BOOK OF PROJECTS 2015
Index 1 A Deer Looks Through the Glass
Fernando Pomares, Alexia Bas Anglès (Spain)
Deyan Bararev, Yancho Mihaylov (Bulgaria)
3 Bonjour, je suis Antek
Daria Woszek, Marta Łachacz (Poland)
Joanna Szymanska, Aleksandra Świerk (Poland)
5 Dylan Dylan
Sylvain Coisne (France)
6 Heaven Has Got Fooled
Odeta Çunaj (Albania)
7 Helga is in Lund
Kostas Tagalakis, Theliya Petraki (Greece)
Eero Talvistu, Anna Hints (Estonia)
9 Lost Summer
18-19 20-21 22-23
Sebastiano Luca Insinga, Giampaolo Smiraglia (Italy)
10 Magic Hour
Vasileios Tziokas (Greece)
11 Mira Hearts Valsu
Markus Laitinen, Samuel Häkkinen, Henna Välkky (Finland)
Jussi Sandhu, Niina Virtanen (Finland)
13 My Home
Uli Seis, Daniella Koffler (Germany)
Ivan Orlenko, Olena Yershova (Ukraine)
15 Requiem for Laika
Gorana Jovanović (Serbia)
Kyla Simone Bruce (UK/Germany)
17 The Baby Shower Joseph Pierce (UK)
18 The Family Who Hid in the Cellar Ayshea Halliwell, Miha Manea (Luxembourg)
19 The Mechanics
Grant Gulczynski (UK)
20 Twice Upon a Time
28-29 30-31 32-33 34-35 36-37 38-39 40-41 42-43 44-45
Vojin Vasovic (Serbia) ESP TUTORS 2015
NISI MASA member associations Albania - First Step Association Austria - kino5 Bosnia and Herzegovina - International Film Festival Kratkofil Plus Bulgaria - SEVEN Croatia - Kinoklub Zagreb Croatia - Palunko Czech Republic - Kino Praha Czech Republic - In Vitr0 Estonia - NISI MASA Estonia Denmark - Aarhus Short Film Challenge Finland - Euphoria Borealis ry France - Kino Paname France - Festival du CinĂŠma de Brive Germany - Munich Film Society Greece - PSAROKOKALO Italy - Franti NISI MASA Italia Italy - Lago Film Fest Kosovo - 7arte Lithuania - Kino Festival Luxembourg - Filmreakter Macedonia - Cre8ive8 Montenegro - Cinemapolis The Netherlands - Breaking Ground Norway - Filmkraft Poland - Ad Arte Portugal - FEST Russia - Generation Campus Russia - Moviement Spain - Cinestesias UK - Encounters Ukraine - CinemaHall
European Short Pitch 2015 European Short Pitch is an initiative aimed at promoting the European coproduction of short films. It combines a scriptwriting workshop in residency, an on-line session and a coproduction forum bringing together scriptwriters and industry professionals from all over Europe. Selected on the basis of their short film projects, young European talents gather to discuss, rewrite and learn to promote their ideas on a European level. They eventually pitch their project in front of a panel of European producers and distributors. Initiated by NISI MASA, European Short Pitch is now in its 9th edition and is the continuation of our European Script Contest, held from 2001 to 2008. European Short Pitchâ€™s rewriting session was held in Poznan at the beginning of January, with 20 participants from 14 countries attending. From collective brainstorming to working in groups or individually with professional tutors, participants discussed their projects in depth, receiving various feedbacks to nurture their projects. This year, European Short Pitchâ€™s pitching session will take place on the 7th of March in Luxembourg City, Luxembourg in collaboration with the Luxembourg City Film Festival, followed by one-on-one meetings in the evening and on the following day.
A masked man in black emerges from the darkness in a home and kills the entire family, except for the youngest child. A night where nothing is what it seems.
A Deer Looks Through the Glass Fernando Pomares PiĂąol -Spain-
SYNOPSIS Laura, 14 years of age, is having virtual sex on her mobile phone with her boyfriend, both in the same bed. In the room next door, Lauraâ€™s parents argue about their roles in the relationship they have with their three children whilst both lead parallel lives through their digital devices. In another room, the middle child, Paul, makes a deer digitally disappear from a photograph, leaving the image of an empty forest. Suddenly, a man dressed in black with a black hood emerges from the darkness beneath the bed where the parents lie sleeping. The man in black kills all the members of the family one by one, except for Paul. The murderer, in a startling discovery, is Paulâ€™s older brother. They have a long conversation in the darkness about the need to communicate and the frustration of feeling emptiness in the world surrounding them. The next morning, the whole family is at the table having breakfast, all alive as if nothing happened. The last to arrive is Paul, trying to become closer to his family after a night which invoked his fears to understand who he is and why he needs those that are around him. 6
Fernando Pomares Piñol firstname.lastname@example.org +34 645758686 Alèxa Bas Anglès email@example.com +34 628 344 563
BIOGRAPHIES Fernando Pomares Piñol Director His short film Alto Sauce has won several awards and has been officially selected by many international festivals. Fernando works as a script consultant, director and lecturer. He is currently working on the development of Cheeky Anna, an animation series with the French animation studios Les Armateurs (Ernest et Celestine) and Folimage (Une vie de chat). Alèxia Bas Anglès Producer Alèxia is the executive producer at Travelogue Studio. She has vast experience in the advertising field and has worked as a transmedia producer through Cookie Box for many international companies such as Accenture, BSH, Damm. Alèxia and Fernando graduated from ESCAC (the Film School of Catalonia) and founded Travelogue Studio in 2011. Together they produced three shorts and a feature film.
INTENTIONS NOTE During the night, the shadows of branches stirred by the wind are cast onto the walls of a house. A deer looks through the glass is a suspense and mystery film that transforms sequence by sequence, gradually introducing us into the core of the thoughts and desires of Paul, a labyrinth in the form of the night and murders created by a teenager who questions why we must continue to communicate with each other in times when it seems that hyper-communication prevents us from being honest and in touch with the world surrounding us by projecting this onto his whole family. A short that through the confrontation of the beautiful with the dark, fears with illusions, frustrations with needs, being with not being, while searching for that point of light, of truth and transcendence that gives meaning to fact that one forms part of something. “Even though we can’t see the deer in the forest, the deer is still there”, says Paul. Though it is increasingly harder to see that which gives meaning to relationships, it doesn’t mean that the essence is not there.
PRODUCTION NOTE Live Action
Genre: suspense, noir, art house
Length: 15 min.
20,500 € ICAA (application in March 2015)
21,000 € Producer’s investment
Looking for: International Co-Producer
Budget: 90,000 €
(countries we have in mind: France, Belgium,
Production Company: Travelogue Studio
Not only superheroes have supercars.
Batmobile Deyan Bararev -Bulgaria-
SYNOPSIS Vladimir (45) is trying hard to win back his estranged son Hristo (17), with whom they have grown apart because of the father’s frequent travelling. The mother has disappeared, fed up from taking care of Hristo all alone. Hristo sees his father’s efforts to bond as pathetic and never misses a chance to mock him. With the appearance of their stolen family car in front of their home, the father-son conflict escalates. Vladimir and Hristo argue about a scratch on the car, each one having a different story about it. For Vladimir it’s the memory of how his son used to see him as Batman and for Hristo it’s the memory his last failed attempt to reach out to his dad. As their argument reaches a boiling point and Hristo admits to Vladimir that he doesn’t want him to be his dad, three criminals appear to take the car away. And Vladimir has to do what no one expects from him - become the hero his son has always wanted him to be.
Deyan Bararev firstname.lastname@example.org +359 887 208 234 Yancho Mihaylov email@example.com +359 89 666 4538
BIOGRAPHIES Deyan Bararev Writer/Director He studied in London for a year, came back to Bulgaria, created controversy with his short film “Botev is an idiot” (2013) and won 8 awards from over 20 festivals. His next film “Maika mi calling” (2015) is just starting its festival run. He has participated on many international filmmaking workshops, incl. Berlinale Talent Campus 2015. Yancho Mihaylov Producer He started his film career like a PA 10 years ago. Since then he worked on more than 10 features and dozens of shorts as DIT, props, first AD, script supervisor, casting director and etc. Now he has a master degree in film directing, and already has produced 6 shorts. “Batmobile” is going to be the second collaboration with Deyan, after “Maika mi calling” (2015).
