World of Shorts - the Cannes 2015 issue

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WORLD OF SHORTS a shortfilm magazine published by – the european shortfilm centre

the cannes 2015 issue



6 Let’s fly, let’s fly to Cannes! – shorts and first features, filmmakers of present and past, plus useful tips to the most glamorous film festival in the world 16 Mapping your Mind – the directors in the Cinéfondation selection tell about their films in unusual ways 41 Stepping stones – the big jump from short film to feature – and back! 55 The Pitch Page – see the shorts and first features of the future

Michael Pattison Michael is freelance film journalist. He also has experience in festival programming, Q&A moderation, writers' workshop and masterclass moderations. For World of Shorts, he presents the success story of the Swedish first feature My Skinny Sister on page 44.

What comes to mind when you hear the word “Cannes”? Short arms and long pockets. Excited kids. Who would direct the story of your life? Patrick Keiller. Which film would you watch on an important first date? Singin' in the Rain. Your favourite film festival? Ljubljana? New Horizons? Crossing Europe?

71 The shorts are on us! – festivals, training programmes and all things short 78 Festival panorama – deadlines to look out for

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Your secret crush? Derek Vinyard. Béla Tarr or Wes Anderson? Anderson – the humour and colour steal it.

Nele Luise Fritzsche Nele is heading the interforum section and the script LAB at the International Short Film Festival interfilm Berlin. As co-curator of interfilm's special programmes she is a member of the selection committee since 2014. Read her article on finding the right framework for a story on page 42!

What comes to mind when you hear the word “Cannes”? Aperetif. On all levels: films, people, critics, industry – all impersonating an appetiser which leaves you wanting more. Who would direct the story of your life? Jim Jarmusch. Which film would you watch on an important first date? Shorts for sure! Some old classics from the 60s or 80s. Your favourite film festival? Interfilm Festival in Berlin, for sure, where I am programming and heading the interforum. However, I feel lucky with my job allowing me to attend festivals all over the world where one is always exploring new places and great festivals. Your secret crush? Monica Vitti. Béla Tarr or Wes Anderson? Tarr and Anderson. Don't make me choose.

Dawn Westlake Dawn is an award-winning Los Angeles based filmmaker. She has written for World of Shorts about remaining dedicated to the short film format (page 52). What comes to mind when you hear the word “Cannes”? Keep walking. Just down the Croisette a few miles to the southwest is the beautiful town of Napoule. It's amazing to watch people jump from the ruins of its first castle into the sea. A great metaphor for our industry. Who would direct the story of your life? Sofia Coppola. Which film would you watch on an important first date? A Room with a View. It's the film my husband took me to on our first date, 29 years ago this month. (But, I still need to watch it. I was so nervous that night that I can't remember a frame.) Your favourite film festival? Any festival that programs my work is my favourite. (And, of those, the unforgettable ones I've attended are Kimberley Browning's Hollywood Shorts, Jeffrey Abramson's GenArt Ignite! in NYC and LA, Golden Horse Film Fest in Taipei, Ashland Independent Film Fest in Oregon, and Fano Film Fest in Italy.) Your secret crush? Idris Elba. Béla Tarr or Wes Anderson? Béla Tarr! Because you made me use Google, and I found an interview with him with a quote I try to live by! "I don't want to be a stupid filmmaker who is just repeating himself and doing the same s--- just to bore the people." – Béla Tarr WOSH by 3

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words by Zsuzsanna Deák

a hop, a skip, and a jump

TO CaNNeS Welcome to the 68th Cannes Film Festival – and the 5th Cannes issue of the World of Shorts magazine. Many things have happened since the last Cannes festival. The short film format is getting greater recognition than ever. We have recently learned at the Filmfest Dresden short film festival that more and more national television channels offer prime time slots for shorts. Short film festivals are flourishing worldwide with full house screenings and new funding schemes, labs, and workshops are being created to help recognise emerging talent. A lot of the filmmakers we have been keeping an eye on have moved forward and are currently making their first feature. For example, our very own Cristina Grosan – who was the artistic director of World of Shorts in its first three years, multi-talent and filmmaker–, is developing her first feature film A Coat of Gold. For most filmmakers, the natural next step aer several successful short films is embarking on a more complex and time-consuming journey: the first feature. This is why we decided to focus in this issue on the subject Stepping Stones – or how to make the jump from short to long. You can read about the experience – difficulties and joy alike – first-

time feature filmmakers had at this time (From Short to Feature: creating your first feature film, page 46), the success story of the Swedish film My Skinny Sister (page 44), as well as about the film festival dedicated to debut features: Premiers Plans d’Angers (page 50). You can also find out why a director, on the other hand, would decide to stick with shorts: read Dawn Westlake’s minority report on page 52. Naturally, the Cannes festival itself plays an important part in this issue: meet last year’s Palme d’Or winner Simón Mesa Soto (page 12) and László Nemes, whose first feature has been selected for the competition programme this year (page 8). The Mapping your Mind section (page 16) returns with amazing drawings by the directors of the Cinéfondation selection – let’s marvel at the creativity of these young talents together. We offer useful advice for first time Cannes-goers (page 10) and remind you that this year’s heads of Jury, the Coen brothers, have had their share of short films in the past (page 11). We hope that World of Shorts will be your trusty companion at the festival if you are attending it, and if you cannot be in Cannes this year you can catch a glimpse at this celebration of cinema through us.

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Let’s fly! Let’s fly, to


Discover the exciting short film scene in Cannes with us: let World of Shorts guide you through the maze of this festival of festivals, with a special focus on the shorts and first features in its programme!

Creating an existing world for the audience – an interview with László Nemes, whose first feature Son of Saul has been selected for the Cannes competition programme, page 8 Your Cannes survival guide – useful tips and tricks to make the most of your festival, page 10 e shorts that really tie the room together – about the short films by the Coens, who are the heads of this year’s Jury, page 11

illustration by Davor Gromilovic´

“Leaving aside the dreamlike universe” – an interview with Simón Mesa Soto, Palme d’Or winner for best short film last year, page 12 Your Cannes Dictionary – all you need to know about the sections and selections of the festival, page 14 Mapping your Mind – filmmakers tell about their films in creative and unusual ways, page 16 Shorts and first features in Cannes – a list of every one of them in the programme of this year’s festival, page 34 Short Film Highlights, page 36 WOSH by 7

interview by Dániel Deák


aN exiSTiNg


FOr THe auDieNCe László Nemes took the risk to create a very special first feature, following his own rules. We asked him about his way there: film labs, scriptwriting and expectations. His film Son of Saul is the only first feature in the Official Competition at the Cannes Film Festival.

What do you think about pitching in general? According to my impressions it is very useful to learn how to tell your story in a compressed way. On the other hand, sometimes it is self-serving with all the preparations and travelling. e pitch tourism? Yes, there is certainly something like this. I realised that a pitch can work if we summarise the story itself in no more than 6-8 sentences. More details are just too much for the audience. It is quite strange when directors turn into pitch clowns, or stand-up comedians. Of course it has good aspects, but it is not necessarily good if a filmmaker has to expose himself in too many places. You should always be selective and avoid burning out the project. And what are your experiences regarding film labs, where you can develop your project? In general I don’t really like trainings, which consider participants as if they were kids out of elementary school. I don’t think one should develop their ego, but rather to deal with concrete tasks. I participated in the Jerusalem Film Lab with Son of Saul and I worked with Torino Film Lab’s Script and Pitch on my other project, Sunset. Script and Pitch is perfect to

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start working on a project or to come back to the foundations: to brainstorm, to develop the idea, to work on the first creative phase – there is a place for hesitation. In Jerusalem, I tend to think that the filmmaker should arrive with a more developed idea, possibly a solid first dra, and work towards a new version. In my case, I was glad it happened this way – otherwise it might have been quite frustrating. It is also a risk to over-develop the projects. Sometimes I have the feeling that aer all the scripts become too sterile. Me and my colleagues try to avoid over-development as much as we can, keeping a steady pace of development and space for changes and contingency – to let the screenplay breathe until the shooting. It’s also crucial to involve external help by script editors at the right time. e most difficult is to get started – during development one has to work the hardest until a solid final version of a treatment is reached. It can also be difficult to keep the material alive within you when you are the creator. One should be used to putting the material aside and letting it grow by itself.

Why did you choose 35mm instead of digital technologies? The digital image is a regressive, deceitful technology. With film, the combination of darkness and projected image induces in the viewer a physical reaction, which is absent from digital projection. In a sense, projected physical film hypnotises the viewer. On the side of acquisition, because of the incredible amount of shot raw material, the time and significance of post-production has disproportionately grown. It is absolutely inexplicable why so many directors accept this and why they don’t fight more for 35mm. A few of us still fight against television mentality and aesthetics entirely taking over filmmaking and the experimental attitudes attached to it. In order to consult about the visual style of my film I met Garrett Brown, who invented the technology of steadycam – he contributed so much to make the camera mobile in modern filmmaking. He argues that with the uncontained triumph of visual effects, the camera, in many cases, has become dematerialised. It has stopped to exist as a physical object, going through bodies, walls, etc. Leaving reality, the images thus obtained decrease the emotional response of the audience. In Son of Saul we tried to convey a more physical sense of space in order to create an existing, believable world for the audience. As a first feature director did you have any expectations of yourself? Some filmmakers start their career with films similar to other contemporary works – and then, slowly, some of them find their own tone and style. ere are many examples – including Antonioni, one of my main references – of directors who started like this. Or – and this is the other way – you can take a huge risk and do everything differently starting with the first film.

