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Kijk thuis met UPC on Demand de beste films van het International Film Festival Rotterdam Wij houden niet zomaar van films, wij zijn er gek op. Voor de echte filmliefhebbers maakt UPC de keuze wel heel simpel: een selectie van het International Film Festival Rotterdam thuis met UPC on Demand. UPC wil het Video on Demand aanbod in Nederland vergroten en verbreden en steunt het International Film Festival Rotterdam in het bereiken van een breed publiek voor het werk van bijzondere filmmakers.















Kijk thuis met UPC on Demand de beste films van het International Film Festival Rotterdam Wij houden niet zomaar van films, wij zijn er gek op. Voor de echte filmliefhebbers maakt UPC de keuze wel heel simpel: een selectie van het International Film Festival Rotterdam thuis met UPC on Demand. UPC wil het Video on Demand aanbod in Nederland vergroten en verbreden en steunt het International Film Festival Rotterdam in het bereiken van een breed publiek voor het werk van bijzondere filmmakers.

Content 2 3 6 8 12 14 18 21

Using the Catalogue Catalogue & Festival Staff Introduction Rutger Wolfson The Supportive Festival Thanks to Partners & Sponsors Jury Tiger Awards Competition Jury Tiger Awards Competition for Short Films

23 Tiger Awards Competition 39 Tiger Awards Competition for Short Films 47 Bright Future 83 Spectrum 121 Spectrum Shorts 183 Made in Rotterdam 189 203 227 241 263 279

Signals: Peter von Bagh Signals: Regained Signals: The Mouth of Garbage Signals: Power Cut Middle East Signals: Hidden Histories Signals: For Real

291 Industry Services & Facilities 297 311 317 323 327 333

Addresses Print & Sales Film List by Country List of Premieres Index Directors Index Films & Compilation Programmes Programme Day by Day





Awards for a new generation. Seventeen nominated filmmakers compete with their first or second films for the three equal Hivos Tiger Awards.



Awards for the short but sweet: 21 films of less than sixty minutes have been selected for the Tiger Awards Competition for Short Films, in which three equal prizes are up for grabs.



Young blood. The first or second films by filmmakers from whom the festival expects big things.



Rotterdam at its most eclectic. The festival has selected contemporary, powerful and innovative work from all over the world; from veterans, maestros and lesser-known directors.



The strength of the short: films from one to 59 minutes long, from all over the world. Screening at the festival either ahead of feature films, or in special compilation programmes.



Thanks to the oeuvre of Peter von Bagh (filmmaker, festival director and walking film encyclopaedia), you can become an expert on Finland during the IFFR. Von Bagh’s documentaries focus on cinema and Finland’s tumultuous history. This retrospective of his work will be accompanied by remarkable, historic films from Finland.



A refreshing dive into film history, featuring treasures from the vaults of world cinema. The haul: restored classics, documentaries on cinema, animated films, celluloid experiments and a number of exhibitions.



Retrospective of classic trash, horror, social drama, avant-garde and porn films from the notorious Brazilian red-light district of Boca do Lixo in São Paulo.



The daily bombardment of images of the popular revolutions in the Middle East gives an impression that the Arab Spring could be a flash in the pan. Power Cut Middle East investigates what exactly these images tell us and, using previous works from filmmakers, shows that revolt had been in the air for some time.



Fiction films and documentaries from China that give an impression of the reality of life in that country, contradicting Party propaganda, with subjects including poverty, corruption, displacement and misgovernment. Alongside films, Hidden Histories also has a very special meeting place: the Ai Weiwei Café.

SIGNALS: FOR REAL Not films, but real life. Through a whole range of events and activities, everyday reality is transformed into a cinematic experience.






Prod = Producer • Prod Comp = Production Company • Sc = Scenario • Cam = Camera • Ed = Editor • Prod Des = Production Design • Sound Des = Sound Design • With = The most important actors and actresses • Distr NL = Distributor in the Netherlands

2 = combined programme • DGZ = Doelen Grote Zaal •

DWBZ = Doelen Willem Burger Zaal • DJZ = Doelen Jurriaanse Zaal • SGZ = Schouwburg Grote Zaal • PA1 - PA7 = Pathé 1 - 7 • CI1 - CI7 = Cinerama 1 - 7 • LV1 - LV6 = LantarenVenster 1 - 6 • LUX = Oude Luxor All films are English spoken or subtitled in English, except for the films marked: d.s. = Dutch subtitles or f.s. = French subtitles. The films being screened at the festival can be found in the catalogue listed under the IFFR programme sections. Films are ordered by the director’s family name in the following sections: TG, BF and SP. Filmmakers from China, Japan and Korea (following the tradition) are listed with their family name first, followed by their given name. Check for biographies, filmographies and programmers’ notes (for selected titles only).

CATALOGUE Editors in Chief Saskia Gravelijn, Lot Piscaer Editor Anne Lynn Cleuren Photo Editor Robert-Jan Schiphorst Copy Editors (English:) Mark Baker, Jane Bemont, Christine Gardner (Dutch:) Mariska Graveland, Pauline Kleijer, Mark Mallon Contributors Niels Bakker, Charlotte Bank, Leo Bankersen, Joost Broeren, Sacha Bronwasser, Edwin Carels, Iwana Chronis, Anne Lynn Cleuren, Anton Damen, KEES Driessen, Jan Pieter Ekker, Mariska Graveland, Evgeny Gusyatinskiy, Jolinde den Haas, Erwin van ‘t Hart, Peter van Hoof, Chinlin Hsieh, Juliette Jansen, Pauline Kleijer, Gabe Klinger, Katrien Lamers, Delphine Leccas, Inge de Leeuw, Olaf Möller, Nat Muller, Maricke Nieuwdorp, Mark Peranson, Ronald Rovers, Nicole Santé, Rada Sesic, Bianca Taal, Gerwin Tamsma, Peter Taylor, Jacobine van der Vloed, André Waardenburg, Rutger Wolfson, Theus Zwakhals, Gertjan Zuilhof

Translators (English:) Mark Baker, Martin Cleaver, Titus Verheijen, (Dutch:) Sjaan de Bruijn, Leo Reijnen Production Marieke Berkhout, Afke Duinkerken Programme Chris Schouten Cover design 75B Design & typesetting Sjoukje van Gool, Gerald Zevenboom Print Veenman+

© 2012 International Film Festival Rotterdam Nothing from this publication may be reproduced, stored in an automated retrieval system or made public in print, photocopy, microfilm or in any other way without prior written permission from the publisher. For inclusion of any part(s) of this publication in anthologies, readers and other compiled works, one should contact the publisher. ISSN 1873-8362



Jouw gids voor kunst en cultuur Welke films, concerten, festivals, en muziek mag je niet missen? Met de Volkskrant altijd kunst en cultuur bij de hand.




Festival Staff 41st International Film Festival Rotterdam PO Box 21696 3001 AR Rotterdam The Netherlands tel: +31 10 890 9090 fax: +31 10 890 9091 Board Melle Daamen, Mart Dominicus, Frans van Gestel, Francine Houben, Rudy Stroink, Hans van der Vlist Festival Director Rutger Wolfson Managing Director Janneke Staarink Management Team Afke Duinkerken, Marit van den Elshout, Eva de Jong, Chris Schouten, Juul Veenboer Programmers Edwin Carels, Evgeny Gusyatinskiy, Peter van Hoof, Chinlin Hsieh, Inge de Leeuw, Dicky Parlevliet, Bianca Taal, Gerwin Tamsma, Gertjan Zuilhof, (short films:) Peter van Hoof, Sacha Bronwasser, Erwin van ’t Hart, Juliette Jansen, Peter Taylor, Theus Zwakhals Guest Curators Charlotte Bank, Gabe Klinger, Delphine Leccas, Olaf Möller, Nat Muller Programme Advisors Mary Davies, Mona Deeley, Christiane Gruen, Aihara Hiromi, Robert Gray, Shelly Kraicer, Miryam van Lier, Ralph McKay, Olivier Pierre, Diana Sanchez, Rada Sesic, Roberto Turigliatto, Miroljub Vickovic, Grace Winter Programme Department Chris Schouten, Corto Blommaert, Mary Hasavari, Pim Kipp, Robert de Rek, Melissa van der Schoor, Erik Tijman Press Bert-Jan Zoet, Albert Hidding, Edwige Leblay, Nancy van Oorschot Communication & Marketing

Afke Duinkerken, Marieke Berkhout, Sanne de Rooij Sponsoring & Fundraising Martje van Nes, Hedwig Hupkes, Barbara Korpershoek, Micha Vinkesteijn CineMart Marit van den Elshout, Fay Breeman, Jolinde den Haas, Nienke Poelsma, Emmy Sidiras, Jacobine van der Vloed, (consultants/matchmakers:) Maegene Fabias, Tobias Pausinger, David Pope, Lucas Rosant Hubert Bals Fund Iwana Chronis, Fay Breeman, Janneke Langelaan, Stien Meesters General Editors Anton Damen, Saskia Gravelijn, Lot Piscaer Editor Anne Lynn Cleuren Photo Editor Robert-Jan Schiphorst Website Lotte Kroese, Niki van der Ende, Fabian Schellevis Film Office Jolinde den Haas, Nikolas Montaldi, Inke van Loocke, Myrthe Terpstra,(industry consultants:) Hayet Benkara, Mary Davies, Jannie Langbroek, Marina Kozul, Aneta Lesnikovska

Video Library Rob Duyser, Samanta Telleri Distribution Juliette Jansen, Katrien Lamers Education & Youth Marketing Cindy Beck,

Ronny Theeuwes, Stephanie Macheras Finance & Human Resources Eva de Jong,

Mirjam Klootwijk, Mariska Korff, Karin Zuijderwijk Office Helma Haak, Miriam Benschop, Naomi Taverdin, (assistant to Rutger Wolfson:) Mirjam Klootwijk Production Juul Veenboer, Remke Annema, Rembrandt Boswijk, Wahid El Solh, Eefje Goderie, Roland Groenenboom, Rosa Schol, Adam Verhaar, Nathalie Wellstood, Paul Westerweel, (CIFFR:) Joost Trines Guest Department & Hospitality Susanne van Doorn, Emy Miranda, Saskia Pique, Kerensa van der Sluys, Nikki Smit, Inge Visser Jury Support Jeroen Achterberg, Gert-Jan Bleeker, Nineke Verhoofstad, Summer Wood Information & Communication Technology

Cornell den Broeder, Marcel van Sprang, Victor Verheij Volunteers Coordination Annemarie van Leeuwen, Thomas van der Zel, Angelika Geronymaki Box Office Andrée van den Berg, Annekoos Logtenberg, Marco Oudewortel Film Technique Martin van Broekhoven, Dick Moesker Electronic Subtitling Els van der Meer Film Control Joop van Langen, Anke Hellebrand, Kathinka Verhoeven Car Service Marie-Louise Calame, Eline Kunz Q&A & Translators Marketa Tom, Angela Visser Talkshows Mieke van der Linden, Farid Tabarki, Franciska Toetenel Horeca Remco Ris CineMart International Advisory Board

Ido Abram, David Atlan-Jackson, Dora Bouchoucha, Georges Goldenstern, Juan Gordon, Keith Griffiths, Claudia Landsberger, Scott Macaulay, Jeremy Nathan, Chris Paton, Lorna Tee, Susan Wendt International Liaison Lucius Barre Hubert Bals Fund Selection Committee

Lina Chaabane, Iwana Chronis, Ludmila Cvikova, Jan Pieter Ekker, Marit van den Elshout, Emile Fallaux, Simon Field, Peter van Hoof, Ilse Hughan, Juliette Jansen, Jannie Langbroek, Janneke Langelaan, Dicky Parlevliet, Lucas Rosant, Rada Sesic, Ineke Smits, Gerwin Tamsma, Jacobine van der Vloed, Rutger Wolfson, Gertjan Zuilhof Festival Groningen Gerben ter Haar, Hanneke van den Hoogen, Henk Klein Wassink, Lisa Klompe, Loes Rademaker



Reality Made Visible

© Daniel Baggerman

Rutger Wolfson

One year ago, while the International Film Festival Rotterdam (IFFR) was celebrating its 40th anniversary, the people of Egypt started their revolution. Commentators in the West were quick to point out that many Egyptian youth were involved in the revolt and that social media were being used to organise demonstrations on Tahir Square and elsewhere. The events were quickly dubbed the ‘first Facebook revolution’. One of the Signals programmes in this year’s festival, called ‘Power Cut Middle East’, will demonstrate that this revolution was not as spontaneous as many in the West might think. It shows how this revolution had in fact already announced itself though Egyptian films and video art. The Arab Spring is far from having reached its conclusion. The developments currently going on in Syria are particularly worrying. As part of Power Cut Middle East, the IFFR is offering a home-in-exile to the Visual Arts Festival Damascus, since for obvious reasons it cannot take place in Syria this year. In China as well, filmmakers and artists play an important role in defining an image, or even making visible what has deliberately been kept hidden. This year’s Signals programme ‘Hidden Histories’ focuses on courageous and determined Chinese documentary filmmakers who show us aspects of their society that the Chinese government does not want us to see: poverty, corruption and misrule. The word ‘hidden’ also applies to the films themselves. The screening and distribution of these films is regularly discouraged or even forbidden in China. As part of this programme, we will also show new works by Ai Weiwei, who not only is one of the most prominent visual artists of our time, but a famous opponent of the Chinese government as well. Showing the work of committed filmmakers is one way to make the world visible through film. Genre films can offer more than pleasure and entertainment; often they also reflect the society in which they are made. This is certainly the case with the quickand-dirty, low-budget Brazilian films from the 1960s, 70s and 80s. The festival has dedicated a Signals programme to these films called ‘The Mouth of Garbage’, after the red light district in São Paolo where most of these films were made. They highlight the underbelly of Brazilian society and often use established genres like film noir, horror, Westerns and pornography. Some of them were ingeniously critical of the Brazilian dictatorship. Others rebelled against Cinema Novo, the movement in Brazilian art film that was considered good taste at the time.



Together, these very different programmes illustrate cinema’s extraordinary potential to help us see the world around us, identify and interpret new artistic and social developments, and give meaning. Someone who has made the exploration of this potential his life’s work is the writer, director, film critic and film festival director Peter von Bagh. The IFFR is honouring Von Bagh this year with a Signals focus programme, bringing a selection of his work: mostly documentaries on Finnish filmmakers, artists and history, but also feature films he has directed and collaborated on. This focus programme is not only a rare chance to see Von Bagh’s work outside of Finland, it’s a chance to get more familiar with a country that, oddly enough, is unfamiliar to most of us. Cinema can not only help us see the world around us, it can quite literally shape how we see it. The Signals programme ‘For Real’ takes a closer look at the extent to which cinema has become part of how we view everyday reality. Cinema is so deeply imbedded in our consciousness today that we very easily experience reality as film. With a series of subtle interventions, For Real evokes cinematic experiences in reality, for example by adding an extra audio-visual element to a location, scripting real situations and animating a metropolitan experience with a soundtrack.

Stretching the boundaries of cinema to reveal an unexplored intersection between film and real life is a very topical subject. But this year’s revamped ‘Regained’ Signals programme proves that historical cinema can be equally modern. Regained now combines recently restored masterpieces with contemporary ones, like the colour version of Le voyage dans la lune and Martin Scorsese’s Hugo, which is inspired by the life and work of Méliès. Regained now also employs a wider perspective and includes non-Western treasures from film history as well as several performances and multimedia installations. In the summer of 2011, a long-term festival friend sadly passed away. Raúl Ruiz was one of the great storytellers of modern cinema and a versatile artist, active in theatre, opera, visual arts as well as writing. The festival honoured his work with retrospective, in 1982 and in 2004. With an oeuvre of over a hundred films, and ideas for many more to come (some of them currently in production), Raúl Ruiz leaves behind an impressive legacy. We’d like to celebrate his life and works by screening two of his films: La maleta (1963), his very first film, and Ballet aquatique (2011), one of the last projects he worked on. During the festival, one of the Smart Talks (January 31) will be dedicated to Raúl Ruiz. An important change in this year’s programme is the downsizing of ‘Bright Future’, the section that presents the most promising debut or second-time filmmakers. Also the number of short films, an integral part of ‘Spectrum’ which presents powerful new work by veterans and less well-known directors, has been significantly reduced. This will help give the individual films in these sections the attention they so deserve. It also means that the overall programme is even more focused and outspoken. Also on behalf of managing director Janneke Staarink and the festival staff, I wish you an exciting 41st edition, full of crazy, profound, meditative, worrying and wonderful films.



The Supportive Festival The IFFR actively supports independent filmmaking from around the globe. The festival is a recognized international platform in Europe for launching new films and talent from Africa, Asia, Latin America, the Middle East and parts of Eastern Europe. CineMart, IFFR’s co-production market for small and medium-sized film projects, takes place at the festival from January 29 to February 1, 2012. The festival’s Hubert Bals Fund contributes financially to film projects from developing countries. Each year, the festival programme contains a rich harvest of Hubert Bals Fund-supported films. The IFFR promotes training and talent development within its Rotterdam Lab for young film producers and the IFFR Trainee Project for Young Film Critics, as well as the new coaching course Boost! co-organised with the Binger Filmlab. Within the Netherlands, the IFFR’s DVD label Tiger Releases publishes several films annually supported by the Hubert Bals Fund, as part of its 10 to Watch series. HUBERT BALS FUND

The Hubert Bals Fund is designed to bring remarkable, socially relevant and urgent feature films by innovative and talented filmmakers from developing countries closer to completion. The HBF provides grants that often turn out to play a crucial role in enabling these filmmakers to realise their projects. Since the Fund started in 1989, close to one thousand projects from independent filmmakers in Africa, Asia, Latin America, the Middle East and parts of Eastern Europe have received support. Every year, completed films supported by the Hubert Bals Fund screen at the International Film Festival Rotterdam. This year, the IFFR proudly presents a total of 17 films supported by the HBF in various programme sections, including five HBF-supported films nominated for the Tiger Awards Competition. Besides Rotterdam, many international film festivals keep a close eye on completed HBF-supported films and select them for their programmes. Each year, HBF-supported films are screened at the Cannes, Venice, Locarno, Toronto and Pusan film festivals, among others. The Hubert Bals Fund aims to support feature-length fiction projects that are original, authentic and rooted in the culture of the applicant’s country. Annually, the HBF has close to € 1 million at its disposal and is able to make individual grants in the following categories: script and project development, digital production, postproduction/final financing, distribution and special projects. The Hubert Bals Fund Plus programme is a scheme set up for Dutch producers, which aims to facilitate access to artistically interesting co-productions. Those projects that have been granted financial support from the HBF for script and project development are eligible. Every year, HBF Plus can support four projects with 50,000 Euro each, thanks to a contribution from The Netherlands Film Fund. This edition of the IFFR’s programme includes no less than three films coproduced by Dutch production companies through the HBF Plus Programme. Boost! is a new partnership between IFFR’s Hubert Bals Fund and CineMart and the Binger Filmlab. Boost! aims to provide a financial, creative and networking stimulus to high-potential



film projects from Africa, Asia, Latin America, the Middle East and parts of Eastern Europe by combining the unique expertise of each of the partners involved. Each year, five projects selected for HBF Script and Project Development support are offered the opportunity to further develop their project at Binger Filmlab. Subsequently, the projects are presented at the CineMart, where they will be offered special pitching and project development sessions prior to having one-to-one meetings at the market. The first selection of Boost! projects will be presented at the 29th edition of the CineMart. The Hubert Bals Fund is proud to present this year’s HBF Harvest at the 41st edition of the International Film Festival Rotterdam. Hubert Bals Fund Harvest 2012 Tiger Awards Competition

De jueves a domingo, Dominga Sotomayor (Chile, Netherlands); In April the Following Year, There Was a Fire, Wichanon Somumjarn (Thailand); Neighbouring Sounds, Kleber Mendonça Filho (Brazil); Sudoeste, Eduardo Nunes (Brazil); Voice of My Father, Orhan Eskiköy, Zeynel Dogan (Turkey, Germany) Bright Future

Abrir puertas y ventanas, Milagros Mumenthaler (Argentina, Switzerland, Netherlands); Corta, Felipe Guerrero (Colombia, Argentina, France); Girimunho, Helvécio Marins Jr., Clarissa Campolina (Brazil, Germany, Spain); Sur la planche, Leïla Kilani (Morocco, France) Spectrum

A Temple, Umesh Vinayak Kulkarni (India); Cornelia frente al espejo, Daniel Rosenfeld (Argentina); Florentina Hubaldo, CTE, Lav Diaz (Philippines); Goodbye, Mohammad Rasoulof (Iran); Los últimos cristeros, Matías Meyer (Mexico, Netherlands); Mondomanila, Khavn De La Cruz (Philippines, Germany); Rat Fever, Cláudio Assis (Brazil); Verano, José Luis Torres Leiva (Chile) CINEMART

The 41st International Film Festival Rotterdam marks the 29th edition of its international co-production market, CineMart. This was the first platform of its kind to offer filmmakers the opportunity to launch their ideas to the international film industry and to find the right connections to get their projects financed. Launching some 35 new projects in need of additional financing, CineMart also heralds an important start of the ‘film year’. Every year, CineMart invites a select number of directors/producers to present their film projects to co-producers, funds, sales agents, distributors, TV stations and other potential financiers. The CineMart staff organise the CineMart meetings prior to the event. After the project selection is completed, the CineMart staff draws up a dossier with information on the selected projects. Attending professionals then inform the CineMart of their interests and a master meeting schedule is set up. Upon arrival in Rotterdam, all guests receive their personal meeting schedule.



During CineMart 2011, there were some 4,500 meetings between project representatives and potential financiers. One of CineMart’s trademarks is its highly productive, yet informal atmosphere. In order to maintain such an environment, the number of projects is kept to around 35 and the invitation process is selective. The four-day event takes place during the IFFR and shares its location with the Festival Center, de Doelen, in the heart of Rotterdam. Nine films previously selected for CineMart will be presented at this year’s festival Bright Future

Abrir puertas y ventanas, Milagros Mumenthaler (Argentina, Switzerland); Girimunho, Helvécio Marins Jr. & Clarissa Campolina (Brazil, Germany); L’ hiver dernier, John Shank (Belgium, France, Switzerland); The Hunter, Bakur Bakuradze (Russia); The Invader, Nicolas Provost (Belgium, France); Sur la planche, Leïla Kilani (Morocco, France) Spectrum

The Loneliest Planet, Julia Loktev (USA); The Hunter, Daniel Nettheim (Australia, Closing Night Film); Play, Ruben Östlund (Sweden) ROTTERDAM LAB

The CineMart staff also organise the Rotterdam Lab, a five-day training workshop for young and emerging producers designed to build up their international networks and their experience at an international festival and market. Participation in the Rotterdam Lab provides producers with the confidence and skills to navigate the festival circuit and meet professionals who can help finance their projects. Panel discussions are organised on topics such as development, financing, post-production, (digital) distribution, VOD and sales. In these panels, experts from the industry give the producers tools with which to present their project and build up an international network. Complimentary to the panels, participants take part in ‘speed-dating’ sessions, during which they have time to meet personally with industry delegates and receive advice on their projects. In addition to the organised programme, it is important that the producers take the chance to participate in all other CineMart events, such as networking, breakfasts, lunches, cocktails and other panels. Over the past few years, the Rotterdam Lab has expanded steadily, with more producers from more regions participating every year. The Lab has already resulted in many producers returning to CineMart, and films by producers who have attended the Lab have been screened in the official festival programme. By bringing together a mix of producers from around Europe and the rest of the world, the Rotterdam Lab has also generated many alluring international co-productions.




The IFFR is very active in the field of distribution; for years, the festival has organised the distribution of its own HBF films and often also the Tiger Award winners in the Netherlands. In this way, the festival strengthens an artistic film climate which is always vulnerable, particularly as far as non-Western cinema is concerned. Moreover, it is important to every maker for their work to be screened, also outside the festival circuit. In the field of distribution, the IFFR pays a great deal of attention to digital developments The IFFR owns a YouTube channel that provides, for example, short film programmes and feature films from the Bright Future section. expanded the cooperation with a VOD (Video On Demand) page on the IFFR site, which means the general public can now also stream festival hits such as Festen (1998) and A Single Man (2009) at a reasonable price. A new platform, Ximon, was launched in April 2011, a collaboration between the NVS, EYE Film Institute Netherlands and Instituut voor Beeld en Geluid also featuring about twenty Tiger releases. At the end of 2011, the IFFR teamed up with the cinephile VOD platform, that has output deals with Sony (PS 3) and Belgacom. Also, the IFFR is planning to work with, a file sharing P2P platform that is rather successful with a very active community sharing films and donating to filmmakers. Furthermore, main sponsor UPC is planning to collaborate with the IFFR in acquiring more content for their VOD service, UPC on demand. The IFFR also wishes to play a mediating role for filmmakers by participating in Festivalscope, a website where sales agents, programmers and other professionals can view art films. In 2011 the IFFR launched the new dvd series 10 to Watch; a package of 10 festival films, mainly Bright Future premieres from earlier festivals, including a few Hubert Bals Fund-supported titles. The DVD releases are on the same day as the VOD releases at the partner platforms mentioned above; Cinemalink, Ximon and in 2012 also MUBI. This year’s package contains, for example, award-winners such as Winter Vacation, Norteado and If the Seed Doesn’t Die.




The International Film Festival Rotterdam would like to thank:

Ahmed Aboutaleb Tikoy Aguiluz Michael Amiabel Isabel Arrate Errki Astala Thalita Ateyeh Marline Bakker Charlotte Bank Christine Bardsley Annamaria Basa Violeta Bava Mickel Beckers Justin Bennett Julie Bergeron Guus Beumer Aleksandra Biernacka Ronald de Boom Doreen Boonekamp Olya Borissova Ger Bouma Han Bouman Filip Braams Paulo Branco Rémi Burah Zita Carvalhosa Cristina Cassano Chang Ting Philip Cheah Zoë Chen Chung-jung Mihai Chirilov Cho Youngjung Marcel Cobussen Simon Corsèl Florian Cramer Arleen Cuevas Claudio Cunha Claudia Curio Ludmila Cvikova Matthieu Darras Costas Daskalakis Amy Dotson Jan De Clercq Roman Dekhtiar Peter Delpeut Christian De Schutter Erik Diks Ellis Driessen Nelleke Driessen Irma Dulmers René Dutrieux Basak Emre Tine Fischer Eric Franssen Saskia Frinking Giovanna Fulvi Raviv Ganchrow Angelique van Gasteren Tudor Giurgiu Jacob van der Goot Eva de Grote Trevor Groth Sandra den Hamer Briony Hanson Shanty Harmayn Eric den Hartigh Jacques van Heijningen Sonja Heinen Titia Hienema Kees Hin Steve Holmgren


Hong Hyosook Rogier van der Horst Alexander Horvath Sunny Hu Heleen Hulshof Hans Hurch Helena Ignez Peter Inklaar Jeon Yoonhyung Marit Kapla Ida de Kat Petri Kemppinen Chris Keulemans Eric Khoo King Yiu Chu Gabe Klinger Asya Kolodizhner Konstantinos Kontovrakis Eve-Marie Kuijstermans Pieter Kunz Elise Labbé Jannie Langbroek Joanna Lapinska Nina Lath Gupta Stefan Laudyn Delphine Leccas Lee Yongkwan Jeanette Leete-Bijl Li Shanshan Jan Loorbach Michelle Lou Mark Lwoff Scott Macaulay Samuel Maoz José Mojica Marins François Margolin Dorleta Martin San Venancio Jasmin McSweeney Rob van der Meer Frank Meinster Nathalie Mierop Johan Moerman Olaf Möller Natalie Mooallem Nashen Moodley Marco Muller Nat Muller Pascale Nanning Nakayama Hiroki Beatriz Nava Mary Nazari Mark Neirynck Lauge Nielsen Ken Okubo Roberto Olla Irina Orssich Jacqueline Oskamp Jerome Paillard Michiel Pannekoek Park Ki-Yong Arnaud Pasquali Onno Paymans Theo Peekel Frank Peijnenburg Mark Peranson Gerrit Peters Adina Pintilie Roland van Putten Marten Rabarts Alessandro Raja Dominique van Ratingen Michel Reilhac Rachel Robey

Nick Roddick Peter Rorvik Ruan Liang-cheng Aukje Rypma Christiaan van Schermbeek Alicia Schersono Marc-André Schmachtel Martin Schweighofer Karen Shakhnazarov Shan Dong-bing Aviva Silver Janine van der Sluis Alessandra Speciale Anocha Suwichakornpong Hugues Sweeney Tan Chui Mui Meiske Taurisia James Thompson José Luis Torres Leiva Tina Trapp Joao Trevisan Tsai Jing-fang Menno Tummers Melany van Twuijver Wilbert van Twuijver Chalida Uebumrungjit Esther Urlus Jacqueline Veenendaal Isabel van der Velden Ronald Vierbergen Rogier Vlaming Peter Von Bagh Anita Voorham Christine Vroom Wang Mumu Carlos Wendel Magelhaes Manon WilbrinkLommen E-Shyh Wong Wong Tuck Cheong Ying Liang Gamila Ylstra Zhang Xian-min Zhu Rikun ABC – Cinemien A-Film Distribution Alliance Française Rotterdam ARTE France Cinéma Ateliers du Cinéma Européen Austrian Film Museum Batumi International Art House Film Festival Beijing Independent Film Festival Benelux Film Distributors BFI London Film Festival Bilderberg Parkhotel Binger Filmlab British Council Buenos Aires Festival Internacional de Cine Independiente (BAFICI) Busan International Film Festival La Casa Encendida Catalan Films Centre for the Moving Image Centrum Beeldende Kunst – Art & Public Space Chinese Independent Film Festival



Cinéart Netherlands Cinéfondation – Résidence du Festival de Cannes Cinema Digital Seoul Film Festival Cinémathèque de Toulouse Cinergia City Development Corporation (OBR) CPH-DOX Creative Scotland Danish Film Institute Doha Film Institute DS+V Durban FilmMart/ Durban Film Office Durban International Film Festival European Audiovisual Entrepreneurs (EAVE) Ecrans Noirs Festival Cameroun Eurimages Edinburgh International Film Festival Elise Mathilde Fonds Embassy of India Embassy of Poland Ethiopian International Film Festival EXiS EYE Film Instituut Nederland Festival Cinema Africano, Asia, America Latina Festival de Cine Africano de Tarifa Festival del Film Locarno Festival du Film de Dakar Festival Internacional de Cine de Morelia Festival International du Film de Cannes Film Bazaar Filmfreak Distributie Film I Väst Les Films de l’Elysee Film- und Medienstiftung NRW Finnish Film Foundation Finnish Film Institute Flanders Audiovisual Fund Fundación TyPA Garage Center for Contemporary Culture Gerrit Rietveld Academie Glamcult Goethe Institute Khartoum Goethe Institute Lagos Goethe Institute Rotterdam Golden Apricot Film Festival Göteborg International Film Festival Hilton Hotel HIVOS Cultuurfonds Holland Subtitling/ NCP Holland Digital Filmlab

Hong Kong – Asia Film Financing Forum (HAF) IDFA Imagine Nederland Independent Filmmaker Project Indigenous Branch – Screen Australia Internationale Filmfestspiele Berlin Irish Film Board Israel Film Fund Istanbul Film Festival (Meetings on the Bridge) Jakarta International Film Festival Jan Vrijman Fonds Just Film Distribution Kenya International Film Festival Korean Film Council (KOFIC) Li Xianting Film Fund Li Xianting Film School Locarno Film Festival Lumière Marché du Film Cannes (Producer’s Network) MEDIA Desk Nederland MEDIA Mundus MEDIA Programme of the European Union Medienboard BerlinBrandenburg Ministerie van Buitenlandse Zaken Ministerie van OCW Moscow Business Square Mosfilm Cinema Concern Mostra de Cinema de Belo Horizonte Mostra del Cinema di Venezia NAiM/Bureau Europa National Audiovisual Archive Finland National Film Board Canada National Film Development Corporation India NCDO Nederlands Architectuurinstituut (NAi) Nederlandse Film en Televisie Academie Nederlands Filmfonds Nederlands Instituut voor Mediakunst/ Montevideo NETPAC New Zealand Film Commission Nieuwe Oogst Norwegian Film Institute NTR (Korte Film Online) O’Brother Distribution Paradiso Filmed Entertainment Paris Cinéma ParOvisie Piet Zwart Instituut Pioner Cinema Premsela, Dutch Platform for Design and Fashion

Prins Claus Fund PrintRoom Proimagenes Colombia Pusan International Film Festival Quintessence International Film Festival of Ouidah Rialto Rio de Janeiro State Secretary of Culture Rome Film Festival (New Cinema Network) Roodkapje ROTTTERDAM Rotterdam Festivals Rotterdam Marketing Rotterdam Media Commission Rotterdam Media Fund Rotterdamse Raad voor Kunst en Cultuur Rotterdamse Schouwburg Rwanda Film Festival San Sebastian International Film Festival Sao Paulo Short Film Festival Sarajevo Film Festival – CineLink Screen Australia ShanghART Singapore International Film Festival Sony Pictures Releasing Netherlands SØRFOND Norwegian South Film Fund Sovexportfilm Studio Media Madness Sub Urban Video Lounge Sundance Film Festival Sundance Institute Swedish Film Institute Telefilm Canada TENT Topkapi Films Toronto International Film Festival Tribeca Film Festival Tribeca Film Institute Unifrance Film Universal Pictures International Netherlands BV Viennale Wallonie Bruxelles Images Warner Bros. Pictures Holland Wild Bunch Benelux Willem de Kooning Academie WORM(.filmwerkplaats) Yleisradio Oy (YLE) Zadkine Zanzibar International Film Festival Zimbabwe International Film Festival ... and special thanks to our patrons, individual donors and Tiger Friends












58th International Short Film Festival Oberhausen 26 April — 1 May 2012 Oberhausen Manifesto 1962 — 2012

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02.01.12 09:01


At Jameson, we want to share our love of film with the world. The Jameson Film Experience is all about watching our favourite films at spectacular screenings, staged to transport our members into the film’s universe. In cooperation with the International Film Festival Rotterdam, Jameson Irish Whiskey brings you this series of unique events that will inspire, intrigue and make you laugh.