INTENTIONS NOTE This story is about heroism that is found in the strangest of places. Every father wants his son to see him as a superhero, as someone who can always help him, protect him and give him guidance. Something that has been lost between Vladimir and Hristo as the father’s work has taken him away from home for long periods of time. Now they arrive at a point where the father is back for good and is trying to make up for the lost time, an effort that is met with huge mockery by the son. The appearing of their stolen family car brings back an opportunity for Vladimir to be his hero again. The direct reference of this is a scratch that Hristo made on the car, a Batman signal that looks like a bird. This was misunderstood by Vladimir who even was mad at him at first but later understood what it actually meant. That his boy wanted him to be more around. He may have understood that but he didn’t do anything about it until Hristo grew up and became a teenager. Vladimir has made the journey back in his son’s heart a tough one, even an impossible one when you add the appearance of the criminals in the equation. But for a loving father impossible is nothing, especially when it comes to his son.
PRODUCTION NOTE Genre: Fiction, Comedy
Budget estimate: 30,000 €
Length: 15 min.
Funding: We’ve secured some of the necessary
Shooting Format: 4K
funds from the Bulgarian National Fund of Cultu-
Shooting Language: Bulgarian
re and we are applying for the Sofia Municipality
Shooting days: 6
Directorate “Culture” Sofia “Culture” program
Shooting location: Sofia, Bulgaria
Expected filming dates: Summer, Autumn
Looking for: Co-producers, post-production,
A young Polish man, an immigrant alieneted by French culture, ends up one night wounded in the apartament of a middle-aged woman. He squats there while she’s away and is starting to affect the place by small repairs and alterations that slowly alert the woman to his presence every time she comes back to the place. A silent game of hide and seek begins.
Bonjour, je suis Antek Daria Woszek, Vincent Potocki -Poland-
SYNOPSIS The plot is set in modern Paris. The main character is Antek - very shy, introverted teenager. He is a son of Polish imigrants. Due to strange coincidence, he gets wounded and ends up in Julie’s apartment. She is a well-to-do middle-aged woman and a University professor. She currently grieving the loss of her family. Antek starts to squat her apartment while she’s away. First, he discovers it and then, with every sunsequent visit, he expieriences more of new flavours, smells, textures and foods the place has to offer. His presence in the flat becomes noticeable by means of small improvements he makes. Julie suspects that someone might be living with her, most likely a good spirit. To be sure that she’s not out of her mind, Julie sets up little “traps” - like leaving a piece of delicious cake in the morning and check if someone would have a bit of it by the evening. Antek accepts her challange. During the day, he does some domestic chores, she prepares food after her classes, which gradually becomes more sophisticated. Passing each other in the apartment and having their silent game leads to their blossoming friendship and growing connection with one another. At the end Julie finally discovers who her good spirit really is. 10
Daria Woszek firstname.lastname@example.org +48 501 122 058 Marta Lachacz email@example.com +48 504 025 052
BIOGRAPHIES Daria Woszek Director/ Co-writer She graduated at the Jagiellonian University, followed by studies in film directing at the Katowice Film School. Her film “The Confession” won first prize (Kodak Award 2010) at the Polish Film Festival in Los Angeles. Her public awareness short, The Sea Stories, received the award in the Kodak Advertising Film Competition. She completed masterclasses at the Wajda School of Film Directing. Marta Łachacz Producer A graduate of the PostGraduate Studies of Social Communication and Media organized by The Polish Academy of Sciences and the Film & TV Production Course. She aquired experience in Paisa Films. In 2011 she started her own production company - Cor Leonis Production. Since this time she works as a producer or production manager of TV and Internet commercials, short feature films, documentaries, TV show.
INTENTIONS NOTE On the basic level, the story is kind of an extraordinary romance. The tale of an alienated young man and a lonely, mature woman. Because of his interest in Julie, Antek finally explores the culture of the country he is living in as an immigrant. The assimilation process begins on the sensual level. Everyday objects and our handling of them, such as food, define our identity. It is identity that I wish to explore, since I see it as a concept crucial for contemporary Europeans. “Bonjur, je suis Antek” is also my first attempt to enter into a dialogue with my film master, Krzysztof Kieślowski, and the concepts of liberty, equality and fraternity he examined in his own films.
PRODUCTION NOTE Genre: Drama
Looking for: Co-producers, Pre-Sales, Funds,
Length: 15 min.
Sales Agent, Distributor
Shooting format: HD Crew: Author, Director, Producer Language: French Shooting days: 7 Budget: approx. 80- 90,000 € 11
While being separated by closed doors, mother and daughter open themselves up to each other for the first time.
Camouflage Aleksandra Swierk -Poland-
SYNOPSIS It’s already six months since Weronika’s father – professional soldier, has been sent on a mission to Afghanistan and died. Weronika (13) thinks of him as a war hero. He’s still very vivid in her mind, almost alive. She regularly sneaks into his room - her safe hideout in the world. Krystyna (44), her mother, being a soldier herself is more down to earth and withdrawn, she wants to move on and start a new life. They don’t talk to each other much, and about him – not at all. Until the day when mother receives father’s portrait as an anniversary gift from her work colleagues. It triggers hidden emotions. She and Weronika get into a fight, ending up separated by closed doors of father’s cabinet. Ironically it becomes the only chance for them to finally communicate. During one afternoon they will confront each other and their images of this man, who is already gone. The situation culminates in a long-awaited explosion of honesty. When the door is opened again, it’s time for them to reconcile.
Aleksandra Świerk firstname.lastname@example.org +48 694 231 336 Joanna Szymanska email@example.com +48 607 816 342
BIOGRAPHIES Aleksandra Świerk Writer Scriptwriter and script consultant, her professional career has been connected with screenwriting since 2007. She has worked on numerous projects, both: her own and written by the others, constantly developing understanding of how a good and engaging story works. Joanna Szymańska Producer Producer, Berlinale Talent alumni (2011) and EAVE participant (2015). Worked on a number of short live action subjects, including award-winning “Brother Dog” (Cottbus 2013) and “Milky Brother” – PolishArmenian coproduction that brought her Best Producer Award at 54th Krakow Film Festival (together with Wajda Studio).
INTENTIONS NOTE What happens when an unexpected tragedy hits family? Ironically the closest ones, who are supposed to support each other, often fall apart. That’s the situation in “Camouflage” - mother and daughter can’t communicate after man of the family is gone. I’m very eager to explore relationship between those characters who only after being separated by closed doors are able to start talking openly. How does this separation change dynamics between them? After half a year of an awkward silence – will they finally be able to touch the most painful topic – death of the father? As the situation develops it becomes quite clear that those two have completely different images of this man in their minds. Now it’s time to confront them. I have decide to work on “Camouflage” with a documentary-experienced DoP whose watchful eye can spot all the nuances of character’s emotional development and follow how they build a new relationship through closed doors. As the film ends I would like to leave audience with the sense of relief – Weronika and her mother have already gone through the worst and learned something about each other. New chapter of their live opens.
PRODUCTION NOTE Genre: short live action
Looking for: international sales agent, broadca-
Length: 20 min.
sting partners, investors
Language: Polish (English subtitles)
Contact: Joanna Szymańska,
Shooting location: Kraków, Poland
Production budget: 50,000 € Secured financing: 5,000 € Crew: Aleksandra Swierk (writer/director), Marcin Łaskawiec (DoP), Piotr Bartuszek (casting director) 13
Since the tragedy, Hugo and Gabriel are probably no longer a couple – and probably no longer fathers.
Dylan Dylan Sylvain Coisne -France-
SYNOPSIS Hugo and Gabriel are a couple of men in their mid-thirties. As a gay couple they managed to adopt a young boy a few years ago. But Dylan recently died in a tragic domestic accident that none of them could have avoided. Overwhelmed by distress, the two men start to cope however differently. Gabriel wants to express his suffering as Hugo progressively locks themselves in a cold silence. Hugo wants to get his life back, the way it was before Dylan, out of love for Gabriel... and out of a giant need to cover up his pain. But now their silence becomes suspicious. Rumors of negligence, mistreatment – and even rape – start to grow across the small town. Journalists want to talk to them but Hugo keeps avoiding any contact with the outside world. Surprisingly he becomes provocative, enjoying the cruel accusations. Gabriel can’t stand his scary and self-destructive behavior anymore, and understands that separation might be the only way for each of them to finally start grieving as fathers.
Sylvain Coisne firstname.lastname@example.org +33 6 07 41 55 93
BIOGRAPHY Sylvain Coisne Writer/Director He graduated from the Directing department of La Fémis in France. His graduation film “The werewolves recognize each other” described the impact of the disappearance of a teenager, who got bullied on the internet after he posted a video on Youtube. Sylvain’s films deal with very contemporary issues that he tries to give a fresh look at, thanks to the use of a deep research on visual effects. He is currently developing the short film “Dylan Dylan” as well as his first feature film script “Cockfest”.
