest/Smo imeli revolucijo ali ne?) Politist, adj. (Police, Adjective/Policijski, pridevnik) La limita de jos a cerului (The Unsaved) Când se lasa seara peste Bucuresti sau metabolism (When Evening Falls on Bucharest or Metabolism) Al doilea joc (The Second Game) Comoara (The Treasure/Zaklad)
Panorama svetovnega filma Panorama of World Cinema
Durak The Fool Bedak Rusija Russia 2014
Jurij Bikov re`ija/directed by Jurij Bikov scenarij/screenplay Jurij Bikov fotografija/cinematography Kiril Klepalov zvok/sound Arkadij Noskov monta`a/editing Jurij Bikov igrajo/cast Artem Bijstrov (Dima Nikitin), Natalija Surkova (Nina Galaganova), Boris Nevzorov (Federotov) Darja Moroz (Dimova `ena/Dima's wife) producenta/producers Aleksey Uchitel, Kira Saksaganskaja produkcija/production Rock Films 12 Krukov kanal 190068 St.Petersburg, Russia E rockkira�gmail.com format/format DCP barvni/colour dol`ina/running time 116' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2014 (najbolj{a mo{ka vloga/Best Actor), So~i/Sochi 2014 (najbolj{i scenarij/Best Screenplay), Chicago 2014
Pretresljiv portret sodobne ruske dru`be, v katerem se preprost posameznik sku{a postaviti po robu celotni garnituri pokvarjenih mestnih oblasti, da bi re{il ogro`eno `ivljenje dru`benih izob~encev.
A heart-rending portrait of contemporary Russian society, spotlighting an ordinary individual taking a stand against an entire system of corrupt city officials to save the lives of social outcasts.
Dima Nikitin je po{ten vodovodni in{talater iz majhnega ruskega mesta. Neke no~i prejme klic, da je v mestnem prehodnem domu po~ila vodovodna napeljava, zato se nemudoma odpravi na kraj dogodka. Prizor ga mo~no pretrese: v prehodnem domu so bivanjske razmere katastrofalne, prebivalcem doma celo grozi, da ne bodo `ivi do~akali jutra. A za dru`bene izob~ence nikomur ni resni~no mar. Dimu njegova po{tena vest na da miru, zato se odpravi na naporno celono~no odisejado po svetu brezbri`nih in skorumpiranih mestnih veljakov, da bi jih prepri~al, naj vendarle ukrepajo ...
Dima Nikitin is a simple plumber, an honest man from a small Russian town. One night, he receives a call that the pipes have burst at a dorm inhabited mainly by drunkards and outcasts. After arriving at the scene, Nikitin discovers that things are way more serious – the building will not stand through the night. People need to be evacuated immediately. But nobody cares about a bunch of social undesirables. Guided by his moral conscience, Dima takes on the full gamut of indifferent and corrupt bureaucrats to convince them to take action.
"Moj film predstavlja ve~ino ruskega `ivljenja. Ne preteklosti, temve~ modele ~love{kih odnosov, ki v Rusiji obstajajo `e stotine let. /.../ Junak mojega filma je pragmati~en, vendar ga vodi moralni kodeks. Ruska politika temelji na la`eh, mojega protagonista pa ta dru`bena razjeda ni prizadela. Hvala bogu, da obstajajo tak{ni ljudje, ki poosebljajo visoka merila resnice. Tak{ne potrebujemo." (Jurij Bikov)
prodaja/world sales M-Appeal Prinzessinnenstr. 16 10969 Berlin, Germany E sales�m-appeal.com
Jurij Bikov
filmografija/filmography
Rojen leta 1981 v Novomi~urinsku, Rusija. Leta 2005 je na In{titutu za filmsko fotografijo Gerasimova diplomiral iz igre. Leto pozneje je za~el pisati scenarije in re`irati kratke filme. Njegov drugi celove~erec Na~elnik se je uvrstil v program Tedna kritikov canskega festivala, film Bedak pa je bil na filmskem festivalu v Locarnu 2014 nominiran za zlatega leoparda.
2010 2013 2014 2014
Born in Novomichurinsk, Russia, in 1981, Yury Bykov graduated in acting from the Gerasimov Institute of Cinematography in 2005. A year later, he started to direct short films and write screenplays. His second feature film, The Major, made the selection for the Critics' Week of the 2013 Cannes Film Festival. His latest film, The Fool, was recently nominated for a Golden Leopard at the 2014 Locarno Film Festival.
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"My film represents most of Russian life. Not the past, but the models of human relations that have existed for hundreds of years in Russia. /.../ My film's character is pragmatic, but he has a moral code. Russian politics is based on lies, and the character is not affected by this social disease. Thank God these people exist to give us this high example of truth. We need such people." (Yury Bykov)
@it (Live!) (kratki/short) Major (Mayor/Na~elnik) Jolki 1914 (Yolki 1914) Durak (The Fool/Bedak)
Panorama svetovnega filma Panorama of World Cinema
Aferim! Aferim! Bravo! Radu Jude
Romunija, Bolgarija, ^e{ka Romania, Bulgaria, Czech Republic 2015 re`ija/directed by Radu Jude scenarij/screenplay Radu Jude, Florin Lazarescu fotografija/cinematography Marius Panduru monta`a/editing Catalin Cristutiu igrajo/cast Teodor Corban (Costandin), Mihai Comanoiu (Ionita), Cuzin Toma (Carfin), Alexandru Dabija (Iordache), Alberto Dinache (Tintiric), Aleksandru Dabija (bojar/nobleman), Victor Rebengiuc (obrtnik/artisan), Luminita Gheorghiu (obrtnikova `ena/artisan’s wife) producent/producer Ada Solomon produkcija/production Hi Film Productions 179, Traian St. 024043 Bucharest, Romania E office�hifilm.ro format/format DCP 4K, ~b/b&w dol`ina/running time 108'
Utrip `ivljenja Vzhodne Evrope v tridesetih letih 19. stoletja, ki o~ara z nostalgi~no privla~nostjo ~rno-belih podob in blagim burlesknim pridihom.
Chronicling the realities of Eastern Europe in the 1830s, Aferim! captivates with the nostalgical appeal of its blackand-white images and subtle hints of burlesque.
Romunija, 1835. Lokalni bojar najame `andarja Costandina, da poi{~e pobeglega su`nja Carfina, ki naj bi one~astil njegovo soprogo. Constandin se skupaj s petnajstletnim sinom odpravi na nenavadno popotovanje, na katerem sre~a pisano paleto likov razli~nih narodnosti in veroizpovedi – Turke, Ruse, Romune, Mad`are; kristjane, Jude in Rome. Izku{en, kot je, kaj hitro najde ube`nika, ki se skriva skupaj z de~kom Tintiricom, in ga privede nazaj, da bi prejel zaslu`eno pla~ilo. Radu Jude skozi tragikomiko raziskuje pozno fevdalno obdobje svoje domovine, zaznamovano s su`enjstvom Romov – temo, o kateri nih~e ne `eli govoriti, ~eprav {e vedno vpliva na dru`bene razmere dana{nje Romunije.
Romania, 1835. A nobleman hires gendarme Costandin to search for a 'gypsy slave' who is suspected of having an affair with the nobleman’s wife. On their odyssey Costandin and his fifteenyear-old son encounter people of different nationalities and beliefs: Turks and Russians, Christians and Jews, Romanians and Hungarians. Experienced Constandin has little trouble finding the fugitive who's hiding together with a boy called Tintiric, and bring him back to claim his well-earned reward. Radu Jude explores his native Wallachia at a time when social realities were reflecting older times and an outdated mentality. One of those issues is Gypsy slavery, a phenomenon which is almost inexistent in the public debate today, although its impact continues to influence Romania's social life.
"Ko govorimo o preteklosti, pravzaprav govorimo o na{em pogledu nanjo. Mislim, da ima film sposobnost pogleda na stvari z dolo~ene distance, lastnost, ki gledalcu dovoli objektivno gledi{~e o pripovedi in izoblikovanje lastnega mnenja." (Radu Jude)
"When we speak of the past, we in fact speak of our perspective of the past. I think that cinema has this quality, to see things from a certain distance, a quality which can offer to a viewer the possibility of looking at something told in an objective way and to form his/her own opinion." (Radu Jude)
Radu Jude
filmografija/filmography
Rojen v Bukare{ti leta 1977. Diplomiral je na filmski smeri tamkaj{nje Univerze za medije in `e med {tudijem sodeloval pri razli~nih projektih kot asistent re`ije. Leta 2009 je posnel celove~erni prvenec Najsre~nej{e dekle na svetu, ki je bil prikazan na festivalu Sundance in nagrajen v sklopu Forum na berlinskem festivalu. Tri leta pozneje si je za dru`insko dramo Vsi v na{i dru`ini prislu`il nagrado na sarajevskem festivalu.
2006 Lampa cu caciula (The Tube with a Hat) (kratki/short) 2007 Alexandra (kratki/short) 2009 Cea mai fericita fata din lume (The Happiest Girl in the World/ Najsre~nej{e dekle na svetu) 2011 Film pentru prieteni (A Film for Friends) 2012 Toata lumea din familia noastra (Everybody in Our Family/Vsi v na{i dru`ini) 2013 O umbra de nor (Shadow of a Cloud) (kratki/short) 2014 Trece si prin perete (It Can Pass through the Wall) (kratki/short) 2015 Aferim! (Bravo!)
Born in Bucharest in 1977, Jude graduated in film from Bucharest's Media University and worked as an assistant director whilst still studying. In 2009, he came to worldwide attention with his debut feature film, The Happiest Girl in the World, which screened at the Sundace Festival and was awarded at the Berlinale Forum. Three years later, his second feature film, Everybody in Our Family, was awarded at the Sarajevo Film Festival.
festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015 (najbolj{i re`iser/Best Director), Lizbona/Lisbon 2015, Sofija/Sofia 2015 (posebna omemba/ Special Mention)
prodaja/world sales Beta Cinema GmbH Gruenwalder Weg 28d 82041 Oberhaching, Munich, Germany E beta�betacinema.com
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Panorama svetovnega filma Panorama of World Cinema
Fúsi Virgin Mountain Dobrodu{ni velikan Islandija, Danska Iceland, Denmark 2015
Dagur Kári re`ija/directed by Dagur Kári scenarij/screenplay Dagur Kári fotografija/cinematography Rasmus Videbæk glasba/music Slowblow monta`a/editing Andri Steinn Gudjónsson, Olivier Bugge Coutté, Dagur Kári igrajo/cast Gunnar Jónsson (Fúsi), Ilmur Kristjánsdóttir (Sjöfn), Sigurjón Kjartansson (Mordur), Franziska Una Dagsdóttir (Hera), Margrét Helga Jóhannsdóttir (Fjola), Arnar Jónsson (Rolf), Thórir Saemundsson (Elvar) producenta/producers Baltasar Kormákur, Agnes Johansen produkcija/production RVK Studios Seljavegi 2 101 Reykjavik, Iceland E agnes�blueeyes.is format/format DCP, barvni/colour dol`ina/running time 94'
Dagur Kári nas s svojo toplo, z ne`nim humorjem obarvano pripovedjo popelje v zna~ilno nordijski svet junakov, ujetih v prime` notranje otopelosti in zunanjih omejitev.
festivali, nagrade (izbor)/ festivals, awards (selection) Tribeca 2015 (najbolj{i igrani celove~erec/Best Narrative Feature, najbolj{i scenarij/Best Screenplay, najbolj{i igralec/Best Actor)
43-letni Fúsi `ivi v svojem svetu in se ne meni kaj dosti za svoj videz. Slu`ba na bli`njem letali{~u od njega ne zahteva pretiranega truda, za prijateljevanje z dekleti pa tudi ne ka`e posebnega zanimanja. Edino, kar ga zanima, so rekonstrukcije voja{kih spopadov druge svetovne vojne – makete boji{~, tankov in vojakov so njegovo sveto pribe`ali{~e v stanovanju, ki ga deli z mamo. Potem pa nekega dne nedol`en kupon za plesno {olo povsem spremeni njegovo `ivljenje. Toda, ali je Fúsi res pripravljen na svet, ki ga je tako dolgo ignoriral? "Zanima me oblikovanje najbolj{ih mogo~ih likov, malce posebnih, izgubljenih, ki bodo najverjetneje izzvali zanimive dogodke, bolj kot tisti prilagojeni. Po drugi strani pa je film privla~en za vsesplo{no ob~instvo. Gre za navdihujo~o zgodbo o mo{kem, ki pomembno zakoraka v preostanek svojega `ivljenja. Upam, da se bo s tem lahko poistovetila ve~ina ljudi." (Dagur Kári)
prodaja/world sales BAC Films Distribution 9 rue Pierre Dupont 75010 Paris, France E sales�bacfilms.fr distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
43-year-old Fúsi is sleepwalking through life. His work as an airport baggage handler does not exactly stretch him and he has never had a girlfriend. The only thing that really interests him are World War II battles, which he painstakingly reconstructs using small model tanks and soldiers at home, in his mother's flat which is both his refuge and his prison. Unused to interacting with other people, one day Fúsi receives a coupon for a dance school, which changes his life completely. Is Fúsi actually ready to enter the world he has ignored for such a long time? "I am interested in creating the best possible characters, and the ones who are slightly off, misplaced or those who are more likely to cast off interesting situations, than the ones who fit in. But on the other hand this film has a universal appeal. It's an inspirational story about a man taking a significant step into the rest of his life. This is something that most people can relate to, I hope." (Dagur Kári)
Dagur Kári
filmografija/filmography
Rojen leta 1973 v Parizu. Leta 1999 je diplomiral na Nacionalni filmski {oli Danske. Deluje tudi kot glasbenik; njegova skupina Slowblow je prispevala glasbo za ve~ino njegovih filmov – tudi za Skriti adut, ki je 2005 zmagal na Ljubljanskem mednarodnem filmskem festivalu. Od leta 2013 vodi oddelek filmske re`ije na Nacionalni filmski {oli Danske in je ve~kratni dobitnik nagrad islandske Filmske akademije.
1998 1999 2001 2003 2005 2009 2014
Born in 1973 in Paris. Graduated from the National Film School of Denmark in 1999. Kari has also asserted himself as a musician; he is bandleader of Slowblow, and wrote the score for Dark Horse, the film that won top prize at the 2005 Ljubljana International Film Festival. Winner of several Icelandic Film Academy Awards, Kari has run the Director's Programme at the National Film School of Denmark since 2013.
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With subtle humour, Dagur Kári tenderly gets close to his protagonist, revealing the beauty of Nordic character, and describing his emancipation from internal stagnation and external constraints.
Old Spice (kratki/short) Lost Weekend (kratki/short) Villiljós (omnibus) Nói albinói (Noi the Albino/Albin Noi) Voksne mennesker (Dark Horse/Skriti adut) The Good Heart (Dobro srce) Fúsi (Virgin Mountain/Dobrodu{ni velikan)
Panorama svetovnega filma Panorama of World Cinema
Que Horas Ela Volta? The Second Mother Druga mama Brazilija Brasil 2015
Anna Muylaert
re`ija/directed by Anna Muylaert scenarij/screenplay Anna Muylaert fotografija/cinematography Bárbara Alvarez glasba/music Fabio Trummer, Vitor Araújo monta`a/editing Karen Harley igrajo/cast Regina Casé (Val), Michel Joelsas (Fabinho), Camila Márdila (Jéssica), Karine Teles (Barbara), Lourenço Mutarelli (Carlos), Helena Albergaria (Edna) producenti/producers Caio Gullane, Fabiano Gullane, Debora Ivanov, Anna Muylaert produkcija/production Gullane Rua Leandro Dupret, 73, São Paulo SP, 04025-010, Brasil T +55 11 50 81 3085 format/format DCP, barvni dol`ina/running time 110'
Presenetljivo dinami~na in duhovita dru`inska drama, ki ob raziskovanju zapletenega odnosa med materjo in zapu{~eno h~erjo vseskozi podaja tudi oster in dosleden dru`benokriti~ni komentar.
While probing into the complex relationship between a mother and the daughter she has abandoned the amazingly dynamic and comic family drama provides an incisive and uncompromising social commentary.
Val je hi{na pomo~nica, ki v skladu z dru`beno tradicijo vestnemu opravljanju dela podredi tudi svoja intimna pri~akovanja in `elje. Ne le da svoji bogati gospodarici stre`e dan in no~, obenem je druga mati njenemu najstni{kemu sinu, ~eprav ima svojo h~er, ki se ji je zaradi dela povsem odrekla. Nekega dne pa se v njenem `ivljenju znova pojavi h~i Jessica. Izrazi `eljo, da bi se z mamo spravila, saj prihaja v mesto, da bi opravljala sprejemne izpite na univerzi. Njen prihod ne pretrese le Val, ampak vso bogato dru`ino.
Val is the kind of live-in housekeeper who, in line with the Brazilian social tradition, has subjected her most intimate expectations and desires to her work. She serves her wealthy São Paulo employers day in and day out while lovingly nannying their teenage son although having a neglected daughter of her own. One day, Val's daughter Jessica arrives to take the college entrance exams and make peace with her mother. Jessica's confident presence upsets the strict balance of power in the household.
"Druga mama je film o nizu dru`benih omejitev, ki brazilsko kulturo opredeljujejo vse od kolonialnih ~asov in {e danes zaznamujejo ~ustveno arhitekturo naroda." (Martti Helde)
"The Second Mother is a film about a set of social strictures which have been in place in Brazilian culture since colonial times, and which continue to affect the country’s emotional architecture to this very day." (Martti Helde)
Anna Muylaert
filmografija (izbor)/filmography (selection)
Rojena 1964 v São Paulu v Braziliji. Po {tudiju re`ije je delovala kot filmska kriti~arka in scenaristka tv-oddaj. V devetdesetih letih je posnela niz kratkih filmov, leta 2002 pa svoj celove~erni prvenec Durval Discos, s katerim je osvojila {tevilne festivalske nagrade. Druga mama je njen ~etrti in do danes mednarodno najuspe{nej{i celove~erec.
1995 2002 2009 2012 2014
festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015 – Panorama (nagrada C.I.C.A.E./C.I.C.A.E. Award, nagrada ob~instva za igrani film/ Audience Award for Fiction Film), Sundance 2015 (posebna nagrada `irije – svetovni film, drama/ Special Jury Prize – World Cinema, Dramatic), RiverRun 2015 (nagrada `irije za najbolj{i scenarij/Jury Prize for Best Screenplay), World Cinema Amsterdam 2015 (nagrada ob~instva/Audience Award), Sarasota 2015, Wisconsin 2015, Sydney 2015, San Francisco 2015, Seattle 2015
prodaja/world sales The Match Factory Balthasarstraße 79–81 50670 Cologne, Germany E info�matchfactory.de
A Origem dos Bebês Segundo Kiki Cavalcanti (kratki/short) Durval Discos (Durval Records) É Proibido Fumar (Smoke Gets in Your Eyes) Chamada a Cobrar (Collect Call) Que Horas Ela Volta? (The Second Mother/Druga mama)
Born in 1964 in São Paulo, Brazil. After studying filmmaking at the University of São Paulo Muylaert became a film critic and wrote scripts for TV programs. In the 90s she directed a series of short films and in 2002 made Durval Discos, her first feature that won a number of festival awards. The Second Mother is her fourth and internationally most successful feature.
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Panorama svetovnega filma Panorama of World Cinema
El abrazo de la serpiente Embrace of the Serpent Ka~ji objem Kolumbija, Venezuela, Argentina Colombia, Venezuela, Argentina 2015
Ciro Guerra re`ija/directed by Ciro Guerra scenarij/screenplay Ciro Guerra, Jacques Toulemonde Vidal fotografija/cinematography David Gallego glasba/music Nascuy Linares monta`a/editing Etienne Boussac igrajo/cast Nilbio Torres (Karamakate), Antonio Bolivar (Karamakate), Yauenkü Miguee (Manduca), Jan Bijvoet (Theodor), Brionne Davis (Evan), Nicolás Cancino (Anizetto), Luigi Sciamanna (Gaspar) producentka/producer Cristina Gallego produkcija/production Ciudad Lunar Carrera 13 # 49 – 15 Oficina: 304 110011 Bogotá, Colombia E ciudadlunarproducciones�yahoo. com & Nortesur Producciones (Venezuela) & Mc Producciones (Argentina) & Buffalo Films (Argentina) format/format DCP, ~b in barvni/b&w and colour dol`ina/running time 125' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 – [tirinajst dni re`iserjev/Directors' Fortnight, München/Munich 2015, Karlovi Vari/ Karlovy Vary 2015
prodaja/world sales Films Boutique Köpenicker Strasse 184 10997 Berlin, Germany E info�filmsboutique.com
Nepri~akovano prijateljstvo med amazonskim {amanom in evropskima raziskovalcema v najbolj odro~nih koti~kih kolumbijskega pragozda.
An unexpected friendship between an Amazonian shaman and European researchers develops in the deepest recesses of the Colombian virgin forest.
Evropska znanstvenika `e {tirideset let potujeta po amazonskem pragozdu v iskanju svete rastline, ki bi ju lahko ozdravila. Tam naletita na Karamakateja, amazonskega {amana, zadnjega pre`ivelega predstavnika svojega ljudstva. Iz tega odnosa se splete epska pripoved o zbli`evanju, izdaji ter postopoma tudi o neomajnem prijateljstvu med {amanom in raziskovalcema. Navdih za film so bili dnevniki prvih raziskovalcev kolumbijske Amazonije, Theodorja Koch-Grunberga in Richarda Evansa Schultesa.
Over the course of 40 years, two scientists travel through the Amazon in search of a sacred plant that could heal them. In the primeval forest they encounter Karamakate, an Amazonian shaman, last survivor of his people. From this encounter, an epic story emerges about approach, betrayal and life-transcending friendship between the shaman and the researchers. Inspired by the journals of the first explorers of the Colombian Amazon, Theodor Koch-Grunberg and Richard Evans Schultes.
"Potovanja vetra je bil zelo oseben film o osebnih vpra{anjih – dru`ini, kulturi, identiteti. Za naslednji projekt sem se `elel odpraviti na potovanje v neznano! Kolumbijcu ni ni~ bolj neznanega kot Amazonija – prekriva polovico dr`ave, vendar o njej vemo le malo. @elel sem spoznavati nove zamisli. V tem procesu sem odkril dnevnike prvih raziskovalcev kolumbijske Amazonije, ki so me popolnoma prevzeli in mi ponudili zgodbo, iz katere sem izhajal." (Ciro Guerra)
"The Wind Journeys was a very personal film and it dealt with a lot of personal issues – family, culture, identity. So for the following project I wanted to take a journey to the unknown! For a Colombian there is nothing more unknown than the Amazon – it's half the country but we don't know much about it. I wanted to search for new ideas. In that process I discovered the journals of the first explorers in the Colombian Amazon and I thought they were fascinating, they gave me a story to work with." (Ciro Guerra)
Ciro Guerra
filmografija/filmography
Rojena 1964 v São Paulu v Braziliji. Po {tudiju re`ije je delovala kot filmska kriti~arka in scenaristka tv-oddaj. V devetdesetih letih je posnela niz kratkih filmov, leta 2002 pa svoj celove~erni prvenec Durval Discos, s katerim je osvojila {tevilne festivalske nagrade. Druga mama je njen ~etrti in do danes mednarodno najuspe{nej{i celove~erec.
1995 2002 2009 2012 2014
Born in 1964 in São Paulo, Brazil. After studying filmmaking at the University of São Paulo Muylaert became a film critic and wrote scripts for TV programs. In the 90s she directed a series of short films and in 2002 made Durval Discos, her first feature that won a number of festival awards. The Second Mother is her fourth and internationally most successful feature.
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A Origem dos Bebês Segundo Kiki Cavalcanti (kratki/short) Durval Discos (Durval Records) É Proibido Fumar (Smoke Gets in Your Eyes) Chamada a Cobrar (Collect Call) Que Horas Ela Volta? (The Second Mother/Druga mama)
Panorama svetovnega filma Panorama of World Cinema
The Diary of a Teenage Girl The Diary of a Teenage Girl Kako sem izgubila nedol`nost ZDA USA 2015
Marielle Heller
Najstni{ki film o iskanju ljubezni ob spolni revoluciji, posnet po stripovski uspe{nici ameri{ke avtorice Phoebe Gloeckner.
A teenage film about the search for love based on American author Phoebe Gloeckner's graphic novel of the same name.
San Francisco, sedemdeseta leta. Mestni parki so polni dolgolascev, mamila so na vsakem koraku. Petnajstletna Minnie obo`uje stripe in risanje. Svoje intimne misli in izku{nje brez zadr`kov izpoveduje v kasetni snemalnik, ki ji slu`i kot dnevnik. Pravkar je tudi prvi~ seksala, in to s fantom svoje mame, veliko starej{im od nje. Minnie je po tem dejanju sre~na, a obenem tudi zmedena. Gre samo za seks ali je to ljubezen? Od tega trenutka naprej seks usmerja vse njene misli. V tem ~asu negotovosti bo preizkusila vrsto stvari, vklju~no s tistimi, ki jih bo pozneje ob`alovala.
San Francisco, 1970s. The parks are full of long-haired people and drugs are everywhere. Fifteen-year-old Minnie loves comics and is crazy about drawing. She is unsparingly honest when it comes to confessing her most intimate thoughts and experiences to a tape recorder that serves as a diary. She has just had sex for the first time – with her mother's boyfriend of all people. He is much older than Minnie. Afterwards she is happy and confused. Is it just sex or is it love? From this moment onwards sex governs all Minnie's thoughts. In between her passionate affair with her mother's boyfriend and hanging out with those of her own age, she tries out all sorts of stuff, including some things she later regrets.
"Zdelo se mi je, da primanjkuje `enskih zgodb, osvetljenih z resni~no iskrenostjo, s katerimi bi se lahko osebno poistovetila. Najsi je bil razlog kakr{en koli, zdelo se mi je, da se zgodbe o odra{~ajo~ih najstnikih ve~inoma osredoto~ajo na mladeni~e. In kot mlado dekle sem se morala poistovetiti z mo{kimi protagonisti, saj drugih ni bilo. /.../ Nenadoma se mi je zazdelo, da je ta knjiga zapolnila praznino, ki sem jo vse `ivljenje ~utila. Z navdu{enjem sem se lotila filmske upodobitve zgodbe o tej mladi junakinji, ki je tako prevzemajo~a in zanimiva, pogumna in polna pomanjkljivosti ter lahko prevzame vlogo, ki je mladim dekletom primanjkovala." (Marielle Heller)
re`ija/directed by Marielle Heller scenarij/screenplay Marielle Heller, Phoebe Gloeckner (roman/novel) fotografija/cinematography Brandon Trost glasba/music Nate Heller monta`a/editing Marie-Hélène Dozo, Koen Timmerman igrajo/cast Bel Powley (Minnie), Kristen Wiig (Charlotte), Alexander Skarsgård (Monroe), Christopher Meloni (Pascal), muc Domino/Domino the Cat (Willie), Abby Wait (Gretel), Miranda Bailey (Andrea), Carson Mell (Michael Cocaine), John Parsons (Burt), Madeleine Waters (Kimmie) producenti/producers Miranda Bailey, Anne Carey, Bert Hamelinck, Madeline Samit produkcija/production Archer Gray 142 Greene St. 4th Floor New York, NY 10012, USA E info�archergray.com & Caviar (USA) & Cold Iron Pictures (USA) format/format DCP, barvni/colour dol`ina/running time 102' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2015, Berlin 2015 (velika nagrada sklopa Generacija/Grand Prix of the Generation), Sydney 2015, Edinburg/Edinburgh 2015 (najbolj{i mednarodni celove~erec/ Best International Feature Film), Jeruzalem/Jerusalem 2015, Odesa/ Odessa 2015, Palm Springs 2015, Zürich 2015
"I felt there was a void in women's stories being told in really honest ways that I could relate to personally. For whatever reason, I felt that stories about adolescents coming of age had always tended to be focused on young men. And as a young woman, I had to relate to those male protagonists, because that was all I had. /.../ Suddenly I felt that this book filled a void that I had been searching to fill my whole life. I felt so excited to bring a young heroine to the screen, a heroine who is amazing and interesting and brave and flawed, who can fill the role that's been missing for young girls." (Marielle Heller)
Marielle Heller
Marielle Heller
Rojena leta 1979 v Kaliforniji, ZDA. Na univerzi UCLA in na Kraljevi akademiji dramske umetnosti (RADA) je {tudirala igro, nakar je nastopila v vrsti televizijsih produkcij. Hellerjevo je nato mo~no prevzela knjiga Dnevnik najstnice, ki jo je sprva priredila v gledali{ko igro, pozneje pa {e v svoj celove~erni filmski prvenec.
2015 The Diary of a Teenage Girl (Kako sem izgubila nedolžnost)
prodaja/world sales K5 International Konradinstrasse 5 81543 München, Germany E info�k5mediagroup.com distribucija/distribution Continental film, d.o.o. Stegne 3 1000 Ljubljana E manja.verbic�continentalfilm.si
Born in California, USA in 1979, Heller studied acting at UCLA and at the Royal Academy of Dramatic Art (RADA) in London and has appeared in a number of television productions. The Diary of a Teenage Girl is based on Phoebe Gloeckner's graphic novel of the same name. Heller was so taken with it that she first turned it into a stage play and then into her debut feature film.
73
Panorama svetovnega filma Panorama of World Cinema
Al-hob wa al-sariqa wa mashakel ukhra Love, Theft and Other Entanglements Ljubezen, tatvina in drugi zapleti Palestina Palestine 2015
Muayad Alayan re`ija/directed by Muayad Alayan scenarij/screenplay Muayad Alayan, Rami Musa Alayan fotografija/cinematography Muayad Alayan glasba/music Nathan Daems monta`a/editing Sameer Qumsiyeh igrajo/cast Sami Metwasi (Mousa), Maya Abu Alhayyat (Manal), Riyad Sliman (Avi), Ramzi Maqdisi (Kamal), Kamel Elbasha (Abu Mustafa), Hussein Nakhleh (Abu Mousa), Valantina Abu Oqsa (slepa `enska/blind woman), Mustafa Abu Hanood (uradnik/ official), Nicola Zreineh (Ibrahim), Mohammad Othman (Michael), Tariq Alayan (naseljenec/settler), Osama Awad (reporter) producenta/producers Muayad Alayan, Rami Musa Alayan produkcija/production Palcine Productions Betlehem, West Bank E muayad�palcine.net format/format DCP, ~b/b&w dol`ina/running time 93'
Muayad in Rami Alayan razmere v Palestini prika`eta presenetljivo komi~no in v svojem slogu celo po~astita francoski novi val.
festivali, nagrade (izbor)/ festivals, awards (selection) Berlin 2015, Seattle 2015, Tajpej/ Taipei 2015
Mousa je povpre~en postopa~ v palestinskem begunskem tabori{~u in mu ni mar za o~etovo te`ko prigarano pravico do dela v izraelskem delu Jeruzalema. Sam se raje pre`ivlja s krajo in nadaljnjo preprodajo izraelskih avtomobilov. Mousa je preprosto prepri~an, da je njegova prihodnost stran od nasilja in vseh omejitev, ki zaznamujejo `ivljenje v razdeljenem mestu. Nekega dne pa ga po kraji passata palestinski vojaki ustavijo in pregledajo, pri ~emer v njegovem avtu odkrijejo nadvse presenetljivo blago. Zaradi tega odkritja se do sedaj apoliti~ni Mousa znajde med dvema ognjema razli~nih strani in interesov ... "Hotela sva ustvariti nekaj nerodnega. Ne nujno komi~nega. Hotela sva nekaj bizarnega, kar bi u~inkovalo sanjsko, pravlji~no. Ko so stvari tako nerodne in ko se ti toliko dogaja, se lahko smeje{ in joka{ obenem. /.../ V~asih je tragedija `ivljenja v Palestini tako velika, da se ji mora{ preprosto smejati. Na tak{ni stopnji absurda je v ozadju vedno komedija. Od tod sva dobila zamisel." (Muayad & Rami Alayan)
prodaja/world sales Palcine Productions Betlehem, West Bank E muayad�palcine.net
Layabout and small-time hood, Mousa has all kinds of skills. A refugee camp resident, this Palestinian does not give a damn about his father's hard-won permit to work legally in the Israeli part of Jerusalem; he would rather earn a living stealing and selling Israeli cars. Mousa is convinced that his future lies far away from all the violence and constraints that mark the life in the divided city. Following the theft of a Passat one day he is given a brutal going-over by Palestinian militia-men. On closer inspection of the vehicle, he makes a discovery which suddenly makes apolitical Mousa of interest to all sides. "We wanted to do something that is awkward. Not necessarily a comedy genre. We wanted something that was weird, and would feel dreamy, fairy tale-ish. When things are so awkward and with so many events that happen to you, it can make you laugh and cry at the same time. /.../ Living in Palestine sometimes the tragedy is so big, you cannot stop yourself and laugh about it. When things are so absurd there will be always comedy behind it. That’s where the idea came from." (Muayad & Rami Alayan)
Muayad Alayan
filmografija/filmography
Palestinec, rojen leta 1985 v Kuvajtu. [tudiral je v San Franciscu, potem pa se je vrnil v Betlehem, da bi tam snemal resni~ne filme o vsakdanu mladih Palestincev. Njegov prvi kratki film Lesh sabreen? je bil premierno predstavljen na filmskem festivalu v Clermont-Ferrandu, zatem pa so ga predvajali na ve~ kot {estdesetih mednarodnih festivalih. Film Ljubezen, tatvina in drugi zapleti je njegov celove~erni prvenec.
2009 2010 2012 2015
A Palestinian born in Kuwait in 1985, Alayan studied in San Francisco before returning to Bethlehem to make films about the realities of life for young Palestinians. His first short film, Lesh Sabreen?, premiered at the International Short Film Festival in Clermont-Ferrand in 2009 and screened at over 60 international festivals. Love, Theft and Other Entanglements marks his feature-film debut.
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Muayad and Rami Alayan defiantly tread their own path in a playful film that provokes laughs while exploring the situation in Palestine. An innovative tribute to the French New Wave Cinema.
Lesh sabreen? (kratki/short) Mute (kratki/short) Al-hijara al-muqadasa (Sacred Stones) (dokumentarni/documentary) Al-hob wa al-sariqa wa mashakel ukhra (Love, Theft and Other Entanglements/Ljubezen, tatvina in drugi zapleti)
Panorama svetovnega filma Panorama of World Cinema
No Men Beyond This Point No Men Beyond This Point Ni prostora za mo{ke Kanada Canada 2015
Mark Sawers
Kak{en bi bil svet, ki bi mu vladale `enske, mo{ki pa bi bili na robu izumrtja? V od{tekanem in drznem mockumentarcu spremljamo enega zadnjih {e `ive~ih mo{kih pri njegovem boju za obstanek svoje vrste.
A world ruled by women with men hovering on the brink of extinction. The offbeat and daring mockumentary centres on one of the last surviving males struggling for the preservation of his kind.
Andrew Myers je star sedemintrideset let. Je najmlaj{i {e `ive~i mo{ki na svetu, kajti mo{kim `e nekaj ~asa grozi izumrtje. `enske `e ve~ kot pol stoletja brez vsakr{ne udele`enosti mo{kih pri reprodukciji rojevajo le {e deklice. Mo{ki so izginili z vseh pomembnih polo`ajev, seks in nasilje pa sta prepovedana z zakonom. Ve~ina pre`ivelih mo{kih zdaj prebiva v posebnih rezervatih, pe{~ico pa `enske izkori{~ajo kot ceneno delovno silo. Eden od njih je neopazen in umirjen "gospodinjec" Andrew, ki se naenkrat znajde na obmo~ju boja, v katerem sku{a prepre~iti popolno izumrtje mo{kih na Zemlji.
