Page 1

más ymás monthly newsletter of NISI MASA



Nisimazine Cannes Meet the New NISI MASA Board reports:

Nisimazine Cannes 2012 Cine- Boat at Cannes Critics' Week

Charlot impersonator in 65th Cannes Film Festival by Chloé Vollmer-Lo (May 2012)

editorial First impressions. A small exercise. Make a list of everything you hate about the world, and I assure you, you’ll find everything and probably more during the film festival in Cannes. Think Zoolander, but even worse. A vanity fair with its endless red carpet and inherent fashion shows, its carrot dangling acrobats, or should we call them photographers, trying to capture a slice of high society’s life, its free flowing alcohol to enhance the free spirited flow of free speech, its merchants, trying to outsmart the free market economy, betting on next year’s trends, in short, bread & games revisited. I couldn’t help but wonder, what would master Nietzsche be thinking? Whatever happened to the revolution? To Cannes and its rebellion? Walking on the wild side, anyone? God really must have been bored after the seventh day of creation to grant this yearly pilgrimage and its

People "queuing" for a screening during 65° Cannes IFF by Chloé Vollmer- Lo

idolatry its right of existence. It’s clear, the devil wears Prada. Cannes, where the stars live on the ground, at least for ten days a year, where superficiality reigns, as the Mecca of Cinema? But as we all know, beauty lies in the eye of the beholder. Love, or was it vanity, won out. As always. Let’s call it suspension of disbelief. When the reflections on the silver screen work their hypnotic ways one has to give in. The dream machine, or as Hitchcock would say, life with the dull bits cut out, got the best of me. Cinema proved once and for all to be the most convincing hoax of them all. Forgive me my cynicism, but I’m a recovering, thrill seeking Cannois. The place you love to hate. They call it the post-Cannes-traumatic-stress disorder. Quite a hangover, the confrontation with ordinary, everyday life. Cannes is dead. Long live Cannes. by Wim Vanacker

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

Contributors to this issue: Wim Vanacker, Emilie Padallec, Franziska Knupper, Lucia Ros Serra, Filipe Pereira, Severine Beaudot, Michaela Pnacekova, Maartje Alders, Hannaleena Hauru, Giovanni Vimercati, Chloé Vollmer-Lo, Jude Lister, Merli Antsmaa , Gautier Dulion, Melissa Suárez del Real Viviana Carlet

NISI MASA (European Office) 99 Rue du Faubourg Saint Denis 75010, Paris, France Tel/Fax: +33 (0)9 60 39 63 38 + 33 (0)6 32 61 70 26 Email Website



Our Cannes Revolution


Nisimazine Cannes For the 7th consecutive year, NISI MASA has runned its Film Journalism Workshop in Cannes International Film Festival, where 8 participants from France, Estonia, Germany and Turkey have worked on an e-book covering the Camera d'Or competition. As an appetizer of the book, here you have two reviews of the films our Nisimazine team watched in Cannes! The e-book will be published very soon!

Review: The Curse by Fyzal Boulifa

Review: Beasts of the Southern Wild by Benh Zeitlin Gavin Humphries and Fyzal Boulifa by Cecile Janvier In the middle of a desert more and more children just appear out of nowhere, they just pop up in this vast space. They all start to follow a girl as she walks along the dusty road. They harass her, call her names, they frighten her. She has been caught by one of the kids while having sex with her lover. Thus, she is now the victim of their blackmailing. Winner of the Caméra d’Or 2012 The first full-length feature by the young American Benh Zeitlin is rightfully entitled, Beasts of the Southern Wild. Filmed in the bayous of southern Louisiana, this intense film does in fact showcase a lot of beasts of the wild, including loads of pigs, birds, insects and fishes. This post-Katrina apocalyptic story is a cinematic Noah’s arch taking on board a handful of incorruptible humans who are the inhabitants of a swampy zone called Bathtub, which borders the delta of the Mississippi. Despite living in abject squalor with homes made of piecemeal nature, rust and mortar, the community is intent in fighting for their lives and the little bit of nothing they call home from an impending storm. Their rejection of the “civilized“ world is further emblazoned by their pride, as these men, women and children wouldn’t live elsewhere for anything. Opening up with an energetic joy and vibrating fanfare, Beasts of the Southern Wild is a voyage of initiation. Reminiscent of the Odyssey, it is both a magical and realistic fable of survival. The relationship between the father, Wink (Dwight Henry) and his sixyear-old daughter Hushpuppy (the incredible and magnetic Quvenzhane Wallis) is about

