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más ymás

monthly newsletter of NISI MASA



The rise of VoD Platforms interviews:

Mathilde Henrot Karim Safieddine


Nisimazine Kaunas Visegrad Film Forum

Still from "6 points about Emma" by Roberto Pérez Toledo (Spain, 2011)


Still from The Road to Guantanamo by Michael Winterbottom

To VoD or not to VoD In this ever changing age we are always waiting for technologies, phenomena, which will change our lives - again. For instance we had expected cheap flight companies to make the world more mobile, and they have certainly done it. Downloading music on the Internet? It has opened a new cultural horizon for all of us and reformed the music industry. Sometimes, however, our expectations from some innovations are too high - Second Life did not change the way of entertainment, and even Google could make a blunder with Wave, which did not turn out to be the communication platform of the 21st century. At the moment, we do think that VoD will change the film industry and the way of watching films. And probably the way of creating films as well. From the second part of the last decade there has been a discussion about VoD and its impact on the film industry. Would it be revolutionary for young talents in to put themselves into the spotlight, and to get more opportunities to start their careers? It seems to be quite obvious to compare this process with the changes of the music industry: the storm of legal and illegal downloads has resulted a new business model in the industry,

which looks more friendly with new talents - at least we can have the illusion that it is easier to enter to the business nowadays than it used to be in the 80’s. In order to realize the VoD “revolution”, a business model should be created which is acceptable for the big players of the film industry. It does not seem to be an easy mission creating it, but I think it is just a matter of time and then the films we love would be much more accessible and more convenient to watch. Until this brave new system will be set up, we - young filmmakers, producers, distributors - are in a very fortunate position. With the help of these new technologies, we can build up our own brands as artists, using our films in order to extend our networks, distribute our works and fundraise the next projects. VoD is an enormous chance for talented filmmakers. Take this Mas y Mas issue as an opportunity to learn how to utilize it. by Dániel Deák, founder of

Mas y Mas is a monthly newsletter published by the association NISI MASA. EDITORIAL STAFF Coordination & Layout Lucía Ros Serra

Contributors to this issue: Dániel Deák, Zoltan Aprily, Mathilde Henrot, Lucía Ros Serra, Roberto Pérez Toledo, Karim Saffiedine, Ugnė Česnavičiūtė, Vaidė Legotaitė, Aistė Račaitytė, Eva Gyulaiova

NISI MASA (European Office) 99 Rue du Faubourg Saint Denis 75010, Paris, France Tel: +33 (0)9 60 39 63 38 Email Website




VoD Platforms

The rise of VoD platforms Your personal screen

Take a plane, train, or boat nowadays and you shouldn’t be surprised to find a screen on the back of the seat in front of you. Your personal screen. Video on Demand as a phenomenon is one of the new waves of cinema and audiovisual programme distribution. The idea behind it is very simple: you choose what you want to watch and when you want to watch it. VoD is available on different networks (like the Internet, IPTV, cable, or satellite providers, but also in-flight entertainment providers) and quickly became an emerging part of the film industry, gaining a bigger and bigger market share each year. If you think about the rise and shine of Netflix, Hulu, or even the MEDIA supported services like MuBi or Daazo, it seems very obvious that these companies are not only giving us the comfort of personal cinema, but also responding to our changing habits of how we consume content. While a couple of years ago DVD was an object of desire and collecting these plastic discs was truly an obsession for some, now the pay-per-view way of watching films seems to take over the system and creates a more rapid “filmeating” culture. According to a survey made in early 2012, there are around 400 dedicated VoD services across Europe, providing different solutions for reaching their content. The first VoD services for connected TV have been introduced as well. is one of them, dealing especially with short films. You can browse and watch them even on your iPhone while on the go. The audience is now quickly becoming a new generation of active users instead of passive consumers. And while feature films are easier to get with VoD, it’s challenging ordinary, linear TV channels, which are now even more looking for exclusive and live content. The market is changing, and we are shaping it by tapping the screen on the seat in front of us. by Zoltan Aprily, founder of

Interview... Mathilde Henrot (Festival Scope)

