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41ST INTERNATIONAL FILM FESTIVAL ROTTERDAM #6 TUESDAY 31 JANUARY 2012

CineMart delegates relax with a drink and a laugh at the Industry Party hosted by the IFFR and EYE Film Institute Netherlands at Rotterdam’s Westelijke Handelsterrein on Sunday evening.

photo: Rogier Maaskant

Remembering Raúl Geoffrey Macnab speaks to Rotterdam attendees about their memories of Raúl Ruiz (1941-2011)

Rotterdam programmer Dickie Parlevliet still remembers vividly the circumstances in which the great Chilean filmmaker Raúl Ruiz made a film in Rotterdam – in her house. Ruiz (who died last summer and whose memory is being honoured at the festival this year) was a friend of Rotterdam founder Huub Bals. The director was preparing his surrealistic fantasy film, On Top of the Whale (1982). He wanted to shoot in Holland because he liked the light and was looking for a house on an island. Producer Monica Tegelaar recommended Parlevliet, telling Ruiz that her house was next to a canal. “He came to see the house and he was very excited about it. Then he came back with cinematographer Henri Alekan and the whole crew”, Parlevliet recalls. She continued to live in the house, even as the film crew was working round her. She slept with the doors open – there were so many cables scattered around that she had no choice. The director used everything he could find in the house, from her collection of bird and mice skulls to her books. “It was overwhelming and I lost some things, and he used everything from my stuff,” Parlevliet states. On Top of the Whale was, by Parlevliet’s own account, “a very strange film but quite successful on the festival circuit.” She says she wouldn’t let a film crew into her house today. Even so, the film marked the beginning of a friendship with Ruiz that lasted until his death. She was heavily involved in the major Ruiz retrospective IFFR staged in 2004. Magician

Ruiz was an enigmatic figure. “Hubert Bals called him a magician,” Parlevliet says. “He had very strange ideas,

but that’s what you always see in his films and what is so interesting about him. I liked it... and I don’t care if I sometimes don’t understand him. He is fascinating.” The Chilean wasn’t just a filmmaker: he was an architect, novelist, mathematician, professor and – as Rotterdam attendees discovered several years ago when he put on his apron and cooked for festival guests – an accomplished chef. French actor Melvil Poupaud (in Rotterdam for tonight’s tribute) first worked with Ruiz when he was nine years old, on La Ville Des Pirates (1983) and last worked with him on Mysteries of Lisbon (2011) and Ballet Aquatique (2011), a playful short about phantom fish that screens in IFFR’s Signals: Regained. He saw Ruiz for the final time the day before he died. “In some old books, you have an uncle that appears and disappears, almost like a pirate in a book or film like Treasure Island,” Poupaud recalls. He paints a vivid picture of the playful but very mysterious and dreamlike atmosphere on Ruiz’s sets. The director didn’t like his cast or crew to get bored. At one point on almost every Ruiz shoot, he would devise a long shot and give his collaborators new tasks: the make-up artist would push the dolly, the sound editor might be given a role in front of camera. Collaborators talk about the playful atmosphere he created. Actors were always happy to be “guided by this crazy, brilliant guy.” Playful

When Poupaud saw Ruiz on his deathbed, the director was still the same mercurial and playful presence. “He was making some jokes, talking about the movie (The Lines Of Wellington) we were supposed to do in November and not really understanding what was happening. I guess people would protect him from telling him it was the end... everything around Raúl was ‘Ruizian.’ A dinner with him would be like magic, because he would

order some food you would never know... friends would appear, scientists and philosophers. There was always a surrealistic and funny atmosphere around him.” For Ruiz, Poupaud conjectures, everything (life, death, history, religion) was “a cosmic joke.” The actor speaks with the most fondness of the very small-budget films he made with Ruiz in Portugal in the 1980s. “Having not much money would push him to invent stuff on the set and make some crazy shots.” For Ruiz’s Combat D’Amour En Songe (2000), the cast members weren’t even given a script. They made the film according to a mathematical formula. The actors had such faith in the director that they were ready to shoot the film in a freewheeling, improvisatory way. “From my point of view, he was a master. He would master a big budget movie, he would master a movie with no camera, no money,” Poupaud says. “It was all about poetry. Whether it’s talking about science, love or phantoms, the only thing (that mattered on a Ruiz film) is to create a moment of poetry.” One piece of advice Ruiz imparted to the young French actor was to say sorry three times if ever he gave money to a beggar. “The first time it’s ‘sorry because that’s all I have to give you.’ The second time ‘it’s sorry because I can’t take your place’ and then ‘sorry because I have been lying two times.’” Inspiration

The Chilean director continues to inspire filmmakers. For example, Jose Luis Torres Leiva has made a one minute short, Copia Imperfecta, especially for this year’s Festival in homage to Ruiz. The short, backed by the Hubert Bals Fund, takes an image from a sleep-walking scene in Ruiz’s film La Ville Des Pirates. The image, Leiva says, captures Ruiz’s “humour, his reverie, his provocation and his elegance.” Meanwhile, shooting is currently underway in Portu-

gal on The Lines Of Wellington. Ruiz’s widow and editor Valeria Sarmiento has taken over direction of the film, which is produced by Paulo Branco and stars John Malkovich, Catherine Deneuve and Isabelle Huppert. (Poupaud, who also has a role, points out that the call sheets still describe the film as a ‘Raúl Ruiz Production’). Earlier this week in Rotterdam, Finnish auteur Aki Kaursimäki (who first met Ruiz in 1986 and saw him sporadically in subsequent years) talked of his admiration of the Chilean director. Kaurismäki expressed his regret that he had never been able to lure Ruiz to the Midnight Sun Festival in Finland. “We had a very fast understanding of each other. I liked the man very much.” Tonight there will be a ‘Smart Talk’ dedicated to Ruiz. Hosted by Adrian Martin and featuring contributions from Poupaud, producer Francois Margolin and former IFFR director Simon Field, it is billed as an evening of “memories” and “beautiful images”. It takes place at 20.00 in the Kleine Zaal, Rotterdamse Schouwburg. See the programme for details of Raúl Ruiz screenings.

SHORT WINNERS The winners of the Tiger Competition for Short Films were announced yesterday. The three winners are Makino Takashi’s Generator (Japan, 2011); Mati Diop’s Big in Vietnam (France 2012) and Jeroen Eisinga’s Springtime (Netherlands, 2012). Charlotte Lim Lay Kuen’s I’m Lisa (Malaysia, 2010) received a Special Mention from the jury, and Albert Sackl’s Im Freien was chosen to be IFFR’s nominee for the European Film Awards 2012.


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TROUBLE IN PARADISE 2012 looks set to be a good year for Austrian cinema, Geoffrey Macnab reports

Ulrich Seidl’s long gestating sex tourism fi lm Paradise has split into three. The project, first conceived by Seidl as a single movie over a decade ago, will now comprise three separate feature-length fi lms. All will be ready by the spring. It’s conceivable that all three could turn up at a single festival. Distributors are expected to be encouraged to buy the entire package. The fi lms are sold internationally by the CoProduction Office, whose boss Philippe Bober is producing alongside Seidl and Christine Ruppert. Seidl’s first fi lm explores the phenomenon of “sugar mothers” – middle-aged European women to whom young black men in Kenya offer sex for money. The second fi lm is a portrait of Anna Maria, a woman with a religious obsession who spends her vacation carrying a statue of the Mother of God from door to door. The third fi lm, billed as a movie about “the unconditionality of first love,” tells the story of 13-year-old Melanie, who falls in love with a doctor 40 years her senior – and sets out to seduce him. “It’s how Seidl works. He is really quite peculiar, because he never really writes a script, not a dialogue script … he’s someone who doesn’t follow one story but story streams, that he intertwines”, Martin Schweighofer, CEO of the Austrian Film Commission, commented of how Paradise has fissured into separate parts. The Seidl fi lms are spearheading what looks to be a strong Austrian slate of new titles for 2012. Michael Haneke, arguably Austria’s most celebrated fi lmmaker, is expected back in Cannes with his French-made Amour, starring JeanLouis Trintignant. The fi lm is about George and Anne, retired classical music teachers in their 80s whose long-standing love for one another comes under severe strain after Anne has a stroke. An Austrian fi lm likely to surface at a festival in the late summer or early autumn is Antonin Svoboda’s The Boundary Man, about radical psychoanalyst Wilhelm Reich, which marks the return to the screen of Klaus Maria Brandauer, the award-winning star of Mephisto and Never Say Never Again. It also stars Julia Jentsch. Other new Austrian fi lms expected this year include Der Letzte der Ungerechten, the new documentary from Claude Lanzmann, the revered director of Shoah, Barbara Albert’s new feature The Dead And The Living and Hubert Sauper’s We Come As Friends. “I am quite confident that we are looking at a nice and fruitful year”, comments Schweighofer.