passing on how to survive. As narrator, the little girl adds magic to the film; incessantly trying to pierce the great mystery of the heart of the beings she crosses. The story of Beasts of the Southern Wild is also narrated by a greater, more ancient voice; the stuff of legends. Indeed, Benh Zeitlin weaves into his story scenes of melting glaciers and extinct aurochs stampeding, with the assistance of his special effects director Ray Tintori. These scenes, perhaps symbolic of that which looms over and menaces our planet, unfold in the story through what Hushpuppy believes is a chaos that she brought into the world when she struck the chest of her father as he lay dying. Through the acceptance of death and by releasing the maternal phantom inside her, Hushpuppy the child, at long last becomes a warrior. Ready to defend “her” ground alone and tread upon the land with euphoria. A blend of great joy, magic and bitterness, Beasts of the Southern Wild is an epic of hope and love shot out like fireworks lighting up the dark and hardened sky of the past and the future.

byEmilie Padellec

Director Fyzal Boulifa paints the picture of an outsider. One who has been dismissed because she didn’t conform to the common rules of the group. It is not only an issue concerning Moroccan culture and strict values but a universal one. Boulifa likes to look at the margins of society, of humanity. The fact that the harassers in the movie are young children makes his vision even more threatening and oppressing. The situation takes your breath, it strangles you, makes you furious. They kids follow her slowly, they walk behind her, remain a permanent presence. The camera focuses on the girl’s face, her stubborn mouth, her unmoved expression that seems to be fixed on something in front of her. In comparison to Boulifa’s earlier movies this one contains fewer Dogma-like features. The images’ composition seems intentional, arranged, orchestrated. Nevertheless it continues to be minimalistic and rather realistic; one will not find bold surrealistic gestures in the film. Colors are preferably muted; movements slow and always intended, the camera’s eye just a constant, cautious and low-key observer. It is impressive how Boulifa succeeds to keep up suspension and tension throughout the whole story. He describes a fundamental struggle, a hunt with destructive consequences. In order to satisfy her blackmailers, the girl sells herself to receive money from a stranger. She gives in; she degrades herself for the sake of their demands. But even when she does so, Boulifa doesn’t offer us any relief. There is no place for someone who misbehaved and ignored the rules. We know that no matter what she does, she will always remain the inferior one on the margin. Small children will have power over her and force her to prostitute herself for a bag of candy; of Mars, Kit Kat and Twix.

by Franziska Knupper


The New Board


The New NISI MASA Board NISI MASA structure has changed and since the beginning of May, the Network has a new board composed by new and old faces that will take care of it during the next 3 years. They will be the ones driving NISI MASA to the next level, facing new and amazing film adventures all around the world, and above all, they will keep on the hard work of supporting European Young Cinema. NISI MASA future has arrived!

The Supervisory Board 3 people are part of the Supervisory Board. Its main function is to oversee the proper functioning of the network and take the most important decisions of NISI MASA.

FILIPE PEREIRA, PRESIDENT Filipe Pereira was born in 1981, and has for the last 8 years directed FEST - International Film Festival for Young Directors in Espinho, Portugal, In 2009 he also started FEST - Training Ground a deluxe training event for new filmmakers. The activities he has managed have gone in a great spectrum, including the production of a TV program of short films by young filmmakers, or activities of Media Literacy for young kinds from unprivileged neighborhoods. Since May 2012, Filipe Pereira is the new President of NISI MASA.