Mathilde Henrot is one of the co-founders of Festival Scope, one of the biggest European online platforms aimed for film professionals. On Festival Scope, producers, distributors, festival organizers, film critics, among others, have access to films selected in festivals around the world to ease the festival and distribution circuit. Their catalogue includes feature films, documentaries, short films and special film content. We asked her a few questions about this platform and her general opinion on the VoD platforms. How and why Festival Scope was born? Festival Scope was born from a straightforward analysis: the increasing difficulty of having new talent emerge and the corresponding increasing need for additional visibility for art house films in general. Hence we conceived Festival Scope as a curated platform, a tool to both stimulate curiosity and ease access to films selected in our partner festivals, among which Sundance, Rotterdam, Berlin, Cannes’ Critics’ Week & Directors’ Fortnight, Locarno, Venice & Toronto. In your opinion, why is so important the existence of a VoD platform like Festival Scope, only oriented to film professionals? The aim of Festival Scope is to find the best possible & original ways to highlight films to the industry and participate in creating a virtuous circle. As we have no financial interest in any of the films’ success, we are focused on helping the rights holders, would they be producers or sales agents, combining the “push” and “pull” strategy, ensuring the best possible results. Do you think VoD platforms are the future (more likely the present) of independent film distribution? And film distribution in general? I hope independent films will find a way to get visibility and revenues from VOD distribution. The thing is that such films need to be handled with care, presented with dedicated attention, they can’t be found among thousands lining up in a database, just sorted by alphabetical order. Such films need press attention, a curated approach and it goes with the theatrical release of course when possible. So my wish is that VoD platform efficiently prove they are reliable economic models for such films, combined with other more traditional exposure. Are VoD platforms a real warriors against piracy? Piracy is a fact. What is a fact also is that people now want to watch films immediately and if films are not available when they wish to, they’ll look for ways to get them anyway, legally or not. Proposing a strong and complete offer can be a means to fight piracy. Visit



The online adventure of 6 points about Emma The release of Six points about Emma on VoD platforms as Filmin or Filmotech has always been more than clear in our plans for the film after passing through the theaters. These platforms, which allow immediate and legal viewing of recent titles are no longer a thing of the future but the resounding present for us as filmmakers, and have become especially important for small productions like ours, whose limited distribution in cinemas (27 screens) could not reach all provinces in Spain. From September 7th, however, Six points about Emma is only a click away from anywhere in the country (Spain) and a very affordable price (2.95 euros). In its first week, it was the most popular film in Filmin. This way of giving the viewer a simple and easy way to watch movies at home and legally should become the most powerful weapon to combat piracy. And I especially like the work that VoD leader platform in Spain, Filmin, is doing: promoting their attractive catalog of films and its attractive and communication strategy with their costumers through social networks, with special offers and a flat rate subscription very stimulating. We are therefore in the way. Recently, the multi-platform premiere of Carmina o Revienta by Paco Le贸n, has proved an inspiring mirror where to look our faces in the inminent future, where the main objective will be the fact of offer to the viewer the possibility to see movies anytime and anywhere at prices as competitive as possible.

Simultaneous releases

by Roberto P茅rez Toledo 6 points about Emma website

The Road to Guantanamo

Carmina o Revienta

In 2006, british director Michael Winterbottom broadcast on TV the docudrama The Road to Guantanamo, just one day after, the film was released on cinemas, DVD and the Internet simultaneosly.

Back in april 2012 and sick of the film crisis in Spain, famous comedian Paco Le贸n decided to prove that people will "consume" cinema if it was affordable to the recesion's pockets. He was right. His first feature film as director, Carmina o Revienta was released simoultaneously on theaters, DVD (for only 5,96 euros) and on the Internet (2,95 euros), in VoD platforms as Filmin and iTunes and it's online version was viewed 8 times more than the one in cinemas.

Winterbottom's film was one of the first films offerted via VoD platforms and that took advantage of the simoultaneous release on TV, cinemas, DVD and the Internet. Cinema on Demand adventure is about to start.

This low-budget comedy, starring Le贸n's own mother and sister, tells the story of a 58-old-woman from Sevilla and her fight against an assurance company.


VoD Platforms


Karim Safieddine Karim Safieddine founded in 2006, together with some colleagues, Cinemoz, the first VoD platform for and from the Arab World, as a way to promote and encourage Arab cinema and TV worldwide. We had the opportunity to ask him some questions about his project and his thought on the future of video on demand. How and why Cinemoz was born? The “Why” is the key word here. The state of the Arab film industry, along with its impact of my personal life were the two major components that drove Cinemoz to its birth. A few years ago, there was a crying need for renewal form all the key players in the industry: the audience, the talent, the producers and distributors were all building up frustration, caused by the gap between the poor state of the industry, and the available groundbreaking tools everyone suddenly got access to in the Middle East (VoD, web and mobile, Pay-per-view, Set top Boxes etc...). On the other hand, I was hit with a choice back then while working for a big distributor in the US. I would either put my humble skills at the service of the Cannes market game, or head back to the homeland to try and disrupt the film and entertainment industry. Let’s say I didn’t have to think twice. The rest was hard work from what we believe is a true dream team.