INTENTIONS NOTE The film’s core is Hugo’s inner conflict. He was there when Dylan died accidentally. He now has to cope with a huge pain and a bigger denial. He never talks about Dylan and acts like he already went through his tragic death. Hugo develops a kind of “inner homophobia”, blaming himself for adopting a child, believing that gay men can’t be good parents. His relation to Gabriel makes us understand his extreme progression as we see him act through his eyes. Gabriel’s character is indeed much more approachable and emotional. Their conflict leads to a separation, as they understand that they prevent each other from dealing with Dylan’s death. The bond between the two men is their reaction to the outside world. They barely talk to people, reject help from friends, ultimately making the doubt grow about their responsibility in Dylan’s death. The less they talk, the more they’re attacked. Dylan Dylan is a character-driven contemporary drama with cold humor (mostly from Hugo’s behavior). Its style will have an almost fantastic approach, with the use of visual effects and unsettling sound design. The goal is to make a film as an emotional experiment to describe the characters’ spiral of emotions.
PRODUCTION NOTE Short fiction Length: 30 min. Shooting Location: France Production company: Fase Films (France) Producer: Belinda Leduc
Out beyond ideas of wrongdoing and rightdoing, there is a field.
Heaven Has Got Fooled Odeta Çunaj -Albania-
SYNOPSIS In a tennis court located in a block of residential buildings, players pass the ball to each other, making for a monotone remote noise, resembling the nature of a young couple’s relationship living in front of it; Gjergji, 37 years old, a cultural reporter, and his wife Vesa, a formerly famous singer. Gjergji helps Vesa lift a bulky box of books on the library’s top rack. During the attempt Vesa willingly drops the box on the floor. Gjergji observes something in her stare following the drop, which he interprets as her need for strong emotions, away from him. In an effort not to feel a victim of the situation, Gjergji suggests the possibility for them to separate. Vesa, 35 years old, fragile, cannot sleep through the night. She hears Gjergji leaving for work, and gets up to have a bath. The bathroom window pane breaks into a myriad pieces, and a tennis ball rolls in. Eno, 35 years old, attractive, shows at the apartment door wearing tennis apparel. The conversation between the two washes away the monotony in Vesa’s glare. She feels the need to speak out after a long time. It seems like both long for a kiss, but when Eno repeats his words, Vesa notices a recurrence of her marriage. She realizes mundanity is a state of being. Gjergji is back. He is surprised to see his wife waiting for him. A happy Vesa laughs uncontrollably. The laughter becomes contagious and Gjergji joins her. A veil of sudden passion and happiness enwraps both of them. Happiness sparkles thanks to a stranger.
Odeta Çunaj email@example.com +355 697830711
BIOGRAPHY Odeta Çunaj Director Was born in 1984 in Albania. She finished the study in 2010 for Film Directing at Academy of Arts in Tirana. From the study period she start to work like Script Supervisor, Casting Director, 2nd AD, in many films. In 2009 her short film “Signs” was awarded the Best Albanian Short Film at Tirana International Film Festival.
INTENTIONS NOTE My intention in this film is to capture the experience regarding that intermediate stage in life that one goes through before making a change and embracing a different perspective of understanding and knowledge. That experience we have in making order out of chaos before we can see light. Some magic moment of an encounter that makes us develop deeper understanding of ourselves and the others. The story in the film will be unfolded from two perspectives, namely, the perspective of a husband, who fears his wife’s remoteness, and indeed, is afraid of losing her. And, secondly, his wife’s perspective, which reveals her failure to understand her spouse, as well as her strenuous efforts and need to bring about a change. The light I want to make use of in the film is very important to me. And I am referring to that light surrounding that feeling of melancholy we experience in childhood after the afternoon nap. Instead, in our adult life we hunger for that light, and are in search of it. That light is still there, that same old light, but our senses fail us, and we feel joy no more. Initially, the characters in my film are also lacking in such senses, but finally, realisation of the light in their life dawns on them.
PRODUCTION NOTE Genre: Drama
Length: 20 min.
Planning to apply to National Center of Kosovo in
Shooting place: Albania
March 2015 with Besnik Krapi, Producer of Circle
Production: for the amount of 10,000 €
Cast: Adriana Matoshi, Alban Ukaj, Erion Kruja
Searching for: Co-Producer
Music: “The Alicka Problem” Band Estimated budget: 30,000 € Secure financing: National Center of Albania 17
The phone rings, a cat is jumping on the piano…
Helga is in Lund (HELGA ÄR I LUND) Theliya Petraki -Greece-
SYNOPSIS Two adjoining apartments. In the one it takes place a session of a doctor, in the other a piano lesson. An elementary student follows clumsily but effectively the instructions of his strict Swedish teacher. With the same effectiveness Areti answers to the doctor’s questions, hoping that, this way, she will finally manage to overcome her fears, fears of people, love, society, noise, life. The piano teacher is performing her lesson while, at the same time, she is concerned about her own personal story, and the doctor is making efforts to find the strength to cope with the process of the session, while he is absorbed in his own thoughts, until the phone rings… What connects these people? What separates them? Who is Helga? Where is Lund?
Thelyia Petraki firstname.lastname@example.org +30 6945687587 Kostas Tagalakis email@example.com +30 6937121987
BIOGRAPHIES Thelyia Petraki Director/Writer Graduated from California Institute of the Arts (Film). Has worked in various TV and Commercial productions in LA USA and in Athens GR. Is the award winning director of the short film PRAY 2012 (www.prayshortfilm.com), the feature documentary “Me and the Others” 2015. Kostas Tagalakis Producer Holds a European Master in Audio Visual Management by MEDIA (Rome, Italy). Has worked in various Film and Commercial productions in Athens GR as a Producer, Production Manager and Location Manager. His latest producing work includes the short film PRAY 2012 (www.prayshortfilm.com) and the feature documentary “Me and the Others” 2015.
INTENTIONS NOTE Helga is in Lund is a tragi/comedy. The story evolves in two layers. The first layer is the obvious one, describing that moment in life when a person loses touch with himself & reality. In our case, a doctor and the second layer is about Helga, the swedish piano teacher from next door, who realizes that she cannot leave the doctor alone anymore totally regretting the time she kept herself distant from him. Although the action of the doctor’s story is linear the story of Helga reveals it self at the end. Going backwards we recollect all the hints and the small details that witness the nature of their relationship and discover the reason of them being apart. The script as well as the film follows a strong sense of symmetry with a minimalistic simplicity. We create our own absurd universe that resembles a lot the Era of Desperation in Athens today, we use B&W with a 60’s touch in a way to emphasize on the degeneration and the decadence of these people’s lives.
PRODUCTION NOTE Secured financing:
Length: 15 min.
20,000 € (57%):
GFC (Production Grant) 12,000 €
Awards * 1st Short Film Script Award *
SEE CINEMA NETWORK (Grant) 8,000 €
Hellenic Script Writing Competition 2014
Additional Funding to be placed
Scriptwriters Guild of Greece
Sub Total: 15,000 € (43%)
Athens, Greece Jan/2015
Total aiming budget: 35,000 € Tech Specs 19
A story of a father who tries to understand, forgets to listen but remembers to love in the very end.
Ice Anna Hints -Estonia-
SYNOPSIS Harri is a lieutenant colonel in the Estonian army embarking on missions to Iraq and Afghanistan. He is divorced and only sees his 10-year old son on holidays from time to time. Struggling with the guilt of not being there for his estranged son, Harri decides to make up for lost time by going to an adventurous father-son winter trip to an island where he used to go with his father as a boy. Due to the slow queue in the harbor, Harri decides to take the quicker way - a local ice road over the frozen sea. While arguing with his ex-wife on the phone, Harri loses the tracks and an accident occurs. The car falls through the ice into the cold water. The father, who is used to controlling every aspect of his life, is now faced with forces he cannot control. The journey becomes a journey of survival on the edge of illusionary realities of life and death. Ice tells the story of the importance of saying, “I love you” while there is still someone there to listen.
Anna Hints firstname.lastname@example.org +372 55 699 602 Eero Talvistu email@example.com +372 555 09 3033
BIOGRAPHIES Anna Hints Writer/Director Anna Hints (1982) has studied literature, folklore and has a BA both in photography and film directing. She has a background in Estonian contemporary art scene. In her art she has explored the thin borderline of public versus private, the backstage of our fears and desires, the concept of memory both personal and cultural. Anna is active in two musical groups. She has composed music for all of her films. Eero Talvistu Producer Eero Talvistu (1976) has worked for Exitfilm since 2008. He has produced student thesis projects, documentaries and feature films. Eero is taking part of EAVE 2015. He has had more than 10 years of experience in business management in printing and publishing and is currently involved in startups.