SEVERINE BEAUDOT, TREASURER Born in 1982 in Lyon, France. Severine Beaudot graduated in Management and Audiovisual Journalism in France and Germany. She has worked as a TVjournalist in Germany, has been a circus teacher on French seasides, a lobbyist in Paris, an NGO organizer in Madagascar, a fruit seller in the mountains‌ and the funniest thing is that everything is true! She has also taken part of film festival workshops, some organized by FrenchGerman programmes, but most of them organized by NISI MASA, where she got contaminated to collaborate in crazy audiovisual projects such as the Istanbul Express or the Polyglot project. Probably, she’s one of the Nisimasians who took part of most of the workshops from the last years. Currently, she works as a director, DoP or editor in Munich. Loves serendipity and documentary filmmaking life. Severine is happy to be on board, with the new board, for the next years to come.

MAARTJE ALDERS, GENERAL SECRETARY Maartje (born in Holland in 1983) was once pulled across the ocean to study art on the american Great Plains. After this first quest, she returned to her home country to study Sociology, Archaeology and Cinema, in which she graduated in 2008. She worked in Paris for three years for NISI MASA as project manager and inhouse graphic designer, mainly responsible for Nisimazine and was part of more than 20 projects. In one month she is moving to Egypt for a while to brush up on her Arabic and to get back to her photography and write on new projects. But not being able to disconnect from the nisi-family ofcourse, she now bows to you as your new General Secretary, at your service (they have internet in the Middle East, don't worry).


The New Board

The Executive Board


The 4 people from the Executive Board, will be the chiefs of the four departments of NISI MASA: Network, FilmLab, Script and Debate. They will focus in their own department and will be in charge in managing all the NISI MASA projects.


by Merli Antsaam

Hannaleena Hauru (b.1983) is a Finnish filmmaker and a producer living mostly in Helsinki. She holds a Masters Degree in Arts from ELO Film School Helsinki in 2011, majoring in scriptwriting and directing, as well as Bachelor Degree in Culture and Arts from Tampere University of Applied Sciences, majoring in producing. She has directed several short films screened and acknowledged widely in Oberhausen, Cannes Critics' Week, Uppsala, Tampere International Film Festival and many more. In addition of being a filmmaker currently writing her first feature film, Hannaleena is a teacher, has a (dark) past working with theatre - and she's the founder of Helsinki Film Academy and The International Random Film Festival. Hannaleena is a former President, Vicepresident, ESP Participant and a script contest winner of NISI MASA. Her biggest NISI MASA dream is finding a house providing a film residency and all-year activities for all nisimasians.

WIM VANACKER, HEAD OF SCRIPT DEPARTMENT After studying psychology and filmstudies in Gent and Antwerpen, he moved to Dublin to work as a psychologist in the field of drug addiction. During this period he was employed as a film critic and a programmer for several film festivals. After spending the last decade looking for his own creative voice, engaging himself in interior design, installation art, photography, writing and choreography, he realized none of them were sufficient to express himself fully. They all missed a certain dynamic, a fire, an energy he did find in cinema. The sum of all parts. Whereupon he moved to Paris and picked up studying again at EICAR, the International Film School of Paris, where he made two shorts. Endgame, which got selected for 25 festivals thus far and won 5 awards along the way, and The Naked leading the Blind, which won three awards while just starting its festival career. After graduating, he discovered NISI MASA and started off working as the project coordinator of European Short Pitch to finally become the new head of the script department, ready to fully embrace the NISI MASA spirit. Vive le Cinéma, la plus belle escroquerie du monde !


Michaela Pnacekova graduated in English and American studies and theatre studies. Since 2005 she has worked for film festivals, such as IFF Berlinale, FilmFestival Cottbus (Germany), achtung berlin – new berlin film award (Germany), IFF Artfilmfest (Slovakia) and QFF Mezipatra (Czech Republic) where she participates in different areas of festival organization (programming, guest management and festival management). She has been invited to be member of the TEDDY Jury at IFF Berlinale (2007) and the jury of the GLBT FF Image+Nation in Montréal, Canada (2008). She has also been studying a postgraduate degree with the focus on sociolinguistics and gender studies. Since May 2012, she is one of the members of the executive board at NISI MASA. She spends her leisure time traveling (to and from film festivals, workshops and conferences), writing (reviews, articles and her thesis) and exploring Berlin where she’s been currently living.