Both approaches can work, and yet, I decided to take the second road. We tried to work consciously against beauty. e aestheticising approach of former Holocaust films served as counterexamples. We made our own dogma with my director of photography, Mátyás Erdély. Hand-held camera, the importance of POV shots, the recurring use of the same lens, no classic film-style dramatization: these were a few of our founding principles. Do you plan to make shorts anymore? Yes, I would love to. I like short formats. But I think it is only worth making shorts if we can commit ourselves to a project and are able to invest the maximum effort into it. is is the only way one can make short films and try to maintain it as a valid and compelling art form. I am not particularly happy about the large number of shorts produced nowadays. We are simply unable to absorb so many films. At the same time I see fewer breakthrough masterpieces. I have the impression that most the filmmakers don’t take risks, they just want to create something good, but not an original, excellent work. With my short films I always wanted to cross boundaries, take risks, find my voice and at times, I wanted to experiment with new forms and styles to tell stories differently from the current trends. portrait by Gábor Valuska, still photo: Laokoon Filmgroup

Your Cannes survival guide words by Zsuzsanna Deák and Janka Pozsonyi

1. Familiarise yourself with the programme in advance. Make sure you plan your schedule, including screenings, meetings and parties so that you have time for everything. It’s harder than you think – there is simply too much on offer! 2. Organise meetings on the beach. It can lend an informal air to an important meeting, and it will be a pleasant experience you can bond over. You can make a tradition out of it! 3. A set of elegant clothes with you is essential – once we had to turn down tickets we were offered for an important red carpet premiere, because we were wearing jeans! It’s one of the few things that are easier if you’re a girl: a skirt, a nice top, and you are red carpet ready. For guys, swap your jeans and T-shirt for trousers and a jacket if you want to be let in! 4. Try not to stay far away from it all: look out for flat sharing opportunities on Facebook. People are always looking for flatmates over the months before the festival kicks off. 5. Use sun cream! e sun in Cannes can be vicious. You come out of the caves of the Short Film Corner or from a screening, rest in the lovely sunshine gratefully for 20 minutes, and there you go: your face is peeling off. Happened to us, never again! 6. Rain coats can be equally useful. Cannes can be cold and rainy in May – just look at those goosebumpy red carpet star photos! And it’s easier to queue without umbrellas. 7. Visit the international village and join the events organised there. Nowhere else can you find out more about the amazing stuff coming from cool places like Armenia or Japan. Mixing internationally offers a wonderful opportunity to network – and to try international delicacies like Turkish delights or spicy tea from Jordan! 8. ink outside of the festival palace! Smaller cinemas hidden in the city can be a more intimate and personal experience for watching a film. And of course, there’s nothing like a night screening on the beach! 9. Open your eyes for invitations! e countless parties in Cannes can be very strict and limited when it’s about letting in people, so stay alert! Also, be nice throughout the hunt, you’ll never know who you might meet in an elevator, or standing in line for coffee. 10. And don’t forget: aer all you’re here to celebrate the great art of cinema! Even if you miss the hottest parties, and the endless line of bodyguards block the view of your favourite star – it doesn’t matter. Right now, you’re so privileged to be here, in the centre of the film universe. Enjoy it! 10 WOSH by

words by Janka Pozsonyi

The shorts that really tie the room together This year, the director of the Cannes festival decided to double the seats of the Jury for the first time in history, to let the incredible Joel and Ethan Coen be in complete control and work their magic down here at the south coast of France. If there’s anyone at this festival who needs an introduction to the work of this marvellous brotherhood, they’re probably on the wrong track. The great minds behind the Dude, Anton Chigurh and Marge Gunderson make sure to remind us in each and every film of theirs, how much we truly love this great art form. So, we thought about sharing here our dearest subject, which is of course the art of short films. Working as a pair has really worked for the Coens, so here’s two short pieces they made in the past.

Steve Buscemi learns some worthwhile lessons about love and life in the mysterious subway of Paris, in the brothers’ short film Tuileries. e short was made as a part of the omnibus Paris, je t’aime in 2006, where directors such as Olivier Assayas, Alfonsó Cuarón, Gus Van Sant and a lot of other masterminds each directed a short sketch, in different districts of Paris. The Coens went to the city of love and came back with what they are best at: their inevitable black humour. Their main hero is a lonesome tourist, seeking for a passionate smile like Mona Lisa’s, but only bumps into an extremely passionate but utterly crazy Parisian couple, who teach him a valuable lesson. And by the end Mona Lisa’s smile is changing its original purpose too. For the celebration of the 60th Cannes Film Festival, 33 directors were asked to create a short film about their biggest passion in life: the art of cinema. 33 incredible names were picked for this fine assignment – besides the Coens, David Cronenberg, Atom Egoyan, Alejandro González Iñárritu, David Lynch and many other impressive minds took part in this project, which soon became an omnibus

again, called To Each His Own Cinema (Chacun con cinéma). e brothers dedicated this short sketch to their love to World Cinema, and decided to show it through the eyes of Josh Brolin, and the great character he introduced in No Country For Old Men. is (gunless) Llewelyn is really interested to see a really deep European film at the cinema, and the generous ticket salesman is glad to help him decide. He is balancing between two artistic pieces: Jean Renoir’s The Rules of the Game and Turkish director Nuri Bilge Ceylan’s Climates. A witty little short film, with – as the protagonist concludes – “a hell of a lot of truth in it”.


@Cannes Film Festival

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“LeaviNg aSiDe the dreamlike uNiverSe” Simón Mesa Soto won the Palme d’Or last year with his slow paced and sensitive film Leidi. We asked him about the shooting, his Cannes experience and short film in his native Colombia. interview by Zsuzsanna Deák

Tell us about the shooting! It took place in a neighbourhood called Picacho located up in the mountains in the west of Medellín, Colombia. We spent four days filming and we actually had a great time there, even if on the last day I was scared that we didn’t have much trouble shooting the film because sometimes you think there must be some suffering to achieve something good. In this case we really enjoyed those four days. The cast and crew (and the people from the neighbourhood) were very committed and engaged with the project. The most difficult part was during the pre-production: getting familiar with the people from the place, since it is not easy to shoot in these areas of the city due to the social issues.

How can a young guy like you empathise so much with a teenage mum? Why did you choose this subject? It is actually a close subject to me; when I was around fieen I went to my girlfriend’s family reunion and all her female cousins or relatives of her age had children or were pregnant. My girlfriend was the only young girl without a child and I thought "Am I going to be a young father?" I became very interested in this subject and realised that many things in society are reflected in these girl’s situations. For instance, in Europe if a young girl gets pregnant the most likely thing to happen is an abortion, but in Colombia girls don’t think about this option, maybe because it is a sin or maybe because it is a way of keeping their boyfriend no matter if he plays around with another girl (like young guys usually do here). We are sexist and Catholic by tradition. rough the story of Leidi I can observe this universe. How did you find your main character? We didn’t make conventional castings, we went there digging in houses, parks and so on. We also started contacting organizations and people from the neighbourhood to support us getting close to the people. Alejandra (Leidi) was found

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because we got the support of a programme from the local government called Buen Comienzo (Good Start) that helps young mothers educating their children. We attended those reunions, talked to the girls and made a camera test. Alejandra was there; she was introverted but not afraid of the camera, and I was amazed by her gaze. Why did you choose your native country as a location for your graduation film? e London Film School is a place with students from all around the world, so it is normal to have support from the school to shoot in your own country. But more than that I like Colombia as a cinematic choice; it is for me a place to be discovered in films and, since I grew up there, I am very attached to its landscapes and characters. How has Cannes changed you as a filmmaker? Being at Cannes and winning the short film Palme d’Or showed us a part of cinema that was quite unknown for us. I was a filmmaking student making a short film somewhere in Colombia and suddenly, I was in the middle of cinema. Now I have a different view of how the industry works: it opens to you new paths and puts you in contact with many different people that will support your next projects.

However, I constantly feel the need of leaving aside the dreamlike universe that represents getting a prize at Cannes and keeping the original ideal. As filmmaker I still have the same concerns as before the festival; making films that deeply interest me and continue exploring characters and places. How is the situation of short film in your country? There are many young people interested in filmmaking right now in Colombia which results in a huge amount of short films made every year. I think this has to do with more government support for film production and growth in film education. Colombian cinema, however, is still young and I think we are finding our way in creating more interesting narratives and understanding the industry. What do you think of short film as a format? What does it mean to you: a stepping stone toward features, or a format you will always return to? For me it’s both. Over the past years I’ve made several short films to explore narratives and find my way in cinema. But I still love this format, there are stories you can best tell with a short film and that makes me think I will keep making shorts. What are you working on now? I am working on the screenplay of my first feature, which I hope to be filming next year, and making a short film as part of a project called Break the Silence; a reunion of five directors from all over the world to address the problem of sexual abuse of children from different perspectives.

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Sometimes it is difficult to find your way in the maze of cannes’s sections and parallel programmes, often referred to by their french name by festival veterans. Here is our little help in the form of a dictionary. french and english do have a lot in common, as it turns out!