Eastern Western Tokyo meets the American Wild West in Malcolm Murray’s CineMart project Tokyo Cannonball Rising Sun. The fi lm will be Murray’s second feature, following Bad Posture which screened in IFFR 2011, and will tell the story of a cowboy-obsessed Japanese man who migrates to the America of his dreams following his wife’s death. Murray was named one of the Ten to Watch: Best at IFFR 2011. “I grew up in New Mexico, very near ranch country and members of my family own ranches there,” explains director Murray. “My mum loves Japanese culture and I’ve spent a lot of time there. I’ve always wanted to make a movie bringing these two cultures together.” Producer Brandon Harris is confident the fi lm can be made for 800-900,000 dollars, and is scouting for a Japanese co-pro partner to howdy with. “A straight US/Japan co-production – that’s what would make most sense economically. We could make this movie for much less or much more. Given the place we’re at in our careers, it makes most sense to make it within this budget range.” The team is confident their fi lm will attract European as well as US/Asian audiences, but any additional European fi nancing, they contend, would be contingent upon the production featuring named cast. “There is the possibility we can cast individuals who can make it more appealing to Europe or wherever else from a fi nancial perspective,” Harris notes. “From an audience perspective, I think they

are more worried about whether or not the fi lm resonates with them dramatically, emotionally, aesthetically. That stuff we will do regardless of who is in the fi lm.” “I got to know the festival quite well last year with my fi rst fi lm, but this is my fi rst co-production market,” Murray adds. “It has been really exciting to talk to

a wide variety of people about our fi lm. Even if they don’t necessarily have the money right now, we are getting a universally excited response from people, which is really heartening. We have been working on this script for eight months in a room by ourselves and to bring it to the professional public, and have people excited about, it is very satisfying.” (NC)

Malcolm Murray and Brandon Harris

THE SMITS Director Ineke Smits, whose The Aviatrix of Kazbek closed IFFR 2010, speaks to Nick Cunningham about NN, her new film project

Produced by Els Vandevorst for N279 Entertainment and budgeted at €1.2 million, the project has received funding for “half the budget” from the Netherlands Film Fund, Smits confirms. After September’s Netherlands Production Plaform (Utrecht), the project was joined by Belgian production outfit Potemkino and the UK’s F&ME. The fi lm, which Smits is looking to shoot in autumn 2012, is a treatise on identity focusing on a pathologist’s search for his past. Smits also confirms that she is in advanced negotiations with a Dutch broadcaster on a complimentary documentary about pathology (working title: The Glance of Koos van Leeuwen, the pathologist with whom she researched aspects of NN), and an online application about identity. She is hopeful of shooting her doc in June. “It started as a feature fi lm, but last year I did a transmedia course and it opened my mind to new ways of story-telling,” Smits comments. “Koos turned out to be a really good storyteller, very empathetic and very human, not cynical at all. You must remember that he has been in the job for twelve years, examining deaths by suicide, fight victims, accidents, forgotten people. I was amazed how he could stay like this and neither fall apart nor become cynical.” In addition to her NN-related activity, Smits found time to launch a script consultancy company late 2011 with radio play specialist Jeroen Stout (Stout&Smits). “One of my strengths is in script development and consultation,” she explains. “We are reading a lot of books for producers and assessing their potential. Jeroen and I are very complimentary – he is a real expert in dialogue; I’m stronger on the structure.”

photo: Bram Belloni

HAPPY ENDING FOR LEVEL K Danish sales outfit Level K has confi rmed it has boarded Glasgowset romantic indie comedy Not Another Happy Ending. This marks the continuation of a collaboration with Scottish production outfit Synchronicity Films which began with Scottish BAFTA winner Crying With Laughter (2009), and the upcoming Blood or Water. The two companies are building a relationship across a slate of projects, with several more in discussion. Not Another Happy Ending will be directed by John MacKay (Crush). The cast is headlined by Jessica Brown Findlay (Albatross, Downton Abbey) and Sophie Wu (Kick Ass), alongside Karen Gillan (Doctor Who) and Emun Elliott. Gary Lewis (Billy Elliot) and Anna Chancellor (St. Trinian’s, Four Weddings and a Funeral) also appear. Not Another Happy Ending is a Synchronicity Films Production, produced by BAFTA-winning Claire Mundell (Weekend, Crying With Laughter) and co-produced by Wendy Griffi n (Wasted, Red Road) and conditionally supported by Creative Scotland, Southwest Scotland Screen, BBC Scotland and Savalas Films Fund. Shooting starts in May in Scotland. The fi lm tells the story of a struggling publisher who discovers his only successful author is blocked. With her newfound success, she’s become too damn happy and he thinks she can’t write when she’s happy. The only trouble is, the worse he makes her feel, the more he realises he’s in love with her. (GM)

Slicing the digital cake Yesterday during the CineMart power lunch on digital distribution in de Doelen, representatives from the sales and distribution sectors went head-tohead with personnel from leading digital platforms to seek answers to a range of questions related to the subject. How can the sectors collaborate more effectively for mutual benefit? How should the business of marketing product be best conducted? Is there a multi-lingual solution to the problem of cross-border distribution? Whose interests are best served/protected right now, attendees asked after the event. “My conclusion about today is that if the individual distributors do not become more innovative in the way they handle digital, then they will just be passed by, and that’s within the next ten years,” commented Francois Yon of French sales house Films Distribution. “As sales companies, we are not satisfied with the way distributors handle our product with the VOD platforms ... It is very hard to move people on from traditional to digital distribution, but if they don’t they will be left aside in the evolutionary process.” Festival Scope’s Alessandro Raja struck a more conciliatory note. “Every sector is trying to bring its point of view,” he noted. “In terms of change,

you are always scared of what is coming next, but compared to the things that were being said two or three years ago, you can feel there is much more comfort in people. New technology can be a solution to problems, not a threat. Everybody should be concerned, but there should be optimism as well.” MUBI’s Alessandra Iacoponi concurred: “There are a lot of opportunities that are not, right now, being exploited. Digital distribution brings a huge opportunity for diversity, not only for content that you have everywhere on every platform, but also revenues for the rights holders. New media is not a threat but a huge opportunity. It’s no longer top-down control of the media. It’s now mainly a collaborative way of sharing knowledge and exchanging and discovering new fi lms and content.” Moderator Orly Ravid (the Film Collaborative) summed up the discussion as she percieved it. “There is an acknowledgement – I think this was pretty universal around the table – that digital is growing ... If there were a fi lmmaker here, they may have been able to determine whether to go through a traditional sales agent or a VOD-type (fi le-sharing platform), or go through the middle and work with an aggregator, and start to distil the differences between their options.” (NC)

Bon Apetit! The CineMart power lunch in de Doelen yesterday

photo: Corinne de Korver

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The long perspective

Heavy hope Petr Lom’s documentary on the aftermath of the recent Egyptian revolution praises the resilience of the young protesters, Edward Lawrenson writes