For more info, join:

Geniet, maar drink met mate.



Jury Tiger Awards Competition The Tiger Awards Competition was established by the International Film Festival Rotterdam in 1995. Having been a noncompetitive event up until then, the idea of the competition was to discover, to highlight and to support emerging film talents in world cinema. Every year, the jury of the Tiger Awards Competition names three equal winners. Since its inception, some 260 filmmakers have competed with their first or second feature film. Ludmila Cvikova, who has both Slovakian and Dutch nationalities and is now based in Doha, graduated from the University of Amsterdam and Comenius University in Bratislava. She has been the organiser and curator of many cultural events in the Netherlands, collaborated with the Museum of Modern Art in New York, and worked for international film festivals all over the world. The IFFR is one of these; she has been programming here for many years and searching for new talent as a producer for CineMart. In addition, she has carried out writing and translation work and has extensive experience as a jury member in various areas of the film industry. She is currently Head of International Programming at the Doha Film Institute – a relatively new organization where Ludmila specialises in the Middle East. Tine Fischer, based in Copenhagen, graduated in Film and Media Studies from the University of Copenhagen. Between 1997 and 2003 she was Programming Director at the Danish Film Institute. In 2002, she founded the CHP:DOX/Copenhagen International Documentary Film Festival and has been the director ever since. Fischer is also founder and director of DOX:Lab, the festival’s international talent programme, is co-owner of the Scandinavian art gallery Andersen’s Contemporary, and has her own production company, Fischer Film, which focuses on art film and international co-productions.



Brazilian actress Helena Ignez studied Law and had never imagined herself as an actress, until in the second year of her studies she attended a play starring young actors. She was so impressed by the performances of the actors that she decided she wanted to do the same. After graduating in Dramatic Arts from the Federal University of Bahia, she made her breakthrough in the avantgarde theatre scene, where she got involved with several Broadway directors. From 1968 onwards, Ignez worked with Rogério Sganzerla, acting in almost all of his films from The Red Light Bandit (1968) until his last film O signo do caos (2005). She is currently known as one of the pioneers of the Brazilian Marginal Cinema movement with her new ‘underground’ style of acting for women: debauched, extravagant and violent. Eric khoo, born in Singapore, was educated in filmmaking at the City Art Institute in Sydney. He put Singapore on the international film map with his first feature film Mee pok man (1995), which was screened in Berlin and Venice. His second feature 12 Storeys (1997) was the first Singaporean film ever invited to participate at the Cannes Film Festival. The following year, Khoo was ranked as one of the 25 most exceptional trendsetters in Asia by the magazine Asiaweek. In 2008, My Magic was selected for the Cannes official main competition. Besides making films, Khoo was president of the jury at the 63rd edition of the Locarno International Film Festival in 2010. His latest production 2359 (2011) shot to number one at the Singapore box office.

was born in Tel Aviv, Israel. In 1982, when he was 20 years old, he served in the Israeli army in the war against Lebanon – he was a gunner in one of the first tanks to enter Lebanon. After the war, he studied cinematography at Tel Aviv University. Maoz started his film career as a production designer for several TV dramas and features. He subsequently began directing video clips, commercials and TV dramas, and later short video art films and documentaries. In 2009, he made his first feature film Lebanon, based on his personal experiences during the war. This debut was awarded many prizes, including the Golden Lion for Best Film in Venice and European Discovery and Best Cinematographer at the European Film Awards in 2010. Samuel Maoz





Jury Tiger Awards Competition for Short Films In the IFFR section Tiger Awards Competition for Short Films, 21 films of up to 60 minutes in length will be presented to an international jury. The winners of the three Tiger Awards for Short Films, each with a cash prize of 3,000 Euros, will be announced on Monday, 30 January at 22:00 hours in WORM. Dana Linssen watches, thinks, writes and lives film. For her, film is an enchanting mirror for people, the world, practical and philosophical issues. It is the comfort and shock of art in an era when every image hits us is distorted, confused and seductive. But film is also excitement and oblivion – a voyage through time to the unimaginable. For more than 10 years, Linssen has been a resident film writer for Dutch daily NRC Handelsblad and editor-in-chief of film magazine de Filmkrant. She is initiator of the Slow Criticism Project, has organised live filmcriticism events and cooperated on several film books. In 2009, she was awarded the Louis Hartlooper Prize for Film Journalism. Andréa Picard is a film curator and writer

based in Toronto. For 12 years, she was a member of the programming team at TIFF Cinematheque (Ontario), where she curated numerous directors’ retrospectives and thematic shows. Since 2006, she is the curator of ‘Wavelengths’ at the Toronto International Film Festival, as well as a regular contributor to TIFF’s installation programme and its features selection. In addition to her curatorial work, Picard has published internationally on art, architecture and film, and writes a quarterly ‘Film/Art’ column for Cinema Scope magazine. Originally Lebanese, Rania Stephan graduated in Cinema Studies from Latrobe University in Melbourne and continued for a master degree from Paris VIII University. Her career in film production has been long and diverse. She has worked as a sound engineer, cinematographer, editor and first direction assistant with renowned filmmakers including Simone Bitton (Rachel, Wall) and Elia Suleiman (Divine Intervention). In addition, Stephan has also directed her own documentaries and video art films. The Three Disappearances of Soad Hosni is her first feature film, and is included in this year’s IFFR programme. EUROPEAN FILM ACADEMy – EUROPEAN SHORT FILM AWARD

At the IFFR, the jury of the Tiger Awards Competition for Short Films will nominate one European film to enter the competition for the European Short Film Award. The nominee will be announced on Monday, 30 January at 22:30 hours in WORM. The members of the European Film Academy will vote for the overall winner, which will be presented at the European Film Awards Ceremony in December.








Tiger AwArds CompeTiTion

svartur á leik Black’s game

Óskar Thór Axelsson Reykjavik, 1999. A man is interrogated by the police. He was arrested the previous night after a fight. Stebbi can’t remember a thing about it – blind drunk again. In front of the police station smoking a cigarette, Stebbi meets his childhood friend Tóti, a no-nonsense guy with an enormous tattoo on his bald head, a goatee and frightful eyes. ‘If you have any problems, just give me a call,’ Tóti says, handing him a card. Then Stebbi finds himself in a world of tough guys, athletic drug dealers, stunning blondes, mountains of coke, truckloads of ecstasy and other designer drugs, robberies and slaughter. The frames are askew, sometimes in split-screen. The colour pallet of this adrenaline-pumping crime thriller is dominated by the black of the night, the white of the snow and the red of the blood that flows copiously. In a voice-over, Stebbi provides a dry commentary. ‘Inspired by some shit that actually happened’, it says at the start of Black’s Game, the feature debut by Óskar Thór Axelsson. Based on the bestselling Icelandic gangster story Black Curse by Stefán Máni, it was executive produced by Nicolas Winding Refn, director of the Pusher trilogy and the recent hit Drive.

worLd premiere

Iceland, 2012 | colour, DCP, 100 min, Icelandic Prod: Thorir Snaer Sigurjónsson, Skuli Malmquist | Prod Comp: Zik Zak Filmworks | Sc: Óskar Thór Axelsson | Cam: Bergsteinn Bjorgulfsson | Ed: Kristján Lodmfjord | Sound Des: Ingvar Lundberg, Kjartan Kjartansson | With: Thorvaldur David Kristjansson, Johannes Haukur Johannesson, Damon Younger, Egill Einarsson | Print: Icelandic Film Centre | Sales: TrustNordisk |

Public SCREENINGS Wed 1-2 18:45 PA5 Thu 2-2 12:30 PA7 Fri 3-2 19:30 PA4 Sat 4-2 19:00 PA1


Press & Industry SCREENINGS Wed 1-2 13:15 DJZ Thu 2-2 18:00 CI3


Tiger AwArds CompeTiTion

Babamin sesi Voice of my Father

Orhan Eskiköy, Zeynel Dogan The Kurdish Zeynel (‘played’ by co-director Zeynel Dogan) lives with his pregnant wife in Diyarbakir, a town in eastern Turkey. Zeynel’s mother Basé (Asiye Dogan, who is also really Zeynel’s mother) lives alone in the parental home in Elbistan, an almost deserted village. Zeynel’s elder brother Hasan has fled the country after he had joined the guerrilla movement. Since then, he has not been in touch. Their father Mustafa left for Saudi Arabia to earn money for his family. He had a fatal accident at work, and all that Zeynel has of his is one of the audio cassettes sent back and forth instead of letters (his parents couldn’t read or write). Now he is going to be a father himself, Zeynel asks his mother about the other cassettes. She stalls, not wanting to change the picture that Zeynel has of his father. Voice of My Father is a poetic meditation about identity and blood bonds, as well as a profound portrait of a country in transition, wrestling with its past. Just as in the previous film by Orhan Eskiköy and Zeynel Dogan, On the Way to School, language is crucially important. And like that film, Voice of My Father balances between fiction and documentary.

worLd premiere

Turkey/Germany, 2012 | colour, 35mm, 1:1.85, 87 min, Kurdish/Turkish Prod: Özgür Dogan | Prod Comp: Perisan Film | Sc: Orhan Eskiköy | Cam: Emre Erkmen | Ed: Orhan Eskiköy, Cicek Kahraman | Prod Des: Emre Yurtseven | Sound Des: Serdar Ongoren | With: Asiye Dogan, Zeynel Dogan, Gulizar Dogan, Fatih Genckal | Sales: Perisan Film | Distr NL: Hubert Bals Fund |

Public SCREENINGS Mon 30-1 18:30 PA7 Tue 31-1 16:15 PA3 Wed 1-2 15:00 LV3 Thu 2-2 21:30 PA7 Sat 4-2 15:15 PA6

Press & Industry SCREENINGS Sun 29-1 09:45 DWBZ Thu 2-2 12:00 DJZ



Tiger AwArds CompeTiTion

Jidan he shitou egg and stone

Huang Ji In the village where she was born in the province of Hunan, Huang Ji filmed this quietly disturbing, sober drama about 14-year-old Honggui, who is forced to live with her uncle and aunt in the countryside. The girl is not wanted. Nor was she wanted by her parents, who apparently intended to farm her out to family for two years so they could work in the city. In the meantime, seven years have passed. When she tries to make contact, her real mother is too busy to take her call. The tragedy of Honggui’s personal story gradually unfolds. At the same time, in her feature debut, Huang (b. 1984) shows us how other Chinese women are also often afflicted. Not only by the widespread poverty, combined with the policy to restrict births that ensures that parents primarily want boys. A story read out loud in the film illustrates just how deeply-anchored oppressive thoughts about women are in Chinese culture. The blood of women pollutes the water for virtuous men, they say, and women can only cleanse themselves by praying. It’s the fault of woman, just as in the Old Testament. But the men in Egg and Stone are not that virtuous. The visual motif of Honggui’s spread and closed legs, which the filmmaker uses repeatedly with suitable reserve, is a painful and gripping reminder of the tyrannical power that men can take – a power justified by the creative interpretation of principles apparently granted by God. worLd premiere

China, 2012 | colour, video, 97 min, Mandarin Prod: Otsuka Ryuji, Hsu Hsiao-ming | Prod Comp: Yellow-Green Pi, Panorama | Sc: Huang Ji | Cam: Otsuka Ryuji | Ed: Otsuka Ryuji | Prod Des: Huang Ji | Sound Des: Wang Chang-rui | With: Yao Hong-gui, Xiao Pin-gao, Liu Xiao-lin | Print/Sales: Yellow-Green Pi

Public SCREENINGS Sun 29-1 16:30 PA4 Mon 30-1 13:30 PA4 Tue 31-1 12:15 PA6 Wed 1-2 19:45 LV3 Sat 4-2 10:30 PA4


Press & Industry SCREENINGS Sat 28-1 14:00 DJZ Thu 2-2 09:45 DJZ


Tiger AwArds CompeTiTion

ro-men-seu Jo romance Joe

Lee Kwang-Kuk Where to start? With the filmmaker who was cruelly dumped in a rural town and told to seek fresh inspiration there? With the energetic waitress who is willing to give him more than coffee in return for payment and has a talent for telling stories? For instance about Romance Joe, whom she had interrupted a little earlier as he tried to commit suicide in his hotel room, and who also wanted to make films? It may even start with Romance Joe’s squabbling parents. In all these intertwined stories, we keep seeing a different narrator. For instance, Romance Joe himself remembers a childhood love that he never dared to pursue. Then there’s the little boy who is looking for his mother who ran away... Lee Kwang-Kuk plays a game with stories with unmistakable pleasure in this elegantly filmed feature debut. Its structure and the references to making films betray the influence of his mentor Hong Sang-Soo, to whom he was assistant director and who won a Tiger Award in 1997 for The Day a Pig Fell Into the Well. But Lee touches on Alice in Wonderland, and he also has his very own sense of humour. In Romance Joe, someone can allege you don’t exist at all. Should you start doubting everything, just remember it’s only a film. And yet, despite all the irony and perspective, the characters are real enough to be moving. Winner of an audience award in Busan. inTernATionAL premiere

South Korea, 2011 | colour, DCP, 115 min, Korean Prod: Yim Soon-Rye | Prod Comp: Bori Pictures | Sc: Lee Kwang-Kuk | Cam: Jee Yune-Jeong | Ed: Son Yeon-Ji | Sound Des: Kim Yong-Joo | Music: Park Jin-Seok | With: Kim Young-Pil, Shin Dong-Mi, Lee Chai-Eun, Lee David | Print/Sales: M-Line distribution |

Public SCREENINGS Sun 29-1 18:45 PA5 Mon 30-1 12:30 PA7 Tue 31-1 22:00 LV5 Thu 2-2 13:15 PA3 Sat 4-2 15:45 PA5

Press & Industry SCREENINGS Sat 28-1 15:00 CI4 Sun 29-1 15:15 CI3



Tiger AwArds CompeTiTion

L Babis Makridis In L, you are what you drive. The protagonist, aged 40, is a more than dedicated driver. His work is literally his life and his car is more than a means of transport. He lives in his car and receives his family at fixed times. His employer is a rich narcoleptic who can’t drive. The driver, known as the Man, provides him with special honey. But when an even better driver comes along, the Man loses his job and decides to look for another means of transport. Aris Servetalis, who can also be seen in Yorgos Lanthimos’ Alps, plays the Man without batting an eyelid. Whether he’s talking seriously to his children, listening to a friend or just has his eyes on the road, he always focuses intensely on what he is doing. With a screenplay by Efthimis Filippou (Dogtooth, Alps) it’s not surprising that the absurdist tone recalls Lanthimos’ films. L is also akin to Attenberg by Athina Rachel Tsangari. But Babis Makridis distinguishes himself from his colleagues because he allows his film to be even more abstract. L is a unique combination of comedy and existential drama. A debut film filled with bizarre dialogues, a stuttering Moonlight Sonata and a song about bears.

eUropeAn premiere

Greece, 2012 | colour, 35mm, 1:1.85, 87 min, Greek Prod: Amanda Livanou | Prod Comp: Beben Films | Sc: Efthimis Filippou, Babis Makridis, based on an original idea by Yorgos Giokas | Cam: Thimios Bakatakis | Ed: Yannis Chalkiadakis | Prod Des: Dafni Kalogianni | Sound Des: Costas Fylaktidis | Music: Coti K | With: Aris Servetalis, Makis Papadimitriou, Lefteris Mathaiou, Nota Tserniafski, Thanassis Dimou | Print/Sales: Beben Films

Public SCREENINGS Tue 31-1 18:30 PA7 Wed 1-2 12:30 PA7 Thu 2-2 18:15 PA6 Fri 3-2 22:30 LV5 Sat 4-2 16:00 PA1


Press & Industry SCREENINGS Mon 30-1 21:00 DWBZ Thu 2-2 10:00 PA6


Tiger AwArds CompeTiTion

o som ao redor neighbouring sounds

Kleber Mendonça Filho A few years ago, Kleber Mendonça Filho was given a ‘Short Profile’ at IFFR, so his feature debut has obviously been eagerly awaited. This cinephile jack-of-all-trades – filmmaker, festival organiser, critic and producer – from Recife in Brazil expanded on a theme from his short film Eletrodoméstica and turned it into a gripping, ominous debut. An x-ray of a middle-class district in Recife: in the street where a rich family owns lots of real estate, life takes an unexpected turn when a private security outfit offers its services to the residents. The presence of guards (led by Clodoaldo, played by Irandhir Santos, who is also the protagonist in Rat Fever) gives them a feeling of security, but also adds a large dose of anxiety in a society that flourishes on fear. Meanwhile Bia, the mother of two children, tries to find a way to deal with the barking of the guard dogs that gives her sleepless nights. Neighbouring Sounds is a piece of contemporary Braziliana that effortlessly offers new insights into an apparently normal socioeconomic network. Deserving of special mention: the excellent acting across the whole cast and the way in which the urban space and interior design play a leading role.

worLd premiere

Brazil, 2012 | colour, DCP, 124 min, Portuguese Prod: Emilie Lesclaux | Prod Comp: Cinemascópio Produções | Sc: Kleber Mendonça Filho | Cam: Pedro Sotero, Fabricio Tadeu | Ed: Kleber Mendonça Filho, João Maria | Prod Des: Juliano Dornelles | Sound Des: Pablo Lamar, Kleber Mendonça Filho | Music: DJ Dolores | With: Irandhir Santos, Gustavo Jahn, Maeve Jinkings, W.J. Solha | Sales: Cinemascópio Produções | Distr NL: Hubert Bals Fund |

Public SCREENINGS Wed 1-2 15:30 PA7 Thu 2-2 18:30 PA7 Fri 3-2 17:30 LV3 Sat 4-2 13:00 PA1

Press & Industry SCREENINGS Wed 1-2 09:00 PA4 Thu 2-2 13:30 CI3



Tiger AwArds CompeTiTion

gui lai de ren return to Burma

Midi Z Wang Xing-hong has been a Burmese guest-worker in Taiwan, but now there have been elections in his country, he decides it’s time to return. During the journey from Rangoon to his birthplace, we hear propaganda songs on the radio about the blessings of democracy. When he sees his mother again after 12 years, she asks: ‘Have you eaten?’ With those same words, the mother of filmmaker Midi Z welcomed her son when he returned in 2008 after an absence of 10 years. In early 2011, soon after the elections, Midi Z went back again. This time he brought his camera, to shoot Return to Burma. Xing-hong has the sad duty of returning the ashes of a friend who had a fatal accident in Taiwan. But there’s also the joy of seeing friends and family. Young people still gather together to sing romantic songs and dream of working in China or even America. Xing-hong’s younger brother is about to leave for Malaysia. Xing-hong himself would prefer to stay and goes to markets and smuggling centres to see if there are any opportunities for him. Return to Burma reflects a poor yet hopeful society in images that follow the countryside and the people’s movements and often have a documentary approach. A rare Tiger too, because we don’t see many films from Burma at all.

eUropeAn premiere

Taiwan/Myanmar, 2011 | colour, DCP, 84 min, Mandarin/Burmese Prod: Midi Z, Patrick Mao Huang | Prod Comp: Seashore Image Production, Flash Forward Entertainment | Sc: Midi Z | Cam: Midi Z | Ed: Lin Sheng-wen, Midi Z | Sound Des: Lin Sheng-wen | With: Wang Shin-hong, Yang Shu-lan, Chou Jung-kuo | Print/Sales: Flash Forward Entertainment

Public SCREENINGS Mon 30-1 15:30 PA7 Tue 31-1 12:30 PA7 Wed 1-2 17:30 LV3 Thu 2-2 21:15 PA6 Sat 4-2 12:45 PA5


Press & Industry SCREENINGS Sun 29-1 13:15 CI3 Mon 30-1 10:00 PA5


Tiger AwArds CompeTiTion

Klip Clip ^

Maja Milos Jasna is a beautiful girl in her mid-teens. Disillusioned by her life in a remote Serbian town with a dispirited mother and terminally ill father, she opposes everyone, including herself, and goes wild, experimenting with sex, drugs and simply killing time. But gradually, this desperate protest helps her come to terms with painful reality. In her first feature, Maja Milos (1983) explores the disturbing state of adolescence as bravely and honestly as her protagonist explores herself. Isidora Simijonovic, also a debutant, gives a striking and fearless performance full of contrasts. Together they create a highly dynamic and vibrant portrait of wasted youth lost in the search for identity. Milosˇ sets this ‘classical’ coming-of-age story in the world of contemporary teenagers obsessed with pornographic images, violence and online reality, meanwhile exploring the blurring boundaries between sex and affection, simple pleasures and true love, brutality and tenderness. Above all, Clip examines the shifting family and social values in present-day Serbia, where the generation gaps are extreme, placing everyone between disintegrating traditions and uncertain contemporary morality. ^

worLd premiere

Serbia, 2012 | colour, DCP, 100 min, Serbian Prod: Jelena Mitrovic | Prod Comp: Film House Bas Celik | Sc: Maja Milos | Cam: Vladimir Simic | Ed: Stevan Filipovic | Prod Des: Zorana Petrov | Sound Des: Ognjen Popic, Zoran Maksimovic | With: Isidora Simijonovic, Vukasin Jasni, Sanja Mikitisin, Jovo Maksic, Monja Savic, Katarina Pesic, Sonja Janicic, Jovana Stojiljkovic, Vladimir Gvojic, Nikola Dragutinovic | Print/Sales: Film House Bas Celik ^




Public SCREENINGS Fri 27-1 15:30 PA7 Sat 28-1 21:15 PA6 Mon 30-1 16:15 PA3 Thu 2-2 22:15 LV3 Sat 4-2 21:45 PA5

Press & Industry SCREENINGS Thu 26-1 10:30 PA3 Fri 27-1 11:45 PA5



Tiger AwArds CompeTiTion

sudoeste southwest

Eduardo Nunes The languid, lateral black-and-white shots and repetitive background sounds of Eduardo Nunes’ feature debut Southwest inevitably evokes memories of the work of Béla Tarr. But where Tarr used that style to break open reality, Nunes (b. 1969) chooses a more magical approach with this Brazilian parable about a woman who passes through her life in one day. It is immediately obvious from the title that Southwest enters the domain of the fantastic, because the southwest of Brazil doesn’t exist – at least not officially. It’s an area beyond the frontiers of the visible. Most characters experience the day that is coming just like every other, even though the young, pregnant Clarice dies in the early morning in an inn. In the hours that follow, another Clarice appears: first as a baby, then as a little girl, then as a teenager and finally as an adult woman. Under the scorching sun, she changes from one character to another. The contrast between these radical changes and the slow tempo makes the viewer search for a handhold. Nunes, who won several prizes with his short films, uses this dreamy yet also painful and tragic narrative to point to Christian and magical stories. But in the end, there is no clear logic; only the puzzle of time and life.

eUropeAn premiere

Brazil, 2011 | b&w, 35mm, 1:2.35, 128 min, Portuguese Prod: Patrick Leblanc | Prod Comp: Superfilmes | Sc: Guilherme Sarmiento, Eduardo Nunes | Cam: Mauro Pinheiro Jr. | Ed: Flávio Zettel | Prod Des: André Weller | Sound Des: Leandro Lima, Gabriel d’Angelo | Music: Cristiano de Abreu, Tiago Azevedo, Yuri Villar | With: Simone Spoladore, Raquel Bonfante, Julio Adrião, Dira Paes, Mariana Lima, Everaldo Pontes, Léa Garcia | Print/Sales: Superfilmes Public SCREENINGS Sun 29-1 15:30 PA7 Mon 30-1 12:15 PA6 Tue 31-1 22:00 PA6 Wed 1-2 21:45 LV3 Sat 4-2 18:15 PA6


Press & Industry SCREENINGS Sat 28-1 12:30 DWBZ Tue 31-1 14:15 DWBZ


Tiger AwArds CompeTiTion

Tokyo playboy Club Okuda Yosuke In 2010, Okuda Yosuke made a name for himself with his low-budget gangster comedy Hot as Hell: The Deadbeat March, the last part of his Hot as Hell trilogy. This year, he returns with a wry crime story about the fringes of Japanese society. Every client – and there aren’t many – can see that the Tokyo Playboy Club has seen its best days. After a fight at work, Katsutoshi flees to this club, owned by his good friend Seikichi. It’s not long before hot-headed Katsutoshi also makes life impossible for himself here by beating a local gangster to a pulp. Seikichi now fears – rightly so – for his own skin. In the meantime, one of his barmen gets into trouble, so the man’s girlfriend Eriko feels forced to take a job as a hostess. As a result she also becomes involved in the rapidly escalating conflict between the owner, his loose-fisted friend and the furious gangsters. This gangster film with unusual accordion music focuses on people who primarily live by instinct. And this results in extremely bloody, reckless scenes. Director Okuda also offers a dash of absurd Tarantino – minus the glamour – this dry adventure shows a shabby side of Japan we usually don’t get to see.

eUropeAn premiere

Japan, 2011 | colour, video, 97 min, Japanese Prod: Kai Naoki | Prod Comp: StyleJam Inc. | Sc: Okuda Yosuke | Cam: Imai Takahiro | Ed: Onodera Takuya | Prod Des: Hirai Atsuro | Sound Des: Takada Shinya | Music: Ishizuka Toru | With: Omori Naoi, Mitsuishi Ken, Usuda Asami | Print/Sales: Pictures Dept. Co. Ltd. |

Public SCREENINGS Sat 28-1 18:45 PA5 Sun 29-1 13:30 PA4 Mon 30-1 18:15 PA6 Thu 2-2 17:30 LV3 Sat 4-2 18:45 PA5

Press & Industry SCREENINGS Fri 27-1 16:15 DJZ Tue 31-1 12:00 DJZ



Tiger AwArds CompeTiTion

mulgogi A Fish

Park Hong-Min Park Hong-Min’s feature debut A Fish is the first 3-D film in the Rotterdam Tiger Awards Competition, and that 3-D form does justice to the various dimensions overlapping in this metaphysical mystery in a fascinating way. Little by little, the filmmaker reveals where this unfortunate road movie is taking its characters. At first not much seems to happen. In a roadside restaurant, the troubled protagonist, Professor Lee, picks up the detective who says he has found Lee’s missing wife on an island off the coast. The men head for the sea, but instead of taking the ferry that evening, they must look for alternative transport the next day. That night, the professor has a curious dream. Park, who is still studying directing in Seoul, maintains a realistic style that hides the true nature of events for a long time. But what at first seems like a series of absurd situations slowly changes into a moving and decisive coming-of-age story. A story that leans on the symbolic meaning of water and fish, even though Park clearly does not want to explain or reveal too much. When one of the characters suggests to another that their conversation is starting to sound philosophical, they immediately stop, saying they don’t have anything sensible to say. This characterises the playful and provocative way in which A Fish tries to fathom the very last moment we will eventually all experience. inTernATionAL premiere

South Korea, 2011 | colour, DCP, 105 min, Korean Prod: Choi Sung-Won | Prod Comp: Dima Entertainment | Sc: Park Hong-Min | Cam: Choi Sung-Won | Ed: Lee Gang-Hee | Prod Des: Lee Hyun-Joo | Music: Oh Su-Jin | With: Lee Jang-Hoon, Kim Sun-Bin, Choi So-Eun | Print/Sales: Mirovision Inc.