Aged thirty-seven, Andrew Myers is the youngest man still living on Earth as men have been threatened with extinction. For over half a century women spontaneously give birth to children – girls – without any contribution from male genes. Men quickly disappeared from all major posts, and sex and violence were outlawed. The remaining men are now cared for in special reservations or used as cheap labourers such as Myers. Taciturn and unremarkable, Andrew is a housekeeper engaged in a life-ordeath struggle for survival of men on Earth.
"Ni~esar ne morem jemati povsem resno. Ko se stvari lotim resno, se jim nemudoma za~nem posmehovati. Ob~udujem ljudi, ki se ukvarjajo z resno dramo, vendar raje izzovem smeh kot solze." (Mark Sawers)
festivali/festivals Rotterdam 2015
"I can't take anything really seriously. When I start doing things seriously, I start mocking them right away. I marvel at people who do serious drama, but I prefer to get a laugh than tears." (Mark Sawers)
Mark Sawers
filmografija (izbor)/filmography (selection)
Rojen leta 1967 v Britanski Kolumbiji, Kanada. Na tamkaj{nji univerzi je leta 1989 kon~al {tudij filma, v za~etku devetdesetih let pa je `e posnel svoje prve kratke filme (za kratki film Shoes Off! je prejel tudi nagrado na Mednarodnem tednu kritike v Cannesu). Njegov predzadnji celove~erni film Camera Shy je bil nagrajen na {tevilnih festivalih.
1992 1993 1995 1998 2003 2009 2012 2015
Born in 1967 in British Columbia, Canada, Sawers graduated in film in 1989 from the University of British Columbia and began his career in the 1990s making short films such as Shoes Off! that won the Best Short Film prize at the Cannes Film Festival’s International Critics' Week. His penultimate feature, Camera Shy, has screened at a number of festivals and won various awards.
re`ija/directed by Mark Sawers scenarij/screenplay Mark Sawers fotografija/cinematography Thomas Billingsly, Christopher Kempinski glasba/music Don MacDonald monta`a/editing Jamie Franklin igrajo/cast Patrick Gilmore (Andrew Myers), Kristine Cofsky (Iris Blashev), Tara Pratt (Terra Granger), Rekha Sharma (Ajala Bhatt), Morgan Taylor Campbell (Dahlia Balashev), Cameron McDonald (Darius Smith) producenta/producers Galen Fletcher, Kaleena Kiff produkcija/production YXY Productions Inc. 4011 Hastings St. Burnaby, British Columbia V5C 2J1, Canada E galen�radius-squared.com format/format DCP, barvni/colour dol`ina/running time 80'
prodaja/world sales YXY Productions Inc. 4011 Hastings St. Burnaby, British Columbia V5C 2J1, Canada E galen�radius-squared.com
Hatemail (kratki/short) Stroke (kratki/short) Best Wishes Mason Chadwick Shoes Off! (kratki/short) Lonesome Joe (kratki/short) Pure Evil (TV) Camera Shy No Men Beyond This Point (Ni prostora za mo{ke)
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Panorama svetovnega filma Panorama of World Cinema
Domácí pé~e Home Care Oskrba na domu Slávek Horák
re`ija/directed by Slávek Horák scenarij/screenplay Slávek Horák fotografija/cinematography Jan [tastný zvok/sound Peter Surovy monta`a/editing Vladimír Barák igrajo/cast Alena Mihulová (Vlasta), Boleslav Polívka (mo`/husband Lada), Tatiana Vilhelmová (Vlastina prijateljica/ Vlasta's girlfriend) producent/producer Slávek Horák produkcija/production Endorfilm Primeticka 4 14000 Prague 4 Czech Republic E endorfilm�endorfilm.cz & Arsmedia (Slovenia) 42film (Germany) ^eská televize (Czech Republic) Rouge International (France) Punkchart films (Slovakia) State Cinematography Fund Czech Republik MDM – Mitteldeutsche Medien Slovenian Film Centre Slovak Audiovisual Fund Media Programme Eurimages format/format DCP, barvni/colour dol`ina/running time 92'
Slávek Horák se zna~ilno ~e{ko – lahkotno, zabavno, a tudi nadvse iskreno – spoprime z najte`jimi ~love{kimi vpra{anji. Predana patrona`na sestra Vlasta `ivi za svojega mo`a, h~erko in svoje paciente. Vsako jutro zvrne {ilce slivovke ter polna radosti in optimizma odhiti k svojim strankam. Zdi se, da ni stvari, ki bi jo spravila iz tira. Potem pa se nekega dne vse spremeni in ne le Vlasta, pa~ pa tudi vsi okoli nje se bodo morali navaditi na dejstvo, da je zdaj ona tista, ki potrebuje pomo~ ...
festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2015
"Veliko sem razmi{ljal o temi, ki bi bila vredna mojega celove~ernega prvenca. Umaknil sem se v osamo ter poiskal mir in ti{ino za pisanje scenarija v hi{i svojih star{ev, vendar me je moja zgovorna mati neprestano motila z neskon~nimi, bizarnimi slu`benimi prigodami. Bila je medicinska sestra, skrbela je za bolnike na domu, pri tej oskrbi pa spozna{ cel kup zanimivih ljudi. Danes se zdi samoumevno, vendar je minilo precej ~asa, preden sem spoznal, da imam najbolj{o temo `e vse `ivljenje tik pred nosom – lik moje matere." (Slávek Horák)
prodaja/world sales Stink 5–23 Old Street London, EC1V 9HL, UK E daniel.bergmann�stink.co
Adopting a typically Czech perspective, an easygoing, amusing, yet totally honest style, Slávek Horák addresses the most difficult of human issues. Dedicated home-care nurse Vlasta lives for her husband, her daughter and her patients. This abstemious woman who radiates joy begins each day with a drop of plum brandy, and not even the whims of her clients can wipe that sweet smile off her face. One ordinary day ends differently from all the others, however, and not only Vlasta but everyone around her is going to have to get used to the fact that she's the one who's going to need looking after. "I was thinking a lot about what theme would be worthy of my feature debut. I retreated into seclusion and headed to my parents' place in the countryside to get some peace and quiet while writing, but my talkative mother kept disturbing me with her never-ending, bizarre stories from work. She was working as a nurse, doing home care, and one meets an array of interesting people there. You see it now, but it took me a while to realise that the best idea was right there in front of me my whole life – in the character of my mother." (Slávek Horák)
Slávek Horák
filmografija/filmography
Rojen leta 1975 v Zlínu na ^e{kem. [tudiral je na pra{ki FAMU. Obiskoval je predavanja iz filmske re`ije in scenaristike, a ker se je tako bliskovito uveljavil kot re`iser oglasov, {tudija ni dokon~al. Posnel je ve~ kot sto dvajset oglasov in nekaj kratkih filmov, Oskrba na domu pa je njegov celove~erni prvenec.
2015 Domácí pé~e (Home Care/Oskrba na domu)
Born in 1975 in Zlín, Czechoslovakia, Horák attended Prague's FAMU, taking courses in feature film direction and screenwriting; however, having become so successful directing commercial spots, he ended up not completing his studies. A director of over 120 commercials and some shorts, Home Care marks his feature debut.
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^e{ka, Slova{ka Czech Republic, Slovakia 2015
Panorama svetovnega filma Panorama of World Cinema
Kkum-bo-da hae-mong A Matter of Interpretation Razlo`i si sam Ju`na Koreja South Korea 2014
Lee Kwang-kuk
Lahkotna, minimalisti~na, a tudi z osupljivo suverenostjo izpeljana pripoved, v kateri se zgodba porodi iz zgodbe, resni~nost pa se prepleta s sanjskim.
An easy-going, minimalistic narrative presented with astounding proficiency, in which a story emerges from a story, and reality and dreams are strangely intertwined.
Ne najbolj uspe{no mlado igralko mo~no potre dejstvo, da na premiero predstave, v kateri je nastopila, ni pri{el prav nih~e. [e ve~, to se je zgodilo na dan, ko jo je zapustil fant. U`alo{~ena se odpravi proti parku, da bi v miru malce posedela, ko jo preseneti klic prijateljice. Ta ji pove, da jo je tisto no~ videla v zlove{~ih sanjah, zato ji predlaga, naj malce popazi. Igralka sede na klop v parku in kmalu se ji pribli`a detektiv. Opozorilu sledijo vljudnostne fraze, kmalu zatem pa se neznanca zapleteta v pogovor. Igralka ugotovi, da ima detektiv prav poseben dar: ~eprav sam nikoli ne sanja, zna nadvse dobro razlo`iti sanje drugih. Za~ne mu pripovedovati o sanjah prijateljice, on pa ji te razlo`i ob primeru, s katerim se ukvarja. Tako se resni~no in sanjsko za~neta prepletati.
A frustrated young actress is feeling depressed because nobody has come to the play in which she is acting. On top of that, she has broken up with her boyfriend. Having a think in a park, she receives a call from a friend informing her of having a bad dream about her and warning her to stay alert. Still sitting on the park bench, she meets a detective with a strange gift – he knows how to interpret dreams. The detective realises that her dream sounds just like a case he is working on. The plot quickly shifts to a plane where dream logic prevails, and the line between illusion and reality is not entirely clear.
"Ko sem za~el snemati filme, sem ugotovil, da veliko razmi{ljam o sanjah. Ko je bil o~e bolan, velikokrat ni znal lo~iti med sanjami in resni~nostjo. Mislim, da sem se zaradi tega bolj za~el posve~ati razmerju med sanjskim in stvarnim." (Lee Kwang-kuk)
re`ija/directed by Lee Kwang-kuk scenarij/screenplay Lee Kwang-kuk fotografija/cinematography Gang Dae-hee glasba/music Jeong Yong-jin monta`a/editing Son Yeon-ji igrajo/cast Shin Dong-mi (Choi Yeon-shin), Kim Gang-hyeon (Shin U-yeon, fant Yeon-Shin/Yeon-shin's boyfriend), Yu Jun-sang (detektiv Seo/detective Seo), Seo Yeong-hwa (Seo Dong-hui, detektivova sestra/the detective's sister), Kim Tae-u (potnik v taksiju/ taxi passenger), Lee Ju-hyeon (Choi Du-gyeong, gledali{ki re`iser/theatre director) producent/producer Lee Kwang-kuk produkcija/production Byeokdol Films Korea 4F 291-240 Ui-dong Gangbuk-gu, Seoul, South Korea E leekwangkuk�gmail.com format/format DCP, barvni/colour dol`ina/running time 99' festivali, nagrade (izbor)/ festivals, awards (selection) Busan 2014 (nagrada CGV Movie/ CGV Movie Award), Seul/Seoul 2014 (najbolj{i film/Best Film), Rotterdam 2015, Seattle 2015, Karlovi Vari/ Karlovy Vary 2015
"As I started to make films I realised I thought a lot about dreams. When my father was sick, there were many incidents where he was confused between dreams and reality. I think that made me start to look at dreams and reality more closely." (Lee Kwang-kuk)
Lee Kwang-kuk
filmografija/filmography
Rojen leta 1975 v Seulu, Ju`na Koreja. Po {tudiju na seulskem In{titutu za umetnost, kjer je uspe{no zaklju~il smer filmska re`ija, je Lee sprva deloval v vlogi asistenta re`ije – med drugim je sodeloval tudi s priznanim ju`nokorejskim re`iserjem Hong Sang-soojem. Leta 2011 je posnel svoj celove~erni prvenec Romaenseu Jo, ki mu je prinesel ve~ festivalskih nagrad. Razlo`i si sam je njegov drugi celove~erec.
2011 Romaenseu Jo (Romance Joe) 2014 Kkum-bo-da hae-mong (A Matter of Interpretation/Razlo`i si sam)
prodaja/world sales M-Line Distribution Rachel Joo 3F Mido Bldg, 540–21 Shinsa-dong, Gangnam-gu Seoul 135-889, South Korea E rachel�mline-distribution.com
Born in 1975, in Seoul, South Korea. After graduating from the Seoul Institute of the Arts with a degree in film, has was assistant director for several films, including the critically acclaimed South Korean director Hong Sang-soo. He debuted in 2011 with Romance Joe, which received several festival awards. A Matter of Interpretation is his second feature.
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Panorama svetovnega filma Panorama of World Cinema
Stinking Heaven Stinking Heaven Smrdljiva nebesa ZDA USA 2015
Nathan Silver re`ija/directed by Nathan Silver scenarij/screenplay Nathan Silver, Jack Dunphy fotografija/cinematography Adam Ginsberg glasba/music Paul Grimstad monta`a/editing Stephen Gurewitz igrajo/cast Deragh Campbell (Lucy), Keith Poulson (Jim), Hannah Gross (Ann), Eléonore Hendricks (Betty), Tallie Medel (Courtney), Henri Douvry (Kevin), Jason Giampietro (Alex), Jason Grisell (Fred), Eileen Kearney (Marie), Larry Novak (Gene) producentka/producer Rachel Wolther produkcija/production Stinking Heaven Inc. E stinkingheaven�gmail.com format/format video, barvni/colour dol`ina/running time 70' festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2015, Wisconsin 2015, Buenos Aires 2015, Jeonju 2015, Elizejske poljane/Champs-Élysées 2015
Ta, "kot katran ~rna komedija", kakor jo opredeli avtor dela, prek portreta "komune za trezno `ivljenje" sledi dru`beni dinamiki, ki je bila zna~ilna za ameri{ko predmestno `ivljenje v devetdesetih letih. Zakonca Jim in Lucy na svojem domu v predmestju New Jerseyja vodita komuno za `ivljenje pod zaobljubo treznosti. Okrog njiju se je tako zbrala pisana skupnost posebne`ev, ki dru`no delajo, jejo in se veselijo, pre`ivetje pa si posku{ajo zagotoviti s prodajo doma~e me{anice "zdravilnega ~aja". ^eprav v skupnosti ni vse idealno in se med ~lani ve~krat pojavijo tudi nesoglasja, pa se njeni ~lani, ti svojski dru`beni posebne`i in izob~enci, povsem jasno zavedajo, da jim Jim in Lucy na svojem domu ne dajeta le varnega zato~i{~a, temve~ celotno okolje, ki jim je pisano na ko`o: njihov raj na zemlji. A nato se skupnosti pridru`i Ann, {e do nedavnega odvisnica in neko~ partnerka enega izmed ~lanov, katere prihod na komuno deluje kot uni~ujo~i cunami.
This black as tar comedy (if quoting the filmmaker) charts the dissolution of a commune for sober living, painting the picture of the 1990s suburban New Jersey social fabric. Married couple Jim and Lucy run a commune for sober living out of their suburban New Jersey home. The motley members eat, bathe and work together selling homemade 'health tea' out of their van. Although there's constant bickering and plenty of fires to be put out, Jim and Lucy have managed to establish a haven for these outcasts. But the harmony is interrupted when Ann, a recovering addict and the ex-lover of one housemate, arrives. Ann's insidious presence sends the members spiralling out of control. "Shooting a period piece, I found it necessary to work with a news camera from the time. In the end, it's a documentary of a fictional world – one that deals with the need for family, love, and humiliation." (Nathan Silver)
"Ker sem se odlo~il, da se lotim filma o nekem konkretnem zgodovinskem obdobju, se mi je zdelo nujno, da vse skupaj posnamemo z novinarskimi tv-kamerami iz tistega obdobja. Tako je nastal dokumentarec o nami{ljenem svetu – ki obravnava potrebo po dru`ini, ljubezni in poni`anju." (Nathan Silver)
prodaja/world sales Stinking Heaven Inc. E stinkingheaven�gmail.com
Nathan Silver
filmografija (izbor)/filmography (selection)
Rojen leta 1983 v Massachusettsu, ZDA, odra{~al v Brooklynu. Leta 2005 je diplomiral na Tisch School of the Arts v New Yorku. Od tedaj je zre`iral vrsto kratkih in pet celove~ernih filmov, s katerimi se je uveljavil na ameri{ki neodvisni sceni. Revija Filmmaker ga je pred kratkim imenovala za enega najzanimivej{ih mladih re`iserjev ameri{kega neodvisnega filma.
2009 2012 2013 2014 2015
Born in 1983 in Massachusetts, Silver grew up in Brooklyn. In 2005 he graduated from the Tisch School of the Arts in New York. Since then, he has directed at high speed several short films and has established himself on the indie scene with five feature films. Recently, Filmmaker magazine has named Silver 'one of the most interesting emerging directors in U.S. indie film.'
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The Blind Exit Elena Soft in the Head Uncertain Terms Stinking Heaven (Smrdljiva nebesa)
Panorama svetovnega filma Panorama of World Cinema
Un etaj mai jos One Floor Below Spodnje nadstropje Romunija, Francija, Nem~ija, [vedska Romania, France, Germany, Sweden 2015
Radu Muntean
Zanos romunskega novega vala ne pojenja: Radu Muntean v svojem novem filmu o boju mo{kega z vestjo po umoru, ki mu je bil pri~a.
The Romanian new wave has not lost momentum: Radu Muntean's new film features a witness to a murder who finds himself wrestling with his conscience.
Petrascu je mo{ki v petdesetih letih, o katerem v prvi uri filma izvemo komajda kaj ve~ od njegovega priimka. Preprosto je ~lovek, na katerega se vsi lahko zanesejo. Nekega jutra med hojo po stopnicah iz sosednjega stanovanja sli{i, da se je za vrati vnel hud prepir med `ensko in mo{kim. Ko vse potihne, iz stanovanja izstopi Vali, sosed iz drugega nadstropja. Petrascu mu brez pomisleka prikima in mol~e odkoraka v svoje stanovanje. Med dnevnimi opravili opazi, da so se pred vhodom v stavbo za~eli zbirati sosedje in policija. Laura, mlada `enska iz drugega nadstropja, je umrla za posledicami mo~nega udarca v glavo.
Patrascu is in his 50s. The first hour of the film doesn't even reveal his first name. He is simply a man everybody can depend upon. One morning, as he climbs the stairs home, Patrascu hears a violent conflict between a woman and a man from inside one of the apartments. The noise in the apartment suddenly stops, and out comes Vali, his second-floor neighbour. Patrascu gives an automatic nod and wordlessly walks up the stairs to his apartment. While performing his household chores Patrascu is surprised to see neighbours and police swarming around the building entrance. Laura, the young woman from the second floor, was found dead, following a blow to the head.
"Kinematografski jezik, ki sem ga uporabil v ve~ini svojih filmov, opisujejo kot minimalisti~en. Strinjam se, da rad ustvarjam filmske strukture z minimalnimi sredstvi in si prizadevam, da je mojo pripovedni{ko navzo~nost ~im manj ~utiti. Menim, da je gledalce treba zapeljati, ne zmanipulirati; privesti jih je treba do to~ke, ko se pribli`ajo zgodbi, zberejo podatke iz sestavljanke v filmu z ob~utkom, da sami gradijo pripovedno zgradbo." (Radu Muntean)
re`ija/directed by Radu Muntean scenarij/screenplay Alexandru Baciu, Radu Muntean, Razvan Radulescu fotografija/cinematography Tudor Lucaciu glasba/music Electric Brother monta`a/editing Andu Radu igrajo/cast Teodor Corban (Sandu Patrascu), Iulian Postelnicu (Vali Dima), Oxana Moravec (Olga Patrascu), Ionut Bora, Liviu Cheloiu (Bolocan), Calin Chirila (in`enir RAR/RAR engineer), Teodor Corban (Patrascu), Constantin Dita (Viorel), Constantin Draganescu (Dan) producent/producer Dragos Vilcu produkcija/production Multi Media Est 5 Temisana St 010795 Bucharest, Romania E office�mme.ro & Les Films de l'Après-Midi (France) & Neue Mediopolis Filmproduktion (Germany) & Bleck Film & TV AB (Sweden) format/format DCP, barvni/colour dol`ina/running time 93' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 – Posebni pogled/Un Certain Regard, Karlovi Vari/Karlovy Vary 2015
“The cinematographic language I have used in most of my films has been described as minimalist. And I do agree that I like to create filmic structures with minimal means, and make my storytelling presence felt as little as possible. To my mind, viewers must be seduced, not manipulated; they must be brought to a point where they organically assimilate the story, assemble the information out of the puzzle provided in the film, with the feeling they are building the story structure themselves." (Radu Muntean)
Radu Muntean
filmografija/filmography
Rojen leta 1971 v Bukare{ti. 1994 je diplomiral na Akademiji za film in gledali{~e v rojstnem mestu, kjer je posnel tudi svoje prve kratke filme. Ob tem je re`iral tudi ve~ kot {tiristo oglasov, za katere je prejel vrsto nagrad. Njegovi celove~erni filmi Furia, Papir bo pomodrel, Boogie in Torek, po bo`i~u so bili uvr{~eni na {tevilne presti`ne mednarodne festivale. Spodnje nadstropje je njegov peti celove~erec.
2002 2006 2008 2010 2015
prodaja/world sales Films Boutique Köpenicker Strasse 184 10997 Berlin, Germany E info�filmsboutique.com
Furia Hîrtia va fi albastrã (The Paper Will Be Blue/Papir bo pomodrel) Boogie Marti, dupa craciun (After Christmas/Torek, po bo`i~u) Un etaj mai jos (One Floor Below/Spodnje nadstropje)
distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
Born in Bucharest in 1971. In 1994 he graduated from the Film and Theatre Academy in his hometown, where he made his first short films. He has also directed over 400 ads, which have won a great number of awards. His feature films, Furia, The Paper Will Be Blue, Boogie and After Christmas, screened at several prestigious international festivals. One Floor Below is Muntean's fifth feature.
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Panorama svetovnega filma Panorama of World Cinema
Mediterranea Mediterranea Sredozemlje Jonas Carpignano
re`ija/directed by Jonas Carpignano scenarij/screenplay Jonas Carpignano fotografija/cinematography Wyatt Garfield glasba/music Dan Romer monta`a/editing Sanabel Cherqaoui, Affonso Gonçalves, Nico Leunen igrajo/cast Alassane Sy (Abas), Koudous Seihon (Ayiva), Aisha (Aisha), Paolo Sciarretta (paznik v centru za tujce/ detention center guard), Annalisa Pagano (Cristina Riso), Davide Schipilliti (Rocco), Vincenzina Siciliano (Marta) producenti/producers Jason Michael Berma, Chris Columbus, Eleanor Columbus, Jon Coplon, Christoph Daniel, Andrew Kortschak, John Lesher, Ryan Lough, Gwyn Sannia, Marc Schmidheiny, Victor Shapiro, Ryan Zacarias produkcija/production Mediterranea Film E jonasash�gmail.com format/format DCP, barvni/colour dol`ina/running time 107' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015 – Teden kritike/Critics’ Week
prodaja/world sales NDM Sultapec 47. col. H. Condesa Mexico City, Mexico E fm�mantarraya.com distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
Re`iser Jonas Carpignano postavi ogledalo kruti migracijski politiki dana{nje Evrope.
Filmmaker Jonas Carpignano's feature debut graphically depicts Europe's ruthless immigration policy.
Da bi svoji dru`ini v Burkina Fasu omogo~il dostojno `ivljenje, se Ayiva skupaj s prijateljem Abasom vkrca na enega izmed begunskih ~olnov, ki iz severne Afrike vsak dan odplujejo proti Evropi. Ob prihodu v Italijo pribe`nike zajame obmejna policija in jih odpelje v center za tujce. ^e `elita ostati v "obljubljeni" de`eli, sta si Ayiva in Abas primorana v treh mesecih poiskati pogodbeno delo, ob tem pa se vsak dan spopadata z nara{~ajo~o nestrpnostjo doma~inov.
Ayiva recently left his home in Burkina Faso in search of a way to provide for his sister and daughter. He takes advantage of his position in an illegal smuggling operation to get himself and his best friend Abas off the continent. The migrants are captured by the Italian border police and taken to aliens centre. In order to stay in the 'promised' land Ayiva and Abas have to find contract work within three months, but when tensions with the local community rise, things become increasingly dangerous.
"Cilj mi nikoli ni bil narediti nekaj, kar bi bilo pretirano didakti~no in posku{ati spremeniti italijansko politiko. Dovolj mi je `e, ~e ljudje prenehajo gledati nanje kot na skupino migrantov ali imigrantov in za~nejo razmi{ljati o njih kot posameznikih. Bolj kot se lahko poistovetimo z njimi in uzremo del sebe v njihovi izku{nji, ve~ so~utja se bo zganilo v ljudeh." (Jonas Carpignano)
"The goal for me was never to make something overly didactic and to try and change the policy in Italy. For me it's enough if people stop looking at this as a group of migrants, or immigrants, and start thinking of them as individual people. I think that the more we can identify and see some of ourselves in their experience, the more compassion people will have." (Jonas Carpignano)
Jonas Carpignano
filmografija/filmography
Rojen leta 1984 v Rimu, Italija. Otro{tvo je pre`ivel med Rimom in New Yorkom. Trenutno `ivi v Italiji, kjer se zadnjih pet let posve~a snemanju filmov. Je reden gost presti`nih filmskih festivalov po vsem svetu (Cannes, New York, Benetke), njegov celove~erni prvenec Sredozemlje pa je bil letos uvr{~en v program canskega Tedna kritike.
2011 A Chjána (kratki/short) 2014 A Ciambra (kratki/short) 2015 Mediterranea (Sredozemlje)
Born in 1984 in Roma, Italy, Carpignano spent his childhood between Rome and New York City. He is currently based in Italy and has been involved in filmmaking for the past five years. His work has been shown at prestigious festivals including the Cannes, Venice, and the New York film festivals. Carpignano’s feature debut, Mediterranea, has been screened in the Critics’ Week section of the Cannes Film Festival.
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Italija, Francija, ZDA, Nem~ija, Katar Italy, France USA, Germany, Quatar 2015
Panorama svetovnega filma Panorama of World Cinema
I ekriksi A Blast [us v glavo Gr~ija, Nem~ija, Nizozemska Greece, Germany, The Netherlands 2014
Syllas Tzoumerkas
re`ija/directed by Syllas Tzoumerkas scenarij/screenplay Syllas Tzoumerkas, Youla Boudali fotografija/cinematography Pantelis Mantzanas glasba/music drog_A_tek monta`a/editing Kathrin Dietzel igrajo/cast Angeliki Papoulia (Maria), Vassilis Doganis (Yannis), Themis Bazaka (mati/mother), Makis Papadimitriou (Costas), Maria Filini (Gogo), Yorgos Biniaris (o~e/father) producenti/producers Maria Drandaki, Titus Kreyenberg, Ellen Havenith, Jeroen Beker produkcija/production Homemade Films Koniari 3 114 71 Athens, Greece E info�homemadefilms.gr format/format DCP, barvni/colour dol`ina/running time 83'
Zgodba o `enski, ki se zaradi pritiskov okolja odlo~i za radikalno spremembo. Uni~ujo~e poosebljen portret cele generacije Grkov, zaznamovanih z gospodarsko in bivanjsko krizo.
Focusing on a woman forced into making radical changes by reason of economic and social pressures, A Blast is a devastatingly personified portrait of a generation of Greeks affected by both financial and existential crises.
Mario kot strela z jasnega pre{ine, da mora spremeniti `ivljenje, v katerem ne vidi smisla. Brezskrbni mladostni dnevi in strastno ljubezensko razmerje so le {e be`en spomin, finan~ne te`ave z majhno trgovino pa vedno ve~je breme. Boj za pre`ivetje, skrb za mamo, priklenjeno na invalidski vozi~ek, in tri otroke ter vedno pogostej{a mo`eva odsotnost jo pripeljejo do to~ke preloma, do uni~ujo~e eksplozije ~ustev in nerazumnih dejanj, ki so posledica osebne krize in nevzdr`nih finan~nih razmer.
Maria one day decides to leave behind her life, which no longer makes any sense to her. From carefree days on the beach and her passionate love affair, the film shows her descent into nervous breakdown. With three young children to look after, her wheelchair-bound mother, her absent husband and the country's economic situation, Maria's personal crisis explodes in an impressive crescendo, a destructive blast of emotions and irrational acts.
"Melodrama nas s prese`no uporabo strasti in ~ustvenega iz`emanja primora v uvid resnice. Gre za zgodbo o `enski, ki se odlo~i za veliko `ivljenjsko spremembo. Bori se proti vsem ljudem, ki jih ima rada, in celo proti sebi. Zakaj? Ker se nekega dne zbudi in se ne prepozna ve~. Film temelji na resni~ni zgodbi o dolo~eni osebi, temve~ izhaja iz izku{enj cele generacije, globoko zaznamovane z gospodarsko krizo, skozi katero se zadnja leta prebija na{a dr`ava." (Syllas Tzoumerkas)
"What the melodrama does is to force us, through the excess use of passion, of emotional extortion, to see the truth. It's the story of a woman who decides to change her life radically. She fights against all the people she loves, and even herself. Why? Because she wakes up one day and no longer recognises herself. The film is not based on a true story about a particular person. But it stems from the experiences of a whole generation deeply affected by the financial crisis our country has been going through in recent years." (Syllas Tzoumerkas)
Syllas Tzoumerkas
filmografija/filmography
Rojen leta 1978 v Solunu. Na Univerzi v Atenah je {tudiral gledali{ko umetnost in filmsko re`ijo. Po prvih uspehih s kratkimi filmi je sodeloval pri {tevilnih dokumentarnih tv-oddajah, preizkusil pa se je tudi kot igralec. Njegov celove~erni prvenec Hora proelefsis je leta 2010 vzbudil pozornost na bene{kem filmskem festivalu, zanj pa je prejel tudi nagrado gr{ke filmske akademije za debitanta leta.
1999 2002 2010 2014
festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2014, Sarajevo 2014, Hamburg 2014, Seattle 2015
prodaja/world sales EZ Films 14 rue Mandar 75002 Paris, France E ray�ez-films.com
Ta matia pou trone (The Devouring Eyes)(kratki/short) Vrohi (Rain) (kratki/short) Hora proelefsis (Homeland) I ekriksi (A Blast/[us v glavo)
Born in 1978 in Thessaloniki, Tzoumerkas studied theatre as well as film and television directing at the University of Athens. After enjoying success with his first shorts, Tzoumerkas contributed to numerous documentary TV-shows, and had a brief acting career. His first feature film, Homeland, commanded attention at the 2010 Venice Film Festival and received the Greek Film Academy Best Newcomer Award.
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Panorama svetovnega filma Panorama of World Cinema
Tri Dritare dhe nje Varje Three Windows and a Hanging Tri okna in obe{enje Kosovo, Nem~ija Kosovo, Germany 2014
Isa Qosja re`ija/directed by Isa Qosja scenarij/screenplay Zymber Kelmendi fotografija/cinematography GÜkhan Tiryaki monta`a/editing Agrom Vula igrajo/cast Irena Cahani (Lushe), Luan Jaha (Uka), Donat Qosja (Sokol), Aurita Agushi (Ukova `ena Zade/Uka's wife Zade), Leonora Mehmetaj (Sokolova `ena Nifa/Sokol's wife Nifa), Orik Morina (Lushejin sin Beni/Lushe's son Beni), Syle Kuqi, Selman Jusufi, Selatin Ademi, Xhevat Qorraj, Avdullah Xhikokaj producenta/producers Shkumbin Istrefi, Mentor Shala produkcija/production CMB Nena Tereze p.n. Ndertesa e Radio Kosoves 10000 Pristina, Kosovo E isstra�gmail.com format/format DCP, barvni/colour dol`ina/running time 93' festivali, nagrade (izbor)/ festivals, awards (selection) Sarajevo 2014 (nagrada Cineuropa/ Cineuropa Award), Solun/ Thessaloniki 2014 (nagrada ob~instva/Audience Award), Jeruzalem/Jerusalem 2015
Pronicljiv komentar na temo spolne neenakosti v kosovski dru`bi, podan skozi portret patriarhalnega mikrokozmosa zna~ilne kosovske vasice, ki se spopada s travmo medvojnih posilstev.
A critical view of a society that still struggles with gender inequality and a harrowing tale about a Kosovan patriarchal microcosm forced to come to terms with the raping of women by Serb forces during the war.
Pi{e se leto 2000. Prebivalci kosovske vasice se leto dni po koncu vojne {e vedno postavljajo na noge. U~iteljici Lushe vest ne da miru, zato v intervjuju novinarki iz tujine pove zgodbo o tem, kako so njo in tri njene sova{~anke med vojno posilili srbski vojaki. Ko novica pride na plan, za~nejo va{ki mo`je s sumni~enjem opazovati svoje `ene, da bi ugotovili, ali so bile tudi one med posiljenimi. Kmalu se razve, da je bila vir informacije Lushe, in va{~ani bi naredili vse, da jo skupaj z njenim sinom spodijo iz vasi.
In a traditional village in Kosovo, a year after the war (2000) when people are rebuilding their lives, the female school teacher Lushe is driven by her inner conscience to give an interview to an international journalist, telling her that she and three other women from the village were raped by Serbian forces. When the news is published, the male villagers start being suspicious about their wives. As soon as they realise that it was Lushe who spoke to the journalist, they start to stigmatise her and her little boy, asking her to leave the village, and trying to find out if their own wives were among those raped.
"Tematika filma Tri okna in obe{enje je zelo te`ka. O njej ni bilo lahko posneti filma. Liki so psiholo{ko zapleteni, neprestano tik pred izbruhom dolo~enih ~ustev. Nisem `elel ustvariti te`ko gledljivega filma, vseeno pa se nisem hotel izogniti dramati~nosti in odnosov med liki." (Isa Qosja)
prodaja/world sales EZ Films 14 rue Mandar 75002 Paris, France E ray�ez-films.com
Isa Qosja
filmografija/filmography
Rojen leta 1949 v Vusanju v ^rni gori. Je albanski re`iser in profesor na pri{tinski univerzi, avtor {tevilnih umetni{kih in dokumentarnih filmov. Njegov film Proka je bil prikazan na {tevilnih mednarodnih festivalih, med drugimi tudi v Cannesu, film Tri okna in obe{enje pa je bil prvi kosovski kandidat za tujejezi~nega oskarja.
1978 1978 1979 1980 1982 1984 1988 2005 2014
Born in Vusanje, Montenegro, in 1949. An Albanian film director and professor at the University of Pri{tina, Qosja has made a number of art and documentary films. Proka has featured at many international festivals, including the Cannes Film Festival. Three Windows and a Hanging is the first Kosovan film to be submitted for the Academy Award for Best Foreign Language Film.
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"Three Windows and a Hanging has a very tough theme. It was not easy to make a film about it. The characters are psychologically complex, always on the edge of certain emotions. I did not want to make a film that was hard to watch, but I still didn't want to avoid the drama and relations between the characters." (Isa Qosja)
Poseta u no}i (kratki/short) Klub samoubica (kratki/short) Kur pranvera xhirohet (kratki dok./short doc) I Drug Tito Ljubljana (kratki dok./short doc) Ne oret e vona (TV-serija/TV series) Proka Rojet e mjegulles Kukumi Tri Dritare dhe nje Varje (Three Windows and a Hanging/Tri okna in obe{enje)
Panorama svetovnega filma Panorama of World Cinema
Urok The Lesson U~na ura Kristina Grozeva, Petar Val~anov
Bolgarija, Gr~ija Bulgaria, Greece 2014 re`ija/directed by Kristina Grozeva, Petar Val~anov scenarij/screenplay Kristina Grozeva, Petar Val~anov fotografija/cinematography Krum Rodriguez zvok/sound Veselin Zografov, Dobromir Hristoskov monta`a/editing Petar Val~anov igrajo/cast Margita Go{eva (Nade), Ivan Barnev (Mladen), Ivanka Bratoeva, Ivan Savov, Deja Todorova, Stefan Denoljubov producenti/producers Magdalena Ilieva, Konstantina Stavrianou, Rena Vougioukalou, Kristina Grozeva, Petar Val~anov produkcija/production Abraxas Film Zaharna fabrika bl. 21 Sofia 1345, Bulgaria E abraxasfilm�abv.bg format/format DCP, barvni/colour dol`ina/running time 107'
Pretresljiva socialna drama o osnovno{olski u~iteljici, ki jo nepremostljiv `ivljenjski dogodek prisili, da ravna povsem v nasprotju z njenimi moralnimi na~eli.