“One thing is for sure, it’s a heavy fi lm with not a lot of hope in it”, says Petr Lom of his documentary Back to the Square, which received its world premiere at IFFR on Sunday and screens in Power Cut: Middle East, the IFFR’s exploration of fi lm and art from the Middle East and the Arab world in the context of last year’s ‘Arab Spring’. A documentary that follows five Egyptians connected to the protests against the regime at the beginning of last year, this is a sombre and unflinching look at the culture of repression and state violence that persists after the overthrow of Hosni Mubarak. It was while Lom was developing a project on political reform in Egypt that the Tahir Square protests took place. “I went there at the beginning of February last year”, says the Prague-born Canadian. “Originally, I didn’t know which direction the fi lm would take and I was just accumulating stories. The fi lm only really came together in my head around June. I basically realised the story was about fundamental human rights – and the fact they weren’t being respected, particularly because of police abuse.” Among the stories Lom tells is the case of Michael Nabil, a blogger arrested in March for his online

comments. “He’s kind of the first prisoner of conscience, jailed for speaking his mind,” says Lom. Nabil was finally released last week, after a long hunger strike. “We wanted him to come,” says Lom. “But he’s not healthy enough to travel.” The welcome news of Nabil’s release is tempered by the fact that authorities have still not delivered on their promise of an amnesty for 2,000 of Nabil’s fellow protestors. “We were just talking over lunch, and he says they haven’t been released yet.” The issues raised by Return to the Square look set to reach a wider audience: “We pitched the fi lm at the IDFA Forum and there are about a dozen countries interested, so we’re chopping it up for TV. Here, the VPRO is going to broadcast a 52-minute version.” Still, Lom is puzzled why so little attention has been given to human rights abuse in Egypt over the past year: “Why is there no reporting of the fact that 1,000 people have died since the revolution, and pretty much no one’s been prosecuted for it?” It makes for sobering viewing, but Lom’s film points to the possibility of change. “I have no prognosis. But I ended on an image of a chanting girl which for me symbolises what’s happening now: these young people are beaten down but they’re not going to give up.” Back to the Square – Petr Lom

Wed 01 Feb 18:30 PA2

Rotterdam favourite Lav Diaz is back in town with two probing explorations of life and struggle in the Philippines, Ben Walters writes

“If there’s a Nobel Prize for Cinema, it’s the Hubert Bals Fund,” declares Lav Diaz. “They created a whole cinema with this fund – it’s the hero of south-east Asian and Chinese cinema. We’re grateful for that.” As one of world cinema’s most ambitiously productive fi lmmakers, Diaz has personal reason for such gratitude. “Rotterdam is the first festival that gave space to my 11-hour fi lm,” he says, referring to Evolution of a Filipino Family (IFFR, 2005). “It really introduced my aesthetic to the cinema world.” IFFR 2012 audiences looking to experience that aesthetic – which combines politics, myth, philosophy, satire and sociology – have two chances. (“Two long ones!” laughs Diaz.) Century of Birthing, which clocks in at just under six hours, tells the parallel stories of a Diaz-like fi lmmaker struggling to complete his latest fi lm, about a nun, for a festival deadline and a religious leader who heads a mostly female sect. “It’s about the fi lmmaker’s struggle, dealing with so-called programmers, the issue of control of your work, your creative process, and taking account of what’s happening in your own habitat – your so-called ‘nation’,” Diaz explains. “And as the title suggests, thinking about what’s in store for cinema.” Not to mention “dealing with the issue of evil in man, the concept of an omnipresent so-called redeeming power that isn’t there.” Diaz’s second title, getting its world premiere at Rotterdam, is Florentina Hubaldo, CTE. A relative snip at five hours, it tells the interwoven aspirational tales of treasure-hunting construction workers, a budding entrepreneur and a woman who pushes her daughter into prostitution. “I shot the fi lm in 2009 and cut the whole thing and I didn’t like what I saw,” Diaz recalls. “I stalled for two years and when I got post-production funding, I started re-shooting. It’s entirely different now: it’s evolved into something more concrete, the way I discourse the issue of existence, the concept of

Lav Diaz

photo: Nichon Glerum

this omnipresence of so-called God and the myth that we have a nation called the Philippines – while there’s poverty and a big gap between rich and poor, there’s no such thing as a nation.” Diaz doesn’t expect every viewer to subscribe to his fi lms’ ideas, or even stay awake throughout them. “If you’re tired, you can sleep inside. I don’t mind that – once the fi lm is done I let it go. If people embrace it, thank you; if not, it’s out there. Maybe one day you’ll find it. Culture is a micro-organism. It will grow and grow.” Century of Birthing – Lav Diaz Wed 01 Feb 09:45 CI7 Florentina Hubaldo, CTE – Lav Diaz Tue 31 Jan 09:45 CI7

Mum’s the word Back to the Square

Hu’s the man For his latest film Nick, Fow Pyng Hu deliberately sought a recalcitrant lead actor, he tells Nick Cunningham

Its title may be uncomplicated, but its subject is anything but. Fow Pyng Hu’s Spectrum selection Nick concerns a chef whose disruptive nature tests the limits of behavioural normality, and whose natural default setting is to incite confl ict. But it is more than this. Rotterdam-set in its first half, the fi lm segues into classic road movie fare in a second part, which not only offers the complex Nick a shot at personal redemption, but also the opportunity to source the perfect truffle. Director Hu’s inspiration for the fi lm was the curiosity he retained for the difficult, annoying and seemingly cruel friends he once hung out with. “But I was always concerned about them, and I also felt a certain type of sympathy,” he stresses. “Later on, I wasn’t so bothered by their complex character, and I found in them a kind of purity.” In the fi lm, we are offered umpteen examples of Nick’s

Nick

unacceptable behaviour. In the opening scene, he chases a pigeon and kills it with a kick. Early conversations with his girlfriend are laced with criticism, bile and physical abuse. He viciously turns on his reasonable boss at the restaurant before storming away, stealing a joint of meat as a parting shot. Nick may seem utterly charmless and antisocial – director Hu is happy to entertain the suggestion that his character is bi-polar or borderline schizophrenic – but there is nevertheless an authenticity about his personality and behaviour which engenders our ongoing interest in him. “These types of character may be complicated and they may contradict themselves, but when they say something they mean it,” Hu points out. “Even if the next day they say the complete opposite. Often, people don’t want to give such people a second chance, but to me they are part of us so we cannot just neglect them or ignore them. That is why I decided to spend some time on this kind of person as the focus of my fi lm.” Hu auditioned many actors for the part of Nick; many of them were competent enough to take on the role. But the director wanted somebody who was naturally difficult and obstinate. “When Merijn de Jong came to audition, he wasn’t friendly. He was difficult to communicate with and it was kind of awkward. He was self-confident, arrogant, different from the others, and that really appealed to me. One of the casting directors said this guy might be difficult to work, with but I said that’s exactly what I want. That’s the challenge. If that’s the effect you want, you have to work to get it.” Nick – Fow Pyng Hu Tue 31 Jan 16:00 LV1 Fri 03 Feb 17:00 LV6

Ohran Eskiköy and Zeynel Dogan’s Tiger contender is a moving blend of fiction and real life, they tell Edward Lawrenson

It was while working on their acclaimed documentary On the Way to School that directors Ohran Eskiköy and Zeynel Dogan had the germ of an idea that would form the basis of Voice of My Father. The documentary is about a Turkish teacher who was sent by the government to a small Kurdish school, explains Eskiköy, who is Turkish. During production Dogan, a Kurd from a small village in Elbistan in southern Turkey, mentioned that he and his family exchanged news on audio cassette with their father while he was working in Saudi Arabia. These audio letters figure prominently in Eskiköy and Dogan’s Tiger entrant. Taking the lead role, Dogan plays a character also called Zeynel who returns to his home town in Elbistan to visit his mother and learn more of their father, who passed away some years ago. As he attempts to better understand the past, Zeynel learns more about the violent political climate of his youth. Dogan’s real-life mother Asiye Dogan plays the on-screen Zeynels mother, and the fi lm draws heavily on their family’s story. “The preparation alone brought up lots of memories,” says Dogan about the sometimes uncomfortable creative process. “But I had two positions. I was returning to these experiences, but I was also making the fi lm at the same time: I was in it, and outside it.” Although the original tapes to Dogan’s father still exist, the quality was poor and so Dogan asked his mother to re-record them. She was very stressed and nervous about speaking again to her husband, says Eskiköy. “It was difficult for Zeynel too, to direct his mother while she was reliving the past.” Was it hard to persuade her to act in the fi lm? “I’ve been involved with this fi lm for such a long time so my mother heard a lot about it,” says Dogan. “She knew exactly what we wanted to do so it wasn’t hard to involve her.” Eskiköy adds: “It was a big crew and she was surprised by the number of people who turned up. But by the end she wanted to tell a story of her life.” Describing their working relationship, Eskiköy says that he and Dogan decide everything together but he has control of everything behind the camera while