Public SCREENINGS Fri 27-1 19:30 PA4 Sat 28-1 09:30 PA2 Mon 30-1 22:15 PA3 Fri 3-2 13:30 PA4 Sat 4-2 13:30 PA4


Press & Industry SCREENINGS Thu 26-1 16:15 PA3 Mon 30-1 09:15 PA2


Tiger AwArds CompeTiTion

Z daleka widok jest piekny it Looks pretty from a distance

Anka Sasnal, Wilhelm Sasnal From the very start, it is evident that the authors of It Looks Pretty from a Distance, both feature-film debutants, have a huge background in the visual arts. Wilhelm Sasnal, known for his precise yet abstract paintings, and Anka Sasnal, his wife and collaborator, instantly catch us with the traps their protagonists set in the woods. What’s inside the filmmakers’ traps? Pure images, ideally paced and contemplative, that provide the real tension and suspense. No dialogue needed, not even a plot. The story focuses on a small, incestuous Polish community during an exhaustingly hot summer. Everyone is either about to explode or come to a complete halt. Hidden aggression, hatred, discrimination, as well as fears, longings and emotional crises are constantly about to break through the surface. Using a minimalistic, almost austere style, the Sasnals create an absolutely physical, not to say physiological, portrait of a micro society that turns into a viscious swamp, unresistingly absorbing any kind of violence. An example of purely contemporary cinema, at once tangible and elusive.

inTernATionAL premiere

Poland/USA, 2011 | colour, 35mm, 1:1.85, 77 min, Polish Prod: Anka Sasnal, Wilhelm Sasnal, Anton Kern | Prod Comp: Anton Kern Gallery | Sc: Anka Sasnal, Wilhelm Sasnal | Cam: Wilhelm Sasnal, Aleksander Trafas | Ed: Beata Walentowska | Prod Des: Marek Zawierucha | Sound Des: Igor Klaczynski | With: Marcin Czarnik, Agnieszka Podsiadlik, Piotr Nowak, Elzbieta Okupska, Jerzy Lapinski, Hanka Chojnacka, Michal Pietrzak | Print/Sales: Filmpolis Agata Szymanska | Public SCREENINGS Sat 28-1 15:30 PA7 Sun 29-1 12:15 PA6 Mon 30-1 21:15 PA6 Thu 2-2 12:30 LV3 Sat 4-2 12:30 PA7

Press & Industry SCREENINGS Fri 27-1 14:15 DWBZ Tue 31-1 16:45 CI2



Tiger AwArds CompeTiTion

Zhit Living

Vasily Sigarev Vasily Sigarev’s second feature, after his acclaimed Wolfy, is an existential portrait of protagonists living in a wintry Russian province. A mother wants to reunite with her twin daughters. A young couple marry in church, but immediately after the ceremony, God – or maybe the Devil, or maybe Blind Fate – tests their love in the most brutal way. A boy wants to see his estranged father, despite his mother’s violent protests. Each of these characters lives through their own ordeal. Among all the sorrows imaginable, Sigarev focuses on the most devastating: death. Without any sentimentality, but with brutal sincerity, he has made a fiercely personal yet artistically crafted film on the complexity of being. A prominent author of extremely truthful plays written in the tradition of ‘new drama’, Sigarev takes his art a few steps further by meticulously depicting the bleak routine of everyday life, while at the same time searching for something hidden beneath its surface. He tackles a fundamental question: Is there catharsis in life, and therefore in art? If so, can our sorrows be healed? And if not, how can one escape despair and go on living? An enigma that transforms this ‘realistic’ film into a universal parable, revealing a mystery and even – in spite of all the bleakness – a miracle.

worLd premiere

Russia, 2012 | colour, 35mm, 1:1.85, 119 min, Russian Prod: Roman Borisevich, Alexander Kushaev | Prod Comp: Koktebel Film Company | Sc: Vasily Sigarev | Cam: Alisher Khamikhodzhaev | Ed: Dasha Danilova | Prod Des: Ludmila Dupina | Sound Des: Vladimir Golovnitsky | Music: Pavel Dodonov | With: Yana Troyanova, Yana Sekste, Eugeny Sitiy, Olga Lapshina | Print/Sales: Koktebel Film Company

Public SCREENINGS Tue 31-1 15:30 PA7 Wed 1-2 12:15 PA6 Thu 2-2 14:30 LV2 Fri 3-2 18:30 PA7 Sat 4-2 19:30 PA4


Press & Industry SCREENINGS Sat 28-1 09:45 DWBZ Mon 30-1 12:00 DWBZ


Tiger AwArds CompeTiTion

sin maysar fon tok ma proi proi in April the Following Year, There was a Fire

Wichanon Somumjarn Nuhm is a foreman in the building industry in Bangkok who has to look for other work. On the eve of the Thai New Year, he returns to his birthplace in the north-east of Thailand (where director Wichanon Somumjarn also grew up). After the wedding of a school friend, Nuhm goes to see his father, but their reunion is difficult. Meeting a young woman he was once in love with brings out other feelings. They talk about Albert Camus’ rules for a happy life and Nuhm admits that he would most love to make films. Meanwhile, on the radio we hear news reports about riots in other parts of the country. The film takes an unexpected turn when, in a documentary fragment, the director’s father and older brother appear on screen. Then it becomes apparent that much of what we’ve seen is autobiographical – the title refers to an event that took place when Somumjarn was six months old. Fiction, reality, memories and dreamlike images become increasingly intertwined. This first full-length feature film by former architecture student Somumjarn leans primarily on moods and feelings. A lot remains unsaid. Beauty can be inside issues, such as caring for a horse, the landscape or a karaoke song about diverging life paths. It’s also a meditation. And, as the director says: ‘This is the story of my land.’

worLd premiere

Thailand, 2012 | colour, video, 76 min, Thai Prod: Anocha Suwichakornpong, Maenum Chagasik | Prod Comp: Electric Eel Films | Sc: Wichanon Somumjarn | Cam: Ming Kai Leung | Ed: Machima Ungsriwong | Prod Des: Piyabut Jiraborworn | Sound Des: Sorayos Prapapan | With: Nantawut Phoophasuk, Narong Boonbamrung | Sales: Electric Eel Films | Distr NL: Hubert Bals Fund |

Public SCREENINGS Tue 31-1 18:45 PA5 Wed 1-2 15:15 PA6 Thu 2-2 20:15 LV3 Fri 3-2 15:45 PA5 Sat 4-2 12:15 PA6

Press & Industry SCREENINGS Mon 30-1 11:45 DJZ Wed 1-2 09:30 DJZ



Tiger AwArds CompeTiTion

de jueves a domingo Thursday Till sunday

Dominga Sotomayor This Chilean road movie is set entirely in and around the car belonging to a middle-class family on a four-day trip to the north of Chile. It will be their last journey as a family. We occasionally catch a glimpse of marital problems, but the crisis is largely implicit. For instance, we often only see the backs of the silent parents’ heads, seen from the perspective of the children in the back seat, who only have a partial idea of what is going on. The journey that starts so cheerfully with all kinds of games in the car quickly acquires melancholy undertones: the children only want to go to the beach, while the father is heading for a new life in another apartment and the mother primarily yearns for a place which no longer exists, where everything remains the same as it was. Dominga Sotomayor previously made the short film Videogame, which screened at IFFR in 2010. That film also focused on a divorce, seen from the perspective of the child: a boy loses himself in the fictional world of a video game while his parents divide the household effects. Thursday Till Sunday was selected for the Cannes Cinéfondation Résidence 2010 and supported by the Hubert Bals Fund.

worLd premiere

Chile/Netherlands, 2012 | colour, DCP, 96 min, Spanish Prod: Benjamín Domenech, Gregorio Gonzalez, Stienette Bosklopper | Prod Comp: Cinestación, Forastero, Circe Films | Sc: Dominga Sotomayor | Cam: Bárbara Álvarez | Ed: Danielle Fillios, Catalina Marín Duarte | Prod Des: Estefanía Larraín | Sound Des: Roberto Espinoza | With: Francisco Pérez-Bannen, Paola Giannini, Santi Ahumada, Emiliano Freifeld, Jorge Becker, Axel Dupré | Print/Sales: FiGa Films Public SCREENINGS Sat 28-1 21:30 PA7 Sun 29-1 09:15 PA6 Mon 30-1 21:45 LV1 Thu 2-2 15:15 PA6 Sat 4-2 09:45 PA5


Press & Industry SCREENINGS Fri 27-1 09:30 PA5 Wed 1-2 09:45 PA2


Tiger AwArds CompeTiTion For shorT FiLms




Tiger Awards Competition for Short Films 1 PUBLIC SCREENINGS Thu 26-1 20:00 LantarenVenster 3 Fri 27-1 17:15 LantarenVenster 3

Im Freien In the Open Albert Sackl

The inaccessible landscape of Iceland functions as an arena for a fascinating and cinematic double pass between Sackl and his modified 16mm camera. Wherever they are, an image is photographed every three minutes, three months in a row. Fickle weather conditions and shortening days shape the image and enter into a dialogue with introduced sculptural elements. The concept is maintained right up to the final credits, shot on location. INTERNATIONAL PREMIERE

Austria, 2011 | colour, 35mm, 1:1.37, 23 min, silent Prod/Sc: Albert Sackl | Cam: Albert Sackl, Markus Krispel, Franz Zar | Ed/With: Albert Sackl | Print/Sales: sixpackfilm |

Big in Vietnam Mati Diop

A movie is being filmed around Marseille. Henriette, a French-Vietnamese director, is shooting Les liaisons dangereuses, assisted by her son Mike. Soon, all activity must stop. The main actor is missing. Henriette leaves the stage and goes looking for him. In the port city, Henriette wanders around, discovering a world that reminds her of the one she left. There, she meets a man haunted by a journey of no return. (MD) Mati Diop’s Snow Canon screens in the compilation programme Short Stories: Surprising Mysteries. WORLD PREMIERE

France, 2012 | colour, video, 29 min, French/Vietnamese Prod: Antonin Dedet | Prod Comp: Neon Productions | Sc: Mati Diop, Thierry de Peretti | Cam: Mati Diop, Yannick Casanova | Ed: Ael D. Vega, Nicolas Milteau | Prod Des: Salomé Aubry | Sound Des: Frederic Salles | With: Henriette Nhung, Ghe Büi, Mike Nguyen | Print/Sales: Neon Productions |

the meaning of style Phil Collins

Commissioned for the 2011 Singapore Biennale, the meaning of style qualifies as the shortest, most perfectly formed film in the Tiger Shorts competition. Shot with Malaysian skinheads in Penang, it’s a meditative fantasy on signs, signals and butterflies, leading to pointed reflections on ‘the relationship between British colonial history and popular culture in South-East Asia’, says its maker, and to quote Jose Da Silva: ‘Fuck, it’s beautiful.’ WORLD PREMIERE

Malaysia, 2012 | colour, video, 5 min, no dialogue Prod: Phil Collins, Fran Borgia | Prod Comp: Shady Lane Productions, Akanga Film Asia | Cam: Hideho Urata | Ed: Shantha Kumar | Music: Gruff Rhys & Y Niwl | Print/Sales: Shady Lane Productions




Springtime Jeroen Eisinga

A man, a table, a camera and twentyfive kilos of bees: this adventure ended in hospital. Artist Jeroen Eisinga’s film performance Springtime is a contemporary rite of passage that leaves neither him nor the viewer unmoved. In his meticulously crafted tableau vivant the maker takes the beekeepers’ sport of bee bearding to the next level. The bees slowly take over his body, and his and our minds. WORLD PREMIERE

Netherlands, 2011 | b&w, 35mm, 1:1.37, 19 min, no dialogue Prod: Jeroen Eisinga | Cam: Benito Strangio | Ed: Jeroen Eisinga | With: Jeroen Eisinga | Sales: EYE Film Institute Netherlands | Distr NL: EYE Film Institute Netherlands

Tiger Awards Competition for Short Films 2 PUBLIC SCREENINGS Fri 27-1 20:00 LantarenVenster 1 Sat 28-1 13:30 LantarenVenster 1

As ondas The Waves

Miguel Fonseca

The world premiere of Miguel Fonseca’s beautifully judged, beautifully photographed The Waves, where the minutiae of two sisters’ relationship is placed in balance with the vastness of the ocean, cliffs and late summer sky. This is a Portuguese ‘paradise lost’, a terrain rendered even more starkly beautiful by the sense of frailty and loss at its very core. It’s a landscape and drama, made ripe for transformation. WORLD PREMIERE

Portugal, 2012 | colour, video, 22 min, Portuguese Prod: Luís Urbano, Sandro Aguilar | Prod Comp: O Som e a Fúria | Sc: Miguel Fonseca | Cam: Mário Castanheira | Ed: Sandro Aguilar | Sound Des: António Figueiredo | With: Andreia Contreiras, Alice Contreiras | Print/Sales: O Som e a Fúria |

Shadow Life Cao Fei

Shadow Life evokes folklore and Communist festivals. The vignettes are performed by shadow puppets; the form of the hand is a synecdoche for the manual labour of workers and peasants, while the silhouette medium allows quick metamorphoses: a grandstanding dictator to a barking dog, a swaying tree to a crane transforming the landscape. A remake of a 2000 Russian pop hit serves as the soundtrack to the third part, Transmigration. (CF) EUROPEAN PREMIERE

China, 2011 | b&w, video, 10 min, no dialogue Prod: Cao Fei | Sc: Cao Fei, Cao Dan | Cam: Zhang Disheng | Handshadow Performance: Shen Xiao, Xiang XiaoYing | Print/Sales: Cao Fei |




Scene Shifts, in Six Movements Jani Ruscica

Words shape our impressions and form our history. In Scene Shifts, in Six Movements by Finnish artist Jani Ruscica, a journey through historic layers of various spots on several continents unfolds. However, it is primarily an intellectual journey. The locations, images, texts and music hold references to a long history of cross-cultural misinterpretations. WORLD PREMIERE

Finland/Germany/Denmark, 2012 | colour, video, 15 min, Arabic/French Prod: Jani Ruscica | Sc: Jani Ruscica | Cam: Anu Keränen | Ed: Jani Ruscica, Tiina Aarniala | Prod Des: Jani Ruscica | Sound Des: Anne Tolkkinen, Pape Sarr, Maryam Hamadon, Denise Akar, Jorma Hellström | Music: François Couperin | Print/Sales: AV-arkki |

generator Makino Takashi

Makino Takashi’s source of inspiration, our place in the world and the universe, never seems to dry up in view of the never-ending flow of immersive films, of which many have already been seen in Rotterdam. Generator may well be the earthiest of his films so far, made as a reaction to the Fukushima disaster. A reality check, but in the world that Makino shows, this can never be achieved without looking inwards too. INTERNATIONAL PREMIERE

Japan, 2011 | colour, video, 20 min, no dialogue Prod: Takashi Echigoya | Prod Comp: Aichi Arts Center | Sc/Cam/Ed/Prod Des: Makino Takashi | Sound Des/Music: Jim O’Rourke | Print/Sales: Makino Takashi |

Tiger Awards Competition for Short Films 3 PUBLIC SCREENINGS Sat 28-1 15:30 LantarenVenster 1 Sun 29-1 14:45 LantarenVenster 3

Ovos de dinossauro na sala de estar

Dinosaur Eggs in the Living Room Rafael Urban

The eccentric 77-year-old widow Ragnhild Borgomanero does everything to preserve the largest private collection of fossils in Latin America and the memory of her brilliant husband Guido for posterity. Determined, she shows us the recently digitised photo collections and talks nonchalantly about her courses in Photoshop and Adobe. Her penetrating presentation reveals a painful void. Brazil, 2011 | colour, video, 12 min, Portuguese Prod: Ana Paula Malaga, Rafael Urban | Prod Comp: Tu i Tam Filmes | Sc: Rafael Urban | Cam: Eduardo Baggio | Ed: Ana Lesnovski | Sound Des: Alexandre Rogoski | Music: Alessandro Borgomanero | With: Ragnhild Borgomanero | Print/Sales: Moro Filmes




I’m Lisa Charlotte Lim Lay Kuen

A sultry evening in tropical Asia. A young housekeeper is busy at work in the kitchen for an elderly woman. She is filleting a frog. She swats a mosquito. It doesn’t look as if much is happening, but what does happen is meticulously observed. The maker does not want to say much about it. She refers to Wittgenstein. ‘Whereof one cannot speak, thereof one must be silent.’ The maker must mean we just have to look – and who would wish to contradict her in this case? EUROPEAN PREMIERE

Malaysia, 2010 | b&w, video, 8 min, no dialogue Prod: Charlotte Lim Lay Kuen | Sc: Charlotte Lim Lay Kuen | Cam: Khoo Eng Yow | Ed: Kok Kai Foong | With: Lai Fooi Mun | Print/Sales: Charlotte Lim Lay Kuen

Al bahth an madina – fi awraaq Sein In Search of a City (in the Papers of Sein) Hala Elkoussy

A journey through Cairo, led by the voice of the contemporary ‘flâneuse’ Sein. Her journey leads through the age-old streets, through colonial districts modelled on Paris to new apartments in international style. Using voices from now and from the past, Hala Elkoussy shows how ‘the City’ is repeatedly reborn, resisting meanings just as recalcitrantly as its eight million inhabitants and in this way becoming into the megalopolis it is today. WORLD PREMIERE

Egypt/United Kingdom, 2012 | colour, video, 34 min, Arabic Prod: Hala Elkoussy | Prod Comp: Folkestone Triennial | Sc: Hala Elkoussy | Cam: Abde lsalam Moussa | Ed/Prod Des/Sound Des: Hala Elkoussy | Music: Mohamed Antar | With: Solafa Ghanem, Bassem Wadie, Bassem Yousry | Print/Sales: Hala Elkoussy

Field Notes from a Mine Martijn van Boven, Tom Tlalim

A journey through the African continent based on a list of traditional pilgrimage routes. The route follows geographical data which are used to generate image and sound compositions. From a walker’s perspective, this data-driven, abstract documentary unfolds from an unnamed location in South Sudan and ends in Marrakech, Morocco. In 6,900 kilometres and 10 countries, the film mirrors a transformation of the walker and his surroundings. WORLD PREMIERE

Netherlands, 2012 | colour/b&w, video, 20 min, no dialogue Prod: Martijn van Boven, Tom Tlalim | Sc: Martijn van Boven, Tom Tlalim | Cam/Ed: Martijn van Boven | Sound Des: Tom Tlalim | Music: Tom Tlalim | Sales: Nederlands Instituut voor Mediakunst (NIMk) | Distr NL: Nederlands Instituut voor Mediakunst (NIMk) |




Tiger Awards Competition for Short Films 4 PUBLIC SCREENINGS Sat 28-1 20:00 LantarenVenster 1 Sun 29-1 12:15 LantarenVenster 3

El arca The Ark

Cristóbal León, Joaquín Cociña

Papier-mâché marionettes, the passengers from Noah’s Ark and an astronaut who gives his genitals to a girl – The Ark opens an exuberant world in which the Bible and psychoanalysis are whipped into a heady mix. Animators Léon and Cocina elevated their talents to new heights (during courses at De Ateliers in the Netherlands) and in the process honour Athanasius Kircher, a seventeenth-century scientist/fantasist. Netherlands/Chile, 2011 | colour/b&w, video, 17 min, no dialogue Prod: Cristóbal León, Joaquín Cociña | Prod Comp: Diluvio | Sc: Cristóbal León, Joaquín Cociña | Cam: Carlos Vasquez | Ed/Prod Des/Sound Des/Music/With: Cristóbal León, Joaquín Cociña | Print: Diluvio | Sales: Upstream Gallery

Manque de preuves Lack of Evidence Hayoun Kwon

Lack of Evidence tells the tragic story of a father in Nigeria who believes that his twins are cursed and therefore kills one of his sons ceremonially. The other brother manages to escape just in time, after which he embarks on a long journey to Europe, where he becomes embroiled in bureaucratic asylum procedures because he has no proof of what happened. This file, with the story that is repeatedly not believed, is the foundation of this unconventional animated re-construction. France, 2011 | colour, video, 9 min, French Prod: Eric Prigent | Prod Comp: Le Fresnoy | Sc: Hayoun Kwon | Cam: Guillaume Brault | Ed: Lee Oh Eun, Hayoun Kwon | Sound Des: Robin Rimbaud-Scanner | Music: Robin Rimbaud-Scanner | With: Christiane Cavallin-Carlut, Bakary Diallo | Print/Sales: Le Fresnoy

Draud iami jausmai Restricted Sensation Deimantas Narkevicius

In three parts, articulated around three strong institutions – a theatre, a prison and a church – Narkevicius brings his narrative and fictional method of recounting history to the cinematic scale. Apart from the main story about an aspiring theater director in Vilnius, victim of the Soviet regime’s investigations of presumed homosexuality, the filmmaker also constructs a subnarrative of the role of art and creativity within a supposed utopia. Lithuania/Spain, 2011 | colour, DCP, 46 min, Lithuanian/Russian/Polish Prod: Deimantas Narkevicius | Sc: Deimantas Narkevicius | Cam: Audrius Kemezys | Ed: Dominykas Kilciauskas | Prod Des: Audrius Dumikas | Sound Des: Sigitas Motoras | Music: Without Letters | With: Valentinas Krulikovskis, Egle Driukaite, Aleksas Kazanavicius, Arunas Smailys, Mikas Urbonas | Print/Sales: Deimantas Narkevicius ^




Tiger Awards Competition for Short Films 5 PUBLIC SCREENINGS Sun 29-1 18:00 LantarenVenster 1 Mon 30-1 15:15 LantarenVenster 1

Light Escapes Through the Intervals Tasaka Naoko

This graduation film is a clever and meditative piece that both caresses and attacks the senses. Director Tasaka Naoko said: ‘I’m pursuing something undistinguishable, with no name or with no boundaries, like something implied in a loose connection of the words in poetry. It’s not an unknown thing. It’s something which I already know but I don‘t know how to describe. I search in my experience and recollection trying to rebuild something similar with the fragments of my memory.’ INTERNATIONAL PREMIERE

USA, 2011 | colour, video, 15 min, no dialogue Prod: Tasaka Naoko | Cam: Tasaka Naoko | Ed: Tasaka Naoko | Sound Des: Tasaka Naoko | With: Spencer Holden, Justin Leon | Print/Sales: Tasaka Naoko

Agatha Beatrice Gibson

A sexual reminiscence, a utopian gender-bending sci-fi of psychometric suggestibility about a place beyond words. Gorgeously shot amongst the gorse, slate and moss of North Wales’ Snowdonia mountains, Agatha features Gibson herself as protagonist and narrator, continuing her filmmaking explorations with a new looseness and spontaneity within the paradigm of Cornelius Cardew’s dream recollection. WORLD PREMIERE

United Kingdom, 2012 | colour, video, 14 min, English Prod: Beatrice Gibson | Sc: Beatrice Gibson | Cam: Nick Gordon | Ed: Beatrice Gibson | Music: Earle Brown, Jennifer Allum | With: Laura Bartlett, Adam Broomberg, Leni Broomberg, Sarah Entwistle, Beatirce Gibson | Print: LUX | Sales: Beatrice Gibson |

La maladie blanche The White Disease Christelle Lheureux

An isolated village in the Pyrenees is entirely under the spell of a sultry summer night and the inhabitants enjoy themselves with music, shadow plays and stories. A community of people in harmony with each other and with their surroundings. Before they go to sleep, a father tells his daughter about a dark cave, about the first signs of civilisation and transience. In the deep of the night, a prehistoric being emerges and leads the girl from the village to the mountains. INTERNATIONAL PREMIERE

France, 2011 | colour/b&w, video, 42 min, French Prod: Antoine Thirion | Prod Comp: Les films des lucioles | Sc/Cam: Christelle Lheureux | Ed: Christelle Lheureux, Camille Lotteau | Sound Des: Aurélie Mertenat, Damien Guillaume, Edouard Morin | With: Myrtille Finken, Manuel Vallade | Print/Sales: Les films des lucioles |




Tiger Awards Competition for Short Films 6 PUBLIC SCREENINGS Sun 29-1 20:00 LantarenVenster 1 Mon 30-1 12:15 LantarenVenster 3

Postcard from Somova, Romania Andreas Horvath

An inconspicuous row of trees and some bushes, somewhere on a riverbank on the edge of the Danube Delta. Time seems to have stood still here. In the minor events that then emerge, we see an unexpected coherence. The animals that have found their homes here and seem condemned to each other, the tired fishermen who chug up in their boat and disrupt the peace and the crumbling material in general all acquire a glowing cinematographic meaning. WORLD PREMIERE

Austria, 2012 | colour, video, 20 min, Romanian Prod: Andreas Horvath | Sc/Cam/Ed: Andreas Horvath | Music: Ralph Vaughan Williams | Print/Sales: sixpackfilm |

5000 Feet Is the Best Omer Fast

A drone operator discusses his daily routine. Off camera and off the record, he describes recurring incidents in which the unmanned plane fired at both militants and civilians – and the psychological difficulties he experienced as a result. Director Fast mixes fact and fiction, merging documentary shots of war zones with happy Las Vegas feature-film images. He erases reality by inventing his own, which is nonetheless true. USA/France/Ireland, 2011 | colour, video, 27 min, English Prod: Daniel Desure | Prod Comp: Commonwealth Projects | Sc: Omer Fast | Cam: Yon Thomas | Ed: Omer Fast | Prod Des: Anthony Stabley | Sound Des: Jochen Jezussek | With: Denis O’Hare, Gabriel Gutierrez, Eddie B. Smith | Print/Sales: Omer Fast

Bobby Yeah Robert Morgan

Bobby Yeah demonstrates such a staggeringly unprecedented abundance of imagination in its stop-motion, squelchy silicon and revolting rubber universe that we can only pray it comes hermetically sealed. Nightmares aren’t usually accomplished in such profoundly original, perfectly sub-humanoid shapes. Push that button! United Kingdom, 2011 | colour, video, 23 min, no dialogue Prod/Sc: Robert Morgan | Cam: Robert Morgan, Charlotte Steeples, Marcus Waterloo | Ed/Prod Des: Robert Morgan | Sound Des: ZnO | Music: ZnO | Print/Sales: BlueLight |






Bright Future

the ultimate Pranx Case

WOrLD PreMiere

Canada, 2012 | colour, video, 80 min, English Prod: Sylvain Guy, Claude Grégoire | Prod Comp: Influenz Films | Print/Sales: Influenz Films | Public SCREENINGS Fri 27-1 20:00 CI1 Sat 28-1 10:00 LV3 Sun 29-1 22:15 SGZ Fri 3-2 22:30 PA4 Press & Industry SCREENING Thu 26-1 11:45 CI3

In October 2010, three American friends decided to play a prank on a girl and to share that via a live stream on their website, But the prank got completely out of hand, with these confrontational recordings as evidence. The plan was as follows: one of them would have a so-called romantic dinner with a girl in a villa filled with cameras. Strange twists in the plot were planned in advance for the evening, such as snacks of dog food. The lady would be tormented to the utmost and her date would have to prevent her running away. The sidekicks checked all this through their camera system in the cellar and provided a commentary on the evening. These virtually undamaged images, partly shot with a hand-held camera and intercepted by the police as evidence, show virtually in real time how an apparently innocent joke can get completely out of hand. Don’t try this at home, kids.

Parts of the heart Paul Agusta

WOrLD PreMiere

Indonesia, 2012 | colour, video, 90 min, Indonesian/English Prod: John Badalu Matulatan | Prod Comp: KineKuma Pictures | Sc: Paul Agusta | Cam: Faozan Rizal, Azizzah Imam | Ed: Muhammad Ichsan, Ismail Basbeth | Prod Des: Kyo Hayanto | Music: Jerome Kugan | With: Endy Arfian, Ardy Rinaldy, Elbert Powa, Daud Sumolang, Joko Anwar, Bunaya Yulius, Tuhdil Haqiqi, Ade Firza Paloh | Print/Sales: KineKuma Pictures Public SCREENINGS Wed 1-2 20:15 CI4 Thu 2-2 10:002 LV3 Fri 3-2 22:152 LV6 Press & Industry SCREENING Tue 31-1 10:00 LV6


Eight contemplative short films show eight stages in the love life of Peter, a gay man in Jakarta. In chronological order, they describe Peter’s first infatuation at the age of ten (in the segment Stolen Kiss), his first sexual experience (The Game Kiss), love taken away by death (Solace) or crushed by the pressure of a traditional society (The Last Time), the difficult times in a long relationship (3 and The Couch and the Cat), right up to a flirt with a younger man when 40-year-old Peter is married (Why Isn’t Peter Happy?). Paul Agusta, who calls the stories partly autobiographical, has plenty of experience in short film: he’s made more than 30 since he turned to cinema in 2003. The different segments of Parts of the Heart can be watched separately, but this omnibus film is more than the sum of its parts. The seduction of the younger man who walks into Peter’s coffee business in the last section is even more powerful when you have seen what led up to it.


Bright Future

gelecek uzun sürer Future Lasts Forever Özcan Alper

eurOPeAN PreMiere

Turkey/Germany/France, 2011 | colour, 35mm, 1:2.35, 108 min, Turkish/Kurdish/Armenian Prod: Soner Alper, Ersin Çelik, C. Asli Filiz | Prod Comp: Narfilm, unafilm, Arizona Films | Sc: Özcan Alper | Cam: Feza Çaldiran | Ed: Ayhan Ergürsel, Thomas Balkenhol, Özcan Alper, Umut Sakallioglu | Prod Des: Tolunay Türköz | Sound Des: Mohammed Mokhtary | Music: Mustafa Biber | With: Gaye Gürsel, Durukan Ordu, Sarkis Seropyan, Osman Karakoç, Erdal Kirik | Print/Sales: Narfilm | Public SCREENINGS Thu 26-1 19:30 PA3 Fri 27-1 12:30 PA7 Sat 28-1 10:15 PA1 Sat 4-2 14:15 SGZ

Sumru, an ethnomusicologist by profession, travels to Diyarbakir to make sound recordings of elegies and the stories that belong with them. While she listens to the stories of Kurdish women who lost their husbands or sons during the bloody tyranny, she is confronted with her own past. Sumru’s lover left for the Kurdish front years ago and never came back. During her journey, she meets Ahmet. With him, she goes looking for what happened to her lover. A romance seems to blossom between Sumru and Ahmet, but in this spot, marked by sorrow and loss, she finds it difficult to break free of her past. As in his debut Autumn, the second film by Özcan Alper displays political commitment. Alper managed to capture the layered story of Future Lasts Forever with a firm hand. The beautiful camerawork and the rich sound design turn the film into pure cinema.