A touching social drama about a primary-school teacher whose desperate situation compels her to make some difficult choices.
Nade je osnovno{olska u~iteljica, ki z dru`ino `ivi v majhnem bolgarskem mestu. Ker je njen brezposelni mo` zapil vse njune prihranke, dru`ini grozi, da ne bo mogla odpla~ati kredita za hi{o in bo tako ostala brez strehe nad glavo. ^eprav si Nade na vse mogo~e na~ine prizadeva priskrbeti denar za odpla~ilo kredita, jo okoli{~ine na koncu prisilijo, da se zate~e k skrajnemu ukrepu.
Nade is an honest, hard working primary-school teacher struggling to keep her life together in a small Bulgarian town. With the home she shares with her unemployed, drunkard husband and young daughter on the brink of repossession and no money to her name Nade resorts to measures her former self, untouched by the realities of economic desperation and moral compromise, would have found depraved, as she makes one last extreme effort to secure the money she needs.
"Pred nekaj leti je televizija poro~ala o `enski, ki je v majhnem, pode`elskem bolgarskem mestu oropala banko. Vsi so bili prepri~ani, da gre za narkomanko, kriminalko ... Nih~e ni sumil, da je ban~ni ropar spodobna u~iteljica z dvema magisterijema. `e kako se to sli{i: 'U~iteljica oropala banko!!!' Prav protislovje v tej frazi me je spodbudilo, da sem se posvetil senzacionalisti~ni tabloidni novici. Dogodek iz na{e stvarnosti nas je globoko zaznamoval in porodil vpra{anje – zakaj se spodobna oseba zate~e h kriminalu?" (Kristina Grozeva, Petar Val~anov)
"Several years ago, the TV reported that a woman had robbed a bank in a small provincial Bulgarian town. Everybody suspected that she was a junky, a criminal... Nobody suspected that the bank robber was a decent school teacher with two master's degrees. The way it sounds – 'Teacher robbed a bank!!!' It was precisely the contradiction within this phrase that made us look behind the tabloid sensation. This event from our reality left a deep trace in us and made us ask ourselves – what makes a decent person become a criminal?" (Kristina Grozeva, Petar Valchanov)
Kristina Grozeva, Petar Val~anov
filmografija/filmography
Oba sta {tudirala filmsko re`ijo na Akademiji za gledali{~e in film v Sofiji. Skupaj sta posnela nekaj kratkih filmov, za katere sta prejela {tevilne ugledne nagrade na razli~nih mednarodnih filmskih festivalih (Clermont-Ferrand, Busan, Bruselj). Film U~na ura je njun celove~erni prvenec.
K. G.: 2004 To{ka i To{ko (kratki/short) 2005 Poslednata pastirka (Last Shepherd-Girl) (kratki/short) 2008 Ptitzi bozhii (Birds of Heaven) (kratki/short) 2009 Gap (kratki/short) 2010 Avarijno katzane (kratki/short) 2014 Urok (The Lesson/U~na ura) P. V.: 2004 Vazkresenje (kratki/short) 2005 Uloveni (kratki/short) 2008 Semejna terapija (Family Therapy) (kratki/short) 2010 Avarijno katzane (kratki/short) 2012 Skok (Jump) (kratki/short) 2014 Urok (The Lesson/U~na ura)
Kristina Grozeva and Petar Valchanov studied Film Directing at the NATFA in Sofia, Bulgaria. Their shorts have been selected for and awarded prizes at several international festivals, including Clermont-Ferrand, Bussan and Brussels. The Lesson is their first feature film.
festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2014, San Sebastian 2014 (najbolj{i novi re`iser/Best New Director), Reykjavik 2014, Tokio/ Tokyo 2014, Palm Springs 2014, Göteborg 2014
prodaja/world sales Wide Management 40, rue Sainte-Anne 3ème étage 75002 Paris, France E wide�widemanagement.com
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Panorama svetovnega filma Panorama of World Cinema
The Wolfpack The Wolfpack Vol~ja dru{~ina ZDA USA 2015
Crystal Moselle re`ija/directed by Crystal Moselle scenarij/screenplay Crystal Moselle fotografija/cinematography Crystal Moselle glasba/music Danny Bensi, Saunder Jurriaans, Aska Matsumiya monta`a/editing Enat Sidi igrajo/cast Bhagavan Angulo, Govinda Angulo, Jagadisa Angulo, Krsna Angulo, Mukunda Angulo, Narayana Angulo producenti/producers Izabella Tzenkova, Crystal Moselle, Hunter Gray, Alex Orlovsky produkcija/production Verisimilitude 225 W. 13th Street New York, NY 10011, USA E info�verisimilitude.com format/format DCP, barvni/colour dol`ina/running time 88' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2015 (velika nagrada `irije/Grand Jury Prize), Edinburg/ Edinburgh 2015 (najbolj{i celove~erni dokumentarec/Best Documentary Feature), San Francisco 2015, DocAviv 2015
Dobitnik velike nagrade `irije na leto{njem festivalu v Sundanceu je pretresljiv dokumentarec o otrocih dru`ine Angulo, ki so ve~ji del svojega otro{tva pre`iveli zaprti v stanovanju na Manhattnu. Njihov edini stik z resni~nim `ivljenjem so bili – filmi.
Winner of the Grand Jury Prize at this year's Sundance Festival, The Wolfpack is a heart-rending documentary about the Angulo children who spent most of their childhood locked away in a Manhattan apartment and whose only contact with reality was – cinema.
Sedmerica otrok dru`ine Angulo je petnajst let `ivela zaklenjena v socialnem stanovanju na Manhattnu; njihov o~e jim je v strahu pred nevarnostmi, ki naj bi na otroke pre`ale na vsakem vogalu velemesta, prepovedal zapu{~ati dom. Tako so otro{tvo pre`iveli pred televizijskim zaslonom ter s pomo~jo doma izdelanih kostumov in rekvizitov vedno znova preigravali prizore iz svojih najljub{ih filmov. Ko pa se nekega dne enemu izmed bratov uspe skrivaj izmuzniti iz stanovanja, se dinamika in razmerja mo~i v dru`ini precej spremenijo.
For a decade and a half, the seven Angulo children were locked away from the evils of society and dangers lurking on every possible corner in an apartment on the Lower East Side of Manhattan. Nicknamed the Wolfpack, the brothers spend their childhood re-enacting their favourite films using elaborate homemade props and costumes. With no friends, they feed their curiosity, creativity, and imagination with film, which allows them to escape from their feelings of isolation and loneliness. Everything changes when one of the brothers escapes, and the power dynamics in the house are transformed.
"Osupljivo je, ~esa je ~love{ki duh sposoben v priporu. Slaba stran vseh filmov – in bratje Angulo so jih videli okoli pet tiso~ – je, da so narejeni po dolo~enih kalupih. Resni~no `ivljenje je druga~no. V stvarnosti ti dekle ne stre vedno srca. Fantje se {e vedno trudijo, da bi to doumeli." (Crystal Moselle)
prodaja/world sales Submarine Entertainment 197 Grand St Suite 6W, New York, New York, USA E info�submarine.com distribucija/distribution Continental film d.o.o. Stegne 3 1000 Ljubljana E manja.verbic�continentalfilm.si
Crystal Moselle
filmografija/filmography
Producentka in re`iserka, ki `ivi in dela v New Yorku. V minulem desetletju se je ukvarjala predvsem s snemanjem kratkih filmov in videospotov. Med drugim je za New York Times snemala video serijo Something Big, Something Small, kot producentka pa je sodelovala pri dokumentarnem filmu Excavating Taylor Mead. Vol~ja dru{~ina je njen re`ijski prvenec.
2015 The Wolfpack (Vol~ja dru{~ina) (dokumentarni/documentary)
A New York-based director and producer, Moselle has been engaged in short-form storytelling and videos for the past decade. The New York Times picked up her series, Something Big, Something Small. She also produced the feature-length documentary, Excavating Taylor Mead. The Wolfpack is her feature directing debut.
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"It's fascinating what the human spirit does when it's confined. The downside to all the movies – and the Angulo brothers have seen, like, 5,000 – is that there are certain formulas to them. Real life is different. In real life, the girl doesn't always break your heart. The boys are still struggling to understand that." (Crystal Moselle)
Panorama svetovnega filma Panorama of World Cinema
Risttuules In the Crosswind V vojnem vrtincu Estonija Estonia 2014
Martti Helde
re`ija/directed by Martti Helde scenarij/screenplay Martti Helde fotografija/cinematography Erik Põllumaa glasba/music Jeong Yong-Jin monta`a/editing Pärt Uusberg igrajo/cast Laura Peterson (Erna), Mirt Preegel (Eliide), Tarmo Song (Heldur), Ingrid Isotamm (Hermiine), Einar Hillep (vodja kolhoza/chairman of the kolhkoz) producenta/producers Pille Rünk, Piret Tibbo-Hudgins produkcija/production Allfilm Saue 11 Tallinn 10612, Estonia E allfilm�allfilm.ee format/format DCP, ~b/b&w dol`ina/running time 87'
Hipnoti~ni niz ekspresivno silovitih ~rno-belih podob, o`ivljenih tableaujev, s katerimi nas mladi cineast popelje v nenavaden prostor med tistim, kar je ujeto v mirovanju, in tistim, kar se neprestano giblje, med uradno zgodovino in intimno izku{njo `ivljenja. V no~i 14. junija 1941 so na tiso~e prebivalcev Litve, Latvije in Estonije – tiste, ki jih je sovjetski re`im (ta je leto poprej te de`ele samovoljno priklju~il sovjetskemu imperiju) ozna~il za "protisovjetske elemente" – nasilno strpali v vagone in jih odpeljali v najbolj odro~ne predele Sibirije. Dru`ine so na~rtno razbijali, v ljudeh pa s prisilnim delom in ne`ivljenjskimi razmerami du{ili vsakr{no misel na upor. Pripoved se usmeri predvsem k zgodbi Erne, {tudentke filozofije in mlade mamice, ki je bila v gulagu zaprta s svojo h~erkico. Tu sta bili z drugimi `enskami in otroki zaprti kar petnajst let. Ves ta ~as se je Erna oklepala spomina na dom, po katerem je tako hrepenela. "Navdihnil me je Ernin stavek: 'Zdi se mi, kot bi se ~as ustavil. Moj um potuje po Sibiriji, vendar so moje misli doma.' Potem me je zadelo, da moram za izra`anje enakih ~ustev skozi kamero uporabiti vizualni jezik. @ive slike ali tableaux vivant so se zdele prava odlo~itev, saj sem hotel, da ob~instvo v nekem smislu navdajajo enaka ob~utja." (Martti Helde)
festivali, nagrade (izbor)/ festivals, awards (selection) Var{ava/Warsaw 2014 (nagrada ekumenske `irije/Ecumenical Jury Award), Solun/Thessaloniki 2014 (nagrada za posebne umetni{ke dose`ke/Special Artistic Achievement), Talin/Tallinn 2014 (nagrada Don Kihot/Don Quixote Award, estonska filmska nagrada/ Estonian Film Award, nagrada `irije za najbolj{o fotografijo/Jury Prize for Best Cinematography), Göteborg 2015 (nagrada ob~instva/Audience Award), Angers 2015 (velika nagrada `irije – posebna omemba/Grand Jury Prize – Special Mention)
A hypnotic series of highly expressive black-and-white images, tableaux vivant, opening spaces that exist inbetween the stillness and perpetual motion, the official history and intimate experience. On the night of 14 June 1941, many thousands of inhabitants of Latvia, Lithuania, and Estonia – identified as "anti-Soviet elements" by the USSR, which had annexed the Baltic States the previous year – were forced onto trains and sent to the remotest outposts of Siberia. Thousands of families were torn apart and forced to endure brutal conditions for nearly two decades until their eventual release. We follow the story of philosophy student, Erna, who gets abducted with her daughter. Together with other women and children, they are deported to a Gulag in Eastern Siberia where they will remain for 15 years. Yet Erna never forgets her home or stops longing for it. "I was inspired by the sentence when Erna says, 'I feel like time has stopped. My mind is travelling in Siberia, but my thoughts are at home.' Then it struck me that I had to find the visual language to express the same thing through the camera. Tableaux vivant seemed like the right choice because I wanted the audience to feel the same thing, in a sense." (Martti Helde)
Martti Helde
filmografija (izbor)/filmography (selection)
Rojen leta 1987 v Talinu, Estonija. Na Baltski {oli za film in medije je uspe{no opravil {tudij filmske re`ije, nato pa svoje znanje poglabljal na delavnicah in te~ajih po Evropi in Zdru`enih dr`avah. Trenutno opravlja podiplomski {tudij gledali{ke re`ije. S svojimi projekti je opozoril nase `e med {tudijem, z nekaterimi pa je osvojil tudi nagrade in priznanja. V vojnem vrtincu je njegov celove~erni prvenec.
2008 2009 2014 2014
prodaja/world sales Deckert Distribution Marienplatz 1 04103 Leipzig, Germany E info�deckert-distribution.com
Päev, mil ma kasvasin (Day When I Grew Up) (kratki/short) Külm on (Fat Me!) (kratki/short) Risttuules (In the Crosswind/V vojnem vrtincu) Superbia (kratki/short)
Born in Tallinn, Estonia, in 1987, Helde graduated in film direction from the Baltic Film and Media School. He has completed further directing courses both in Europe and the US and is currently attending an MA course in stage directing. He has won several competitions and scholarships with his projects. In the Crosswind is Martti's feature debut.
85
Panorama svetovnega filma Panorama of World Cinema
Sangailes vasara The Summer of Sangaile Poletje s Sangail Alanté Kavaité
re`ija/directed by Alanté Kavaité scenarij/screenplay Alanté Kavaité fotografija/cinematography Dominique Colin glasba/music JB Dunckel monta`a/editing Joëlle Hache igrajo/cast . Julija Steponaityte (Sangaile), . - . (Auste), Jurate - . Aiste Dir`iute . Sodyte (Sangailina mama/Sangaile's mother), Martynas Budraitis (Sangailin o~e/Sangaile's father), Nele Savi~enko (prijatelj Sangailine mame/a friend of Sangaile's mother), Inga [alkauskaite (Austina mama/Auste's mother) producenta/producers . @ivile Gallego, Antoine Simkine produkcija/production Fralita Films S. Konarskio g. 49–36 LT-03123 Vilnius, Lithuania E info�fralita.com & Les Films d'Antoine (France) & Viking Film (The Netherlands) format/format DCP, barvni/colour dol`ina/running time 88' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2015 (nagrada za re`ijo v kategoriji svetovni igrani film/ Directing Award in the World Cinema – Dramatic category), Berlin 2015, Vilna/Vilnius 2015 (najbolj{i film/Best Film, najbolj{a igralka/Best Actress), Minneapolis-St. Paul 2015, Seattle 2015, Sydney 2015, Karlovi Vari/Karlovy Vary 2015, Helsinki 2015
Litva, Francija, Nizozemska Lithuania, France, The Netherlands 2014
^utna, opojna, viharnih ~ustev polna poletna romanca dveh najstni{kih deklet. Nagrada za re`ijo na festivalu Sundance.
A sensual, spirited and torrid summer affair between two teenage girls. World Cinema Directing Award at Sundance.
Sedemnajstletna Sangaile je o~arana nad akrobatskimi letali. Ker se boji vi{ine, ni nikoli zbrala niti toliko poguma, da bi vstopila v kokpit kak{nega letala. Na enem izmed poletnih akrobatskih mitingov pa ob jezeru, kjer stoji vila njenih star{ev, spozna svobodomiselno Auste, dekle njenih let, ki `ivi `ivljenje na polno. Dekleti postaneta ljubimki in Sangaile zaupa Auste svojo najintimnej{o skrivnost. Auste tako postane edini ~lovek v njenem `ivljenju, ki jo spodbuja k letenju.
17 year-old Sangaile is fascinated by stunt planes. Afraid of heights, she has never dared to even enter in one of the cockpits. At a summer aeronautical show, nearby her parents' lakeside villa, she meets Auste, a local girl of her age, who unlike Sangaile, lives her life to the full with creativity and dare. As the two girls become lovers, Sangaile allows Auste to discover her most intimate secret, and finds in her teenage love the only person to truly encourage her in flying.
"Najstni{tvo sem pre`ivela v Litvi, kjer vlada poseben, skorajda obseden odnos do letalstva. /.../ Zdelo se mi je, da bi bilo to priljubljeno litovsko razvedrilo idealna metafora za Sangaile. Letalska akrobatika, ta ekstremni {port, zahteva resni~en samonadzor in prav tega Sangaile najbolj primanjkuje. Opraviti mora nekaj notranjih bojev za samoosvoboditev in dosego sanj." (Alanté Kavaité)
"I spent my adolescence in Lithuania, a country with a special, practically obsessive relationship with aviation. /.../ It seemed to me that this popular Lithuanian pastime would be the perfect metaphor for Sangaile. Aerobatics, an extreme sport, requires true self-control and that is just the thing that Sangaile seems to lack the most. She has to struggle within to free herself and achieve her dream." (Alanté Kavaité)
prodaja/world sales Films Distribution 34, rue du Louvre 75001 Paris, France E info�filmsdistribution.com
Alanté Kavaité
filmografija/filmography
Rojena leta 1973 v Vilni, Litva. Poklicno pot je za~ela kot igralka, nato pa se je odlo~ila za {tudij v Franciji. Diplomirala je na Dr`avni {oli za lepe umetnosti v Avignonu, potem pa se je na pari{ki {oli Beaux Arts specializirala za fotografijo in video. Danes `ivi in dela v Franciji kot scenaristka in re`iserka.
2006 Écoute le temps (Fissures) 2012 How We Tried a New Combination of Light (kratki/short) 2014 Sangailes vasara (The Summer of Sangaile/Poletje s Sangail)
distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si
Born in 1973 in Vilnius, Lithuania, Kavaité began her career as an actress. She then decided to pursue her studies in France, graduating from Avignon's National Fine Arts School before entering Paris' Beaux Arts School where she specialised in photography and video. Alanté Kavaité now devotes herself to writing and directing feature films. She lives and works in France.
86
Ekstravaganca Extravaganza
Wyrmwood: Road of the Dead Wyrmwood: Road of the Dead Cesta mrtvih Avstralija Australia 2014
Kiah Roache-Turner
re`ija/directed by Kiah Roache-Turner scenarij/screenplay Kiah Roache-Turner, Tristan Roache-Turner fotografija/cinematography Tim Nagle glasba/music Michael Lira monta`a/editing Kiah Roache-Turner igrajo/cast Jay Gallagher (Barry), Bianca Bradey (Brooke), Leon Burchill (Benny), Keith Agiua (Frank), Berynn Schwerdt (zdravnik-znanstvenik/the doctor) producent/producer Tristan Roache-Turner produkcija/production Guerilla Films Productions format/format DCP, barvni/colour dol`ina/running time 98'
Poapokalipti~ni film ceste, v katerem Zora `ivih mrtvecev sre~a Pobesnelega Maxa, je prava poslastica za ljubitelje zombijev, bizarne akcije in ~rnega humorja.
Dawn of the Dead meets Mad Max in this post-apocalyptic road movie that will have all lovers of zombies, bizarre action and dark humour nailed to their seats.
Na Zemljo pade ogromen meteorit in ve~ina prebivalcev podle`e nenavadni bolezni, ki jih spremeni v zombije. Eden redkih pre`ivelih je mehanik Barry, ki je v katastrofi izgubil h~erko in `eno, v nevarnosti pa je tudi njegova sestra Brooke, saj jo je ugrabila skupina paravoja{kih razbojnikov in jo odpeljala v laboratorij norega znanstvenika, ki se s svojimi poskusi iz`ivlja nad redkimi pre`ivelimi. Da bi re{il svojo sestro, se Barry skupaj s {e dvema pre`ivelima, Bennyjem in Frankom, poda na divjo in od{tekano re{evalno misijo.
In the aftermath of a comet breaking up over the Earth, most of the planet's population quickly succumb to a strange disease which turns them into 'zombies'. One of the few survivors, family man Barry has lost everything except his sister Brooke. But even as the disaster unfolds, Brooke is kidnapped by a gang of paramilitary thugs and dragged off to a horrific medical lab run by a psychotic 'doctor' who is performing a series of deranged experiments on plague survivors. In an attempt to save his sister Barry and two survivors, Benny and Frank, undertake a suicide rescue mission.
"Zdelo se nam je, da ~e bi poustvarili estetiko Pobesnelega Maxa – poapokalipti~ni, v usnje odeti, oklepljeni, oboro`eni videz – to bi pritegnilo, vendar ne bi bilo dovolj. [e en film o zombijih nikogar ne bo zanimal. Ogromno jih je. Po nekaj pivih je brat izjavil: 'Zombiji bi morali spro{~ati metan, s katerim bi se napajala ta vozila iz Pobesnelega Maxa.' Res je to predlagal in v glavi se mi je pri`gala lu~ka. Odvrnil sem: 'To je to. To bo pritegnilo.' Takoj sva se lotila pisanja." (Kiah Roache-Turner)
festivali, nagrade (izbor)/ festivals, awards (selection) Mar del Plata 2014, Stockholm 2014, Toronto After Dark Film Festival 2014
"We figured if we got the Mad Max aesthetics – the postapocalyptic, leather clad armour wearing, gun-toting look – that's a hook, but it's not enough. If you just make another zombie film, then nobody is going to be interested. There are just a lot of them out there. My brother, after a couple of beers, came up to me and went, 'Zombies should release methane gas so it can run these Mad Max vehicles on them.' So he really said that and light bulb went off in my head. I said, 'That's it. That's the hook.' We started writing right away." (Kiah Roache-Turner)
Kiah Roache-Turner
filmografija/filmography
Prve filmske eksperimente je posnel `e v najstni{kih letih, potem ko je za trinajsti rojstni dan dobil kamero. Diplomiral je na Akademiji za digitalne medije v Sydneyju. Med {tudijem se je ukvarjal predvsem s fotografijo in snemanjem promocijskih videospotov, leta 2010 pa je z bratom Tristanom ustanovil produkcijsko hi{o Guerilla Films. Film Cesta mrtvih je njegov celove~erni prvenec.
2008 Roadrunner (kratki/short) 2009 War Games (kratki/short) 2014 Wyrmwood: Road of the Dead (Cesta mrtvih)
prodaja/world sales Altitude Film Entertainment 34 Fouberts Place London W1F 7PX, UK E info�altitudefilment.com
His first foray into moviemaking came at age 13 with a small camera he received for his birthday. He graduated from a digital media academy in Sydney, during which time he showed his photographic work, participating in a number of exhibitions, and shot promotional videos. In 2010 he and brother Tristan founded Guerrilla Films production company. Wyrmwood: Road of the Dead marks his feature film debut.
89
Ekstravaganca Extravaganza
O piseu Office Krvava pisarna Ju`na Koreja South Korea 2015
Hong Won-chan re`ija/directed by Hong Won-chan scenarij/screenplay Choi Yun-jin fotografija/cinematography Park Yong-soo glasba/music Ahn So-young monta`a/editing Kim Sun-min igrajo/cast Bae Sung-woo (Kim Byung-guk), Kim Eui-sung (Kim Sang-gyu), Ah-sung Ko (Lee Mi-rye), Park Sung-woong (Jong-hoon), Ryu Hyun-kyung (Hong Ji-sun) producent/producer Choi Yun-jin produkcija/production Film Blossom #B102, 2fl. C-zone DMC Hi Tech Industry Center Sangam-dong Mapo-gu Seoul 121912, Korea E yunjin0629�gmail.com format/format DCP, barvni/colour dol`ina/running time 111' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015
prodaja/world sales 9ers Entertainment 5F. 506 Yeongdongdaero Gangnam-gu Seoul 135-882, Republic of Korea E teferet�niners.co.kr
Ju`nokorejski triler, v katerem re`iser Hong Won-chan z metaforo serijskega morilca razkrije tema~no plat neizprosnega tekmovanja na delovnem mestu.
The taut thriller by South Korean filmmaker Hong Won-chan uses the serial killer metaphor to expose the dark side of the cut-throat workplace competition.
Vzoren pisarni{ki delavec in dru`inski o~e Kim Byung-guk umori svojo dru`ino, nato pa izgine v neznano. Detektiv Jong-hoon v Kimovi pisarni nemudoma za~ne preiskavo, a zdi se, da vsi moril~evi sodelavci nekaj skrivajo. Izka`e se, da je imel Kim tesen odnos s pripravnico Mirae, zato detektiv sumi, da se je med njima pletlo nekaj nenavadnega. Jong-hoon se dokoplje tudi do posnetkov nadzorne kamere, s katerih postane razvidno, da je Kim takoj po umorih vstopil v pisarni{ke prostore ... izstopiti pa ga ni videl nih~e.
An exemplary officer worker and head of his family Kim Byung-guk murdered his entire family and disappeared into thin air. Homicide detective Jong-hoon immediately begins his investigation at Kim's office but all of his colleagues seem to be hiding something. He realises that Kim and an intern named Mirae were close and suspects something out of the ordinary. During his investigation, Jong-hoon obtains a CCTV footage of Kim entering the office parking lot immediately following the murder of his family but he was never seen exiting.
"V korejski dru`bi je slu`ba tesno povezana s pre`ivetjem posameznika, in ~e zaostaja{ v igri tekmovanja, te prevzame obup onkraj razse`nosti stresa. Gre za dru`beni sistem, v katerem je 'delo' 'pre`ivetje' in 'odpoved' 'smrt'. To je najve~je protislovje dana{nje korejske dru`be. Ne moremo preprosto prezreti povezave med tem dejstvom in stopnjo samomorilnosti v Koreji, ki je ena najvi{jih na svetu." (Hong Won-chan)
"In Korean society, one's job is so closely tied to one's survival, and when one falls behind in the game of competition, he is overcome with despair that is beyond the scope of stress. It is a social system in which 'working' is 'survival' and 'dismissal' is 'death'. This is the biggest contradiction that lies within Korean society today. You cannot simply ignore the connection between this and Korea’s suicide rate, which is one of the highest in the world." (Hong Won-chan)
Hong Won-chan
filmografija/filmography
Rojen leta 1979 v Changwonu, Ju`na Koreja. Diplomiral je na Korejski dr`avni univerzi. Sprva je delal kot scenarist, in sicer pri filmih The Chaser (2008) in The Yellow Sea (2010), ki sta se uvrstila v program canskega filmskega festivala. Krvava pisarna je njegov celove~erni prvenec, v katerem je potrdil svojo strast do `anrskega filma, obenem pa se je z njim v uradni program Cannesa uvrstil {e kot re`iser.
2015 O piseu (Office/Krvava pisarna)
Born in 1979 in Changwon, South Korea. After graduating from the Korean National University of Arts, Hong Won-chan wrote screenplays for The Chaser (2008) and The Yellow Sea (2010), both of which screened at the Cannes Film Festival. With his feature debut, Office, which displays his passion for genre cinema, he entered the Cannes Film Festival's official selection as director.
90
Ekstravaganca Extravaganza
The Forbidden Room The Forbidden Room Prepovedana soba Kanada Canada 2015
Guy Maddin, Evan Johnson
Kanadski re`iser Guy Maddin se v obliki filmske babu{ke odpravi na hiperaktiven potep po freudovskem sanjskem svetu. Ultimativna oda izgubljenim filmom in pozabljenim `anrom.
In this Russian nesting doll of a film, Canadian director Guy Maddin embarks on a hyperactive voyage into Freudian dreamscapes. An ultimate ode to lost cinema and forgotten genres.
Marv, mo{ki v zrelih letih, nas v satenastem kopalnem pla{~u podu~i o zgodovini in pomembnosti kopanja ter nas povabi v toplo kad. [e preden se zavemo, smo prestavljeni v podmornico, v kateri se obupani mornarji spopadajo z zadnjimi zalogami kisika. Tam se od nikoder pojavi gozdar, ki pove svojo zgodbo o pobegu iz krempljev klana jamskih ljudi. Od tu naprej se vinjete, motivirane s prigodami iz Maddinovega lastnega `ivljenja, s hitrim tempom pretakajo iz ene v drugo, ob tem pa gledalca vseskozi presene~ajo, begajo, nemalokrat pa tudi nasmejejo.
Middle-aged, satin robe-clad Marv instructs us on the history and significance of bathing and invites us to have a warm bath. Suddenly we are confronted with the crew of a doomed submarine chewing flapjacks in a desperate attempt to breathe the oxygen within. Suddenly, impossibly, a lost woodsman wanders into their company and tells his tale of escaping from a fearsome clan of cave dwellers. From here, Maddin takes us high into the air, into dreamscapes, spinning semi-autobiographic tales, leaving viewers shocked one moment, baffled the next, and then laughing hysterically.
"Mednapisi v resnici sploh niso omejeni samo na neme filme. Mene so navdu{ili, ko sem prvi~ videl Sternbergovo Rde~o cesarico (1934). V{e~ mi je bilo, kako so v tem filmu mednapisi povezani z veliko dialoga. Mislil sem si, da zakaj bi opu{~ali to ~udovito izrazno sredstvo samo zaradi tega, ker igralci tudi govorijo? /.../ Saj tudi otrok, ki se nau~i novih besed, ne vr`e stran tistih, ki se jih je nau~il pred tem. Tako bi se tudi filmsko besedi{~e moralo vse bolj ve~ati." (Guy Maddin)
re`ija/directed by Guy Maddin, Evan Johnson scenarij/screenplay Guy Maddin, Evan Johnson, Robert Kotyk, John Ashbery, Kim Morgan fotografija/cinematography Benjamin Kasulke, Stéphanie Anne Weber Biron glasba/music Galen Johnson, Guy Maddin, Jason Staczek monta`a/editing John Gurdebeke igrajo/cast Roy Dupuis, Clara Furey, Louis Negin, Céline Bonnier, Karine Vanasse, Caroline Dhavernas, Paul Ahmarani, Mathieu Amalric, Udo Kier, Maria de Medeiros, Charlotte Rampling, Géraldine Chaplin, Marie Brassard, Sophie Desmarais, Ariane Labed, Amira Casar producenti/producers Phoebe Greenberg, Penny Mancuso, Phyllis Laing, David Christensen produkcija/production Phi Films 356 Le Moyne, suite 100 Montreal, QC, Canada H2Y 1Y3 E info�phi-films.com & Buffalo Gal Pictures (Canada) format/format DCP, barvni/colour dol`ina/running time 128' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2015, Berlin 2015, Hongkong/Hong Kong 2015, San Francisco 2015, Sydney 2015
"Intertitles are not necessarily unique to silent movies. I first became inspired to include intertitles with dialogue by Sternberg's The Scarlet Empress (1934). I like the way you’ll have intertitles with lots of dialogue. And I just thought, why would you abandon this wonderful vocabulary just because you could have actors talk? /.../ Just the way a child learns a new word, he or she doesn't throw out the last word he/she has learned. In cinema too, vocabulary should just get bigger and bigger." (Guy Maddin)
Guy Maddin, Evan Johnson
filmografija/filmography
G. M.: Rojen leta 1956 v Winnipegu, Kanada. Na Univerzi v Winnipegu je {tudiral ekonomijo. Za svoje nekonvencionalne eksperimentalne filme je prejel {tevilne presti`ne nagrade, retrospektive njegovega dela pa so bile prikazane v Parizu, Buenos Airesu, Washingtonu, Bostonu, Los Angelesu, New Yorku in Rotterdamu. Born in 1956 in Winnipeg, Canada, Maddin studied economy at the University of Winnipeg. Retrospectives of the filmmaker's unconventional experimental films, which have earned him countless prestigious awards, have been held at various festivals, including those in Paris, Buenos Aires, Washington, Boston, Los Angeles, New York and Rotterdam. E. J.: Scenarist in re`iser, `ivi v Winnipegu. Z Guyem Maddinom sodeluje od leta 2009. Writer and filmmaker living in Winnipeg. He has been working with Guy Maddin since 2009.
1988 1990 1992 1997 2002 2003 2003 2006 2007 2011 2015 2015
prodaja/world sales Mongrel Media 1352 Dundas St. West Toronto, Ontario, Canada M6J 1Y2 E charlotte�mongrelmedia.com
Tales from the Gimli Hospital Archangel Careful Twilight of the Ice Nymphs Dracula: Pages from a Virgin’s Diary (Drakula: Odlomki iz dnevnika device) Cowards Bend the Knee The Saddest Music in the World (Najbolj `alostna glasba na svetu) Brand Upon the Brain! (O`igosani mo`gani!) My Winnipeg Keyhole The Forbidden Room (Prepovedana soba) Seances
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Ekstravaganca Extravaganza
Saat po long 2 SPL 2: A Time for Consequences SPL 2: Bitka s ~asom Cheang Pou-soi
Hongkong, Kitajska Hong Kong, China 2015
re`ija/directed by Cheang Pou-soi scenarij/screenplay Leung Lai-yin, Ying Wong fotografija/cinematography Kenny Tse glasba/music Ken Chan, Chan Kwong-wing monta`a/editing David M. Richardson igrajo/cast Wu Jing (Kit), Tony Jaa (^ai), Simon Yam (Vah), Louis Koo (Hung), Andy On, Jin Zhang (paznik/warden), Ken Lo (varnostnik/security guard), Andrew Ng (stric On/uncle On), Francis Ng, Kiki Yeung (receptorka/ receptionist) producenta/producers Paco Wong, Wilson Yip produkcija/production 1618 Action Limited Hong Kong, China format/format DCP, barvni/colour dol`ina/running time 120' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2015, Busan 2015
Sve` prispevek k hongkon{kemu akcijskemu filmu, ki vedno znova navdu{i z bogato koreografiranimi prizori bojev in strelskih obra~unov.
The latest offering from the master of Hong Kong action cinema enthrals with its vividly choreographed fight scenes and dramatic shoot-outs.
Kit je policist pod krinko, ki postane d`anki, da bi ujel g. Hunga, vodjo kriminalnega sindikata. A operacija spodleti, zato jo Kitov nadzornik Vah prekine. Kit nato izgine brez sledu, Vah pa ga na lastno pest poi{~e v zaporu na Tajskem. Tamkaj{nji policist ^ai v tem ~asu postane zaporni{ki paznik, da bi zbral denar za zdravljenje h~erke, ki boleha za levkemijo. Izka`e se, da bi lahko bil Kit idealen darovalec kostnega mozga zanjo. A medtem ko `eli ^ai zapornika ohraniti pri `ivljenju, ga upravnik zapora ho~e mrtvega, da bi njegovo telo predali nezakoniti trgovini z organi pod okriljem g. Hunga. Vse je pripravljeno za veliki obra~un.
Undercover cop Kit becomes a junkie in order to catch Mr. Hung, the mastermind behind a crime syndicate. When the operation goes sour, his supervisor Wah decides to terminate the operation. When Kit disappears without a trace, Wah defies the order from his commanding officer and tracks Kit to a prison in Thailand. Thai Police officer Chai becomes a prison guard in order to raise money for his daughter who has leukaemia. Kit turns out to be a suitable bone marrow donor who can save Chai's daughter. While Chai is determined to keep Kit alive, the warden wants him dead to ensure the smooth operation of the prison, which is the front for Mr. Hung's organ trafficking business. The stage is set for a showdown.