Dogan works with the actors. He also credits the Hubert Bals post-production award for allowing them the chance to devote some time to good sound design: the eventual budget, he adds, was around 500,000 Euros and the shoot lasted four weeks. Ahead of the world premiere at the IFFR, Dogan admits he hasn’t screened the fi lm to his mother yet. “In one way she says she doesn’t want to see it, but I know she’s really curious about it – so she probably will see it.” Eskiköy adds: “ She’s a very fantastic woman. In one way, she has control over us. Sometimes she gave us instructions about how to shoot it or to tell Zeylan how to act like her.” So she’s like a third director? “Yeah”, laughs Eskiköy. Tiger Awards Competition Voice of My Father –Ohran Eskiköy and Zeynel Dogan

Tue 31 Jan 16:15 PA3 Wed 01 Feb 15:00 LV3 Thu 02 Feb 12:00 DDJZ (Press & Industry) Thu 02 Feb 21:30 PA7 Sat 04 Feb 15:15 PA6

Voice of My Father

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Campagnebeeld 2012 Concept en ontwerp: 75B Festivaltrailer Concept en ontwerp: IN10, CCCP • Distributie: Jean Mineur, Gofilex

Distributeurs ABC - Cinemien • A-Film Distribution • Benelux Film Distributors • Cinéart Netherlands • Cinema Delicatessen • EYE Film Institute Netherlands • Filmfreak Distribution • IDTV Film • Imagine Nederland • Just Film Distribution • Lumière • Nederlands Instituut voor Mediakunst - NIMk • O’Brother Distribution • Sony Pictures Releasing Netherlands • Universal Pictures Benelux • Warner Bros. Pictures Holland • Wild Bunch Benelux

COLOFON DAILY TIGER NL: Anton Damen (hoofdredactie), Else de Jonge (eindredactie),

Programma informatie: Chris Schouten, Melissa van der Schoor Coördinatie A-Z: Saskia Gravelijn, Lot Piscaer, Robert-Jan Schiphorst,

Joost Broeren, Paul van de Graaf, Elsbeth Jongsma, Sietse Meijer, Kim van der Meulen, Maricke Nieuwdorp (redactie), Lotte Kroese, Niki van der Ende, Fabian Schellevis (web), Afke Duinkerken (marketing en communicatie) UK: Edward Lawrenson (editor-in-chief ), Nick Cunningham, Geoffrey MacNab, Mark Baker, Ben Walters (web)

Anne Lynn Cleuren Fotografie: Felix Kalkman, Bram Belloni, Corinne de Korver, Ruud Jonkers, Lucia Guglielmetti, Rogier Maaskant, Nichon Glerum Met medewerking van:

Vormgeving: Sjoukje van Gool, Laurenz van Galen, Gerald Zevenboom, g7b.nl Drukker: Veenman+ Acquisitie: Daily Productions Oplage: 10.000 ex

Anne Lynn Cleuren

23


Satellite vision Playing in IFFR’s ‘For Real’ strand, The Sputnik Effect installation offers a fresh angle on 3D. Its creator Simon Pummell talks to Edward Lawrenson

tural: even though it’s projected light, it has a kind of weight and substance. It becomes something different when you stand in a gallery and look at it.”

The Sputnik Effect – a striking new installation by Simon Pummell showing at the TENT gallery during the IFFR – takes its name from a phenomenon described to the filmmaker and artist by a psychiatrist he was interviewing. “When the Sputnik went up,” he says of the launch of the Russian satellite in the 1950s, “people started arriving in psychiatric casualty wards claiming that Sputnik was spying on them. It seemed to be the moment when technology became the persecuting element: instead of God using machines to spy on you, the machines themselves were spying on you. It’s a moment of some fundamental shift in our relation to technology.”

Transmedia

Conversation

That sense of unease and the distorting impact of technology on forms of perception are explored in this haunting piece. Using red-and-green anaglyph 3D – of the kind associated with 1950s sci-fi movies, whose mood of subtle paranoia the exhibition evokes – The Sputnik Effect combines still images and two film pieces, looped on large screens. A repeated motif of the installation is a free-floating, metallic-looking sphere, studded with typewriter keys and sprouting luminescent tentacles. The device is a ‘writing-down machine’ that Pummell designed for his latest feature Shock Head Soul (also playing at IFFR). A moving and insightful portrait of Daniel Paul Schreber, a prominent German judge who became psychotic at the turn of the last century and who wrote Memoirs Of My Nervous Illness, the movie combines imaginative recreations of Schreber’s life with interviews with critics and psychiatrists (one of whom introduced Pummell to the wave of ‘sputnik effect’ incidents). The new installation is intended as “to be in conversation with Shock Head Soul”, says Pummell, but they are also both “standalone pieces”. The Sputnik Effect is part of Signals:For Real, IFFR’s strand of work that explores ‘cinematic’ experiences outside of the traditional film auditorium. “In some ways, The Sputnik Effect is one of the most literally cinematic elements in this strand,” says Pummell. “Many of the other pieces are about the cinematic effect, totally divorced from projected images, whereas Sputnik uses those classic 3D movie glasses.” And yet the gallery-based nature of the work “gives it a different quality from a 3D film in a cinema.” Pummell continues: “People have been commenting that the images seem quite sculp-

Creating this recent piece for a gallery space has been a bracing experience for Pummell. “It’s a really precious thing for me: the idea that I can make work in a space without the superstructure that any feature film has – the financial, logistical demands and so on. It’s a much more intimate scale. So in a way it’s a space where I can work very intuitively. You can make big changes much later on in the process – which is something that happened in Sputnik. The third room was something that evolved and was completely revamped only two or three weeks ago.” For Pummell, The Sputnik Effect has returned him to the preoccupations of his early work, albeit with modern-day digital technology. My first films for [British broadcaster] Channel 4 were hand-drawn animations, and the concerns of animation – distortion, minute attention to details of speed, the ability to blend together different worlds – have come back really strongly in this project. “I made a transmedia project called Bodysong (which played at IFFR in 2003) a few years ago, and one of the problems for me as a maker was that that project felt very sui generis. The moment it was finished, there was no strand with which I could take it any further. The elements of this project – its relation to drawing, its relation to cinema in gallery spaces, its relation to the human body and how we define our identities – all extend into the past of my work, and more importantly into the future. I feel like I’ve just charted the territory of where I want to go its like a sketch for what I want to explore.” Also on the horizon is Brand New-U, a transmedia work that the Netherlands-based British filmmaker brought to CineMart in 2010. The British Film Institute recently committed production finance, with production executives Chris Collins and Lizzie Francke from the BFI developing the project. The Sputnik Effect – Simon Pummell

Continuous screening in TENT, 11:00 - 18:00. Shock Head Soul – Simon Pummell Mon 30 Jan 19:15 PA5 Tue 31 Jan 19:15 PA3 Wed 01 Feb 19:00 LV1 Fri 03 Feb 22:30 DDJZ

Simon Pummell

photo: Bram Belloni

The

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Erasmus School of History, Culture and Communication Bachelor & Masters in Arts Art and andCulture Culture Studies ERASMUS UNIVERSITEIT ROTTERDAM

7


PRESS & INDUSTRY SCREENINGS ADMISSION WITH P&I ACCREDITATION ONLY

110’

SP

SP Punk in Africa Keith Jones / Deon Maas

82’

22:15

The Hunter Bakur Bakuradze 21:30

90’

SP

80’

20:30

Matías Meyer

BF

A arca do Éden Marcelo Felix

Los últimos cristeros 19:30

85’

BF

18:30

91’

BF

Paul Agusta, Indonesia, 2012, Video, 90 min, Indonesian / English, e.s.