Your Cannes diCtionarY “Every year in May, Cannes gives a sort of snapshot – both ephemeral and lasting, when one adds up the years – of what constitutes the art of cinema.” thierry frémaux, festival director

SÉLECTION OFFICIELLE ‘official selection’ a collection which serves to highlight the diversity of cinematic creation through its different sections. coMpétition ‘competition’ films that are representative of “auteur cinema having a wide audience appeal”

un certain regard ‘a certain regard’ films with various types of visions and styles, those with an original aim and aesthetic

HorS coMpétition ‘out of competition’ films that are not selected into the official programme, but still deserve a screening, and a reaction from the audience and the press

canneS claSSicS new or restored prints, tributes to filmmakers or foreign cinema, documentaries on filmmaking

cinéfondation short and medium length films coming from film schools all over the world, offering a testimony to the diversity and dynamism of young international filmmakers

SéanceS SpécialeS – SéanceS de Minuit ‘special screenings’ – ‘midnight screenings’ special opportunities to view more personal works




‘film market’ a meeting place for industry professionals, who get together every year on the croisette with one goal: the successful production of all films

‘international village’ an exhibition and networking venue that enables countries to showcase and raise the profiles of their cinematography, their cultural indentity and their film institutions

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QUINZAINE DES RÉALISATEURS ‘directors’ fortnight’ an independent minded and noncompetitive event which supports individually talented filmmakers by introducing their work to the critics and the audience

CANNES COURT MÉTRAGE ‘cannes short film’ an entity which brings two sections – Short film corner and the Short film competition together, to encourage emerging talents, and the format of short film SHort filM corner an area for meeting people, exchanging ideas and promoting films with a programme including industry meets, workshops and conferences

coMpétition ‘competition’ a selection of short films represented at the competition, at the end of which the short films Jury awards a palme d’or or ‘golden palm’

CINÉFONDATION Sélection ‘selection’ part of the official selection with a programme of short and medium length films (see official selection)

atelier ‘atelier’ an initiative which selects about fifteen projects for feature length films from around the world, and invites their directors to the festival to meet a group of film professionals, giving them the chance to gain access to international financing and speed up the production process

SeMaine de la critique ‘critics’ week’ a showcase of first and second feature films by directors from all over the world – the aim of the programme is to explore and reveal new creations, by discovering new talents in both the feature and short film industry

réSidence ‘residence’ a programme that welcomes a dozen young directors who are working on their first or second fictional feature film project every year, in two sessions lasting four and a half months, providing them with a place of residence in paris, a personalised programme accompanying the writing of their scripts, and forums with film industry professionals

l’acid a sidebar which takes its name from the initials of its sponsor – the association du cinema indépendent pour sa diffusion ‘association for distribution of independent cinema’, an organisation dedicated to helping independent films find distribution, presenting around nine feature films from around the world which do not have distribution attached,,

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Mapping yOur MiND

To illustrate better the relationship between directors and their work, the filmmakers whose short films have been selected for the Cinéfondation programme were asked to draw spontaneously something about their film, using a pencil and a piece of paper – or any other medium they could think of. Anything would do – a symbol, a landscape, fresh and raw, straight from their imagination.

illustration by Davor Gromilovic´

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KoShTArGAh slaughterhouse

Four teenage friends have big plans for their lives. î ˘ey want to become rich in a short amount of time by dealing drugs in the neighbourhood. First, they have to test the drug they received from the smuggler. But there's an unexpected twist in the plan and the situation gets out of control.

Behzad Azadi Iran

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ВозВращение Эркина the return of erkin

Erkin gets out of prison and wants to return to his former life. But everything has changed and he does not know if he can live as a free man.

Maria Guskova Russia

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ASArA rEhovoT MEA ETSIM ten Buildings away

A four-storey building in the midst of a city. A bridge runs above it, busy with heavy traďŹƒc and passing trucks. Behind the leî‚?most window on the fourth floor is the residence of two brothers, a mother and a father. A family who, perhaps, have never had the right to exist.

Miki Polonski Israel

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Winter in a big city. Klara arrives home with a random guy that she has just met. Both are drunk, both are giggling and having fun. But there is someone else in the apartment: nine-year-old Anton catches them having sex. î ˘e next morning, Anton is gone.

Eliza Petkova Germany

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LES ChErChEurS the wheel of emotions

Marc is an intern in the prestigious neuroscience lab of Professor Georges Erwin. He has fallen in love with Elsa, a first year student in the school in which he works. One night, he discovers that she has a tumultuous and secret relationship with the eminent Georges Erwin.

AurĂŠlien Peilloux France

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AInAhAn nE PALAA to return until

Salla Sorri Finland While inviting her ex for a cup of tea, Tanja opens a gate to the past. It’s all about crossing the line into the grey areas of violence in a closed relationship.

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rI GuAnG ZhI XIA under the sun

One incident occurs, two families tangle. î ˘ere's nothing new under the sun.

Qui Yang Australia

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hET PArADIJS paradise

Paradise is the story of people heading for a better place on either side of the ocean. Although at times their paths do cross, they never really seem to meet.

Laura vandewynckel Belgium

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AnFIBIo amphiBian

Jesús lives with his father on the shore of a large lake. José, his older brother, has returned home carrying with him a criminal past. is morning, Jesús accompanies him in search for a job that would help restore his reputation. Aer today, Jesús will no longer be able to look at his amphibian surroundings with the same eyes.

hector Silvia núñez Venezuela

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14 шагоВ 14 steps

A young woman rids herself of her past and sets a definite life plan. She is about to move in with her boyfriend but her plans are suddenly ruined by a man whom she knows perfectly well.

Maksim Shavkin Russia

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Victor likes to experiment with his gender. He doesn’t know if he feels like a boy or a girl. He lives in a small seaside village in Almeria, with his mother and his girlfriend. Once in the town, protected by anonymity, he discovers himself. But secrets do not last forever and Victor will have to face his mother and girlfriend in order to stand up for the real image reflected in his mirror.

Ian Garrido López Spain

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The young Leonardo da Vinci has invented a time machine. He finds himself accidentally travelling to prehistoric times where he meets a prehistoric inventor slightly similar to him, and a prehistoric Mona Lisa...

Edward noonan, FĂŠlix hazeaux, Thomas nitsche, Franck Pina, raphaĂŤlle Plantier France WOSH by 29


A 15 year old girl returns to school aî‚?er someone shares an explicit video of her. Image created by Colson Knight and Chris Martz.

Pippa Bianco USA

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LoCAS PErDIDAS lost Queens

In 1996, Rodrigo (18) is arrested by the police in a televised raid on the club where he works as a drag queen. He goes back home, fearful that his family will see him on the news. While they are all getting ready for a party, he plans to run away with his partner, a hairdresser and friend of the family.

Ignacio Juricic Merillรกn Chile

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Haru returns home in denial aer experiencing a tsunami. He must learn to deal with his loss through an encounter with a magical sea spirit.

Sofie nørgaard Kampmark Denmark

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EL SEr MAGnĂŠTICo the magnetic nature

Aldo is 55 years old and lives with Pablo, his older brother. From their home, they conduct a religious practice, invented by their father, whose congregation meets mainly online. Aldo is tired of being a preacher, but doesn’t know how to say it.

Mateo Bendesky Argentina WOSH by 33

SHOrT FiLMS aND FirST FeaTureS iN CaNNeS An overview of all short films and first features to be screened in the programme of the 2015 Cannes Festival SHOrTS ThE 2015 ShorT FILMS CoMPETITIon In 2015, 9 films have been selected for the Short Films Competition of the Cannes Film Festival. e selection committee received 4,550 short films from over 100 countries. ese films are all in the running for the 2015 Short Film Palme d’Or, to be awarded by Abderrahmane Sissako, President of the Jury, at the official prizegiving ceremony of the 68th Festival de Cannes on 24th May. Ely Dagher WAVES ’98 15’ Lebanon, Qatar -- Basil Khalil AVE MARIA 14’ Palestine, France, Germany -Shane Danielsen THE GUESTS 10’ Australia -- Jan Roosens, Raf Roosens BUDDY 15’ Belgium -Ziya Demirel TUESDAY 12’ Turkey, France -- Eva Riley PATRIOT 14’ United Kingdom -- Céline Devaux SUNDAY LUNCH 13’ France -- Iair Said PRESENT IMPERFECT 15’ Argentina -- Dan Hodgson LOVE IS BLIND 6’ United Kingdom ThE 2015 CInéFonDATIon SELECTIon To mark its 18th year, the Cinéfondation Selection has chosen 18 films (14 works of fiction and four animations) from among the 1,600 works submitted this year by film schools worldwide. 16 countries from four continents are represented. Behzad Azadi SLAUGHTERHOUSE 24’ Art University of Tehran, Iran -- Mateo Bendesky THE MAGNETIC NATURE 17’ Universidad del Cine (FUC), Argentina -- Pippa Bianco SHARE 11’ AFI’s Directing Workshop for Women, USA -- Simon Cartwright MANOMAN 11’ National Film and Television School, United Kingdom -Ian Garrido López VICTOR XX 20’ ESCAC, Spain -- Maria Guskova THE RETURN OF ERKIN 28’, High Courses for Scriptwriters and Film Directors, Russia -- Félix Hazeaux, omas Nitsche, Edward Noonan, Franck Pina, Raphaëlle Plantier LEONARDO 6’ MOPA (ex Supinfocom Arles), France -- Ignacio Juricic Merillán LOST QUEENS 28’ Carrera de Cine y TV Universidad de Chile, Chile -- Sofie Kampmark TSUNAMI 7’ e Animation Workshop, Denmark -- Tomáš Klein, Tomáš Merta RETRIEVER 23’, FAMU Prague, Czech Republic -- Aurélien Peilloux THE WHEEL OF EMOTIONS 32’ La Fémis, France -- Eliza Petkova ABSENT 13’ Deutsche Film und Fernsehakademie (d) Germany -- Miki Polonski TEN BUILDINGS AWAY 25’ Minshar for Art, Israel -- Maksim Shavkin 14 STEPS 37’ Moscow School of New Cinema, Russia -- Héctor Silva Núñez AMPHIBIAN 15’ EICTV, Cuba -- Salla Sorri TO RETURN UNTIL 17’ Aalto University, ELO Film School Helsinki, Finland -- Laura Vandewynckel PARADISE 6’ RITS School of Arts Brussels, Belgium -- Qiu Yang UNDER THE SUN 19’ e VCA, Film & TV School, Melbourne University, Australia ThE CrITICS’ WEEK ShorT and MEDIuM LEnGTh SELECTIon Patrick Vollrath EVERYTHING WILL BE OKAY 30’ Germany -- Isabella Carbonell BOYS 19’ Sweden -- João Paulo Miranda Maria COMMAND ACTION 14’ Brazil -- Marina Diaby THE DRAGON’S DEMISE 26’ France -- Lucky Kuswandi THE FOX EXPLOITS THE TIGER’S MIGHT 25’ Indonesia -- Sonejuhi Sinha LOVE COMES LATER 10’ USA -- Yann Delattre MONSTERS TURN INTO LOVERS 22’ France -- Andrei Cretulescu RAMONA 10’ Romania -- Kevin Phillips TOO COOL FOR SCHOOL 11’ USA -- Fulvio Risuleo CHICKENPOX Italy 14’

