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The Short Film Brochure | Cannes ‘18 A guideline published by – The World of Young Cinema

Heavy Rain | drama/thriller Motaz Elbahaey


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Short Film Brochure Your Guide through the Universe of Short Films

text by Dániel Deák

This publication is to increase the visibility of short films at one of the greatest festivals of the world. We present useful information regarding the films selected for the Competition and for Cinéfondation. You can also find screening schedules, tips and tricks, as well as articles about short films in general – we won’t let you get lost in the crowd at the Short Film Corner. Besides that, we also offer a space for talented filmmakers to highlight their own films. Each and every one of them is an ambitious creator who is passionate about becoming a successful filmmaker – so it’s worth taking a closer look at them! Find out more at Have a great Cannes! Editor in chief: Dániel Deák Project coordinator: Petra Pék Editor: Adam Harangozó Art director and graphic design: Zoltán Bukovics Cover image and illustrations by: Réka Bucsi You can also find this magazine online at: The Short Film Brochure is published by Daazo Film and Media Ltd. Published in Hungary, May 2018. 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)

illustration by Réka Bucsi

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We would like to provide you with a short guide to help you find your way around the maze of Cannes’ sections and parallel programmes, which festival veterans often refer to as by their French name.

The Essential Cannes Dictionary “In order to achieve this level of longevity, the Festival de Cannes has remained faithful to its founding purpose: to draw attention to and raise the profile of films, with the aim of contributing towards the development of cinema, boosting the film industry worldwide and celebrating cinema at an international level.” Thierry Frémaux, festival director


‘o cial selection’ a collection that serves to highlight the diversity of cinematic creation through its different sections COMPÉTITION ‘competition’ films that are representative of “arthouse cinema with a wide audience appeal”

UN CERTAIN REGARD ‘a certain regard’ focuses on works that have an original aim and aesthetic, and are guaranteed to make a discreet but strong impact on screens around the world.

HORS COMPÉTITION ‘out of competition’ films that are not competing for prizes but still deserve a screening and a reaction from the audience and the press

CANNES CLASSICS masterpieces from the history of cinema in restored copies, tributes to filmmakers or foreign cinema and documentaries on filmmaking.

CINÉFONDATION short films 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 gathering place to promote the dual cultural and economic nature of cinema, where film professionals get together to exchange information, hold negotiations and uncover new opportunities.

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

‘directors’ fortnight’ its aim is to bring new talents to the fore and surprise the audiences with new and unknown facets of young talents, and to show what’s most exciting in world cinema and what rises to the top among the new trends.

CANNES COURT MÉTRAGE ‘Cannes short film’

an entitiy that brings together two sections – the Short Film Corner and the Short Film Competition – in a complementary dynamic in an attempt to offer an all-encompassing panorama of short film production worldwide, as well as to stimulate the creativity of short film artists. SHORT FILM CORNER an area where filmmakers can come together to exchange ideas and promote 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 (‘Golden Palm’)

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

ATELIER ‘atelier’ an initiative that selects about fifteen projects for feature-length films from every corner of the world and welcomes their directors to meet a team of film professionals, giving them a 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 this programme is to explore and reveal new creations by discovering new talents both in feature films and in short films

RÉSIDENCE ‘residence’ a programme that every year invites twelve young directors working on their first or second fictional feature film project and provides them with a place of residence in Paris, a personalised programme accompanying the writing of their scripts and forums with industry professionals (see page 28 for further information)

L’ACID a sidebar that takes its name from the initials of its sponsor, the Association de cinéma indépendent pour sa diffusion or ’Association for the Distribution of Independent Cinema’, an association of film directors which, since 1992, that has been promoting the cinema distribution of independent films and encouraging debates between authors and audiences.

Birth | horror Ozlem Altingoz


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Sleepless Irina Cerkasa

Caducea Christophe Mavroudis

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What to do at the Short Film Corner? Watch Even if you came to Cannes with the agenda of promoting your film, a festival is still the best option to get a large dose of short cinematic art! Besides the main competition, Cinefondation, Semaine de la Critique, Quinzaine des Réalisateurs all have short film screenings worth checking out! If you have time, at the Short Film Corner, you can really dive into the international world of shorts: from Estonia through Argentine to Qatar, many countries will present a fresh selection of their best. Well-known universities and film workshops will also showcase selections of their students’ works.