GIOVANNI VIMERCATI, HEAD OF DEBATE DEPARTMENT After surviving the throes of forced education, Giovanni Vimercati leaves for a holiday in London in the summer of 2004 from which he has never returned. For two years he works as a cook in the most prestigious restaurants of the British capital where he learns the inexistent difference between art and life. After contracting an inextinguishable debt with Her Majesty’s loan sharks, he is able to buy a degree in Film Studies. On the 1st of May 2008, he founds the Celluloid Liberation Front, an open reputation informally (un)adopted by a multitude of insurgent spect-actors. In October 2011 he takes part to the Nisimazine film journalism workshop in Abu Dhabi, holy sanctuary of consumer fundamentalism, where he discovers a crack of dialogical creativity in the occluded arrogance of the cinema industry. From May 2012 he is the official new Head of Nisimazine.

NISI MASA LEAKS The new board will be sharing most of its activities with all the network members and of course, all the people interested to know more and deeply about NISI MASA through a brand new blog:



Nisimazine Cannes 2012

For 7th consecutive year, our Nisimazine team has been in Cannes Film Festival to create an amazing e-book focusing in the new directors films and shorts and to show us which is the future of international cinema. 8 peoplas have participated in the Film Journalism workshop, experiencing the glamourous Croisette cannoise and of course, enjoying the best cinema.

One week in Cannes' sunny screening rooms Working in Cannes for Nisimazine has been such an incredible experience that I eventually decided not to sleep (almost) in order not to miss a single part of it. Working in Cannes for Nisimazine means getting to interview fascinating artists, running from one projection to the other with a delighted bulimia for cinema, feeling the challenge to produce one good portrait of a director with only two minutes of shooting… It also means passionate talks about movies with the rest of the team in the middle of the night, work meetings at breakfast among croissants and computers on the terrace and merry mumbling in various languages all the time. Getting the chance to work with this team from all around the world, I got the impression of reuniting with a kind of forgotten family for a big party about cinema. I spent my time hanging in the streets and in the Festival’s build© Boulet

ings, exploring and waiting for the right picture to come to me. I observed this unknown world as some kind of weird ethnologist who tries to understand how it works : entering crazy parties where I wasn’t supposed to be, meeting random people who work there or are movie stars hunters… But I also worked, of course: going with the journalists to the interviews, I could shoot many portraits of directors and actors, and listening at what they had to say, as well ! Last but not least, I also wrote about some of the movies and loved this opportunity to think in a foreign language. To me, in the glittering big mess of the festival, Nisimazine’s office has been a fascinating tower of Babel where I had a lot of fun and nice encounters while making my work and my views evolve. Text and pictures by Chloé Vollmer-Lo



Cine - Boat at Cannes Critics' Week Almost a year ago, 18 people started a filmmaking adventure on a boat crossing the Archipelago of Turku in Finland. The 6 short documentaries had their international premiere at the 51st Cannes Critics Week! Here you have a recap of the great time our participants had!

Boats, Booze and the Beast of Cinema The rain stopped and the sun burst out just as some NISI MASA sailors arrived in Cannes for the international premiere of the Cine-Boat films at the 51st International Critics’ Week. Almost a year had passed since the itinerant workshop in the Archipelago of Turku, Finland, but some things were unchanged: incredible weather, a harbourside location, plentiful booze and yes, the less glamorous mosquitoes were all there again. Although the yachts and bling on the Cote d’Azur made the M/S Paloma look like a rowing boat in comparison. Most of the motley crew being Cannes debutants, navigating this cinematic behemoth was a challenge. Especially without tutor and spiritual (vodka) guru Peter Kerekes to guide. But as every newbie soon learns, the Croisette is a golden opportunity for those with a gift for blagging and self-promotion. Or if you can give in to the flow, a fun circus to be enjoyed with a healthy dose of cynicism. And no matter what, you can be sure that the best place to end the day is outside Le Petit Majestic. Lady luck did favour the Cine-Boaters though, as all went smoothly for the premiere and the Finnish pavilion kindly offered to host a cocktail afterwards for a meet and greet with the filmmakers during their brief moment of international stardom. Big thanks to all who helped pull the event together in Cannes! Next stop is Espinho, Portugal, for the FEST - festival internacional de cinema jovem.

by Jude Lister Thanks to the Finland Film Commissions (specially Päivi Söderström and Tiina Laasonen) for hosting our cocktail!