INTENTIONS NOTE Coming from a background of studying literature, I enjoy working with texts that are important to me. Ice is an adaptation of the famous ballad “Erlking” (1782) by Johann Wolfgang von Goethe, which also flirts with the story of “The Brothers Lionheart” by Astrid Lindgren. The film is inspired by my own experiences as a child and as a parent. The theme of the film is guilt. The guilt triggered by the time you didn’t spend with your child and that you cannot ever make up for as a parent. Yet what you can do is apologize and realize that while you cannot make up for the time you’ve lost, you can make every moment count of the time that you do have right here and now. Ice has the tone of magical realism. Imagine rough Scandinavian winter dating with the dreams of Kurosawa. This is the style of the film. The atmosphere and aesthetics of the ice road fascinate me. Ice in this film is the third character that reveals itself through frozen materials such as skin and clothes. Throughout the film we hear the variety of sounds of ice and wind. We feel the visions one can get while being on the vast desert of white, fighting with death. The ice road is an essential location as it symbolizes to me the fragility of the ground we all, parents and children alike, walk on.
PRODUCTION NOTE Production company: Exitfilm
Secured financing: 32,000 €
Looking for: Co-production partner, sales agent
Genre: Drama Length: 15 min. Shooting format: HD Shooting days: 7 Shooting location: Estonia, Finland Estimated budget: 55,500 € 21
The last day of summer for Gianluca; the last day of innocence.
Lost Summer/Odio l’estate Sebastiano Luca Insinga -Italy-
SYNOPSIS Into the sun, into the wind, in salt, in water. Gianluca is living the last day of his childhood, the last day of his innocence, the last day of his summer. That summer was all about losing track of time, about adventures, about the body desire’s for celebration. Together with Gianluca, there are Alice and Fabio. Their friendship is renewed each year, yet this summer their beach games have a different taste. A whole summer was not enough for Gianluca to tell Alice about his feelings for her. What makes things worst, Fabio is there in between them; his presence undermines Gianluca’s confidence. They are only thirteen years old. At that age, time seems without an end; just like the summer. The last summer day, before leaving for the Northern town where he lives with his mother, Gianluca decides to give some relief to his desires, and he does so with one of Alice’s friends. He does not know what Alice is preparing for him; he will later discover that his first love, just like that summer, is forever lost. 22
Sebastiano Luca Insiga firstname.lastname@example.org +39 3470711847 Giampaolo Smiraglia email@example.com +39 3927247116
BIOGRAPHIES Sebastiano Luca Insinga Writer/Director During his studies in Literature he begins to experience video as an expressive ideal medium and in 2008 he directed his first short film called Cursed Spring. In 2012 he was selected for the Berlinale Talent Campus with the documentary Nothing happened. He has been selected as partecipant for Film Factory Italia in 2013 , a four months workshop conducted by Silvio Soldini and tutors as Pierfrancesco Favino, Abbas Kiarostami and Toni Servillo. As final essay of the workshop he directed Hands with Cristiana Capotondi. Then he collaborated with Luca Bigazzi, Cristina Comencini , Daniele Ciprì as assistent and collaborator. His films and videoclips have been selected to important international festivals. Gianpaolo Smiraglia Producer He has attended modern and contemporary art studies at University of Pisa, where he established a professional relationship with the director Paolo Benvenuti. In 2006 he produced for RAI Cinema and Istituto Luce “The silence around”, first fiction opera by Dodo Fiori. In 2008 he produced “Puccini and the girl”, by Paolo Benvenuti and Paola Baroni, which premiered at the Venice IFF, and in 2009 he worked as executive producer on the documentary project “Gaza Hospital” by Marco Pasquini, winner of the 2010 Golden Globe as Best Documentary. In 2012, he produced “Small homeland”, the fiction debut of the documentary filmmaker Alessandro Rossetto, which premiered in the Orizzonti section of the Venice IFF.
INTENTIONS NOTE There is a time in our lives that is made out of confusion, in which us children become us adults, in which we find ourselves stuck in the middle of something we no longer want to be and something we do not know the nature of, but which we irrationally long for: adulthood. The focus of Lost Summer is the inability to manage the turmoil that typically raises at that age, when the body starts to change, when, together with the first hair, ideas start to go wild. Gianluca embodies this incipient desire and the difficulty to understand it; the struggle to bring it into light to himself and the fear to manifest it in front of others. Gianluca feels like he is not being understood, and he is afraid of showing his feelings. Alice embodies these desires and this confusion; she takes the lead of Gianluca’s moods and fears, until the moment they explode. The time of pre-adolescence leaves an indelible mark in people’s lives. At that time, one’s character gets shaped forever. That summer, Gianluca will remember it forever: the summer of one lost love, different from any other summer from the past. The title of the movie is a tribute of a song titled “Estate”, originally sung by Bruno Martino and re-interpreted by Marlene Kuntz for the OST of the movie. The lyrics talk about the memories of something that has been lost forever, and that is never going to come back. Just as one’s first love.
PRODUCTION NOTE Short fiction Length: 10 min. 4K Production Company: Jump Cut (Italy) Producers: Gianpaolo Smiraglia and Luigi Pepe (Jump Cut) Director/Writer: Sebastiano Luca Insinga Estimated budget: 80,000 €
Secured financing: 20,000 € (Lucana Film Commission); 10,000 € (Own investement) Waiting for: 30,000 € (Italian Ministry of Culture - March/April 2015) Looking for: International coproduction and pre-sales Shooting period: 7 days during summer 2015 Shooting location: Basilicata region, Italy 23
A couple on the verge of breaking up, deals with imaginary loves.
Magic Hour Vasileios Tziokas -Greece-
SYNOPSIS Michael and Alexandra live in a city where memories can be extracted and sold, in an apartment that is falling apart, just like their relationship. Michael buys ‘love memories’ in order to live exciting moments, like the ones he and Alexandra used to share. Alexandra asks Michael to fix the house, just to get a proof that he is a man she can depend on. One day, Alexandra meets her old boyfriend, George. Who now seems dependable but also seems like he doesn’t remember her. On the same day, Nicky, also a ‘love memory’ addict, gives Michael a revealing experience when they found themselves trapped in the building’s damaged elevator. Michael understands that the woman he is fantasizing by using memory pills, is really someone else’s memory of Alexandra. And Alexandra realises that Michael probably will never be the man she believes he can be. On the same night they will have to escape from the apartment that is now totally collapsing and make the last choices in the building’s rooftop.
Vasileios Tziokas firstname.lastname@example.org +30 6983442149
BIOGRAPHY Vasileios Tziokas Writer/Director I live in Athens and work as a screenwriter, director, art director, video/photo editor and graphic designer (motion and static) in cinema and theater. Due to my great interest in neuroscience and filmaking I have studied psychology and film directing, fields of studies that further triggered my interest in the research field of neuroarts. I have produced, written and directed 5 short films. My last film, ‘’The.Summer.After’’ won an award in Drama Short Film Festival. In 2014 I was an art director in two theatrical plays. This spring I’m directing for the first time a play I’ve written.
INTENTIONS NOTE Magic Hour is a sci-fi/romance story about imaginary loves and learning to live without them. It uses the consecutive transactions of a love memory as a vehicle for a young couple’s relationship that is falling apart, to be explored. The visual conective tissue derives from the memory’s core elements. The feeling I want this movie to have is that of a reality being invaded, an essence of normality spoiled by awkard details, a repetetive blending pattern of elements that change, reshape, dissolve the one to each other, flow like a dream or getting abstracted from one scene to another to create an expanded reality similar and apropriate to the objectivity and fragility of a memory that changes receivers. An audiovisual experience progressing and evolving from stable reality to abstraction. The aesthetic choices made (color pallete, music, costumes, set design, composition, framing, lighting, camera position) derive from the repeating use of the sensatory elements related to (and surrounding) the love memory. As these elements transformate through the story, their core remains the same, developing an obscure feeling while contrasting and occasionally blending memory with reality.
PRODUCTION NOTE I’m currently developing this project with my own company, however my aim is to find a likeminded producer and work with him for the project’s further development. Cooperating with a bigger production company and finding other European Co-producers to creatively work with for the making of this film, is my objective. I have submitted the script to be funded by the
Greek National Fund. The lighting equipment needed for the making of the film is assured, and will be provided by a Greek production company. Also, local beverage and alcohol companies (mostly beer, since it seems it’s a blooming industry in Greece right now) have shown interest for a product placement and an investment in the movie. 25
A teenage love story about getting punched in the face and straight to the heart.