Learn This is the time and this is the place – filmmakers and critics from all around the world are here at Cannes, and some of them want to share their experience with an audience! Conferences, masterclasses and workshops are hosted revolving


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text by Adam Harangozó

around art and industry issues, keep an eye for the topics you might be interested in! In case you are up for some challenges, you can refine your verbal skills at the Pitch Training Session, ask for advice regarding sales and distribution at the Helping Hand Workshop, or even face your critics and endure a 20-minute dissection of your film. Check the detailed events of the Short Film Corner in our brochure!

Discuss Cannes is obviously a heaven for networking. You can meet film professionals from all fields, get to know more about the different national industries and leading companies. Breakfasts are great opportunities to meet new faces in a relaxed environment – grab a coffee with a someone from the industry! Still, don’t forget that you are here with many people for a shared reason: the love of cinema. Surrounded by film buffs, take time for discussing your ideas about the moving pictures with other cinephiles, learning new approaches, debating film experiences.

7 Mistakes you Shouldn’t

Make at the Short Film Corner Short Film Corner. A great place at one of the best festivals around the world. You should know what to do there, so here are some mistakes you shouldn’t make! 1. Don’t forget that you’re not alone (I.) The Short Film Corner is a great opportunity to launch your career as a filmmaker. All the great players are there, and distributors, sales agents and festivals are looking for great content. However, you should realise that you’re not the only one who wants to get their attention, as almost 2 000 films are on the market. You have a very good chance, just don’t forget that you’re not the only one competing in the race. 2. Don’t forget that you’re not alone (II.) As the Short Film Corner welcomes dozens of experts who can help you, don’t miss the opportunity to ask them all your questions. The Short Film Corner is not just a marketplace where you sell your film, but also a place where you can learn a lot. Don’t approach the experts only with direct sales proposals, but be curious about their many experiences. 3. It’s not a goal – it’s a tool You have worked like hell on your film, which is now ready to be screened, distributed and sold. It has demanded a lot of investment on your part – in terms of money, energy and human resources, so it’s very difficult to accept that it isn’t necessarily the ultimate and paramount film you’ll ever make. Short films especially are tools that can be used to get some assistance to achieve new goals, like stepping stones or calling cards. So it’s no biggie if you don’t manage to sell your actual film – you can use it to increase your reputation and visibility as a filmmaker.

4. Don’t come without a strategy The Short Film Corner is a relatively small area, but it is hectic with busy people running around everywhere. So being spontaneous isn’t a good strategy to launch your career there. Use the website, know the buyers, distributors and agents and approach them with concrete ideas and proposals. Prepare your calendar and make a plan for these few days! 5. Don’t spam Buyers, distributors and agents receive hundreds of messages every day, so if you want to contact them via email, be very thorough: research them, learn their profile, find out what films they’re looking for in terms of length, genre, country of origin, etc. If you think your film meets their needs, then go for it. But if you know that someone is searching for a Scandinavian tale and you have an adult comedy, then it’s probably in everyone’s best interest that you don’t contact them. 6. Don’t forget to eat and drink There are two great official networking opportunities at the Short Film Corner: the breakfasts and the happy hours. Happy hours are open events, so you can just go there, grab a beer and make professional connections. Breakfasts are more serious, where you have to register before you can talk to the buyers for a few minutes. This is the best way to make a personal impression. 7. Don’t be too long As it’s a short film market, remember that people prefer short content. So make your presentations and pitches as short as possible. Don’t forget that less is more! The Short Film Brochure – Cannes ‘18 by


The Pistol Xaque Gruber


Je Suis Richard III Lucie Cloteaux and Audrey Vernet

Take Good Care of My Baby Michiel De Baets

Blindness Annette Cyr

Casa de Vidro Filipe Martins

Ghostbear Paul McDermott

Ghosts Drew Harwood

Hale Isaac Smith

I am Ana Jem Hopkins

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Send us your film with the special Cannes discount! Submit before June 15th and get 20% off FRIENDSINCANNES18


Find below a handy collection of tips to make your festival as smooth and easy as possible.


tudy and research the programme before the festival begins. Make sure you plan your schedule, including screenings, meetings and parties so that you have time for everything. It’s harder than you think – everyone is spoilt for choice here!