Press & Industry SCREENING Sun 29-1 09:45 CI2

Okhotnik the hunter Bakur Bakuradze

Russia, 2011 | colour, 35mm, 1:1.85, 123 min, Russian Prod: Sergey Selyanov | Prod Comp: CTB Film Company | Sc: Bakur Bakuradze, Ilya Malakhova | Cam: Nikolay Vavilov | Ed: Daria Gladysheva, Ilya Malakhova, Arseniy Troitskiy | Prod Des: Kirill Shuvalov | Sound Des: Arseniy Troitskiy | With: Mikhail Barskovich, Tatiana Shapovalova, Gera Avdochenok, Vladimir Degilev, Oksana Semyonova | Print/Sales: Intercinema Agency Public SCREENINGS Thu 26-1 17:00 CI5 Fri 27-1 17:30 CI7 Sat 28-1 22:15 PA3 Sat 4-2 09:45 CI3 Press & Industry SCREENINGS Sun 29-1 12:15 DWBZ Wed 1-2 21:30 CI2

The pig farmer Ivan Dunaev lives as free as a modern man can. His life is only dictated by the seasons in the remote north-west of Russia. He eats, works and sleeps and sometimes he hunts. One day, two new workers arrive at the farm: Lyuba and Raya. They are out on parole from the nearby prison. How will these two change the rhythm of Ivan’s daily life? With the same eye for detail as in his feature debut Shultes (2008), which follows the vicissitudes of a petty thief, in The Hunter Bakur Bakuradze records everyday actions on a farm. The starting point is the fact that life for most people is determined right down to the smallest detail by others – especially in cities because of the limited space. Even those who don’t accept this are still often dependent on the city. From this background, Bakuradze looks at life outside the city as a form of resistance. But how much resistance can reality bear? Even this apparently timeless and idyllic life does not remain sacrosanct.



Bright Future

Par exemple, electre electra, for instance Jeanne Balibar, Pierre Léon

WOrLD PreMiere

France, 2012 | colour, video, 80 min, French Prod: Martine Marignac | Prod Comp: Pierre Grise Productions | Sc: Jeanne Balibar, Pierre Léon | Cam: Jeanne Lapoirie | Ed: Dominique Auvray | Sound Des: Mathieu Descamps | With: Edith Scob, Evelyne Didi, Jeanne Balibar, Pierre Léon, Emmanuelle Béart, Yves-Noël Genod, Barbet Schroeder | Print/ Sales: Pierre Grise Productions Public SCREENINGS Fri 27-1 18:152 PA6 Sat 28-1 22:302 CI6 Sun 29-1 15:002 CI4 Mon 30-1 11:302 PA2 Press & Industry SCREENING Tue 31-1 22:30 CI3

Jeanne Balibar and Pierre Léon roam in tourist outfits through Paris and prepare a play with a producer who keeps changing her clothes. In a parallel world, another layer if you wish, actors rehearse their texts for a Greek tragedy on the beach at Deauville and at prominent Parisian locations. It is the story of Electra, probably a rather inefficient character, one who perseveres and refuses to give up the battle against injustice. This absurd, slightly surrealist and occasionally humorous film looks like a theatre performance with its solemn dialogues and mise-en-scène issues. The makers, the actress Balibar and filmmaker Léon, however also use the medium by inserting screenshots of business e-mails – reflections on their plans. In addition, Balibar is a singer and she sings the texts as if the e-mails were edifying lieder. Electra, for Instance is, as one of the characters puts it, a true ‘culture souq’.

room 514 Sharon Bar-Ziv

WOrLD PreMiere

Israel, 2012 | colour/b&w, DCP, 87 min, Hebrew Prod: Sharon Bar-Ziv | Prod Comp: Cinema Alpha Productions | Sc: Sharon Bar-Ziv | Cam: Edan Sasson | Ed: Shira Arad | Prod Des: Tamara Gleser Shafran | Sound Des: Michael Goorevich | With: Asia Neifeld , Guy Kapul, Ohad Hall, Udi Persi, Rafi Kalmar | Print/ Sales: Cinema Alpha Productions Public SCREENINGS Sun 29-1 16:00 PA1 Mon 30-1 11:45 CI1 Tue 31-1 22:00 CI5 Sat 4-2 14:15 CI1 Press & Industry SCREENING Sun 29-1 18:15 CI3


A female Israeli soldier is ordered to interrogate an Israeli officer who is alleged to have abused an Arab family. Lower in rank and also a woman, she is barely taken seriously by the haughty man; he only gives her sarcastic answers. Her colleagues, including her lover, advise her to stop the case – because it is too political, too complex and too notorious. Instead, she fastens her teeth in it, in the hope of getting justice for the victims. In the meantime she has the thumbscrews tightened by her lover and his intended. All the interrogations take place in room 514, where the sound palette is formed only by voices and the air conditioning. Room 514 is a courageous, hyper-realistic, low-budget drama that provides a worrying and critical picture of Israeli Army culture, where young soldiers discover that good and evil, black and white, don’t exist. This debut film filled with expressive, hand-held shots was recorded in only a few days.


Bright Future



the Anabasis of May and Fusako Shigenobu, Masao Adachi and the 27 Years Without images

France, 2011 | colour/b&w, video, 66 min, Japanese/English Prod: Eric Baudelaire | Sc: Eric Baudelaire | Cam: Eric Baudelaire | Ed: Eric Baudelaire, Laure Vermeersch | Sound Des: Diego Eiguchi, Philippe Welsh | Print/Sales: Eric Baudelaire | Public SCREENINGS Sat 28-1 20:15 CI6 Sun 29-1 10:00 LV3 Mon 30-1 09:45 CI7 Fri 3-2 22:30 LV2 Press & Industry SCREENING Thu 26-1 20:00 CI3

Eric Baudelaire Like his compatriot Philippe Grandrieux, the French artist Eric Baudelaire has made a personal film about the history of the Japanese Red Army (JRA), an extreme leftwing group that took up arms in the early 1970s in order to realise the proletarian revolution. The JRA hijacked aeroplanes and in 1972 organised a raid on the airport of Lod, in which 26 people died. They also fought in Lebanon, with the People’s Front for the Liberation of Palestine (PFLP). On the soundtrack, we hear the story of the Japanese filmmaker Adachi Masao, who lived in Beirut for years and at the time was spokesman for the JRA. Shigenobu May, the daughter of Shigenobu Fusako, the woman who founded the JRA, talks about her childhood in Lebanon and her many secret identities. Baudelaire illustrates their stories with 8mm films that he made in Beirut and Tokyo, at the places where both were active. We also see clips from films by Adachi and newsreel footage of the attack at Lod and the arrest of Shigenobu Fusako in 2000.

La jubilada the retired Jairo Boisier Olave

iNterNAtiONAL PreMiere

Chile, 2011 | colour, DCP, 83 min, Spanish Prod: Jorge López Vidales, Celine Imart, Gregorio Gonzalez, | Prod Comp: Escala Humana, Zapik Films, Forastero | Sc: Jairo Boisier Olave | Cam: Raúl Heuty | Ed: Luis Horta, Jairo Boisier Olave | Prod Des: Eugenio Ramirez | Sound Des: Gustavo Araya | With: Paola Lattus, Catalina Saavedra, José Soza, Daniel Antivilo | Print/Sales: Rendez-Vous Pictures Intl. | Public SCREENINGS Mon 30-1 19:45 CI1 Thu 2-2 16:45 LV1 Fri 3-2 13:00 PA1 Sat 4-2 17:00 LUX Press & Industry SCREENING Tue 31-1 12:00 CI3

The title of the film refers both to Fabiola’s father as to herself: at the age of 30 she turned her back on her career as a porn actress in Santiago de Chile and has returned to her parental home, where her father lives with her elder sister Gina. Fabiola is initially not welcomed with open arms; Gina is not keen to have someone who interferes with her tightly organised housekeeping. It soon becomes clear to Fabiola that it isn’t easy to leave her professional past behind her. Moises, who offers her a job, turns out to be interested in more, and others also seem to only regard her as the lust object she once was. While Fabiola tries to improve conditions and relationships at home, an unlikely yet honest relationship develops with the 16-year-old son of Moises. Jairo Boisier Olave brings the story without frills or sentimentality, but with compassion for human weakness.



Bright Future

Die räuberin rough Markus Busch

iNterNAtiONAL PreMiere

Germany, 2011 | colour, video, 92 min, German Prod: Bernd T. Hoefflin, Lars Büchel | Prod Comp: element e filmproduktion gmbh | Sc: Markus Busch | Cam: Filip Piskorzynski | Ed: Steven Wilhelm | Prod Des: Bader El Hindi | Sound Des: Rick Schepker | Music: Max Berghaus | With: Birge Schade, Daniel Michel, Anna Stieblich, Kai-Ivo Baulitz | Print/ Sales: element e filmproduktion gmbh Public SCREENINGS Mon 30-1 16:45 SGZ Tue 31-1 11:452 CI1 Thu 2-2 22:152 PA4 Fri 3-2 21:452 LV1 Press & Industry SCREENING Wed 1-2 14:00 CI3

The actress Tania travels from Munich to a village in the north of Germany. The skies are grey, just like the sea and the wintery plains. Her feelings are also covered in a grey veil of mist. Her painful past makes it impossible for this forty-something to feel anything at all. The arrival of the stranger is immediately noticed in the tightlipped community, but she is hardly welcome. Only the teenager Thore, whose imagination is too much for this no-man’s-land, has contact with her. A fragile band develops between them – attraction, rejection and occasionally sexually charged. Thore reveals a need in Tania, one she didn’t know she had. She decides to ‘steal’ Thore to come to terms with her own loss. Rough is a directing debut filmed with great poise and with a sharp eye for this beautiful yet slightly depressing landscape and the people who inhabit it. The camera first functions as a detached observer, then as an accomplice, always very close to Tania.

the Whirlpool Alvin Case

iNterNAtiONAL PreMiere

USA, 2011 | colour, video, 74 min, French/English Prod: Alvin Case | Prod Comp: Square Medium | Sc: Alvin Case, Edward Case, Agathe Feoux, Pierre Perrier | Cam: Alvin Case | Ed: Alvin Case | Prod Des: Alvin Case, David Marks | Sound Des: Alvin Case | Music: Claudia Carty | With: Agathe Feoux, Pierre Perrier, Gordon C. Ramsey, Michael Amitin | Print/Sales: Square Medium | Public SCREENINGS Fri 27-1 16:45 LV1 Sat 28-1 20:00 CI3 Mon 30-1 09:15 CI1 Sat 4-2 19:15 LV1 Press & Industry SCREENING Thu 26-1 16:30 CI3


By the Niagara Falls on the Canadian border, there’s an encounter between twenty-somethings Victor and Agathe: two lost souls who fall for each other. The Parisienne Agathe, adopted and bogged down in a complex relationship with her therapist, is on holiday on her own. Victor is coping with a family drama. Their problems do not get in the way of a passionate relationship; they make love and philosophise all night long about their love, their difficult pasts and a possible future. But Victor’s ghosts remain alive. The Whirlpool is an experimental, raw film project with a small budget and a large dose of fantasy, filmed with small hand-held cameras, including an iPhone. The production originated in e-mails between director Alvin Case and the French actress Agathe Feoux. Their correspondence provided ideas for the storyline, the locations and possible themes. During the shooting, that raw material developed into a kaleidoscopic, playful story helped by acting, emotion and improvisation.


Bright Future

Padang besar i Carried You home Tongpong Chantarangkul

eurOPeAN PreMiere

Thailand, 2011 | colour, 35mm, 1:1.85, 113 min, Thai Prod: Thacksakorn Pradubpongsa | Prod Comp: Triton co., ltd. | Sc: Pramett Chankrasae, Piyakara Bootprasert, Tongpong Chantarangkul | Cam: Pramett Chankrasae | Ed: Adam Hussey | Prod Des: Phairot Siriwath | Sound Des: Akritchalerm Kalayanamitr | Music: Buddhist Holiday | With: Apinya Sakuljaroensuk, Akumsiri Suwannasuk, Torpong Kul-on | Print/Sales: Triton co., ltd. | Public SCREENINGS Sat 28-1 19:15 PA3 Sun 29-1 09:30 PA7 Mon 30-1 22:30 DJZ Sat 4-2 16:45 SGZ Press & Industry SCREENING Fri 27-1 09:45 DWBZ

The death of their mother forces two sisters alienated from each other to make a two-day journey together. They leave in an ambulance from Bangkok to go to the birthplace of their mother in rural Thailand. One of the sisters had moved to Singapore to stay out of the way, the other armed herself with indifference. Seated in the back of the ambulance, beside the coffin with the dead body, they look back on what they shared, but also what drove them apart. Tongpong Chantarangkul’s melancholy story about guilt and forgiveness gives space for the silence between two women who have to learn to speak again after years of non-communication. It becomes clear that they did not separate without reason and they have to learn to look that past in the eye. Between them is the eternally silent mother. In the context of her funeral, Chantarangkul gives this road movie the character of a ritual – a ceremonial cleansing after which the women may be able to step over the shadows from the past.

L’estate di giacomo Summer of giacomo Alessandro Comodin

Italy/France/Belgium, 2011 | colour, DCP, 78 min, Italian Prod: Paolo Benzi, Valérianne Boué, Marie Géhin | Prod Comp: Faber Film, Les Films Nus, Les Films d’Ici | Sc: Alessandro Comodin | Cam: Tristan Bordmann, Alessandro Comodin | Ed: Joao Nicolau, Alessandro Comodin | Sound Des: Julien Courroye, Florian Namias | With: Giacomo Zulian, Stefania Comodin, Barbara Colombo | Print/ Sales: Faber Film | Public SCREENINGS Fri 27-1 15:45 PA5 Sat 28-1 09:30 CI5 Sun 29-1 22:30 CI7 Fri 3-2 20:00 CI1 Press & Industry SCREENING Thu 26-1 11:30 PA5

After a long opening scene in which 19-year-old Giacomo plays a stormy drum solo while the camera focuses on his hearing aid, the hard-of-hearing boy sets off on a languid summer afternoon with his childhood girlfriend Stefi through the woods to a remote river. There the two swim and sunbathe, enjoy picnic sandwiches, chatter away mindlessly, listen to music and throw clay at each other in the water. During large parts of the minimalist, delicate, occasionally sultry Summer of Giacomo, the camera moves not a millimetre off Giacomo and Stefi – the viewer can almost count the spots on his back and the soft tears in her neck. The wonderful, nonprofessional actors Giacomo Zulian and Stefania Comodin apparently have no trouble holding the viewer’s attention and slowly the relationship between the two of them becomes clearer. At last year’s Locarno Festival, novice director Alessandro Comodin won an award in the category ‘Cineasti del Presenti’ (Filmmakers of the Present).



Bright Future

Now, Forager: A Film About Love & Fungi Jason Cortlund, Julia Halperin

WOrLD PreMiere

USA, 2012 | colour, video, 93 min, English Prod: Julia Halperin, Kit Bland | Prod Comp: Now Forager, LLC, Small Drama | Sc: Jason Cortlund | Cam: Jonathan Nastasi | Ed: Julia Halperin | Prod Des: Jason Cortlund, Julia Halperin | Sound Des: Jeremy Fleishman | Music: Chris Brokaw | With: Jason Cortlund, Tiffany Esteb, Gabrielle Maisels, Almex Lee | Print/Sales: New Europe Film Sales | Public SCREENINGS Fri 27-1 15:30 PA2 Sat 28-1 09:15 CI1 Sun 29-1 20:15 CI4 Fri 3-2 14:15 CI1 Press & Industry SCREENING Mon 30-1 15:45 CI3

A couple lives off picking wild mushrooms. They get up before dawn, set off into the woods and sell their harvest to restaurants in New York. He is a monomaniac expert, she is more practical. It’s a hard and insecure existence, and that’s why they decide to take a job cooking at a trendy restaurant. Cortlund and Halperin juxtapose the fictional story about the growing distance between the two lovers with pictures of the seasons passing and beautiful close-ups of mushrooms in the wild – from the deadly poisonous yet beautiful toadstool known as the Destroying Angel (amanita verna) to the bizarre looking Bear’s Tooth (hericium erinaceous) and the delicious Porcino (boletus edulis). The preparation of the food is also portrayed accurately. Now, Forager provides a counterbalance to the often romantic picture of cooking and eating in films with a culinary bent and meshes perfectly with today’s Slow-Food movement.

hail Amiel Courtin-Wilson

Australia, 2011 | colour, DCP, 104 min, English Prod: Michael Cody | Prod Comp: Flood Projects Pty Ltd | Sc: Amiel Courtin-Wilson, based on the stories of Daniel P. Jones | Cam: Germain McMicking | Ed: Peter Sciberras | Prod Des: Zohie Castellano | Sound Des: Robert Mackenzie | Music: Steve Benwell | With: Daniel P. Jones, Leanne Letch, Dario Ettia | Print/Sales: LevelK Aps | Public SCREENINGS Thu 26-1 21:45 LV1 Mon 30-1 22:30 PA4 Wed 1-2 11:45 CI1 Sat 4-2 17:00 CI1


According to Amiel Courtin-Wilson, Hail is ninety percent based on the stories by the former prisoner Daniel P. Jones. They are memories of his own violent past; or anecdotes about friends, acquaintances and cellmates. Courtin-Wilson met Jones on the day he was released from prison and was immediately gripped by his fierceness and presence, which is also the focus in the alternately heartless and intensely tender Hail. The other ten percent of the screenplay is the adhesive for the story and focuses on the relationship between Daniel (‘Danny’) and Leanne, strikingly candidly played by Jones’s own wife. Fresh from jail, Danny does what he can to build up a normal life, but the violence inside him has to come out sooner or later. Courtin-Wilson mixes the raw-realistic scenes of their lives with poetic and enigmatic intermezzos, accompanied by an alienating, eclectic soundtrack.


Bright Future


ensayo final para utopia

WOrLD PreMiere

Spain, 2012 | colour/b&w, video, 75 min, Portuguese Prod: Andrés Duque | Sc: Andrés Duque | Cam: Andrés Duque | Ed: Andrés Duque | Print/ Sales: Andrés Duque | Public SCREENINGS Thu 26-1 18:15 PA6 Fri 27-1 10:00 CI6 Sat 28-1 22:30 CI7 Press & Industry SCREENING Thu 26-1 09:30 PA5

Dress rehearsal for utopia Andrés Duque Experimental documentary maker Andrés Duque visits Mozambique, looking for old footage that had been made there. But strange premonitions make him sad. When it becomes apparent that his old father is seriously ill, he returns to his homeland of Venezuela straight away. The film he had been working on grows into a personal collage in which he gives his feelings a place alongside the politically tinted images he found in Mozambique – or filmed himself. In this way, Dress Rehearsal for Utopia turns into a diary cum experimental travelogue cum political statement, in the tradition of earlier works such as Color Runaway Dog, which was screened last year in Rotterdam. After an intimate start and a cultural trip to Mozambique, Duque returns home, where he has to face the fact that he can’t change anything about the finiteness of life. The musical soundtrack is sometimes interrupted for scenes by a gentle rustling noise that links the different images, their origins and significance together.

Nuit #1 Night #1 Anne Émond

Canada, 2011 | colour, 35mm, 1:1.37, 91 min, French Prod: Nancy Grant, Sylvain Corbeil | Prod Comp: Metafilms inc. | Sc: Anne Émond | Cam: Mathieu Laverdière | Ed: Mathieu BouchardMalo | Prod Des: Éric Barbeau | Sound Des: Martyne Morin, Simon Gervais, Luc Boudrias | With: Catherine De Léan, Dimitri Storoge | Print/ Sales: Wide Management Public SCREENINGS Sat 28-1 22:302 PA4 Thu 2-2 21:452 SGZ Fri 3-2 15:30 PA7 Sat 4-2 22:00 PA1 Press & Industry SCREENING Wed 1-2 17:00 CI2

In a messy Canadian apartment, a man and a woman spend the night together. The very realistically filmed one-night stand ends up with two confessions, in which both judge their own failings sharply and honestly. Everything is set within four walls; the small room is transformed into a kind of confessional space, from which the debutante director Anne Émond manages to obtain maximum effect. They are in their early thirties and both feel lost. Nikolai regards himself as a failed romantic idealist, someone who plunges into literary classics but never reaches the last page. His cynical conclusion: ‘Modern life makes me sick. We’re better off alone.’ The mysterious, beautiful Clara leads a double life: during the day she teaches at primary school and in the evening she seeks radical outlets for her uprooted feelings. Just as in her short films, in this chamber play Émond investigates the loneliness that can’t be combated with sex and not even with love. Individualism largely evokes despair in her work.



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Kong Curling King Curling Ole Endresen

Norway, 2011 | colour, DCP, 75 min, Norwegian Prod: Hakon Øverås | Prod Comp: 4 1/2 | Sc: Atle Antonson, Ole Endresen | Cam: Askild Edvardsen | Ed: Per-Erik Eriksen | Prod Des: Merete Boström | Sound Des: Baard H. Ingebretsen | Music: Stein Johan Grieg Halvorsen, Eyvind Andreas Skeie | With: Atle Antonson, Linn Skåber, Kåre Conradi, Jan Sælid, Jon Øigarden | Print/Sales: Films Boutique Public SCREENINGS Wed 25-1 21:00 PA1 Thu 2-2 13:00 PA1 Fri 3-2 16:00 PA1 Sat 4-2 19:30 LUX

Just as Kingpin put tenpin bowling on the map, this mild satirical comedy does the same with curling. This ‘bowling on ice’ is very popular in Norway and the same can be said of the protagonist and co-writer Atle Antonson, who acquired a great deal of fame in the hilarious TV series by the director Ole Endresen. Antonson plays Truls Paulsen, a wellto-do curling star. Diagnosed with an obsessive-compulsive disorder, he has to stop taking part in competitions. But then he hears that his coach Gordon is dying and decides to fight back. Truls leaves his wife, stops taking medicines and brings together his old teammates. When they succeed in winning the national championships, Gordon is able to afford his expensive lung transplant operation. Endresen set his anti-hero film against a backdrop of sets from the 1970s and 1980s, supported by a similarly dated soundtrack. The running gags, which ridicule the winner’s mentality, work thanks to the perfect timing of the actors.

A La Cantábrica to La Cantábrica Ezequiel Erriquez

WOrLD PreMiere

Argentina, 2012 | colour, video, 80 min, Spanish Prod: Guadalupe Gomez Mardaras | Prod Comp: Tres Jirafas Cine | Sc: Ezequiel Erriquez | Cam: Juan Ignacio Garay | Ed: Ezequiel Galli, Ezequiel Erriquez | Prod Des: Guadalupe Gómez Mardarás | Sound Des: Hernán Tórtora | Music: Pablo Subatin | With: Matias Baez, Camila Zorzoli, Juan Cruz Lemos, Valentin Delega | Print/Sales: Ezequiel Erriquez | Public SCREENINGS Sun 29-1 19:45 CI1 Mon 30-1 15:00 CI5 Tue 31-1 22:45 DJZ Fri 3-2 19:30 CI5 Press & Industry SCREENING Sat 28-1 09:30 DJZ


They are 12 years old, the four friends from this sensitive debut film set in Buenos Aires in 1997. The enormous economic crisis facing Argentina at that time only plays a role in the background, because director Ezequiel Erriquez specifically chooses the perspective of his young protagonists. We do, for instance, hear that the father of one of them is going abroad, looking for work. But Lola, Choco, Lija and Zota – like all 12-year-olds – are primarily interested in themselves and each other. Lola has her ballet lessons, Zota helps with the rehearsals for a play, performed by a group of blind actors. One day, the friends decide to go and play at La Cantábrica, a deserted factory that was recently shut. The precise events of that fateful day are left unseen by the 26-year-old director, just as he also only shows fragments of everyday experiences. The film focuses on what the children experience, and after this day their lives will never be the same again.


Bright Future

A arca do Éden eden’s Ark Marcelo Felix

Portugal/Brazil/Italy, 2011 | colour, video, 80 min, Portuguese Prod: Isabel Machado | Prod Comp: C.R.I.M. | Sc: Marcelo Felix | Cam: Miguel Amaral | Ed: Marcelo Felix | Sound Des: Ricardo Sequeira | Print/Sales: C.R.I.M. Public SCREENINGS Thu 2-2 20:15 CI4 Fri 3-2 15:15 PA6 Sat 4-2 15:00 CI4 Press & Industry SCREENING Wed 1-2 18:30 CI3

Patterns of twigs and leaves in this experimental film poem blend seamlessly with the craquelé of old, half decayed films. While the voice-over initiates us in a botanical version of the story of Noah’s Ark, enchanting images lead us through a world filled with transience. Attempts to protect and describe disappearing plant species are associated with film conservation and the fight against the loss of memories in this first full-length production by the experimental film and documentary maker Marcelo Felix. A mythical traveller links past and future. He thinks he knows the world, but has to conclude that everything keeps slipping away from him. Via picture and plant archives, the laboratories of scientists, old film fragments and the editing tables of restorers, this poetic reflection ends in an inhospitable polar landscape where time seems to have come to a halt. Here, in a futuristic safe, are frozen seeds, numbered and labelled, conserved for eternity.

Les éclats (Ma gueule, ma révolte, mon nom) the Fragments (My Mouth, My revolt, My Name)

Sylvain George

France, 2011 | colour/b&w, video, 84 min, English/Persian/French Prod: Sylvain George | Prod Comp: Noir Production | Sc: Sylvain George | Cam: Sylvain George | Ed: Sylvain George | Prod Des: Sylvain George | Sound Des: Sylvain George | Music: Diabolo | With: Valérie Dréville | Print/Sales: Noir Production Public SCREENINGS Thu 2-2 17:30 CI4 Fri 3-2 12:45 PA5 Sat 4-2 09:15 CI1 Press & Industry SCREENING Wed 1-2 15:30 DJZ

Sylvain George compiled this gripping, gritty black & white film from images from his earlier documentary Qu’ils reposent en révolte (Des figures de guerres I) from 2010. In it he shows about three years in the lives of illegal immigrants who have become stranded in the Northern French port of Calais, on their way to England. They are the ‘people without papers’, mainly men of North African origin or from the Middle East. They are staying here illegally and spend their time surviving and fleeing the police. In an experimental form, Fragments shows scenes from the everyday lives of these people on the fringes of a Western society in which they are not welcome. Cool registrations of the cluttered, hostile no-man’s-land and warlike images of pursuit are juxtaposed with interviews in which several men talk frankly about how they feel. This provides painful stories and insights into the fact that these men are not looking for a ‘better life’ but are fleeing to stay alive.



Bright Future

Corta Felipe Guerrero

WOrLD PreMiere

Colombia/Argentina/ France, 2012 | colour, DCP, 69 min, no dialogue Prod: Felipe Guerrero, Gema Juarez Allen, Antoine Segovia | Prod Comp: mutokino, Gema Films, Atopic | Sc: Felipe Guerrero | Cam: Andrés Pineda | Sound Des: Roberta Ainstein | Music: Iannis Xenakis | With: Dario Aguilar, Manuel Murillo, Orobio Sinisterra | Sales: mutokino | Distr NL: Hubert Bals Fund | Public SCREENINGS Sat 28-1 15:15 PA6 Sun 29-1 12:30 CI6 Mon 30-1 19:15 LV1 Fri 3-2 22:15 LV3 Press & Industry SCREENINGS Fri 27-1 14:00 PA5 Wed 1-2 09:30 PA5

In Corta, Felipe Guerrero records the cultivation of sugar cane in the southwest of Colombia. In all its facets. With a fixed camera. A man walks into the frame, changes his clothes and starts hacking cane, seen from behind. After a few minutes, another one takes over from him. It carries on like that, in a tempo and rhythm – it demands some surrender – that has a very meditative effect. The men sharpen their knives and chop and chop. When they’re finished, enormous trucks drive back and forth and the countryside is set on fire. Guerrero’s minimalist recording of the largely manual process is also an ode to the craft of film: the filmmaker used seven 16mm rolls of 11 minutes; the rhythm of the slashing knives determines the rhythm of the editing. Between the different, beautifully photographed scenes are sections of black, occasionally we hear traditional music, often only for a couple of seconds, and that helps shape the mood.

Weekend Andrew Haigh

United Kingdom, 2011 | colour, DCP, 96 min, English Prod: Tristan Goligher, Claire Mundell | Prod Comp: The Bureau Film Company, Glendale Picture Company, Synchronicity Films | Sc: Andrew Haigh | Cam: Urszula Pontikos | Ed: Andrew Haigh | Prod Des: Sarah Finlay | Sound Des: Tim Barker | Music: James Edward Barker | With: Tom Cullen, Chris New, Laura Freeman, Vauxhall Jermaine | Sales: The Film Collaborative | Distr NL: ABC – Cinemien | Public SCREENINGS Sat 28-1 19:45 CI1 Sun 29-1 16:15 PA3 Tue 31-1 14:15 CI1 Fri 3-2 19:15 LV1 Press & Industry SCREENING Wed 1-2 11:30 LV6


When Russell wakes up after a wild night and finds himself beside Glen, the first thing Glen does is thrust a tape recorder under his nose. It’s for an art project, Glen explains, and will Russell please describe the events of the previous evening from his own perspective. This is the start of a weekend that is basically one long conversation between the two of them, because they are both surprised to note that the attraction between them extends longer than that one night. Weekend is a British version of the mumblecore genre, and a variation on Brief Encounter (1945, David Lean), but then with a contemporary, liberal sexual morality. Andrew Haigh does not shy away from the eroticism of the relationship between the two men, and the way they handle it is a recurrent topic of conversation. But the dreamily filmed Weekend is primarily about questions that are familiar to everyone. Are you yourself when you meet a new lover? Or are you who you want to be? And how much of yourself do you reveal?