What were the main difficulties you found to create this platform where film industry and audience can benefit through new technologies? The audience was ready and hungry. Arab nationals were already consuming Western and foreign content via Web and mobile devices. The mission was to get the more traditional producers and distributors on board, which took quite a lot of pitching and convincing. This goes back to the disruptive element, where we believe Cinemoz is not just an isolated VoD platform, but an industry game changer where we witness a shift in mentalities and consumption habbits. Do you think Cinemoz, will help the Arab film industry to be more present worldwide? It goes without saying. Being accessible wherever you are, anytime for free tears down a lot of ancient barriers. Viewers will intrinsically have more access to Arabic films and independent productions.

Do you think VoD platforms are the future (more likely the present) of independent film distribution? And film distribution in general? I think it’s definitely something any independent filmmaker cannot afford to ignore. The first that comes to my mind from a filmmakers point of view, is the “Do it Yourslef” model, where a director can single handedly upload his film, promote it and generate sales online. Don’t get me wrong, I’m not saying it’s a miracle solution or an exclusive one, but it’s definitely a great tool to use. Most importantly, I believe it’s about managing expectations: as long as Independent filmmakers get acquainted with the upsides of VoD and flexible distribution models offered by new technologies, they’ll be the first in line to reap the benefits. In short, don’t expect to make millions from views or downloads, but know it’s a unique tool to target your audience directly or build buzz and awareness around your film.


In your opinion, why is so important the existence of a VoD platform like Cinemoz, the first one in the Arab World? Cinemoz is improtant for it bears a responsibility, with many high hopes, whether from us as a team or from the audience, just like many things in this part of the World. VoD in general remains a disruptive model: distribution, content owners, producers are all still adapting Worldwide, so imagine the educational curve here in the MENA markets. Consequently, this also means a lot of excitement: access to films that do not find traditional distribution (Arab films are widely sitting of shelves), or weren’t archived properly, unifying a fragmented audience that never had the possibility there neighbor’s work, while generating viable and sustainable revenues for filmmakers. This sounds like a lot, but it’s actually happening as we speak on Cinemoz.

Karim Safieddine with his team

Are VoD platforms real warriors against piracy? The most valuable lesson I learned from this industry: the music business is alsways 10 years ahead the film one. Look at the stories of Napster then iTunes and Spotify, these platforms are today the main players for artists to make their work widely distributed while generating revenues. The same is happening to film. More concretely: last year’s releases are available in High Definition for free on Cinemoz. You can either watch it there with a great experience, or go through the trouble of buying a bootlegged DVD for $2.00. Choice becomes easy!

by Lucia Ros Serra Visit Cinemoz



Nisimazine Kaunas

9 participants from The Netherlands, Finland and Lithuania formed the team of Nisimazine Kaunas, a new edition of our film journalism workshop that took place during Kaunas International Film Festival at the end of september. Read their experiences and click to read the actual Nisimazine Kaunas!

A very personal experience

Reflection: Nisimazine Kaunas 2012

Never yet I felt so in the right place as that week when Kaunas International Film Festival was held in Lithuania and I had the opportunity to participate in Nisimazine film criticism workshop. Young film critics had a chance to learn and to know more about the standards of professional writing. I have to admit, before the beginning of the workshop I had absolutely no experience in film criticism neither in writing reviews nor taking interviews – I am studying economics. Armed only with a great desire to learn everything and expecting absolutely nothing, that Thursday I got out to the first meeting with, as I find out later, very cool people.

OMG, I‘m late! Just can’t believe I’ve managed to be late to the first editorial meeting. What a promising debut! Breathe, Vaidė. That’s going to be just fine. Alright. I’m entering the building. 10:02 am. ... You’re kidding! 2 minutes! That’s it? It doesn’t count like being late impression. I came even earlier than the editor. Score! Seems, as if today is going to be a good day. On top of that, as it happens, I’m promisingly improving my punctuality skills.