•FLM•

BF

•geel•

Nuit #1 Anne Émond

93’

Lessons in life about love: eight of these lessons about Peter from the age of ten to forty. Growing up as a homosexual in Indonesia. Autobiographical? The filmmaker is only 31. A filmmaker who had the logo of this festival tattooed on his hand. He’s our fan and we are his fan.

•geel•

16:15 An Oversimplification BF

20:30 101’

BF

18:00

Rânia Roberta Marques

SP

Women on the Edge Kobayashi Masahiro

•paars01•

LantarenVenster 6 10:00 Parts of the Heart [wp]

17:30

17:00

Mercado de futuros Mercedes Álvarez

BF

130’

Wuthering Heights Andrea Arnold

22:00 21:00 18:00

Terence Nance

17:00

95’

92’

BF

14:00

Die Räuberin Markus Busch

Michael Palm

96’

BF

Weekend Andrew Haigh

83’

11:30

A Simple Life

11:30

Hong Sang-Soo

Pablo Richard Goldgewicht

RG

103’

79’

SP

The Day He Arrives 12:00

Raya Martin

11:30 Buenas

noches, España

SP

70’

BF

76’

LantarenVenster 6

Cinerama 2

Pathé 5

09:30

Jan Zabeil

Wavumba Jeroen van Velzen

BF

einst ein Mensch

09:45 Der Fluss war

69’

BF

Corta Felipe Guerrero 09:30

Cinerama 3

Goodbye Mohammad Rasoulof 124’

TG

Pathé 4

Pathé 2

de Doelen Willem Burgerzaal

09:45

De jueves a domingo Dominga Sotomayor

TG

96’

11:45

12:00

76’

small roads James Benning

– Malfunctions #0

90’

BF

Srinath C. Samarasinghe

verre d’eau

104’

SP

13:30 Un nuage dans un

128’

SP

I Wish Kore-eda Hirokazu

•paars01•

Following Year, There Was a Fire W. Somumjarn

de Doelen Jurriaanse Zaal

14:30 Low Definition Control BF

Bertrand Bonello

15:00

TG

Black’s Game Óskar Thór Axelsson

103’

SP

12:00 11:00

TG 11:00

10:00

of Her Beauty

122’

SP

L’Apollonide – Souvenirs de la maison close

84’

BF

Sylvain George

16:00

Les éclats 15:30

15:00 14:00 13:00

13:15

SP

José Luis Torres Leiva, Chile, 2011, Video, 93 min, Spanish, e.s.

Peace

•paars01•

Wang Xiaoshuai was one of the first independent Chinese filmmakers to come to Rotterdam. His 11 Flowers is an enchanting paradox. Wang’s most autobiographical film - a lively portrait of China during the Cultural Revolution - is also his most classically styled.

•blauw•

The informal intimacy of amateur film formats, such as Hi8 or MP4, is often used by film makers. But seldom with such intense beauty as by Torres Leiva. Moving observations about the certainties and uncertainties of love, family and other relationships, around a summer resort in the mountains of Chile.

Alms for the Blind Horse

2011, Video, 110 min, Mandarin, e.s.

MG

100’

83’

PC

Documentaries 3

14:30 Short Syrian 78’

19:00 Verano

Ai Weiwei

HH

LantarenVenster 5

LantarenVenster 3

9:45 Disturbing the

Born in Beijing Ma Li 10:00

LantarenVenster 2

•geel•

09:30 In April the

90’

verre d’eau

88’

LantarenVenster 1

19:00

101’

PC

Egyptian Timelines 2 verzamelprogramma 17:00

87’ 240’

HH

77’

verzamelprogramma

•paars01•

Srinath C. Samarasinghe

BF

11:00 Un nuage dans un SP

20:00

PB

97’ 84’

17:30

TG

Voice of My Father Orhan Eskiköy / Zeynel Dogan 15:00

14:45 Tamino

PC

12:30 Shifting Shores 1

SP

Old Dog Pema Tseden

SP

Delmira Agustini (Uruguay, 1886-1914) is considered one of the greatest female poets in Latin America. Filmmaker Laurent provides a beautiful, calm and sometimes playful portrait of her brief life. Agustini had two passions: love and poetry.

One of the sexiest films in the history of Brazilian cinema. Filmmaker Khoury, known for his Antonioni-esque urban alienation dramas from the 1960s, continued into similar territory in the 1980s with several intensely erotic dramas exploring the follies of a sex-obsessed urban elite.

Snowy Saint Petersburg. A young man with an incurable heart disease. Underground trains where he spends most of his time working as a subway machinist. Nikolay Khomeriki subtly portrays melancholia and makes you feel how time and life slowly pass away. Insightful and disturbing trip into one’s past and indefinite future. Shot in beautiful black-and-white.

9:00

Bunohan

Christine Laurent, France / Portugal, 2012, Video, 95 min, French, e.s.

BF

Appealing film about how ordinary people relate to each other in unusual situations. Fabiola (played by Tony Manero actress Paola Lattus) returns to her birthplace, far from Santiago, after seven years away. But there are still enough people who recognise her from her work as a porn actress.

Walter Hugo Khouri, Brazil, 1980, Video, 109 min, Portuguese / English, e.s.

Nikolay Khomeriki, Russia, 2011, 35mm, 96 min, Russian, e.s.

Cinerama 7

Cinerama 6

Cinerama 5

11:15 Demain? [wp]

Jairo Boisier Olave, Chile, 2011, Video, 83 min, Spanish, e.s.

16:15 O convite ao prazer

•geel•

In the Punjab region during one turbulent night, a home is demolished at the orders of the landlord. In the morning, the whole village protests. A film dealing with the marginalized and the exploited in a universally and cinematically appealing manner.

Century of Birthing Lav Diaz

10:00

Marie Voignier

Cinerama 4

Cinerama 1

9:15 Bonz

About the Pink Sky Kobayashi Keiichi

For his refreshing film debut, comic-strip artist Gipi adapted a strip by colleague Giacomo Monti. That background is tangible in this beautifully designed tragicomic science-fiction drama: about the emotional problems of an average waiter, while the world waits for the arrival of an alien civilisation.

•paars01•

SP

cheveux

Sudoeste Eduardo Nunes 21:45

TG

Egg and Stone Huang Ji 19:45

TG

Return to Burma Midi Z

90’

Zhang Zanbo

My Hometown

73’

BF

355’

Nana Valérie Massadian

BF

Gurvinder Singh, India, 2011, 35mm, 117 min, Punjabi (Panjabi), e.s.

9:45

I’m Still Alive Peter van Houten

•geel•

SP

Eight excellent actresses together play Angie, a woman who is more than just a prostitute and wants to show that too. In her interview in this film-in-a-film, she keeps revealing more of herself, while at the same time 12:00 she undresses the interviewer, 11 Flowers literally and metaphorically. SP Sexy and funny. Wang Xiaoshuai, China / France,

74’

PB

Splinters Peter von Bagh 15:30

Shores 2

70’

Error

SP

86’

90’

Oceans of Cinema

10:00 Jean Epstein, Young

J. Schneider + Le tempestaire

RG

78’

Mokélé-Mbembé

10:00 L’hypothèse du

BF

•blauw•

A century of development, starting in the era of Finland’s nascent nationalism, when the country still belonged to Tsarist Russia, ending in the heydays of post-WWII liberalism, when it was hip to be Scandinavian among the moderate Euro-left. A meditation on memory and heritage.

•FLM•

John Winter, Australia, 2011, Video, 94 min, English

Provost has been a regular guest in Rotterdam since his first short film and his feature debut is a hypnotic series of big-city tableaux. An opinionated black illegal immigrant who gets washed up in the notorious first scene on a nude beach, has an affair with a rich white woman.