Bright Future

hello, Shu Xian Sheng! hello, Mr. tree! Han Jie

China, 2011 | colour, 35mm, 1:2.35, 88 min, Mandarin Prod: Jia Zhang-ke | Prod Comp: Xstream Pictures | Sc: Han Jie | Cam: Lai Yiu-fai | Ed: Matthieu Laclau, Baek Seung-Hoon | Prod Des: Liu Qiang | Sound Des: Zhang Yang | Music: Lim Giong | With: Wang Baoqiang, Tan Zhuo, He Jie, Li Jingyi, Wang Dazhi, Wang Yabin | Print/Sales: United Star Public SCREENINGS Wed 1-2 20:00 PA4 Thu 2-2 19:30 LUX Fri 3-2 10:30 PA4 Sat 4-2 17:00 CI5 Press & Industry SCREENING Fri 27-1 15:30 CI2

Rapid urbanisation in China, seen through slightly absurdist spectacles. A mining company takes over a dusty village in the Chinese hinterland and the inhabitants are sent to the settlement New Sun City that still has to be built. At first the pressure is gentle. The sleepy and rather unworldly Mr Shu – the Chinese word for tree – doesn’t seem to notice any of it. He just tries to carry on his life with the aid of several old friends, and he wants to win the love of the deaf-mute Xiao Mei. Han Jie based his film on what he has seen happen in recent years in the villages in the Chinese hinterland that he visited: the working population moves to the big cities and thanks to the large-scale exploitation of the land, the areas left behind are increasingly vulnerable to natural disasters. His film puts these developments together into a narrative filled with mild humour and allegorical layers.

Skoonheid Beauty Oliver Hermanus

South Africa/France, 2011 | colour, 35mm, 1:2.35, 99 min, English/Afrikaans Prod: Didier Costet, Dylan Voogt | Prod Comp: Equation, Moonlighting Films Pty Ltd | Sc: Oliver Hermanus | Cam: Jamie Ramsay | Ed: George Hanmer | Prod Des: J. Franz Lewis | Sound Des: Ian Arrow | Music: Ben Ludik | With: Deon Lotz, Charlie Keegan, Michelle Scott, Albert Maritz, Roeline Daneel, Sue Diepeveen | Sales: MK2 | Distr NL: ABC – Cinemien Public SCREENINGS Thu 26-1 21:30 PA7 d.s./f.s. Fri 27-1 16:15 PA3 d.s./f.s. Thu 2-2 22:30 DJZ d.s./f.s. Press & Industry SCREENING Sat 28-1 17:45 DWBZ e.s.

François van Heerden has everything under control. The forty-something runs a successful timber store in Bloemfontein. He has a beautiful house, a sweet wife, successful children – in other words he has all the status a conservative Afrikaner could want. Occasionally he drives to a remote farm and stays away for the night, but no one needs to know what really goes on there. When he meets 23-year-old Christian at his daughter’s wedding, the foundations under his respectable life turn out to be less than stable. The attractive apparition he sees in Christian won’t let François go. With Beauty, the young South African director Oliver Hermanus proves that his powerful debut Shirley Adams (2009) was not a one-hit wonder. His balanced, nerve-wracking second feature is about suppressed desires, ingrained thoughts and the strange leaps people make when their convictions are set adrift. Beauty was the first film spoken in Afrikaans to be selected for the Cannes Film Festival.



Bright Future

he Was a giant with Brown eyes Eileen Hofer

WOrLD PreMiere

Switzerland/Azerbaijan, 2012 | colour, DCP, 85 min, Azerbaijani/Russian Prod: Eileen Hofer | Prod Comp: 5 to Five Team Production | Sc: Eileen Hofer | Cam: Javier Gesto | Ed: Andres Enis, Valentin Rotelli | Prod Des: Eileen Hofer | Sound Des: Ivan Castineras | Music: Julien Painot, Ladislav Agabekov | With: Sabina Agamaliyeva, Narmina Agamaliyeva, Namik Agamaliyev, Vagif Agamaliyev | Print/Sales: 5 to Five Team Production | Public SCREENINGS Tue 31-1 15:45 PA5 Wed 1-2 13:15 PA3 Thu 2-2 12:302 CI6 Sat 4-2 19:302 CI6 Press & Industry SCREENING Mon 30-1 12:00 PA5

Eileen Hofer’s personal, independentlymade feature debut has no professional actors, one or two takes for each scene and a budget of 20,000 Euros. Hofer could not and would not choose between fiction and documentary, so did not get funding via the traditional channels. Born and bred in Switzerland with Turkish roots, the director tells a gripping coming-of-age story about life between two cultures. She follows her stepsister Sabina (17), who came with her mother from Azerbaijan to Switzerland. Her older sister Narmina stayed behind with their father in Bacu. Five years later, Sabina returns to Bacu for a summer holiday. She secretly intends to stay with her beloved relatives. However, her father has marriage plans, again, while Narmina’s boyfriend has been called up for military service. And has Sabina in the meantime not become too alienated from her roots? The title refers to a dream of every child: that his or her father is a hero. Sabina has to learn to deflate that myth.

Amma Lo-fi grandma Lo-fi: the Basement tapes of Sigrídur Níelsdóttir

Orri Jónsson, Kristín Björk Kristjánsdóttir, Ingibjörg Birgisdóttir

iNterNAtiONAL PreMiere

Iceland/Denmark, 2011 | colour/b&w, video, 62 min, Danish/Icelandic Prod: Sæmundur Nordfjord, Louise Højgaard Johansen | Prod Comp: Republik Productions, Sunn Productions | Sc: Kristín Björk Kristjánsdóttir, Orri Jónsson | Cam: Kristín Björk Kristjánsdóttir, Orri Jónsson, Magnús Helgason | Ed: Ingibjörg Birgisdóttir, Orri Jónsson | Music: Sigrídur Níelsdóttir | Animations: Ingibjörg Birgisdóttir | Print: Icelandic Film Centre | Sales: Sunn Productions Public SCREENINGS Fri 27-1 21:152 PA6 Sat 28-1 11:45 SGZ Sun 29-1 09:452 PA5 Press & Industry SCREENING Thu 26-1 18:30 CI3


Charming documentary, mostly shot on nostalgic Super-8, about the grand old lady of Icelandic music, Sigrídur Níelsdóttir. She released her first album in 2001 at the age of 71 and became a cult phenomenon. She had made music all her life but never recorded any of it. When she finally started doing so on a cassette recorder in her kitchen, playing keyboard and any household appliances that made weird sounds, she couldn’t stop. Since then, she has recorded over 600 homemade songs and made 59 (!) albums. Níelsdóttir was quickly noticed in the independent music scene in Iceland, with artists like Björk and members of Sigur Rós and Múm praising her music in interviews. In 2003, Slowblow used two of her tracks on their soundtrack for the film Nói Albínói, which screened in the Tiger Competition. The Danish/Icelandic lo-fi grandmother’s life story, which is just as rich in peculiarities and unforeseen coincidences as her music, is unveiled in animations, old photographs and her own words.


Bright Future


that Small Piece JOSEph S KEN

iNterNAtiONAL PreMiere

Uganda, 2011 | colour, video, 90 min, English Prod: JOSEph S KEN | Prod Comp: Zenken Films Uganda Limited | Sc: Joseph Kenneth Ssebaggala | Cam: Peter Muhumuza | Ed: Joseph Kenneth Ssebaggala | Prod Des: Betty Nabatesa | Sound Des: Kasozi Kaz | Music: Kasozi Kaz | With: Peter Bwanika, Simon Peter Kivumbi, Pricilla Namutebi, Rogers Masaba, Harriet Namusoke | Print/Sales: Zenken Films Uganda Limited | www. Public SCREENINGS Fri 27-1 15:30 PA6 Sat 28-1 12:30 CI6 Sun 29-1 20:00 CI7 Press & Industry SCREENING Mon 30-1 11:00 CI5

The Ugandan director Joseph Kenneth Ssebaggala, alias JOSEph S KEN, once heard from a former witch doctor how this man was highly respected in society and, like a god, was asked to solve all problems. Ssebaggala’s second no-budget film That Small Piece is based on a true story from 1992, when a quarrel about a piece of land acquired illegally was solved with witchcraft. The heart of the drama is a story reminiscent of Romeo and Juliet about two lovers who are driven apart by a conflict about a plot of land. The young man goes mad after being subjected to witchcraft and the quarrel gets out of hand. Witchcraft is still widely used in Uganda to solve conflicts. With his simply told and locally produced film, shot around the town of Nsangi in the Wakiso District, Ssebaggala wants to show that many lives could be spared if people were to approach official organisations instead of the miracle man.

Sur la planche


On the edge Leïla Kilani


Morocco/France, 2011 | colour, 35mm, 1:1.85, 106 min, French Prod: Charlotte Vincent, Leïla Kilani | Prod Comp: Aurora Films, Soccochico Films | Sc: Leïla Kilani | Cam: Eric Devin | Ed: Tina Baz | Prod Des: Yann Dury | Music: Wilfried Blanchard | With: Soufia Issami, Mouna Bahmad, Nouzha Akel, Sara Bitioui | Print/Sales: Fortissimo Films Public SCREENINGS Sun 29-1 22:00 PA1 Mon 30-1 20:00 DJZ Wed 1-2 21:45 LV1 Sat 4-2 09:15 PA6 Press & Industry SCREENINGS Sun 29-1 16:45 CI2 Thu 2-2 10:00 PA4

After making a documentary about immigrants who risk the crossing from Tangier to Europe, the breathtaking feature debut of Leïla Kilani is also about the bitter-sweet dream of globalisation. The ‘plank’ of the title is a springboard, diving board and pirate plank all at once; a springboard to a richer, more materialistic system – but one that is accompanied by great danger to life. Badia and Imane are girlfriends who peel prawns during the day in the factory and at night rob men under false pretences. In the streets, they get to know Asma and Nadal, who have jobs in the Free Zone, the European- oriented part of the city. It is primarily Badia, spiritedly played by Soufia Issami, who sees that as an opportunity to gain more wealth. She will have to raise her criminal activities to a riskier level. Kilani provides a raw and authentic glimpse of the attempts of poor workers/ petty thieves to get a better life. As moody as dynamic film noir, in which the shots of Tangier by night contrast with the broad panoramas by daylight.



Bright Future

the Pettifogger Lewis Klahr

USA, 2011 | colour, video, 65 min, English Prod: Lewis Klahr | Sc: Lewis Klahr | Cam: Lewis Klahr | Ed: Lewis Klahr | Sound Des: Lewis Klahr, Nathan Ruyle | Print/Sales: Lewis Klahr Public SCREENINGS Thu 2-2 15:002 CI4 Fri 3-2 16:302 PA4 Sat 4-2 11:15 LV1

In the words of Lewis Klahr himself, his first full-length film The Pettifogger is ‘an abstract crime film, a sensorial exploration of the virulence of unfettered capitalism’. The life of the ‘pettifogger’, a petty criminal in the early 1960s, is collapsing thanks to his greed, his calculating nature and his weakness for playing cards for money. The further he descends, the more vague and enigmatic the story becomes. The form is the same as Klahr developed in recent decades in his renowned short films: moving collages of found images, set against an equally eclectically compiled soundtrack. The variation of materials used is enormous: not only comic strips in the style of Lichtenstein from which the protagonist comes, but also playing cards, poker markers and battered original photos. The many image repetitions, flashing lights and stunning shots complete the hypnotic effect.

Momoiro sorawo About the Pink Sky Kobayashi Keiichi

eurOPeAN PreMiere

Japan, 2011 | b&w, video, 113 min, Japanese Prod: Hiroshi Harada | Prod Comp: Michaelgion Inc. | Sc: Kobayashi Keiichi | Cam: Kobayashi Keiichi | Ed: Kobayashi Keiichi | Prod Des: Michaelgion | Sound Des: Hidaka Narishige | With: Ikeda Ai, Koshino Ena, Fujiwara Reiko, Takayama Tsubasa,Togetsuan Hakusyu | Print: Michaelgion Inc. | Sales: Free Stone Productions Public SCREENINGS Tue 31-1 15:30 PA2 Wed 1-2 09:152 CI1 Thu 2-2 16:302 SGZ Press & Industry SCREENING Thu 26-1 17:00 DJZ


Izumi is a teenage girl who one day finds a wallet with 300,000 yen in it. She lends some of the money to someone in financial need but, urged on by her two girlfriends Hasumi and Kaoru (encounters and conversations between the three of them form a significant part of the film) she decides to give the lost property back to its owner Koki Sato, the son of a rich, corrupt politician. He decides however that he doesn’t want the money back, but in exchange, the three girls have to make a newspaper which is only filled with good news – for a sick friend. During the production process, we look mainly through the surprised eyes of the cheerful and original-minded Izumi – a kind of Japanese Juno – at the world around her and we also see her growing up. This subtle comedy, which also touches on difficult questions such as homosexuality, death and economic crisis, is stylishly shot in black-andwhite. Virtually all the roles are played by novice or non-professional actors.


Bright Future

totem Jessica Krummacher

Germany, 2011 | colour, DCP, 86 min, German Prod: Martin Blankemeyer, Philipp Budweg, Jessica Krummacher | Prod Comp: Arepo Media GmbH, Lieblingsfilm GmbH, kLAPPbOXfILME | Sc: Jessica Krummacher | Cam: Björn Siepmann | Ed: Jessica Krummacher, Heike Parplies | Sound Des: Daniel Schäkermann | Music: Marina Frenk | With: Marina Frenk, Natja Brunckhorst, Benno Ifland, Alissa Wilms, Cedric Koch, Fritz Fenne, Dominik Buch | Print/Sales: Arepo Media GmbH | Public SCREENINGS Thu 26-1 19:15 LV1 Fri 27-1 13:15 PA3 Sat 28-1 15:00 CI6 Mon 30-1 22:30 CI1 Press & Industry SCREENING Thu 26-1 16:00 PA5

The Bauer family takes on a household help. This young woman, Fiona, is thrown into the middle of the family of five with only a few basic instructions. The inhabitants lead their own lives; they do not take much notice of each other and they don’t care how the outside world looks at them. Fiona prepares for each new day without asking questions and without commenting. Uneasy meals, tragic loneliness and unsuitable behaviour do not seem to put her off balance. No one in the house notices that Fiona herself is wrestling with issues. Totem is set in the Ruhr district, but time, place and context are not particularly relevant in this disturbing, soberly filmed drama. The behaviour, the choices and everyday routines of the protagonists are not revealed to Fiona nor to the viewers. Completely normal moments are juxtaposed with absurdist scenes; the tame rabbits in the garden are just as matter-of-fact as the cherished baby dolls in the nursery.

ex Press Jet Leyco

iNterNAtiONAL PreMiere

Philippines, 2011 | colour/b&w, video, 90 min, Filipino Prod: Jet Leyco | Prod Comp: Kerberus Kinorama Klassiks, Barong Tagalog Inc. | Sc: Jet Leyco | Cam: Jet Leyco | Ed: Jet Leyco | Prod Des: Jet Leyco | Sound Des: Jet Leyco | Music: Jet Leyco | With: Dan Jarden De Guzman, Herald Gregory Chavez, Don Fulgado, Nestor Depositar | Print/ Sales: Kerberus Kinorama Klassiks Public SCREENINGS Sat 28-1 20:15 CI4 Sun 29-1 10:00 CI6 Mon 30-1 22:30 LV2 Press & Industry SCREENING Fri 27-1 09:30 CI3

Ever since the first use of the film camera by the French Lumière Brothers, the train has been a favourite subject – as a metaphor for progress, but also as a depiction of standing still, as at the beginning of Jet Leyco’s Ex Press. The young Filipino director started filming without a screenplay and juxtaposed documentary footage of the train as it travels in fits and starts through the jungle with fragments of thoughts and dreams. Because the passing trains are regularly pelted with rubbish and stones by inhabitants of the shanties along the railway line, the railway company started up its own police force. One of the officers, the violent ‘Colonel’ Paliparan, abruptly resigned several years ago for mysterious reasons. His two sons try to find out why. With a mixture of traditional and guerilla filmmaking, Leyco manages to create an idiosyncratic, sometimes even musical, atmosphere from the details and rhythms of apparently everyday scenes around the Filipino train as it thunders on.



Bright Future

Malaventura Michel Lipkes

iNterNAtiONAL PreMiere

Mexico, 2011 | colour, video, 73 min, Spanish Prod: Michel Lipkes, Milko Luis Coronel | Prod Comp: Axolote Cine | Sc: Fernando del Razo, Michel Lipkes | Cam: Gerardo Barroso Alcalá | Ed: Michel Lipkes, León Felipe González | Prod Des: Nohemi Gonzalez | Sound Des: Alejandro de Icaza, Jose Miguel Enriquez | Music: Galo Durán | With: Isaac Lopez, José Alfredo Martínez, Alejandra Resendis, Manuel Valderama, Graciela Castillo | Print/Sales: RAMONDAParis Public SCREENINGS Sat 28-1 17:30 CI6 Sun 29-1 10:00 CI4 Tue 31-1 19:15 LV1 Fri 3-2 21:15 PA6 Press & Industry SCREENING Fri 27-1 09:30 LV5

The opening scene lasts for more than nine minutes and sets the tone for Malaventura. While it slowly, very slowly gets lighter and the slightly threatening music crawls under your skin, an old man wakes up and performs his morning ritual. We follow him in a series of lengthy shots in one day, his last day, shuffling through the streets of Mexico City. There is a series of encounters, some grim and puzzling, some commonplace or absurdist. The old man roams through his past while everyday life slips by him. The final credits state that Malaventura was shot in ‘Chamagoscope’. It is a joke at the expense of conservative Mexican critics who tend to write off the films of the younger generation of directors – one of whom is Lipkes – as ‘chamago cinema’, in other words ‘grimy film’. With his stately, considered images, Lipkes however demonstrates that grimy does not need to be an insult.

Shapito-shou Chapiteau-show Sergey Loban

iNterNAtiONAL PreMiere

Russia, 2011 | colour, DCP, 207 min, Russian Prod: Ekaterina Gerasicheva, Alexey Ageev, Mikhail Sinev | Prod Comp: Organic Films | Sc: Marina Potapova | Cam: Ivan Mamonov, Yevgeni Tsvetkov | Ed: Sergey Loban | Prod Des: Alena Kudrevich | Music: Zhak Poliakov | With: Alexey Znamenskiy, Pyotr Mamonov, Alexey Podolsky, Vera Strokova, Jim Avignon, Dmitry Bogdan | Print/ Sales: Organic Films | Public SCREENINGS Mon 30-1 18:30 PA2 Tue 31-1 14:15 PA1 Wed 1-2 14:15 CI1 Sat 4-2 19:30 LV5 Press & Industry SCREENING Thu 2-2 09:30 CI3


A mysterious circus tent in a seaside resort on the Black Sea forms the start and end-all for bizarre stories filled with light-hearted absurdity. A teenage girl lures her sombre Internet friend very reluctantly into the real world. The main threats in this coastal resort come from fanatical boy scouts, deaf kids and gays. A famous actor yearns for a reunion with his son, and in the last part we follow an ambitious producer. The protagonists want love, friendship, respect and cooperation (the titles of the four parts), but get bogged down in aimless peregrinations that mock their ambitions. For outsiders, their personal tragedies are only comic and banal. Cheerful despair, surrealist winks and minimalist musical numbers set the tone in a play that is refreshingly different from the average Russian art film. Sergej Loban acquired a cult reputation in Moscow underground culture and won the Russian critics’ prize for his sciencefiction film Dust (2005).


Bright Future

girimunho Swirl Helvécio Marins Jr., Clarissa Campolina

Brazil/Germany/Spain, 2011 | colour, 35mm, 1:1.85, 90 min, Portuguese Prod: Luana Melgaço, Paulo Roberto de Carvalho, Sara Silveira, Luis Miñarro, Gúdula Meinzolt | Prod Comp: TEIA Filmes, Dezenove Som e Imagens, Eddie Saeta SA, Autentika Films | Sc: Felipe Bragança | Cam: Ivo Lopes Araújo | Ed: Marina Meliande | Prod Des: Felipe Duarte | Sound Des/Music: O Grivo | With: Maria Sebastiana Martins Álvaro, Maria da Conceição Gomes de Moura | Sales: Urban Distribution International | Distr NL: Hubert Bals Fund Public SCREENINGS Mon 30-1 17:002 PA4 Wed 1-2 16:002 CI5 Fri 3-2 13:302 SGZ Sat 4-2 10:15 PA3 Press & Industry SCREENINGS Sun 29-1 12:30 DJZ Thu 2-2 10:00 CI2

Time takes it easy in São Romão, situated in a distant corner of Brazil. The river calmly follows its course, no one gets worked up. The young Branca is thinking about going to study somewhere else, but for now an important task keeps her at home: caring for her grandmother, who could use some company after her husband died. Bastú is a vivacious 81-year-old, just like her old friend Maria, who cheers up every local feast with her music and singing. The neighbours find a lot of support from each other, but not even Maria has any answer to the apparitions that haunt Bastú. Swirl includes several beautifully exciting music scenes, but excels primarily in its calm satisfaction. The filmmakers worked on their meticulous feature debut for six years. Their aim was realism, even though in São Romão that is coupled with a touch of magic. The actors are all amateurs who largely play themselves; their lives and memories are incorporated into this loving drama in which generation gaps fade and old and modern Brazil come together seamlessly.

rânia Roberta Marques

iNterNAtiONAL PreMiere

Brazil, 2011 | colour, 35mm, 1:1.85, 85 min, Portuguese Prod: Roberta Marques | Prod Comp: Latitude Sul | Sc: Luisa Marques, Roberta Marques | Cam: Heloísa Passos | Ed: Bernardo Barcellos, Rob Das, Roberta Marques, Luisa Marques | Prod Des: Isabela Veras | Sound Des: Bernardo Uzeda | Music: Bernardo Uzeda | With: Graziela Felix, Mariana Lima, Nataly Rocha, Rob Das, Demick Lopes | Print: Jurubeba Produções | Sales: RAMONDAParis | Public SCREENINGS Sun 29-1 19:45 SGZ Mon 30-1 16:002 PA1 Tue 31-1 20:00 DJZ Sat 4-2 09:302 PA7 Press & Industry SCREENING Wed 1-2 18:00 DWBZ

An obsession with dance runs through the oeuvre of Roberta Marques. It’s an obsession with which she infected the protagonist in her first feature film. Rânia (16) dreams of a successful career as a dancer. That’s not a dream easy to realise, because Rânia lives in the slums of the northern Brazilian town of Fortaleza and has to work hard to survive. Alongside her school career, she helps her mother with the housekeeping and has a part-time job in a beach bar. When she meets the choreographer Estela, who selects her for an international dance company, her life goes into top gear. Can Rânia realise her plans and maybe even earn her living dancing? Instead of chosing a raw, social-realistic style that would be an obvious choice in a teenage drama taking such a close look at life, Marques made the daring decision to create a dreamy and tranquil mood. Not such an obvious choice when seen in the context of Rânia’s life, but it’s closer to the ambitions and dreams she so passionately yearns for.



Bright Future

Nana Valérie Massadian

France, 2011 | colour, 35mm, 1:1.85, 68 min, French Prod: Sophie Erbs | Prod Comp: Gaijin | Sc: Valérie Massadian | Cam: Léo Hinstin, Valérie Massadian | Ed: Dominique Auvray, Valérie Massadian | Sound Des: Olivier Dandré, Jonathan Laurent | With: Kelyna Lecomte, Marie Delmas, Alain Sabras | Print/Sales: Gaijin | Public SCREENINGS Sun 29-1 19:152 PA3 Mon 30-1 23:002 CI5 Tue 31-1 16:45 SGZ Wed 1-2 14:452 LV2 Press & Industry SCREENING Fri 27-1 12:00 CI2

Nana, awarded the prize for best debut at the Locarno Film Festival, sees the world from the standpoint of an independent four-year-old girl in the French countryside. When she comes home one day, she finds the house empty. There is no explanation for the disappearance of her mother, so the viewer has no idea about the adult world – just like the little girl, who goes her own way. She manages very well, thank you. She dresses herself, heads into the woods, jumps over a stream, eats a sandwich. The dandelions and the moss are like a great adventure for her, nor does she shut her eyes at the sight of a dead hare or a slaughtered pig. Nana exchanges an explicit narrative line for a relaxed look at the primeval instincts of a child who is allowed to be herself, without adults to project their ideas on her. The refined lighting and clever compositions betray Massadian’s background as a photographer; she worked with Nan Goldin for a long time.

the great Northwest Matt McCormick

WOrLD PreMiere

USA, 2012 | colour, video, 70 min, English Prod: Matt McCormick | Sc: Matt McCormick | Cam: Matt McCormick | Ed: Matt McCormick | Sound Des: Matt McCormick | Print/Sales: Matt McCormick | Public SCREENINGS Sat 28-1 18:30 PA2 Sun 29-1 12:00 CI5 Tue 31-1 11:15 LV1 Fri 3-2 18:15 PA6 Press & Industry SCREENING Mon 30-1 09:30 DJZ


In a junk shop, documentary maker Matt McCormick bought a scrapbook, in perfect condition, of a road trip made by four ladies in 1958 across several American states. Filled with photographs, invoices, menus and admission tickets to all kinds of sites to be seen. McCormick decided in 2010 to take exactly the same route, more than 3200 miles long, with his camera to record how America had changed – or hadn’t. With a sharp eye for interesting frames, he provides a beautiful, experimental scrapbook film filled with wide landscapes in which people seem not to have intervened. But also with images of mining towns now gone to ruin which were still flourishing in 1958. A striking number of motels and bars seem hardly to have changed since then. The comparisons between old picture postcards and new shots are fantastic. McCormick provides no commentary, at most short screen texts about the course of local history or about differences between the routes then and now.


Bright Future

Shame Steve McQueen

United Kingdom, 2011 | colour, DCP, 99 min, English Prod: Iain Canning, Emile Sherman | Prod Comp: See-Saw Films | Sc: Abi Morgan, Steve McQueen | Cam: Sean Bobbitt | Ed: Joe Walker | Prod Des: Judy Becker | Sound Des: Glenn Freemantle | Music: Harry Escott | With: Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie | Sales: HanWay Films | Distr NL: Cinéart Netherlands Public SCREENINGS Tue 31-1 22:15 PA3 Wed 1-2 19:302 LUX Thu 2-2 18:30 PA2 Fri 3-2 20:00 DJZ Sat 4-2 18:30 PA7


The bare prison cell of IRA man Bobby Sands in Hunger has been exchanged in Steve McQueen’s second feature for the equally suffocating space in the head of New Yorker Brandon Sullivan, again a striking role by Michael Fassbender. Sullivan’s existence revolves around sex: with whores, on the phone, with colleagues or women he picks up in the clubs of a sterile blue Manhattan, Sullivan’s personal laboratory. That daily routine of emotionless sex is disrupted when Sullivan’s younger sister Sissy moves in with him. The shadows of a past that injured both of them slowly intrude. But where Sissy directs her destructive tendencies within and lets the world overwhelm her, Sullivan keeps them at a distance. As in Hunger, McQueen is a man of few words. Shame is as physical and naked as Hunger, equally focussed on textures and sounds that make the space of the cell visible. Ironically, in this case it is the total freedom of unbridled consumption of bodies with which Sullivan creates that prison.

Stillleben Still Life Sebastian Meise

Austria, 2011 | colour, 35mm, 1:1.85, 77 min, German Prod: Oliver Neumann | Prod Comp: FreibeuterFilm | Sc: Thomas Reider, Sebastian Meise | Cam: Gerald Kerkletz | Ed: Julia Drack | Prod Des: Katharina Wöppermann, Anja Ronacher | Sound Des: Stefan Rosensprung | Music: Soap&Skin | With: Fritz Hörtenhuber, Christoph Luser, Daniela Golpashin, Roswitha Soukup, Anja Plaschg | Print/Sales: FreibeuterFilm | Public SCREENINGS Thu 26-1 21:30 PA2 Fri 27-1 09:30 PA7 Tue 31-1 10:30 PA7 Press & Industry SCREENING Sat 28-1 15:00 CI2

Bernhard is horrified to discover that his father visits a prostitute whom he calls ‘Lydia’, even though her name is really something else. Lydia is the name of his daughter, Bernhard’s sister. This worrying fact causes a series of events and revelations that make this apparently stable family burst apart. The occasionally shocking issues in Sebastian Meise’s feature debut are worked out subtly, helped by the plausible reactions of all the relatives. For 24 hours, we follow the protagonists – father, mother and the adult son and daughter – from the moment when the dear son pulls the pin out of the news grenade. With minimal revelations and glimpses behind the veil around this apparently normal family, Meise maintains the tension in this nervewracking drama. Still Life looks at the moral questions surrounding guilt, shame and how to come to terms with them. Even the smallest movements, the most usual situations and silences are filled with significance.



Bright Future

Louise Wimmer Cyril Mennegun

France, 2011 | colour, 35mm, 1:1.85, 80 min, French Prod: Bruno Nahon | Prod Comp: Zadig Productions | Sc: Cyril Mennegun | Cam: Thomas Letellier | Ed: Valérie Brégaint | Sound Des: Alexandre Widmer | Music: Pascal Mayer, Laurent Petitgrand | With: Corinne Masiero, Jérôme Kircher, Anne Benoit, Marie Kremer, Jean-Marc Roulot | Print/Sales: Films Distribution Public SCREENINGS Sun 29-1 22:152 PA3 Mon 30-1 17:152 CI7 Tue 31-1 14:152 SGZ Fri 3-2 22:30 DJZ Press & Industry SCREENING Fri 27-1 13:30 CI2

After getting divorced, Louise Wimmer found herself on the street. She earns a pittance as a cleaner, but it’s not enough to live on: her things are in storage and she is forced to spend the night in her car. Whenever she starts the car, we hear Sinnerman by Nina Simone blaring from the speakers. At first it’s support in a musical form, but it soon becomes an infuriating reminder of her tragic existence. In this realistic drama, we follow the far-from-talkative Louise for several weeks in which she hopelessly waits for somewhere to live and in the meantime tries to maintain the semblance of a normal life. Her isolation only increases because of her poverty and her shame about it. Wimmer is not a psychiatric patient with an alcohol problem, but a normal, intelligent middle-aged woman who just happened to have some bad luck. Without any unnecessary context or explanation, it becomes clear how easily somebody can sink without those around them realising.