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arty and network together with cinéphiles from all around the world. Go to the International Village to find out all about the film production of amazing and exotic places – and to try delicious treats like Japanese tea or Jordanian sweets!


amiliarise yourself with the map of the Croisette. Memorise the venues and the best ways to get from screening room to screening room. Knowing the best shortcuts and the exact location of each entry point is essential.


set of elegant clothes with you, or near you, is essential – festival goers are regularly forced to turn down tickets for important red carpet premieres only because they are not wearing the right outfit! Comfortable shoes are equally important – you will walk several miles a day.


on’t forget the sun lotion and your raincoat! Both the sun and the rain (occasionally tornado-like wind and thunderstorms) can strike you in Cannes in May. You come out of the screening room and you either burn in the blazing sun, or get soaked while trying to get to your next film.


rganise meetings on the beach. Sitting in the sand with the breathtaking Riviera view in the background – what better way to begin a partnership? It will be a pleasant memory to refer back to later. You can even make a tradition out of it!


mbrace Cannes! Right now, you’re so lucky to be here, in the centre of the film universe – immerse yourself in the world of cinema completely!

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Country: Poland Length: 12’ Director: Marta Pajek

Country: Australia Length: 13’ Director: Charles Williams

A sudden meeting of a Man and a Woman begins a hypnotic act – a game of pleasure and discomfort. “III” is a portrait of a woman in an exhausting relationship with a man, which allures and repulses at the same time.

An adolescent boy attempts to untangle his memories of a mysterious infestation, the unravelling of his father, and the little creatures inside us all.



Country: USA Length: 12’ Director: Logan George, Celine Held

Country: Japan Length: 14’ Director: Masahiko Sato, Genki Kawamura, Yutaro Seki, Masayuki Toyota, Kentaro Hirase

In the middle of a hot Texas summer, plans for a babysitter fall through and six-year-old Caroline is left in charge of her two younger siblings.


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A son has never met his father. His mother takes him on a journey to make him decide whether to see his father or not. Along the way, they face junctures, just like life. The film never reveals the outcome of the choice. It only depicts the renewed mother-and-son relationship as choices are made.




Country: France Length: 12’ Director: Oren Gerner

Country: Philippines Length: 15’ Director: Raymund Ribay Gutierrez

A teenager is walking through the forest with his classmates, looking for Gabriel, a kid from his boarding school who went missing. After a violent incident, he separates from the rest of group and starts to wander alone. He slowly drifts away from the searching crew, deeper into the forest.

Joy, a mother of a 4 year-old girl, finally decides to file a case under domestic violence against his abusive husband, Dante.

TARIKA (Umbra/Ombre)

YAN BIAN SHAO NIAN (On the Border)

Country: Iran Length: 15’ Director: Saeed Jafarian

Country: China Length: 15’ Director: Wei Shujun

A few minutes after midnight, the young lady realizes that her partner disappeared after they had sex. She goes out worried to seek her partner in the darkness of streets.

A Korean teen named Hua Dongxing decides to leave his remote village. To realize his desire, he goes in town looking for his father and asking for travel expenses. This search takes him on a wondering roam…

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The Cinéfondation lends its support to the new generations of filmmakers. Part of this remarkable programme is the Selection, which showcases short films from film schools in the official Cannes Selection. Below are a few fun facts and exciting numbers for you to marvel at. 2,426 films were submitted from 512 film schools in 115 countries. 17 films have made it to the selection: 14 live-action and 3 animated films. • Dimitra Karya, director of the Cinéfondation selection, has selected the films of the programme with the help of just one assistant. • The selection process never really stops. Dimitra Karya even watches a few films during the summer. Then in November the online submissions start coming in, in gradually increasing numbers. But the majority of them arrive just before the deadline, February 15th, which means that hundreds of films must be seen within a month or so. • This year’s longest film is Dong wu xiong meng (The Storms in Our Blood) by Shen Di, with 31 minutes. The shortest film is an animation