14:30 Heart’s Boomerang

Abigail Child

SP

12:30 A Shape of

12:30

BF

119’

SP

Gianni Pacinotti, Italy, 2011, 35mm, 96 min, Italian, e.s.

23:00

22:15 Histoire de mes

Mike Hoolboom

Palestine

105’

Carries Flowers to Her Grave H. Alabdalla / A. Al-Beik

97’

Nicolas Provost, Belgium, 2011, 35mm, 95 min, French

•FLM•

PB

123’

90’

SP

70’

106’

SP

22:30 Lacan PC

17:15 The Interceptor from HH

76’

Carnival Madhuja Mukherjee

BF

17:15 Dance of Ganesha

Pat Holden

Went Out

verzamelprogramma58’

PC

15:00 Shifting

20:15 I Am the One Who

19:00 Hope

20:00

Shock Head Soul Simon Pummell

Apuda He Yuan

17:30 When the Lights

104’

Girimunho

H. Marins Jr. / C. Campolina

BF

16:00 Silêncio de dois sons

121’

104’

BF

Hail Amiel Courtin-Wilson 11:45

BF

94’

85’

SP

74’

beauté ait renforcé notre résolution Grandrieux

72’

M. Shatzky / B. Cassidy

BF

The Patron Saints 15:15

PC

Egyptian Timelines 3 verzamelprogramma

•paars01•

20:15 L’ultimo terrestre

Pathé 7

SP

20:15 One Old Man

20:00

20:15

RG

17:30 Il se peut que la

207’

124’

BF

100’

Chapiteau-show Sergey Loban 14:15

86’

TG

L Babis Makridis 12:30

•geel•

5

Peter von Bagh, Finland, 2011, Video, 74 min, Finnish, e.s.

14:00 Black & White & Sex [ip]

BF

12:00 Alms for the Blind Horse

SP

Naranjo made a spectacular and expensive film that, in view of the statistics and news reports, still stays close to the reality of the Mexican-American border. An attractive young woman takes part in a beauty contest and ends up with her girlfriend at the wrong party… ‘Bala’ means bullet.

Monsieur Lazhar Philippe Falardeau

BF

21:45

80’

SP

O império do desejo Carlos Reichenbach

diverse regisseurs

18:30

TG

TG

Neighbouring Sounds Kleber Mendonça Filho 15:30

17:30 Miss Bala

9:30

Sur la planche Leïla Kilani

110’

22:30

MG

90’

BF

Parts of the Heart Paul Agusta

80’

19:45 The Hyperwomen BF

96’

Grant Gee

Sebald)

80’

Year, There Was a Fire Wichanon Somumjarn

•oranje01•

Nunes’ debut takes the viewer to a magical village on Brazil’s coast in breathtaking black-andwhite cinemascope. Clarice dies and is reborn, rides the merrygo-round and flirts like mad - all on a single day. Around her, life goes on in its familiar, quotidian tempo. 119’

9:45 The Invader

TG

Eduardo Nunes, Brazil, 2011, 35mm, 128 min, Portuguese, e.s.

12:00 La jubilada [ip]

Yorkshire, 1974. A family finally moves into their dream home, but are soon plagued by an increasingly aggressive poltergeist that primarily targets the daughter. A fabulous mix of drama and thriller with astounding set design. Based on a true story.

•FLM•

an Artistic Family [ip]

A very meticulously observed and, as a result, very moving phase in the very ordinary life of two very ordinary people - see the title. A single Hong Kong inhabitant (superstar Andy Lau), who has always been cared for by his housekeeper (beautifully acted), suddenly has to look after her.

•paars01•

The Comedy

Balibar, well-known as an actress and singer, left none of her talents unused in her directing debut. In this eclectic homage to Greek tragedy, Balibar and Léon are free of any convention. With a cameo by Barbet Schroeder.

Ann Hui, Hong Kong, 2011, Video, 117 min, Cantonese, e.s.

SP

•geel•

Headstrong young cattle farmer in a remote area in France refuses to adapt his way of working to the demands of the modern era. Controlled and beautifully photographed debut by a young filmmaker, who is tangibly bonded to his subject. Beautiful LantarenVenster music by the Antwerp group Die Anarchistische Abendunterhal- 9:30 tung. Splinters - A Century of

9:30 A Simple Life

Pat Holden, United Kingdom, 2012, Video, 85 min, English

Cinerama 2

•paars01•

A Malaysian kickboxing and gangster film with the flair of a Sergio Leone Western. A crime story about three brothers in a village near the Thai border, but also a highly visual film between art and action, just as the story plays out between different cultures.

Pathé 6

David Cronenberg

164’

HH

Jouer Ponette Jeanne Crépeau

22:45 La maleta

Gaamer Oleg Sentsov 22:30

21:30

SP

Heart’s Boomerang Nikolay Khomeriki

82’

SP

18:15 Patience (After 15:15 In April the Following TG

TG

SP

Dain Iskandar Said, Malaysia, 2011, 35mm, 97 min, Malay, e.s.

Living Vasily Sigarev 12:15

13:30 When the Lights Went Out [wp]

•geel•

Trier (Reprise) does not attempt to invalidate clichés about Scandinavia (depression, suicide): his lead has just quit drugs, but can think of little else whilst walking around Oslo. A frustrated loser and airy melancholy. How do you say ‘nouvelle vague’ in Norwegian?

TG

Black’s Game Óskar Thor Axelsson

18:45 128’

SP

I Wish Kore-eda Hirokazu

15:45

•FLM•

BF

Jeanne Balibar / Pierre Léon, France, 2012, Video, 80 min, French, e.s.

•geel•

Cinerama 3

•geel•

Deep in the jungle of Mato Grosso, in the upper course of the Xingu, this sparkling documentary follows preparations for a Jamurikumalu ritual: a festival of singing and dancing that is only performed by women. The problem is that the only woman who knows all the songs is seriously ill.

BF

Joachim Trier, Norway, 2011, 35mm, 95 min, Norwegian

BF

Carlos Fausto / Leonardo Sette / Takuma Kuikuro, Brazil, 2011, Video, 80 min, Kiukuro, e.s.

SP

113’

123’

SP

A Time of Roses Risto Jarva

21:15 Drama of Time

Miss Bala Gerardo Naranjo Gonzalez

PB 69’

SP

9:00 Oslo, August 31st

100’

Ian Olds / James Franco

21:45 Francophrenia

Doelen Willem Burger Zaal

22:30 A Dangerous Method

11:30 The Hyperwomen [ip]

Rua Aperana 52 Júlio Bressane

Ballet aquatique Raúl Ruiz

•paars01•

TG

SP

Gerardo Naranjo Gonzalez, Mexico, 2011, 35mm, 113 min, Spanish / English, e.s.

Pathé 5

128’

93’

SP

92’

RG

69’

92’

RG

BF

Based on the original video rushes created during the 1995 shooting of a Doillon film, this minimalist documentary focuses on the talent of a four-year-old. The patient lesson in cinema slowly turns into a hypnotic meditation on the precariousness of life.

Ageing hipster Swanson is about to receive his father’s inheritance, but doesn’t care. He hangs around and acts like a complete jerk. Nevertheless, he’s clearly in search of something to provide satisfaction. An indifferent hero in a fable about modern humanity.

14:15 Sudoeste [ep]

•blauw•

Jeanne Crépeau, Canada, 2007, Video, 92 min, French, e.s.

Rick Alverson, USA, 2011, Video, 95 min, English

22:30 Par exemple, Electre [wp]

BF

09:00

There are rundown nightclubs where the excitement is gone, but the Playboy Club in Tokyo has long since passed that phase. It’s the ideal backdrop for shady deals, pathetic eroticism and loutish violence. The filmmaker captures the decline with a bizarre sense of humour.

Mondo Cane is the legendary and cruel shockumentary by Gualtiero Jacopetti. Khavn sees his own Mondo in Manila. Jacopetti was an outsider; Khavn is a participant. The secret of Khavn is that he shows poverty and injustice in an almost cheerful way, making it even more awkward.