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ThE DIrECTorS’ ForTnIGhT ShorTS SELECTIon JeanMarc E. Roy & Philippe David Gagné BLUE THUNDER 21’ Canada -- Emmanuel Laskar CALME TA JOIE 24’ France -- Martín Morgenfeld & Sebastián Schjaer THE BROKEN PAST 17’ Argentina -- David Sandberg KUNG FURY 30 ’ Sweden -- Reda Kateb PITCHOUNE 23’ France -- Susana Nobre TRIALS, EXORCISMS 25’ Portugal -- Elena Lopez Riera PUEBLO 30’ Spain -- Nora El Hourch A FEW SECONDS 16’ France -- André Novais Oliveira BACKYARD 18’ Brazil -- Fyzal Boulifa RATE ME 15’ UK -- Peter Tscherkassky THE EXQUISITE CORPUS 18’ Austria FirST FeaTureS from all sections of the Cannes Film Festival compete for the Caméra d’Or. e aim of this prize is to reveal a film "whose qualities emphasize the need to encouragethe director to undertake a second film."

competition László Nemes SON OF SAUL Hungary (Read more on page 8) Un certain regarD Neeraj Ghaywan MASAAN India -- Laurent Lariviere I AM A SOLDIER France -- Ida Panahandeh NAHID Iran -- Yared Zeleke LAMB Ethiopia miDnight screenings Hong Won-Chan OFFICE South Korea special screenings Elad Keidan HAYORED LEMA'ALA: AFTERTHOUGHT Israel -- Natalie Portman A TALE OF LOVE AND DARKNESS USA -- Pavle Vuckovic PANAMA Serbia Directors’ Fortnight Marcia Tambutti BEYOND MY GRANDFATHER ALLENDE Chile -- omas Bidegain LES COWBOYS France -- Deniz Gamze Ergüven MUSTANG Turkey -- Chloé Zhao SONGS MY BROTHERS TAUGHT ME China -- Magnus von Horn THE HERE AFTER Sweden

CrITICS’ WEEK competition Arab & Tarzan Nasser DÉGRADÉ Palestine, France, Qatar -- Trey Edward Shults KRISHA USA -- Jonas Carpignano MEDITERRANEA Italy, France, USA, Germany, Qatar -- Andrew Cividino SLEEPING GIANT Canada -- Cesar Augusto Acevedo LAND AND SHADE Colombia, France, Netherlands, Chile, Brazil -Clément Cogitore THE WAKHAN FRONT France, Belgium special screenings Han Jun-hee COIN LOCKER GIRL South Korea Louis Garrel LES DEUX AMIS France

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SFC HigHLigHTS »»»»»»»»»»»»»»»»»»»»»»»»» SFC Highlights is a service offered by World of Shorts magazine and to promote the films entered into the Short Film Corner in order to help them find an audience and industry interest. 22 films have been included in the SFC Highlights of World of Shorts. eir posters are displayed on two pages, together with the directors’ contact info. e project is presented in the online showcase of as well, which contains most of the films included in the SFC Highlights. e films are password protected, so if you would like to watch them, contact the director to request the code.

» you can find the online showcase at

» Francesco Mazza

» Agnieszka Rudnicka

» Felipe Cabral


Marcia Fields & Mike Spear

» Barak Shpiez

» Kamil Roxas

» Shaub Miah


Steven Ascher

» Sibay Films

» Michael Fodera

» Matthew Weinstein


Begoña Colomar

» Jacqui Carriere

» Lance R. Marshall

» Holly Dorff Long


Ioanna Karavela

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Cheyanne Kane / WOSH by 37


Ian Simpson /

Elina Amromina & Mikhail Uchitelev /

Chat Noir Ink Productions /

Pascal Leister /

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Richard Selvi / WOSH by 39

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Stepping Stones Feature film after shorts? Sure! Follow the steps along the way and find out how others did it. Turn the page to learn about film festivals that foster first features, and what they look like from the curator’s point of view. You can also discover why there are still filmmakers who are so happy with the short format that they would never want to make a feature.

illustration by Davor Gromilovic´

e story's chrysalis – finding the right framework for a story, page 42 Practice makes... – the success story of Sanka Lenken’s debut feature, My Skinny Sister, page 44 From short to feature: creating your first feature film – debut filmmakers confess about their challenges, page 46 Cannes wasn’t built in a day – fun facts about all things first, page 49 Angers, the French city of debut feature films – an interview with ibaut Bracq, programmer of the Angers Premiers Plans festival, page 50 e ‘minority report’: why I don’t aspire to produce features – filmmaker Dawn Westlake on being faithful to shorts, page 52 e Pitch Page – 5 short and 5 feature film plans to look out for, page 55

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CHRYSALIS FInDInG ThE rIGhT FrAMEWorK For A STorY illustrations by Davor Gromilovic´

words by Nele Luise Fritzsche

glamorous Cannes, every year highlighting the great panorama of current feature film making, does have a short film competition, too. However, the attention stays with feature films. What about the niche of short films? Why would filmmakers continue to make shorts?

Making films is yet another means of expression for artists to reflect upon their perception of this world. Being a feature or short, an animation, live action or experimental film: there is a story being told, thoughts being expressed through moving images under the influence of an individual perspective. However, at some point, a decision on the specific format to articulate the particular story is needed. What kind of format is shaping the way the story is being told? There is an ongoing discussion aiming at the difference between short and feature films trying to emphasise a significant discrepancy in terms of relevance. Yet, there should rather be a discussion of the story's demands and the conceptual goals instead of the market-shaped expectations of length and format. Even if making a short is not the most remunerative matter, there are still occasions where it would be the perfect framework for the story one has to tell.

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Regarding short films, one first impulse to make a short can be finding your voice as a filmmaker through exploring filmmaking techniques whilst telling a short narrative. e Dutch filmmaker Ena Sendijarevic experienced an unexpected success and won awards with her short film Travellers into the Night (NL, 2013). Initially, she just had a very spontaneous idea for a story and some aesthetic approaches she wanted to experiment with: A plain gas station by night and a sudden and determining encounter. Eventually, she ended up with a short film that travelled the festival circuit catching international attention. e Lithuanian filmmaker Karolis Kaupinis recounts a similar experience with his debut short e Noisemaker (LT, 2014), premiering at Locarno International Film Festival. Never having worked within the audiovisual field, he was curious to find out if he could mould it in his hands by making his short film raising issues upon absurdity and lack of solutions. Shorts as an introduction of a style connected to the director's name is for sure one possibility for high quality short film making.

Yet, aer having travelled festivals and having established an individual aesthetic language – why would filmmakers continuously make shorts? Aer the great success of his short films with, amongst others, award-winning Baghdad Messi (BE, 2012) being shortlisted for the nomination of an Oscar, Sahim Omar Kalifa is currently developing his first feature Zagros in Belgium. However, at Go Short Industry Day (NL) he explained, having far too many stories in mind, he would not wait to develop them into features and some of them simply would never work as a feature. Gabriel Gauchet, director of award-winning short Mass of Man (UK, 2012) agreed, as he said that he would continue to make shorts whilst developing feature film projects as short films are a great opportunity to tell small stories as well, thus sharpening the filmmaking skills and becoming very aware of one's own style within the requirements of short film making. He points out: “Shorts are an amazing art form on its own, and I feel that they are getting more and more important, gathering more and more audience worldwide. It's proper filmmaking and as a filmmaker, I wouldn't mind doing shorts for the rest of my life.“ Making shorts, curating shorts and presenting shorts will always depend on the external conditions that would lead to developing a short and on the particular story being told. Short film is still a niche product, yet the short as such and as an independent art form, has a life of its own. Some conceptual and narrative conditions require a short film. Small feature films being compressed into a 20 minutes short show up at once. It is a demanding task to create a short film that turns out well and there are no rules or strategies for it either. Being aware of the format one chooses for the story should be one core motivation of how to orientate within the format. Be it feature or short, the format and framework of how one is telling a story should be just as tight and close and appropriate to the core of the story that is developed as chrysalides clinging precisely onto the developing animal's body. Thus, choosing the right format for storiesbeing expressed through moving images is a crucial decision.