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titled Inny (The Other) by Marta Magnuska, a mere 5 minutes. • According to the rules, films presented to the Cinéfondation selection must not exceed 60’ of running-time. The Cinéfondation Selection often showcases 40’ and 45’ shorts. Even a 60’ film was showed once, in 2010: The Painting Sellers by Juho Kuosmanen, which won the 1st Prize! A few years later, in 2016, Juho won the Prize Un Certain Regard with his feature film The Happiest Day in the Life of Olli Mäki. • Perfect equality: 11 of the 22 directors selected for this year’s programme are women. • Two schools make their first appearance at the Cinéfondation this year: ESMA (École Supérieure des Métiers Artistiques), an animation school from France, and the Shanghai Theatre Academy from China. • Cinéfondation launches careers: Etienne Kallos (alumnus in 2006 with his short Doorman) has been selected for the 2018 Festival de Cannes in the Un Certain Regard section with his feature debut The Harvesters.

Dimitra Karya

“What do we expect from young people, unknown filmmakers and early films? Let them shake us up, let them make us look at what we are unable to see, let them enjoy the freedom, the sharpness, the • In 2017–2018, seventeen recklessness and the daring that we Cinéfondation alumni have sometimes no longer possess. The shown their feature films at Cinéfondation has been working for important festivals, including 20 years to make these voices heard and I’m extremely proud Kornél Mundruczó (Festival this year to be able to de Cannes Competition 2017), accompany them!” Malgorzata Szumowska (Berlinale

Competition 2018, winner of the Silver Bear Grand Jury Prize), Atsuko Hirayanagi (Semaine de la Critique 2017), and Léa Mysius (Semaine de la Critique 2017). • Bertrand Bonello will chair the Cinéfondation and Short Films Jury. The French filmmaker will succeed Romanian director Cristian Mungiu. The members of the Jury are Valeska Grisebach, German director, writer & producer, Khalil Joreige, Lebanese filmmaker & artist, Alanté Kavaité, French-Lithuanian director & screenwriter, and Ariane Labed, French actress.

(Bertrand Bonello)

• The 5 members of the Jury will be awarding prizes for three of the 17 student films. The Cinéfondation Prizes will be announced by the Jury on Thursday, May, 17th during an Awards Ceremony in the Buñuel Theatre, which will be followed by a screening of the winning films. • The same Jury will also name the Short Film Palme d’Or winner from among the 8 films selected in Competition. It will be awarded at the Closing Ceremony of the 71st Festival de Cannes on Sunday, May 19th in the Grand Theatre Lumière.

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Flea | drama Alejandro Irias

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Mountain People Sascha Taylor Larsen

Weekend Tide Julio Ramírez

Isole Laura Sergi

Kara Khairulhakim

Kicks Maria Soccor

Let’s Talk Get A Clue Productions, LLC

Mitã Rory Luis Seoane

Na Dan Gong De Wang Zi Sixin Lin (Dandelion)

Nadie! JB Minerva

(Never Agian)2 Meletis Miras

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ALBASTRU SI ROSU, IN PROPORTII EGALE (Equally Red and Blue) Country: Romania Length: 21’ Director: Georgiana Moldoveanu On the day of her one-year anniversary with Stefan, Ana offers him an unexpected present – she agrees to be the surrogate mother for the baby Stefan can’t have with his wife. In the end, Stefan realizes that he wants something else, but it’s already too late.

CINCO MINUTOS AFUERA (Five Minutes Outside) Country: Argentina Length: 10’ Director: Constanza Gatti Irene and Juan escape a get together with friends, to talk about the state of their relationship. No matter how hard they try, nothing will be the same.

COSÌ IN TERRA (As It Is on Earth)

DOLFIN MEGUMI (Rubber Dolphin)

Country: Italy Length: 13’ Director: Pier Lorenzo Pisano

Country: Israel Length: 28’ Director: Ori Aharon

The village was small, and now it’s even smaller; only four houses still standing and a street. There is no one around. Nobody to say “hi” to, no one to whine about the heat to. The earthquake didn’t even spare the sound of breathing. The story of two souls trying to mend a wound in a torn town.

A gay love story set in a one-bedroom apartment in Tel Aviv. They meet, they have sex, they fall in love. Will it last until the morning comes?