"Prizori spopadov so sami po sebi `e vse, ~esar bi si lahko `elel ljubitelj filma o borilnih ve{~inah, zagotovo gre za najbolj navdu{ujo~ akcijski film, kar sem jih letos videl." (Justin Weier, Heroic Cinema)
prodaja/world sales Bravos Pictures Limited Room 2206, Kodak House II 39 Healthy Street East, North Point, Hong Kong, China E info�bravospictures.com
Cheang Pou-soi
filmografija/filmography
Rojen 1972 v Macau na Kitajskem. S filmom se je za~el ukvarjati v za~etku devetdesetih let. Sprva je delal kot pomo~nik re`ije pri Johnnieju Toju, potem pa je leta 2000 posnel svoj celove~erni prvenec Faat gwong sek tau. V Hongkongu slovi po brutalnem na~inu pripovedovanja z obilico nedvoumnega nasilja, za katerim se skriva {ibkost ~love{ke du{evnosti. Mednarodno prepoznavnost mu je prinesel film Gau ngao gau iz leta 2006.
2000 Faat gwong sek tau (Diamond Hill) 2001 Hung biu hyn sin ji daai tau gwaai ang (Horror Hotline... Big Head Monster) 2002 Hyn huet ching nin (New Blood) 2003 Goo chak sam fong fong (The Death Curse) 2004 Ai zuozhan (Love Battlefield) 2004 Zhui ji 8 yue 15 (Hidden Heroes) 2005 Gwai muk (Home Sweet Home) 2006 Gau ngao gau (Dog Bite Dog) 2007 Shamo 2009 Yi ngoi (Accident/Nezgoda) 2012 Che sau (Motorway) 2014 Xi you ji: Da nao tian gong (The Monkey King) 2015 Saat po long 2 (SPL 2: A Time for Consequences/SPL 2: Bitka s ~asom)
Born in 1972 in Macau, China. He began his film career in the early 1990s, first as Johnnie To's assistant, and then directing his debut film, Diamond Hill, in 2000. In Hong Kong he is best known for his brutal storytelling and abundant, overt violence that hides the weaknesses of human psyche. He first asserted himself internationally with Dog Bite Dog in 2006.
92
"The fight scenes themselves are just about everything any fan of martial arts cinema could ask for, and it's certainly the most impressive action film I've seen this year." (Justin Weier, Heroic Cinema)
Ekstravaganca Extravaganza
Green Room Green Room Zelena soba ZDA USA 2015
Jeremy Saulnier
Vzhajajo~i up ameri{kega filma Jeremy Saulnier nas v filmu o pankerjih, ki poka`ejo sredinec neonacistom, popelje na neizprosen vrtiljak nasilja in ~rnega humorja. Neznana pank skupina The Ain't Rights je s starim kombijem na glasbeni turneji po ZDA in se v zadnjem hipu dogovori za nastop na oddaljenem gozdnem prizori{~u. Izka`e se, da je tamkaj{nji klub v resnici v lasti neonacisti~ne tolpe. Glasbeniki vseeno odigrajo svoj koncert, a so nato v zakulisju pri~e umoru dekleta, lastnik kluba pa je odlo~en, da dogodek ne bo imel `ivih pri~. Prestra{eni pankerji se zaklenejo v eno izmed kletnih sob, da bi pridobili nekaj ~asa za razmislek, kako se izvle~i iz ujetni{tva.
re`ija/directed by Jeremy Saulnier scenarij/screenplay Jeremy Saulnier fotografija/cinematography Sean Porter glasba/music Brooke Blair, Will Blair monta`a/editing Julia Bloch igrajo/cast Imogen Poots (Amber), Anton Yelchin (Pat), Patrick Stewart (Darcy), Alia Shawkat (Sam), Mark Webber (Daniel), Joe Cole (Reece), Eric Edelstein (Big Justin), Macon Blair (Gabe), Callum Turner (Tiger), Kai Lennox (Clark), David W. Thompson (Tad), Taylor Tunes (Emily), October Moore (policistka/ cop), Brent Werzner (Werm), Cody Burns (punker/punk rocker), Mason Knight (Kyle) producenti/producers Neil Kopp, Anish Savjani, Victor Moyers produkcija/production Broad Green Pictures Hollywood Center Studios 1040 North Las Palmas Avenue CA 90038 Los Angeles, USA E info�broadgreen.com & Film Science (USA) format/format DCP, barvni/colour dol`ina/running time 94'
The rising star of American cinema Jeremy Saulnier's new movie about punk rockers who lock horns with a violent white-supremacist gang takes us on a vertiginous roller coaster of violence and dark humour. On a tour of the US in a beat-up van, down-on-their-luck punk rockers The Ain't Rights agree to a last-minute gig in a backwoods Oregon roadhouse. After finishing their set in the no-name skinhead club, the band members stumble on a murder scene and are targeted by the club owner determined to eliminate all witnesses. The terrified musicians barricade themselves backstage to buy time for an escape attempt.
"Gre za pripoved neizprosne energije, ki jo je treba do`iveti nagonsko, z vsem drobovjem, spopad med pankerskimi pri{leki in lokalnimi neonacisti je slu`il samo kot odsko~nica. Ko se zgodba zaplete in dogajanje podivja iz nadzora, se ideologija in pripadnost, ki sta privedli v spor, popolnoma razblinita. Nisem `elel govoriti o politiki, prednost sem dal gonilni napetosti." (Jeremy Saulnier)
"This is blunt-force narrative, meant to be experienced viscerally, in your guts, and the clash between the out-of-town punks and the local neo-Nazis was merely a jumping-off point. As the plot develops and the situation spirals out of control, the ideology and affiliations that set the stage for conflict are completely stripped away. I didn't want it to be about politics, I wanted it to be about momentum." (Jeremy Saulnier)
Jeremy Saulnier
filmografija/filmography
Rojen v Alexandrii (Virginija, ZDA). [tudiral je na Tischevi umetnostni akademiji Univerze v New Yorku. Leta 2004 je posnel nagrajeni kratki film Crabwalk, ve~krat je bil nagrajen tudi njegov celove~erni prvenec Murder Party. Njegov drugi film Oto`no razdejanje je osvojil nagrado kritikov FIPRESCI v sklopu {tirinajst dni re`iserjev v Cannesu. Snema tudi oglase za velike naro~nike, kot so Kraft, IBM, Viacom in NHL.
1998 2004 2007 2013 2015
festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2015, Jeruzalem/Jerusalem 2015
prodaja/world sales Westend Films 5–7 Hillgate Street W8 7SP London, UK E nadine�westendfilms.com
Goldfarb (kratki/short) Crabwalk (kratki/short) Murder Party Blue Ruin (Oto`no razdejanje) Green Room (Zelena soba)
Born in Alexandria (Virginia, USA), Saulnier studied at NYU's Tisch School of the Arts. He directed the award-winning short Crabwalk, and Murder Party, his debut feature. His second film, Blue Ruin, won the FIPRESCI Prize in the Directors' Fortnight section at Cannes. Saulnier also shoots and directs spots for clients such as Kraft Foods, IBM, Viacom and the NHL.
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94
Kinobalon Kinobalon
Hokus pokus Albert Åberg Hocus Pocus Alfie Atkins Hokus pokus Albert
za otroke od 4. leta for children aged 4+ sinhroniziran v sloven{~ino dubbed into Slovenian
Norve{ka Norway 2013
Torill Kove
re`ija/directed by Torill Kove scenarij/screenplay Tora Berg, Hans Åke Gabrielsson, Gunille Bergström (knjiga/book) animacija/animation Magnhild Winsnes, Stig Saxegaard, Sandra Pilny-Lockertsen, Annette Saugestad Helland, Endre Skandfer glasba/music Niklas Fransson, Georg Riedel, Ulf Turesson monta`a/editing Anders Sørensen producentka/producer Kristin Ulseth produkcija/production Maipo Film Mølleparken 4 Oslo 0459, Norway E maipo�maipo.no format/format DCP, barvni/colour dol`ina/running time 72'
Kako naj dobimo tisto, kar si `elimo? Ali nam lahko pomaga nami{ljeni prijatelj? Naj pomo~ raje poi{~emo pri ~arodeju? V~asih `ivljenje poskrbi, da se najbolj ~arobne stvari zgodijo brez uporabe ~arovnije.
How to get what we really want? Can we solicit help from an imaginary friend? Should we get help from a magician? Sometimes the most magical things happen without the use of magic.
Albert `ivi z o~etom v predmestju in od vsega si najbolj `eli imeti psa. Vendar njegov o~e nad tem ni navdu{en. Pes se mu zdi prevelika odgovornost, zato sina odpravi z besedami: "Premajhen si!" Albert se s tem ne strinja. Velik je `e – navsezadnje bo zdaj star `e sedem let in bo {el v {olo! O~eta sku{a prepri~ati na vse mogo~e na~ine, pri ~emer se po pomo~ in ideje pogosto zateka k nami{ljenemu prijatelju. Upanje se mu povrne, ko naleti na pravega ~arodeja. Morda bi mu lahko on izpolnil `eljo? Toda ne gre tako preprosto. Albert spozna, da se nam sanje v~asih uresni~ijo, kot bi najmanj pri~akovali.
Albert lives with his father in the suburbs and dreams of having a dog of his own. But his father is having doubts. Considering a dog to be too great a responsibility, he tells his son he's still too young. Albert disagrees. He's a big boy already – after all, he'll soon turn seven and start school! He tries to convince his father in every imaginable way, and seeks help from his imaginary friend. Albert regains hope when he meets a real-life magician. Perhaps he could make his dream come true? But it is not as easy as he thinks. However, in the end, his dream does come true, in the most unexpected manner.
"Albert predstavlja resni~nega de~ka v resni~nem svetu. Vendar je hkrati zelo poseben, saj gre za svetovno znan lik iz otro{ke knjige pisateljice Gunille Bergström. To mi je pomenilo izjemen izziv in navdih. Njene knjige premorejo zelo prefinjeno vedrino in modrost, pa tudi veliko navdu{enja in humorja. Zgodba o tem, kako si Albert `eli psa, je bila prilo`nost, da naredim film, ki bo ponudil ~ustveno in vizualno bogato izku{njo najmlaj{emu ob~instvu. @elela sem prikazati kar naj{ir{o paleto ~ustev, tako da se z zgodbo lahko poistovetijo otroci in odrasli." (Torill Kove)
"Alfie represents a real boy in a real world. But he's a rather special boy since he is also a world-famous children's book character created by Gunilla Bergström. For me this represented a great and inspiring challenge. The Alfie Atkins books have a subtle serenity and wisdom, but also a lot of excitement and humour. The story of Alfie's desire for a dog was an opportunity to make a film that could offer an emotionally and visually rich cinema experience for our youngest moviegoers. I wanted to show as large a spectrum of human emotions as possible in a way that both children and adults can relate to." (Torill Kove)
Torill Kove
filmografija/filmography
Rojena leta 1958 v Hamarju na Norve{kem. Leta 1982 se je preselila v Kanado, kjer je {tudirala urbanistiko, pozneje pa na Univerzi Concordia {e animacijo in takrat tudi `e prejela Kodakovo nagrado za {tudentske filme. S svojimi kratkimi filmi je bila `e trikrat nominirana za oskarja; leta 2006 ga je za film The Danish Poet tudi prejela. Hokus pokus Albert je njen prvi animirani celove~erec.
2001 My Grandmother Ironed the King's Shirts (kratki anim./short anim.) 2006 The Danish Poet (kratki anim./short anim.) 2013 Hokus pokus Albert Åberg (Hocus Pocus Alfie Atkins/ Hokus pokus Albert) 2014 Me and My Moulton (kratki anim./short anim.)
festivali, nagrade (izbor)/ festivals, awards (selection) Giffoni 2014, Cinemagic 2014, Cinekid 2014, Mednarodni otro{ki filmski festival v Chicagu/Chicago International Children's Film Festival 2014, Kinodiseea 2014, Otro{ki filmski festival v Londonu/London Children's Film Festival 2014, Ale Kino! Poznanj 2014, Mednarodni otro{ki filmski festival v New Yorku/ New York International Children's Film Festival 2015
distribucija/distribution Fivia d.o.o. Prelo`nikova 1 3212 Vojnik E cenex�siol.net
Born in 1958 in Hamar, Norway. In 1982, Kove moved to Canada, where she studied urban planning, and subsequently took up studies of animation at the Concordia University, during which time she received the Kodak Award for Best Student Film. After three Academy Award nominations for Best Short Film, she received the Award in 2006 for The Danish Poet. Hocus Pocus Alfie Atkins is her first animated feature film.
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Kinobalon Kinobalon
Cykelmyggen og Minibillen Minnie and the Mozzies Komar kolesar in hro{~ek Mini
za otroke od 4. leta for children aged 4+ pripovedovanje v sloven{~ini Slovenian narration
Jannik Hastrup, Flemming Quist Møller
Danska Denmark 2014
re`ija/directed by Jannik Hastrup, Flemming Quist Møller scenarij/screenplay Flemming Quist Møller animacija/animation Asta Sigurdardottir, Louise Muchardt, Anne Louis Laugesen, Jamie Holmes, Ingeborg Faber Taarup, Mads Buch glasba/music Jesper Melchenburg pripovedovanje v sloven{~ini/ Slovenian narration Katja Pre{a producentka/producer Marie Bro produkcija/production Dansk Tegnefilm Overgaden Oven Vandet 52, 3 DK–1415 Copenhagen K, Denmark E marie�tegnefilm.com format/format DCP, barvni/colour dol`ina/running time 76' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2015, Sarajevo 2015, Chicago 2015, Giffoni 2015, Poznanj 2015, Mednarodni festival otro{kega filma Kristiansand/Kristiansand International Children's Film Festival 2015, Peking/Beijing 2015
Film, osnovan na animiranem univerzumu, ustvarjenem pred pol stoletja, nas popelje na razburljivo potovanje skozi ble{~e~, barvit svet, poln pesmi, plesa, humorja, topline, razli~nih zna~ajev in vsem dobro znanih dogodiv{~in. Hro{~ek Mini nastopa v bol{jem cirkusu. Nekega dne ga bolha Miranda nagovori, naj se pome{a med plesalke na vrvi, in Mini nehote po{koduje glavno plesalko Dagmar. Zelo ga je sram, zato zbe`i in se pridru`i tolpi roparjev, ki od njega zahteva, da vlomi v ~ebelji panj. Minija zajamejo ~ebelji vojaki in ga obsodijo na dosmrtno te`a{ko delo; ker pa je stra{no sr~kan, ga ~ebelje princese vzamejo za svojega hi{nega ljubljen~ka, vse dokler ne pobegne in poi{~e zato~i{~a pri roparjih. Tolpa je medtem ukradla kolo njegovemu prijatelju Egonu in Mirandi je `al, da je Minija izkoristila za svojo ukano. Miranda in Mini se s svojimi pogumnimi prijatelji namenita povrniti Egonu njegovo ljubljeno kolo.
prodaja/world sales TrustNordisk ApS Filmbyen 22 2650 Hvidovre, Denmark E info�trustnordisk.com
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Based on an animated universe created nearly 50 years ago, the film takes us on an adventurous journey through a sparkling, colourful universe full of songs, dance, humour, warmth and a festive gallery of personalities and familiar situations. The minibeetle Mini performs in a flea circus. The flea Miranda bullies Mini and tricks him into interfering in Dagmar's line dancing so she falls and sprains her foot. Deeply ashamed, Mini runs away and joins a gang of robbers who order Mini to break into the honey bee stock. But the bee-soldiers catch him, and he is sentenced to life-long hard labour. The bee-princesses find him cute and adopt him as their pet until he flees and asks for sanctuary among the robbers, who have meanwhile stolen Egon's bike. Miranda regrets her bullying Mini and together with Mini and their brave friends they courageously try to regain Egon's beloved bike.
"Film Komar kolesar in hro{~ek Mini razkriva na{o lastno, osebno vpletenost v svet, navsezadnje ga preveva temeljno prepri~anje, da vsi med seboj ravnamo iskreno in ubrano. Ob odkrivanju te filozofije se film Komar kolesar in hro{~ek Mini odra`a kot veli~astna zgodba, ~udovita pripoved, ki prekipeva od razposajenosti in iskrivosti ter vklju~uje teme, kot sta ustrahovanje in prijateljstvo." (Jannik Hastrup, Flemming Quist Møller)
"Mini and the Mozzies shows traces of our own personal involvement in the world, at heart carried by the fundamental conviction that we shall all of us be honest and balanced in our dealings with each other. In this way, Mini and the Mozzies is presented as a magnificent tale, a glorious yarn overflowing with cheek and verve including subjects of bullying and friendships." (Jannik Hastrup, Flemming Quist Møller)
Jannik Hastrup, Flemming Quist Møller
filmografija (izbor)/filmography (selection)
J. H.: Rojen leta 1941 v Næstvedu na Danskem. Veliki mojster danske animacije, ki slovi po realisti~nih, iskrenih filmih za otroke. V petih desetletjih je ustvaril ve~ kot sto animiranih filmov, med njimi {tirinajst celove~ernih. Born in 1941 in Næstved, Denmark. Grand master of Danish animation, Hastrup is known for making realistic and honest films for children. In the five decades of his career, he has directed more than 100 animated films, among which 14 features. F. Q. M.: Rojen leta 1942 Taarbæku na Danskem. Je glasbenik, scenarist, igralec, animator ter pisec in ilustrator otro{kih knjig. Z Jannikom Hastrupom je sore`iral tudi popularno otro{ko klasiko Bennys badekar. Born in 1942 in Taarbæk, Denmark. Musician, screenplay writer, author and illustrator of books for children. Co-director (with Jannik Hastrup) of the immensely popular children's classic, Benny's Bathtub.
J. H.: 1971 Bennys badekar (Benny's Bathtub) (kratki/short) 1984 Samson og Sally (Samson and Sally) 1990 Fuglekrigen (War of the Birds) 1995 Aberne og det Hemmelige Våben (The Secret Weapon) 2003 Drengen der ville gøre det umulige (The Boy Who Wanted to Be a Bear) 2014 Cykelmyggen og Minibille (Mini and the Mozzies/Komar kolesar in hro{~ek Mini) F. Q. M.: 1966 Hvordan man opdrager sine forældre (TV-serija/TV series) 1967 Scatclat 1971 Bennys badekar (Benny's Bathtub) (kratki/short) 1993 Jungledyret 2014 Cykelmyggen og Minibille (Mini and the Mozzies/Komar kolesar in hro{~ek Mini)
Kinobalon Kinobalon
Les oiseaux de passage The Birds of Passage Ptice selivke
za otroke od 6. leta for children aged 6+ v franco{~ini s slovenskimi podnapisi in French with Slovenian subtitles
Belgija Belgium 2015
Olivier Ringer
Napeta dogodiv{~ina pogumnih prijateljic in njune ra~ke, ki jo morata za vsako ceno re{iti pred kruto usodo in ji pomagati pri prilagajanju na `ivljenje z novo ra~jo dru`ino.
An exciting adventure of two courageous friends and their duckling that needs to be saved from harm. No effort must be spared in helping the bird adapt to her new family.
Cathy ima malce nenavadnega o~eta, ki ji za rojstne dni podarja {e bolj nenavadna darila. Za deseti rojstni dan se {e posebno izka`e in ji podari jajce. Ko se ra~ka izle`e, se mo~no nave`e na prvo osebo, ki jo zagleda. Cathy ima najbolj{o prijateljico Margaux, ki je v sobi ravno tisti trenutek, zato postane njena mama. Ker pa je deklica na invalidskem vozi~ku, za ra~ko te`ko skrbi. Tudi star{a nista preve~ navdu{ena nad novo hi{no ljubljenko, zato se je sku{ata znebiti. Deklici se odlo~no zoperstavita na~rtu odraslih ter se kot ptici selivki odpravita na dolgo in napeto potovanje, da bi re{ili ra~ko s farme in jo privadili na `ivljenje z novo ra~jo dru`ino v jezeru.
For her tenth birthday, Cathy's whimsical father gives her a present that is a little out of the ordinary: a fertilised duck egg. Her father warns her: the duckling will think the first person it claps its eyes on is its mother. And that first person, against all odds, is Margaux, Cathy's friend. Cathy is prepared to let Margaux play the role of mother duck, but she is confined to a wheelchair. Her parents find her incapable of taking care of the duckling and try to get rid of the bird. Like two birds of passage Margaux and Cathy run away so that they can love and look after the little duckling far away from the world of grown-ups.
"Ko pretirano {~itimo svoje otroke v veri, da gre za 'njihovo dobro', in jih spravljamo na varno, jim vsaki~ znova sporo~amo, da je `ivljenje nevarno, ~eprav za dolo~ene okoli{~ine to res velja. Sporo~amo jim tudi, da pustolov{~ina ni del `ivljenja, saj je po svojem bistvu polna nepri~akovanega. Vendar nedvomno nepri~akovano `ivljenje navda s ~arom." (Olivier Ringer)
"By trying to overprotect our children believing it is for their own 'good', and confining them to spaces called secure, the recurring message we are giving them is to believe that life is dangerous, even if we are probably right in some situations. We also communicate the message that adventure is not part of life because the adventure is, in essence, full of the unexpected. And yet, it is undoubtedly the unexpected that makes the spice of life." (Olivier Ringer)
Olivier Ringer
filmografija/filmography
Rojen leta 1961 v Bruslju. Deluje kot scenarist, re`iser in producent, ve~krat v dvojici z bratom, producentom filma Ptice selivke, Yvesom Ringerjem. Mednarodno se je uveljavil z drugim celove~ercem, À pas de loup, ki je svetovno premiero do`ivel v referen~nem sklopu Generation na Berlinalu 2011, zatem pa po`el {e vrsto mednarodnih nagrad.
1986 1988 2006 2011 2015
re`ija/directed by Olivier Ringer scenarij/screenplay Olivier Ringer, Yves Ringer fotografija/cinematograhpy Mihnea Popescu glasba/music Bruno Alexiu igrajo/cast Clarisse Djuroski (Cathy), Léa Warny (Margaux), Alain Eloy (Cathyjin o~e/ Cathy's dad), Myriem Akkhediou (Cathyjina mama/Cathy's mom), Angelo Dello Spedale (Margauxjin o~e/Margaux's dad), Jeanne Dandoy (Margauxjina mama/Margaux's mom) monta`a/editing Alanté Kavaïté producenta/producers Yves Ringer, Antoine Simkine produkcija/production Ring Prod 16 place de l'Université 1348 Louvain-la-Neuve, Belgium E ringprod�gmail.com format/format DCP, barvni/colour dol`ina/running time 83' festivali, nagrade (izbor)/ festivals, awards (selection) Mednarodni festival otro{kega filma Montréal/Montréal International Children's Film Festival 2015 (glavna nagrada/Grand Prix), Zlin 2015 (nagrada ECFA/ECFA Award), Cinejeune 2015, Europees Jeugdfilmfestival Vlaanderen Antwerp & Brugge 2015
prodaja/world sales Attraction Distribution 5455 De Gaspe Ave., Suite 803 Montreal, Quebec, H2T 3B3, Canada E info�attractiondistribution.ca
Haute pression (kratki/short) Les guignols de l'info (TV-serija/TV series) Pom, le poulain À pas de loup Les oiseaux de passage (The Birds of Passage/Ptice selivke)
Born in 1961 in Brussels, Ringer is a scriptwriter, director and producer, mostly working in collaboration with his brother, Yves Ringer, co-producer of The Birds of Passage. Ringer has attained international renown with his second feature film, À pas de loup, which premiered in the prestigious Generation Section at the 2011 Berlin Film Festival, and then went on to win a series of international awards.
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Song of the Sea Song of the Sea Pesem morja
za otroke od 8. leta for children aged 8+ v angle{~ini s slovenskimi podnapisi in English with Slovenian subtitles
Tomm Moore
re`ija/directed by Tomm Moore scenarij/screenplay William Collins, Tomm Moore glasba/music Bruno Coulais glasovi/voices David Rawle (Ben), Brendan Gleeson (Conor/Mac Lir), Lisa Hannigan (Bronach), Fionnula Flanagan (babica/ grandmother), Lucy O'Connell (Saoirse), Jon Kenny (Seanachai), Pat Shortt (Lug), Colm Ó'Snodaigh (Mossy), Liam Hourican (Spud), Kevin Swierszcz (mlaj{i Ben/younger Ben) monta`a/editing Darragh Byrne producenti/producers Claus Toksvig Kjaer, Tomm Moore, Paul Young produkcija/production Cartoon Saloon The Maltings, Tilbury Place James Street Kilkenny, Ireland E info�cartoonsaloon.ie format/format DCP, barvni/colour dol`ina/running time 93' festivali, nagrade (izbor)/ festivals, awards (selection) Voix du Cinéma d'Animation 2014 (posebna nagrada `irije/Special Jury Prize), [anghaj/Shanghai (najbolj{i animirani film/Best Animation Film) 2015, Mednarodni festival otro{kega filma Kristiansand/Kristiansand International Children's Film Festival 2015 (najbolj{i animirani film/Best Animated Film)
Ganljiva pripoved, v kateri se na ozadju ~udovito izrisane irske pokrajine mitologija preplete z zgodbo sodobne dru`ine, ki se sku{a sprijazniti z izgubo mame. Animirana mojstrovina v ro~ni tehniki akvarela avtorja uspe{nice Skrivnost iz Kellsa. [tiriletni de~ek Ben `ivi v svetilniku na samotnem irskem otoku z o~etom, nose~o mamo in psom Cújem. Neke no~i mama skrivnostno izgine, za njo pa ostane dojen~ica Saoirse. Na Saoirsin {esti rojstni jo babica, ki je na obisku, najde na obali premra`eno in odeto v svetle~o belo tjulnjo ko`o. O~e skrinjo s ko`o jezno zalu~a v morje, babica pa oba otroka na silo odpelje "na varno" v mesto. Ben spozna, da je njegova sestra zadnje bitje selkie, pol ~lovek, pol tjulenj, in je edina, ki lahko pomaga v skale za~aranim vilincem. A za to potrebuje svojo tjulnjo ko`o. Da bi pomagal sestri, se Ben poda na razburljivo potovanje v svet mitolo{kih bitij, o katerih mu je pripovedovala mama. "Prebral sem zbirko irskih in {kotskih ljudskih zgodb Ljudje morja. Zgodbe o selkijih se berejo kot nekak{ne prispodobe o izgubi. Kot da bi si jih ljudje, ki `ivijo ob morju, izmislili, da bi la`je preboleli izgubo ljubljene osebe, in zdelo se mi je vredno narediti sodobno priredbo." (Tomm Moore)
distribucija/distribution Karantanija Cinemas Ro`na dolina, Cesta 3/18 1000 Ljubljana E andrej�kcs.si
Irska, Danska, Belgija, Luksemburg, Francija Ireland, Denmark, Belgium, Luxembourg, France 2014
A heart-warming story about a bereaved family interspersed with elements of mythology against the backdrop of mesmerising Irish landscape. A masterpiece of hand-drawn watercolour animation by the maker of the resoundingly successful The Secret of Kells. Four-year-old Ben lives in a lighthouse on an isolated Irish island with his father, pregnant mother and dog Cú. One evening the mother mysteriously disappears, leaving behind an infant, Saoirse. On Saoirse's sixth birthday her grandmother finds her on the beach, shivering with cold and wrapped in white sealskin. Her father angrily throws the skin into the sea, and the grandmother takes the children to live with her in the city. Ben realises that his sister is the last selkie, a creature half human half seal, and the only one who can help the faeries bewitched into rocks. But she needs her sealskin to do that. Coming to his sister's help, Ben embarks on an exciting adventure into the world of mythological creatures his mother told him about. "I read a book called The People of the Sea, which was just a collection of all the stories from Scotland and Ireland. It just seemed like they were obviously allegories for loss. It seemed like those coastal communities had kind of invented these fairy tales as a way to deal with loss and I thought that was something that was worth trying to update and do a modern retelling of those stories." (Tomm Moore)
Tomm Moore
filmografija/filmography
Rojen leta 1977, Newryu na Irskem. Dela kot ilustrator, stripar in filmar. Po {tudiju klasi~ne animacije na kolid`u Ballyfermot je soustanovil studio Cartoon Saloon. Ustvarja v klasi~ni 2D-animaciji, pri ~emer vizualno in vsebinsko zajema iz bogate irske zgodovinske in kulturne tradicije. Oba njegova filma, Skrivnost iz Kellsa in Pesem morja, sta si prislu`ila presti`no nominacijo za oskarja kot najbolj{i animirani celove~erec.
2009 The Secret of Kells (Skrivnost iz Kellsa) 2014 Song of the Sea (Pesem morja)
Born in 1977 in Newryu, Ireland, Moore is an illustrator, cartoonist and filmmaker. He graduated in classical animation from the Ballyfermot College and subsequently co-founded the Cartoon Saloon studio. He works in classical 2D animation, and draws his themes and visual motifs from the wealth of Irish historical and cultural tradition. Both of his films, The Secret of Kells and Song of the Sea, won the prestigious Academy Award nomination for Best Animated Feature.
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Dhanak Rainbow Mavrica
za otroke od 8. leta for children aged 8+ v rad`astanskem jeziku s slovenskimi podnapisi in Rajasthani with Slovenian subtitles
Indija India 2015
Nagesh Kukunoor
re`ija/directed by Nagesh Kukunoor scenarij/screenplay Nagesh Kukunoor igrajo/cast Swastik Ram Chavan, Krrish Chhabria (^otu), Vibha Chhibber, Vincent Daniel, Ramakant Dayma, Rishi Deshpande fotografija/cinematography Chirantan Das glasba/music Tapas Relia monta`a/editing Sanjib Datta producent/producer Manish Mundra produkcija/production Kukunoor Movies Svetlana Naudiyal E svetlana.07�gmail.com format/format DCP, barvni/colour dol`ina/running time 106'
Odisejsko potovanje brata in sestre, ki nas navdu{ita s svojo vztrajnostjo in medsebojno povezanostjo. Film, pre`et z upanjem in veseljem.
An odyssey of a brother and sister whose resolve and love for each other is overwhelming. A film that radiates hope and joy.
Desetletna Pari in njen osemletni brat ^otu `ivita v vasi v Rad`astanu. Zelo se imata rada in si med potjo v {olo pripovedujeta zgodbe. ^otu je slep in Pari mu je obljubila, da bo spregledal, preden bo dopolnil devet let. Na poti do sosednje vasi, kamor hodita gledat filme, Pari zagleda filmski plakat s slavnim [arukom Kanom, na katerem pi{e, da bo junak "podaril svoje o~i". Pari verjame, da jima filmski junak lahko pomaga. Odpravita se proti tristo kilometrov oddaljenemu prizori{~u v pu{~avo, kjer [aruk Kan snema svoj novi film. Na odisejskem potovanju po pra{nih cestah, kjer magija in pravljice {e vedno `ivijo, jima ljudje radi prisko~ijo na pomo~.
10-year old girl Pari and Chotu, her 8-year old brother live in a picturesque village in Rajasthan. They care for each other very much and tell each other stories on their way to school. Chotu is blind and Pari has promised Chotu that he will be able to see by the time he turns 9. On their weekly trip to the neighbouring village to see a movie, Pari sees a poster with Sharukh Khan appealing to people to donate their eyes. Pari is convinced that her hero can help her fulfil her promise. One day Pari hears that Sharukh Khan is shooting in a location about 300 kms from her village. What unfolds is a magical journey that only the innocence of childhood allows you to experience. The children meet a host of colourful characters who steer them towards their final destination.
"Film sem posnel, da bi verjel v tisto nekaj dobrote, ki {e obstaja na svetu. Hotel sem, da bi spominjal na Indijo, kjer sem odra{~al, ko stvari niso bile zapletene." (Nagesh Kukunoor)
"I made this film to believe that there is still some goodness left in this world. I wanted it to remind of the India I grew up in, when things weren't complicated." (Nagesh Kukunoor)
Nagesh Kukunoor
filmografija/filmography
Rojen leta 1967 v Hiderabadu v Indiji. V Indiji in ZDA je {tudiral kemijsko tehnologijo. Po kon~anem magisteriju se je zaposlil kot svetovalec za okolje, obenem pa se je udele`eval filmskih delavnic ter se izobra`eval iz igre in re`ije. Prislu`eni denar iz svojega in`enirskega poklica je investiral v svoj prvi film, od tedaj dela kot re`iser, producent, scenarist in igralec. Za svoje filme je prejel {tevilne mednarodne nagrade.
1998 1999 2003 2003 2004 2005 2006 2008 2009 2010 2011 2014 2015
Born in 1967, in Hyderabad, India. He studied chemical engineering in India and the United States. After graduating, he went to work as an environmental consultant, during which time he attended film workshops and studied acting and direction. He invested the money he earned as an engineer into his first film and has since then worked as film director, producer, screenwriter and actor. He has received several international awards for his works.
festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2015 (glavna nagrada `irije Generation/Grand Prix of the Generation Jury), Festival indijskega filma Los Angeles/Indian Film Festival Los Angeles 2015, Festival otro{kega filma TIFF/TIFF Kids Film Festival 2015, London 2015, Busan 2015, Toronto 2015
Hyderabad Blues Rockford 3 Deewarein Bollywood Calling Hyderabad Blues 2 Iqbal Dor Bombay to Bangkok 8 x 10 Tasveer Aashayein Mod Lakshmi Dhanak (Rainbow/Mavrica)
prodaja/world sales Kukunoor Movies Svetlana Naudiyal E svetlana.07�gmail.com
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Operasjon Arktis Operation Arctic Misija Arktika
za otroke od 8. leta for children aged 8+ v norve{~ini s slovenskimi podnapisi In Norwegian with Slovenian subtitles re`ija/directed by Grethe Bøe-Waal scenarij/screenplay Grethe Bøe-Waal, Leif Hamre (knjiga/book) fotografija/cinematography Gaute Gunnari monta`a/editing Anders Refn glasba/music Trond Bjerknes igrajo/cast Kaisa Gurine Antonsen (Julia), Ida Leonora Valestrand Eiki (Ida), Leonard Valestrand Eiki (Sindre), Line Verndal (mama/mother), Nicolai Cleve Broch (o~e/father), Kristofer Hivju (lovec/hunter) producenti/producers John M. Jacobsen, Sveinung Golimo, Marcus Brodersen produkcija/production Filmkameratene PO Box 629 Sentrum Oslo, N 0106, Norway E film�filmkameratene.no format/format DCP, barvni/colour dol`ina/running time 87' festivali, nagrade (izbor)/ festivals, awards (selection) Festival otro{kega filma TIFF/TIFF Kids Film Festival 2015 (nagrada ob~instva/People's Choice Award), Mednarodni festival otro{kega filma Montreal/Montreal International Children's Film Festival 2015 (nagrada otro{ke `irije/Children's Jury Prize), Cinequest San Jose 2015, Zlin 2015, Kristiansand 2015, Otro{ki filmski festival Stockholm/ Stockholm International Film Festival Junior 2015, Sundance 2015
Trije otroci sami v ledeni naravi, obdani z la~nimi polarnimi medvedi, morajo dati vse od sebe, da se lahko vrnejo domov. Vznemirljiva zgodba o pre`ivetju na samotnem arkti~nem otoku. Trinajstletna Julia ter osemletna dvoj~ka Ida in Sindre so otroci iz voja{ke dru`ine, ki se morajo preseliti v novo mesto. Prilagajanje na novo okolje je te`ko, in ko se Sindre zaplete v pretep na {olskem dvori{~u, dvoj~ka zbe`ita do bli`njega voja{kega opori{~a, Julia pa jima sledi. V `elji, da bi ponovno videli o~eta, ki je na misiji, se splazijo v helikopter na letu v njegovo bazo. Po pristanku se otroci skrivoma izkrcajo in se takoj zavejo, da je nekaj narobe. Toda prepozno! Helikopter vzleti brez njih, sami ostanejo na neposeljenem arkti~nem otoku. V ostri polarni zimi, z majhno zalogo hrane, v ko~i, obkoljeni z divjimi `ivalmi, morajo v svet poslati sporo~ilo, kje so, sicer ne bodo pre`iveli. Boj za pre`ivetje in vrnitev domov postajata vsak dan te`avnej{a, vendar se otroci hitro u~ijo, kako se spopasti z izzivi. "Snemalno ekipo sem peljala na Svalbard, ki je zelo dale~ na severu. Od prve ve~je naselbine smo se peljali pet, {est ur stran. /.../ @elela sem prikazati pravo Arktiko, tak{no, kot je v resnici. /…/ Izkazalo se je, da so ob~instvo, ne samo otroke, ampak tudi odrasle, zelo prevzeli prizori prave narave. Podobe so res izjemne." (Grethe Bøe-Waal)
distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si
Norve{ka Norway 2014
Grethe Bøe-Waal
Three children facing the epic powers of Arctic wilderness, whose existence is threatened by blizzards and polar bears. A thrilling story about survival on a deserted island. 13-year-old Julia and her twin siblings, 8-year-old Sindre and Ida, born to military parents, have moved to a small town. It's hard to adjust to a new environment and when Sindre gets into a school fight, the twins run away to the nearest army airbase. Desperate to reach their father, who is working in Southern Norway, they secretly jump aboard a helicopter flying in his direction. Unfortunately, the helicopter changes its route and soon they find themselves lost and alone on a deserted island. They have to conquer fear and dangerous situations: wild animals, raging weather and lack of food. But they are quickly learning something all children love: How to master challenges. "I took my team to Svalbard which is pretty far north. You go with snowmobile for 5, 6, hours way out from the only habitated area up there. /.../ I really wanted to show the Arctic for real, not pretend. /.../ Not only kids but the adults also were really fascinated by my bringing real nature into a film like that. The images are quite spectacular." (Grethe Bøe-Waal)
Grethe Bøe-Waal
filmografija/filmography
Rojena leta 1971 na Norve{kem. Na Kolid`u Ithaca v New Yorku je diplomirala iz filozofije in re`ije. Veliko je delala tudi v gledali{~u in kot igralka, danes pa vodi svoje produkcijsko podjetje. Re`irala je ve~ kratkih filmov in tv-serij, njen prvi celove~erec Titanics ti liv pa je osvojil ve~ nagrad na mednarodnih festivalih otro{kega in mladinskega filma. Misija Arktika je njen drugi celove~erni film.