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One of the chief appeals of filmmaking as an artistic practice is also what makes it so precarious: the lack of a career template. if artistry emerges from the interplay between method and hazard, between luck and preparation, then cinema, as a collaborative art, can pose an especially pronounced concentration of difficulties.

PraCTiCe MaKeS... words by Michael Pattison

Many directors consequently learn their cra making short films. Shorts are generally cheaper, requiring less time, resources and risk. ere’s room for experimentation – and for failure. All of which is to say that the production history of any film is by its very nature unique. At the same time, all these stories add up to the general appeal of filmmaking as a practice: there’s no blueprint. is is especially the case when it comes to films made outside the commercial studios. Sanna Lenken is a case in point. Her story is, like any other filmmaker’s, her own, and yet the difficulties the Swede negotiated in getting her award-winning debut feature My Skinny Sister made are in some way emblematic – especially at a time when funding infrastructures are becoming so labyrinthine that investment from multiple sources is something of a necessity. e writer-director’s debut feature was made with both Swedish and German money, and the co-production deal imposed challenges as well as opportunities. Chief among the former was meeting her German coproducer Ilona Schultz, and her cinematographer, Moritz Schultheiss. Of her working relationship with the latter, Lenken notes: “We just really had a connection, which was so lucky for me because it could

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have been very different. It was a risk. It was almost like dating someone – I had to feel like I could trust him.” e biggest drawback was an obligation to do post-production in Hamburg. “e most stressful was the sound. I would have liked to meet them before – but there was actually no time – to talk about who I am, watch some films that I’ve made. I felt like I did do this, but I should have done this earlier on.”

Stress is a Hydra-like beast for a filmmaker. e piecemeal, staggered way in which funding is secured is one concern. “e problem with financing,” says Lenken, “is that everyone has to say yes. You get a yes from one, and then you get a yes from one, and then you get a no from someone. You have to rethink. You don’t get the money from the first two until you get all the yeses.” ere’s also the particular stress of realising your leading actor is the granddaughter of the late screen veteran Erland Josephson, Ingmar Bergman’s frequent muse: “It could have been cool – now I think it’s cool, it’s a nice thing, it’s something to say – but back then I didn’t like it. I thought, ‘e family knows how it is to film. ey know what it is to be in a film.’ e mother was like, ‘I’m not sure, this is not like a Pippi Longstocking film, it’s not a cheerful story!’” There were personal challenges, too. Early in pre-production, Lenken fell pregnant. She survived for a while on a government allowance, and sometimes had the newborn on her arm during auditions. The reserves of patience, sacrifice and selfconfidence demanded of a director are immeasurable. It’s also about maximising whatever breaks come your way. For her part, Lenken made the most of a €10,000 scholarship, with which she could take time off and write the first script of My Skinny Sister, which her producer Annika Rogell subsequently got onto the EAVE (European Audiovisual Entrepreneurs) script development scheme. Formal training in how to pitch the script followed. Perhaps curiously, so did a short. There’s a popular strand of thought in some circles that films are films, and that the short is merely a genre in itself rather than a logical stepping-stone to longer formats.

It depends where you are, of course: in Austria, there is a thriving community with a strong heritage for experimental shorts, to the point where artists can make a living from them. But just as no two filmmakers are the same, so there is no homogeneous mode of thought when it comes to shorts: in other parts of the world, such as the UK, there is an implicit pressure that a filmmaker’s first feature is a kind of definitive graduation from the ‘practice realm’ of short filmmaking – and you don’t look back. True to the many variations that an artistic calling takes, however, the story behind Lenken’s own breakthrough short, Eating Lunch (2013), is a little different. Though completion dates suggest that My Skinny Sister was a typical case of a director enlarging an existing work to a broader canvas, Eating Lunch was actually developed out of the research Lenken had carried out for her feature – and when her pregnancy somewhat stalled progress on the latter, she filled the time accordingly. “I understood. ‘Okay, I’m pregnant, I won’t be able to make the feature now.’ So I said to Annika, ‘Let’s make a short film.’ She was doing Black Power Mixtape, so I was very much on my own. Even though she helped some days, I did it – very pregnant.”

still photo from My Skinny Sister

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World of Shorts has asked three internationally successful film directors about their first feature experiences – read their random thoughts below about the difficulties and the joys of their first big project, and the challenges faced along the way.

GáBor rEISZ, whose first (and graduation) feature For Some Inexplicable Reason became a festival darling and box office phenomenon in Hungary, with over 50,000 admissions. Small crew, little budget, flexible shooting. ese helped me a lot, believe it or not; I had already experienced with my short films that sometimes, extensive preparations mean pressure. I wasn’t prepared for that with my first feature – but I didn’t even have a choice, since the budget we had was equivalent with the budget of a short film. e hardest part was that the making of the film took a very long time – a year and a half from the first shooting day to the picture-lock. Motivating the crew at every stage of the process proved a challenge. Although they all loved working on the film, they had to take other jobs to make money. In my opinion, it doesn’t matter if a filmmaker is making a short film, documentary or feature: the ultimate goal is to make a difference, an effect which can be compared to that of the famous film from the early days of motion picture, the one with the train arriving, made 120 years ago. Making feature films in Hungary is a tricky issue too: to me, the greatest challenge is to lure the audience back in the cinema. Last year was a particularly good one: several different arthouse films were very successful, and our own film did really well too. We put a lot of effort in the marketing, although this word is quite far from what we are actually doing. We formed a band of the crew members: this is how we made the soundtrack for the film. People are grateful that we are trying to communicate with them on several different levels. If nothing else, playing music together can have an excellent team building effect! All in all, we had some incredible encounters, a lot of love was born – this is how we created this film. 46 WOSH by

MAYA vITKovA, whose first feature Viktoria has been selected for a great number of film festivals, including Sundance in 2014. e first step to your debut feature: if you’re thinking too much, you’d never get to make it. ere are so many questions – will you make it; will it be a good film if you do; will it premiere at a major festival; will the critics grant it good reviews; will the audience appreciate it; how long its festival life will be; how would your national premiere go; will the national Oscar committee send it to the Academy; will you manage to sell it, etc. You don’t even imagine how many more questions you’d need to answer before the film has even been completed... Yes, I made it, with the help of dedicated crew; this is my film – good or bad, it’s coming from the heart – so judge my heart; it premiered in competition at the Sundance Film Festival as the first Bulgarian feature ever there with good reviews by the Hollywood reporter, IndieWire, Screen International and others; I still get at least a message a day from somewhere in the world by someone who saw the film; Viktoria played at 60 festivals, it’s been on the festival circuit from January 2014 and I’m confirming festivals for October 2015; the national Oscar committee sent another film made by a committee member (gross!), to the Academy, etc. But you know what – I’m a female writer-director and producer, there are not many who can do what I’ve done, the way I did it (and not that humble for sure), so just go for it and make it!

MICAh MAGEE, whose first feature Petting Zoo was screened in the Panorama selection of the Berlinale 2015 I think making a first film is like standing before a big membrane – the film is there before you on the other side, you can feel it, taste it, you know it exists, but you have to somehow put your hand through and pull very hard to get it into the living world. When it comes through it is ugly and nothing like you expected, nothing like what you thought you saw, but if you let it be that other thing then it is just itself and for that reason beautiful again and you can get to like it, become friends and be surprised by the things it tells you. WOSH by 47

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words by Janka Pozsonyi

CaNNeS WaSN’T buiLT iN a Day First times are incredible. First times are horrible. They can be living hell and also pure moments of heaven in one’s life. Directing a first feature can also be equally uplifting and terrifying at the same time, but definitely instructive for a filmmaker who just happens to step onto the big stage. Luckily there are festivals like Cannes that appreciate the hard work of the first-timers, inviting them to compete amongst the biggest, and let them feel a bit of that special spark of fame. here are some important first time facts of the festival.