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DONG WU XIONG MENG (The Storms In Our Blood) Country: China Length: 31’ Director: Shen Di Uma, a 22-year-old African girl, travels thousands of miles across the northeastern China countryside, stepping on a journey looking for her baby’s father.

EL VERANO DEL LEÓN ELÉCTRICO (The Summer of the Electric Lion) Country: Chile Length: 22’ Director: Diego Céspedes Hidden in a house far from the city, Alonso (11) accompanies his dear sister, Daniela (17). She expects to become the seventh wife of The Lion, a prophet who (according to stories) electrocutes when you touch him.

DOTS Country: Australia Length: 23’ Director: Eryk Lenartowicz People start dying after the arrival of a mysterious stranger in a small Australian town. Despite this, the local police officer is too preoccupied by his dream Mercedes to pay attention to the deaths surrounding him.

END OF SEASON Country: UK, Kazakhstan Length: 23’ Director: Zhannat Alshanova At the end of summer, Rosa arrives at her husband’s resort – a small hotel in the vast dry steppe, to check on staff and collect the accounts. An unexpected encounter interrupts the routine of her stay and awakens long gone passion for swimming.

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FRAGMENT DE DRAME (A Piece of Tragedy) Country: France Length: 24’ Director: Laura Garcia illustration by Réka Bucsi

Emilien, a hypochondriac piano teacher living in a small town of Vercors, is going through a rough period of mourning: six months ago, his loved one died in an accident. Emilien’s wellordered everyday life is suddenly disrupted by the unexpected visits of his deceased beloved girlfriend.



Country: USA Length: 23’ Director: Andrew Zox

Country: UK Length: 8’ Director: Lucia Bulgheroni

An adopted woman on the cusp of childbirth reinserts herself back into the life of her biological mother, unsettling the entire family unit.

Katrine has a normal life, a normal job, a normal boyfriend and a normal apartment in a normal city. Or at least that’s what she thinks until one day everything starts falling apart - literally!


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INNY (The Other)

KALENDAR (Calendar)

Country: Poland Length: 5’ Director: Marta Magnuska

Country: Russia Length: 28’ Director: Igor Poplauhin

While waiting for the arrival of the mysterious newcomer, people keep on guessing who he is. The blurry vision of the stranger takes shape the way his presence feels almost real. The initial excitement of the crowd turns into anxiety.

At first glance she is just an ordinary woman. But every couple of months her normal life comes to a halt. Secretly from her loved ones she goes on a long journey. What is on her mind and what is the purpose of this journey?

LOS TIEMPOS DE HÉCTOR (Hector’s Nighfall) Country: Mexico Length: 29’ Director: Ariel Gutiérrez Hector is a lonely man who assists suicides in Mexico City. Monica is a young woman who longs for death. Their encounter will unleash unsuspected consequences for both of them.

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MESLE BACHE ADAM (Like a Good Kid)


Country: Iran Length: 20’ Director: Arian Vazirdaftari

Country: USA Length: 15’ Director: Jamie Dack

Matin, a 5-year-old boy tells Sara, his babysitter, a story that makes her plan to steal from their house…

Sixteen-year-old Charlotte ambles through a listless summer day when she’s followed home by Tommy, an older guy. Tommy helps her escape her loneliness, but after betraying her trust, Charlotte must decide what matters to her most.


illustration by Réka Bucsi

Country: France Length: 6’ Director: Louise Aubertin, Eloïse Girard, Marine Meneyrol, Jonas Ritter, Loucas Rongeart, Amandine Thomoux A mermaid is going to try to seduce two sailors but everything is not going to happen as expected...