Mira Hearts Valtsu Markus Laitinen -Finland-
SYNOPSIS Valtsu is a fifteen year old boy who’s fighting to get noticed. And while he is more than willing to take a physical punch, the thing he fears most is taking an emotional one. Now stuck between his divorcing parents, Valtsu is secluding himself from everyone just to keep from getting hurt. But in comes Mira, a force that literally kicks her way into Valtsu’s life. And in each other they find someone to confine in. But really opening yourself and letting the other one in is difficult: Valtsu is ashamed of his family that’s breaking up while Mira is desperately looking for her own. But when Valtsu is finally willing to let Mira in, he only succeeds in hurting her more. To win back Mira’s trust Valtsu needs to be honest and show her why he’s fighting. He has to take the emotional punch of letting her see his trainwreck of a family.
Markus Laitinen email@example.com +358 503259657 Samuel Hakkinen firstname.lastname@example.org +358 445478070
Markus Laitinen Writer Markus has written, directed and edited several short fiction films and has also worked as an editor in a few documentaries. He’s written one dram a-comedy feature screenplay and is working on Silent Paprika Films’ first feature film.
At-risk youth. It feels like these words carry a lot of weight these days. And talking about atrisk youth has became important – maybe more so than the actual atrisk youth. Mira hearts Valtsu is about two teenagers like this. But it’s not a story of the social issue per se. It’s not shouting “atrisk youth” in your face.
Samuel Häkkinen Co-director Since his first film, “Flutte eats the sausage” at the age of eleven, he has directed short films, music videos and commercials, the most successful being his short “Tears of Horses” that has galloped film festivals around the world.
Above all it’s a love story. Of two youngsters. Who are lonely.
Henna Välkky Co-director Henna has directed, shot and edited short fictions and documentaries, music videos and commercials. She studied in three film schools and is the cofounder of the production company Silent Paprika Films together with Samuel and Markus.
Mira hearts Valtsu is about the difficulty of asking and receiving help. It takes me back to my youth, the late 90’s cold Kivenlahti in Finland, where Valtsu too grew up. Valtsu couldn’t let anyone get close to him as he was ashamed of what they’d find: a failed family and an insecure boy – not the fistfighting, selfsufficent guy that just doesn’t care. But along came Mira, who forced through Valtsu’s shell. Because Mira needed help just as much as Valtsu. And when noone around noticed the two in distress, they noticed each other. The real story of Mira and Valtsu didn’t have a happy ending. There was a suicide pact, substance abuse and an untimely death. They were beyond at-risk. But before all that, there was a love story.
Genre: Drama, comedy Length: 30 min. Shooting format: 4K Live action film Production company: Silent Paprika Films Crew: Directors, dop, composer, sound designer, set designer. Cast: Lead couple Language: Finnish Shooting days: 12
Budget: 100,000 € Financing plan: Finnish Film Foundation 66,000 € (application in April 2015) Finnish Cultural Foundation’s PäijätHäme Regional Fund: 24,000 € (application in February 2015) Distributor: 10,000 € (not attached) Looking for: Producer / Co-production company, Distributor, Pre-sales. Short demo of the film available. 27
Black snow makes black snowmen.
Mudslide Jussi Sandhu -Finland-
SYNOPSIS 7-year old Ilse wants to build a snowman. It doesn’t even bring her down that the winter is dreary and all snow polluted black. Ilse’s friend Matti, however, mocks her muddy snowman. He points at its carrot and calls it a cock. “Niggers have big cocks”, Matti says. “That’s a nigger.” He tells Ilse that niggers are taking over Finland, stealing their jobs and women. Ilse gets worried and her fears start manifesting as a nightmarish Mudmonster. When mom’s work colleague, Mr. Kipingu, pays a visit, a terrified Ilse tells him to get his hands off her mom. This only makes things worse: Ilse’s fantasy takes over, the monster steals her mother and floods their home in mud. This all is brought to an end by a small black boy – Mr. Kipingu’s son. He has been following Ilse’s adventure, which looks like fun. He joins her monster play, destroying the nightmare. When Matti later visits the snowman, it’s just a muddy wodge and a carrot. He laughs, saying its cock fell off. Ilse gives Matti a mudwash. 28
Jussi Sandhu email@example.com +358 407292037 Niina Virtanen firstname.lastname@example.org +358 40 776 6799
BIOGRAPHIES Jussi Sandhu Writer/Co-director Jussi Sandhu is a writerdirector based in Tampere. His short films Whistle While you Work (2009) and thesis work Change of State (2011) (written and co-directed with Ville Hakonen) have been screened and awarded in many international film festivals. As an editor Sandhu has also worked on several successful short films. Niina Virtanen Producer Niina Virtanen is a Finnish producer who graduated from Tampere University of Applied Sciences in 2011. During the past years Virtanen has worked in film, TV, event production and digital media in Tampere, Helsinki and New York in roles varying from production to marketing and journalism. In addition to producing, Virtanen writes and conceptualises films and tv series. © Marjaana Malkamäki photography
INTENTIONS NOTE As a child, I remember being afraid of things I didn’t know and understand. Sometimes I still am. While most films tend to romanticize childhood with innocent imaginings giving escape to a cruel world, I wish to present another side of it – a childhood where the unknown can easily create horrific imagery and invade a once safe environment. This is Mudslide, a short film told through the eyes of a 7-year-old girl, Ilse. A child’s point of view offers a powerful environment to explore this fear created by ignorance. With racist stereotyping often being laughably childish, it felt natural to merge these two and approach the story as a black comedy. The cutest little girl you can think of shouts out these most appalling things – a ludicrous nightmare is born from sheer ignorance. The visual style of Mudslide is to be playful, yet provocative. The whole film is told strictly from Ilse’s point of view, gradually adding more supernatural elements as her nightmare evolves. We wish to mix live action with stop motion animation in the film, bringing the monster as a magical element in the middle of gritty realism.
PRODUCTION NOTE Live action mixed with stop motion Length: 5-10 min.
Looking for: Co-producers, possible distributors and a sales agent.
Language: Finnish Production company: Wacky Tie Films 29
Father and daughter are confronting shadows of the traumatic history, in order to save their once close relationship.
My Home Daniella Koffler-Israel/Germany-
SYNOPSIS Netta (8), an Israeli girl finds a book she wasn’t supposed to read before she grows up. The book is about the Holocaust and contains a dedication from her father: Never forget what the Germans did to your grandparents, never forgive. Shocked by the images in the book, Netta drops it. Her father comes in and comforts his beloved daughter. Netta takes it upon herself to keep her father’s request. But when she grows up, she falls in love with a German man. She decides to move and live with him in Berlin. Her father is horrified by her decision, truly fears for his daughter’s safety in the land of perpetrators. They part after a huge fight and Netta leaves for Berlin. She tries to enjoy her new life but her father’s words haunt her and imprint images of the horrible past onto her view of today’s Berlin. The conflict between father and daughter seems impossible to solve in light of history. Finally they have to remember the love between them.
Daniella Koffler email@example.com +972 528618934 Uli Seis firstname.lastname@example.org +49 177 7053246
BIOGRAPHIES Daniella Koffler Writer/Director/ Designer Daniella is an independent animation director and illustrator from Israel. She graduated the Bezalel academy of arts and design in 2011. Her first year film“The list” and her graduation film “Stairs to no end” were screened at over 20 international film and animation festivals and were selected Vimeo Staff pick. More of Daniella’s work can be found at: www.daniellakoffler.com Uli Seis Producer/Co-director/ Animator Uli Seis is an animation filmmaker and media designer from Leipzig, Germany. He studied media design in Weimar and took part in the European Animation Masterclass. So far he made six animated short films that were shown at numerous festivals and has worked for TV-productions as animator, compositor and storyboard artist.