1. Every single thing had to start somehow, even the majestic ones. e first Cannes Film Festival was held on the 20th of September, in 1946. Originally it was supposed to start in 1939, but on the opening morning of September 1st, the Germans occupied France, so the festival had to wait 6 long years until the real departure. 2. That year, the very first Grand Prix was awarded to David Lean, for his drama Brief Encounter. 3. Cannes truly appreciates first-time filmmakers, that’s why they created a special award here for the fresh talents, the Camera d’Or award. It’s given out every year for a first feature, selected from one of the official categories. e festival introduced this award in 1978. 4. e official rules of the Camera d’Or: "the first feature film for theatrical screening (whatever the format; fiction, documentary or animation) of 60 minutes or more in length, by a director who has not made another film of 60 minutes or more in length and released theatrically." 5. ere’s a great number of directors who received this special award throughout the years – amongst others Jim Jarmusch (Stranger an Paradise), Miranda July (Me and You and Everyone We Know) and Steve McQueen (Hunger). 6. It was a long ride, but in 1993 the festival awarded a female director with the prestigious Palme d’Or award for the first time. It went to Jane Campion for e Piano. 7. When it comes to supporting a first film, Cannes is all about helping directors, even after the festival has finished. That’s why they created the Résidence programme, which offers a great opportunity for first (and second) time filmmakers. ey are invited to live in the heart of Paris for 5 months in luxurious circumstances so that they can focus entirely on the creation of their first script. WOSH by 49

PREMIER PLANS interview by Genovéva Petrovits

THe beST auDieNCe FOr uPCOMiNg FiLMMaKerS

Thibaut Bracq is the programmateur of the Angers Premiers Plans, a film festival in France which has the reputation for discovering promising and emerging filmmakers. Thibaut was one of our international guests at the Friss hús International Short Film Festival in Budapest. During his visit he explained to us in detail how the Angers Premiers Plans Film Festival works, what is the key to their success and how they reach their audience.

Premiers Plans is a festival which focuses on first features. Since when has the festival had this profile? Angers is a debut feature festival, which means we select only first and second features, first shorts and also student films. We deal with different kinds and genres of first films. We have been specialised in debut films from the very beginning of the festival, it was the first idea. It was in 1988-89, before and aer the fall of the Berlin wall, when Europe was changing a lot. e idea was to find new talents in the whole of the new Europe, to build up a new European cinema at that moment. We accept everything that’s a first feature, we are open to every genre: animation, fiction, documentary and also genre films and comedy – even though it’s really difficult to make good comedies. We only look for European films. Do you follow the filmmakers – for example, do you accept their first feature for the festival aer their first short film had been there? Absolutely, one part of my job is to follow the directors, to see what they are doing. at doesn’t

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mean that their following film is going to be selected into the festival. Sometimes we find new talents in the student competition, then follow them to their first short, then we try to follow their feature’s script development process, then their first long and sometimes we support even the release of the film in Angers. But it doesn’t mean that they’re going to be selected automatically. It really depends on the quality. How big is the programming team? It is not so big. We are two permanent programmers during the whole year, and one person joins us for 5 months. We also welcome some students every year, who work with us at the festival preparation as training courses, and they work with us through every step of the selection. We organise some stations to watch short films together. e team deals with every film we have received, which means 2500 films – 600 features and 1900 shorts, including student and animation films too. What about your audience? We think a lot about the audience. For all the films that we put in competition, we always have to think about what we are showing to all

those people. If you want the audience to come back for the next screening too, you have to be demanding but at the same time it has to be interesting. You have to be very careful with what you are choosing to screen, but that doesn’t mean that you have to compromise we only select what we like, but we always think about how to make it interesting and good. Is the audience aware that they are at a firstshort / first-feature festival, or is it a more relevant information for the professional audience? ey are absolutely aware of it. We communicate about it all the time and they know exactly where they are and that’s one of the magical things of the festival. We always insist on that specificity with the press, with professionals and with the audience as well. ey have to be aware of it, when we are doing introduction with directors before every screening, and also Q&As aer every screening. is is really unique to see all those people attending the screening of unknown directors. e festival is 28 years old now, and people trust us completely. We can screen almost everything we like and they follow us, so it’s really great. It’s a long-term work with the audience, one of our colleague is working all year long with the audience: with students, teachers and workers, and tries to develop a new and eclectic audience. For 3 years now, we have specific screenings for deaf and blind people for instance. So we are constantly building new audience. Do you have a screenwriting development workshop as well? We have a few professional events and seminars during the festival, we are working with professional people from the region. 11 years ago we started to think about how we could help directors to go from their first short film to

their first feature film, because this is a very delicate moment in every country, even in France where the financing possibilities exist, but are very competitive. So we decided to create this workshop, with the support of the actress Jeanne Moreau, who was the president of the jury in 2004. She fell in love with the festival and wanted to help the young directors and their first feature project. So with the support of the Media programme, the Region and the city hall of Angers, we created a workshop which takes place in August. We select 7-8 first feature film scripts. The directors come and we organise one -to- one sessions and consultations on their scripts with confirmed directors, screenwriters and other film-professionals. Most of the time when the directors are developing a first feature, they are dealing a lot with pitching, how to convince people, how to finance a project and aer a few months they lose what they wanted to do from the beginning, they lose their artistic point of view. is workshop opens a new year of cinema in Angers, with the climax in January with the film festival! If you should name a success story? A lot of filmmakers have started in Angers. Claire Burger and Marie Amachoukeli, the two directors of Party Girl, were selected a few years ago with their student film. Aer that they attended the festival with their first short film and then they sent their first-feature project to and participated in the workshop. ey won the first-feature Cannes award, the Camera d’Or last year. But there are a lot of success stories. For example, the two previous Palme d’Or winners Nuri Bilge Ceylan last year and Abdellatif Kechiche in 2013 also presented their first films in Angers.

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‘MiNOriTy rePOrT’


words by Dawn Westlake

Why i Don’t aspire to proDUce FeatUres Many producers, directors and writers see making shorts as some sort of ‘rehearsal’ for the big time. Not me. This is it. This is my ‘big time’, even though the format is short. Let me explain.

In the late ‘90s, I bought the film rights to a very famous Spanish novel. I spent years trying to get it made. I’d approach financiers who wanted talent agreements. I’d approach talent (and their agents) who wanted financial backing. Just when it seemed like a package was coming together, the financiers would decide that the talent they were originally interested in backing was suddenly “not as hot”. Could I now chase down a different set of actors and, with them in mind, retool my script? It all started to remind me of “the cool kids’ table” in the lunchroom of junior high. I’d never aspired to sit at that table either. I came to the harsh realization that for my own sanity as a creative, I needed to create. As a producer, I needed to produce. Three things happened in the year 2000 that gave me unlimited freedom to do so. e first thing was that new digital technologies came out that let creators shoot and edit economically. The second thing was the rise of Internet streaming, and the need for short content to feed the new beast. e third thing was that a friend in Portugal said he knew of collaborators

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eager to make a short film immediately, if I would just write one. I threw out everything I’d learned in the film program at Northwestern University about celluloid, razor blades and moviolas and flew to Portugal to absorb as much as I could about 2-chip and 3-chip cameras and something radical called non-linear editing with Final Cut Pro. With my very inventive Portuguese Director of Photography, Jorge Santos (a Kodak Master), we super-glued a 70mm lens on a prosumer videocam and shot an 11-minute film called Mini Driver Project which everyone assumed was done in 35mm once they saw it! e short played in over 70 festivals and won 8 awards, and a cut-down/silent version was invited to play for a month on the jumbotron in Times Square in NYC. e film also played in Digidance on Main Street during Sundance 2002 for an audience that included executives from Canon USA, Inc. Shortly thereafter, I was named a Canon Platinum Filmmaker, and to this day, I enjoy their support, having used their latest DSLR cameras and prime lenses to make my films over the past 5 years.

Still from the short film Games People Play

I’ve made 16 short films now... e shortest, e Imp in the City, a breakdance film shot in Barcelona, at 2 minutes, and the longest, God’s Good Pleasure, an 18.5-minute sexy noir romance co-starring two-time Donatello nominee Davide Del Degan, set in a 40,000 sq.. castle/armory in Upstate NY. I’ve done drama, animation, comedy, documentary, mockumentary, dance and poetry films. I’ve shot in the intimacy of my living room and at a busy commercial racetrack. I’ve worked with name talent and people who have never acted before. Every film has presented new lessons, unique challenges and varying rewards. But, most of all, short film has given me a voice. I’m not sure I would have found the same creative freedom in features, even if that film based on a famous Spanish novel had finally been greenlit. In the short film world, I’ve found a niche where I can put out a clear vision or present a message without interference. With lower budgets and fewer production and post days on the schedule, I can work with top professionals who are also passionate about collaboration without compromise. (I’ve oen been told it’s rare to be asked “How would you do this?” by a director/producer, and then to hear from them, “Awesome! Let’s do it your way!”) So, I’ve never looked back at my feature days. I look forward! To more creating. To more actual producing. Because: life is short!

Dawn Westlake founded ron de Cana Productions, Inc. in Los Angeles in 1998. She is also a director/writer/actress for hire. Many of her short films are repped by Fred Joubaud at ouat Media in Toronto. They are also available for download at DvDs can be purchased at For more information on Westlake’s films, please visit

Dawn Westlake’s producer filmography with ron de Cana Productions, inc. Games People Play (2014) The Martini Effect (2013) Found objects (2012) Covariance (2011) A.L.I.C.E. (2010) The Imp in the City: Part Deux! (2010) The Imp in the City (2010) The Catalyst (2009) Project Ion (2008) 68° & Clear (2007) God’s Good Pleasure (2006) The Pawn (2004) A Life of Death (2003) Thoroughly Modern Mili (2003) Dottie: The Little Girl with the Big voice (2002) Mini Driver Project (2000)

Still from Dawn Westlake’s Covariance WOSH by 53

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PITCH PAGE Behold the shorts and first features of the future! ‘Be creative, visual and personal!’ This was Daazo’s advice for filmmakers applying for the Pitch Page section of World of Shorts. The Pitch Page offers an innovative opportunity for filmmakers to present their film plan without having their heart in their throats, using visual creativity instead of an overwhelming acting appearance. We have received a huge number of groovy pitches: here is Daazo’s shortlist of five plus five – shorts and features.