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Losing Ourselves in the Washing Machine

– an interview with Valentina Maurel, the winner of the Cinéfondation prize in 2017 interview by Janka Pozsonyi

A young girl and an older man from her past reconnect for a few days, but as time goes by, nothing seems certain in their eerie time together. It seems that in the world of Valentina Maurel, director of Paul Is Here – the winner of the main prize of the Cinéfondation last year – the feelings of anxiety, loneliness and love are just as complex and dream-like as we experience them in real life. Meet the director who won the chance to show her first feature in Cannes! Cristian Mungiu – winner of several Cannes Palme d’Ors – as the head of jury found your short film the best in the Cinéfondation selection last year. Has his or any other jury member’s (like Barry Jenkins, the director of Moonlight) advice stayed with you? I would say it's Cristian Mungiu's advice that really stayed with me. He told me that he thought it was good that my film, while being a student film, was a simple film with a small story and not too many characters. He said young filmmakers tend to be over ambitious or want to show what they can do when you should think of the film’s own interest. It made me understand that simplicity is actually a challenging and difficult choice. Besides winning the award, what is the best memory that comes to mind about


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your days in Cannes? A feeling, a smell or a taste even? I keep saying it was a dreamy feeling. I can’t remember any taste of food because I almost couldn’t eat while I was there. I remember the happy feeling of an empty stomach and running on adrenaline. Maybe it was because of not eating that made the whole experience so dreamy! That's my best memory, to be living on adrenaline and excitement, more than food or even air. Did you make Paul Is Here as your graduation short film? The interaction and the tension between your characters are quite unique, not made in a traditional way. How did your teachers react to this? Yes, it was my graduation short film. Some of my teachers didn't like that tension and even advised me to take out some of the scenes. I'm glad I didn't take those scenes out now, but I did have doubts during editing. I thought maybe my film was too strange. Now I think that's what makes it more interesting. What makes this father-daughter relationship special to you? The fact that it is so unconventional that it could seem like anything but a father/ daughter relationship from afar but still it is one. It makes me question relationships that are taken for granted when the reality

drawing by Valentina Maurel – from the Cannes 2017 edition of World of Young Cinema’s Mapping Your Mind

still image from Paul Is Here

is way more exuberating and complex than that.

basic idea behind the images for you and your cinematographer?

We can only guess about their shared history, the basis of their broken relationship. What do you think happened between them in the past? And what will happen to Jeanne, after her ghost has passed?

We weren't too theoretical about it. We just wanted to translate visually the moments in which the characters were close or distant one from another, emotionally, I mean. And when they would feel small and lost in the frame, like someone small and lost enough to fit in a washing machine.

I prefer not to think about that. I really like to keep everything within the frame of my script. Even the actors didn't get any more information about their characters. It's up to the viewer’s imagination and desire to do the rest. Since their encounter is so short and sensitive, I wondered if Paul is truly a ghost, someone special from the past, that still finds its way back to her mind. In this sense, we all have a Paul with us at certain times. How do you feel as a filmmaker, getting different interpretations on your movies? I love it! I think it's interesting that people talk about a ghost, I hadn't thought of it like that. But after all he is kind of a ghost and that's almost the story of the film. He isn't really there, but his presence does make a difference in Jeanne's life. I like it when people find their own words to approach the film. The use of camera in your film is almost like a third character observing the father and daughter very closely, it even peeks into the dreams of Jeanne. What was the

How did the Cinéfondation prize affect your filmmaking ever since? What are your plans after graduation? The Cinéfondation opened many possibilities for me. It allowed me to meet producers and finance my future projects. Right now, I’m working on a short film that I will shoot in Costa Rica, my country of origin. And I am working on a feature script. Winning the prize also meant that you can show your first feature film at the festival in the future. Have you started working on your first feature yet? Can you tell us about it? If yes, what are the differences between making short and feature films? Well I can't really talk about it yet. All I can say is that it is more difficult to write a feature, which sounds obvious, but now I truly realise how it is a really long process. On the other hand I enjoy that a lot because it allows you to take the time to explore many different subjects and possibilities with a single project.

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71st FESTIVAL DE CANNES – WORKSHOPS AT THE SHORT FILM CORNER 14 May 10:00-13:00 Pitch Training Session Workshop Led by: Ido Abram - EYE Film Institute Access: Registration Place: Conference Corner 13:30-15:00 Pitch Training Session Workshop Led by: Gavin Humphries - Quark Films / NOWNESS in collaboration with London Film Academy. Access: Registration Place: Conference Corner 16:00-17:00 Market, Selection, Lab: Match the Right One! Talk Participants: Matthieu Darras - TorinoFilmLab Maike Mia Höhne - Berlinale Anne Parent - Clermont-Ferrand Int'l Short Film Festival & Market Access: Free access Place: Conference Corner 15 May 11:00-12:00 Masterclass: Bertrand Bonello Talk Bertrand Bonello - Director, Writer and Composer - President of the Cinefondation and Short Films Jury Masterclass moderated by : Renan Cros - Journalist - Cinemateaser, Popopop (France Inter), Stylist Magazine, Trois Couleurs Access: Free access Place: Conference Center