2007 Titanics ti liv 2014 Operasjon Arktis (Operation Arctic/Misija Arktika)
Born in 1971 in Norway, Bøe-Waal graduated in philosophy and directing from the Ithaca College New York. Currently running her own production house, she worked profusely in theatre and had an acting career. A director of several shorts and TV series, Bøe-Waal's debut feature, Titanics ti liv, received a number of awards at various international children's film festivals. Operation Arctic is her second feature film.
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Pragmati~ni filozof Hal Hartley Hal Hartley, a Pragmatic Philosopher Simon Popek Kaj se je zgodilo s Halom Hartleyjem, smo se spra{evali ve~idel novega stoletja, ko njegovih filmov bodisi ni bilo na spregled bodisi niso dosegali (evropskih) filmskih festivalov. Popularen in strogo neodvisen newyor{ki avtor, ki je z imeni kot Allison Anders, Kevin Smith, Richard Linklater, Todd Haynes, Tom DiCillo ali David O. Rusell soustvarjal ~ude` ameri{kega neodvisnega filma, t. i. generacijo Sundance, s preloma iz osemdesetih v devetdeseta leta, je nenadoma prenehal serijsko ustvarjati, zdelo se je, da doma vse te`je najde sredstva ter da se mora za financami vse pogosteje – kot drugi sonarodnjaki, npr. Jim Jarmusch – obra~ati na obe strani oceana, najve~krat v Francijo ali na Japonsko. Nenadne "te`ave s Hartleyjem" so se zdele {e toliko bolj presenetljive, saj je bil v svojem ~asu nemara najbolj plemenit in igriv promotor romanti~ne komedije, kroni~no podcenjenega `anra, ki je z njegovim prijemom vseskozi uravnaval med vsakdanjim in absurdnim. ^eprav so se njegove minimalisti~ne melodrame naslanjale na tradicijo spro{~enega sloga tridesetih let, mojstrovine Lea McCareyja, Gregoryja LaCava ali Franka Capre pa so bile po drugi strani vendarle prepojene z bressonovsko askezo ter {e posebej z neresno deadpan komiko in pragmati~nim filozofiranjem, ki so se marsikomu zdeli pretirano intelektualisti~ni. Hartleyjev najbolj prepoznaven idiom so ~ez no~ postali karakteristi~ni dialogi, sinkopirane, le`erno izmenjujo~e se domislice, ki jih junaki v literarni tradiciji nemalokrat podajajo eden mimo drugega. Klasi~ni primer je v Amaterju izmenjava med Martinom Donovanom, kriminalcem brez spomina, in Isabelle Huppert, nekdanjo nuno, zdaj nimfomanko in avtorico pornografske fikcije. On: "[e vedno si nedol`na? Sem mislil, da si nimfomanka." Ona: "Sem pa~ izbir~na." Hartleyja smo od vsega za~etka dojemali kot Ameri~ana z evropsko senzibilnostjo, a ~eprav ga {tevilni primerjajo z zgodnjim Godardom, bi ga nemara najla`je postavili ob bok Samuelu Beckettu, mojstru premorov, vejic, lo~il, skratka avtorju, ~igar dobr{en del poetike temelji prav na ti{ini, rahlem predahu, preden bralca poseka z novim dovtipom ali nemogo~o stav~no zvezo. Hartleyju se pozna, da se je posve~al {tudiju knji`evnosti in filozofije, njegovi junaki se vedejo podobno kot Malone na smrtni postelji ali pouli~na svetilka, ki ~aka, da jo kdo pokrije s toplo odejo. Pri stati~nih prizorih v Hartleyevih filmih gre obi~ajno za kratke, kot britev ostre komentarje, s katerimi junaki napadajo malome{~anske predsodke "navadnih" ljudi, ali pa za prave filozofske traktate, ki jih izrekajo od ljubezni obupani protagonisti – najbistrej{e razprave smo gotovo dele`ni od lokalnega {erifa v Preprostih ljudeh. Po drugi strani smo pri dolgih posnetkih praviloma dele`ni "akcijskih" posegov in fizi~nega stika, ~e pri Hartleyju sploh lahko govorimo o akciji, ustreznej{i termin bi bil fizi~na dinamika, s katero je uspe{no eksperimentiral predvsem v treh filmih; plesna prizora (brez glasbene spremljave) v Hrepenenjih in (z glasbeno podlago) v Preprostih ljudeh sta posneta v enem kadru, prav tako uvodni pretep v Ambiciji, ki je le uvod v re`iserjevo najbolj halucinativno delo. Pri~ujo~a kratka retrospektiva `eli storiti dvoje: v mesto ponovno pripeljati avtorjeva zgodnja dela, ki so `e zdavnaj dosegla kultni polo`aj, ter zaokro`iti trilogijo o Henryju Foolu, Fay Grim in Nedu Riflu, ki jo je Hartley zasnoval (ali pa tudi ne) pred skoraj dvajsetimi leti.
"Whatever happened to Hal Hartley?" was the question on everyone's mind throughout most of this century, when we puzzled over the absence of his films in cinemas or at (European) film festivals. Alongside figures such as Allison Anders, Kevin Smith, Richard Linklater, Todd Haynes, Tom DiCillo and David O. Rusell, Hartley formed an intrinsic part of the miracle of American independent cinema, the generation known as Sundance that emerged in late 1980s and early 90s. The popular and fiercely independent New York-based filmmaker suddenly discontinued his serial filmmaking; it seemed that he had trouble raising the necessary funding in the US and was forced – similarly to many of his compatriots, including Jim Jarmusch – to seek funds on both sides of the Atlantic, predominantly in France or Japan. The sudden 'trouble with Hartley' seemed all the more surprising considering the fact that, in his prime, the director was possibly the finest and most playful advocate of romantic comedy, an acutely underrated genre that in Hartley's version blended reality and the absurd. Although his minimalistic melodramas drew from the relaxed style of the 1930s, masterpieces by Leo McCarey, Gregory LaCava or Frank Capra, they also heavily featured Bressonesque asceticism and predominantly the frivolous deadpan humour and pragmatic philosophising that many considered overly intellectualistic. Suddenly, Hartley's most distinguishing idiom turned into characteristic dialogues, syncopated, leisurely exchanged witticisms – remarks mostly given as asides in line with literary tradition. One classic example of such dialogue can be found in Amateur, the exchange between Martin Donovan, an amnesiac criminal, and Isabelle Huppert, a nun turned nymphomaniac and writer of porn fiction. Him, "How can you be a nymphomaniac and never had sex?" Her, "I'm choosy." From the very outset, Hartley was seen as an American artist possessing European sensitivity, and though frequently compared to early Godard, more similarities can be found with Samuel Beckett, the master of pauses, commas, punctuation marks, in short, an author whose aesthetics predominantly rests on silences, that slight interruptions coming before another overwhelming quip or an impossible syntactic construction. Hartley’s style is deeply marked by his study of literature and philosophy, his characters' behaviour resembles Malone's in his dying hours or that of a street lamp waiting to be wrapped in a warm blanket. Hartley's static scenes usually involve short, razorsharp remarks made to challenge the narrow-minded prejudices of 'common people', or veritable philosophical reflections uttered by love-sick protagonists – one of the most insightful observations is made by the local sheriff in Simple Men. On the other hand, the long takes tend to involve 'action' and physical contact, however, Hartley's action might be more appropriately termed as physical dynamic, the quickened pace with which he most efficiently experimented in three films; the dance scenes in Surviving Desire (in the absence of music) and Simple Men (to musical accompaniment) were shot in a single take, similarly to the introductory fight in Ambition that merely provides the opening to the director's most hallucinatory work. Our short retrospective aims to devote renewed attention to filmmaker's early works, some of the cult classics of modern cinema, and conclude the trilogy featuring the characters of Henry Fool, Fay Grim and Ned Rifle, which Hartley devised (or not) almost twenty years ago.
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Posve~eno Tribute
The Unbelievable Truth The Unbelievable Truth Neverjetna resnica ZDA USA 1989
Hal Hartley re`ija/directed by Hal Hartley scenarij/screenplay Hal Hartley fotografija/cinematography Michael Alan Spiller glasba/music Jim Coleman monta`a/editing Hal Hartley igrajo/cast Adrienne Shelly (Audrey), Robert John Burke (Josh), Gary Sauer (Emmet), Edie Falco (Jane, natakarica/Jane, the waitress), Matt Malloy (Otis, voznik/Otis, the driver), Bill Sage (Gus) producenti/producers Bruce Weiss, Hal Hartley, Jerome Brownstein produkcija/production Possible Films 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com & Action Features format/format HD, barvni/colour dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Los Angeles 1989, Chicago 1989, Toronto 1989, Sundance 1990
Romanti~na komedija zme{njav in hkrati satira toplega srca spregovori o te`avah ljubezenskega razmerja, obremenjenega s strahom pred jedrsko katastrofo. Igralska zasedba: "kdo je kdo" ameri{kega neodvisnega filma.
A romantic comedy of errors and a warm-hearted satire tackling the predicaments of love overshadowed by the dread of nuclear disaster, and starring the "who's who" of American independent cinema.
Audrey je lepa in mlada, a tudi skrajno nihilisti~no razpolo`ena srednje{olka, ki se vseskozi obremenjuje z mo`nostjo pojava jedrske katastrofe. Ima tudi malce posesivnega fanta, njeno veliko srednje{olsko ljubezen, in vsi pri~akujejo, da se bo z njim poro~ila. A nato njen vro~ekrvni o~e kot mehanika zaposli skrivnostnega Josha, ki se je ravnokar vrnil iz zapora. Nih~e sicer natan~no ne ve, kaj naj bi storil, a med ljudmi se {u{lja o krvavih umorih, kar Josha v o~eh Audry naredi {e bolj skrivnostnega. Josh je kot mehanik sicer nadvse spreten, zato pa je toliko bolj okoren pri vsem, kar zadeva med~love{ke odnose, {e posebno takrat, ko so vanje vme{ana tudi ~ustva. Toda Audrey zna biti vztrajna in prepri~ljiva ...
Beautiful and young Audrey is a nihilistic high-school student dreading the possibility of a nuclear disaster. Everybody expects Audrey to marry her possessive high-school sweetheart. But then Audrey's hot-headed father employs a garage mechanic, the mysterious Josh who’s just been released from prison. Nobody knows what his transgressions were but rumours are going around about bloody murders, which turns up the dial on mystery in Audrey's heart. Josh is a very dexterous mechanic but all the more clumsy when it comes to interpersonal relationships, especially if feelings are involved. Nevertheless, Audrey can be very convincing and stubborn when she sets her heart on it.
"Presene~a me, koliko mojih stalnih tematik se pojavi `e v tem prvencu." (Hal Hartley)
prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com
"I'm surprised at how many of my major preoccupations are already there in this first film." (Hal Hartley)
Hal Hartley
filmografija (izbor)/filmography (selection)
Rojen leta 1959 na Long Islandu, ZDA. Po {tudiju na newyor{ki univerzi je za~el pisati scenarije in snemati kratke filme. Debitiral je pri tridesetih letih s celove~ercem Neverjetna resnica, deset let pozneje pa si je s tragikomedijo Henry Fool v Cannesu prislu`il nagrado za najbolj{ega scenarista. Je eden najopaznej{ih soustvarjalcev ameri{kega neodvisnega filma.
1989 1990 1991 1992 1992 1993 1995 1997 1998 2004 2006 2013 2014
Born on Long Island, New York in 1959, Hartley studied at the State University of New York before starting to write screenplays and making short films. At the age of 30 Hartley made his feature debut with The Unbelievable Truth. His tragicomedy Henry Fool won Best Screenplay at Cannes in 1998. Hal Hartley is recognised as a trailblazer of independent American cinema.
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The Unbelievable Truth (Neverjetna resnica) Trust (Zaupanje) Ambition (Ambicija) (kratki/short) Surviving Desire (Hrepenenja) Simple Men (Preprosti ljudje) Amateur (Amater) Flirt Henry Fool The Book Of Life (Knjiga `ivljenja) The Girl From Monday Fay Grim My America Ned Rifle
Posve~eno Tribute
Trust Trust Zaupanje Hal Hartley
ZDA, Velika Britanija USA, Great Britain 1990 re`ija/directed by Hal Hartley scenarij/screenplay Hal Hartley fotografija/cinematography Michael Spiller glasba/music The Great Outdoors, Philip Reed monta`a/editing Nick Gomez igrajo/cast Adrienne Shelly (Maria Coughlin), Martin Donovan (Matthew Slaughter), Edie Falco (Peg Coughlin), Mat Malloy (Ed), Rebecca Nelson (Jean Coughlin), Bill Sage (John Bill) producenti/producers Bruce Weiss, Hal Hartley, Jerome Brownstein produkcija/production True Fiction Pictures & Zenith Entertainment 43–45 Dorset Street London, WIH 4AB, UK & Republic Pictures & Channel Four Films format/format 35 mm, barvni/colour dol`ina/running time 107'
Hartleyjev ~udoviti dar vsem obstrancem in neprilagojencem generacije X, pre`et s poezijo absurda ter ujet v formi fotografske {tudije barv in geometrije.
Hartley's remarkable tribute to Generation X outcasts and nonconformists. Suffused with the poetry of the absurd, the movie is a photographic study on colours and geometry.
Nekega dne, med vsakodnevno jutranjo rutino Maria star{e povsem ravnodu{no seznani s tem, da se nameravata z njenim ni~ kaj prida fantom poro~iti. Pri tem jima mimogrede navr`e {e to, da je zanosila. Star{a sta osupla. Za o~eta je {ok celo tako zelo silovit, da mu odpove srce in umre. Ogor~ena in u`alo{~ena mama Mario vr`e iz hi{e. Ta se zate~e k fantu, a izka`e se, da tudi on ni ni~esar vedel o njenih na~rtih in da v svoji bli`nji prihodnosti {e zdale~ ni razmi{ljal o poroki in otroku. Maria se nenadoma po~uti neznosno osamljena in zapu{~ena. Takrat pa v njeno `ivljenje povsem naklju~no vstopi skrivnostni mladi mo`, Matthew. O njem kro`i veliko govoric, med drugimi tudi ta, da se je nedavno vrnil iz zapora, kjer je sedel zaradi umora. A Maria v njem ne vidi po{asti, ampak le senzibilnega fanta, ki mu brez pomisleka zaupa.
One day, during her quotidian morning routine Maria calmly informs her parents that she's getting married to her ne'er-dowell boyfriend. Not stopping at that, she also tells them she’s pregnant. The parents are flabbergasted. The father has a heart attack and dies from the shock. The indignant and distressed mother throws Maria out of the house. She turns to her boyfriend for solace but he's indifferent to her plans and has no intention of marrying. Maria suddenly feels desperately lonely and abandoned. But then Matthew, a mysterious stranger, enters her life. He's rumoured to have recently been discharged from prison where he did time for murder. However, instead of a monster Maria sees a sensitive boy in Matthew and trusts him blindly.
"Sedaj si samo prizadevam igralcem ponuditi fizi~no akcijo. Ne posku{am pogledati v njihovo glavo ali srce, saj verjamem, da imajo za to sami dovolj ustvarjalnosti. Preprosto veliko pozornosti posvetim na~inu, kako se premikajo znotraj posnetka." (Hal Hartley)
festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 1990, Deauville 1991 (nagrada ob~instva, nagrada Coup de Coeur/Audience Award, Coup de Coeur Award), Sundance 1991 (nagrada za najbolj{i scenarij Waldo Salt/Waldo Salt Screenwriting Award), São Paulo 1991 (nagrada ob~instva/Audience Award)
"Now, I just work to give the actors actions that are physical. I don't try to get into their heads or their hearts, because I trust they're creative enough to do that themselves. I just pay a lot of attention to the way they move within the frame."(Hal Hartley)
Hal Hartley
filmografija/filmography
Glej stran 106/see page 106.
Glej stran 106/see page 106.
prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com
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Posve~eno Tribute
Simple Men Simple Men Preprosti ljudje Hal Hartley
re`ija/directed by Hal Hartley scenarij/screenplay Hal Hartley fotografija/cinematography Michael Spiller glasba/music Yo La Tengo, Ned Rifle (Hal Hartley) monta`a/editing Steve Hamilton igrajo/cast Robert Burke (Bill McCabe), Bill Sage (Dennis McCabe), Martin Donovan (Martin), Karen Sillas (Kate), Elina Löwensohn (Elina), Holly Marie Combs (Kim), James Hansen Prince (Frank), John MacKay (o~e/dad) producenti/producers Bruce Weiss, Ted Hope, Hal Hartley, Jerome Brownstein produkcija/production True Fiction Pictures & Zenith Entertainment 43-45 Dorset Street London, WIH 4AB, UK & Fine Line Features & Channel Four Films & American Playhouse format/format HD, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1992, Toronto 1992, Ghent 1992
ZDA, Velika Britanija, Italija USA, Great Britain, Italy 1992
Skrajno stilizirana, a tudi sr~na in ganljiva drama absurda, ki ponudi nekaj nepozabnih, danes `e legendarnih dialogov ter antologijsko plesno koreografijo na skladbo Kool Thing ameri{kih alterrockerjev Sonic Youth. Brata Bill in Dennis `e dolgo `ivita lo~eno. Bill je mali kriminalec, Dennis pa {tudent filozofije. Ko se Billu nekega dne kriminalni podvig izjalovi, Dennis pa izve, da je njun o~e zbe`al iz zapora, se njuni poti znova kri`ata. In ~eprav imata vsak svoj cilj – Bill be`i pred policijo, medtem ko Dennisa vodi `elja po sre~anju z o~etom, ki jih je zapustil –, se skupaj podata na pot, ki ju vodi iz mesta. Na tej poti pa vsak od njiju sre~a prav posebno dekle: Bill naleti na osamljeno Kate, zaradi katere za~ne resno razmi{ljati o koncu kriminalne poti, Dennis pa na skrivnostno Elino, za katero odkrije, da je o~etovo novo dekle. @e sicer zapleteni polo`aj se s prihodom lokalnega {erifa in o~eta {e dodatno zaplete ... "Med pisanjem scenarija nikoli ne razmi{ljam o glasbi. Niti med snemanjem. Vendar med letom v kraj{ih epizodah po dan ali dva pi{em glasbo in tako se skladbe namno`ijo. Ko sem pripravljen razmi{ljati o glasbeni komponenti filma, poslu{am svoje kompozicije. Posku{am najti povezave. Potem za~nem razvijati glasbo, ki se natanko prilega filmskim prizorom." (Hal Hartley)
prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com
Utterly stylised yet heartfelt and touching drama of the absurd featuring some of the most unforgettable dialogues that have already passed into legend, and an anthological dance scene to Kool Thing, a track by American alter-rockers, Sonic Youth. Brother Bill and Dennis have long lived separate lives. Bill is a petty criminal and Dennis a philosophy student. When one of Bill’s schemes backfires and Dennis learns that their father has escaped from prison, their paths intersect again. Although with different agendas, Bill on the run from the police and Dennis driven by the desire to confront their runaway father, their quest leads them out of the city. On their journey they each meet a special girl: Bill encounters the lonely Kate, who makes him seriously consider abandoning his criminal career, and Dennis the mysterious Elina, who turns out to be his father's new girlfriend. The complex situation becomes increasingly more complicated with the arrival of the local sheriff and the fugitive parent. "I never think about the music in the scriptwriting. Nor even in the shooting. But I do tend to make music throughout the year in short sessions of a day or two and it builds up. Then when I'm ready to start thinking about the music for a film I spend time listening what I've been doing. I look to see if there are connections. And I start working on music that’s made exactly to the scenes in the film." (Hal Hartley)
Hal Hartley
filmografija/filmography
Glej stran 106/see page 106.
Glej stran 106/see page 106.
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Posve~eno Tribute
Amateur Amateur Amater ZDA, Velika Britanija, Francija USA, Great Britain, France 1994
Hal Hartley
Nespregledljivo hartleyjevski krimi~, v katerem avtor izpelje svojski premislek o pomenu tistega "biti amater" in prek katerega v njegov svet liri~nega absurda vstopi stvarnost nasilja. Isabelle je bila neko~ nuna, a nato jo je obiskala sama Devica Marija in ji naro~ila, naj pose`e v usodo nesre~ne porno zvezde. In medtem ko ~aka na to, da bo lahko izpolnila svojo nalogo, se pre`ivlja s pisanjem pornografskih zgodb. Nekega dne naleti na ~ednega, na videz ne`nega in predvsem nadvse zmedenega Thomasa, ki je nedavno izgubil spomin in se ne spomni ni~esar iz svoje preteklosti. ^eprav Isabelle ne ve, da je bil Thomas pred izgubo spomina zvodnik, ki je svojo mlado in lepo `eno Sophio prisilil v to, da je postala porno kraljica, vseeno sluti, da je nekako povezan z nalogo, ki jo ima opraviti. Zato je odlo~ena, da mu bo pomagala odkriti, kdo je bil in kak{na je njegova preteklost. "Nisem se obremenjeval z ustvarjanjem kriminalke. Bolj sem se nagibal k vklapljanju svojega trenutnega zanimanja v okvir drugega `anra, da bi ugotovil, kaj bo nastalo." (Hal Hartley)
The signature Hartleyesque thriller and an idiosyncratic contemplation on what it means to be 'an amateur' depicts a lyrical world of the absurd invaded by real-life violence. Isabelle used to be a nun until she had a vision of Virgin Mary telling her to rescue an unhappy porn star from her fate. While waiting to accomplish her mission, Isabelle is writing porn fiction. One day she meets Thomas, a handsome, apparently tender and highly confused amnesiac. Although Isabelle doesn't know that Thomas used to be a pimp, who forced his young and beautiful wife Sophia to become a porn queen, she feels that he has some connection with the task she has been assigned. She is determined to help him discover his true identity and his past.
re`ija/directed by Hal Hartley scenarij/screenplay Hal Hartley fotografija/cinematography Michael Spiller glasba/music Jeffrey Taylor, Ned Rifle (Hal Hartley) monta`a/editing Steve Hamilton igrajo/cast Isabelle Huppert (Isabelle), Martin Donovan (Thomas Ludens), Elina Löwensohn (Sofia Ludens), Damian Young (Edward), Chuck Montgomery (Jan), Dave Simonds (Kurt) producenta/producers Ted Hope, Hal Hartley produkcija/production True Fiction Pictures & Zenith Entertainment 43–45 Dorset Street London, WIH 4AB, UK & Union Générale Cinématographique & La Sept Cinéma & Channel Four Films & American Playhouse format/format 35 mm, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1994, Tokio/Tokyo 1994 (srebrna nagrada/Silver Award), Toronto 1994
"I wasn't preoccupied with making a thriller. More, I thought I was taking my ongoing interest and dropping them into the framework of another genre to see what would happen." (Hal Hartley)
Hal Hartley
filmografija/filmography
Glej stran 106/see page 106.
Glej stran 106/see page 106.
prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com
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Posve~eno Tribute
Flirt Flirt Flirt Hal Hartley
ZDA, Nem~ija, Japonska USA, Germany, Japan 1995
re`ija/directed by Hal Hartley scenarij/screenplay Hal Hartley fotografija/cinematography Michael Spiller glasba/music Jeffrey Taylor, Ned Rifle (Hal Hartley) monta`a/editing Steve Hamilton igrajo/cast Bill Sage (Bill), Dwight Ewell (Dwight), Miho Nikaido (Miho), Parker Posey (Emily), Martin Donovan (Walter), Hal Hartley (Hal) producent/producer Ted Hope produkcija/production True Fiction Pictures & Pandora Filmproduktion & Olive Films & Neue Deutsche Filmgesellschaft format/format HD, barvni/colour dol`ina/running time 85' festivali, nagrade/ festivals, awards Toronto 1995
Nedvomno najbolj eksperimentalno Hartleyjevo delo je svojska meditacija o ljubezni, o tem, kaj pomeni biti ljubljen, in zakaj se na{i ljubezenski ideali nikoli povsem ne udejanjijo.
Hartley's most experimental film is a unique meditation on love, what it means to be loved and why we can never truly attain our ideals of love.
^eprav ima Bill iskreno rad svojo zdaj{njo partnerico Emily, se nikakor ne more odlo~iti, ko mu ta postavi ultimat: ali naj jasno pove, kak{ni so njegovi nameni, in se zave`e njunemu razmerju, ali pa se odpravi v Pariz, kjer namerava tudi ostati. Za Billa, ki se resnega ljubezenskega razmerja boji kot kuge, tu alternative pravzaprav ni: o~itno mu ne preostane drugega kot to, da se poda v novo ljubezensko razmerje z `eno svojega prijatelja ... Identi~na zgodba z istimi dialogi, a druga~nimi poudarki in drugimi osebami se nato ponovi {e v Berlinu, kjer sledimo Dwightu, temnopoltemu ameri{kemu homoseksualcu, ki se ne zmore odlo~iti za resno partnersko razmerje, in kon~no v Tokiu, kjer sledimo japonski plesalki, partnerici avtorja filma ...
Although Bill truly loves his girlfriend Emily, he simply cannot make up his mind when she presents him with an ultimatum: either he states his intentions and commits to their relationship or she moves to Paris for good. Bill, who's positively terrified of a serious relationship, has no alternative but to embark on a new love affair with the wife of his best friend... An identical story featuring the same dialogues, but different emphases and characters then takes place in Berlin, revolving around Dwight, an African American homosexual who can't commit to a serious relationship, while the third story unfolds in Tokyo, focusing on a Japanese dancer, the filmmaker's girlfriend.
"Pravzaprav sem pri filmu Flirt za~el sprejemati bolj zavestne odlo~itve o novih metodah snemanja prizorov in tematikah scenarijev. Prvo tretjino Flirta sem posnel pred Amaterjem, ki je skorajda postal nekak{en premor od mojega poglavitnega zanimanja." (Hal Hartley)
prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com
"It was really Flirt where I began making more conscious decisions about new ways to shoot scenes and what I would write about. The first third of Flirt was shot before Amateur, which almost became like a hiatus from my main concern." (Hal Hartley)
Hal Hartley
filmografija/filmography
Glej stran 106/see page 106.
Glej stran 106/see page 106.
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Posve~eno Tribute
Henry Fool Henry Fool Henry Fool ZDA USA 1997
Hal Hartley
re`ija/directed by Hal Hartley scenarij/screenplay Hal Hartley fotografija/cinematography Michael Spiller glasba/music Hal Hartley monta`a/editing Steve Hamilton igrajo/cast Thomas Jay Ryan (Henry Fool), James Urbaniak (Simon Grim), Parker Posey (Fay Grim), Liam Aiken (Ned), Maria Porter (Mary), Nicholas Hope (o~e Hawkes/Father Hawkes), Veanne Cox (Laura) producent/producer Hal Hartley produkcija/production True Fiction Pictures & Shooting Gallery format/format HD, barvni/colour dol`ina/running time 137'
^udovit dar "pesni{ki du{i" ameri{kega proletariata, v katerem se avtor spra{uje o tem, kdo vse lahko vpliva na ustvarjalno osebo in kak{no odgovornosti ima tisti, ki {iri svoj vpliv.
A wonderful homage to the "poetic soul of American working classes" examining the influences on someone's creativity and the responsibility of one whose influence shapes that creativity.
Simon je smetar, ki si deli gospodinjstvo z neuravnove{eno mamo Mary in opolzko sestro Fay ter se brez `elje po spremembi prebija skozi svoje nezanimivo `ivljenje. Nekega dne pa se pred njim pojavi Henry Fool, samooklicani pisatelj brez domovanja, ki se brez eksplicitnega vabila naseli v stanovanje Simonove dru`ine, in {e preden se ta vsega dobro zave, Henry spi tako z njegovo mamo kot tudi s sestro. A njegov prihod prinese tudi nekaj dobrega: na njegovo vneto prigovarjanje za~ne Simon pisati. Iz njega se nenadoma ulije slap besed, ki na Henryjevo za~udenje na papirju tvorijo pravo poezijo, spisano v jambskem enajstercu. Ko za~no Simonova dela objavljati, ga kmalu razglasijo za literarni glas generacije, medtem ko se Henryju s svojim pisanjem nikakor ne uspe uveljaviti ...
A waste collector still living with his volatile mother Mary and obscene sister Fay, Simon shows no intention of changing his dull life. One day Henry Fool, a self-professed homeless writer, moves uninvited into Simon's family's flat and before you know it begins sleeping with both Simon's mother and sister. Henry's arrival is also beneficial to Simon, however: Henry persuades Simon to start writing. Words start pouring out of him, miraculous poetry written in iambic hendecasyllables. When he starts publishing his work Simon is recognised as the beacon of his generation, while Henry is still unable to fulfil his literary aspirations.
"@elel sem povedati zgodbo o vplivu, umetni{kem in osebnem. Razmi{ljal sem o tej mo`nosti: Kaj se zgodi, ~e se osebe, ki nate najgloblje vpliva, na skrivaj sramuje{ ali bi se njenega vpliva sramoval priznati? Morda je tvojo osebnost najbolj sooblikoval krajevni perverzne` ali kriminalec ali nekdanji zapornik. To se mi je zdelo zelo vznemirljivo." (Hal Hartley)
festivali, nagrade/ festivals, awards Toronto 1997, Cannes 1998 (najbolj{i scenarij/Best Screenplay)
"I wanted to tell a story about influence, both artistic and personal. I considered this possibility: What happens if your most profound influence is somebody whom you're kind of ashamed of or you'd be embarrassed to admit? Maybe the local pervert did more to shape your personality than anyone else or the criminal, or the ex-con. That struck me as very exciting." (Hal Hartley)
Hal Hartley
filmografija/filmography
Glej stran 106/see page 106.
Glej stran 106/see page 106.
prodaja/world sales Fortissimo Van Diemenstraat 100 1013 CN Amsterdam, Netherlands E niloufar�fortissimo.nl
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Posve~eno Tribute
Fay Grim Fay Grim Fay Grim Hal Hartley
ZDA, Nem~ija USA, Germany 2006
re`ija/directed by Hal Hartley scenarij/screenplay Hal Hartley fotografija/cinematography Sarah Cawley Cabiya glasba/music Hal Hartley monta`a/editing Kyle Gilman, Hal Hartley igrajo/cast Parker Posey (Fay Grim), Jeff Goldblum (agent Fulbright), James Urbaniak (Simon Grim), Saffron Burrows (Juliet), Liam Aiken (Ned Grim), Thomas Jay Ryan (Henry Fool), Elina Löwensohn (Bebe), Leo Fitzpatrick (Carl Fogg), Chuck Montgomery (Angus James) producenti/producers Jason Kliot, Joana Vicente, Martin Hagemann, Mike S. Ryan, Hal Hartley produkcija/production HDNet Films International (USA) format/format HD, barvni/colour dol`ina/running time 118' festivali, nagrade/ festivals, awards Toronto 2006, Berlin, Karlovi Vari/ Karlovy Vary, Sundance, Mednarodni filmski festival RiverRun/RiverRun International Film Festival 2007 (nagrada ob~instva/Audience Award)
Nadaljevanje Hartleyjevega Henryja Foola. Domiselna komi~na srhljivka o mednarodnih tajnih slu`bah in terorizmu.
A continuation of Hartley's Henry Fool. Intelligent comical thriller about international secret services and terrorism.
Henry Fool je po umoru zlobnega soseda pred osmimi leti zbe`al iz dr`ave ter zapustil `eno Fay Grim in njunega sina. Fay je zdaj nevroti~na samohranilka iz Queensa, zaskrbljena, da sin, ki so ga izklju~ili iz {ole, ne bi postal tak kot o~e. Njen brat Simon prestaja desetletno zaporno kazen, ker je sodeloval pri Henryjevem pobegu. V svoji celici za~enja sumiti, da se je Henry vedno pretvarjal. Prepri~an je, da Henryjevo delo Confession ni zgolj ni~vredna avtobiografija, temve~ nekak{no zakodirano poro~ilo o tajnih dejavnostih {tevilnih vohunskih organizacij. Sumi se potrdijo, ko se Ciin agent Fulbright Fay napoti v Pariz po Henryjeve zapiske. Film postane zamotana vohunska zgodba.
Following the murder of his evil neighbour eight years ago, Henry Fool escaped from the country and left behind his wife, Fay Grim, and their son. Fay is now a neurotic single mother from Queens, worried that her son, who was expelled from school, will take after his father. Her brother, Simon, is doing time for having helped in Henry's getaway. In his cell, he begins to suspect that Henry had always been a sham. He is convinced that Henry’s book, Confession, isn't just a worthless autobiography, but rather an encoded report about the activities of numerous spy rings. His hunches are confirmed when a CIA agent, Fulbright Fay, sets off to Paris to get Henry’s notes. The film becomes a complex story of espionage.