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First Feature Projects

Projects ShortS Projects bLue PearL arkus bade


UAE in the early 1930s – oil is yet to be discovered, the great depression and Japan's discovery of cultured pearls has affected the pearl industry. Amir – a poor young pearl diver discovers a precious blue pearl only to realise that it is the source of life underwater. He faces a dilemma whether to change his family's fortune or save the underwater world.


bereaveMeNT CONTraCT Louise galizia

A story about grief, retribution, and how playing with one’s fate can go further than expected.

aN OuT victoria Frings

3 4 5

A closetedstraight college freshman spends the anksgiving break at her lesbian moms' Brooklyn apartment and decides it is time to confront her family about her true sexual preference.

THe LaST SCHNiTZeL ismet Kurtulus & Kaan arici

When the president of e Grand Turkish Republic demands a schnitzel before allowing any Turks to leave the vanishing Earth, his hapless assistant Kamil must come up with the fried meat, despite the chickens being dead for over 200 years.

MaDrigaN THe MagiCaL Judith Coppinger

Luke is ten years old; his younger sister has Cystic Fibrosis. Feeling helpless, he turns to his favourite fantasy, Madrigan the Wizard. Little Karen believes that her brother is learning magic from a wizard; for her, the difference between medicine and his magic is blurred at best. When she dramatically improves, the adults are convinced it’s the new medicine. But Luke and Karen believe it’s magic. And perhaps everyone is right. is film will combine live action and animation. 56 WOSH by

aTOM & eve Hank isaac

6 7 8 9

Chosen from birth, two children have been meticulously cultivated and trained to be the guardians of the last biological remnants of the human race as they're sent out into the galaxy to repopulate the species. But things aren't going well and there's no turning back.

DOgS aND LiZarDS Leonardo Cariglino

Lizards guide a boy through a decaying and superstitious village in the tight grip of the Mafia’s tentacles. His father was crushed by that grip and now also his sister is in danger.e boy befriends and helps the stray dogs who are slaughtered by the local butcher. Armed with the sharp teeth of the dogs he ends the torment endured by his family.

CurTiZ Tamas yvan Topolanszky

Curtiz tells the behindthescenes story of Casablanca, a movie classic by famed Hungarian director Mihály Kertész (Michael Curtiz). Kertész struggled against the conflicting views of his producers and screenwriters and pushed his own unique vision to create a geopolitical masterpiece.

LabeL Me anil Wagemans

A trendy action comedy about three girlfriends deep into debt, two buddy cops on the brink of dismissal and two nerdy students dreaming of a criminal existence. Their stories come together around a suspicious person who wants to clear his name by organising a fashion show. Starting a roller coaster filled with special characters and weird actions of odd persons that ends up together in an extravagant fashion show where everyone is trying to reach another goal.

iMPaCT Keith rivers


Aer surviving a severe coma from a near fatal car accident, struggling fighter Malagamali’i retreats further into depression. When doctors recommend boxing as an alternative physical therapy, Malaga finds purpose and the strength to stand up to his suppressive father; ultimately discovering the greatest impacts in life are the people closest to him.

Animation, drama

bLue PearL 1


United Arab Emirates WOSH 57

Drama, sci-fi

bereaveMeNT CONTraCT 2

Contact: WOSH 58

United Kingdom


aN OuT 3


United States WOSH 59

Sci-fi, satire, fantasy



Denmark, Turkey WOSH 60

Animation, live action

MaDrigaN THe MagiCaL 5


Ireland WOSH 61

Sci-fi, drama

aTOM & eve 6


United States WOSH 62


DOgS aND LiZarDS 7


Italy WOSH 63

Film noir, drama

CurTiZ 8

Contact: WOSH 64



LabeL Me 9

Contact: WOSH 65



Drama, sport


United States




Fact Sheet Short Projects



bLue PearL Director: Arkus Bade Producers: Arkus and Mayur Bade Country: United Arab Emirates Contact: Arkus Bade, Production company: Arkus Entertainment Estimated Budget: €92,200 Covered: €0 Needed: €92,200 Estimated length: 10 minutes Genre: Animation, drama

THe LaST SCHNiTZeL Director: Ismet Kurtulus & Kaan Arici Producers: Ismet Kurtulus & Kaan Arici Country: Denmark, Turkey Contact: Ismet Kurtulus, Production company: New Archers Estimated Budget: €25,000 Covered: €11,000 Needed: €14,000 Estimated length: 15 minutes Genre: Sci-fi, satire, fantasy

bereaveMeNT CONTraCT Director: Louise Galizia Producer: none Country: United Kingdom Contact: Harry Chadwick, Production company: Cue Pictures Ltd. Estimated Budget: €9,780 Covered: €0 Needed: €9,780 Estimated length: 20 minutes Genre: Drama, sci-fi

MaDrigaN THe MagiCaL Director: Judith Coppinger Producer: Marie Caffrey Country: Ireland Contact: Megan Day, Production company: Midas Productions Estimated Budget: €40,000 Covered: €4,000 Needed: €36,000 Estimated length: 15 minutes Genre: Animation, live action



aN OuT Director: Victoria Frings Producer: Gillian Williams Country: United States Contact: Victoria Frings, Production company: ToByFor Productions Estimated Budget: €13,800 Covered: €920 Needed: €12,880 Estimated length: 12 minutes Genre: Comedy


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Fact Sheet First Feature Projects


aTOM & eve Director: Hank Isaac Producer: none Country: United States Contact: Hank Isaac, Production company: none Estimated Budget: €692,000 Covered: €0 Needed: €692,000 Estimated length: 100 minutes Genre: Sci-fi, drama DOgS aND LiZarDS Director: Leonardo Cariglino Producer: none Country: Italy Contact: Leonardo Cariglino, Production company: none Estimated Budget: €1,300,000 Covered: €0 Needed: €1,300,000 Estimated length: 100 minutes Genre: Drama

7 8

CurTiZ Director: Tamas Yvan Topolanszky Producer: Claudia Sumeghy Country: Hungary Contact: Tamas Yvan Topolanszky, Production company: HalluciNation Estimated Budget: €870,000 Covered: €0 Needed: €870,000 Estimated length: 95 minutes Genre: Film noir, drama 68 WOSH by


LabeL Me Director: Anil Wagemans Producer: Reza Jahangir Tafrechi Country: Netherlands Contact: Reza Jahangir Tafrechi, Production company: A-More Productions Estimated Budget: €900,000 Covered: €90,000 Needed: €810,000 Estimated length: 105 minutes Genre: Comedy


iMPaCT Director: Keith Rivers Producer: Keith Rivers Country: United States Contact: Keith Rivers, Production company: Workhouse Creative Inc. Estimated Budget: €882,700 Covered: €220, 700 Needed: €662,000 Estimated length: 96 minutes Genre: Drama, sport

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Shorts are ON uS! Daazo – World of Shorts loves short film festivals. In fact, we organise our very own Friss hús in Budapest every year! on the following pages, you can find a collection of festival reports, and a useful festival panorama to prepare you for the labyrinth of film fests out there.

March is the month of short film in Budapest – reporting on Friss Hús, page 72 Our festival favourites – the top three of the Daazo staff, page 74 A short film starts with an idea – our visit at Euroconnection, page 76 Festival panorama, page 78

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words by Tamara Kolaric

march is the month of short film in Budapest Tamara Kolaric is a Croatian film critic and the co-editor of Filmonaut magazine. her words offer a glimpse into the freshest short film festival in Budapest. Did you miss the festival’s line-up? have a look on the Facebook page and follow the Friss hús community:

When I think of Hungarian cinema, I think of the artistry of Béla Tarr, the grotesque world of György Pálfi, or the found footage mastery of Péter Forgács. Yet beyond the prominent and recognisable, there is a world of the yet‐to‐be‐ discovered. I always look forward to uncovering these best‐kept secrets; and what I saw during this year's Friss Hús – a festival dedicated to short films, many made by students – both surprised and reassured me. Strangely, most films felt timid and play‐it‐safe. It is surely not easy to be a young filmmaker, and it takes time to find one's voice – but when is it more failsafe to play and subvert than while one is still shielded by university walls? Surprising was the level of conservatism in both style and themes: quite a few films were set in a countryside that seemed almost mythical, telling stories about godly presence or traditional morality tales. Few explored innovative ways of storytelling or played with the possibilities of new technologies;

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and when they did – as in Gyöngyi Fazekas' Saudade – the predictable narrative overshadowed an effective idea. Yet, reassuringly, a few films really shone. Péter Lichter played with found footage in his beautiful Rimbaud, adding to it a poetic rhythm; Fanni Szilágyi’s End of Puberty had ingredients distinctly Hungarian to my eye – the grotesque, the appalling, the pitiful – yet combined them with a tender affection for characters that felt fresh and new; and István Kovács' Concrete Noise perhaps had a familiar look and feel (like a Hungarian version of Eastwood's Million Dollar Baby), but it was a remarkable feat both in production and execution. And let us not forget the animated gems: Zsuzsi Kreif and Bori Zétényi's playful, cheeky Limbo‐Limbo Travel danced to its own contagious beat. It is works like these that signal good things are yet to come. And seeing women's voices being equally loud and proud as those of their male colleagues is a little extra to be excited about.

photos by G รกbor


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FESTIVAL in anticipation for the Cannes short film selection, we always love to look back at the last few months and the shorts which have left a mark. Here is the top three of each and every member of the


Daazo staff!