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13:30-16:00 Helping Hand Workshop Workshop Laurence De Bourbon - OCS Lucie De Rohan-Chabot - Maneki Films / Full House Inga Diev - Ouat Media Jonathan Hazan - Les Films du Cygne Sydney Neter - SND Films Franz Rodenkirchen - TorinoFilmLab / solace23 Access: Registration Place: Conference Center 14:00-15:30 Raising Money and Returning It to Investors Talk Matthew Helderman - BondIt Media Capital / Buffalo8 Productions Luke Taylor - BondIt Media Capital / Buffalo8 Productions Access: Free access Place: Conference Corner 16:00-17:00 Short Film: What Do They Expect? Talk Isabelle Fauvel - Initiative Film Fabian Gasmia - DetailFilm Mike Plante - Sundance Film Festival Access: Free access Place: Conference Corner 16 May 10:00-12:00 Truth or Dare Workshop Participants: Jason Anderson - TIFF (Toronto Int’l Film Festival) Violeta Bava - BAFICI (Buenos Aires Int’l Independant Film Festival) / Ruda Cine Ron Dyens - Sacrebleu Productions Pascale Faure - Canal+ Isabelle Fauvel - Initiative Film Alice Kharoubi - Festival de Cannes Danny Lennon - Prends ça court!

71st FESTIVAL DE CANNES – WORKSHOPS AT THE SHORT FILM CORNER Romain Le Vern - Choas Reigns Hakim Mao - Initiative Film Nico Marzano - Institute of Contemporary Arts London / FRAMES of REPRESENTATION Film Festival Raymond Phathanavirangoon - Peanut Pictures Bruno Quiblier - Base-Court / Locarno Int’l Film Festival Wim Vanacker - NISI MASA Hédi Zardi - LUXBOX Access: Registration Place: Workshop Corner 11:00-12:00 Comedians: The Do’s and Don’ts Talk Follow the steps from the Book to the audition Richard Cook - Agent, The Lisa Richards Agency Mathilde Snodgrass - Casting Director, ARDA / CSA 13:30-16:00 Helping Hand Workshop Workshop Participants: Olivier Chantriaux - Filmo Yvonne Grzenkowicz - Animation Nights New York Wouter Jansen - Some Shorts Kasia Karwan - The Moonshot Company ançois Morisset - Salaud Morisset Angèle Paulino - TV5 Monde Access: Registration Place: Workshop Center

17 May 9:45-11:30 Focus Corpo’ Talk Felipe Galvez - THE SETTLERS (Chile) Production Company: QUIJOTE FILMS Flurin Giger - THE LAST FIELD (Switzerland) Production Company: LETTERBOX COLLECTIVE Fisnik Maxhuni - SYZYGY (Switzerland, Kosovo) Production Company: ALVA FILM Nicolas Pacó​- LOS GARCIA (Spain) Production Company: MAMUTT Sylvain Robineau - SABINE (France) Production Company: FILMO Access: Free access Place: Conference Corner 11:30-13:30 On the Road to Feature! Talk Access: Free access Place: Conference Corner 18 May 16:00-17:00 Meet Them! Talk The short film directors selected in official competition Access: Free access Place: Conference Center

illustration by Réka Bucsi

16:00-17:00 Film Distribution: To Stream or Not to Stream Talk Cord Dueppe - interfilm Berlin Sam Morrill - Vimeo Staff Picks Talk moderated by: Danny Lennon - Prends ça Court! Access: Free access Place: Conference Corner The Short Film Brochure – Cannes ‘18 by