John Shank, Belgium / France, 2011, Video, 103 min, French

RG

•paars01•

24:00

9:30 Jouer Ponette [ip]

Okuda Yosuke, Japan, 2011, Video, 97 min, Japanese, e.s.

11:30 Bunohan [ep]

18:30 L’hiver dernier

•FLM•

Press & Industry Screenings Wednesday 1 February

Pathé 5

•oranje01•

SP

Khavn De La Cruz, Philippines / Germany, 2011, Video, 75 min, Filipino, e.s.

•oranje01•

This first feature by contemporary artists Wilhelm and Anka Sasnal is a grasping chronicle of the decline and fall of a Polish village, where everyone is on the edge of a breakdown. A quiet portrait of the human cruelty that still lies in the basement of almost every society. Visually stunning and transgressive.

One morning, an elementary class finds their teacher’s body hung in the classroom. Lazhar, an Algerian immigrant, is hired for replacement. He will teach the children how to deal with loss; he will also gain from his pupils’ innocence.

TG

TG

Anka Sasnal / Wilhelm Sasnal, Poland / USA, 2011, 35mm, 77 min, Polish, e.s.

•paars01•

Boris Lehman

In a gripping and beautifully constructed narrative, victims and culprits of a car accident are linked by complex feelings of guilt. Roh (The Last Dining Table) makes an impression with his most narrative film so far. Substantial with bitter-sweet, chastening denouement.

14:30 The Comedy [ip]

SP

Philippe Falardeau, Canada, 2011, Video, 94 min, French

Blue Sky – Journey into the Land of Memories Peter von Bagh 100’

•paars01•

19:45 Land of the Pharaohs

SP

21:00 Mondomanila [ip]

Neighbouring Sounds Kleber Mendonça Filho

9:30 Monsieur Lazhar

Roh Gyeong-Tae, South Korea, 2011, Video, 120 min, Korean, e.s.

12:00 Tokyo Playboy Club [ep]

16:45 It Looks Pretty from a Distance [ip]

•FLM•

verzamelprogramma

9:30 Black Dove [ip]

Pathé 2

•FLM•

LantarenVenster 6

Doelen Jurriaanse Zaal

Parts of the Heart

21


Programmaschema dinsdag 31 januari 09:00

10:00

11:00

12:00

13:00

14:00

15:00

16:00

17:00

18:00

19:00

16:00 L’Apollonide – Souvenirs de la SP

Bertrand Bonello

122’

14:15

Louise Wimmer Cyril Mennegun

14:15

Chapiteau-show Sergey Loban

SP

Tatsumi Eric Khoo

19:15 Hurdy Gurdy

BF Nana Valérie Massadian 68’

About the Pink Sky Kobayashi Keiichi

90’

13:30

110’

Goodbye Mohammad Rasoulof

Egg and Stone Huang Ji

18:00 Francophrenia

97’

10:30

Pathé 7

Stilleben Sebastian Meise

Return to Burma Midi Z

12:30

BF

15:30

77’

9:15

Pablo Richard Goldgewicht

Die Räuberin Markus Busch

103’

10:00 Lacan

Palestine

Cinerama 4

Mike Hoolboom 9:30

70’

Rat Fever Cláudio Assis

Srinath C. Samarasinghe

15:00

Women on the Edge Kobayashi Masahiro

SP

15:00

Egyptian Timelines 2 verzamelprogramma

PC

53’

101’

SP 110’

9:30

Fairytale Ai Weiwei

12:45 Excitement of Stealing

HH

verzamelprogramma

9:45

15:00

SH

Sentimental Animal Wu Quan

9:45

LantarenVenster 2

Matt McCormick

93’

Le Havre Aki Kaurismäki

12:15

SP

10:00

Kaspar Hauser

Davide Manuli

76’

SP Punk in Africa Keith Jones / Deon Maas

12:30

20:15

RG

Dreams of the City Mohamad Malas

17:15

O pornógrafo João Callegaro

Malaventura Michel Lipkes 20:00

SP

Documentaries 1

verzamelprogramma

09:00 09:30

Pathé 25 LantarenVenster Pathé 36 LantarenVenster Pathé 4

11:00

12:00 12:00

SP

13:00

Tokyo Playboy Club Okuda Yosuke

14:00

120’

BF Oslo, August 31st Joachim 09:00 Trier 10:00

09:30

11:30

11:00

95’

Monsieur Lazhar Philippe Falardeau

SP

20:15

The Story of Mikko Niskanen Peter von Bagh

97’

Jouer Ponette Jeanne Crépeau

17:00

17:30

TG

17:00

128’

SP

11:30 The Hyperwomen BF

09:45

13:30 When the Lights

Went Out

various directors

The Invader Nicolas Provost

Pat Holden

80’

12:00

BF

Alms for the Blind Horse Gurvinder Singh

95’

09:30

A Simple Life Ann Hui

18:00

12:00

SP

Century of an Artistic Family Peter von Bagh 10:00

11:15

PB

Miss Bala Gerardo Naranjo 18:00Gonzalez

Die Unsichtbare Christian Schwochow

12:30

The Sound of Light SP Yamasaki Juichiro 95’

12:00 SP 11

BF 90’

Flowers Wang Xiaoshuai 118’

Play 14:30 Heart’s

113’ 96’

16:00

BF

17:00 Bunohan 16:45 It Looks Pretty

SP SP

Ruben ÖstlundBoomerang Nikolay Khomeriki

110’

21:00

L’ ultimo terrestre

BF 96’

Damsels in Distress SP 16:15 O convite ao prazer

94’

The Comedy Rick Alverson

SP

77’

hiver dernier John Shank 97’

24:00

19:00 19:00

MG 92’

109’

23:00

signAls: power CuT middle eAsT

BF

119’

The Invader Nicolas Provost

117’

22:30 La leggenda di

BF

Kaspar Hauser

signAls: hidden hisTories

SP

Davide Manuli

18:30 Back to the Square PC

BF SP

21:00 96’ 93’

22:00 Goodbye SP SP 22:30 Par Mondomanila Mohammad RasoulofElectre BF exemple, Khavn De La Cruz 104’ 21:30 House Party

Visiting Room

Petr Lom

75’

J. Balibar / P. Léon

UPCinema-dag

85’

80’

SP

A. Baciu / R. Muntean

83’

signAls: For reAl

78’

22:15

Ace Attorney Miike Takashi

22:15

A Simple Life Ann Hui

SP

350’

Hugo Martin Scorsese

17:30

RG 126’

The Descendants Alexander Payne

20:00

SP 115’

Hello, Mr. Tree! Han Jie

BF 88’

hh

Speelfilms en documentaires uit China die een beeld schetsen van de Chinese realiteit dat haaks staat op dat uit de partijpropaganda, met onderwerpen als armoede, corruptie, ontworteling en wanbestuur. Naast films bevat Hidden Histories ook een bijzondere ontmoetings­ plek: het Ai Weiwei Café.

90’

103’

L’ultimo terrestre Verano Gianni Pacinotti José Luis Torres Leiva

pC

Het dagelijkse bombardement van beelden van de volksrevoluties in het Midden­Oosten wekt de suggestie dat de Arabische Lente een vlam in de pan was. Power Cut Middle East onderzoekt wat die beelden nu precíes zeggen en laat, aan de hand van eerder werk van filmmakers, zien dat de revolte al tijden in de lucht hing.

24:00

Alms for the Blind Horse Gurvinder Singh

mg

Retrospectief van klassieke trash, horror, sociaal drama, avant­garde en pornofilms, die de beruchte Braziliaanse rosse buurt Boca do Lixo in São Paulo als bakermat hebben.