HAvE SWEET DrEAMS (Filmfest Dresden) by Ciprian Suhar. What happens when a child sees reality much more sharply than his parents?


FADED FINErY (Friss Hús Budapest) by Sonia Gerbeaud. Great atmosphere, cool animation, a brave girl and a pack of coyotes.


LEFTOvEr (Friss Hús Budapest 3.0) by Tibor Bánóczki and Sarolta Szabó. In this beautiful animation most things leave some kind of leover behind, just like the film itself did in me.


THE SUPrEME (Zubroa ISFF) by Katarzyna Gondek is another proof that the wittiest and most qrotesque stories are delivered in reality. In this case, from the story of a 14 meter high statue of Pope John Paul the 2nd, in Poland.


THE CHICKEN (Cannes – La Semaine de le Critique) by Una Gunjak is a wisely told, touching story of the life in the Bosnian war in 1993, with an astounding 6 year old hero. And her birthday gi, a chicken.


LIMBO–LIMBO TrAvEL (Friss Hús Budapest) by Zsuzsanna Kreif and Borbala Zetenyi is a wonderfully surrealistic joyride, which recalls the golden age of Hungarian animation.

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TON COEUr AU HASArD (Clermont–Ferrand Short Film Festival) by Aude Léa Rapin. A simple guy searching his love with his very simple words. A lot of grotesque scenes and encounters.


PICNIC (Berlinale) by Jure Pavlović is film tells the powerful story of a boy and his father, whose life and fate got defined by the war.


THE END OF PUBErTY (Friss Hús Budapest) by Fanni Szilágyi. A beautifully executed true story about twin girls who learn that being jealous to each other won’t last long.


YúYú (Berlinale) by Marc Johnson. An extremely powerful short about an almost unspeakable rite involving a half naked man, millions of bees, and a Golem-like living sculpture.


BAD AT DANCING (Friss Hús Budapest) by Joanna Arnow. Superbly funny and refreshingly honest, this film portrays an annoying and weird yet lovable girl testing her sexual boundaries.




SUNNY (Friss Hús Budapest) by Barbara Ott. A teenage dad trying to balance between his baby and his work, with the German industrial plain in the background. Strong glances, tense moments.


TAKE WHAT YOU CAN CArrY (Berlinale) by Matthew Porterfield. Slightly arti-ficial, but memorable film about a being lost in the fantastic age of twenty-something. Fascinating contemporary dance scene, and the protagonist looks exactly like Genovéva from the Daazo team.


THE NOISEMAKEr (European Short Pitch, Friss Hús Budapest) by Karolis Kaupinis. Have you heard about Lithuanian humour? No? Watch e Noisemaker then, which is about the bizarre atmosphere of a post-Soviet school. Lithuanian cinema is worth to keep an eye on anyway.


PLACES (Friss Hús Budapest) by Bálint Erkel. One of the rare brave films nowadays. It doesn’t want to copy great masters, neither to apply genres. I did not mind at all the fact that it’s not perfect. It is something that we haven’t seen before.


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A short film

starts with an words by Genovéva Petrovits


our visit at euroconnection

Last February, Daazo had the chance to visit the Clermont-Ferrand Short Film Festival and Market, where the euroconnection programme takes place. What we experienced there gave us an insight into the promising future of european short film.

Euroconnection is presented by the Clermont‐ Ferrand Short Film Market, in association with the Creative Europe MEDIA Desk France and the Centre national du cinéma et de l’image animée. Euro Connection receives support from Creative Europe’s MEDIA sub‐programme and the PROCIREP. At the pitching session, it was good to see that so many impressive short film projects are out there, and yet, this selection was only a tiny part of what is available on the market. Apart from author driven films, genre projects were presented as well in order to conquer the potential investors and co-producers. e main coordinator of Euroconnection, Laurent Crouzeix told us that more than 160 professional participants have assisted the co‐production market from all corners of Europe. The conference room of the hotel

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was filled with professionals curious about the projects. 16 selected projects were pitched by the participating directors and producers. The pitching session was prepared with the help of Gabrielle Brunnenmeyer, a Berlin based project and script advisor and Wim Vanacker, coordinator of the European Short Pitch. ese short trainings were meant to prepare the speakers in order to present their projects in a better way. It really helped every single participant to learn how to convince the public. After talking with some filmmakers, I heard that after each pitching session they understood more of their own films and their own stories. Another benefit of Euroconnection is that the organisers show immense care for the genre, echoing the name of the association which initiated the festival: Sauve qui peut le court métrage! (‘Save the short films if you can!’) e initiative aims to strengthen the

creation of short films. For me, the most important aspect about Euroconnection is that it is one of the initiatives which justifies the power of the encounters which are essential to help growing quality co‐productions. Based on a survey made with the participants, more than the half of them consider to start a co‐production. Yes, the future of the industry is also seeking its profile and basis with the help of this genre. For those who believe that the feasibility of their project have better

chances if it’s a co‐production should apply to Euroconnection. e application period will start by the beginning of September. One should also consider applying because a co‐production is not the only potential output of the programme. Being selected is also a good highlight for a project. Prepare yourself for a quality event with a lot of opportunity where the quality level of the projects is outstanding.

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FeSTivaLP Festivals are our expertise. We travel to them, we meet programmers and explore each

festival’s taste in film. That’s just one reason why it’s a wise choice to use our new submission service, so you can just lean back and let us do the work. For now we thought it would be nice of us to share a handy little guide to a selection of festivals that are coming up shortly. Take a look, and if you would like us to submit your short to these festivals, head over to for more info. oscar EFA BAFTA qualifying

Talent campus

Festival Camp

Submission deadline


Entry fee

Toronto International Film Festival

may 29, 2015

september 10-20. 2015

85 USD

Milano Film Festival

may 31, 2015

september 10-20. 2015


uppsala International Short Film Festival

may 31, 2015

october 19-25. 2015


Filmets – Badalona Film Festival

may 31, 2015

october 20-29. 2015


Festival del film Locarno

June 1, 2015

august 5-15. 2015


locarno summer academy

International Short Film Festival vilnius

June 1, 2015

october 9-12. 2015


Baltic pitching Forum

Encounters Short Film and Animation Festival

June 5, 2015

september 15-20. 2015


Trouville off-Courts Film Festival

June 15, 2015

september 4-12. 2015


Interfilm International Short Film Festival

June 19, 2015

november 10-15. 2015


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inter Forum

PaNOraMa Festival Camp

Submission deadline


Entry fee

Edinburgh Short Film Festival

June 29, 2015

november 11-22. 2015


helsinki International Film Festival Love & Anarchy

June 30, 2015

september 17-27. 2015


Busan International Film Festival

June 30, 2015

october 1-10. 2015


Dublin Animation Film Festival

June 30, 2015

october 17-18. 2015


Internationale Kurzfilmtage Winterthur

July 12, 2015

november 3-8. 2015


Warsaw Film Festival

July 15, 2015

october 9-18. 2015


Abu Dhabi Film Festival

July 15, 2015

not yet confirmed

Film Fest Gent

august 1, 2015

october 13 - 24. 2015

International Short Film Festival Leuven

august 3, 2015

nov. 27 Dec. 05. 2015

Festival premiers plans d'Angers

october 15, 2015

January 22-31. 2016


Clermont-Ferrand International Short Film Festival

July 6, 2015 and october 5, 2015

February 5-13. 2016



oscar EFA BAFTA qualifying

Talent campus


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WORLD OF SHORTS editor in chief: Dániel Deák – editor: Zsuzsanna Deák – art director and graphic design: péter Flanek Daazo graphic design: Krisztina Jávorszki founding designer of WOSH: cristina grosan head of advertising: genovéva petrovits – World of Shorts authors: Dániel Deák, Zsuzsanna Deák, Diana nagy, genovéva petrovits, Janka pozsonyi contributors: nele Fritzsche, michael pattison, Dawn Westlake, tamara Kolaric proofreading: maia christie, matthew Wojcik thanks: laurent crouzeix, nele Fritzsche, Dimitra Karya, anita libor, Wim Vanacker cover illustration: Davor gromilovic´ illustrations by: Davor gromilovic ´ – photographs: peter himsel, Janka pozsonyi, simone scardovelli, gábor Valuska, Donata Wenders you can also find this magazine online at: World of Shorts magazine is published by Daazo Film and Media Ltd. Published in Hungary, May 2015. All rights reserved. Reproduction in whole or part is forbidden save with the written permission of the publishers. | ISSN 2064-2105 (Online) – ISSN 2064-2113 (Print) – the European Shortfilm Centre is supported by the MEDIA programme of the EU. is material does not necessarily represent the views and opinions of the EU. is magazine was printed on recycled paper.

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We remember Tünde Kálmán, artistic director and designer of three issues of World of Shorts. We are grateful for the chance to have known her and that her beautiful work has been part of the magazine. Thank you, Tünde.

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