"Ker sem Parker Posey re`iral `e leta 1996 v filmu Henry Fool, sem si `elel posneti {e film z njo v glavni vlogi. Ko smo ustvarjali Henryja Foola, smo se vsi po vrsti zaljubili v junake in zdelo se nam je, da bi jih lahko uporabili kot posrednike za obdelavo vseh vrst tem. Tako je nastala zamisel o nadaljevanju, ali morda seriji … pravzaprav smo gledali stari film in premi{ljevali, kaj bi se lahko zgodilo tem ljudem v ~asu, ki je minil. Film ima prav toliko opraviti s tem, kako se je svet spremenil, kakor z junaki. Moj splo{ni cilj je vedno posneti film o tem, kako nam gre zdaj na tem kraju." (Hal Hartley)
prodaja/world sales HDNet Films 122 Hudson Street, 5th Floor New York, NY 10013, USA E ladamson�hdnetfilms.com
"I was inspired to make a film with Parker Posey as the lead as a result of directing her in Henry Fool in 1996. When we were making Henry Fool, we all fell in love with the characters and felt we could use them as a vehicle to treat all sorts of subjects. So, the idea of a sequel, or a series, arose... It was about looking at the earlier film and wondering what could have happened to these people in the time that has transpired. It's as much to do with how the world has changed as with the characters. My overall goal is always to make a film about how we are now, in this place." (Hal Hartley)
Hal Hartley
filmografija/filmography
Glej stran 106/see page 106.
Glej stran 106/see page 106.
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Retrospektiva Retrospective
The Phantom of the Opera The Phantom of the Opera Fantom iz opere ZDA USA 1925
Rupert Julian re`ija/directed by Rupert Julian scenarij/screenplay Elliott J. Clawson, Raymond L. Schrock, Bernard McConville, Jasper Spearing, Richard Wallace, Walter Anthony, Tom Reed, Frank M. McCormack, Gaston Leroux (roman/novel) fotografija/cinematography Milton Bridenbecker, Virgil Miller, Charles Van Enger monta`a/editing Edward Curtiss, Maurice Pivar, Gilmore Walker igrajo/cast Lon Chaney (fantom/the Phantom), Mary Philbin (Christine Daae), Norman Kerry (vikont/Vicomte Raoul de Chagny), Arthur Edmund Carewe (Ledoux), Gibson Gowland (Simon Buquet), John St. Polis (grof/Comte Philip de Chagny), Snitz Edwards (Florine Papillon), Mary Fabian (Carlotta), Virginia Pearson (Carlotta, mati/mother) producent/producer Carl Laemmle produkcija/production Universal Pictures (USA) format/format 35 mm, barvni/colour dol`ina/running time 93'
Posodobljena razli~ica najslovitej{e filmske priredbe romana Gastona Lerouxa, v kateri so leta 1925 med razli~nimi barvnimi procesi pri snemanju uporabili tudi zgodnjo, dvotra~no varianto Technicolorja.
A restored version of one of the most celebrated screen adaptations of the novel by Gaston Leroux from 1925 features scenes shot in Process 2 Technicolor (a two-strip system).
Izmali~en skladatelj stra{i po Pari{ki operi in {tevilni so `e opazili njegovo zakrito, tema~no pojavo. Z razgledne to~ke visoko nad operno hi{o mo`akar opazuje mlado Christino Daae, ki je zamenjala prvakinjo ansambla, in se vanjo zaljubi. Zamaskirani fantom zmami Christine v pari{ko podzemlje, kjer `ivi, in ji izpove ljubezen. Ko mo`akar odstrani svojo masko, je dekle zgro`eno nad groteskno pojavo, zato ga prosi, naj jo izpusti. Fantom se strinja, a ji nalo`i, naj se ne pribli`uje svojemu ljubimcu Raoulu de Chagnyju. Christine se po za{~ito obrne prav k Raoulu, zato jo fantom med odrsko izvedbo Fausta ugrabi.
A disfigured composer haunts the Paris Opera House and several people have seen the cloaked, shadowy figure. From his vantage point high above the opera house stage he sees and falls in love with young understudy Christine Daae, who is standing in for the company’s principal. The masked phantom lures Christine into the subterranean world below Paris where he lives, and professes his love. When she removes his mask, she is horrified by his grotesque appearance and begs to be released. He agrees but tells her to stay away from her lover, Raoul de Chagny. Terrified she turns to Raoul for protection and the outraged phantom kidnaps Christine off the stage during a performance of Faust.
"Fantom iz opere ni velik film, ~e vas zanimajo umetnost in prefinjenost, globina in sporo~ilo; Nosferatu vsega tega vsebuje neizmerno ve~. Vendar s podobami mrtva{ke romance in vro~i~no melodramo prevzame nekak{no veli~ino zabavne industrije. Vsebuje genialni prvini: pod opero ustvari enega najbolj grotesknih krajev v zgodovini filma in Chaneyjeva upodobitev fantoma absurden lik preobrazi v hipnoti~en." (Roger Ebert)
" The Phantom of the Opera is not a great film if you are concerned with art and subtlety, depth and message; Nosferatu is a world beyond it. But in its fevered melodrama and images of cadaverous romance, it finds a kind of show-biz majesty. And it has two elements of genius: It creates beneath the opera one of the most grotesque places in the cinema, and Chaney's performance transforms an absurd character into a haunting one." (Roger Ebert)
Rupert Julian
filmografija (izbor)/filmography (selection)
Rojen leta 1879 v okro`ju Whangaroa na skrajnem severu Nove Zelandije. Uspe{no pot je za~el kot igralec na Novi Zelandiji in v Avstraliji. V ZDA je pri{el s 34 leti. Ko se je uveljavil kot igralec, je postal re`iser. Fantom iz opere je njegov najbolj slaven film. Ve~ina njegovih filmov je nemih, v dobi zvoka je posnel samo dva filma. Umrl leta 1943 v Hollywoodu.
1916 1916 1916 1918 1923 1925 1927 1927 1928 1930 1930
Born in 1879 in the County of Whangaroa in the north of New Zealand. Coming to the US at the age of 34, Julian started his career as an actor touring Australia and New Zealand. Having made his name, he turned director. His best-known picture was The Phantom of the Opera. Directing only two films after the advent of sound, most of the films that he made were silent ones. He died in 1943 in Hollywood.
116
The Evil Women Do The Bugler of Algiers The Right to Be Happy The Kaiser, the Beast of Berlin (Kaiser, po{ast iz Berlina) Merry-Go-Round (Vrtiljak) The Phantom of the Opera (Fantom iz opere) The Yankee Clipper The Country Doctor (Pode`elski zdravnik) Walking Back Love Comes Along The Cat Creeps
Retrospektiva Retrospective
The Black Pirate The Black Pirate ^rni pirat ZDA USA 1926
Albert Parker
re`ija/directed by Albert Parker scenarij/screenplay Jack Cunningham, Douglas Fairbanks (zgodba/story) fotografija/cinematography Henry Sharp glasba/music Mortimer Wilson monta`a/editing William Nolan igrajo/cast Douglas Fairbanks (vojvoda/duke, ~rni pirat/the black pirate), Billie Dove (princesa Isobel/princess Isobel), Anders Randolf (piratski kapitan/pirate captain), Donald Crisp (MacTavish), Tempe Pigott (Duenna), Sam De Grasse (piratski poro~nik/ pirate lieutenant), Charles Stevens (topni~ar/powder man), Charles Belcher (plemi~/nobleman), E. J. Ratcliffe (guverner/governor) producent/producer Douglas Fairbanks produkcija/production Elton Corporation (USA) format/format 35 mm, barvni/colour dol`ina/running time 92'
Piratski pustolovski film z Douglasom Fairbanksom v glavni vlogi je bil posnet s takrat prelomno tehnologijo Technicolor na dveh trakovih, zaradi ~esar velja za enega redkih nemih celove~ercev v barvah.
Starring Douglas Faibanks in the lead role, The Black Pirate was one of the first films shot entirely with the two-strip Technicolor process, which makes it one of the rare surviving silents shot in colour.
Zahrbtna tolpa piratov zajame in oropa ladjo, njeno posadko pa prive`e za jambor in jo razstreli skupaj z ladjo. O~etu in sinu uspe zbe`ati zli usodi. Zate~eta se na samoten otok, kjer o~e kmalu umre, sin pa na~rtuje ma{~evanje. Ko tolpa prispe na njegov otok, da bi zakopala svoj zaklad, se mo{ki pod krinko pridru`i piratom. Da bi dokazal svoje ve{~ine, izzove kapitana na dvoboj in ga porazi, vendar poro~nika ladje to ne prepri~a. Mladeni~ mora napasti in ugrabiti naslednjo ladjo na njihovi poti …
A treacherous lot of pirates have just captured and looted another ship. As is their practice, they tie their captives to the mast and then use the powder magazine to blow up the ship. However, a father and son escape, but the father dies, and the son vows revenge on the murderers. As he is stranded on the desert isle, a small group of pirates come ashore to bury their treasure. The son presents himself as a candidate for inclusion among their number. To prove his worth, he challenges the captain to a sword fight and kills him. The lieutenant of the ship is unimpressed, though. The son must capture the next ship of prey singlehanded.
"To je del zabave sodobnega ob~instva – uganiti, kako je re`iserjem uspelo ustvariti dolo~ene posnetke – ne samo v ^rnem piratu, temve~ v vseh nemih filmih. Ti filmski poinirji so morali biti inventivni. V ^rnem piratu pa je Fairbanks ustvaril model za vse naslednje piratske filme. Da je to storil v barvni tehniki, leta 1926, {e pove~a filmovo kulturno in zgodovinsko vrednost." (Casey Broadwater, Blu-Ray.com)
"This is part of the fun for modern audiences – trying to guess how the filmmakers achieved certain shots – not just in The Black Pirate, but in watching all silent films. For these cinematic pioneers, innovation was a necessity. And with The Black Pirate, Fairbanks created a template for all pirate films to follow. That he did so in color – in 1926 – adds even more to the film's cultural and historical worth." (Casey Broadwater, Blu-Ray.com)
Albert Parker
filmografija (izbor)/filmography (selection)
Rojen leta 1885 v Brooklynu, ZDA. Med letoma 1917 in 1938 je re`iral 36 filmov, delal pa je tudi kot producent, scenarist in igralec. V zgodnjih tridesetih letih minulega stoletja je zapustil Hollywood in se preselil v Veliko Britanijo, kjer je {e naprej snemal filme, odprl pa je tudi igralsko agencijo. Umrl je leta 1974 v Londonu.
1916 1918 1919 1922 1924 1926 1927 1930 1935 1936 1936 1938 1938
Born in 1885 in Brooklyn, USA, Parker was an American film director, producer, screenwriter and actor, who directed 36 films between 1917 and 1938. In the early 1930s Parker left Hollywood for England where he continued to direct films and also opened an actors’ agency office. He died in London in 1974.
American Aristocracy Shifting Sands Eyes of Youth Sherlock Holmes The Rejected Woman The Black Pirate (^rni pirat) The Love of Sunya Follow the Leader The Riverside Murder Blind Man's Bluff Troubled Waters Murder in the Family Second Thoughts
117
Retrospektiva Retrospective
The Adventures of Robin Hood The Adventures of Robin Hood Pustolov{~ine Robina Hooda ZDA USA 1938
Michael Curtiz, William Keighley re`ija/directed by Michael Curtiz, William Keighley scenarij/screenplay Norman Reilly Raine, Seton I. Miller, Rowland Leigh fotografija/cinematography Tony Gaudio, Sol Polito glasba/music Erich Wolfgang Korngold monta`a/editing Ralph Dawson igrajo/cast Errol Flynn (Robin Hood), Olivia de Havilland (Maid Marian), Basil Rathbone (Sir Guy of Gisbourne), Claude Rains (princ/Prince John), Patric Knowles (Will Scarlett), Eugene Pallette (Friar Tuck), Alan Hale (Little John), Melville Cooper (nottinghamski {erif/Sheriff of Nottingham), Ian Hunter (kralj Rihard Levjesr~ni/King Richard the Lionheart), Una O'Connor (Bess), Herbert Mundin (Much) producenta/producers Hal B. Wallis, Jack L. Warner produkcija/production Warner Bros (USA) format/format 35 mm, barvni/colour dol`ina/running time 102' festivali, nagrade (izbor)/ festivals, awards (selection) oskarji/Academy Awards 1939 (tri nagrade: najbolj{a scenografija, monta`a in izvirna glasba/3 awards: Best Art Direction, Film Editing and Original Score)
Filmska priredba srednjeve{ke legende o Robinu Hoodu iz leta 1938, v kateri blesti igralec Errol Flynn, je bila pogosto oklicana za najbolj{o filmsko razli~ico te popularne pripovedi. Robin iz Locksleyja je plemi~, branitelj Sasov, ki potem ko princ John posku{a prevzeti prestol svojemu odsotnemu bratu, postane izob~enec. Zate~e se v Sherwoodski gozd, kjer zbere svoje mo`e in privzame ime Robin Hood. Bojevnik za pravico za~ne ropati bogate in nakradeno dajati revnim prebivalcem, ki zaradi visokih davkov pod oblastjo nottinhgamskega {erifa `ivijo skromno. Ob tem bo Robin zapeljal tudi Lady Marian in poskrbel, da bo zli princ John {e naprej ostal brez krone. "Film Pustolov{~ine Robina Hooda je bil posnet s sublimno nedol`nostjo in osupljivim umetni{kim ~utom, v ~asu, ko so se njegove preproste vrednote zdele pristne. V tem cini~nem ~asu, ko si ble{~e~ih me~evalcev ne moremo predstavljati brez ironi~nih primesi, ta veliki film iz leta 1938 obstaja v ve~nem poletju poguma in romance. Ne potrebujemo freudovskega konteksta niti revizionisti~ne analize; dovolj je, da Robin `eli ropati bogate, dajati revnim in Sase braniti samo pred slabimi Normani, ne pred vsemi: 'Sovra`im krivico, ne Normanov.'" (Roger Ebert)
Michael Curtiz, William Keighley
The 1938 film adaptation of the medieval legend about Robin Hood, starring the brilliant Errol Flynn in the title role, is considered to be the finest cinematic version of this popular tale. Sir Robin of Locksley, defender of downtrodden Saxons, is forced to become an outlaw when Prince John the usurper tries to take the throne from his absent brother. He flees to Sherwood Forest where he gathers together his Merry Men and assumes the name of Robin Hood. He begins to rob the rich and give back to the poor, the townsfolk that are heavily-taxed by the Sheriff of Nottingham. Meanwhile he still has to woo Maid Marian and keep the nefarious Prince John off the throne. "The Adventures of Robin Hood was made with sublime innocence and breathtaking artistry, at a time when its simple values rang true. In these cynical days when swashbucklers cannot be presented without an ironic subtext, this great 1938 film exists in an eternal summer of bravery and romance. We require no Freudian subtext, no revisionist analysis; it is enough that Robin wants to rob the rich, pay the poor and defend the Saxons not against all Normans, only the bad ones, 'It's injustice I hate, not the Normans.'" (Roger Ebert)
skupna filmografija/joint filmography
1932 The Cabin in the Cotton (Hi{ica na bomba`nem polju) M. C.: Rojen leta 1886 v Budimpe{ti. Filme je sprva snemal v Evropi, leta 1926 pa se je preselil v ZDA in delal pod okriljem studia Warner Bros. Posnel 1938 The Adventures of Robin Hood (Pustolov{~ine Robina Hooda) je ve~ kot sto petdeset filmov, najslavnej{i med njimi pa je Casablanca (1942). Umrl leta 1962 v Hollywoodu. Born in 1886 in Budapest, Curtiz began directing films in Europe. Moving to the US in 1926, he started making films in Hollywood for Warner Bros. He made over 150 films, some of which, including Casablanca (1942), are considered to be film classics. He died in 1962 in Hollywood. W. K.: Rojen leta 1889 v Filadelfiji, ZDA. Delal je kot igralec in re`iser na Broadwayu, v Hollywoodu je pristal po za~etkih zvoka. Pri studiu Warner je posnel ve~ kot trideset filmov. Umrl leta 1984 v New Yorku. Born in 1889 in Philadelphia, USA. Initially trained as a stage actor and Broadway director, he arrived in Hollywood shortly after the advent of sound, landing a job with Warner Brothers (where he made over 30 films). He died 118 in 1984 in New York.
Retrospektiva Retrospective
Duel in the Sun Duel in the Sun Dvoboj na soncu ZDA USA 1946
King Vidor
Ambiciozno produkcijo Dvoboja na soncu si je David O. Selznick zamislil kot ponovitev izjemnega uspeha filma V vrtincu, film pa se je nato zapisal v zgodovino predvsem zaradi drznega prikaza `enskega po`elenja. Pearl Chavez velja za slabo vzgojeno dekle in vsi ji pripisujejo nesre~en konec. Naseli se na domu bogatega, pohlepnega ran~arja McCanlesa, kjer postane jedro spora med ran~arjevim sinom Jessejem in nepridipravom Lewtom. Ko Lewt ubije mo{kega, ki posku{a Pearl zaprositi za roko, postane ube`nik in za~ne skrivoma sabotirati `eleznico, ki bi morala potekati po McCanlesovem zemlji{~u. Jesse se medtem posku{a pogajati z `elezni~arji, zaradi ~esar je primoran zapustiti o~etov ran~. Medtem pa se Pearl, utrujena od o~itkov, odlo~i, da bo kon~no za`ivela v skladu s svojim razvpitim slovesom. "Dvoboj na soncu je zanimiv ko{~ek filmske zgodovine. Selznick si je v svoji zgodbi dovolil veliko ve~, kot bi si daljnega leta 1946 smel. Podtonov spolnosti v tem delu ni mogo~e spregledati. Kinematografija se je vnovi~ dotaknila tega tabuja {ele desetletje zatem, v delih, kot so Johnny Guitar Nicholasa Raya (1954) ali vesterni z Jimmyjem Stewartom Anthonyja Manna." (Jeffrey M. Anderson, Combustible Celluloid)
David O. Selznick's ambitious attempt to duplicate success of Gone with the Wind, Duel in the Sun has gone down in the history of cinema for its bold representation of female desire. Pearl Chavez is considered by everyone as a bad girl foredoomed to an unhappy end. She is taken into the home of wealthy, greedy rancher McCanles. Pearl becomes the object of an emotional tug-of-war between McCanles' virtuous son Jesse and wicked offspring Lewt. After killing a man who'd tried proposing to Pearl, Lewt becomes a fugitive, secretly working to undermine the railroad that threatens to cut across McCanles' land. Jesse tries to negotiate with the railroad men, and as a result is ordered from the ranch by McCanles. Meanwhile, Pearl, tired of being told how bad she is, decides to live up to her reputation.
festivali, nagrade (izbor)/ festivals, awards (selection) oskarji/Academy Awards 1947 (dve nominaciji/2 nominations)
"Duel in the Sun is an interesting bit of film history. Selznick got away with more in his story than he ought to have as early as 1946. The sexual undertones in this movie are unmistakable. It wasn't until a decade later, with such films as Nicholas Ray's Johnny Guitar (1954) or Anthony Mann's Jimmy Stewart westerns, that the subject was breached again." (Jeffrey M. Anderson, Combustible Celluloid)
King Vidor
filmografija (izbor)/filmography (selection)
Rojen leta 1894 v Galvestonu, Teksas, ZDA. Med letoma 1913 in 1980 je posnel ve~ kot sedemdeset filmov. Njegova 67 let trajajo~a poklicna pot v Guinnessovi knjigi rekordov {e vedno velja za najdalj{o re`isersko kariero v filmski zgodovini. Za oskarja za najbolj{o re`ijo je bil nominiran petkrat, leta 1979 pa je prejel oskarja za `ivljenjsko delo. Umrl je leta 1982.
1925 1928 1929 1934 1936 1938 1946 1949 1955 1956 1959
Born in 1894 in Galveston, Texas, USA, Vidor made more than 70 films between 1913 and 1980. Entered into Guinness World Records as having 'The Longest Career as a Film Director', spanning 67 years. He was nominated five times for the Best Director Academy Award. In 1979 he was awarded an Honorary Academy Award for notable achievement as a cinematic creator. He died in 1982.
re`ija/directed by King Vidor scenarij/screenplay David O. Selznick, Oliver H.P. Garrett, Ben Hecht, Niven Busch (roman/novel) fotografija/cinematography Lee Garmes, Ray Rennahan, Harold Rosson glasba/music Dimitri Tiomkin monta`a/editing John D. Faure, Charles L. Freeman, Hal Kern, William H. Ziegler igrajo/cast Gregory Peck (Lewton 'Lewt' McCanles), Jennifer Jones (Pearl Chavez), Joseph Cotten (Jesse McCanles), Lionel Barrymore (Sen. Jackson McCanles), Herbert Marshall (Scott Chavez), Lillian Gish (Laura Belle McCanles), Walter Huston (The Sinkiller), Charles Bickford (Sam Pierce), Harry Carey (Lem Smoot) producent/producer David O. Selznick produkcija/production The Selznick Studio (USA) format/format 35 mm, barvni/colour dol`ina/running time 144’
The Big Parade (Velika parada) The Crowd (Mno`ica) Hallelujah! (Aleluja) Our Daily Bread (Na{ vsakdanji kruh) The Texas Rangers (Teksa{ki rangerji) The Citadel (Citadela) Duel in the Sun (Dvoboj na soncu) The Fountainhead (Upornik) Man Without a Star (Mo` brez zvezde) War and Peace (Vojna in mir) Solomon and Sheba (Salomon in kraljica iz Sabe)
119
Retrospektiva Retrospective
Black Narcissus Black Narcissus ^rni narcis Velika Britanija Great Britain 1947
Michael Powell, Emeric Pressburger re`ija/directed by Michael Powell, Emeric Pressburger scenarij/screenplay Michael Powell, Emeric Pressburger, Rumer Godden (roman/novel) fotografija/cinematography Jack Cardiff glasba/music Brian Easdale monta`a/editing Reginald Mills igrajo/cast Deborah Kerr (sestra Clodagh/sister Clodagh), Flora Robson (sestra Philippa/sister Philippa), Jenny Laird (sestra Honey/sister Honey), Judith Furse (sestra Briony/sister Briony), Kathleen Byron (sestra Ruth/sister Ruth), David Farrar (g. Dean/Mr. Dean), Jean Simmons (Kanchi) producenta/producers Michael Powell, Emeric Pressburger produkcija/production The Archers (UK) & Independent Producers (UK) format/format 35 mm, barvni/colour dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) oskarji/Academy Awards 1948 (najbolj{a barvna fotografija/Best Color Cinematography, najbolj{a scenografija/Best Art Direction), zlati globusi/Golden Globes 1948 (najbolj{a fotografija/Best Cinematography)
Eden nespornih vrhuncev v opusu Michaela Powella in Emerica Pressburgerja, re`iserskega tandema, ki je uporabo Technicolorja izpilil do popolnosti.
One of the undisputed highlights of Powell and Pressburger's oeuvre, the filmmakers whose use of Technicolor approached perfection.
Sestro Clodagh skupaj s {e {tirimi nunami po{ljejo dale~ na Himalajo, da bi tam ustanovile nov `enski samostan. Soo~ene so s te`kim potovanjem, izka`e pa se tudi, da je novo poslopje zgolj razvalina na robu pe~ine, ki jo je prej{nja bratov{~ina zapustila `e pred ve~ leti. Sestram s pomo~jo tamkaj{njega generalovega agenta g. Deana uspe postaviti {olo in bolni{nico. Lega, kultura in gorski zrak pa na sestre vendarle vplivajo nekoliko nenavadno. Sestra Clodagh se za~enja spominjati romance, ki jo je imela kot dekle, preden se je pridru`ila sestrstvu, ena izmed preostalih sester pa medtem postane obsedena z g. Deanom, kar pripelje do tragedije.
Sister Clodagh is dispatched with four other nuns to establish a new convent far in the Himalayas. It's a difficult journey and their new house is a ramshackle old building on the edge of a cliff that had been abandoned by a religious Brotherhood many years before. They soon establish a school and an infirmary with the help of the local General's agent, Mr. Dean. The location, the culture and the mountain air all begin to have a strange effect on the Sisters. Sister Clodagh begins to remember a romance she had as a young woman before entering the sisterhood. Another however, becomes obsessed with Mr. Dean, which leads to tragedy.
"Osupljiva veli~ina prizori{~a, fantasti~ne stare pala~e, ume{~ene na vrh pobo~ja osem tiso~ ~evljev �pribl. 2400 m, op. prev.� nad indijsko zemljo, nad katero pa se ponosno dvigujejo s snegom prekriti vr{aci Kan~end`unga, se presunljivo odra`a v Technicolorju. Celotna barvna shema filma je pa{a za o~i in rde~kasti odtenki son~nega zahoda, ki pre`arjajo razpadajo~o pala~o Mopu, kjer se je neko~ pretakalo vino in so veselja~ile haremske `enske, je odli~en dose`ek barvne kompozicije." (Thomas M. Pryor, New York Times)
"The awesome grandeur of the setting, a fantastic old palace perched on a mountainside 8,000 feet above the floor of India but still dwarfed by the snow-capped peaks of Kanchenjunga, is stunningly reflected in Technicolor. Indeed, the whole chromatic scheme of the picture is marvellous to behold, and the russet hues of sunset streaking through the dilapidated Palace of Mopu, where once wine flowed and harem ladies cavorted, is a brilliant achievement in color composition." (Thomas M. Pryor, The New York Times)
Michael Powell in Emeric Pressburger
filmografija (izbor)/filmography (selection)
Michael Powell (1905–90), angle{ki re`iser, in Emeric Pressburger (1902–88), mad`arski scenarist, ki je ob vzponu nacizma emigriral v London, sta se spoznala leta 1939 na snemanju filma Vohun v ~rnem. ^eprav sta si bila zna~ajsko povsem razli~na, sta imela skupno ustvarjalno vizijo. Kot producenta, scenarista in re`iserja sta za podjetje The Archers v letih 1940–72 posnela devetnajst celove~ernih filmov. Michael Powell (1905–1990), English director, and Emeric Pressburger (1902–1988), Hungarian scriptwriter whom the rise of the Nazis forced to flee to London. In 1939, Pressburger was introduced to Michael Powell to work together on The Spy in Black. They both soon recognised that although they were total opposites in background and personality, they had a common attitude to filmmaking. Working together as co-producers, writers and directors in a partnership they dubbed The Archers, they made 19 feature 120 films between 1940 and 1972.
1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1972
Contraband (Tihotapci) 49th Parallel (Devetin{tirideseti vzporednik) One of Our Aircraft is Missing (Pogre{amo letalo) The Life and Death of Colonel Blimp (@ivljenje in smrt polkovnika Blimpa) A Canterbury Tale (Canterburyjska zgodba) I Know Where I'm Going! (Vem, kam grem) A Matter of Life and Death (Stvar `ivljenja in smrti) Black Narcissus (^rni narcis) The Red Shoes (Rde~i ~evelj~ki) The Small Back Room (Zadnja soba) Gone to Earth (V lisi~jem brlogu) The Tales of Hoffmann (Hoffmannove pripovedke) The Boy Who Turned Yellow
Retrospektiva Retrospective
Under Capricorn Under Capricorn V znamenju kozoroga Velika Britanija Great Britain 1949
Alfred Hitchcock
re`ija/directed by Alfred Hitchcock scenarij/screenplay James Bridie, Helen Simpson (roman/novel) fotografija/cinematography Jack Cardiff glasba/music Richard Addinsell monta`a/editing Bert Bates igrajo/cast Ingrid Bergman (lady Henrietta Flusky), Joseph Cotten (Sam Flusky), Michael Wilding (Charles Adare), Margaret Leighton (Milly), Cecil Parker (guverner/the governor), Denis O'Dea (g. Corrigan/Mr. Corrigan), Jack Watling (Winter), Harcourt Williams (ko~ija`/the coachman), John Ruddock (g. Potter/ Mr. Potter), Bill Shine (g. Banks/ Mr. Banks), Ronald Adam (g. Riggs/ Mr. Riggs) producenta/producers Sidney Bernstein, Alfred Hitchcock produkcija/production Transatlantic Pictures (UK) format/format 35 mm, barvni/colour dol`ina/running time 117'
Film Alfreda Hitchcocka, v katerem se je mojster suspenza zaradi obeta sodelovanja z Ingrid Bergman zna{el v `anru, ki mu sicer {e zdale~ ni bil blizu – v romanti~ni kostumski drami.
Eager to work with Ingrid Bergman, master of suspense Alfred Hitchcock consented to work in a genre he did not particularly favour – a romantic period drama.
Pi{e se leto 1831. Irec Charles Adare potuje v Avstralijo, da bi tam s pomo~jo svojega bratranca, novoimenovanega guvernerja, za~el novo `ivljenje. Po pristanku spozna vplivnega posestnika in nekdanjega obsojenca Sama Fluskyja, ki `eli z njim skleniti vabljiv posel. Med ve~erjo v Fluskyjevi hi{i Charles sre~a poslovne`evo `eno Henrietto, ki jo pozna {e iz otro{tva na Irskem. Henrietta je zdaj alkoholi~arka na robu norosti, za povrh pa skriva {e nekaj temnih skrivnosti ...
In 1831, Irishman Charles Adare travels to Australia to start a new life with the help of his cousin who has just been appointed governor. When he arrives he meets powerful landowner and ex-convict Sam Flusky, who wants to do a business deal with him. Whilst attending a dinner party at Flusky's house, Charles meets Flusky's wife Henrietta who he had known as a child back in Ireland. Henrietta is an alcoholic who seems to be on the verge of madness and harbors dark secrets.
"V znamenju kozoroga je eleganten in ~udovit film, njegova estetika je zapeljiva in hipnoti~na. Zaradi psiholo{ke kompleksnosti, ki ga pre`ema, gledalca prevzema od za~etka do konca. /.../ Njegova ~ustvena, psiholo{ka in formalna kompleksnost se lahko postavi ob bok re`iserjevim najbolj{im delom." (Ed Howard, Only the Cinema)
"Under Capricorn is a stylish and beautiful movie, its aesthetic seductive and hypnotic, with a psychological complexity that makes it enthralling throughout. /.../ As emotionally, psychologically and formally complex as any of the director's best work." (Ed Howard, Only the Cinema)
Alfred Hitckcock
filmografija (izbor)/filmography (selection)
Rojen leta 1899 v Londonu. Filmsko pot je za~el kot oblikovalec napisov za neme filme, kot re`iser pa je obvladoval kriminalni triler, zaradi ~esar se ga je prijel vzdevek "mojster suspenza". Leta 1939 je zapustil Veliko Britanijo in za~el delati v Hollywoodu. Re`iral je ve~ kot petdeset filmov, {tevilni med njimi so postali klasike. Umrl leta 1980 v Bel Airu, ZDA.
1934 1943 1945 1949 1951 1954 1954 1958 1959 1960 1963 1972
Born in London in 1899, Hitchcock entered the film industry as designer of title cards for silent films. He soon grew to become an illustrious criminalthriller filmmaker and earned the nickname "Master of Suspense". He left for Hollywood in 1939. Hitchcock created more than 50 films, of which several have attained classic status. He died in 1980 in Bel Air, USA.
The Man Who Knew Too Much (Mo`, ki je preve~ vedel) Shadow of a Doubt (Senca dvoma) Spellbound (Uro~en) Under Capricorn (V znamenju kozoroga) Strangers on a Train (Tujca na vlaku) Dial "M" for Murder (Kli~i M za umor) Rear Window (Dvori{~no okno) Vertigo (Vrtoglavica) North By Northwest (Sever Severozahod) Psycho (Psiho) The Birds (Pti~i) Frenzy (Blaznost)
121
Retrospektiva Retrospective
The African Queen The African Queen Afri{ka kraljica Velika Britanija, ZDA Great Britain, USA 1951
John Huston re`ija/directed by John Huston scenarij/screenplay James Agee, John Huston, C. S. Forester (roman/novel) fotografija/cinematography Jack Cardiff glasba/music Allan Gray monta`a/editing Ralph Kemplen igrajo/cast Humphrey Bogart (Charlie Allnut), Katharine Hepburn (Rose Sayer), Robert Morley (Samuel Sayer), Peter Bull (kapitan Louise/captain of Louisa), Theodore Bikel (prvi ~astnik/first officer), Walter Gotell (drugi ~astnik/second officer), Peter Swanwick (prvi ~astnik v Shoni/first officer of Shona), Richard Marner (drugi ~astnik v Shoni/second officer of Shona) producenta/producers Sam Spiegel, John Woolf produkcija/production Horizon Pictures (USA) & Romulus Films (UK) format/format 35 mm, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) oskarji/Academy Awards 1952 (nagrada za najbolj{o mo{ko glavno vlogo/Best Actor in a Leading Role, {tiri nominacije/four nominations)
V Afri{ki kraljici je re`iser John Huston igralski dar Humphreyja Bogarta in Katharine Hepburn popeljal do polnega razcveta, obenem pa posnel enega svojih najbolj{ih filmov. Leto 1914, nem{ka Vzhodna Afrika. ^astiti Samuel in Rose Sayer sta brat in sestra, britanska misionarja, ki sta ve~idel odvisna od uslug Charlieja Allnuta. Ta jima po{to in potreb{~ine dostavlja s staro ladjo z imenom Afri{ka kraljica, a ker mo{ki prerad pogleda v kozarec, misionarjema ni preve~ pri srcu. Toda ko Samuel ob nem{ki invaziji umre, mora prav Charlie pomagati Rose pri pobegu z misijonarskega poslopja, {e preden se nanj vrnejo Nemci. Dva povsem razli~na zna~aja postaneta v bitki za `ivljenje medsebojno odvisna, ob plovbi z Afri{ko kraljico pa jima kljubujejo tudi sila te`avne razmere na razburkani reki. "Afri{ka kraljica je fantasti~no delo. Redki filmi si lahko privo{~ijo toliko posnetkov osredoto~iti na dva ~loveka v zaprtem prostoru. Dejstvo, da filmu ta podvig uspe, ne da bi bil za hip dolgo~asen ali pust, je sam po sebi dose`ek. Vendar z odli~no igralsko zasedbo in nelinearnimi liki dose`e umetni{ko veli~ino. Tisti ~udni konec me {e vedno ni prepri~al, sicer pa si zaslu`i naziv filmske klasike." (James Blake Ewing, Creative Criticism)
Showcasing Humphrey Bogart and Katharine Hepburn's formidable acting talent, The African Queen is one of director John Huston's finest films. 1914 in German East Africa. Brother and sister, Reverend Samuel and Miss Rose Sayer, are British Christian missionaries. They are reliant upon Charlie Allnut, who owns and operates a rundown river boat called the African Queen, for mail and supplies. The Sayers merely tolerate Charlie, who they consider a little too rough around the edges. They consider his heavy drinking especially problematic. Reverend Sayer passes away from the shock experienced by watching the Germans raid their village. Charlie has to help Rose escape from the ravaged missionary compound before the Germans return. The two who are dependent upon each other for both their physical and emotional wellbeing not only have to beware the Germans, but deal with dangers of the river and their own differences. "The African Queen is a fantastic movie. Few films can sustain themselves by basing so much of its screen time on two people in a confined space. The fact that the film pulls that off without ever being dull or boring is a feat in and of itself. But with a fantastic cast and characters we can get behind, the film reaches the cusp of greatness. I'm still debating over that strange ending, but either way it deserves its title as a classic." (James Blake Ewing, Creative Criticism)
John Huston
filmografija (izbor)/filmography (selection)
Rojen 1906 v Nevadi, Missouri, ZDA. V vodvilskih predstavah je skupaj s svojim o~etom za~el nastopati `e trileten. Na uspe{ni poti je deloval kot igralec, scenarist, re`iser in producent. Posnel je 37 filmov, {tevilni med njimi danes veljajo za klasike. Zaradi svobodnja{kega, neukrotljivega `ivljenjskega sloga so ga pogosto primerjali z Ernestom Hemingwayem in Orsonom Wellesom. Umrl je leta 1987.