The Cine-Boat book and DVD have been published. If you would like a copy/copies to organise a screening please contact us!

by Viviana Carlet

CROISETTE TIME WARP Cannes, Palm trees, the Croisette, Women in beautiful dresses, parties, alcohol, lack of sleep. I forgot the luxurious cars, I have seen so many that I think if we take them all we can reimburse to the banks Greece's bankruptcy. Cannes is mainly, between the hunt for invitations and the rush of the tuxedo metamorphosis when you catch a ticket for the main screening, the city of Cinema. Everyone is here, and many movies that you are not be able to see because you don't have a Time Warp Machine. Cannes, when you have arrived 5 hours ago it seems that you were here for 3 days already. And the day after Time collapse, and it's already time to leave, even if you were here for 5 days. Your nights are gone and your days are in the dark. The main event was to make movies in 3 weeks, in Finland with European strangers. And one year later, to see them again, the friends, in Cannes. The premiere at the Critics' Week was great. And the Critics' Week party was, well, like the MS Paloma. The sea was there, the music was there, the sailors where there, the sailors who drink like pirates.

by Gautier Dulion

GIGABYTES Cannes with an accreditation. And sadly, I couldn't make it a couple of years ago when my short film Furniture was screened. I can't say how much I regretted it afterwards, and I can't say how much I dislike regretting things twice. So this time I ran to my fellow sailors, and made it just in time for our collective screening. I'm pleased to say how much I liked watching those films again, knowing what they meant to each one of us, but also having a whole year to forget about them and to watch them with new eyes. My new eyes, sadly, just lasted a couple of hours before having my visual field covered by flocks of men in tuxedos, rain, crowded beaches, slices of pizza, people with great amounts of botox in their faces or golden Mercedes riding around. Because that, I'm afraid, is also Cannes. By the third day, I had seen more than 10 films, spoken to probably more than a hundred people, given and taken dozens of presentation cards, seen thousands of faces, walked several miles and collected several gigabytes (if one could measure it that way) of information that still today I'm trying to put together. You can tell, because of that, that there was something huge going on there.

by Melissa Suárez del Real



After the big international premiere of the Cine-Boat films, part of the Polyglot: on the way to Turku project at Cannes Critics Week, begins the life for the 6 short documentaries among festivals all around Europe! In June we have two confirmed screenings. The first one in Mitrovica (Kosovo) during Ibar Open Air Cinema and the second one in Munich, during KALIBER 35 Munich Short Film festival! Keep reading to know more about the screenings and the festivals!

CROSS VIDEO DAYS CONTEST! With the warm weather and the sun, we feel like doing a contest! We offer two invitations for Cross Video Days to those who guess two questions related to NISI MASA. We will be throwing the questions in our Facebook the 5th and 6th June and the first who answer correctly will win the tickets! Cross Video Days will take place from 12 to 13 June in Paris, and the winners will be able to attend conferences about crossmedia and transmedia and discover the newest transmedia projects in development from all around the world! Question for 1st ticket - 5th June Question for 2nd ticket - 6th June The questions will be published in: More about Cross Video Days:


The new NISI MASA Board has decided to create a new space where they can share and interact with everybody about the network and all the new projects. The results is NISI LEAKS, a blog 'très sympa', where our Supervisory Board and 'Heads Of' will leak their thoughts about the network and will give you the "scoop" about NISI MASA! Check it out and meet the NISI MASA spirit!

"Ibar Open Air Cinema" in Mitrovica

screen 9 short documentary films, pro duced by local filmmakers who attended the DOKO YOMI workshop. DOcumenting KOsovo’s YOuth in MItrovica – was a documentary filmmaking workshop implemented by NISI MASA and 7arte (NISI MASA Kosovo member) in 2006 and now it is supported by Norwegian Embassy in Kosovo, Culture for all, and Mitrovica Municipality. For more info:

KALIBER 35 Munich short film festival

German NISI MASA member is running the 7th edition of KALIBER 35 Munich Short Film Festival, which will take place from 21st to 27th June in Munich (Germany). During the festival, the best selection of short films from all around the world will be screened and they will compete for the festival’s prestigious awards. Besides, Cine- Boat films, from the Polyglot: on the way to Turku, will be screened during the festival the 23rd June!