Nisimazine film criticism workshop gave me an unbelievable great experience in various fields. Apart from the fact that I got to know new FILM people and improved my English skills, I completely changed my approach to the world of cinema itself. Movies are my passion, I know it. But before that week, I wasn’t completely decided what my sphere is – whether I want to write about films or make them. Workshop perfectly served in finding the answer. I'm not just fallen in love with the movies even more, but I realized that I am at the right place. To experience that is the most wonderful feeling.

Well, to be perfectly honest, my punctuality skills haven’t been improved much. It’s because I’m cursed (the reasons seem to be concealed). So deal with it, universe! Although, it’s not the idea I’m trying to highlight here. What I’m trying to reveal, is that despite the damnation of constantly being lost in time I’ve been solidly blessed with taking part in these Nisimazine workshops of International Kaunas film festival. Despite the threat of how lame it might sound, I simply had the time of my life!

I do not regret having distanced myself from reality and dedicated only to the films, though I can’t say that the workshop was easy. Every day at least two reviews, at least two films, sometimes an interview with the film's creators. Short deadlines, long sleepless nights and more criticism to yourself. Sounds great, right?

Our breakfast / meetings routine with constructive critique (mostly positive version of it), the rainbow of the festival films, all the people standing in the line for the tickets thing, cold but inner cosy Romuva Theater, then mind tripping through the united atmosphere of plots, characters, sounds, photography and presented mood. As a premium, exclusive Q&A sessions with the directors and sometimes irrational questions though always sensible answers. Finally, vespertine drinks & chats and the exotic journey of writing with surely at least 15 minutes prolonged deadlines included. Seriously, how cool is that? My autumn was made in these workshops. In all the possible meanings. The autumn, that feels appeared just about time.

by Ugnė Česnavičiūtė

by Vaidė Legotaitė

7 NISI MASA at Visegrad Film Forum Our friends from Visegrad Film Forum invited one of our Alumni to its 2nd edition, which took place from the 17th to the 20th October in Bratislava (Slovakia). The Alumni attended the different masterclasses and screenings. Read her experience!

What I Have Learned about the Best Way to Make a Movie actor: Who is he? What's his attitude to the world? What's his superobjective? But using adjectives, is for actors a real disaster. Instead of directing: "You are paranoid", we better describe it with verbs: "You don't trust anyone anymore. You think everyone is against you." Prasad has convinced us, that "the simplest solutions are the best and the most difficult to achieve."

Even if the event was open for everyone, the 'niveau' of education was set from the first day very high. Film students and enthusiasts from all around Europe occupied cinema seats and floor, impatiently awaiting the film professionals with their lectures. Fred Kelemen, cinematographer of Béla Tarr’s The Turin Horse (2011), gave a notice to the importance of learning: "One thing is to be open and humble, to listen and watch. The other thing is to be stubborn with what you want to talk about and how you want to talk about it." He found interesting to have a spontaneous dialog with the young audience and build up something out of it. The open attitude during his lecture, reached the students much more, than if he was just sitting there, having a long speech. Simona, a Rumanian cinematography student, confirms: "It's nice to have someone with such an experience in front of you. The philosophical aspects of his filmmaking pops out new questions in your head and you can find some answers and grow as a filmmaker on the inside."

Her experience with co-production and founding of low budget movies, shared with us the Rumanian director and producer of the animated documentary Crulic, Anca Damian. "Even if you fail to get money or attention, you are getting stronger by the experience, knowing more about your movie."

As an expert on the promotion of European cinema, Éva Vezér from Hungary pointed out the importance of making a personal contact with film professionals and film colleagues during international film festivals and the urgency of making a marketing plan or strategy from the very beginning of the development of your project. An enrichment for young directors was the master class by Udayan Prasad, talking about the point of view of the characters. Most important is the work with the actors. Questioning the character tells the

Jim Stark, producer of Jim Jarmusch’s first features, was the highlight of the three days, always present, giving his whole energy to the ones, hungry for his filmmaking know-how. "The future is the stuff on internet." Stark encouraged the new generation to use different media, advising to produce transmedia, or so called 'webisodes', with a connection to the producers of software Apps. The networking was working as well: a young director from Italy met during VFF his future producer and plan to collaborate next year, during his studies at the Prague Filmschool. Not less important was the exchange between the ones attending film schools and the autodidacts, laics. On the end, we have to know the rules of "our world". Then we can take the viewers into this world and anything is possible.