BF

95’

15:00

signAls: The mouTh oF gArBAge 78’

23:00

22:00 22:15

BF

Shame Steve McQueen

SP 18:30 L’

TG

A. Sasnal / W. Sasnal

Whit Stillman Walter Hugo Khouri

16:00

BF

HH

Ai Weiwei

22:00

Gianni Pacinotti21:00 20:00

113’

19:30 Big Talk

SP

Iskandar Said from Dain a Distance

89’

Eileen Hofer

Peace

95’

15:30

SP with Brown Eyes

22:30 Disturbing the

PB

85’

BF

13:15 He Was a Giant

20:15

SP

19:00

SP

83’

Demain? Christine Laurent

20:00

NEW

13:00 L’hiver dernier 14:00 Black & BF BF La jubilada White & Sex John Shank Jairo Boisier Olave John Winter 103’

74’

Unfair World PartsFilippos of theTsitos Heart Paul Agusta

10:15

19:00

20:00

117’

117’

09:30 Splinters - A

14:15

BF

115’

The Last Summer 1944 Peter von Bagh

105’

113’

92’

TG

Admission with P&i AccreditAtion only

16:00

16:30

RG

20:00

PC

Romance Joe Lee Kwang-Kuk

77’

121’

94’

09:30

PB 178’

22:00

PC

rg

Een verfrissende duik in de filmgeschiedenis met parels uit de schatkamer van de cinema. De vangst: gerestaureerde klassiekers, docu­ mentaires over cinema, animatie, filmische experimenten en een aantal exposities.

95’

Sudoeste Eduardo Nunes15:00 14:00

14:15

13:00

signAls: regAined

SP

97’

Bunohan Dain Iskandar Said 12:00

Egyptian Timelines 3 verzamelprogramma

16:00

The Comedy Rick Alverson

SP 124’

92’

15:00

14:30

TG

Programmaschema woensdag 1 februari

Schouwburg Cinerama Grote Zaal2 Pathé 13 Cinerama

10:00 Black Dove Roh Gyeong-Tae

93’

81’

Press & Industry Screenings Tuesday 31 January

de Doelen Pathé Jurriaanse Zaal5

Roman Diary Michael Pilz

Damien Odoul

90’

17:00

SP

BF

verzamelprogramma

LantarenVenster 6

Verano José Luis Torres Leiva

99’

73’

I’m Still Alive Peter van Houten

LantarenVenster 5 PC

22:45

MG

pB

Dankzij het oeuvre van Peter von Bagh (filmmaker, festivaldirecteur en wandelende filmencyclopedie) kunt u binnen één festival Finland­ kenner worden. Zijn documentaires hebben cinema en de woelige Finse geschiedenis als onderwerp. Het retrospectief wordt aangevuld met bijzondere historische speelfilms uit Finland.

84’

A opção Ozualdo Ribeiro Candeias

20:00 Shifting Shores 1

14:45 Short Syrian

signAls: peTer von BAgh

verzamelprogramma

20:30 Festa na Boca

17:30 Le reste du monde SP

RG

J. Schneider + Le tempestaire

BF

22:45 The Master’s Voice RG

SP

86’

Oceans of Cinema

120’

Room 514 Sharon Bar-Ziv

87’

Old Dog Pema Tseden

98’

19:15

90’

15:15 Jean Epstein, Young

PC

82’

22:00

PC

sh

De kracht van kort: films van één tot 59 minuten lang, uit alle wind­ streken. Ze worden als voorfilm bij lange films vertoond, of gebundeld in compilation prog.’s.

88’

MG 18:15 Uma rua chamada triumpho MG 107’

speCTrum shorTs

82’

HH

The Three Disappearances of Soad Hosni R. Stephan 83’

89’

SP

SP

BF

245’

19:45 A Resident of the City

84’

14:45 La leggenda di

BF

Valley of Saints Musa Syeed

The Unfinished History of Life Cong Feng

92’

70’

Wavumba Jeroen van Velzen

93’

LantarenVenster 3

Nick Fow Pyng Hu

98’

22:30

SP

61’

PC

Jouer Ponette Jeanne Crépeau

CHANGED A margem Ozualdo Ribeiro Candeias

16:00

BF

Northwest

Terence Nance

17:30

16:15 Uma rua chamada triumpho 366’

of Her Beauty

19:45

verzamelprogramma

BF

Milagros Mumenthaler

The Blindfold Garin Nugroho

sp

Rotterdam op zijn breedst. Het festival selecteerde actueel, krachtig en vernieuwend werk uit alle windstreken, van veteranen tot minder bekende regisseurs.

BF

102’

118’

SP

11:15 The Great

19:45

BF

Documentaries 2

98’

Florentina Hubaldo, CTE Lav Diaz

9:00 An Oversimplification BF

Carnival Madhuja Mukherjee

speCTrum

TG 128’

ventanas

BF

Vers bloed. Eerste of tweede film van filmmakers waarvan het festival in de toekomst nog veel goeds verwacht.

85’

Sudoeste Eduardo Nunes

21:00 Abrir puertas y

TG

90’

17:15 Short Syrian 101’

152’

Cinerama 7

17:30

22:00

SP 100’

BF

verre d’eau

96’

Pat Holden

86’

17:00 Un nuage dans un

BF

106’

PC Dolls Diana El Jeiroudi

12:30

SP

Weekend Andrew Haigh

BrighT FuTure

SP

SP

Went Out

80’

A Woman’s Revenge Rita Azevedo Gomes

119’

14:15

BF

Play Ruben Östlund

113’

69’

L Babis Makridis

18:30

TG

84’

11:45 Deux inconnus

RG

Living Vasily Sigarev

19:45

SP

Ian Olds / James Franco

130’

TG

99’

22:30

BF

21:45 When the Lights

Year, There Was a Fire Wichanon Somumjarn

SP

BF

97’

89’

85’

Wuthering Heights Andrea Arnold

15:00

TG

109’

The Sound of Light Yamasaki Juichiro

19:30

SP

Prijzen voor kort maar krachtig: 21 films korter dan zestig minuten zijn geselecteerd voor de Tiger Awards Competitie voor Korte Films, waarin drie gelijkwaardige prijzen te winnen zijn.

MG

Shame Steve McQueen

22:15

Ts

Tiger AwArds CompeTiTie voor KorTe Films

93’

18:45 In April the Following TG

Eileen Hofer

SP

David Cronenberg

SP

Shock Head Soul Simon Pummell

87’

BF

with Brown Eyes

12:15

92’

O convite ao prazer Walter Hugo Khouri

Tg

Prijzen voor de nieuwe generatie. Zeventien genomineerde filmmakers strijden met hun eerste of tweede film om drie gelijkwaardige Hivos Tiger Awards.

BF

72’

93’

15:45 He Was a Giant

Gaamer Oleg Sentsov

22:00 A Dangerous Method

21:30

19:15 Hope

104’

Pathé 6

OudePathé Luxor2

Tiger AwArds CompeTiTie

BF 80’

SP

BF

M. Shatzky / B. Cassidy

Alps Yorgos Lanthimos

16:30

SP

Pathé 5

de Doelen Willem Burgerzaal

81’

128’

TG

Kleuren en AfKortingen

SP

A la Cantábrica Ezequiel Erriquez

98’

I Wish Kore-eda Hirokazu

The Patron Saints

18:30

BF

Voice of My Father Orhan Eskiköy / Zeynel Dogan

16:15

PB

The Count Peter von Bagh

Matías Meyer

19:00

113’

13:15 Pockpicket

Pathé 4

09:00

24:00

Dernière séance Laurent Achard 22:45

21:45

207’

15:30

SP 104’

10:15 Los últimos cristeros SP

Pathé 3

de Doelen Jurriaanse Zaal

23:00

114’

BF

BF

Oslo, August 31st Joachim Trier

BF

104’

38 témoins Lucas Belvaux

12:30

Pathé 2

LantarenVenster 1

16:45

BF 94’

11:45 Dreams

Pathé 1

Cinerama 6

22:30

85’

Schouwburg Grote Zaal

Cinerama 5

22:00

SP

Rânia Roberta Marques

20:00

de Doelen Jurriaanse Zaal

Cinerama 1

21:00

Monsieur Lazhar Philippe Falardeau

maison close

Oude Luxor

20:00

19:30 Big Talk

135’

SP 117’

Geen films, maar het echte leven. Met een scala aan activiteiten en evenementen wordt de alledaagse realiteit tot filmische ervaring getransformeerd.

Fr

Daily Tiger #6 UK  

daily tiger iffr 2012 industry

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