1941 1942 1948 1948 1950 1951 1961 1964 1972 1979 1981 1985 1987
Born in 1906, in Nevada, Missouri, Huston began performing on stage with his vaudevillian father at age 3. He pursued the career of an actor, scriptwriter, director and producer and directed 37 films, a considerable number of which are today considered classics. Huston lived the life unencumbered by convention or restrictions, and is often compared in style to Ernest Hemingway or Orson Welles. He died in 1987.
122
The Maltese Falcon (Malte{ki sokol) Across the Pacific (^ez Pacifik) Key Largo (Otok Largo) The Treasure of the Sierra Madre (Zaklad Sierra Madre) The Asphalt Jungle (Asfaltna d`ungla) The African Queen (Afri{ka kraljica) The Misfits (Neprilagojeni) The Night of the Iguana (No~ iguane) Fat City (Sito mesto) Wise Blood (Zloba) Victory (Beg v zmago) Prizzi’s Honor (^ast Prizzijev) The Dead (Mrtvi)
Retrospektiva Retrospective
Niagara Niagara Niagara ZDA USA 1953
Henry Hathaway
Odli~en prispevek filmu noir, ki je namesto v ~rno-belih barvah za`ivel v `ivi paleti Technicolorja. Prva naslovna vloga takrat {e vzhajajo~e igralske zvezdnice Marilyn Monroe. George in Rose Loomis sta poro~en par na po~itnicah ob Niagarskih slapovih. George je veteran druge svetovne vojne in ima ob~utek, da se mu bo zaradi psiholo{kih posledic vojne zme{alo. Njuno razmerje se med po~itnicami mo~no skrha, vseeno pa se on ne zaveda, da ga posku{a Rose skupaj s svojim ljubimcem Patrickom na~rtno spraviti ob pamet in ga umoriti. Polly Cutter ob slapovih medtem pre`ivlja medene tedne s svojim mo`em Rayem, a prav njo bo kot ni~ hudega slute~o opazovalko pogoltnil vrtinec spletk med zakoncema Loomis. "Niagara je Hitchcockov film, ki ga Hitchcock nikoli ni posnel." (Alan Bacchus, Daily Film Dose)
A fascinating exercise in film noir made in Technicolor. The femme fatale Rose was Marilyn Monroe's first starring role. Married couple George and Rose Loomis are vacationing in Niagara Falls. George, a WWII veteran, is slowly unravelling. He thinks he's going insane purely from his time in the war. Their relationship is getting worse and worse. What he doesn't know is that Rose, with her lover Patrick, is trying to drive him crazy in an attempt to murder him. Polly Cutler, in Niagara Falls with her husband Ray on their honeymoon, becomes the unfortunate bystander who gets caught up in the intrigue between the Loomises. "Niagara is a Hitchcock film that Hitchcock never made." (Alan Bacchus, Daily Film Dose)
Henry Hathaway
filmografija (izbor)/filmography (selection)
Rojen leta 1898 v Sacramentu (Kalifornija, ZDA). Filmsko pot je za~el kot otro{ki igralec v vesternih Allana Dwana. Po slu`enju v prvi svetovni vojni je delal kot asistent re`ije pri velikanih, kot sta Josef von Sternberg in Victor Fleming. Njegov prvenec Heritage of the Desert iz leta 1932 je bil prvi v seriji {tevilnih vesternov, pod katere se je podpisal; pod njegovo taktirko sta svoje igralske sposobnosti izpilila John Wayne in Marilyn Monroe. Umrl leta 1985 v Hollywoodu.
1945 1948 1951 1953 1954 1954 1958 1959 1960 1962 1968 1969 1971
Born in 1898 in Sacramento (California, USA), Hathaway started his career as a child actor in westerns directed by Allan Dwan. His movie career was interrupted by World War I. After his discharge, he returned to Hollywood to work as an assistant director under such directors as Josef von Sternberg and Victor Fleming, In 1932 Hathaway directed his first picture, Heritage of the Desert, a western. Some star actors, including John Wayne and Marilyn Monroe, benefited under his direction. He died in 1985 in Hollywood.
re`ija/directed by Henry Hathaway scenarij/screenplay Charles Brackett, Walter Reisch, Richard L. Breen fotografija/cinematography Joseph MacDonald glasba/music Lionel Newman monta`a/editing Barbara McLean igrajo/cast Marilyn Monroe (Rose Loomis), Joseph Cotten (George Loomis), Jean Peters (Polly Cutler), Max Showalter (Ray Cutler), Denis O'Dea (in{pektor Starkey/inspector Starkey), Richard Allan (Patrick), Don Wilson (J. C. Kettering), Lurene Tuttle (gd~./Mrs. Kettering), Russell Collins (g./Mr. Qua), Will Wright (~olnar/boatman) producent/producer Charles Brackett produkcija/production Twentieth Century Fox (USA) format/format 35 mm, barvni/colour dol`ina/running time 92'
House on 92nd Street (Hi{a v 92. ulici) Call Northside 777 (Pokli~i Northside 777) Rawhide (Po{tna postaja) Niagara Prince Valiant (Princ Valiant) Garden of Evil (Vrt zla) From Hell to Texas (Od pekla do Teksasa) Woman Obsessed (Obsedena `enska) North to Alaska (Severno od Aljaske) How the West Was Won (Osvajanje Divjega zahoda) Five Card Stud (Krvavi poker) The True Grit (Pravi pogum) Shootout (Zadnji strel)
123
Retrospektiva Retrospective
Senso Senso Senso Italija Italy 1954
Luchino Visconti re`ija/directed by Luchino Visconti scenarij/screenplay Luchino Visconti, Suso Cecchi D'Amico fotografija/cinematography G.R. Aldo, Robert Krasker monta`a/editing Mario Serandrei igrajo/cast Alida Valli (grofica/Countess Livia Serpieri), Farley Granger (poro~nik/ Liutenant Franz Mahler), Heinz Moog (grof/Count Serpieri), Massimo Girotti (markiz/Marquis Roberto Ussoni), Rina Morelli (guvernanta/governess Laura), Sergio Fantoni (Luca) producent/producer Domenico Forges Davanzati produkcija/production Lux Film (Italy) format/format 35 mm, barvni/colour dol`ina/running time 118' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 1954
Visconti se odmakne od prepoznavne neorealisti~ne poti in v dokaj ekstravagantnem slogu zdru`i realizem z romanticizmom, pri tem pa najbolj o~itno poudari svojo ljubezen do opere.
Deviating from his signature neorealist style, Visconti rather extravagantly blends realism and romanticism, thereby explicitly expressing his love of the opera.
Benetke, pomlad 1866. V slavni operni hi{i La Fenice italijanska aristokracija u`iva ob taktih Verdijevega Trubadurja, zagrizeni vodja radikalne italijanske narodne stranke grof Ussoni pa organizira javne proteste proti avstrijski okupaciji. Medtem se njegova sestri~na, grofica Livia Serpieri, nesmrtno zaljubi v mladega avstrijskega poro~nika Franza Mahlerja, odgovornega za Ussonijev izgon iz dr`ave. Njuna ljubezen seveda nima prihodnosti, saj se Livia ob spoznanju, da jo je Franz izrabil za politi~ne interese, iz obupa preda pogubnemu ma{~evanju ‌
Venice, the spring of 1866. While the Italian aristocracy is enjoying Il Trovatore by Guiseppe Verdi at the famous La Fenice Opera House, the fanatical leader of radical Italian national party, Count Ussoni, is staging public protests against Austrian occupation. Meanwhile his cousin, Countess Livia Serpieri, falls hopelessly in love with a young Austrian lieutenant, Franz Mahler, who's responsible for banishing Ussoni from the country. Their love is doomed, however. Realising that Franz has used her for his political interests, the desperate Livia vows vengeance on him.
"Viscontijev Senso se za~ne v operni hi{i, ki je nekako nikoli ne zapusti. Gre za strastno in melodramati~no romanco s pogubljenima ljubimcema, postrojenimi vojaki, skrivnimi polno~nimi sestanki, drznim pre{u{tvom in dramati~nimi smrtmi. Prizori{~e je nadvse ustrezno – Benetke, mesto, katerega vsak prizor ponuja ozadje ariji." (Roger Ebert, Chicago Sun-Times)
"Visconti's Senso opens in an opera house and in a way never leaves it. This is a passionate and melodramatic romance, with doomed lovers, posturing soldiers, secret meetings at midnight, bold adultery and dramatic deaths. That it mostly takes place in Venice is appropriate – Venice, that city where every view is a backdrop for an aria." (Roger Ebert, Chicago Sun-Times)
Luchino Visconti
filmografija (izbor)/filmography (selection)
Rojen leta 1906 v bogati italijanski dru`ini kot eden izmed sedmih otrok premo`nega vojvode Modrona. Je eden od utemeljiteljev italijanskega neorealizma (ob Vittoriu De Sici in Robertu Rosselliniju), sicer pa se je v petdesetih in {estdesetih letih uveljavil tudi kot gledali{ki re`iser. Ob navdu{enju nad opero se je proslavil s filmi Rocco in njegovi bratje, Smrt v Benetkah in Gepard, za katerega je leta 1963 v Cannesu prejel zlato palmo.
1943 1948 1954 1957 1960 1963 1965 1967 1969 1971 1974 1976
Born in 1906 into one of Northern Italy's richest families as one of the Duke of Modrone's seven children. Developed the movement of Italian neo-realism together with other directors such as Vittorio De Sica or Roberto Rossellini in the 1940s and 1950s. While also pursuing an avid interest in opera, Visconti rose to fame with films such as Rocco and His Brothers, Death in Venice and Leopard, the last named of which received the 1963 Palme d'Or Award at Cannes.
124
Ossessione (Obsession/Obsedenost) Le terra trema (Zemlja drhti) Senso Le Notti bianche (White Nights/Bele no~i) Rocco e i suoi fratelli (Rocco and His Brothers/Rocco in njegovi bratje) Il gattopardo (Leopard/Gepard) Vaghe stelle dell'Orsa (Sandra of a Thousand Delights) Lo straniero (The Stanger/Tujec) La caduta degli dei (The Damned/Prekleti) Morte a Venezia (Death in Venice/Smrt v Benetkah) Gruppo di famiglia in un interno (Conversation Piece) L'innocente (The Innocent/Nedol`ni)
Retrospektiva Retrospective
All That Heaven Allows All That Heaven Allows Vse, kar nebesa dopu{~ajo ZDA USA 1955
Douglas Sirk
Ena najslovitej{ih filmskih romanc vseh ~asov, br`kone tudi najbolj{i predstavnik klasi~ne hollywoodske melodrame, ki ekspresionisti~ne zakonitosti `anra pripelje do vrhunca in jih izkoristi za uni~ujo~o kritiko zlagane dru`be. Ameri{ko predmestje, sredina petdesetih. Cary, dobro situirana vdova, se zaplete v strastno romanco z dru`inskim vrtnarjem Ronom. Privla~i jo njegov stvarni pogled na `ivljenje, ki se ka`e in udejanja kot ostro, sve`e nasprotje rigidnim konvencijam njenega malome{~anskega, zdolgo~asenega vsakdana. Vendar pa ljubezenska idila kmalu naleti na brutalno in, zdi se, nepremostljivo nasprotovanje okolice; ogor~eni so zlasti (sicer `e odrasli in odseljeni) otroci zaljubljene vdove. Bolj kot dejstvo, da je Ron veliko mlaj{i od Cary, jih moti njegov ni`ji socialni polo`aj.
re`ija/directed by Douglas Sirk scenarij/screenplay Peg Fenwick, Edna L. Lee (zgodba/ story), Harry Lee (zgodba/story) fotografija/cinematography Russell Metty glasba/music Frank Skinner monta`a/editing Frank Gross, Fred Baratta igrajo/cast Jane Wyman (Cary Scott), Rock Hudson (Ron Kirby), Agnes Moorehead (Sara Warren), Conrad Nagel (Harvey), Virginia Grey (Alida Anderson), Gloria Talbott (Kay Scott), William Reynolds (Ned Scott), Charles Drake (Mick Anderson), Hayden Rorke (Dr. Dan Hennessy), Jacqueline deWit (Mona Plash), Leigh Snowden (Jo-Ann Grisby), Donald Curtis (Howard Hoffer) producent/producer Ross Hunter produkcija/production Universal International Pictures (USA) format/format 35 mm, barvni/colour dol`ina/running time 89'
One of the most celebrated cinematic romances of all time, possibly also the most illustrious specimen of classical Hollywood melodrama, taking the expressionistic principles of the genre to new levels while providing a scathing critique of duplicitous society. American suburbs, mid 1950s. Cary, a prosperous New England widow has a passionate love affair with gardener Ron. She becomes intrigued by his free spirit and romantic life, a fresh alternative to her bored, small-minded existence. Cary is afraid of the social consequences of marriage to Ron, and she also fears her children's disapproval. Cary’s friends and children are snobbish and socially conscious and oppose both to Cary's being older than Ron and his inferior financial and social position.
"Douglas Sirk je neko~ izjavil: 'Dialektiko najdemo v naslednjem – med visoko umetnostjo in {undom je zelo majhna razlika, in {und s prvino norosti je prav zaradi tega sestavine bli`ji umetnosti.' Ko je bil film Vse, kar nebesa dopu{~ajo leta 1955 posnet pri Universal Pictures, je {lo samo za nov kriti{ko spregledan izdelek hollywoodskega `anra, zasnovan z namenom ugajati sentimentalnemu `enskemu ob~instvu. ^e se danes ozremo nazaj, lahko filmu priznamo bli`ino umetni{ki strani Sirkove dialektike in ga okli~emo za enega njegovih klju~nih filmov." (Laura Mulvey)
"Douglas Sirk once said: 'This is the dialectic – there is a very short distance between high art and trash, and trash that contains an element of craziness is by this very quality nearer to art.' When All That Heaven Allows was released by Universal Pictures in 1955, it was just another critically unnoticed Hollywood genre product, designed to appeal to the trashy 'women's weepie' audience. Now, in retrospect, it is considered to be closer to the art side of Sirk's dialectic, and one of his key films." (Laura Mulvey)
Douglas Sirk
filmografija (izbor)/filmography (selection)
Rojen danskim star{em leta 1897 v Hamburgu, Nem~ija. Po prvi svetovni vojni je {tudiral pravo, potem pa {e filozofijo in umetnostno zgodovino. Postopoma je postal eden vodilnih gledali{kih re`iserjev v Weimarski republiki, nato pa je ob vzponu nacizma leta 1937 zapustil dr`avo. Leta 1943 je posnel prvi film v ZDA. Njegovo najsijajnej{e obdobje tvorijo njegovi filmi iz petdesetih let, posneti pod okriljem studia Universal.
1937 1947 1948 1951 1952 1954 1955 1956 1956 1957 1957 1958 1959
Born to Danish parents in 1897 in Hamburg, Germany. After World War One Sirk studied law, then read philosophy and history of art. Until forced to leave Germany with the rise of the Nazi dictatorship, Sirk developed into one of the leading theatrical directors in the Weimar Republic. He made his first US film in 1943. He is primarily known for his work at Universal International in the 1950s.
Zu neuen Ufern (Life Begins Anew/K novim obalam) Lured (Primamljen) Sleep, My Love (Zaspi, draga moja) Thunder on the Hill (Grmenje na gori) Has Anybody Seen My Gal (Je kdo videl mojo punco?) Magnificent Obsession (^udovita strast) All That Heaven Allows (Vse, kar nebesa dopu{~ajo) There's Always Tomorrow Written on the Wind (Zapisano v vetru) Interlude (Medigra) The Tarnished Angels (Potemneli angeli) A Time to Love and a Time to Die (^as ljubezni in ~as smrti) Imitation of Life (Imitacija `ivljenja)
125
Retrospektiva Retrospective
Bigger than Life Bigger than Life Ve~ji od `ivljenja ZDA USA 1956
Nicholas Ray re`ija/directed by Nicholas Ray scenarij/screenplay Cyril Hume, Richard Maibaum fotografija/cinematography Joseph Macdonald glasba/music David Raksin monta`a/editing Louis R. Loeffler igrajo/cast James Mason (Ed Avery), Barbara Rush (Lou Avery), Walter Matthau (Wally Gibbs), Robert F. Simon (Dr. Norton), Christopher Olsen (Richie Avery) producent/producer James Mason produkcija/production Twentieth Century Fox Film Corporation format/format 35 mm, barvni/colour dol`ina/running time 94'
Portret povpre~ne ameri{ke predmestne dru`ine v petdesetih letih minulega stoletja, v katerem re`iser kriti~no obra~unava z moralnimi na~eli takratne ameri{ke dru`be. Osnovno{olskega u~itelja Eda Averyja zaradi hudih bole~in in izgube zavesti hospitalizirajo. Ko ga zdravniki obvestijo o njegovi diagnozi in mu povedo, da mu ostaja le {e nekaj mesecev `ivljenja, Ed privoli v eksperimentalno zdravljenje: jemal bo hormon kortizol. Ed sprva presenetljivo hitro okreva in se vrne domov k svoji dru`ini. Na `alost pa se "~ude`no" zdravilo kmalu sprevr`e v Edovo najhuj{o no~no moro ...
Portraying a typical US suburban family in 1950s, Bigger than Life is a critical examination of the then American morality. Schoolteacher and family man Ed Avery, who's been suffering bouts of severe pain and even blackouts, is hospitalised. Told by doctors that he probably has only months to live, Ed agrees to an experimental treatment: doses of the hormone cortisone. Ed makes a remarkable recovery, and returns home to his family. But the 'miracle' cure turns into its own nightmare. "If it were all in the script, why make the film?" (Nicholas Ray)
"^e bi bilo vse v scenariju, se ne bi trudili s snemanjem filma." (Nicholas Ray)
Nicholas Ray
filmografija (izbor)/filmography (selection)
Rojen leta 1911 v zvezni dr`avi Wisconsin, ZDA. Svoje najpomembnej{e filmske stvaritve, med katere sodijo Johnny Guitar, Upornik brez razloga in Ve~ji od `ivljenja, je posnel v petdesetih letih prej{njega stoletja, njegov opus pa sicer {teje ve~ kot dvajset filmskih naslovov.
1948 1949 1950 1953 1954 1955 1955 1956 1956 1958 1960 1961 1963
Born in 1911 in Wisconsin, USA, Ray rose to prominence in the 1950s with such films as Johnny Guitar, Bigger than Life, and his best-known work, Rebel Without a Cause. He directed more than 20 feature films.
126
They Live By Night (@ivijo pono~i) Knock on Any Door (Potrkaj na katerakoli vrata) Born to be Bad The Lusty Men Johhny Guitar Run for Cover Rebel Without a Cause (Upornik brez razloga) Hot Blood (Vro~a kri) Bigger than Life (Ve~ji od `ivljenja) Party Girl The Savage Innocents The King of Kings (Kralj vseh kraljev) 55 Days in Peking (55 dni v Pekingu)
Retrospektiva Retrospective
Le mépris Contempt Prezir Francija, Italija France, Italy 1963
Jean-Luc Godard
re`ija/directed by Jean-Luc Godard scenarij/screenplay Alberto Maoravia fotografija/cinematography Raoul Coutard glasba/music Georges Delerue, Piero Piccioni monta`a/editing Agnès Guillemot, Lila Lakshmanan igrajo/cast Brigitte Bardot (Camille Javal), Fritz Lang (Fritz Lang), Jack Palance (Jeremy Prokosch), Giorgia Moll (Francesca Vanini), Michel Piccoli (Paul Javal) producenti/producers Georges de Beauregard, Carlo Ponti, Joseph E. Levine produkcija/production Les Films Concordia format/format 35 mm, barvni/colour dol`ina/running time 103'
Ena najve~jih mojstrovin filmskega velikana Jean-Luca Godarda je avtorjeva refleksija o ljubezni in zakonu, obenem pa tudi sarkasti~na kritika vse ve~je komercializacije filmske umetnosti. Producent Jeremy Prokosch najame scenarista Paula Javala, da bi "izbolj{al" scenarij za film, posnet po Homerjevi Odiseji, ki ga na Capriju re`ira Fritz Lang. Kljub mamljivi ponudbi pa se Paulovo `ivljenje zaplete: njegova lepa `ena Camille je prepri~ana, da Paul izkori{~a njeno privla~nost, ker si ho~e pridobiti re`iserjevo naklonjenost in si zagotoviti bolj{e pla~ilo.
One of the greatest masterpieces of auteur Jean-Luc Godard, Contempt is both a reflection on love and marriage and a sarcastic critique of increasingly commercialised cinema. Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. Despite the tempting offer Paul's life gets complicated: his beautiful wife Camille believes that Paul has been using her to win the director's approval and secure a better payment for himself.
"Prezir je preprost film o kompleksnih idejah." (Jean-Luc Godard)
"Contempt is a simple film about complicated ideas." (Jean-Luc Godard)
Jean-Luc Godard
filmografija (izbor)/filmography (selection)
Rojen leta 1930 v Parizu. @e kot {tudent se je zanimal za film, leta 1952 pa je za~el pisati filmske kritike za Cahiers du cinéma. Leta 1960 mu je svetovno slavo prinesel film Do zadnjega diha. Je eden osrednjih predstavnikov francoskega novega vala in avtorske teorije. Njegov opus obsega ve~ kot sto filmskih naslovov.
1960 1961 1962 1963 1963 1964 1965 1965 2001 2004 2010
Born in 1930 in Paris, Godard became involved in cinema as a student, and in 1952 started publishing film reviews in Cahiers du cinéma. He rose to world fame in 1960 with Breathless. One of the most prominent representatives of the French New Wave and auteur theory, Godard has made over 100 films.
À bout de souffle (Breathless/Do zadnjega diha) Une femme est une femme (A Woman is a Woman/@enska je `enska) Vivre sa vie (My Life to Live/@iveti svoje `ivljenje) Les carabiniers (The Soldiers/Karabinjerji) Le mépris (Contempt/Prezir) Bande à part (Band of Outsiders/Nesposobna banda) Alphaville, une étrange aventure de Lemmy Caution (Alphaville) Pierrot le fou (Nori Pierrot) Éloge de l'amour (In Praise of Love/Hvalnica ljubezni) Notre Musique (Our Music/Na{a glasba) Film socialisme (Socialism/Socializem)
127
Retrospektiva Retrospective
Il gattopardo The Leopard Gepard Italija Italy 1963
Luchino Visconti re`ija/directed by Luchino Visconti scenarij/screenplay Pasquale Festa Campanile, Enrico Medioli, Massimo Franciosa, Luchino Visconti, Suso Cecchi d'Amico fotografija/cinematography Giuseppe Rotunno glasba/music Nino Rota monta`a/editing Mario Serandrei igrajo/cast Burt Lancaster (princ/Prince Don Fabrizio Salina), Claudia Cardinale (Angelica Sedara, Bertiana), Alain Delon (Tancredi Falconeri), Serge Reggiani (Don Francisco Ciccio Tumeo), Pierre Clementi (Francesco Paolo), Paolo Stoppa (Don Calogero Sedara), Rina Morelli (princesa/ Princess Maria Stella Salina) producenta/producers Goffredo Lombardo, Pietro Notarianni produkcija/production Titanus (Italy) format/format 35 mm, barvni/colour dol`ina/running time 187' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1963 (zlata palma/Palme D'Or), Nagrade David di Donatello/ David di Donatello Awards (najbolj{i film/Best Production)
Zgodovinski ep o propadu sicilijanske aristokracije in povzpetni{tvu dose`e vrhunec v razko{nem prizoru dvornega plesa, ki velja za enega najspektakularnej{ih v zgodovini filma. Sicilija sredi {estdesetih let devetnajstega stoletja. Zdi se, da prihajajo~a vojna vihra ne more prodreti za zidove domovanja plemenitega salinskega princa Fabrizia Corbere, znanega pod vzdevkom Gepard. ^eprav je jasno, da njegova vpliv in bogastvo kopnita, princ vztrajno zavra~a sodelovanje pri gradnji nove Sicilije. Nasprotno pa njegov ne~ak Tancredi spretno plava s tokom in si s poroko s prelepo h~erko bogatega Dona Sedare, neko~ preprostega kmeta, zagotovi polo`aj v novo ustoli~eni dru`bi ...
The historical epic of the downfall of Sicilian aristocracy and naked ambition culminates in a sumptuous court ball, one of the most spectacular scenes in the history of cinema. Sicily, mid 1860s. It seems that the imminent threat of war cannot shake the walls of Prince of Salina's palace. The film traces the waning of the noble home of Fabrizio Corbero, Prince of Salina or The Leopard, who refuses to take active steps to halt the decline of his personal fortunes or to help build a new Sicily but his nephew Tancredi, Prince of Falconeri, swims with the tide and assures his own position by marrying Don Calogero's beautiful daughter Angelica.
"Princ v Gepardu je zelo zapleten lik. V~asih avtokratski, neotesan in mo~an, drugi~ romanti~en, dober in razumevajo~. Ob~asno celo neumen, vendar predvsem skrivnosten. Burt Lancaster pooseblja vse te stvari. V~asih pomislim, da je Burt najbolj skrivnosten ~lovek, kar sem jih kdaj koli sre~al." (Luchino Visconti)
"The Prince in The Leopard was a very complex character. At times autocratic, rude and strong, at times romantic, good and understanding. Sometimes even stupid, and above all, mysterious. Burt Lancaster is all these things too. Sometimes I think Burt is the most perfectly mysterious man I have ever met in my life." (Luchino Visconti)
Luchino Visconti
filmografija/filmography
Glej stran 124/see page 124.
Glej stran 124/see page 124.
128
Retrospektiva Retrospective
Per il pugno di dollari A Fistful of Dollars Za pest dolarjev Italija, [panija, Zahodna Nem~ija Italy, Spain, West Germany 1964
Sergio Leone
re`ija/directed by Sergio Leone scenarij/screenplay Adriano Bolzoni, Víctor Andrés Catena fotografija/cinematography Massimo Dallamano, Federico G. Larraya glasba/music Ennio Morricone monta`a/editing Roberto Cinquini, Alfonso Santacana igrajo/cast Clint Eastwood (^lovek brez imena/A Man with No Name), Marianne Koch (Marisol), Gian Maria Volonté (Ramón Rojo), Wolfgang Lukschy (John Baxter), Sieghardt Rupp (Esteban Rojo), Joseph Egger (Piripero) producenta/producers Arrigo Colombo, Giorgio Papi produkcija/production Jolly Film format/format 35 mm, barvni/colour dol`ina/running time 99'
Prvi veliki uspeh Sergia Leoneja, s katerim je `anru {pageti vesterna postavil temelje in ga tudi mo~no populariziral, zagotovo pomeni enega od vrhuncev v zgodovini italijanskega filma. V mehi{ko vas San Miguel prispe brezimni revolvera{. V vasi `e dolgo tli spor med brati dru`ine Rojo in va{kim {erifom Baxterjem. Ko bratje Rojo nekega dne postavijo zasedo regimentu mehi{kih vojakov, ki v vas prinese zlato za odkup oro`ja, brezimni revolvera{ pri pri~i zasluti prilo`nost za zaslu`ek in se odlo~i, da bo z ukano zaostril odnose med sprtima stranema ter se tako sam dokopal do dobi~ka. "Nikoli nisem mislil ustvariti vesterna, celo med samim snemanjem ne. Menim, da so moji filmi vesterni samo z zunanjega vidika. Vsebujejo nekaj mojih resnic, ki na sre~o, kot sem opazil, veljajo za razli~ne konce sveta. Ne samo Ameriko." (Sergio Leone)
Sergio Leone's first major breakthrough that popularised and solidified the genre of spaghetti western, A Fistful of Dollars is one of the highlights of Italian cinema. The Man with No Name enters the Mexican village of San Miguel in the midst of a power struggle among the three Rojo brothers and Sheriff John Baxter. When a regiment of Mexican soldiers bearing gold intended to pay for new weapons is waylaid by the Rojo brothers, the stranger inserts himself into the middle of the long-simmering battle, selling false information to both sides for his own benefit. "I had never thought of making a western even as I was making it. I think that my films are westerns only in their exterior aspects. Within them are some of my truths, which happily, I see, belong to lots of parts of the world. Not just America." (Sergio Leone)
Sergio Leone
filmografija/filmography
Rojen leta 1929 v Rimu. Sin italijanskega filmskega pionirja Vincenza Leoneja in igralke Bice Valerian se je s filmom za~el ukvarjati `e v poznih najstni{kih letih. Konec petdesetih let je za~el pisati scenarije, kot re`iser pa se je uveljavil leta 1964 s filmom Za pest dolarjev, temu pa so sledili {e Dober, Grd, Hudoben, Bilo je neko~ na zahodu in Bilo je neko~ v Ameriki, ~e naj omenimo le nekatere. Umrl je leta 1989.
1961 1964 1965 1966
Born in 1929 in Rome. Leone was the son of Vincenzo Leone, one of Italy's cinema pioneers, and actress Bice Valerian. Leone entered cinema in his late teens. Towards the end of the 1950s he started writing screenplays, and rose to prominence as a director with A Fistful of Dollars, followed by classics such as The Good, the Bad and the Ugly, Once Upon a Time in the West and Once Upon a Time in America. He died in 1989.
1971 1975 1984
1968
Il Colosso di Rodi (Colossus of Rhodes/Kolos z Rodosa) Per il pugno di dollari(A Fistful of Dollars/Za pest dolarjev) Per qualche dollaro in più (For a Few Dollars More/Za dolar ve~) Il buono, il brutto, il cattivo (The Good, the Bad and the Ugly/ Dober, grd, hudoben) C'era una volta il West (Once Upon a Time in the West/Bilo je neko~ na Zahodu) Giù la testa (Duck, You Sucker!) Un genio, due compari, un pollo (A Genius, Two Partners and a Dupe) Once Upon a Time in America (Bilo je neko~ v Ameriki)
129
Retrospektiva Retrospective
Giulietta degli spiriti Juliet of the Spirits Giulietta in duhovi Italija, Francija Italy, France 1965
Federico Fellini re`ija/directed by Federico Fellini scenarij/screenplay Federico Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rondi fotografija/cinematography Gianni Di Venanzo glasba/music Nino Rota, Eugene Walter monta`a/editing Ruggero Mastroianni igrajo/cast Giulietta Masina (Giulietta Boldrini), Sandra Milo (Suzy, Iris, Fanny), Mario Pisu (Giorgio), Valentina Cortese (Valentina), Valeska Gert (Pijma), José Luis de Vilallonga (Giorgiov prijatelj/Giorgio's friend), Friedrich von Ledebur (medij/ medium), Caterina Boratto (Giuliettina mama/Giulietta's mother) producent/producer Angelo Rizzoli produkcija/production Rizzoli Film (Italy) & Francoriz Production (France) format/format 35 mm, barvni/colour dol`ina/running time 137' festivali, nagrade (izbor)/ festivals, awards (selection) nagrade Davida di Donatella/ David di Donatello Awards 1956 (najbolj{a igralka/Best Actress), zlati globus/Golden Globe 1966 (najbolj{i tujejezi~ni film/Best Foreign Language Film)
Prvi Fellinijev celove~erec v barvah je svojevrstna umetnina, v kateri se stvarnost prepleta z bogatim domi{ljijskim svetom glavne junakinje, za katerega se zdi, da ho~e prevladati nad resni~nostjo.
A unique masterpiece, Fellini's first colour feature blends reality with the protagonist's rich imaginary world that threatens to totally overwhelm her.
Giulietta prebiva v ~udoviti hi{i ob morju, obkro`ena s prelepo in dominantno mamo ter sestrama. Videti je, kot da `ivi povsem v svojemu domi{ljijskem svetu, razvnetim s sumom o mo`evi nezvestobi in sosedo Suzy, ki ne skriva svojih seksualnih apetitov. Duhovnost, vra`evernost in ~utnost, ki zasedajo Giuliettino domi{ljijo, dobijo nov polet po sre~anju z jasnovidko, sumni~avost pa se stopnjuje, ko za potrditev domneve o mo`evih skokih ~ez plot najame zasebnega detektiva. Vse to jo privede do usodne razdvojenosti, zaznamovane z begajo~imi prividi.
Giulietta lives in a lovely house by the sea with her beautiful and overbearing mother and sisters. She seems to inhabit a fantasy world of her own, fraught with suspicions of her husband's infidelity and her neighbour, lustful Suzy. Giulietta's imagination is fuelled by spirituality, superstition and sensuality. Slightly sceptical, but intrigued, she visits a mystic who gives her more information – and nudges her toward the realisation that her husband is indeed a philanderer. All this proves detrimental to Giulietta's mental health and eventually leads to overpowering hallucinations.
"Fellini si je dal du{ka, deliri~nega in briljantnega, z barvo ter ustvaril iskriv, na Alico v ogledalu spominjajo~ niz `ivih slik o razdvojeni `enski du{evnosti. Te sekvence so bizarna, nadrealisti~na zmes freudovskega, jungovskega in poganskega simbolizma, povezane v 145-minutno spodbudilo. ^eravno film raziskuje `ensko du{evnost in ga ozna~ujejo za `ensko razli~ico Fellinijevega dela Osem in pol, so upodobljene fantazije {e vedno avtorjeve spolne obsesije, ozalj{ane z `enskimi pritiklinami." (Stephen Holden, New York Times)
"Fellini went deliriously and brilliantly bananas with the colour to create a rollicking through-the-looking-glass series of tableaus evoking a woman's troubled psyche. These sequences are a zany, surreal jumble of Freudian, Jungian and pagan symbolism segued into a 145-minute head trip. Although the head being explored is a woman's and the movie has been described as the female counterpart of Fellini's 8 1/2, the fantasies being enacted are still Fellini’s sexual obsessions but embellished with feminine frills." (Stephen Holden, The New York Times)
Federico Fellini
filmografija (izbor)/filmography (selection)
1950 1954 1957 1960 1963 1965 1969 1972 Born in 1920 in Rimini. Initially a scriptwriter and journalist, Fellini is today 1973 considered one of the foremost Italian filmmakers. He started out as a neorealist, subsequently developing a signature surrealist, carnivalesque style, 1976 alternating between reality, illusion and studio artificiality. The auteur received 1980 1986 several awards, among which most notable are four Academy Awards for Best Foreign Language Film and the 1992 American Film Academy Honorary Award for Lifetime Achievements. He died in 1993 in Rome. Rojen leta 1920 v Riminiju. Sprva je delal kot scenarist in novinar, danes velja za enega najve~jih italijanskih re`iserjev. Za~el je kot neorealist, nato pa je razvil prepoznavno nadrealisti~en, karnevalski slog, ki prehaja med resni~nostjo, iluzijo in studijsko izumetni~enostjo. Osvojil je {tevilne nagrade, med njimi {tiri oskarje za tujejezi~ni film in leta 1992 oskarja za `ivljenjsko delo. Umrl je leta 1993 v Rimu.