text and pictures by Eva Gyulaiova


That's a title of one of numerous master classes, you could have visited from 17th – 20th of October 2012 at Visegrad Film Forum (VFF) in Bratislava, Slovakia. The 2nd edition of networking and educational platform, organized by students of the Film and Television Faculty of the Academy of Performing Arts, was focused on the Low-budget Film Production.

news BUCHAREST Experimental Film Workshop


Filmmakers from Austria, Hungary, Italy, Luxembourg and Romania gather to Bucharest for five days to get their hands on experimental filmmaking. Participants will we tackling and experimenting different methods in practise from 8mm to remixing Youtube archives, from stop motion to documentary. Official selection: Angelo Del Prete, Bela Lukac, Daria Blazevic, Filippo Spreafico, Gaspar Szabolcs, Georgia Aliferi, Judit Anna Bánházi, Luigi Vitiello, Manuela Borza, Nikol Cibulya, Olivier Gonner, Paula Onet, Péter Lichter, Philip Krieps, Simona Susnea, Synes Elischka and Vulpe Grig. In addition to the selected filmmakers 9 performers from Bucharest are invited to join the workhop for two days of collaborative cinematic exercises: Eszter Tompa, Elena Tudorache, Iulia Verdes, Diana Buluga, Irina Ghenu, Olivia Baltatescu, Monica Olivia Grecea, Munteanu Cezara, Deaconescu Simona Workshop coordinators: - Hannaleena Hauru (Head of Film Lab) - Sorina Diaconu (coordinator)

ESP JURY MEETING AT INTERFILM From the 15th till the 16th of November, the European Short Pitch jury will gather during the 28th edition of the Interfilm International Short Filmfestival in Berlin, to discuss, dissect and select the 25 projects which will be taking part in the 7th edition of European Short Pitch.


NISI MASA is proud to announce the name of the participants taking part of the Experimental Film Workshop that will be held in Bucharest (Romania), from the 18th to the 22nd of November during the Bucharest Experimental Film Festival.


If this sounds exciting, just wait to know the names of the Jury 2013!

Finally, we have it here! For the first time, the Nisimazine team landed to Kaunas International Film Festival to make a huge coverage on its daring and interesting programme of their last edition, held from th 26th September to the 7th October 2012! The team, composed by Vaidė Legotaitė, Ugnė Česnavičiūtė, Ugnė Gudzinskaitė, Donata Juškelytė, Saulius Kovalskas from Lithuania and Zowi Vermeire (The Netherlands) and Sami Pöyry (Finland), has made a great job and besides all the reviews and interviews they published during the festival (read them here), they have compiled a bunch of interesting articles for a 50-paged e-book that is already online! Click on the image to read it on issue or in the following link: kaunas2012

- Lucio Besana (Writer/Director – ESP 2012) - Eni Brandner (Filmmaker/Visual Artist Head, Heart & Brain of Enimation – ESP 2012) - Lydia Castellano (Writer/Director - ESP 2007) - Jerome Nunes (Writer/Director/Producer ESP Coproduction Forum Manager) - Fabrizio Parisi (Writer/Director - Wannabe Waiter – ESP 2011) - Michaela Pňačeková (Festival Organizer/ Programmer and Head of Network Department NISI MASA) - Marija Škrlec (Writer – ESP 2011) - Júlia Széphelyi (Writer - Creative Consultant at AZT-Media – ESP 2012) - Wim Vanacker (Writer/Director - Head of Script Department NISI MASA) - Jakub Viktorin (Producer - Managing Director of Visegrad Film Forum) - Avgousta Zourelidi (Director – ESP 2012)


If you want the .pdf version, send an email to Nisimazine Kaunas was co-funded by Youth in Action Programme and Kaunas International Film Festival. Exciting news for some of our films! Filmfest Cottbus (Germany), that will take place from the 6th to the 11th of November, will host a special screening with some of our lovely films! The Special Screening, called East Meets West will show a sample of the films done during two of our biggest projects: Istanbul Express and Cine Train! If you are in the area on the 9th of November, you’ll have the chance to enjoy!