Carnival Madhuja Mukherjee

WOrLD PreMiere

India, 2012 | colour/b&w, video, 61 min, no dialogue Prod: Avik Mukhopadhyay | Prod Comp: Imaginary Line | Sc: Madhuja Mukherjee | Cam: Avik Mukhopadhayay | Ed: Avik Mukhopadhayay | Prod Des: Madhuja Mukherjee | Sound Des: Prabuddha Banerjee | Music: Prabuddha Banerjee | With: Dhritiman Chaterji, Shayan Munshi | Print/Sales: Imaginary Line Public SCREENINGS Tue 31-1 17:302 CI4 Wed 1-2 17:152 CI7 Thu 2-2 17:152 LV2 Press & Industry SCREENING Mon 30-1 14:00 CI3


Babu returns from abroad to his home city of Kolkata due to the demise of his mother. He gets caught up in a whirl of colours, lights, crowds, music, sacrifices and ritualistic spectacles that evoke hidden emotions within him. He deals with his memories while roaming around and rediscovering his home city. The Hindu autumn festival of Durga Puja has a special meaning for Bengali people, and the film is beautifully suffused with the spirit of this auspicious event. Stopmotion, moving pictures, saturated photography, a very free camera style and an intriguing sound design create the inner emotional space of Babu, who after losing his mother spends most of the time with his old father. Carnival, a world premiere, is Madhuja Mukherjee’s first feature film. An upcoming Indian talent who has previously done some interesting shorts and video installations.


Bright Future

Abrir puertas y ventanas

Argentina/Switzerland/ Netherlands, 2011 | colour, 35mm, 1:1.85, 98 min, Spanish Prod: Violeta Bava, David Epiney, Rosa Martínez Riovero, Eugenia Mumenthaler | Prod Comp: Ruda Cine, Alina Film, Waterland Film | Sc: Milagros Mumenthaler | Cam: Martín Frías | Ed: Gion-Reto Killias | Prod Des: Sebastián Orgambide | Sound Des: Henrik Maïkoff | With: María Canale, Martina Juncadella, Ailín Salas, Julián Tello | Sales: The Match Factory GmbH | Distr NL: Just Film Distribution Public SCREENINGS Sat 28-1 20:00 PA1 Sun 29-1 21:30 PA7 Tue 31-1 21:00 PA7 Press & Industry SCREENINGS Fri 27-1 17:45 CI2 Mon 30-1 20:15 CI2

Back to Stay Milagros Mumenthaler After their grandma dies, the sisters Sofia, Marina and Violeta try to pick up their lives again in the house where the old woman had brought them up. They quibble and form alliances, drag boyfriends along and then break up. Sofia suddenly wonders if maybe Marina was adopted; she is so different. And she has blue eyes. Then Violeta has suddenly left Buenos Aires. By plane, with some man or other. Back to Stay is a poetic, light-hearted and atmospheric drama about loss and blood bonds. The camera frequently moves through the old house, past the household effects of grandma and the things stored in the garage that had belonged to the three graces’ parents. The tempo is languidly slow, the soundtrack (Fran Gayo, Bridget St. John, Linda Perhacs) is beautiful. At the Locarno Festival, this ArgentineSwiss-Dutch coproduction won no less than five awards, including the Golden Leopard for best film, the prize for best actress (María Canale) and the FIPRESCI Award from the international film press.

hiStÓriAS que só existem quando lembradas StOrieS Only exist When remembered

Julia Murat

Brazil/Argentina/France, 2011 | colour, 35mm, 1:1.85, 98 min, Portuguese Prod: Julia Murat, Lucia Murat, Juliette Lepoutre, Marie-Pierre Macia | Prod Comp: Taiga Filmes e Video, MPM Film (Movie Partners in Motion) | Sc: Maria Clara Escobar, Júlia Murat, Felipe Sholl | Cam: Lucio Bonelli | Ed: Marina Meliande | Sound Des: Facundo Giron | Music: Lucas Marcier | With: Lisa Fávero, Sonia Guedes, Ricardo Merkin, Luiz Serra | Sales: MPM Film (Movie Partners in Motion) | Distr NL: EYE Film Institute Netherlands Public SCREENINGS Thu 26-1 22:15 PA3 Fri 27-1 22:30 PA4 Sat 28-1 20:00 CI2 Thu 2-2 22:00 PA1 Press & Industry SCREENING Sun 29-1 20:30 DWBZ

Every morning Madalena makes bread for Antonio’s old coffee shop. And every day she crosses the railroads where no trains have passed for years, cleans up the gate of the locked cemetery, listens to the priest’s sermon and then shares lunch with the other old villagers. Clinging to the memory of her dead husband and living in her past, Madalena is awakened by the arrival of Rita, a young photographer who comes to the village of Jotuomba where time seems to have stopped and people are stuck in their memories and daily rituals. And why is the cemetery locked? The beautifully photographed debut film of documentary maker Julia Murat is a melancholy homage to Brazil’s Paraiba Valley, once a flourishing region that prospered thanks to its coffee plantations, now a derelict region full of empty estates and ghost towns. Prize winner at the Abu Dhabi Film Festival.



Bright Future

An Oversimplification of her Beauty Terence Nance

iNterNAtiONAL PreMiere

USA, 2012 | colour/b&w, video, 93 min, English Prod: Terence Nance, Andrew Corkin, James Bartlett | Prod Comp: Media MVMT | Sc: Terence Nance | Cam: Matthew Bray, Shawn Peters | Ed: Terence Nance | Sound Des: Vincent Wheeler | Music: Terence Etc. | Print/Sales: Media MVMT | Public SCREENINGS Mon 30-1 20:15 CI4 Tue 31-1 09:00 LV1 Thu 2-2 12:15 PA6 Sat 4-2 17:00 CI6 Press & Industry SCREENING Wed 1-2 16:15 CI3

One evening in 2006, the young American filmmaker Terence Nance receives a phone call from the woman he had been trying to build up a relationship with for some time. She can’t come. He starts having his doubts. Why did she back out? Open-hearted, sharp and playful, Nance tries in An Oversimplification of Her Beauty to trace all the elements of his feelings about the evening back to their true origins. Fantasies, feelings and memories roll over the screen in the form of documentary footage, live action and a wide range of animation styles. And in addition there are the inevitable questions that the maker must pose: How well does he know himself? Is he not being deceived by his own feelings? For a phenomenon that everybody occasionally experiences, the starting point for An Oversimplification of Her Beauty is surprisingly seldom the subject of films. What goes on in your body as you experience emotions at a certain point? And how ‘sure’ is that moment really?

Portret v sumerkakh twilight Portrait Angelina Nikonova

Russia, 2011 | colour, DCP, 105 min, Russian Prod: Angelina Nikonova, Olga Dihovichnaya, Leonid Ogaryov | Prod Comp: Baraban Films | Sc: Olga Dihovichnaya, Angelina Nikonova | Cam: Eben Bull | Ed: Elena Afanasyeva | Prod Des: Oleg Fedikhin | Sound Des: Andrea Feuser | With: Olga Dihovichnaya, Sergei Borisov, Roman Merinov, Sergey Golyudov, Anna Ageeva | Print/Sales: Rezo | www.rezofilms. com/world-sales/twilight-portrait Public SCREENINGS Thu 26-1 18:30 PA5 Fri 27-1 22:15 PA3 Thu 2-2 20:00 CI5 Fri 3-2 16:45 LV5


A girlfriend of Marina describes her as a happy woman. And that’s how it looks. She is married, has a beautiful apartment, lives comfortably in the middle class and has an interesting job as a social worker. What people don’t know is that Marina was recently raped by three police officers. Her character changes and she becomes a strange version of herself. As a person – and as a woman – she wrestles with existential questions about society. It turns out to be corrupt, rock hard and entirely hostile. In coming to terms with her trauma and rediscovering her identity, she throws herself in front of one of the culprits. Is it revenge, self punishment, or – considering her work experience – is she looking for the roots of his cruel behaviour? With a minimal budget and primarily non-professional actors, debuting director Angelina Nikonova has made a perhaps controversial yet intriguing and credible social drama, filled with grey images of the surroundings that visually underline the mood and the theme.


Bright Future

L’ultimo terrestre


the Last Man on earth Gianni Pacinotti

Italy, 2011 | colour, 35mm, 1:2.35, 96 min, Italian Prod: Domenico Procacci | Prod Comp: Fandango | Sc: Gianni Pacinotti, based on the comic by Giacomo Monti | Cam: Vladan Radovic | Ed: Clelio Benevento | Prod Des: Alessandro Vannucci | Sound Des: Alessandro Bianchi | Music: Valerio Vigliar | With: Gabriele Spinelli, Anna Bellato, Luca Marinelli, Teco Celio,Stefano Scherini | Print/ Sales: Fandango Portobello Public SCREENINGS Sat 28-1 16:00 PA1 Sun 29-1 22:15 DJZ Mon 30-1 20:00 CI7 Wed 1-2 19:00 PA1 Press & Industry SCREENING Tue 31-1 20:15 DWBZ

What gifts do alien creatures have that humans don’t? They make lifeless surroundings blossom again. They distinguish good from evil. But above all: they bring spiritual liberation. In this Italian science-fiction drama, reminiscent in its dark yet warm mood of modern classic Donnie Darko, a spaceship is about to land on Earth. Fear reigns. Only introverted Luca, a waiter in a depressing bingo hall, remains calm in face of the impending invasion. He leads an alien life himself, withdrawn and solitary. Luca grew up without a mother and has contact only with his father, his macho colleagues and two prostitutes. His relationship with the female sex is difficult, but does he know why? Gianni Pacinotti, who caused furore as a comic-strip artist, based his feature debut on a graphic novel by Giacomo Monti. This can be seen in the colourful sets and the absurd, dry humour of the dialogues. This psychological character study is a subtle mix of cinematographic realism and fantasy.

Low Definition Control – Malfunctions #0


Michael Palm

Austria, 2011 | colour/b&w, 35mm, 1:2.35, 95 min, German Prod: Johannes Hammel | Prod Comp: HammelFilm | Sc: Michael Palm | Cam: Michael Palm | Ed: Michael Palm | Sound Des: Michael Palm | Music: Trevor Duncan, Maurice Ravel | Print/Sales: sixpackfilm | catalogue/show/1925 Public SCREENINGS Thu 26-1 17:15 LV2 Fri 27-1 20:30 CI3 Sat 28-1 10:15 PA3 Thu 2-2 20:00 CI3 Press & Industry SCREENING Wed 1-2 14:30 CI2

Images dominate our lives: from ultrasounds in the womb that let us look at an unborn baby, via the panopticum of surveillance cameras to predictions of the future based on radar images. By only showing these images, supported by a voiceover, Low Definition Control – Malfunctions #0 poses questions about the certainties suggested by this perception. Automated pattern analysis of images in public space will increasingly label everything out of the ordinary as suspicious. Someone who stands still too long to eat a sandwich where other people walk on will be noticed. In this way, public space is becoming a risky place. That grand words about risk prevention and security have turned into ‘political superglue’ prompted Michael Palm to make this reflection about the consequences of automating our perception. What if people withdraw entirely from the automatic-control industry because they can’t process the data fast enough? And what if only the computers are left – who will then decide about security and risks?



Bright Future

the invader Nicolas Provost

Belgium, 2011 | colour, 35mm, 1:2.35, 95 min, French Prod: Jacques-Henri Bronckart, Olivier Bronckart, Antonino Lombardo, Helena Danielsson | Prod Comp: Versus Production, Prime Time, Hepp Film AB | Sc: Nicolas Provost, Giordano Gederlini, François Pirot | Cam: Frank van den Eeden | Ed: Nico Leunen | Prod Des: Françoise Joset | Sound Des: Senjan Jansen | Music: Evgueni and Sacha Galperine | With: Issaka Sawadogo, Stefania Rocca, Serge Riaboukine | Sales: BAC Films | Distr NL: EYE Film Institute Netherlands Public SCREENINGS Thu 26-1 15:30 PA7 Sun 29-1 22:00 LV3 Mon 30-1 21:30 PA7 Wed 1-2 20:00 DJZ

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Press & Industry SCREENINGS Sun 29-1 12:00 CI2 e.s. Tue 31-1 09:45 CI2 e.s.

In the hypnotic opening scene of The Invader, refering to Michelangelo Antonioni and Gustave Courbet’s painting L’origine du monde, Belgian model Hannelore Knuts walks naked along a beach when she sees several African refugees struggling to survive as they are washed ashore. What follows is an intense, consistent crossover between social drama, revenge film and Lynch-like trip, in which this earthly paradise turns into a hell for one of the refugees. In a ghostly Brussels, the man starts work illegally on a building site. ‘You nothing here, nothing at all’, his crooked boss tells him. The Invader is Flemish video artist and short-filmmaker Nicolas Provost’s feature debut. At the Ghent Film Festival it won the Jo Röpke Award for young Flemish Film Talent and the award for best director at Cinéma tous écrans in Geneva. The camerawork by Frank van den Eeden also deserves praise, as does the starring role by Issaka Sawadogo, who switches convincingly between victim and aggressor.

two Years at Sea Ben Rivers

United Kingdom, 2011 | b&w, 35mm, 1:2.35, 88 min, no dialogue Prod: Ben Rivers | Prod Comp: FLAMIN Productions | Cam: Ben Rivers | Ed: Ben Rivers | Sound Des: Ben Rivers | Print: LUX | Sales: Ben Rivers | Public SCREENINGS Fri 27-1 22:30 CI1 Sat 28-1 22:45 CI5 Sun 29-1 09:45 LV5 Sat 4-2 12:00 CI5 Press & Industry SCREENING Fri 27-1 09:45 CI2


The self-supporting Jake Williams lives in the middle of the forests of Scotland. In 2006, Ben Rivers went to see him for his short film This Is My Land; in Rivers’ first full-length film Two Years at Sea, we see this loner in all seasons, beautifully recorded in black-and-white cinemascope. There are days when Jake saws branches, surrounded by derelict cars and broken equipment. There are days when he builds a raft to float on a loch. At other moments, he focuses on strange projects, such as building a tree hut by hanging his caravan in the treetops. During his daily strolls, he whistles as he walks among the fir trees; Jake doesn’t need words any more. In Rivers’ portraits, intangible phenomena such as shifts in light and darkness are more important than explanations. In 2008, the director won a Tiger Award for Short Film in Rotterdam with Ah, Liberty! (2008). Two Years at Sea won the FIPRESCI Prize in Venice. Rivers’ latest short film, Sack Barrow, can also be seen this year in Rotterdam.


Bright Future

Lena Christophe Van Rompaey

Netherlands, 2011 | colour, DCP, 119 min, Dutch/Polish Prod: Els Vandevorst | Prod Comp: Isabella Films | Sc: Mieke de Jong | Cam: Menno Westendorp | Ed: Nico Leunen | Prod Des: Wilbert van Dorp | Sound Des: Raf Enckels | Music: The Ballroomquartet | With: Emma Levie, Jeroen Willems, Niels Gomperts, Agata Buzek, Lisa Smit, Rifka Lodeizen | Sales: Isabella Films | Distr NL: Benelux Film Distributors Public SCREENINGS Fri 27-1 20:00 PA7 Sat 28-1 19:15 SGZ Sun 29-1 18:30 PA2

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Press & Industry SCREENING Mon 30-1 09:45 CI2 e.s.

The second feature by the Belgian director Christophe Van Rompaey is a Dutch-language production, situated in Rotterdam. The working-class Ghent dialect of Moscow, Belgium (2008) has been exchanged for a pronounced Dutch Metropolitan accent. And the feel-good humour with a dash of tragedy has made way for a serious dramatic tone with a comic note. This is a powerful debut by the actress Emma Levie who plays Lena, a 17-yearold girl wrestling with her chubby body and a Polish mother who keeps belittling her. Her only pleasures are line dancing and casual sex – until she meets the popular Daan, who seems genuinely interested in her. Lena is all too eager to move in with him, but isn’t Daan hiding something from her? And what about his father, who lives as a hermit? The camera does not lose sight of Lena for a moment in this tender coming-ofage story. Van Rompaey gets right inside the world of the insecure adolescent who is learning to defend herself and discovering what self-respect is.

Matière grise grey Matter Kivu Ruhorahoza

Rwanda/Australia, 2011 | colour, video, 104 min, French Prod: Dominic Allen | Prod Comp: Camera Club | Sc: Kivu Ruhorahoza | Cam: Ari Wegner | Ed: Antonio Rui Ribeiro | Sound Des: Safari R. Eugène | Music: Sophie Nzayisenga | With: Ruth Shanel Nirere, Ramadhan ‘Shami’ Bizimana, Hervé Kimenyi, Jean Paul Uwayezu, Natasha Muziramakenga, Kennedy Mazimpaka | Print/Sales: Camera Club Public SCREENINGS Thu 26-1 21:15 PA6 Fri 27-1 21:45 LV1 Sat 28-1 10:00 CI6 Press & Industry SCREENING Mon 30-1 20:00 CI3

Grey Matter is the very first fulllength fiction film by a director from Rwanda produced in that country. It provides a glimpse from the inside of the traumas of genocide. This partially autobiographical debut starts as a film-within-the-film in which a young director describes the faltering production of The Cycle of the Cockroach (Tutsis were called cockroaches). Not without a critical note, this introduction shows that it is basically impossible to make an artistic film in Rwanda. A funding committee only wants to give the director money if he makes films that promote educational government projects such as AIDS prevention. The filmmaker does pursue his idiosyncratic plan, however. He wants to make an experimental film about a brother and sister who take up arms against the demons of genocide. Wearing a crash helmet, the brother fights alone against the insanity that is nestling in his brain: grey matter that can create, destroy and raze itself.



Bright Future

un nuage dans un verre d’eau

eurOPeAN PreMiere

France/Canada, 2011 | colour, DCP, 90 min, French Prod: Caroline Bonmarchand, Nicolas Comeau | Prod Comp: Avenue B Productions, 1976 Productions | Sc: Srinath C. Samarasinghe | Cam: Alexandre Bussière | Ed: Karen Cerutti | Prod Des: Julien Vray | Sound Des: Bruno Pucella | Music: Ramachandra Borcar | With: Anamaria Marinca, Gamil Ratib, Tewfic Jallab | Print/Sales: Avenue B Productions | Public SCREENINGS Mon 30-1 15:45 PA5 Tue 31-1 17:00 CI1 Wed 1-2 11:00 LV1 Sat 4-2 11:45 CI1 Press & Industry SCREENING Wed 1-2 13:30 PA5

A Cloud in a glass of Water Srinath C. Samarasinghe A curious collection of styles and genres focussed on an Egyptian film operator who passes his old age in a small apartment in Paris. A Cloud in a Glass of Water starts as a documentary: the grandson of Monsieur Noun films while the old man talks about his deceased lover and the days when he screened films during the British rule in Cairo. Then Anna, the woman next door – played by Anamaria Marinca from 4 Months, 3 Weeks & 2 Days (Cristian Mungiu, 2007) – becomes involved in the project. From then on, the film ricochets in different directions. Fiction, biography, animation, mystery, detective story – the life of Monsieur Noun has too many stories in it to be captured in one form. Samarasinghe’s debut, loosely based on the life of his grandpa, who was a film operator in Sri Lanka, playfully explores the possibilities of the medium. A Cloud in a Glass of Water is a bitter-sweet ode to friendship and precious memories that on occasion can be intensely moving.

gaamer Oleg Sentsov

WOrLD PreMiere

Ukraine, 2012 | colour, video, 92 min, Russian Prod: Oleg Sentsov | Sc: Oleg Sentsov | Cam: Yegor Petrik | Ed: Dmitriy Kundryutskiy | Sound Des: Vladimir Kozlov | With: Vladislav Zhuk, Aleksandr Fedotov, Zhana Biryuk | Print/ Sales: Olga Zhurzhenko Public SCREENINGS Mon 30-1 17:00 CI1 Tue 31-1 21:45 SGZ Wed 1-2 22:30 CI1 Fri 3-2 16:45 LV1 Press & Industry SCREENING Sat 28-1 18:00 CI3


The boy’s name is Alex, but in the world of gamers where he spends most of his time, he is known as Koss. The enormous amount of time he spends at the computer screen starts to pay off: in the games’ clubs in his small Ukrainian village, he is the undisputed king of the shooting game Quake, admired by the ‘noobs’ – the younger and less experienced players he defeats digitally. But there is also a different side. The endless games are getting in the way of his study at technical college, to the great dismay of his single mother. She sees her son growing up into a good-fornothing, just like his absent father. In a realistic style, filmed at a real game tournament with real gamers in the leading roles, debuting director Oleg Sentsov shows the rise of ‘Koss’. Because Alex has plans: he’s going to be the greatest and that will solve everything. Step-by-step, he approaches his goal: to be world champion. But will success bring him what he wants? And what if he doesn’t win?


Bright Future

As hiper mulheres

the hyperwomen Carlos Fausto, Leonardo Sette, Takuma Kuikuro

iNterNAtiONAL PreMiere

Brazil, 2011 | colour, DCP, 80 min, Kiukuro Prod: Carlos Fausto, Vincent Carelli | Prod Comp: Video nas Aldeias | Sc: Carlos Fausto, Leonardo Sette, Takumã Kuikuro | Cam: Mahajugi Kuikuro, Munai Kuikuro, Takumã Kuikuro | Ed: Leonardo Sette | Prod Des: Carlos Fausto, Vincent Carelli | Sound Des: Carlos Montenegro, Leonardo Sette, Mahajugi Kuikuro | Music: Kuikuro Culture | Print/Sales: Leonardo Sette Public SCREENINGS Wed 1-2 19:45 CI1 Thu 2-2 20:15 CI6 Fri 3-2 13:00 LV3 Sat 4-2 17:30 CI4 Press & Industry SCREENING Tue 31-1 11:30 PA5

Because he fears that his spouse does not have much longer to live, an old Indian asks his cousin whether his wife would like to perform the Jamurikumalu one more time. It’s the ritual dance of the native population of the Upper Xingu, who live in the centre of Brazil. The sick wife wants nothing more than to sing along with the women of the village one more time. The preparations are started, but the only woman who knows all the lyrics is far from healthy too. Several old cassette tapes also don’t offer a way out. An ethnographic documentary about a tribe that seems to live in a different age, The Hyperwomen is soberly shot but the intelligent cutting helps make it gripping. The Indians live in reed huts, usually walk around naked – apart from a few cords and daubs of paint – but they seem completely at ease in front of the camera. Their conversations are very openhearted with extremely sexual overtones. The complicated singing is beautiful, just like the equally complicated dance steps that accompany it.

L’hiver dernier Last Winter John Shank

Belgium/France, 2011 | colour, DCP, 103 min, French Prod: Joseph Rouschop, Priscilla Bertin, Elisa Larrière, Judith Nora | Prod Comp: Tarantula, Silex Films, Limited Adventures | Sc: John Shank, Vincent Poymiro | Cam: Hichame Alaouie, Antoine Parouty | Ed: Yannick Leroy | Prod Des: Anna Falguères | Sound Des: Emmanuel de Boissieu | Music: D.A.A.U. | With: Vincent Rottiers, Anaïs Demoustier, Florence Loiret Caille, Aurore Clément, Michel Subor | Sales: Le Pacte | Distr NL: Cinéart Netherlands Public SCREENINGS Wed 1-2 13:00 PA1 Thu 2-2 09:30 PA7 Fri 3-2 12:30 PA7

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Press & Industry SCREENINGS Tue 31-1 18:30 CI2 e.s. Thu 2-2 17:45 CI2 e.s.

‘This land has given me so much,’ according to Johann, a headstrong young farmer in a remote region of France who pursues the tradition of his father and grandfather. He feels very close to the earth, the animals and other inhabitants of this small community. He occasionally sleeps with a girlfriend and sometimes he visits his sister who lives in an institution. He has such strong roots that he is the only member of the farmers’ cooperative who refuses to succumb to the economic malaise. But as winter approaches, a fresh tragedy will destroy Johann’s last handhold and force him to make a radical choice. Last Winter, a project set up at CineMart 2009 that had its premiere at the Venice Festival, is the first full-length feature by the US-born but Belgian resident John Shank. In calm shots and with sparse dialogue, he shows the beauty of the landscape as it contrasts with gripping personal drama.



Bright Future

the Patron Saints Melanie Shatzky, Brian M. Cassidy

iNterNAtiONAL PreMiere

USA/Canada, 2011 | colour, video, 72 min, English Prod: Brian M. Cassidy, Melanie Shatzky | Prod Comp: Pigeon Projects | Cam: Brian M. Cassidy | Ed: Brian M. Cassidy, Melanie Shatzky | Sound Des: Nicholas Sjostrom | Print/Sales: Pigeon Projects | Public SCREENINGS Tue 31-1 18:30 PA2 Wed 1-2 15:15 CI4 Thu 2-2 09:30 LV1 Press & Industry SCREENING Mon 30-1 22:15 CI3

Shot in the corridors and rooms of a small retirement home somewhere in America, The Patron Saints shows fragments from the lives of the needy and often senile inhabitants. The old lady who keeps wondering why she is here; the man who repeatedly tries to escape; the physically and mentally handicapped woman who has been abused for years by her brother. We see them in the surroundings where they spend their latter years, in disconcerting and nerve-wracking, but also moving and humorous scenes. Brian M. Cassidy and Melanie Shatzky altogether spent about four years in the retirement home for this meticulously constructed, hyperrealistic lament about the latter days of human life. Our guide is Jim, the youngest inhabitant of the home and a real gossip of the purest kind. While his body is paralysed, that does nothing to reduce his vitality and he has a story to fit with every inhabitant.

Anhey ghorhey da daan

India, 2011 | colour, 35mm, 1:1.66, 117 min, Punjabi (Panjabi) Prod: Nina Lath Gupta | Prod Comp: National Film Development Corporation India | Sc: Gurvindar Singh, based on the novel by Gurdial Singh | Cam: Satya Rai Nagpaul | Ed: Ujjwal Chandra | Prod Des: Pankaj Dhiman | Sound Des: Mandar Kulkarni | Music: Catherine Lamb | With: Mal Singh, Samuel John, Sarbjeet Kaur, Dharminder Kaur, Emmanuel Singh, Kulwinder Kaur, Lakha Singh, Gurvinder Makhna | Print/Sales: National Film Development Corporation India Public SCREENINGS Wed 1-2 22:15 LUX Thu 2-2 13:30 SGZ Fri 3-2 10:15 PA3 Sat 4-2 09:30 CI5

Alms for the Blind horse Gurvinder Singh In a refined balladic manner, this atmosphere-driven film tackles the fate of a repressed family in a village in the Punjab. The old and ill father joins a villagers’ protest against a landlord responsible for demolishing a house. His son Melu, a rickshaw driver in a nearby town who was injured during a labour strike, takes to drinking and wandering the streets. On the night of the lunar eclipse, some gunshots are heard and the village is impregnated with tension. Poor and marginalized, the characters silently but emphatically emanate restlessness and discontent. The director creatively uses space as the silent witness of events. The successfully chosen cast of mostly authentic villagers contribute with their minimalistic performances to the contemplative atmosphere of the film. This was the last project of the late great Indian cineaste Mani Kaul, who acted as creative producer in this remarkable debut.

Press & Industry SCREENING Tue 31-1 12:00 CI2



Bright Future

Papirosen Gastón Solnicki

Argentina/USA, 2011 | colour, video, 74 min, Spanish Prod: Gastón Solnicki, Pablo Chernov | Prod Comp: Filmy Wiktora, Naked Faces | Sc: Gastón Solnicki | Cam: Gastón Solnicki | Ed: Andrea Kleinman | Sound Des: Jason Candler | Print/Sales: Filmy Wiktora Public SCREENINGS Sat 28-1 15:30 PA2 Sun 29-1 20:00 CI5 Mon 30-1 22:45 CI4 Press & Industry SCREENING Fri 27-1 11:30 CI3

On 23 October 2000, immediately after the birth of his nephew Mateo, Gastón Solnicki started filming his relatives. Mateo is the first grandchild of Gastón’s father Victor, a sweet, generous but also rather dominant pater familias. The strong bond between grandfather and grandson forms the main theme in the fragmentary family portrait Papirosen, which portrays four generations of Solnickis, all encumbered – and occasionally imprisoned – by the past. Grandmother Pola and grandfather Janek, born in Poland, lost many of their relatives in Hitler’s concentration camps. After the war, they ended up via Prague in Argentina, where the family was financially successful. For 10 years, the director continued to follow his parents and the family of his sister as it fell apart, despite regular protests. The result is a surprisingly open-hearted and moving film that, thanks to the daring editing and the beautiful, sometimes impressionistic camerawork, transcends the genre of the autobiographical documentary.

Valley of Saints Musa Syeed

iNterNAtiONAL PreMiere

India/USA, 2012 | colour, video, 82 min, Kashmiri/English Prod: Nicholas Bruckman | Prod Comp: Peerwar Pictures | Sc: Musa Syeed | Cam: Yoni Brook | Ed: Musa Syeed, Mary Manhardt, Ray Hubley | Prod Des: Altaf Mehraj | Sound Des: TBD | Music: Mubashir Mohi-Ud-Din | With: Gulzar Ahmad Butt, Mohammed Afzal Sofi, Neelofar Hamid | Print/Sales: Peerwar Pictures | Public SCREENINGS Sat 28-1 16:45 LUX Sun 29-1 12:30 CI4 Tue 31-1 22:30 CI1 Sat 4-2 19:45 CI1 Press & Industry SCREENING Mon 30-1 09:30 CI3

This compelling human drama is situated in Srinagar, at the Dal Lake in conflict-ridden Kashmir. The young boatman Gulzar (played by a real boatman) tries to escape the violence in Kashmir, but is caught because of a military curfew and must return to the lake. Plotting his next attempt at leaving, Gulzar and his friend Afzal meet a young woman scientist (played by a local TV actress) who is investigating the extreme pollution in the lake, on which the community depends. In their reaction to the violence and environmental degradation they find a common ground. They become close and develop a relationship. Focusing respectively on the human aspect, the love story, the environment and the ordeal of the Kashmiri people, who have been living for decades in a politically turbulent zone, this lyrical film successfully and excitingly merges documentary and fiction.