Production company: Ulrich Seis Mediengestaltung Executive Producer: Karsten Matern Estimated Budget: 120,000 € Secured financing: 45,000 € Length: 10 min. Language: Hebrew, German, English Applying for Mitteldeutsche Medienförderung (MDM), Cultural Foundation of the Free State of Saxony, Bundesbeauftragte für Kultur und Me-
INTENTIONS NOTE Ten years ago, the very thought of Israelis emigrating to Berlin would have been inconceivable in light of history. Today there are more then twenty thousand Israelis living in the city. The film “my home” is based on Daniella’s personal story. It aims to explore how collective memories shape our lives in unpredictable ways, and how a trauma is passed on from one generation to another. The animation medium gives us the opportunity to represent the human identity as a curiosity cabinet. The characters in our film can store emotions, symbols and memories in them. Using this visual metaphor we will explore how not only personal experiences but also collective memories have great influence on who we are and how we see ourselves. Working together, as an Israeli-German team, we feel obliged to the preservation of the terrible history that took place but a few decades ago. We strongly believe in order to make a better future, people and societies must face the past and heal collective traumas. We want to contribute to the process with this film told from our perspective as representatives of today’s young generation.
dien (BKM), Gesher Foundation - Won DEFA Foundation promotional prize - Successful crowdfunding campaign for teaser production Looking for distributors, co-production opportunities, institutions/events to present the film in person. Teaser on project website: www.my-home-film.com 31
Boys treat their schoolmate untill he knows their secret. He has power but he doesn’t want revenge.
Playground Ivan Orlenko -Ukraine-
SYNOPSIS Thirteen-year-old schoolboys shrink school. Sitting in a computer club, kicking a ball on the abandoned athletic field with the lop-sided rusty gate, their favourite game is “one contact” for it is possible to punish the loser - punishboy. Their company is a miniature model of the society, with leaders and skapegoats. Once they find the gun on the playground. Gun accidently strikes and boys get into trouble. Punish boy saw everything and can get revenge, but he don’t want it and he keep their secret. Noone knows about what they did in this abandoned place. Secret knowlege connect three boys since this moment. Somehow it brings friendship between them and a price for friendship is death.
Ivan Orlenko email@example.com +380 504616551 Olena Yershova firstname.lastname@example.org
BIOGRAPHIES Ivan Orlenko Scriptwriter/Director/ Set Designer As theater director, did number of performances in Kiev and Moskow, collaborated with Andriy Zholdack and Boris Yukhananov. As a set designer was involved in production of “Cross” – Cannes 2011 winner short film. Author of 5 shorts and 1 feature script. Olena Yershova Producer She was born in Kyiv. She executively produced of “MY JOY” that was in competition at Cannes IFF in 2010. “Tato Film” that operates in Ukraine and in Turkey produced feature films “LOVE ME” that won 10 awards worldwide and “BLIND DATES” that got 17 awards, was listed in the European film academy awards and screened at Berlinale 2014.
INTENTIONS NOTE What can we know about other people? We can’t make them talk if they don’t want, they keep their secrets and take it to grave with them. But if somebody know your secret u behave with this person in different way. I want to see this changing on the screen, it’s like a box u can’t open, but u know there is something exists inside, u even have suggestions, but u can’t be sure. It connected with meaning of life for me and meaning of death as well, meaning of mystery of existence itself. We have corpses, we have autumn nature around, everything is dying, but life goes on. None say nothing, because they swear on blood. They want to stop leaving, their pointless destructive lives they can’t rule, but they can’t. They are determinated by time to least in it. They (we) are determinated by instincts, determinated by gravity, by society, by everything. So the question is what we can call freedom. One of them makes a choice. He, underdog can make choices, do something unexpected – they don’t. They love him for it and they hate him in a same moment. This story makes me mad.
PRODUCTION NOTE Chron: 20 min. Genre: Drama Language: Russian Status: In Production Looking for: Co-production & Co-postproduction
Have you ever witnessed a dog barking violently for no apparent reason?
Requiem for Laika Gorana Jovanovic -Serbia-
SYNOPSIS Deeply affected by the recent attacks on their comrades in Ukraine, hundreds of Lenin statues across the former Eastern Bloc join in a passionate song of protest against the perpetrators. Their song can only be heard by dogs, which respond by barking and howling. One of the voices, though, is spoiling the harmony by singing with a massive delay. It is their northernmost comrade â€“ a bust of Lenin on an island in the Arctic Ocean, thousands of kilometres away. Annoyed, other statues tell it to either count to ten before signing, or not sing at all. The Bust is hurt. It is very lonely on the island. Its only company is a guard, who has not been out of his cabin for days. Soon, the Bust learns why â€“ he is dead. Two men come with a dog by boat. They carry the guard into the boat, but when they call out for the dog, it does not come. In a rush to avoid a storm, they are forced to leave it behind and head back. The one thing that scares the Bust more than being alone, is being alone with a dog. 34
Gorana Jovanović email@example.com +381 642130466, +381 113557155
BIOGRAPHY Gorana Jovanović Director/Writer Born in Belgrade, Serbia. After finishing Belgrade’s High School of Design, started studying Film Directing at the Academy of Arts, also in Belgrade. After two years of studies, dropped out and worked as a feature film runner and no-budget music video director. Moved to London in 2010 to enroll on a Film and TV Production course at the University of Westminster, where she specialized in screenwriting and graduated as a director of one of four graduation films. Parallel to her studies, she interned in script developement and worked in various production roles both in Serbia and the UK. Currently developing her own projects from her “base” in Belgrade.
INTENTIONS NOTE REQUIEM FOR LAIKA is about how we assist history in repeating itself. The statues in the story have merged with their surroundings and became ‘invisible’, but far from absent. Each in their own little square or stacked en masse in communist theme parks, these statues seem to be sitting there waiting for their second coming. Their covert power is expressed through their mobilizing song. Far away, alone in the remote island, the Bust is completely forgotten, even by its own kind. Just like the victims of the era that the statues represent. The Bust’s fear of dogs comes from the feeling of guilt for the fates of these victims. The dog evokes the memory of Laika’s terrible death inside her space shuttle, which haunts the Bust in its dreams. She represents the ultimate victim. The key moments of the story are the Bust’s confrontation and eventual acceptance of the dog. Unfortunately, the other statues have no intention of putting up with such sentimentality from one of their own. My aim is to show the futility of such an action by a single individual, if that example is not followed on a larger scale. Therefore, the ending notes are supposed to ring out resembling the sound of the alarm.
PRODUCTION NOTE Live Action HD Colour Length: 15 min. Shooting locations: Svalbard (Norway) - Eastern Europe 35
When her hurricane of a best friend resorts to kidnap, a hedonistic yet insecure wild child is pushed to reject her blind loyalty.
Staunch Kyla Simone Bruce -UK/Germany-
SYNOPSIS Henrietta (21) is so blindly loyal to her reckless best friend Nicki (22) that she never questions her. When Nicki proposes a move out of London as an alternative to their relentless party lifestyle of cider, dance music and chips, Henrietta starts packing her dented old Seat Ibiza. Before they set off, Nicki wants to say farewell to her daughter Summer (3), who is in foster care. Yearning to be with her, Nicki impulsively resorts to kidnap, assuming dependable Henrietta will be her getaway driver. As usual Henrietta complies, yet as Nicki’s actions become increasingly dangerous, Henrietta begins questioning Nicki’s suitability as a mother and friend. Tensions climax when, to avoid being caught, Nicki locks herself and Summer in the boot of the car, covering Summer’s mouth to stop her from crying. Henrietta chooses to go against her promise and follow her conscience.
Staunch is a naturalistic, character-driven, high-stakes drama. Intense tension is cut with honest humour and deep pathos. 36
Kyla Simone Bruce firstname.lastname@example.org +44 7786 264 107
BIOGRAPHY Kyla Simone Bruce Writer/Director Based in London, she has a background in video art. She has directed promos for clients including The National Wildlife Trust, Armani and Atlantic Records. Kyla graduated with Distinction from The London Film School with her film THE INTERPRETER, which has been nominated for several awards, long-listed for the BAFTA Short Film Award 2015 and awarded ‘Best Student Short’ at this year’s London Short Film Festival. Her Documentary SILVER RAILS has been licensed by the BBC and her feature length international collaboration UNDOCUMENT is on course for release this year. She is currently directing the documentary 45 DAYS, developing a feature and a television series.
INTENTIONS NOTE I am fascinated with inner moral dilemmas that arise when people are put to the test and have to decide between right and wrong. Henrietta and Nicki’s relationship is so exclusive that they have turned their backs on everyone else and become each other’s only family. The presence of the confused and vulnerable child puts everything they have promised themselves and each other into a stark new perspective for Henrietta. Relationships between young female friends can be more intense than family or even sexual partners. This is an exploration based on my own experience, a ‘what if’ scenario after I advised my reckless friend to abort her unborn child from fear of having to help her care for it - something that has plagued my mind ever since. In my past two shorts I have developed a way of working with actors to advance the script that includes detailed improvisation and lengthy workshop processes. Whilst knowing the details of the underlying story when I begin the process, I only discover the specific moments of the journey through collaboration. This leads not only to deep and engaging performances but also fully integrated action and story, theme and genre.