130
Luci del varietà (Variety Lights/Lu~i varieteja) La strada (The Road/Cesta) Le notti di Cabiria (Nights of Cabiria/Cabirijine no~i) La dolce vita (Sladko `ivljenje) 8½ (8½/Osem in pol) Giulietta deglo spiriti (Juliet of the Spirits/Giulietta in duhovi) Satyricon (Satirikon) Roma (Rim) Amarcord (Amarcord) Il Casanova di Federico Fellini (Fellini’s Casanova/Fellinijev Casanova) La città delle donne (City of Women/Mesto `ensk) Ginger e Fred (Ginger and Fred/ Ginger in Fred)
Kazalo Index
izvirni naslovi original titles A Adventures of Robin Hood, The 118 Aferim! 69 African Queen, The 122 Aïssa 135 Al-hob wa al-sariqa wa N mashakel ukhra 74 All That Heaven Allows 125 Amateur 109 Apariciones 137 O Arta 136 As Mil e Uma Noites: Volume 1, O Inquieto 48 As Mil e Uma Noites: Volume 2, O Desolado 49 As Mil e Uma Noites: Volume 3, P O Encantado 50 B Bigger Splash, A 35 Bigger Than Life 126 Black Narcissus 120 Black Pirate, The 117 Bloedhond 132 Q C Carapace 132 Cialo 39 Comoara 64 R creazione di significato, La 18 Cykelmyggen og minibillen 98 D Dhanak 101 Dheepan 25 Diary of a Teenage Girl, The 73 Discipline 134 S Dissonance 134 Dom 26 Domaci pece 76 Duel in the Sun 119 Durak 68 E Eisenstein in Guanajuato 27 El abrazo de la serpiente 72 El Club 30 F Fay Grim 112 Flirt 110 T Forbidden Room, The 91 Francofonia 28 Fusi 70 G Gattopardo, Il 128 Ghesse-ha 59 giovinezza, La 32 Giulietta degli spiriti 130 Green Room 93 U Gui lai 41 H Heart of a Dog 55 Henry Fool 111 Hjónabandssaela 133 Hokus pokus Albert aberg 97 V Hrutar 13 I I ekrixi 81 W Interior. Família. 132 J James White 11 Z K Kacey Mottet Klein, naissance d'un acteur 133 Kkum-bo-da hae-mong 77 L Listen 136 Lobster, The 52 Loi du marche, La 42 Louder Than Bombs 29 M Macbeth 31
138
slovenski naslovi slovene titles Mediterranea 80 Mepris, Le 127 Mia madre 33 Mr. Holmes 51 Mustang 12 Ned Rifle 54 Niagara 123 Nie yin niang 34 No Men Beyond This Point 75 Obiect 132 Obra del siglo, La 16 O piseu 90 Oisseaux de passage, Les 99 Ombre des femmes, L' 62 Operasjon Arktis 102 Parabellum 14 Per il pugno di dollari 129 Phantom of the Opera, The 116 Piknik 135 Pioneri-geroi 15 Pored mene 38 Que Horas Ela Volta? 71 Queen of Earth 53 Queen of the Desert 36 Rabin, the Last Day 63 Rak ti Khon Kaen 61 Risttuules 85 Rodinny Film 10 Runner, The 137 Ryuzo to 7 nin no kobun tachi 56 S 136 Saat po long 2 92 Sangailes vasara 86 Saul fia 17 Senso 124 Sicario 37 Simple Men 108 Song of the Sea 100 Stinking Heaven 78 Superwelt 19 Tant qu'il nous reste des fusils a pompe 134 Taxi 58 tout nouveau testament, Le 24 Tri Dritare dhe nje Varje 82 Trois souvenirs de ma jeunesse 60 Trust 107 Umimachi Diary 57 Unbelievable Truth, The 106 Under Capricorn 121 Un etaj mai jos 79 Urok 83 Victoria 40 Wolfpack, The 84 Wyrmwood: Road of the Dead 89 Zvizdan 43
A
B C ^
D
E F
G
H J K
L M
N
O
P
1001 no~: Nemiren 48 1001 no~: Obupan 49 1001 no~: Za~aran 50 Afri{ka kraljica 122 Aïssa 135 Amater 109 Bedak 68 Bravo! 69 Cesta mrtvih 89 ^isto nova zaveza 24 ^rni narcis 120 ^rni pirat 117 Dheepan 25 R Disciplina 134 Dissonanca 134 Divji pes 132 S Dobrodu{ni velikan 70 Dom 26 Doma~a borovni~eva marmelada 133 Druga mama 71 Dru`inski film 10 Dvoboj na soncu 119 Eisenstein v Mehiki 27 Fantom iz opere 116 Fay Grim 112 Flirt 110 Frankofonija 28 [ Gepard 128 T Giulietta in duhovi 130 Glasnej{a od bomb 29 Gospod Holmes 51 Henry Fool 111 Hokus pokus Albert 97 U James White 11 Jastog 52 V Kacey Mottet Klein, rojstvo igralca 133 Ka~ji objem 72 Kako sem izgubila nedol`nost 73 Klub 30 Komar kolesar in hro{~ek Mini 98 Ko{ 132 Kraljica Zemlje 53 Krvava pisarna 90 Ljubezen, tatvina in drugi Z zapleti 74 Macbeth 31 Mavrica 101 Misija Arktika 102 Mladost 32 Moja mama 33 Morilka 34 Mustang 12 Ned Rifle 54 Nemirna obala 35 Neverjetna resnica 106 Ni prostora za mo{ke 75 Niagara 123 Notranje prizori{~e. Dru`ina. 132 Obiekt 132 Oskrba na domu 76 Ovna 13 Parabellum 14 Pasje srce 55
Pesem morja 100 Piknik 135 Pionirji heroji 15 Poletje s Sangail 86 Poslu{aj 136 Prepovedana soba 91 Preprosti ljudje 108 Prezir 127 Prividi 137 Projekt stoletja 16 Ptice selivke 99 Pustolov{~ine Robina Hooda 118 Pu{~avska kraljica 36 Razlo`i si sam 77 Runner, The 137 Ryuzo in sedem veli~astnih 56 S 136 Savlov sin 17 Senso 124 Sestrica 57 Sicario 37 Smrdljiva nebesa 78 SPL2: Bitka s ~asom 92 Spodnje nadstropje 79 Srednje{olci 38 Sredozemlje 80 Stvarjenje smisla 18 Supersvet 19 [us v glavo 81 Taksi 58 Teheranske zgodbe 59 Telo 39 Tri okna in obe{enje 82 Trije spomini na mladost 60 U~na ura 83 Umetnost 136 V senci `ensk 62 V vojnem vrtincu 85 V znamenju kozoroga 121 Ve~ji od `ivljenja 126 Veli~astno pokopali{~e 61 Victoria 40 Vol~ja dru{~ina 84 Vrnitev domov 41 Vsaj pu{ke nam {e ostanejo 134 Vse, kar nebesa dopu{~ajo 125 Za pest dolarjev 129 Zadnji dan Jicaka Rabina 63 Zaklad 64 Zakon trga 42 Zaupanje 107 Zelena soba 93 Zenit 43
Kazalo Index
angle{ki naslovi english titles A Adventures of Robin Hood, The 118 Aferim! 69 African Queen, The 122 Aïssa 135 All That Heaven Allows 125 Amateur 109 Apparitions 137 Arabian Nights – Volume 1, The Restless One 48 Arabian Nights - Volume 2, The Desolate One 49 Arabian Nights - Volume 3, The Enchanted One 50 Art 136 As Long as Shotguns Remain 134 Assassin, The 34 B Bigger Splash, A 35 Bigger Than Life 126 Birds of Passage 99 Black Narcissus 120 Black Pirate, The 117 Blast, A 81 Body 39 Brand New Testament , The 24 C Carapace 132 Cemetery of Splendour 61 Chum 133 Club, The 30 Coming Home 41 Contempt 127 Creation of Meaning, The 18 D Dheepan 25 Diary of a Teenage Girl, The 73 Discipline 134 Dissonance 134 Duel in the Sun 119 E Eisenstein in Guanajuato 27 Embrace of The Serpent 72 F Family Film 10 Fay Grim 112 Fistful of Dollars, A 129 Flirt 110 Fool, The 68 Forbidden Room, The 91 Francofonia 29 G Green Room 93 H Heart of a Dog 55 Henry Fool 111 High Sun, The 43 Hocus Pocus Alfie Atkins 97 Home 26 Home Care 76 I In the Crosswind 85 In the Shadow of Women 62 Interior. Família. 132 J James White 11 Juliet of the Spirits 130 K Kacey Mottet Klein, Birth of an Actor 133 L Leopard, The 128 Lesson, The 83 Listen 136 Lobster, The 52 Louder Than Bombs 29
re`iserji, re`iserke directors
M
N
O
P
Q R
S
T
V W
Y
Love, Theft and Other A Alayan, Muayad 74 Entanglements 74 Anderson, Laurie 55 Macbeth 31 Audiard, Jacques 25 Matter of Interpretation, A 77 B Bani-E'temad, Rakhshan 59 Measure of a Man, The 42 Bikov, Jurij 68 Mediterranea 80 Boe-Waal, Grethe 102 Mini and the Mozzies 98 Brize, Stephane 42 Mr. Holmes 51 C Carpignano, Jonas 80 Mustang 12 Cerov{ek, Peter 137 My Golden Years 60 Cheang, Pou-soi 92 My Mother 33 Condon, Bill 51 Ned Rifle 54 Curtiz, Michael 118 Next to Me 38 ^ ^i~a, Nata{a 137 Niagara 123 D Desplechin, Arnaud 60 No Men Beyond This Point 75 Dormael, Jaco van 24 Obiekt 132 E Ergüven, Deniz Gamze 12 Office 90 F Fellini, Federico 130 One Floor Below 79 Filipovi}, Stevan 38 Operation Arctic 102 G Garrel, Philippe 62 Our Little Sister 57 Gitai, Amos 63 Parabellum 14 Godard, Jean-Luc 127 Phantom of the Opera, The 116 Gomes, Miguel 48, 49, 50 Picnic 135 Greenaway, Peter 27 Pioneer Heroes 15 Grozeva, Kristina 83 Project of the Century, The 16 Guadagnino, Luca 35 Queen of Earth 53 Guerra, Ciro 72 Queen of the Desert 36 H Hajdú, Richárd 136 Rabin, the Last Day 63 Hakonarson, Grimur 13 Rainbow 101 Hartley, Hal 54, 106–111 Rams 13 Hastrup, Jannik 98 Runner, The 137 Hathaway, Henry 123 Ryuzo and His Seven Henchmen 56 Helde, Martti 85 S 136 Heller, Marielle 73 Second Mother, The 71 Herzog, Werner 36 Senso 124 Hitchcock, Alfred 121 Sicario 37 Horak, Slavek 76 Simple Men 108 Hsiao-hsien, Hou 34 Son of Saul 17 Huston, John 122 Song of the Sea 100 J Johnson, Evan 91 SPL2: A Time For Jude, Radu 69 Consequences 92 Julian, Rupert 116 Stinking Heaven 78 K Kari, Dagur 70 Summer of Sangaile, The 86 Kavaité, Alanté 86 Superworld 19 Keighley, William 118 Tales 59 Kitano, Takeshi 56 Taxi 58 Kore-eda, Hirokazu 57 Three Windows and a Kove, Torill 97 Hanging 82 Kudrja{ova, Natalija 15 Treasure, The 64 Kukunoor, Nagesh 101 Trust 107 Kurzel, Justin 31 Unbelievable Truth, The 106 Kwang-kuk, Lee 77 Under Capricorn 121 L Lanthimos, Yorgos 52 Victoria 40 Larrain, Pablo 30 Virgin Mountain 70 Leone, Sergio 129 Wild Dog 132 M Maddin, Guy 91 Wolfpack, The 84 Markovics, Karl 19 Wyrmwood: Road of the Matani}, Dalibor 43 Dead 89 Meier, Ursula 133 Youth 32 Molinié, Flora 132 Moller, Flemming Quist 98 Mond, Josh 11 Moore, Tomm 100 Moretti, Nanni 33 Moselle, Crystal 84 Muntean, Radu 79
Muylaert, Anna 71 N Nemes, László 17 Nowak, Till 134 O Olivares Capelle, María Luz 137 Omerzu, Olmo 10 P Panahi, Jafar 58 Parker, Albert 117 Pavlovi}, Jure 135 Peijnenburg, Mees 132 Perry, Alex Ross 53 Pevec, Metod 26 Poggi, Caroline 134 Porumboiu, Corneliu 64 Powell, Michael 120 Pressburger, Emeric 120 Q Qosja, Isa 82 Quintela, Carlos M. 16 Quinto, Gerard 132 R Ragnarsson, Jörundur 133 Ramezan, Hamy 136 Rapisarda Casanova, Simone 18 Ray, Nicholas 126 Ringer, Olivier 99 Roache-Turner, Kiah 89 Rungano, Nyoni 136 Saber, Christophe M. 134 S Saulnier, Jeremy 93 Sawers, Mark 75 Schipper, Sebastian 40 Silver, Nathan 78 Sirk, Douglas 125 Sitaru, Adrian 136 Skibinska, Paulina 132 Sokurov, Aleksandr 28 Soler, Esteve 132 Sorrentino, Paolo 32 Szumowska, Malgorzata 39 T Torras, David 132 Tréhin-Lalanne, Clément 135 Trier, Joachim 29 Tzoumerkas, Syllas 81 V Val~anov, Petar 83 Valenta Rinner, Lukas 14 Vidor, King 119 Villeneuve, Denis 37 Vinel, Jonathan 134 Visconti, Luchino 124, 128 W Weerasethakul, Apichatpong 61 Won-chan, Hong 90 Y Yimou, Zhang 41 Z Zidi}, Toma 137
139
Nagrajenci Award Winners
vodomec Kingfisher Award 1996–2014
1996
@iveti v pozabi (Living in Oblivion), Tom DiCillo 1997
Vzhodna pala~a, zahodna pala~a (Dong gong, xi gong), Zhang Yuan 1998
@ivljenje, kot ga sanjajo angeli (La vie reveé des anges), Erick Zonca 1999
Deseti brat (Beshkempir), Aktan Abdikalikov 2000
Vzhod je vzhodno (East is East), Damien O'Donnell 2001
Kruh in mleko (Kruh in mleko), Jan Cvitkovi~ 2002
Sobota (Sábado), Juan Villegas 2003
Vrnitev (Vozvra{~enje), Andrej Zvjagincev posebna omemba/special mention:
Pod njenim oknom (Pod njenim oknom), Metod Pevec 2004
Popolni preobrat (Somersault), Cate Shortland posebna omemba/special mention:
Pogre{ana (Bu jian), Li Kang-sheng 2005
Skriti adut (Voksne mennesker), Dagur Kári posebna omemba/special mention:
Odgrobadogroba (Odgrobadogroba), Jan Cvitkovi~
140
Spremljevalni program Accompanying Programme
Filmska nagrada LUX
LUX Film Prize
Filmsko nagrado LUX od leta 2007 Evropski parlament vsako leto podeljuje z dvema glavnima namenoma: pove~ati predvajanje evropskih filmov v evropskih kinematografih ter spodbujati pogovor in razpravo o pomembnih dru`benih vpra{anjih v vseh evropskih dr`avah. Evropski parlament z nagrado dejavno spodbuja kulturno in jezikovno razli~nost, kar vklju~uje tudi Listina Evropske unije o temeljnih pravicah. Zaradi svojih zakonodajnih pristojnosti ima odlo~ilno vlogo pri oblikovanju politik Evropske unije, ki vplivajo na vsakodnevno `ivljenje 500 milijonov Evropejcev. Filmski dnevi LUX, v okviru katerih poteka predvajanje treh filmov, finalistov nagrade LUX, ki jih vsako leto julija izbere mednarodna `irija, potekajo po vsej Evropi. Vsi trije filmi so prevedeni v vseh 24 uradnih jezikov in tako dose`ejo ob~instvo v vseh dr`avah EU. Evropski parlament sodeluje z evropsko filmsko industrijo in je s filmsko nagrado LUX partner {tevilnih filmskih festivalov v Evropi, med drugimi v Berlinu (Berlinale), Cannesu (14 dni re`iserjev), Karlovih Varih, Benetkah (Bene{ki dnevi), Sofiji, Stockholmu, Solunu, na Dunaju (Viennale), v Talinu (Tallinn Black Nights), v Corku, Bratislavi in Sevilli. Z letom 2015 za~enja tesneje sodelovati tudi z Ljubljanskim mednarodnim filmskim festivalom – Liffe.
Since 2007, the European Parliament has been awarding the annual LUX Film Prize with the aim of boosting circulation of European films across European cinemas and encouraging dialogue and discussion on important social issues in all European countries. The LUX Film Days project aims to bring the screenings of the finalists (subtitled in the 24 official languages of the EU) of the LUX Film Prize Official Competition closer to European citizens across all 28 countries of the European Union. The European Parliament's LUX Film Prize is a permanent feature of numerous European films festivals, including the Berlin (Berlinale), Cannes (Directors' Fortnight), Karlovy Vary, Venice (Venice Days), Sofia, Stockholm, Thessaloniki, Vienna (Viennale), Tallinn (Tallinn Black Nights), Cork, Bratislava and Seville film festivals. Starting in 2015, partnership has also been established with the Ljubljana International Film Festival – Liffe.
Filmi, finalisti za nagrado LUX 2015 na 26. Liffu Brezpla~ne projekcije PE, 13. novembra, ob 11. uri, Kinodvor Mediterranea, re`ija Jonas Carpignano; Italija, ZDA, Nem~ija, Francija, Katar TO, 17. novembra, ob 15. uri, Kosovelova dvorana, CD The Lesson (Urok), re`ija Kristina Grozeva, Petar Valchanov; Bolgarija, Gr~ija ^E, 19. novembra, ob 17. uri, Kosovelova dvorana, CD Mustang, re`ija Deniz Gamze Ergüven; Francija, Nem~ija, Tur~ija, Katar
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LUX 2015 finalists at the 26th Liffe Festival Complimentary screenings FRI, 13 November, at 11.00, Kinodvor Cinema Mediterranea, by Jonas Carpignano; Italy, USA, Germany, France, Qatar TUE, 17 November, at 15.00, Kosovel Hall, CD The Lesson (Urok), by Kristina Grozeva, Petar Valchanov; Bulgaria, Greece THU, 19 November, at 17.00, Kosovel Hall, CD Mustang, by Deniz Gamze Ergüven; France, Germany, Turkey, Qatar
Spremljevalni program Accompanying Programme
^E, 19. novembra, od 10. do 18. ure Dvorana E1–2, Cankarjev dom
Thursday, 19 November, 10.00–18.00 E1–2 Hall, Cankarjev dom
Kratko, a sladko
Short but Sweet
Seminar Centra Ustvarjalna Evropa o kratkih filmih
Creative Europe Desk Seminar on Short film
Ali je kratki film samo mlaj{i brat bolj priljubljenega celove~ernega filma? Ali pa gre za enakovredna dvoj~ka, ki imata le druga~ne `ivljenjske interese? Ogledali si bomo nekaj kratkih filmov in se o njih pogovarjali.
Is short film just the little brother of the more popular feature film? Or are they twin brothers with different interests in life? Let’s watch some shorts together. And let's talk about them.
Strokovno predavanje se bo namesto vpra{anja "kako" posvetilo na~inu "poskusi to" pri ustvarjanju kratkih filmov.
This masterclass will encourage filmmakers to avoid the "how to" question and embrace the "consider this" approach when creating shorts.
Enodnevni seminar v organizaciji Centra Ustvarjalna Evropa se bo osredoto~il na zakonitosti kratke forme – te se precej razlikujejo od ustvarjalnih pristopov pri celove~ernem filmu. Mentor Sr|an Vuleti}, ~lan festivalske `irije 26. Liffa, avtor ve~ mednarodno nagrajenih kratkih in celove~ernih filmov ter redni profesor re`ije in scenaristike na sarajevski Akademiji za dramsko umetnost, bo prek {tevilnih primerov izpostavil edinstvene zna~ilnosti kratke filmske forme. Seminar je primarno namenjen mladim filmskim ustvarjalcem – prednost udele`be imajo {tudenti in diplomanti filmskih in medijskih {tudij ter ustvarjalci mlaj{e generacije, ki se `elijo izpopolniti v kratki filmski formi. K udele`bi so prav tako vabljeni tudi drugi zainteresirani filmski ustvarjalci.
The one-day seminar organised by Creative Europe Desk Slovenia will focus on the distinctive characteristics of short films that make their creative process essentially different from the feature film one. Mentor Sr|an Vuleti}, member of the 26th Liffe festival jury, internationally awarded maker of short and feature films and a professor of screenwriting and directing at the Academy of Performing Arts Sarajevo, will use different examples to highlight the unique creative nature of short film. The seminar is aimed primarily at students and recent graduates of film and media studies as well as young directors wishing to develop their filmmaking skills in the field of shorts. Other interested participants are also welcome subject to availability of places.
V angle{kem jeziku. [tevilo mest je omejeno. Kotizacije ni. Prijave do 11. novembra: info�ced-slovenia.eu
The event will be held in English. Places are limited. Participation is free of charge. Pre-registration by 11 November: info�ced-slovenia.eu
Seminar je del leto{njega fokusa Centra Ustvarjalna Evropa v Sloveniji v sodelovanju z novoustanovljenimi Centri Ustvarjalne Evrope in/ali novimi ~lanicami programa Ustvarjalna Evropa na obmo~ju Balkana. Ve~ informacij na spletni strani Centra Ustvarjalna Evropa (podprogram MEDIA): http://media.ced-slovenia.eu/
The seminar is a part of Creative Europe Desk Slovenia cooperation with newly established Creative Europe Desks and/ or members of the Creative Europe programme in the Balkan region. For more information see the Creative Europe Desk Slovenia (MEDIA sub-programme) website: http://media.ced-slovenia. eu/
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Spremljevalni program Accompanying Programme
Od PE, 13., do TO, 17. novembra Dvorana E1, Cankarjev dom
FRI, 13 – TUE, 17 November E1 Hall, Cankarjev dom
MAF – Mad About Film Enostavno nori na film
MAF – Mad about Film
Seminar za mlade Zavod za uveljavljanje vizualne kulture Vizo s programom Mad About Film (MAF) uveljavlja prostor, ki mladim ponuja prilo`nost, da se o filmu in filmskem neformalno kakovostno izobrazijo. Na Liffu seminar poteka `e drugo leto in je namenjen vsem starej{im od petnajst let. Udele`enci bodo na multimedijskih predavanjih spoznali produkcijski proces nastajanja filmov ter se pobli`e seznanili s filmsko kritiko in scenaristiko. Prakti~ni del seminarja bo ponujal delavnico pisanja scenarijev pod vodstvom priznane filmske kriti~arke in scenaristke Tine Poglajen ter delavnico filmske kritike pod vodstvom priznanega filmskega kritika Matica Majcna. Udele`enci bodo u`ivali tudi v festivalskih filmih in spoznavali festivalske goste. Gost seminarja Enostavno nori na film bo priznani filmski producent Miha ^ernec, ki bo ob primeru bogatih izku{enj in predvsem zadnjih let dela v produkcijski hi{i Staragara predstavil ustvarjalno delo producenta. ^ernec je za svoje delo prejel `e {tevilne slovenske in evropske filmske nagrade.
Seminar for young people Aimed primarily at young people, the Institute for the Promotion of Visual Culture Vizo and its Mad About Film (MAF) programme present a platform for informal yet quality film education. The 26th Liffe will host the seminar targeted at audiences aged fifteen plus for the second time. By means of multimedia lectures the attendees will gain insight into the production process of filmmaking, and learn the rudiments of film criticism and screenwriting. The practical part includes workshops on screenwriting and film criticism. Featured guest: film producer Miha ^ernec. Multimedia lecture The Challenges of Being a Film Producer, Miha ^ernec Workshops Film Criticism, mentor Matic Majcen Screenwriting, mentor Tina Poglajen Presentation of practical work on TUE, 17 November.
Multimedijsko predavanje Kaj pomeni biti filmski producent, Miha ^ernec Delavnici Filmska kritika, mentor Matic Majcen Scenarij, mentorica Tina Poglajen Predstavitev nastalih izdelkov bo v TO, 17. novembra. Vsi nastali izdelki bodo objavljeni na spletni strani www.madaboutfilm.si. Prijave in ve~ informacij: www.madaboutfilm.si
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Applications and information at www.madaboutfilm.si.
Spremljevalni program Accompanying Programme
PE, 13. in 20. novembra, od 15. do 17. ure SO, 14. in 21. novembra, od 13. do 15. ure Dvorana E2, Cankarjev dom
FRI, 13 and 20 November, 15.00–17.00 SAT, 14 and 21 November, 13.00–15.00 E2 Hall, Cankarjev dom
Pionirski dom na 26. Liffu
Pionirski dom at 26th Liffe
Pionirski dom – Center za kulturo mladih je zavod s 50-letno tradicijo izvajanja kulturno-umetni{kih in jezikovnokulturnih programov ter s {tevilnimi projekti za kreativno pre`ivljanje prostega ~asa. Organizirajo in izvajajo ve~ kot petdeset programov in projektov ter tudi sedem festivalov, ki prestopajo meje Slovenije. Otroci se lahko poka`ejo v filmskem, gledali{kem, literarnem, likovnem, glasbenem ustvarjanju in znanstvenoraziskovalnih spretnostih. V Festivalni dvorani prirejajo pestro dru`abno dogajanje, plesno umetnost pa razvijajo v Plesnem centru Jenko. [e posebej so ponosni na filmsko vzgojo otrok in mladine v obliki filmskih delavnic ter projekcij, kar je `e ob sami ustanovitvi zastavila Mirjana Bor~i~, dogajanje pa so pozneje nadgradili s Filmskim festivalom Zoom, ki je namenjen mladoletnim filmskim navdu{encem na osnovnih in srednjih {olah v Sloveniji in tujini. Festival bo v letu 2016 praznoval 10-letnico obstoja. Na ustvarjalnih delavnicah spodbujajo odnos do filmske umetnosti in ustvarjanja ter pridobivanja ve{~ine za pripravo filmskega ali televizijskega izdelka. Te~ajniki spoznavajo produkcijsko in poprodukcijsko opremo ter filmska izrazna sredstva prek ustvarjanja celostnih filmskih izdelkov. Samostojno ali v skupinah izberejo temo, motiv in zgodbo ter jo posku{ajo uresni~iti. Zaradi spodbujanja osebnega izra`anja in samoiniciativnega ustvarjanja je proces dela spremenljiv. Mladi filmar se seznani s filmskimi izraznimi sredstvi, opremo in procesi dela, potrebnimi za izdelavo filma.
Pionirski dom, Young People’s Cultural Centre, has been implementing artistic, cultural and linguistic programmes as well as projects focused on leisure-time creativity for over fifty years. The institute has organised and implemented over fifty programmes and projects, and takes special pride in its didactic film workshops and screenings, as well as the Zoom Film Festival, targeted at young film buffs. 2016 marks the Festival's tenth anniversary. Hollymation Complimentary animated film workshop (for children aged 6+) Presented by: Andreja Goetz, Ma{a Ogrizek An introduction to main cinema genres – comedy, horror, melodrama and sci-fi film – and their animated film representations. Time Manipulation Complimentary film workshop for children and the young people (aged 9+) Conducted by: Sandi Skok Film enables its makers to slow down time or tell a story spanning several centuries in two hours. The workshops will focus on the particularities of cinematic time, its appropriation and employment in making a film of one's own. Applications: bmartinec�gmail.com
Hollymacija Brezpla~na delavnica animiranega filma (od 6. leta) Izvajalki: Andreja Goetz, Ma{a Ogrizek Na delavnici bomo spoznali glavne filmske `anre – komedijo, grozljivko, melodramo in znanstveno fantastiko – ter jih upodobili v obliki animiranega filma. Iz filmskih klasik si bomo sposodili kak{en dramati~en zaplet in napisali svoj scenarij. Izdelali bomo tudi preprosto sceno. V na{ih kratkometra`nih uspe{nicah v tehniki stop-motion animacije bodo nastopali lego figurice, filmski zvezdniki iz papirja in {e kdo. Lahko pa glavne igralce in statiste prinesete tudi s seboj v `epu. Manipulacija s ~asom Brezpla~na filmska delavnica za otroke in mladostnike (od 9. leta) Izvajalec: Sandi Skok Film je medij, ki nam omogo~a, da upo~asnimo trenutek in si ga podrobno ogledamo; ali povemo zgodbo, ki se je dogajala ve~ stoletij, v dveh urah ... ali pa v eni minuti. Na delavnici se bomo nau~ili, kako osvojiti filmski ~as in ga izkoristiti pri snemanju. Ogledali si bomo nekaj izsekov iz filmov, ki kreativno upravljajo s ~asom, z namenom, da udele`enci "trenutek" podrobneje predstavijo, zgodbo strnejo ali pa posnetku dodajo posebno ob~utenje. V prakti~nem delu bomo nekaj tehnik upravljanja s ~asom tudi sami preizkusili. Prijave: bmartinec�gmail.com
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Spremljevalni program Accompanying Programme
Stromae: Carmen
TO, 17. novembra, ob 20. uri Kino [i{ka, mala dvorana
TUE, 17 November, at 20.00 Kino [i{ka, small hall
Podoba – Glasba Tekmovalni program glasbenih videospotov
Image – Music Competitive music video programme
Kjerkoli, kadarkoli Bojana Bregar
Anywhere, Anytime Bojana Bregar
Glasbeni videi so najbolj gledana filmska zvrst na svetu. Ta oblika kratkega filma se je z adventom You Tuba za vedno (da, za vedno) poslovila od svojega nekdanjega televizijskega okolja in se preselila na spletne kanale. Ti so precej bolj ob{irni, bolj dostopni in bolj demokrati~ni od vsega, o ~emer so si videospoti Roy Kafri: Mayokero drznili sanjati v najbolj divjih sanjah. [e celo v dobrih starih zlatih Izrael/Israel, 2014 ~asih MTV-ja si niso mogli predstavljati, da bodo neko~ planjave re`ija/by Vania Heymann svetovnega medmre`ja preplavljale podobe in glasba – njihove podobe in njihova glasba – ki bodo lahko v istem trenutku v Chulius & the Filarmonicos: u{esu newyor{kega japija na podzemni, zamorjenega najstnika na Don't {vedskem pode`elju, v zakajenem beograjskem stanovanju brez [panija/Spain, 2014 balkona ... Kjerkoli! Kadarkoli! Za vse enako! re`ija/by Fermín Cimadevilla Ob tej ekstazi informacij potem neizogibno nastane te`ava, kako iz dobesedno nepregledne mno`ice vsebin izbrati tisto, kar nas She & Him: Stay Awhile zanima in ~esar si `elimo videti, kar je {e toliko huj{e za tiste, [panija, ZDA/Spain, USA, 2014 ki nismo pasivni odjemalci, ker vemo, kaj ho~emo. Umanjka re`ija/by CANADA element kuratorstva, saj v divjih prostranstvih nih~e ne opravlja dela, ki so ga na MTV-ju in na drugih glasbenih televizijah za nas Sia: Elastic Heart opravili uredniki (in zalo`be). To je izziv, s katerim se YouTube Avstralija/Australia, 2015 spoprijema svojevrstno, bolj ali manj u~inkovito in zadovoljivo, re`ija/by Sia, Daniel Askill ko prepu{~a kuratorsko nalogo – znova skrajno demokrati~no – samim uporabnikom. Stromae: Carmen Medtem se na spletu dogaja manj{a revolucija, sploh v kratkih Francija/France, 2015 (pa tudi celove~ernih) filmih, saj se pospe{eno pojavljajo strani, re`ija/by Sylvain Chomet ki ponujajo kuriranje, bodisi brezpla~no ali pa deloma pla~ljivo, v smislu ponudbe "video on demand". S tem se `e nekaj Cold Mailman: Something ~asa spogleduje Vimeo, {e ena neznansko popularna spletna You Do platforma, namenjena nalaganju in deljenju video vsebin, pa Norve{ka/Norway, 2015 MUBI, ki legitimnost izbire upravi~uje z arzenalom filmskih re`ija/by André Chocron kritikov, ki selekcionirajo in ustvarjajo spremljevalne tekste, omenimo lahko tudi Short of the Week, pa pobudo revije New Jamie XX: Gosh [vedska, VB/Sweden, GB, 2015 Yorker, ki sledilcem na svoji spletni strani prav tako ponuja lasten izbor kakovostnih kratkih filmov. re`ija/by Erik Wernquist Zakaj omenjam vse to? Ker menim, da glasbeni spot na globalni ravni potrebuje prav tak{en model kuratorstva in distribucije. Red Hoot Oboe Monger: In tudi, ker ga v Sloveniji `e imamo. Podoba-Glasba si je to Granularity VB, Norve{ka/GB, Norway, 2015 poslanstvo zadala `e pred kar nekaj ~asa in ga v zadnjih letih s samostojnim programom izbranih glasbenih spotov na re`ija/by Red Hoot Oboe Liffu odmika vedno dlje stran od banalnosti, v katero zapade Monger umetni{ko delo, ko ostane brez konteksta. Projekcija videospotov v kontekstu filmskega festivala jim podeli dostojanstvo, ki ga s Ed Sheeran: Photograph svojo kakovostjo, inovativnostjo in vsebinskim prese`kom tudi VB/GB, 2015 zahtevajo. re`ija/by Emil Nava Ogled leto{njega izbora raznovrstne videospotovske produkcije naj bo tako popotnica k odkrivanju novega v svetu filma in glasbe, Kendrick Lamar: Alright ki v tako samoumevni obliki zapolnjujeta vsakdan vsakega od ZDA/USA, 2015 nas, ki si brez YouTuba ne znamo ve~ predstavljati normalnega, re`ija/by Colin Tilley ~loveka vrednega obstoja. Naj vam glasbeni video, ki ga gledate na velikem platnu, poru{i predstave o tem, kaj bi glasbeni video Nicolas Godin: Widerstehe moral biti, in o tem, kje mu je prostor. Doch Der Sünde VB, Francija/GB, France, 2015 re`ija/by The Sacred Egg I See Monstas: Circles VB/GB, 2014 re`ija/by Josh Cole
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Music videos are the most viewed cinematic form on Earth. With the advent of YouTube, this short film has bid farewell (an irrevocable one at that) to its former TV-habitat and entered the online domain. The web channels are far broader in scope, far more accessible and more democratic than anything the video spots had dared to dream about in their wildest dreams. It wasn't even in the good old golden days of MTV that these artists could imagine that someday the vast expanses of the World Wide Web would be flooded with images and music – their images and their music, the sounds that can simultaneously fill the ears of a yuppie riding the subway in New York or a troubled teenager in the Swedish countryside, and blare out of a smoke-filled Belgrade flat... Anywhere! Anytime! Music for everyone! In light of this ecstasy of information there arises the inevitable issue of how to select works that would suit our interests and be worthy of our attention from the virtually unmanageable body of online content, which poses a problem all the more relevant to recipients who are not passive, to audiences who know what they want. What's missing is the element of the curator, since in these limitless expanses nobody does the job of a selector: the cherry-picking made on MTV and other music televisions by editors (and record companies). YouTube has faced this challenge in a unique way, adopting a method more or less efficient and satisfactory by leaving the users to fend for themselves – again in an utterly democratic fashion – and take on the role of their own curators. Meanwhile a small revolution is raging online concerning short (as well as full-length) films, as websites are increasingly popping up with offers of curatorship, be it free or semi-chargeable 'video on demand'. Vimeo, another immensely popular online platform focused on downloading and sharing video content, has been experimenting with this service for quite some time. There's also MUBI, a global film website, which justifies its entitlement to video sifting with a host of film critics in charge of selection and promotional texts. Mention could also be made of the Short of the Week, as well as the initiative of the New Yorker magazine's website whose followers have a free choice from a range of quality shorts. Why am I mentioning all this? Because I believe that – globally speaking – music spots require a similar model of curatorship and distribution. And because Slovenia has already introduced it. It has been a while since Image – Music has undertaken this mission, while recently, by launching an independent programme of selected music videos within the scope of LIFFe, we have recognised this short form's true value and prevented its succumbing to the trivialisation experienced by a context-lacking work of art. When screened as part of a film festival these video spots are invested with the dignity they merit on account of their quality, innovativeness and conceptual achievement. May this year's selection of diversified music-video production serve as an orientation in discovering new artists in the worlds of film and music, art forms that inhabit our quotidian existence so naturally that one cannot imagine life without YouTube, at least not one worth living. May the music spots screened in movie theatres shatter all preconceptions about what a music video should be or where its proper place is.