Nomadic Doctor Mart Bira

Raaya Rakesh Gupta

Strange Paradise Breno Augusto Guimarães

L’oiseau Lisa Hurel

Potwór Natalia Lodygowska

Rreze / Ray Lorena Sopi

Ponožky (Socks) Mike Suchmann

Siri..The Living Scarecrow Neeru Khera

Aadha Chand Tum Rakhlo Neeru Khera


The Short Film Brochure – Cannes ‘18 by

Fernando | drama Helena Martel Seward

The Short Film Brochure – Cannes ‘18 by


Forever & Always Yitao Yang

Frame Andres Ramirez


The Short Film Brochure – Cannes ‘18 by

A Precious Life Fraser Precious

The Middle Alexandria Rose Rizik

The Race Maxence Desombre Pierrard

The Music Box Minji Kim

Lighter and Cigarettes Irene Méndez Andrés

War. Room Ben Hantkant

Watch Hyun Jun Cho

Love, Song Qingge Gao

The Short Film Brochure – Cannes ‘18 by



Theatre Croisette

Salle Debussy


19:30 QR 1

05.14. 05.15.

14:30 CF 1


11:00 CF 2


Alexandre III

Soixantiéme Palais des Festivals

19:30 SC



Espace Miramar

11:00 CF 4

14:30 SC 1

20:00 SC 1

19:00 SC

14:30 SC 2

20:00 SC 2

16:30 QR 1

15:00 SC 4

14:15 SC 3

14:30 CF 3 12:00 QR 2

15:30 QR 3

13:30 SF

11:00 14:15 17:00 19:30 22:00 11:00 SF

16:30 QR 2

SC 4

19:00 QR 3


CF 1 | Programme 1 (1h26’) | Palm Trees and Power Lines | El verano del león eléctrico (The Summer of the Electric Lion) | Inny (The Other) | Così in Terra (As It Is on Earth) | Dong wu xiong meng (The Storms In Our Blood) CF 2 | Programme 2 (1h23’) | I Am My Own Mother | Fragment de drame (A Piece of Tragedy) | Inanimate | Kalendar (Calendar) CF 3 | Programme 3 (1h19’) | Mesle bache Adam (Like a Good Kid) | Albastru si rosu, in proportii egale (Equally Red and Blue) | Cinco minutos afuera (Five Minutes Outside) | Dolfin Megumi (Rubber Dolphin) CF 4 | Programme 4 (1h21’) | Dots | End of Season | Sailor’s Delight | Los tiempos de Héctor (Hector’s Nighfall) SHORT FILM COMPETITION – SF


| Programme 1 (1h48’) | Caroline | Gabriel | Judgement | Duality | Tariki (Umbra/Ombre) | III | Yan bian shao nian (On the Border) | All These Creatures


SC | Séance spéciale Courts métrages 1 (1h23’) | Third Kind | La Chute (The Fall) | Ultra Pulpe (Apocalypse After) SC 1 | Programme courts métrages 1 (1h31’) | Schächer | Un jour de mariage (A Wedding Day) | Tiikeri (The Tiger) | Pauline asservie (Pauline Enslaved), Rapaz (Raptor) SC 2 | Programme courts métrages 2 (1h37’) | Hector Malot: The Last Day of the Year | Ya Normalniy (Normal) | Mo-Bum-Shi-Min (Exemplary Citizen) | Amor | Avenidas Novas | La Persistente SC 3 | Festival de Morelia (1h04’) | Vuelve A Mí (Back to Me) | Tierra De Brujas, Mar De Sirenas (Land of Witches, Sea of Mermaids) | Lo Que No Se Dice Bajo El Sol (Under The Sun) | Aguas Tranquilas Aguas Profundas (In Deep Water) SC 4 | Talent Adami Cannes (1h18’) | Âmes sœurs | Judith Hôtel | On va manquer | Le Roi des démonts du vent | Afikoman QUINZAINE DES RÉALISATEURS - QR

QR 1 | Programme courts 1 (44’) | Ce Magnifique Gâteau! (This Magnificent Cake!) QR 2 | Programme courts 2 (1h23’) | La lotta | Basses | O órfão (The Orphan) | Las cruces QR 3 | Programme courts 3 (1h30’) | Le Sujet (The Subject) | La Chanson (The Song) | Our Song to War | Skip Day | La Nuit des sacs plastiques (The Night of the Plastic Bags)

The Short Film Brochure – Cannes 2018  
The Short Film Brochure – Cannes 2018