news Istanbul Express: - 1001 Days by Olivier Jourdain, Zeynep Merve Uygun - Hop On HopAPPLICATIONS Off by Igor Bezinović, Matthias CALL FOR Kammerer - Do you really love me? by Alastair Cole - You Can’t Hide Love From Gypsie by Mara Trifu, Lucille Caballero, Ando Naulainen - POLIGRAD by Rui Silveira, Bela Lukac, Marcin Knyziak


Cine Train – Transsiberian Express: - Mc Russia by Andrei Tanase, Georgy Groshkov, Florian Krebs - Territories by Monika Baptista, Filip Syczysnki, Eugeniy Goryainov Our friendsPlayground from Torino LabNagy, have Leo just - Russian byFilm Denes launched two Dmitrieva calls for participants for their Bruges, Anna new edition of Script&Pitch: In the next day, the rest of the programme SCRIPT&PITCH will be published on their website! One more year, TorinoFilmLab, in partnership with NISI MASA and Le Groupe Ouest, organized a new edition of Script&Pitch, an advanced script development course for scriptwriters and directors of feature films all over the world. Torino Film Lab is looking for 16 projects, which will be developed in a 9 monthsOur Parisians en 2013, vues course (fromfriends Marchfrom to Belleville November are organizing the Festival Frontières: including 3 residential workshops and 2du on line sessions. Visible à l'Invisible, that will take place from the 16th to the 18th of November at the The course will follow theinentire Cinéma Nouveau Latina Paris.scriptwriting process and will end with a final pitch in front of film professionals (producers, disThis festival is on the fram of "le mois du tributors, etc), which will take place during documentaire" (the in month of documentary) the Meeting Event November 2013, durand during 3 days, it will screening ing the next Torino Film Festival. an interesting programme documentaries made by European young Script&Picth is filmmakers. open to professional NISI MASA will be present at the festival scriptwriters, writer-directors, as with well as writer-producers andfilm development thetoscreening of the short Territories, executives with Baptista, a good Filip knowledge of done by Monika Syczysnki, English, it’s the working language of all Eugeniy as Goryainov during the Cine - Train Script&Picth workshops meetings. workshop that took placeand in 2008.


During this project, 18 young filmmakers Workshop locations & dates: travelled alongworkshop: 9 288 kilometres of 2013 the 1st residential 11-17 March Trans-Siberian express from Moscow to (location to be confirmed) Vladivostok, asking "Where does Europe 2nd residential workshop: 16-22 June 2013 end?". (Brignogan, France) 3rd residential workshop and Meeting Event: 21-27 will November 2013 (Turin, Italy) of Territories be screened the 16th November. More infoinfo andabout application forms: For more the festival: For doubts and questions contact: Deadline for applications: 31st October 2012

IFFR Trainee Project for Young Film Critics CALL FOR PARTICIPANTS

agenda 31 October

Deadline Script&Pitch and Writer's Room of TorinoFilmLab

1 November

Breaking Shorts 2nd Deadline

2 November We love the International Film Festival Rotterdam and all its initiatives as their Trainee Project for Young Film Critics, that will take place during the 42nd edition of the Festival from the 23rd January to the 3rd February 2013! The IFFR Trainee Project for Young Critics, that arrives to its 15th edition, is a talent development program that offers up to six young (under 30 years), motivated and talented professional film critics from outside The Netherlands a chance to travel abroad for covering a major international film festival, to get acquainted with the Rotterdam film festival in particular and the broad range of independent cinema it offers. This program includes taking part in the Rotterdam FIPRESCI Jury meetings; exploring an assigned part of the festival; publishing a blog on the IFFR website and writing up to three contributions for the festival’s newspaper Daily Tiger; taking part in expert meetings; reporting about the festival for own affiliation(s), etc. The organization is looking for this profile: - Age under 30 years - Fluent command of the English language (written and spoken) - Demonstrable experience in film criticism (printed media, radio/television, online) - Not yet established enough to profit from facilities as attending international film festivals outside your country - Have agreement(s) with printed and/or online media to publish a report or reports on the International Film Festival Rotterdam 2013 For apply, just visit their website and read all the requirements!

Deadline IFF Rotterdam Trainee Project for Young Film Critics

9 November Istanbul Express and Cine - Train films screened at Filmfest Cottbus

15 - 16 November ESP Jury meeting

13 - 18 November International Short Film Festival Berlin (Interfilm)

16 November Screening Territories at Festival Frontières - Belleville en vues

18 - 22 November Experimental Film Workshop in Bucharest (Romania)

Mas y Mas November