Bright Future

Oslo, 31. august Oslo, August 31st Joachim Trier

Norway, 2011 | colour, 35mm, 1:1.85, 95 min, Norwegian Prod: Yngve Saether, Hans-Jørgen Osnes | Prod Comp: Motlys, Don’t Look Now | Sc: Eskil Vogt, Joachim Trier, based on a novel by Pierre Drieu La Rochelle | Cam: Jakob Ihre | Ed: Olivier Bugge Coutté | Prod Des: Jørgen Stangebye Larsen, Solfrid Kjetså | Sound Des: Gisle Tveito | Music: Ola Fløttum, Torgny Amdam | With: Anders Danielsen Lie, Malin Crépin, Aksel M. Thanke, Hans Olav Brenner, Ingrid Olava, Øystein Røger, Tone B. Mostraum | Sales: The Match Factory GmbH | Distr NL: ABC – Cinemien Public SCREENINGS Mon 30-1 16:302 LUX Tue 31-1 19:152 SGZ Sat 4-2 19:45 LV6

d.s. / f.s. d.s. / f.s. d.s. / f.s.

On the eve of his discharge from an addiction clinic, 34-year-old Anders gets one day’s leave to have a job interview. He takes advantage of the opportunity to look up old friends and to roam apparently aimlessly through ‘his’ Oslo, coloured by the last light of summer. But the failed suicide he attempted at the beginning of the film taints everything that follows: the subject of suicide is never far away in the conversations he has. Oslo, August 31st is (loosely) based on the novel Le feu follet (1931) by Pierre Drieu La Rochelle, which was filmed in 1963 by Louis Malle. That doesn’t seem to be a coincidence: In his film, Trier (a distant cousin of Lars Von Trier) refers openly to the French nouvelle vague with a deceptive light-footedness, an underlying melancholy and several stylistic elements... but then with the penetrating clarity of Norwegian light and a thoroughly contemporary approach.

Press & Industry SCREENING Tue 31-1 09:00 DWBZ e.s.

Wavumba Jeroen van Velzen

WOrLD PreMiere

Netherlands, 2012 | colour, video, 76 min, Dutch/Swahili Prod: Digna Sinke | Prod Comp: SNG Film BV | Sc: Jeroen van Velzen, Sara Kee | Cam: Lennart Verstegen | Ed: Stefan Kamp | Sound Des: Boon & Booy | Music: Jeroen Schmohl | With: Mohammed Masoud Muyongo, Juma Lonya Mwapitu | Print/ Sales: SNG Film BV | www. Wavumba.htm Public SCREENINGS Thu 26-1 18:30 PA2 Fri 27-1 09:45 PA6 Tue 31-1 12:15 LV2 Thu 2-2 17:00 LV6 Press & Industry SCREENING Wed 1-2 09:30 LV6


In his teenage years, Jeroen van Velzen moved back and forth between a British public school and a Kenyan beach paradise. A culture clash between eating sausages at fixed times, standing neatly in line and using the words Sir or Madam and magic stories about a man who talks to fish, seahorses that dance on the waves and the dream of capturing a giant shark. As an adult, Van Velzen has lost his faith in the supernatural. Yet he has a nostalgic desire for the magic of his childhood. With a film crew, he returns to Kenya, where on a coral island he meets the old fisherman Masoud who teaches his grandson Juma the tricks of the trade. The two hunt for lightning-quick sea snakes, poisonous fish and of course the giant shark, while Masoud describes his brave deeds – with great imagination. In this way, just as in Van Velzen’s childhood, the world of people and the world of spirits meet. In his poetic, contemplative voiceover, the maker also lifts the film to a spiritual level.


Bright Future

L’hypothèse du Mokélé-Mbembé

the Mokele-Mbembe hypothesis Marie Voignier

France, 2011 | colour, video, 78 min, French Prod: Thierry Lounas | Prod Comp: Capricci Films, L’âge d’or | Sc: Marie Voignier | Cam: Marie Voignier | Ed: Marie Voignier | Sound Des: Thomas Fourel | Print/Sales: L’âge d’or | Public SCREENINGS Wed 1-2 10:00 CI4 Thu 2-2 12:30 CI4 Fri 3-2 17:00 CI5

The Loch Ness monster, the abominable snowman, Bigfoot: they exist in myths, sagas and legends. Deep in the jungle in the south-east of Cameroon, the French zoologist and explorer Michel Ballot has for years been looking for proof of the existence of another such mythical being, the Mokele-Mbembe. It’s like a rhinoceros with the tail of a crocodile and the head of a snake – at least that is how the pygmies describe this giant dinosaur, which apparently can even change its shape. In this occasionally comic documentary essay, Ballot turns out to be a tenacious investigator, who cross-examines the local population keenly and wants to install cameras to capture the Mokele-Mbembe. The French filmmaker Marie Voignier follows him without commentary, adding mystery to her portrait. Is the Mokele-Mbembe pure fiction, or does he perhaps really exist? Or is that question completely irrelevant and does the film show the confrontation between the empirically inclined Westerner and the pygmies, for whom tradition counts?

Kill List Ben Wheatley

United Kingdom, 2011 | colour, video, 95 min, English Prod: Claire Jones, Andrew Starke | Prod Comp: Rook Films, Warp X | Sc: Ben Wheatly, Amy Jump | Cam: Laurie Rose | Ed: Robin Hill | Prod Des: David Butterworth | Sound Des: Martin Pavey | Music: Jim Williams | With: Neil Maskell, MyAnna Buring, Harry Simpson, Michael Smiley, Emma Fryer, Struan Rodger | Print/Sales: Protagonist Pictures | Public SCREENINGS Fri 27-1 22:30 DJZ Thu 2-2 22:15 LUX Fri 3-2 22:30 CI1

Ben Wheatly is the new wonder boy of British cinema. He made his debut in 2009 with Down Terrace, a violent gangster comedy he financed himself. The sequel, the horror film Kill List, has the same qualities as his debut: a quasidocumentary style, naturalistic acting, partly improvised dialogues and a large dose of black humour. Wheatly based the last half of Kill List on the nightmares he had as a child. The sensitive and unemployed Jay, a troubled veteran who served in Iraq and Afghanistan, takes on a new job with his Irish mate Gal. But who is really the mysterious client of the two hitmen? With a ‘kill list’ in their hands, they travel through England. During the day they do their work stoically, at night they stay in cheerless hotels. Halfway through Kill List, the social realism changes into worrying supernatural horror. The strangest film of the year also has an ending which gives you plenty to talk about.



Bright Future

Black & White & Sex John Winter

iNterNAtiONAL PreMiere

Australia, 2011 | colour/b&w, DCP, 94 min, English Prod: Melissa Beauford, John Winter | Prod Comp: All At Once | Sc: John Winter | Cam: Nicola Daley | Ed: Adrian Rostirolla | Sound Des: Tony Vaccher, John Dennison, Craig Butters | Music: Caitlin Yeo | With: Katherine Hicks, Anya Beyersdorf, Valerie Bader, Roxane Wilson, Michelle Vergara Moore, Dina Panozzo, Saskia Burmeister | Print: Wintertime Films | Sales: All At Once | Public SCREENINGS Fri 27-1 19:152 PA3 Sat 28-1 09:452 PA5 Sun 29-1 21:302 PA2 Press & Industry SCREENING Tue 31-1 14:00 CI3

In a bare film studio, a director is standing ready with his crew for an interview with a prostitute. Shot in classic black & white, the documentary maker in Black & White & Sex interviews her at length, with various cameras and a barrage of questions. Eight different actresses portray one and the same woman: Angie, the eloquent prostitute. While the ladies are very different in their appearance, age and clothing, they are the same person with the same text. Yet each new woman heralds a new phase in the conversation between Angie and her interviewer – who has to bare all, literally and metaphorically. This film-within-a-film makes one suspect a classic Hollywood casting couch, but turns out primarily to be a confrontational, erotic and intellectual cinematographic striptease – partially inspired by Andy Warhol’s Screen Tests. A joy to watch thanks to the stylish camera work, the clever cutting, the well-thought-out dialogue and powerful actresses.

Sentimental Animal Wu Quan

iNterNAtiONAL PreMiere

China, 2011 | b&w, video, 108 min, Mandarin Prod: Wu Quan | Prod Comp: Gago Culture & Media Ltd. | Sc: Wu Quan | Cam: Zhang Yuedong | Ed: Wu Quan | Prod Des: Wu Quan | Sound Des: Wu Quan | Music: Li Zenghui | With: Xiao He, Liu Dan, Li Zenghui, Wu Ziyi, YangYang, Wu Qiyue, Mei Zhiyong | Print/ Sales: Gago Culture & Media Ltd. Public SCREENINGS Fri 27-1 14:45 CI6 Sat 28-1 10:00 CI4 Tue 31-1 15:00 CI6 Fri 3-2 13:45 LV1 Press & Industry SCREENING Thu 26-1 14:00 CI3


The fact that there are now signs of growing diversity in style, theme and approach in Chinese independent fiction film is clear from the first film by the versatile Wu Quan. In contrasty, very sharp black-and-white (shot by cameraman Zhang Yuedong, who directed the minimalist-absurdist Mid-Afternoon Barks), Sentimental Animal is a meticulously styled, occasionally sensitive and sometimes shocking allegory that will not easily be forgotten. Wu has made a film about the latter days of a Chinese patriarch. This former soldier and owner of the fish farm where the events take place became physically handicapped after a heroic deed. Although he can no longer speak and needs help from his nurse for virtually all his actions, he is still the respected leader of his clan. But now he is approaching his end and takes on his last, difficult task.


Bright Future


hikari no oto the Sound of Light Yamasaki Juichiro

iNterNAtiONAL PreMiere

Japan, 2011 | colour, video, 89 min, Japanese Prod: Kuwahara Hirotaka, Kano Kazuho, Takashi Okamoto | Prod Comp: Youkou Project | Sc: Yamasaki Juichiro | Cam: Tawara Kenta | Ed: Kuwahara Hirotaka, Yamasaki Juichiro | Sound Des: Kondo Takaoi | Music: Masuoka Ayako | With: Fujihisa Yoshitomo, Mori Eri, Masago Takeshi, Sato Toyokuki | Print/Sales: Youkou Project | Public SCREENINGS Tue 31-1 19:30 PA4 Wed 1-2 12:30 PA2 Thu 2-2 15:00 CI6 Fri 3-2 10:00 CI5 Press & Industry SCREENING Sat 28-1 22:00 CI3

Yusuke returns from Tokyo to the rural village in Okayama where his parents have a dairy farm. The enterprise has been in the family for generations. While Yusuke would most love to be a musician, he feels the family duty pressing on him; his father has had an accident and as eldest son he has to help out. The Kariya family farm is hemmed in between motorways and it turns out to be difficult to run a small-scale farm in an era of mass production and globalisation. In this very realistic, honest drama, we follow Yusuke in the uncertain period as he wrestles with his dreams for the future and his relationship with Yoko, who has a child with a man who was once going to be a dairy farmer – if he hadn’t had a fatal accident. In the run-up to the annual family tradition, standing together to watch the first sunrise in the New Year, the modest young man tries to make a decision about the rest of his life.

Der Fluss war einst ein Mensch

Germany, 2011 | colour, 35mm, 1:1.85, 83 min, English Prod: Benny Drechsel | Prod Comp: Rohfilm GmbH | Sc: Jan Zabeil, Alexander Fehling | Cam: Jakub Bejnarowicz | Ed: Florian Miosge | Sound Des: Uwe Bossenz | With: Alexander Fehling, Sariqo Sakega, Obusentswe Deamar Manyma, Babotsa Sax’twee, Nx’apa Motswai | Print/ Sales: Rohfilm GmbH | Public SCREENINGS Thu 2-2 20:00 CI2 Fri 3-2 09:30 PA7 Sat 4-2 21:30 PA7 Press & Industry SCREENING Wed 1-2 09:45 CI2

the river used to Be a Man Jan Zabeil In his feature debut, the young German Jan Zabeil follows in the footsteps of Werner Herzog. He travels with a tiny crew – an actor, a cameraman and a sound man – to Africa in order to seek adventure in the wilderness. His film is half documentary, half staged and largely improvised. Real and imagined events intertwine, and the result is like a nightmare about alienation and disorientation. A white young man, played by Alexander Fehling, slowly loses any sense of logic. He is a guest in Africa in the territory of all kinds of animals and can be consumed at any moment. When the old fisherman who takes him upstream disappears without trace, he is left on his own. A confrontation with his own fears and observations follows. But what exactly goes on inside him remains a closed book. Zabeil leaves most questions unanswered. A hellish journey through darkest Africa – without the exoticism being exploited.





Dernière séance Laurent Achard

France, 2011 | colour, DCP, 81 min, French Prod: Sylvie Pialat | Prod Comp: Les Films du Worso | Sc: Laurent Achard, Frédérique Moreau | Cam: Sabine Lancelin | Ed: Jean-Christophe Hym | Prod Des: Frédéric, Frédérique Lapierre | Sound Des: Xavier Griette, Mikaël Barre | With: Pascal Cervo, Charlotte Van Kemmel, Karole Rocher, Austin Morel, Brigitte Sy, Noël Simsolo | Print/Sales: Les Films du Losange | www.filmsdulosange. fr/inter/uk_lastscreening.html Public SCREENINGS Tue 31-1 22:30 LUX Thu 2-2 21:30 CI1 Fri 3-2 20:00 CI3 Sat 4-2 22:30 CI1

With his pale face, penetrating gaze and inscrutable expression, which is both sad and scary, he could have walked straight out of one of the old classics of the silver screen. Sylvain is the cinephile operator of a small neighbourhood cinema. French Cancan (1954) by Jean Renoir is one of his favourites. But his love for film also has a darker side. At night, he turns into a chilling murderer who preys on women who wear earrings. We are worried sick about the young actress who is about to make her debut in the play Phèdre by Jean Racine and innocently falls in love with Sylvain. Laurent Achard, who was given a Tiger Award in 1999 for Plus qu’hier, moins que demain, brings an ode to cinema with Dernière séance in the form of a modest yet no less exciting and nerve-wracking horror film. He supplely adapts genre conventions – for instance, there is a complete absence of thriller music, so the icy screams are even more devastating.

mercado de futuros Futures market Mercedes Álvarez

Spain, 2011 | colour, video, 110 min, Spanish/English Prod: Eva Serrats, Xosé Zapata, Ignacio Benedeti | Prod Comp: Leve Productora SL, Ignacio Benedeti Cinema | Sc: Arturo Redín, Mercedes Álvarez | Cam: Alberto Rodríguez | Ed: Pablo Gil Rituerto | Sound Des: Amanda Villavieja | Music: Sergio Moure | Print: Leve Productora SL | Sales: Península | Public SCREENINGS Thu 2-2 22:00 LV1 Fri 3-2 17:00 CI1 Sat 4-2 12:30 CI4 Press & Industry SCREENING Wed 1-2 22:15 CI3


The Greek poet Simonides of Ceos is remembered for his fabulous memory and as the founder of mnemonics. In Futures Market, Simonides’ reflections constitute the backbone of the commentary-free shots, which – in a well-paced edit – reflect on the past, present and future. The film shows an old house being divested of its valuable contents, which then end up at a second-hand market as a collection of random items. The footage of the trade in objects from the past alternates with futures trading. At the real estate exchange, men in suits sell houses that haven’t even been built yet and at the stock exchange, abstract numbers change owners during nervous phone calls. In the meantime, Simonides, timeless works of art and energetic market trader Jésus Castro comment on our increasingly hectic society.



the comedy Rick Alverson

INterNAtIONAL premIere

USA, 2011 | colour, video, 95 min, English Prod: Brent Kunkle, Mike S. Ryan | Prod Comp: Glass Eye Pix, Inc, Greyshack Films | Sc: Rick Alverson | Cam: Mark Schwartzbard | Ed: Rick Alverson, Michael Taylor | Prod Des: Shawn Annabel | Sound Des: Gene Parks | With: Tim Heidecker, Eric Wareheim, James Murphy, Kate Lyn Sheil, Alexia Rasmussen, Gregg Turkington | Print: Glass Eye Pix, Inc | Sales: Greyshack Films | Public SCREENINGS Wed 1-2 15:30 PA2 Thu 2-2 13:00 PA4 Fri 3-2 18:45 PA5 Sat 4-2 21:15 SGZ Press & Industry SCREENING Tue 31-1 14:30 DJZ


On the first day of shooting for The Comedy, director Rick Alverson (of the band Spokane) tweeted that his film was an ‘atrocity of cinema’. However, given the nature of the film, it is probable that his tongue was lodged firmly in cheek. Because, even if the main characters in The Comedy are played by the crème de la crème of American underground comedy, with Tim Heidecker (Tim and Eric Awesome Show, Great Job!) in the lead role, the film is primarily a sardonic look at the vacuousness of today’s allconsuming irony. Nothing is sacred for the almost apathetic Swanson (Heidecker) and his group of practically identically-clad friends: tennis shoes and polo shirts that fail to hide the beer guts emerging from underneath their pathetic blond beards. Seemingly emotionlessly, they deeply insult one another and others with jokes about any taboo that comes to mind. These men drift aimlessly just as Swanson does on the yacht that serves as his home.

Wuthering Heights Andrea Arnold

United Kingdom, 2011 | colour, 35mm, 1:1.33, 130 min, English Prod: Robert Bernstein, Douglas Rae, Kevin Loader | Prod Comp: Ecosse Films | Sc: Andrea Arnold, Olivia Hetreed, based on the novel by Emily Brontë | Cam: Robbie Ryan | Ed: Nicolas Chaudeurge | Prod Des: Helen Scott | Sound Des: Nicholas Becker | Music: Mumford & Sons | With: Kaya Scodelario, James Howson, Nichola Burley, Steve Evets, Oliver Milburn, Amy Wren, Solomon Glave | Sales: HanWay Films | Distr NL: Cinéart Netherlands Public SCREENINGS Sun 29-1 19:152 LUX Mon 30-1 09:30 PA7 Tue 31-1 15:00 PA6 Fri 3-2 19:30 LV5

d.s. d.s. d.s. d.s.

Andrea Arnold filmed Emily Brontë’s Wuthering Heights as the story was intended: dark and sensual. Words are barely audible, eyes see eyes, skin touches skin when no one is looking and the seething rain batters the windows. The heath outside is like an unknown land, where the mansions from Brontë’s original story have been replaced by derelict farms, closed off from the world. This eighteenth adaptation of the novel turns Heathcliff into even more of an outsider than he already was, as a result of casting the black actors Solomon Glave and James Howson as the young and older Heathcliff. The mood is more hostile than ever: the first time the kid appears, he gets spat in the face. Wuthering Heights was never about romantic love, Arnold stated in interviews, but about obsession. She managed to capture that obsession, that uninhibited, destructive energy.

Press & Industry SCREENING Wed 1-2 20:30 DWBZ




Febre do rato rat Fever Cláudio Assis

INterNAtIONAL premIere

Brazil, 2011 | b&w, 35mm, 1:1.85, 110 min, Portuguese Prod: Julia Moraes, Marcello Maia | Prod Comp: Belavista Cinema, Republica Pureza Filmes | Sc: Hilton Lacerda | Cam: Walter Carvalho | Ed: Karen Harley | Prod Des: Marcello Ludwig Maia | Sound Des: George Saldanha, Miriam Biderman, Ricardo Chuí | Music: Jorge Du Peixe | With: Irandhyr Santos, Matheus Nachtergaele, Nanda Costa | Print: Republica Pureza Filmes | Sales: Imovision Public SCREENINGS Sat 28-1 18:30 PA7 Sun 29-1 12:30 PA7 Tue 31-1 09:30 CI5 Fri 3-2 22:30 CI2 Press & Industry SCREENINGS Mon 30-1 15:00 DWBZ Thu 2-2 17:00 DJZ

Rat Fever is the alcohol-drenched story of an unrequited love. The poet Zizo, a pure-bred anarchist, is lost as soon as he meets the sober Eneida. She doesn’t mind being his muse, but she won’t go any further than that – whereas in Zizo’s circle of friends, made up of social losers, Bohemians and other proud outsiders, everyone goes to bed with everyone else. Meanwhile, Zizo is busy with his dubious battle against ‘the system’, using his self-published newsletter ‘Febre do rato’ and a series of subversive street performances that primarily seem to reach his own friends. Once again, Tiger-Award winner Cláudio Assis (Bog of Beasts, 2007) films in his own region, north-eastern Brazil. He portrays Recife as a clammy, stupefying city filled with filthy slums. But Rat Fever has more optimism and humour than the raw Bog of Beasts. Zizo and his friends make the best of it; their high-spirited battle for ‘freedom, anarchy and sex’ turns Rat Fever into a feverish, erotic manifesto.

A vingança de uma mulher

INterNAtIONAL premIere

Portugal, 2011 | colour, DCP, 100 min, Portuguese Prod: Joana Ferreira | Prod Comp: C.R.I.M. | Sc: Rita Azevedo Gomes | Cam: Acácio Almeida | Ed: Patrícia Saramago | Prod Des: Pedro Sá | Sound Des: Joaquim Pinto | With: Rita Durão, Fernando Rodrigues | Print/Sales: C.R.I.M. | Public SCREENINGS Tue 31-1 19:45 PA6 Thu 2-2 19:15 SGZ Fri 3-2 18:30 PA2 Sat 4-2 22:30 CI4 Press & Industry SCREENING Mon 30-1 09:30 PA6


A Woman’s revenge Rita Azevedo Gomes The 19th-century dandy-writer Jules Barbey d’Aurevilly was specialised in short stories about monarchist aristocracy who had lost their power but not their money and who of course surrendered to morally irresponsible behaviour. Recently, Catherine Breillat also based the film Une vieille maitresse on the work of Barbey d’Aurevilly, and A Woman’s Revenge has already been filmed in 1921 by Robert Wiene. Several stories from the anthology Les diaboliques, which was immediately confiscated in 1874, have the structure of a story in a story – also this one. Rita Azevedo Gomes sticks fairly close to the original text in a solemn, theatrical yet also picturesquely beautiful style reminiscent of De Oliveira or Eugène Green. Roberto is a handsome, wealthy man of the world. He is arrogant and easily bored. Yet one evening his attention is attracted by a prostitute who turns out to be a missing noblewoman. She tells her story: a marriage without passion, an affair, a shocking murder and ultimate revenge.




Visiting room Alexandru Baciu, Radu Muntean

eurOpeAN premIere

Romania, 2011 | colour, video, 60 min, Romanian Prod: Andrei Cretulescu, Carmen Harabagiu, Aurelian Nica | Sc: Alexandru Baciu, Radu Muntean | Cam: Tudor Lucaciu, Diana Vidrascu | Ed: Alexandru Radu | Sound Des: Electric Brother | Music: Electric Brother | Print/Sales: HBO Romania | Public SCREENINGS Mon 30-1 14:452 CI1 Wed 1-2 21:302 PA2 Fri 3-2 09:302 PA6 Sat 4-2 19:152 SGZ Press & Industry SCREENING Sat 28-1 16:15 DJZ

Radu Muntean and his resident coscriptwriter Alexandru Baciu produced fiction about complex love relationships in unadorned scenes that were spun out at length in the films The Paper Will Be Blue, Boogie and Tuesday, After Christmas. The Romanian HBO documentary Visiting Room shows that love goes where it almost can’t: as far as jail. Two prisoners maintain an intimate love affair for years. By writing to each other. Sometimes five letters a week, many pages, and with life-size sketched hearts. They explain how it started, after they happened to see each other on a photo. How creatively they had to work to meet each other physically. And how they even got married. Love knows no barriers, maybe specifically for those who are surrounded by iron bars every day. Muntean and Baciu record the love stories without judging, in a transparent, detached style. They manage to keep their distance and at the same time penetrate deeply to the soul of these prisoners, for whom love seems to be their only hope.

38 témoins 38 Witnesses Lucas Belvaux

WOrLD premIere

France/Belgium, 2012 | colour, 35mm, 1:2.35, 104 min, French Prod: Patrick Sobelman, Patrick Quinet, Yvan Attal | Prod Comp: AGAT Films & Cie, Artémis Productions, Films sous influence | Sc: Lucas Belvaux, based on a novel by Didier Decoin | Cam: Pierric Gantelmi d’Ille | Ed: Ludo Troch | Prod Des: Frédérique Belvaux | Sound Des: Henri Morelle | Music: Arne Van Dongen | With: Yvan Attal, Sophie Quinton, Nicole Garcia, François Feroleto, Natacha Régnier, Patrick Descamps, Didier Sandre | Sales: Films Distribution | Distr NL: Cinéart Netherlands Public SCREENINGS Mon 30-1 13:00 PA1 Tue 31-1 12:30 PA2 Press & Industry SCREENING Mon 30-1 18:30 DWBZ

Outside an apartment complex in the French port city of Le Havre, a female student is gruesomely murdered in the middle of the night. The complex’s 38 inhabitants say they heard or saw nothing. Until one of them, the introverted pilot Pierre (Yvan Attal), decides to break the silence. He admits to the police that he was awakened by a desperate, primeval cry. A cry that cannot have escaped his neighbours’ attention. But why did they, just like Pierre, not come to the victim’s aid? Why do they collectively deny having witnessed the murder? Due to cowardice, shame or fear? These questions haunt the traumatised Pierre, and director Belvaux (The Trilogy) states them openly. His book adaptation (the opening film at IFFR 2012) is an unbiased investigation. Why do people tend to want to hush up certain events? 38 Witnesses is a thorough, psychological study and a claustrophobic murder mystery in one. The understated cinematography and subdued soundtrack subtly increase the tension.




small roads James Benning

eurOpeAN premIere

USA, 2011 | colour, video, 103 min, no dialogue Prod: James Benning | Cam: James Benning | Ed: James Benning | Sound Des: James Benning | Print/Sales: James Benning Public SCREENINGS Sat 28-1 18:15 PA6 Sun 29-1 22:00 LV1 Mon 30-1 12:30 CI6 Thu 2-2 19:45 LV6 Press & Industry SCREENING Wed 1-2 11:00 DJZ

The ne plus ultra of road movies, small roads is precisely what its title indicates. James Benning claims his film is best described by making a list of the 47 roads in question and the cars that drive on them, which together denote a circular journey through America’s west and south over the seasons. But let’s speak in grander terms: small roads is digital cinema as virtuoso landscape painting, depicting each two-lane blacktop from a central perspective, each 16:9 countryside highway glistening under the hot sun, shrouded in fog, or coated with a dusting of mid-winter snow. In its execution, small roads most resembles Benning’s final 16mm masterpiece RR, in that the action (or here, stasis) inside the frame determines the length of each shot; but with each shot being a careful, invisible digital composite, the suddenly prolific Benning is up to more than just ‘looking and listening’.

L’ Apollonide – Souvenirs de la maison close House of tolerance Bertrand Bonello

France, 2011 | colour, 35mm, 1:1.85, 122 min, French Prod: Kristina Larsen | Prod Comp: Les Films du Lendemain | Sc: Bertrand Bonello | Cam: Josée Deshaies | Ed: Fabrice Rouaud | Music: Bertrand Bonello | With: Noémie Lvovsky, Hafsia Herzi, Jasmine Trinca, Céline Sallette, Adèle Haenel, Alice Barnole, Iliana Zabeth | Sales: Films Distribution | Distr NL: O’Brother Distribution | Public SCREENINGS Tue 31-1 16:00 LUX Thu 2-2 10:15 PA1 Fri 3-2 18:45 SGZ Sat 4-2 16:30 CI7 Press & Industry SCREENING Wed 1-2 15:00 DWBZ


Fin de siècle enters the exclusive Paris brothel of Madame Marie-France and her affluent, eccentric clients (among whom attentive viewers will recognise the occasional French filmmaker). The opulent decor and company of young women suggest a cocoon of timeless pleasure where the outside world no longer exists. But the Madam has to pay her rent and the end of an era nears, even here. Bertrand Bonello primarily wanted to reveal this closed world from the point of view of the prostitutes. More important than the clients are the more mundane sides of the business – exhaustion, washing, fear of disease. Bonello shows the camaraderie, gossiping about clients and hope the women have that one day they will be able to pay off their debts to the Madam. The prostitute who was maimed by a client is tragic: now she has a scar in the form of a cruel smile, borrowed by Bonello from The Man Who Laughs (Paul Leni, 1928), based on the novel by Victor Hugo.



rua Aperana 52 Júlio Bressane

WOrLD premIere

Brazil, 2012 | b&w, video, 80 min, Portuguese Prod: Júlio Bressane | Sc: Julio Bressane | Cam: David Pacheco | Ed: Rodrigo Lima | Sound Des: Aurélio Dias | Music: Lívio Tragtenberg, Guilherme Vaz | With: Fernando Eiras, Giulia Gam, Drica Moraes, Maria Gladys, Joel Barcelos João Rebello, Caetano Veloso | Print/Sales: Júlio Bressane Public SCREENINGS Sun 29-1 14:15 CI1 Mon 30-1 17:00 CI5 Wed 1-2 20:00 CI7 Fri 3-2 15:15 LV3 Press & Industry SCREENING Fri 27-1 14:00 DJZ


In his film Rua Aperana 52 Júlio Bressane describes the invention of a landscape, the topology of a corner of Rio de Janeiro. The film consists of a series of photographs taken between 1909 and 1955 by, among others, Bressane’s parents at and around the address used as a title. These are interlarded with scenes from films made between 1957 and 2005, bringing the total fictional time the film covers to almost a century; one hundred years in which the winding road featured in almost every shot structures the new landscape behind the Aperana, which means ‘wrong road’. Rua Aperana 52 is autobiographical, as it is a landscape from Bressane’s youth, but it is also not so; it is more a multi-subjective mythology of a place seen through all those films and photographs. Bressane refers to his editing as an intuitive form of thinking aimed at evoking moods which make the viewer the new witness of the fictional landscape. A fiction about a fiction.

Way of passion Joerg Burger

Austria, 2011 | colour, video, 89 min, Italian Prod: Joerg Burger | Sc: Joerg Burger | Cam: Joerg Burger, Johannes Hammel | Ed: Joerg Burger | Music: Walther Soyka, Karl Stirner | Print/Sales: sixpackfilm | Public SCREENINGS Fri 27-1 10:30 LV1 Sat 28-1 20:00 CI7 Sun 29-1 11:45 SGZ

Trapani, Sicily. The men of the town prepare for the Easter procession. Clothes are remodelled and the immense statues that have to be carried on their shoulders through the narrow streets of the town during the procession have to be repaired. This annual procession has taken place for 400 years, a tradition that is cherished. It’s a great honour to be chosen as one of the bearers, be it a heavy and emotional task. Joerg Burger follows the preparations and the procession itself, that lasts all night. His floating camera follows the events without commentary: not only is there no narrator, but in the film itself barely a word is said. The film focuses on the extreme devotion and worship that grips Trapani for 24 hours, both for Christ as for the bearers who now briefly have to take his place.