PRODUCTION NOTE Short fiction, approx. 15mins, to be shot on location in the UK Production Company: 2 Fish 2 Chips, based in London & Dubai
Cinematographer: Simawn Si Shen (UK) Editor: Reza Jouze (UK) Estimated budget: 27,000 €
Looking for: British and European Co-production partners Producer: Khalid Jabaly (Dubai) 37
A joyous celebration hides a tragic truth.
The Baby Shower Joseph Pierce -UK-
SYNOPSIS Parents-to-be May and Christian arrive at their 6th floor apartment to be ambushed by friends and loved ones throwing them a surprise baby shower. After the initial shock subsides it becomes clear all is not well. Oblivious to the guests, May is drinking more than a woman in her condition should and Christian is edgy as hell. To add further suspicion, Christian, who was in on the party confesses his genuinely surprised reaction was because it had ‘slipped his mind’. As the party gets into full swing May’s sister instigates awkward baby-centric games and Christian’s mother unveils her well-intentioned yet creepy cake. Christian unsuccessfully attempts to downplay the whole event whilst May is the life and soul. Eventually after catching her flirting with an old school friend Christian drags May into the bathroom for a face to face. Alone, Christian begs May to drop the pretence and admit to everyone the loss of their baby, that they found out about that morning. A deeply personal argument ensues which they discover might not have been as private as they first thought. 38
Joseph Pierce email@example.com +44 7886 010 318
BIOGRAPHY Joseph Pierce Writer/Director He is an award winning animator and filmmaker. On graduating from the UK’s National Film and Television School in ‘08, he was named one of Screen International’s Stars of Tomorrow. His shorts Stand Up, A Family Portrait and The Pub have screened worldwide winning prizes at Bristol Encounters, LA Film Festival, Clermont Ferrand, Melbourne Intl Film Festival and twice long-listed for the Academy Awards.. His work in animation includes clients at the BBC, The Barbican Centre, Film4 and Atlantic Records. He has collaborated on various high profile live-events including Dr Atomic at the Met Opera New York, Danny Boyle’s Olympic Opening Ceremony and The Perfect American, a Philip Glass Opera.
INTENTIONS NOTE The Baby Shower is a bitter deconstruction of a couple in crisis. It explores the concept of projecting a happy exterior in our overexposed society even when things don’t go to plan. It’s a compassionate piece that analyses the emotional and often hysterical world of new parenting, using a black humour and razor sharp dialogue to confront its difficult subject. The environment of a baby shower is fertile ground to subvert the lives of contemporary 30-somethings and the self-obsessive nature of modern life. This scenario is rich in potentially embarrassing moments, social faux pas and inappropriate behaviour. It’s at once a stylised satire and a heartfelt, sincere piece of human drama. The situation allows the film to build up tension through suppressed emotions in an increasingly claustrophobic atmosphere.
The Baby Shower is the ideal project to take my sensibilities as an animation director into live-action filmmaking. It deals with a couple hiding their emotions, and the bubbling pressure they feel, a theme I have explored through my animation. I relish the challenge of making a short film without animation at my disposal and believe this project can be as impactful and thought-provoking.
PRODUCTION NOTE Genre: Drama Length: 10-12 min. Estimated Budget: 40,000 $ Co-production with: 59 Productions. Looking for: Producer and Financiers 39
In a world where status is paramount, a casual lie forces a family to seek refuge in their cellar to save their reputation.
The Family Who Hid in the Cellar Ayshea Halliwell, Miha Manea -Luxembourg-
SYNOPSIS In the near future following the collapse of the EU, the middle-classes have vanished in a comically dystopian Luxembourg. Only rich and poor remain. The Franck family are narrowly clinging onto their status. Things haven’t been going well since their chain of gourmet restaurants for dogs shut down. They spend their savings on a lavish party at their home to maintain appearances and to rally investors for their new project: a factory that turns manure into fuel. The Francks’ arch-rivals, the Webers, grill them on their holiday plans. Under this extreme pressure, the Francks spin an elaborate lie about renting a private island. To keep up with the lie, they hide in their cellar, pretending to be away on holiday. Just as they are about to emerge, an airplane goes missing. It’s the one they said they’d be on. The family is all over the news. To avoid getting their cover blown, they decide to leave their lives behind and escape through the city’s tunnels, only to find they’re not alone. 40
Halliwell Ayshea firstname.lastname@example.org +44 7840 024557 Miha Manea email@example.com +32 471 608 455
BIOGRAPHIES Halliwell Ayshea & Miha Manea Writers/Directors Ayshea and Mihaela met at Drama Centre London in 2011. Ayshea grew up in Luxembourg in an Anglo-Turkish family and started working in the film industry in 2007 as script/ continuity. Coming from a mixed family afforded Ayshea the opportunity to get an insight into many different societies and cultures. She spent the last two years directing a factual entertainment programme for Luxembourg RTL. Following a career as a top model, Mihaela spent a decade working as an advertising copywriter. She decided to follow her passion for screenwriting in 2010. Born into communist Romania, Mihaela has travelled the world and her keen eye for character analysis infuses her work.
INTENTIONS NOTE “The Family Who Hid in The Cellar” is based on a true story in Luxembourg. This dense comedy is about the little lies we tell to fit in. For example, I’ve never seen the Godfather, but if it’s referenced, I nod knowingly, crack a joke about the horse head, then swiftly change the subject. Luckily these lies have never caught up with me and I’ve never had to go to extreme lengths to maintain my image as a filmmaker. The idea that we use products and cultural capital to build our identities has become ever more palpable in our digital world. The music we listen to, the clothes we wear and where we holiday all help define who we are. “The Family Who Hid in the Cellar” deals with this universal struggle of how we’d like to be perceived by those around us. The story lends itself well to stylish visuals. At the party, the costumes and production design play a huge part in creating the unique world. Dynamic Steadycam shots will underline the fluid theatrical small-talk of highsociety. Once in the cellar and in the tunnels, there’ll be a palpable contrast and shift in cinematic approach.
PRODUCTION NOTE Length: 15 min. Genre: Live-action Comedy Language: Luxembourgish
You are observing the mechanics of a Mother and Son.
The Mechanics Grant Gulczynski -UK-
SYNOPSIS Fifteen minutes past midnight. Tess and Arthur, Mother and Son, walk into a care home. ‘Amelia just passed I am afraid’. Arthur has just turned twenty-six and Tess has just become a fifty-eight year old orphan. She brushes her Mother’s hair, he watches. They go home. A shoe shop in the suburbs, they try on shoes. Tess without luck, Arthur finding the perfect pair, ‘I’ll buy them for you’… ‘Why?’… ‘For your birthday’… ‘Oh you remembered’. She puts the shoes back, he cries. They go home. A vet’s car park, Tess waits in the car, Arthur approaches holding an empty cat’s basket. ‘So they put her down’. She cries in the driver’s seat, he comforts her. They go shopping. We are observing the mechanics of a Mother and Son, as they cope with the death of the matriarchal Grandmother, within the foundations of a traditional British family. Through the five stages of Tess’ mourning we will see their relationship develop from strong but tense into something more mature and empathetic. 42
Grant Gulczynski firstname.lastname@example.org +387 6312 8439
BIOGRAPHY Grant Gulczynski Writer/Director Born in 1991, he’s a British based filmmaker. Educated in Digital Film Production at the University of Gloucestershire, he graduated in 2012, attaining a First Class BA(hons) with his thesis film ‘ANNA 1991’. Which screened at the renowned Encounters Short Film and Animation Festival in Bristol. Presently, he splits his time between London and Sarajevo, as he completes his PhD in Liberal Arts Filmmaking, under the mentorship of Béla Tarr at the ‘film.factory’. His debut feature as a producer and co-director ‘Lost in Bosnia’, a film essay about film and filmmaking itself, is currently doing the festival circuit with screenings at CPH:DOX and Singapore International Film Festivals.
INTENTIONS NOTE ‘The Mechanics’ spawned from an event which happened to me and which, as a director, I found had the foundations of a story of universal appeal, that of parent and child dealing with the death of a loved one, albeit with a cultural British Stiff upper lip. By working with a situation familiar to most audience members I am given the opportunity as a filmmaker to put greater focus on execution opposed to story, as the amount of narrative information to be translated is minimal. In doing this, my intention is on creating an atmosphere in which the characters can go through the emotional process of mourning, with room for thought and action. The mechanics of these thoughts and follow up actions, between a Mother and Son, is the fundamental element of the film. To achieve this a minimal crew of four shall be used to create a non-invasive mood for the cast and location. Aesthetically the film will reflect this tone through a contemplative use of static long shots allowing a scene to play itself without interruption. A juxtaposition of close-ups and wides will bring you into the finer workings of the characters, without losing focus on bigger dynamics at play such as the ‘family’.