KURZ&KNAPP “Iber Open Air Cinema” 4 will be held in Mitrovica, Kosovo from 7th to 9th of June 2012. The idea to screen films outdoor came as a need to calm down the tense situation in Mitrovica, especially the location close to the main bridge that divides Albanian and Serbian communities. Since 2000, the Iber bridge doesn’t play the role of a bridge and our aim is to use cinema as a tool that would gather people to watch and talk about films. Every year in this festival we are promoting local and European filmmakers. Last year, we screened “Matter of taste” films, produced by NISI MASA and this year we are going to screen “Polyglot” films, too. Films will be screen on two places, at the main bridge and at the garden of City Museum. On the last night we are going to

If you couldn’t submit your film in KALIBER 35, you still have a chance to be part of it, because for second year, the festival is organising KURZ&KNAPP (Short&Tight), a film challenge where filmmakers will have just 35 hours to write, shoot, edit and complete a short film! The competition will begin the 22nd June and the organization will be announcing some elements to include in the films. The films will be shown in the Award Ceremony and the winners will be chosen. To participate in this film challenge you just have to pay a fee of 35 euros and filling and online application form: For more info about the festival and questions:


TransISTor 2012, 3D workshops CALL FOR APPLICATIONS

During Film workshop every shooting crew will have to use the tools of documentary filming to explore life of a small Hungarian village or person in it. Every crew will be guided by skillful tutor-director. As a result of experimenting and spontaneous shooting 3 creative documentaries will be made. Participation fee: 120 EURO The festival organizers cover accommodation and food for all participants.

This summer, 3D lovers will have their opportunity and will be able to learn about how 3D stereoscopic films are done. CIANT Prague (International center for art and new technologies) organizes TransISTor 2012, a multidisciplinary training initiative offering European film makers in the audiovisual sector intensive workshops focused on new technologies in the preservation techniques and methodologies for digital audiovisual works. Last editions (there already had been 7 series) are dedicated to integrated approach to 3D cinema and stereoscopy (script, storyboard, development, distribution and sale strategy). Three workshops will be held during July. The first one is focused on S3D documentary filming (2-5 July), the second on fiction (9-12 July), the third on postproduction of S3D material. Among the lecturers and tutors are such masters as Yves Pupulin (Binocle 3D), Bernard Mendiburu (AAsterion Production) or Tomáš Petráň (FAMU Prague). The call for participants was just opened so do not miss the chance to get the reduced price and check also the scholarship possibilities. Deadline is 20th June. Application form:

HELLOWOOD! CALL FOR APPLICATIONS We invite you to be a part of an exiting and huge art program, the HelloWood Festival 2012 (21-29 June), where 150 students in film, architecture and design are working on their own projects next to each other at the same time.

Deadline: 4th of June Application:

CINEMA JOVE, "opera prima" online workshop

agenda 4 june

Deadline HelloWood Film Workshop

5 june

Cross Video Days Contest 1

6 june

Cross Video Days Contest 2

7 - 9 June

Ibar Open Air Cinema, Mitrovica

12 - 13 june

Cross Video Days, Paris

15 - 22 june

Cinema Jove IFF, Valencia

18 - 22 june Festival of Migrant Film "On the Road" Valencia (Spain) will be helding the 27th edition of Cinema Jove International Film Festival from 15 to 22 June, where will be shown a big catalogue of international young cinema, including feature and short films. In addition to all the screenings, this year, Cinema Jove begins a new activity “Opera Prima”, focused in teach how to make a short film to the general public through new technologies. 13 young people have been chosen to be part of the team for the presential workshop, but everyone interested, will be able to follow the workshop and the master classes by cinema professionals thanks to the Internet and the festival online TV channel. For more info about Opera Prima, check their website: To follow the workshop online:

21 - 27 june

KALIBER 35 Munich Short Film Festival, Munich

21 - 29 june

HelloWood Festival, Hungary

30 june

Deadline TransISTor 2012 Prague

Mas y Mas June 2012  


Mas y Mas June 2012