PRODUCTION NOTE Genre: Drama
Budget: 15,000 €
Length: 15 min.
Looking For: Co-Producers, Post-Production and Distribution.
Language: English Shooting Location: Greater London, England Shooting Dates: July 2015
Things and kings are split withinâ€Śonce or twice upon a time.
Twice Upon a Time Vojin Vasovic -Serbia/Canada-
SYNOPSIS Once, actually, Twice Upon a Time, there was a king with split personality who lived in ambivalent times. One half of his represents a Nordic barbaric king from the early Middle Ages, a crude but fearless warrior. The other half of his is from late Baroque, a man of graceful poise and manners. They share their conscience, but have opposing wishes and desperately want to get rid of each other. The Kingâ€™s inner conflict escalates through the film with different comical helpers on both sides including druids, doctors, queens, two-headed dragons and their seven-headed grandmothers. Finally kings raise their entire armies to fight with each other; soldiers start to split themselves in half as King realizes that he is no better than everyone else. He was blinded by his own vanities. He stops the hazard and accepts that we are all split within, living in different times and spacesâ€Ś
Vojin Vasovic email@example.com +381 641509331
BIOGRAPHY Vojin Vasovic Writer/Director He is a theatre and film director. He finished his film-directing B.A. program at The Academy of Arts, Belgrade, Serbia, and Master of Arts in experimental theatre at the University of Toronto. He is the recipient of many awards for scene movement, lighting design and direction in theatre. His films (Breathtaking, Back Portrait) were enrolled in many international film festivals for which he won several awards. His previous animated short 5 Minutes Each was selected at more than 100 festivals and won 30 international awards for best animation, direction and original score. When he grows up, he wishes to direct an animated feature.
INTENTIONS NOTE Twice Upon a Time is a fairy tale for all generations about a king with split personality, split time and a split screen. It is a story about dual nature of kings and things and how playing cards came to be. Two kings in one king are fighting for predominance and reveal to us the world that always has the flip side of the coin. The King is not vicious at his intentions, but more so unhappily found in the situation that he obviously canâ€™t solve on his own. Twice Upon a Time, has both narrative and metaphorical levels of a story, making the film attractive to both wide commercial audience and also intending to communicate with festival audience, cultural and artistic circles. Profound voice of the Narrator will chronicle, but also, with subtle changes in his voice, take on the dialog sequences and all the roles, underlining the theme of differing voices in head of a single man. Twice Upon a Time is our artistic way of animating a story of our own inner conflicts with ourselves; story about contradictory age in which our bodies and souls live (or we would want them to live) and lastly about self-destruction that we often use as a tool to go forward.
PRODUCTION NOTE 3D animation, with hand-drawn 2D textures Colour
Producerâ€™s contact: Tatjana Zezelj, Collapse Films, Belgrade, firstname.lastname@example.org, +381600287671
Length: 12-14 min. Project supported by: Film Centre of Serbia and Ontario Art Council in Canada. Looking for: one more country/studio of coproduction, pre-sales and distribution partners 45
ESP 2015 TUTORS Marie Dubas Marie Dubas produced 15 short films between 2008 and 2012, most notably A PRIVATE LESSON by Raphaël Chevènement (2008, nominated to French Academy Awards) and A SENSE OF DIRECTION by Fabien Gorgeart (2012, Clermont-Ferrand Special Jury Award). From 2010 to 2012, she worked with Jean des Forêts for Petit Film, a French production company where she produced Neïl Beloufa's first feature film, TONIGHT AND THE PEOPLE (Rotterdam IFFR 2014) and took part in the production of debut features such as LEONES by Jazmin Lopez (Venice Orizzonti 2012) as well as 40 DAYS OF SILENCE by Saodat Ismaïlova (Berlinale Panorama 2014). In 2014, Marie founded Première Ligne, a production company aimed at developing French and foreign emerging talents, with film projects of any length, taking a strong stance on the social and political issues of our contemporary world. Marie Dubas is an EAVE 2013 graduate, a Media Development expert and an expert for Basse-Normandie regional funding.
Nadja Dumouchel Nadja Dumouchel is currently engaged in script consulting for various filmlabs. She is dedicated to the international art house film scene. She studied visual culture in Brighton, journalism and literature in Berlin and cinema in Valencia. Nadja worked as a programmer and commissioning editor for ARTEs short film magazine Court-Circuit. She was later hired by the international distribution and production company PREMIUM FILMS in Paris, before going back to ARTE in the feature film section in 2010. She has since then been contributing to the development of international film projects in collaboration with ARTE Germany, working closely with authors and directors on scripts. Until recently, she was also in charge of a short film collection produced every year by the students of Atelier Ludwigsburg-Paris (European production master class), as well as of the attached transmedia-project on ARTE CREATIVE. Nadja was trained as a story editor at the Torino Film Lab and has since then been working on scripts from all over the world on a freelance basis as well as for the NISI MASA workshops European Short Pitch, Groupe Ouest and at Interfilm Festival Berlin. In September 2013 she started giving scriptwriting classes at the Strasbourg University. She is co-founder of « La Scénaristerie », a development platform for screenwriters to be launched soon in Paris.
Vanja Kaludjercic Croatia-born festival programmer, who started out working at the Motovun Film Festival in Croatia and the Slovenian Cinematheque before organizing several festivals and festival sections in Zagreb like the Human Rights Film Festival, the ZagrebDox Pro workshop and the Animafest. After moving to Paris, she was in charge of acquisitions at Coproduction Office from 2008 to 2010. She managed Paris Project for two years behind the Paris Cinema International Film Festival, while in 2012 She joined Les Arcs European Film Festival as head of Industry. In 2014, with Les Arcs FF team has established a new project market in the French capital called Paris Coproduction Village. Vanja has also been working for HAF – Film and Financing Market in Hong Kong for the past two years. As a programmer, Vanja currently works for CPH:DOX and the Sarajevo Film Festival.
Antonio Piazza Antonio Piazza is a Sicilian writer-director. He began his career working as writer and script consultant for a few Italian production companies. In 2004 with Fabio Grassadonia he wrote for Fandango the musical comedy Ogni volta che te ne vai, set in the world of dance halls along the Italian coast of Romagna. He still works as freelance script consultant, collaborating with a few European workshops, such as Berlinale Residency, Locarno Open Doors, POWR Baltic Event, Torino FilmLab, Semaine de la Critique Next Step. Always with Fabio Grassadonia in 2010 he wrote and directed the short film Rita, their debut as directors and one of the most successful Italian short films ever, presented in more than one hundred international film festivals winning dozens of awards. The short film was set in Palermo, where Antonio Piazza and Fabio Grassadonia come from and where they also shot Salvo, their first feature film as directors. Salvo premiered at 2013 Cannes Film Festival, winning both top prizes of La Semaine de la Critique - Grand Prix and Prix Révélation – and getting distribution in around 25 countries around the world, including United States where the film was theatrically released in August 2014. Antonio Piazza and Fabio Grassadonia are currently writing their second feature film, a FrenchGerman-Italian coproduction again set in Sicily.
Leonardo Staglianò Leonardo Staglianò was born in 1978 in Poland but he grew up in Italy. He earned an M.A. in Philosophy from the University of Florence, an M.A. in Techniques of Narration from the Scuola Holden in Turin and an M.F.A. in Dramatic Writing from the Tisch School of the Arts at NYU. His short stories have been published in various anthologies and literary magazines, including the Italian edition of Granta, and his plays have been staged in Italian theaters like the Teatro Piccolo in Milan and the Teatro dell’Orologio in Rome. He wrote the script for “Yuri Esposito”, a low budget feature film that won the first edition of the Biennale College and debuted at the 70th edition of the Venice Film Festival. He has collaborated as a story editor with writers, publishing houses and film companies, and he’s a former participant of the European Short Pitch.
credits Head of script department Wim Vanacker email@example.com
MANAGER OF CO-PRODUCTION FORUM Jerome Nunes firstname.lastname@example.org
PROJECT COORDINATOR Aleksandra Zakharchenko email@example.com
LAYOUT & design Francesca Merlo firstname.lastname@example.org
WITH THE SUPPORT OF
This year twenty projects were selected to be featured in the 2015 edition of the European Short Pitch. Now you can learn all about them in...
Published on Mar 2, 2015
This year twenty projects were selected to be featured in the 2015 edition of the European Short Pitch. Now you can learn all about them in...