A Shape of error Abigail Child

WOrLD premIere

USA/Italy, 2012 | colour, video, 70 min, English Prod: Abigail Child | Sc: Abigail Child | Cam: Abigail Child | Ed: Abigail Child, Yael Bitton, Mary Patierno | Prod Des: Abigail Child | Sound Des: Abigail Child, Gisburg | Music: Zeena Parkins | With: Eileen Ryan, Nick Wilding, Aurelia d’Antonia, Richard Wittman | Print/Sales: Abigail Child | Public SCREENINGS Sun 29-1 18:15 PA6 Mon 30-1 10:00 LV3 Wed 1-2 12:30 CI6 Fri 3-2 12:30 CI5 Press & Industry SCREENING Thu 2-2 16:00 CI3

Abigail Child uses home-movie aesthetics to reconstruct a life in a time when film still had to be invented. Based on diary notes by Mary Shelley (1797-1851) and her stepsister Claire, she filmed the problems of love, pregnancies, babies who died and the written work of these women, who were very emancipated for their day. Child focuses primarily on Mary’s intense love affair with Percy Shelley in the years when she was also writing her classic gothic novel, Frankenstein (1818). The form of A Shape of Error is playful and adventurous, with split screen shots filled with doublings and mirrors, chronological facts in inter-titles and Mary’s poetic voiceover. For Child, the authenticity of the home video is a way to create intimacy. At the same time, her film is a self-reflective investigation of this authenticity, as she previously did in The Future Is Behind You. A Shape of Error is the first part of a trilogy about women and ideology, in which Shelley’s biography tackles Romanticism.

A Dangerous method David Cronenberg

France/Ireland/United Kingdom/ Germany/Canada, 2011 | colour, DCP, 93 min, English Prod: Jemery Thomas, Marco Mehlitz, Martin Katz | Prod Comp: Recorded Picture, Lago Film, Prospero Pictures | Sc: Christopher Hampton, based on his play and a book by John Kerr | Cam: Peter Suschitzky | Ed: Ronald Sanders | Prod Des: James McAteer | Music: Howard Shore | With: Viggo Mortensen, Keira Knightley, Michael Fassbender, Vincent Cassel | Sales: HanWay Films | Distr NL: Cinéart | Public SCREENINGS Fri 27-1 18:30 PA2 Sat 28-1 13:00 PA1 Tue 31-1 22:00 PA1 Wed 1-2 22:30 CI7 Fri 3-2 19:45 LV6 Press & Industry SCREENING Mon 30-1 12:15 CI2


The Canadian David Cronenberg, known from horror films such as Videodrome (1983) and The Fly (1986) and violence studies such as A History of Violence (2005) and Eastern Promises (2007), provides a surprise with a modest adaptation of the play The Talking Cure by Christopher Hampton, who personally rewrote it as a screenplay – just as he did with his Oscar-winning screenplay for Stephen Frears’ Dangerous Liaisons (1988). A Dangerous Method looks at the early period of psychoanalysis and the fruitful clash between Sigmund Freud (played by Cronenberg regular Mortensen) and his critical follower Carl Gustav Jung (a controlled Fassbender). The story focuses on the ‘hysterical’ Sabina Spielrein (Knightley), who is treated successfully by Jung using Freud’s insights, then embarks on a secret relationship with her married doctor and later becomes a famous feminist psychoanalyst herself. With great attention for the early 20thcentury settings in Jung’s Zurich and Freud’s Vienna.



mondomanila Khavn De La Cruz

INterNAtIONAL premIere

Philippines/Germany, 2011 | colour, video, 75 min, Filipino Prod: Khavn De La Cruz | Prod Comp: Kamias Road | Sc: Norman Wilwayco, Khavn de la Cruz | Cam: Albert Banzon | Ed: Lawrence S. Ang | Sound Des: Dante Perez, Roland Rubenecia, Mei Bastes | Music: Malek Lopez, Khavn de la Cruz | With: Tim Mabalot, Marife Necesito, Palito, Alex Tiglao | Sales: Kamias Road | Distr NL: Hubert Bals Fund Public SCREENINGS Thu 26-1 20:00 CI6 Fri 27-1 12:302 CI6 Sat 28-1 12:452 CI7 Press & Industry SCREENINGS Mon 30-1 09:00 CI5 Tue 31-1 21:00 CI3


Life in the slums of large Third World cities has been filmed in many different ways, but never before was a musical made about it. Khavn De La Cruz has been involved since 2003 with a unique celebration of the lives of losers in the ghettos of Manila, the Filipino capital. Characters like the teenager Tony D and his depraved friends. There’s Lovely Loanshark, the gambling addict, a slum milker who’s always screaming. Sgt. Pepper is a policeman and (to his great dismay) the father of only daughters and a gay son. There’s Steve Banners, the old white pederast, and Ogo X, the misformed rapper. Mondomanila got support from HBF a long time ago and was finally made with mainly private money. The film shows a colourful, occasionally almost glamorous but also violent, rancid and perverse society in the gutter, in flashy, fast-cut scenes, with absurd dialogues and bizarre events. Khavn shakes up film styles to his heart’s content: exuberant video clips, grubby film noir, hyper-realistic documentary and even slapstick – linked by an original story and rousing music.

Siglo ng pagluluwal century of Birthing Lav Diaz

Philippines, 2011 | b&w, DCP, 355 min, Tagalog Prod: Lav Diaz | Prod Comp: Sine Olivia Pilipinas | Sc/Cam/Ed: Lav Diaz | Prod Des: Dante Perez, Perry Dizon, Hazel Orencio | Sound Des/ Music: Lav Diaz | With: Angel Aquino, Joel Torre, Perry Dizon, Hazel Orencio, Angeli Bayani | Print/Sales: Sine Olivia Pilipinas Public SCREENINGS Mon 30-1 17:30 CI6 Wed 1-2 09:45 CI7

The films of Lav Diaz often tell serious epic stories, but they are still not entirely free from humour and satire. For instance in this film, Diaz takes the mickey out of festival programmers and also sketches a picture of himself that is not entirely free from self-mockery. The film has two or three stories (also a film in the film) and one of them focuses on the filmmaker Homer, who very much resembles Lav Diaz himself. The tortured filmmaker wrestles with completing his film. Despite pleas from those around him and from eager programmers, he continues to refuse to regard his film as finished. Alongside the story about a nun in the film on which Homer is working, there’s another story about the religious leader Father Turbico. Turbico leads a sect in the countryside that is primarily made up of young women. When one of the women wants to leave the sect, a dramatic situation ensues. By telling the stories in parallel, similarities become visible between Homer’s struggle with cinema and Turbico’s struggle with faith.




Florentina Hubaldo, cte Lav Diaz

WOrLD premIere

Philippines, 2012 | colour, video, 300 min, Tagalog Prod: Lav Diaz | Prod Comp: Sine Olivia Pilipinas | Sc/Cam/Ed: Lav Diaz | Prod Des: Dante Perez | Sound Des: Willy Fernandez | With: Hazel Orencio, Kristine Kintana, Noel Sto. Domingo, Willy Fernandez, Joel Ferrer, Dante Perez | Sales: Sine Olivia Pilipinas | Distr NL: Hubert Bals Fund Public SCREENINGS Sun 29-1 17:30 CI6 Tue 31-1 09:45 CI7 Press & Industry SCREENING Fri 27-1 13:00 CI3

Few filmmakers make films as long as those of Lav Diaz. Six hours is not even particularly long within his oeuvre. He has films to his name that are twice that long. And even fewer filmmakers would want to reshoot a film they’ve already made. Yet that’s what happened here. Lav Diaz shot a first version of Florentina Hubaldo, CTE in 2009. Once he had a HD camera, he decided to shoot the film again. Another long film. Back to distant and inhospitable locations. It says a lot about this filmmaker’s commitment that he does not make life easy for himself when telling his epic social dramas. Florentina Hubaldo, CTE has several protagonists. There are the two construction workers, Manoling and Juan, who have become unemployed and left the city to go digging for treasure. There’s the shopkeeper Manang Nena who makes her daughter become a prostitute. And the Harvard-business student Briggs who takes over his family’s feudal company. Stories that show the extreme aspects of the Philippines.

monsieur Lazhar Philippe Falardeau

Canada, 2011 | colour, DCP, 94 min, French Prod: Luc Déry, Kim McCraw | Prod Comp: micro_scope | Sc: Philippe Falardeau, based on the play Bashir Lazhar by Evelyne de la Chenelière | Cam: Ronald Plante | Ed: Stéphane Lafleur | Prod Des: Emmanuel Fréchette | Sound Des: Pierre Bertrand, Mathieu Beaudin, Sylvain Bellemare, Bernard Gariépy Strobl | Music: Martin Léon | With: Mohamed Fellag, Sophie Nélisse, Émilien Néron, Danielle Proulx, Brigitte Poupart | Sales: Films Distribution | Distr NL: Imagine Nederland | Public SCREENINGS Tue 31-1 19:302 LUX Wed 1-2 09:30 PA7 Thu 2-2 22:15 PA3 Sat 4-2 20:00 CI3

d.s. d.s. d.s. d.s.

Press & Industry SCREENING Tue 31-1 09:30 PA2 d.s.


A primary-school class is horrified by a most unpleasant event. Simon finds his teacher Martine after she has hung herself in the classroom. Her replacement, the strict yet fair Algerian immigrant Bachir Lazhar, first tries to teach the children the literature of Honoré de Balzac. In vain, as they have other things on their mind. The suicide left a deep wound, especially on Simon and Alice. Bachir is himself in the meantime wrestling with family problems and can be thrown out of the country at any moment. Even if the serious themes of loss, death, guilt and innocence make one think otherwise, this film based on a play by Evelyne de la Chenelière is charming, tender and at times even strikingly humorous. The good-natured Bachir is played subtly and movingly by Mohamed Fellag. Falardeau manages to stimulate Émilien Néron (Simon) and Sophie Nélisse (Alice) to play very profound roles, as he had done previously with the child actors in It’s not me, I swear! The result is a loving, warm audience film like Être et avoir.



Nick Fow Pyng Hu

WOrLD premIere

Netherlands, 2012 | colour, DCP, 84 min, Dutch Prod: Frans van Gestel | Prod Comp: Topkapi Films | Sc: Fow Pyng Hu | Cam: Benito Strangio | Ed: Menno Boerema, Edon Riznavolli | Prod Des: Billy Leliveld | Sound Des: Ranko Paukovic | Music: Mick Witkamp | With: Merijn de Jong, Luna Mijovic, Elisa Beuger, Marcel Hensema, Maarten Heijmans | Sales: Topkapi Films | Distr NL: Wild Bunch Benelux | Public SCREENINGS Sun 29-1 19:00 PA1 Mon 30-1 10:30 PA4 Tue 31-1 16:00 LV1 Fri 3-2 17:00 LV6 Press & Industry SCREENING Sat 28-1 16:15 CI3

‘I’m just here for the ride, I don’t mean anything I say’, says intelligent, elusive, conceited, cynical Nick to the beautiful Monie during a date that – again – gets completely out of hand. ‘Just get lost,’ she snarls at him. ‘Go back to your mother.’ Nick works as a sous-chef in a restaurant; he is good and he knows it. He thinks all the others are useless, and has hardly any respect for his boss, Wim. One day, an argument gets hopelessly out of hand in the kitchen, and Nick runs off with pretty young Croatian waitress Kristina, heading south to look for white truffles in the vast Croatian forests. And to find himself. The third feature by Fow Pyng Hu (Jacky, Paradise Girls) is an intriguing combination of character study and road movie, with powerful performances by Merijn de Jong (Nick) and Marcel Hensema (Wim). The beautiful photography by Benito Strangio, especially the curious dream sequences, contribute to the special mood, as do the sound design and music.

Hoy no tuve miedo today I Felt no Fear Iván Fund

Argentina, 2011 | colour, video, 122 min, Spanish Prod: Iván Eibuszyc | Prod Comp: Frutacine | Sc: Iván Fund | Cam: Iván Fund, Eduardo Crespo | Ed: Lorena Moriconi, Ivan Fund | Prod Des: Marianela Castellano, Araceli Castellano | Sound Des: Pablo Setton, Abel Torrtorelli | Music: Iván Fund | With: Marianela Castellano, Belen Werbach, Araceli Castellano, Lilian Keller, Hugo Fund | Print/Sales: Frutacine Public SCREENINGS Thu 26-1 19:45 CI1 Fri 27-1 14:00 SGZ Sat 28-1 12:00 CI5 Fri 3-2 21:30 PA2

In the first half of this intimate study of everyday life on the outskirts of a small provincial town, we follow the sisters Ara and Marian and their girlfriend Belén with her dog Lulu. The lyrically photographed Today I Felt No Fear emerges as a collection of impressions and moods. Journeys on mopeds along sandy tracks, work, hanging out with friends, family photos, dancing, preparations for Christmas. A jacket found in a second-hand shop will lead the two sisters to meet their father again. Iván Fund’s specific style – poetic and impressionistic – can be seen even more clearly in the second part, in which he plays with documentary and fiction. A woman’s visit to a psychiatrist is juxtaposed with a flood of images – workers, landscapes and above all many parties. A film crew appears on screen and we even catch a glimpse of the actresses from the first half. This is Fund’s first solo direction. The film he directed with Santiago Loza, The Lips, was screened in Rotterdam last year.




patience (After Sebald) Grant Gee

United Kingdom, 2011 | colour/ b&w, video, 82 min, English Prod: Gareth Evans, Di Robson, Sarah Caddy | Prod Comp: Artevents | Ed: Jerry Chater, Grant Gee | Music: The Caretaker | Print/ Sales: Soda Pictures | www. Public SCREENINGS Wed 1-2 18:15 PA6 Thu 2-2 11:45 CI1 Fri 3-2 17:30 CI4 Sat 4-2 09:15 LV1

The point of departure for Grant Gee’s latest film, after his award-winning documentary Joy Division, is W.G. Sebald’s book The Rings of Saturn, a description of the latter’s long hiking tour of East Anglia. The film follows Sebald’s route, but as is the case in the book, the landscape and the places the author visited occasion contemplations. Some twenty writers, artists and other creative minds. including authors Rick Moody and Iain Sinclair, theatre director Katie Michell and artists Tacita Dean and Lise Patt, explain Sebald’s impact on their work. They also provide their interpretations of the book which, besides recording a walk, is also a sightseeing tour of the horrors of the twentieth century. The commentaries, the excerpts read by Jonathan Pryce and fragments of interviews with the German writer – who died in 2001 – create an impression of an original thinker who managed to shape his fascination with and fear of catastrophes in an exceptional manner.

un amour de jeunesse Goodbye First Love Mia Hansen-Løve

France, 2011 | colour, DCP, 110 min, French Prod: David Thion, Phillipe Martin | Prod Comp: Les Films Pelléas, Razor Film Produktion GmbH | Sc: Mia Hansen-Løve | Cam: Stéphane Fontaine | Ed: Marion Monnier | Prod Des: Mathieu Menut, Charlotte de Cadeville | Sound Des: Vincent Vatoux, Olivier Goinard | With: Lola Créton, Sebastian Urzendowsky, Magne-Håvard Brekke, Valérie Bonneton, Serge Renko, Özay Fecht | Sales: Films Distribution | Distr NL: Lumière Public SCREENINGS Thu 2-2 10:152 PA3 Fri 3-2 21:302 PA7 Sat 4-2 15:302 PA7


Camille (15) and Sullivan (19) have a passionate affair, overshadowed by her fatalistic insecurity and his need for freedom. Sullivan travels to South America in an attempt to discover himself and the initially regular flow of letters comes to an abrupt end, just like the relationship. The film follows the hopelessly romantic Camille (‘Love is everything to me, it’s my only reason to live’) in the following years, when she throws herself successfully into her study of architecture in Paris. She doesn’t have a serious relationship and doesn’t seem to want one until she falls in love with her teacher. The love – based on mutual interest and admiration – results in a stable and hopeful relationship and the two even move in together. But then Sullivan turns up and the old, confusing feelings come back to the surface. Mia Hansen-Løve (All Is Forgiven, Le père de mes enfants) records the overpowering, illogical, uncontrollable and finally impossible love.



When the Lights Went Out Pat Holden

WOrLD premIere

United Kingdom, 2012 | colour, DCP, 85 min, English Prod: Deepak Nayar, Bil Bungay | Prod Comp: See No Evil Productions | Sc: Pat Holden | Cam: Jonathan Harvey | Ed: Rob Hall | Prod Des: Jane Levick | Sound Des: Marc Lawes | Music: Marc Canham | With: Kate Ashfield, Steven Waddington, Tasha Connor, Andrea Lowe, Craig Parkinson, Gary Lewis | Print/Sales: SC Films International | Public SCREENINGS Tue 31-1 21:45 PA5 Wed 1-2 17:30 CI6 Thu 2-2 21:45 PA5 Sat 4-2 21:45 LV1 Press & Industry SCREENING Mon 30-1 16:15 DJZ


Loosely based on the Black Monk of Pontefract, a ghost who afflicted the county of Yorkshire in northern England in the 1960s and 1970s, When the Lights Went Out tells the story of the Maynard family. Father Len, mother Jenny and daughter Sally move into their dream house, but soon come across an uninvited ‘presence’. The twist comes when the invisible housemate makes friends with 12-yearold Sally. The film reveals a meticulously designed 1970s art direction that also guarantees the necessary humour, for instance in the discussions between man and wife about the colour in the kitchen must be: is it avocado or just plain green? The film mixes the tight and effectively included ghost elements (forms suddenly popping up, flickering lamps, furniture moving on its own) with a northern sobriety that is exceptional for the genre. In this way, an unwilling priest is convinced in an unusual manner to cooperate by performing an exorcism.

Buk-chon-bang-hyang the Day He Arrives Hong Sang-Soo

South Korea, 2011 | b&w, 35mm, 1:1.85, 79 min, Korean Prod: Kim Kyoung-Hee | Prod Comp: Jeonwonsa | Sc: Hong Sang-Soo | Cam: Kim Hyung-Koo | Ed: Hahm Sung-Won | Sound Des: Kim Mir | Music: Jeong Yong-Jin | With: Yu Jun-Sang, Kim Sang-Joong, Song Sun-Mi, Kim Bo-Kyung | Print/Sales: Finecut Co, Ltd | Public SCREENINGS Fri 27-1 13:30 PA4 Sat 28-1 22:00 SGZ Sun 29-1 14:00 LUX Fri 3-2 16:15 PA3 Press & Industry SCREENING Wed 1-2 12:00 CI2

Hong Sang-Soo makes films about filmmakers who make films, but also about filmmakers who don’t make films. After Woman on the Beach and Like You Know It All, his The Day He Arrives also slots into this category. In charming black-and-white, Hong follows the young director Seongjun, who after making four films has decided to work as a teacher. He’s not sure if he has stopped filming or whether he just can’t do it any more. That’s barely relevant: Hong’s film about Seongjun also surreptitiously turns into his own new film. The Day He Arrives is a kind of Groundhog Day, in which Seongjun bumps into several actresses and his ex-girlfriend, drinks himself stupid and experiences plenty of sexual excesses. It’s not really clear whether he keeps living through the same event, or that events are completely new to him each time. Hong shows his most self reflective side here. Even though he makes consistent films about the construction of films, he gives them a fresh twist every time.




Lacan palestine Mike Hoolboom

WOrLD premIere

Canada, 2012 | colour/b&w, video, 70 min, English Prod: Mike Hoolboom | Cam: Philip Hoffman | Ed: Mike Hoolboom | Music: Machinefabriek | With: Mike Cartmell | Print/Sales: Mike Hoolboom | Public SCREENINGS Mon 30-1 15:00 CI4 Tue 31-1 10:00 CI4 Wed 1-2 22:30 LV2 Press & Industry SCREENING Sun 29-1 09:00 CI3

The foundation of Palestine has a long and difficult history, characterised by a continuing battle for the right to exist. In this cinematographic essay, entirely composed of found-footage material, the history of a land without land is sketched, with its painful relationship with its neighbour Israel. Epic scenes from features, iconic news footage of historic moments, the ever-changing map of Israel, video art by Velcrow Ripper, Elle Flanders and Dani Leventhal, but also very personal recordings of everyday survival, are linked together by the psychoanalytic reflections of filmmaker Mike Cartmell, based on his own painful personal history. From his background as an adopted child, he wonders when you become someone, and how society can emerge from individuals; he compares the functioning of a complex society with that of John Coltrane’s jazz combo, in which even five super-egos managed to achieve harmony. In Mike Hoolboom’s view of Palestine, love and violence exist side-by-side, as a matter of course.

I’m Still Alive Peter van Houten

WOrLD premIere

Netherlands, 2012 | colour/b&w, video, 86 min, English/Polish Prod: Peter van Houten | Prod Comp: Anna-Zharkov-Film | Sc: Peter van Houten | Cam: Peter van Houten | Ed: Peter van Houten | Prod Des: Peter van Houten | Sound Des: Paul Gerrits, Rut Uijtendaal | Music: Z. Preisner | Print/Sales: Anna-Zharkov-Film Public SCREENINGS Tue 31-1 17:15 LV2 Wed 1-2 10:00 CI6 Thu 2-2 22:30 LV2 Press & Industry SCREENING Sun 29-1 11:00 CI3


A poetic and visual portrait of the old Polish woman Jadwiga Kubis Waslicka. Her life coincided with the 20th century. The great movements of history, such as communism, capitalism and fascism, meant she had to roam Europe from Poland via Germany and the United Kingdom to Holland. Now she’s back in her homeland, in Warsaw. She is old. Her body is decaying and she’s basically waiting until the angels come to fetch her. The filmmaker is aware of Jadwiga’s old age and approaching demise, but he also sees much beauty in her appearance. He juxtaposes her wrinkled face with the guilty Polish landscape. At the most intimate of moments, he does not look away and continues to seek beauty in fragility. The woman no longer leaves her house, but the filmmaker does. He brings images and sounds back that tell us things about her life, but without words. Images that mix the suffering from the past with the suffering now.



tao jie

A Simple Life Ann Hui

Hong Kong, 2011 | colour, DCP, 117 min, Cantonese Prod: Pui-wah Chan, Ann Hui, Roger Lee | Prod Comp: Bona Film Group Limited, Focus Films Limited, Sil-Metropole Organisation Ltd. | Sc: Susan Chan, Roger Lee | Cam: Yu Lik-wai | Ed: Kong Chi-leung, Manda Wai | Prod Des: Albert Poon | Sound Des: Tu Duu-chih | Music: Law Wing-fai | With: Andy Lau, Deanie Yip, Qin Hailu, Wang Fuli, Paul Chiang, Leung Tin | Sales: Distribution Workshop | Distr NL: ABC – Cinemien Public SCREENINGS Sun 29-1 13:00 PA1 Wed 1-2 22:15 PA4 Thu 2-2 15:45 PA7 Press & Industry SCREENING Tue 31-1 09:30 CI3

Ann Hui lives in Hong Kong and, in an observing style and with mild humour, she tells a minor family tale that is based on true events from the life of the film producer Lee, who co-wrote the film. Deanie Yip won a prize in Venice as the best actress for her role as an ageing amah, a lifelong help in the household of the family of whom only the young film producer (played by the superstar Lau) is still living in Hong Kong. Yip and Lau have played mother and son in several films and on television, and that familiarity is visible in this similar, loving relationship. When the amah has a seizure and has to go to a nursing home, the roles are slowly reversed and both have to adapt. The carefully told story pays great attention to the details of everyday life and also allows space for secondary figures. In between, we get a glimpse behind the scenes of the Hong Kong film industry, including a cameo role for director Tsui Hark.


return to murder Dain Iskandar Said

eurOpeAN premIere

Malaysia, 2011 | colour, 35mm, 1:1.85, 97 min, Malay Prod: Nandita Solomon | Prod Comp: Apparat | Sc: Dain Said | Cam: Jarin Pengpanitch | Ed: H.K Panca | Sound Des: Vincent Poon | Music: Tan Yan Wei | With: Faizal Hussein, Zahril Adzim, Pekin Ibrahim, Bront Palarae, Namron, Wan Hanfisu, Hushairy Hussein | Sales: Arclight Films (IFTA) | Distr NL: Universal Pictures International Netherlands BV | Public SCREENINGS Wed 1-2 17:00 SGZ Fri 3-2 19:30 LUX Sat 4-2 19:15 PA3 Press & Industry SCREENING Tue 31-1 11:30 DWBZ

Dain Said’s film is about three Malaysian brothers who all have their own ways of dealing with the other two, and all three also have links with the underworld. It has an unmistakably classic dimension. Adil is the youngest of the three and decides to fight a kick-box contest for financial reasons. But when he resigns from the contest earlier than agreed, the Mafia hitman Ilham is sent after the kid. The man turns out to be his half-brother. Bakar is the eldest of the three and meanwhile pretends to be looking after their very ill father in their birthplace Bunohan (which means ‘murder’). In reality, he is trying to acquire ownership of a few hectares of beach to be able to sell it to property developers for a lot of money. Greed is the three-headed monster from the underworld in Said’s intriguing confrontation between the old and the new Malaysia. It consumes family bonds and untouched nature in order to build holiday resorts.




punk in Africa Keith Jones, Deon Maas

eurOpeAN premIere

South Africa/Czech Republic, 2011 | colour/b&w, video, 82 min, English/Afrikaans/Portuguese Prod: Jeffrey Brown, Deon Maas | Prod Comp: U.F.O. Pictures, Meerkat Media | Sc: Keith Jones | Cam: Gary Griffin | Ed: Andrew Wills | Sound Des: Jonathan Chiles, Jir�� Suchánek | Print/Sales: Rise and Shine | Public SCREENINGS Sun 29-1 21:45 PA5 Mon 30-1 16:00 PA2 Tue 31-1 10:00 LV3 Thu 2-2 09:15 CI1 Press & Industry SCREENING Wed 1-2 20:30 CI3

While young people in the West started to free themselves from traditional authoritarian power relations in the early 1960s and to make the acquaintance of rock ‘n’ roll and later long hair and punk, in South Africa the institutionalised racism of Apartheid still existed. With the advent of punk music in the mid-1970s, for the first time there was a home-grown youth culture and an opportunity to resist oppressive regimes. Punk in Africa tells the story of punk in South Africa and how it spread to Zimbabwe, Mozambique and Kenya and played a role there in the political struggle. We get to see the most important bands and the legendary venues where they played, but also the evolution of punk music and the influence it had on modern South African bands. In the wings of the many tumultuous concerts, the documentary tells an alternative history of South Africa in the last 40 years, a story unknown to many.

une vie meilleure A Better Life Cédric Kahn

France/Canada, 2011 | colour, DCP, 110 min, French/English Prod: Kristina Larsen, Denise Robert, Gilles Sandoz, Daniel Louis | Prod Comp: Les Films du Lendemain, Cinémaginaire Inc., Maïa Films | Sc: Cedric Kahn, Catherine Paille | Cam: Pascal Marti | Ed: Simon Jacquet | Sound Des: Sylvain Bellemare | Music: Akido | With: Guillaume Canet, Leila Bekhti, Slimane Khettabi, Abraham Belaga, Nicolas Abraham | Sales: Wild Bunch | Distr NL: Filmfreak Distribution | Public SCREENINGS Fri 27-1 22:00 LUX Sat 28-1 12:45 PA5 Fri 3-2 12:15 LV2 Sat 4-2 22:00 CI6 Press & Industry SCREENING Thu 2-2 12:00 PA5


A better life beckons the young couple Yann and Nadine. In an impulse, the thirty-somethings have bought some real estate by a lake where they want to start a restaurant. He’s a chef, she’s a waitress; a dream comes true. But they did not keep their eyes open when they took out their loans and French catering regulations do not prove very cooperative. The project gets delayed, as a result of which Yann and Nadine sink deeper and deeper into money problems. As an extreme stopgap measure, Nadine takes a lucrative job in Canada. Yann stays behind in his mobile home and looks after Nadine’s nine-yearold son Slimane. When Nadine suddenly doesn’t get in touch anymore, Yann is on his own. Kahn, who had primarily made thrillers in the past, now presents the despair and nerve-wracking situation of the protagonists cleverly and briskly, while skilfully avoiding the pitfalls of sentiment. The powerful acting achievements, especially of Guillaume Canet as Yann, turn A Better Life into a beautiful and realistic drama.



Le Havre Aki Kaurismäki

Finland, 2011 | colour, DCP, 93 min, French Prod: Aki Kaurismäki, Fabienne Vonier, Karl Baumgartner, Reinhard Brundig | Prod Comp: Sputnik Oy, Pyramide Productions, Pandora Film, ARTE France Cinéma, ZDF / ARTE | Sc: Aki Kaurismäki | Cam: Timo Salminen | Ed: Timo Linnasalo | Prod Des: Wouter Zoon | Sound Des: Tero Malmberg | With: André Wilms, Kati Outinen, Jean-Pierre Darroussin, Blondin Miguel, Elina Salo | Sales: The Match Factory GmbH | Distr NL: A-Film Distribution | Public SCREENINGS Fri 27-1 19:302 LUX Sat 28-1 12:30 PA7 Sun 29-1 15:00 CI6 Tue 31-1 09:45 LV2

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Press & Industry SCREENING Mon 30-1 09:45 DWBZ e.s.

While his Finnish wife is in hospital, the selfish old shoeshine Marcel Marx living in the French port of Le Havre, takes an interest in an African kid who was in a container on his way to his mother in London when the immigration service caught up with him. The hand of the master is immediately apparent in Aki Kaurismäki’s touching, comforting and wryly comic drama Le Havre. With meticulously framed long shots and the sparse, slightly absurd dialogues. And thanks to his characteristic bitter humour and the special characters, played by Kaurismäki regulars such as André Wilms and Kati Outinen. At the Cannes Festival last year, this stylish, mildly committed film won the FIPRESCI Award, the prize of the international film critics. Laïka, Kaurismäki’s dog, received a special mention from the Palm Dog jury.

Serdca bumerang Heart’s Boomerang Nikolay Khomeriki

Russia, 2011 | b&w, 35mm, 1:2.35, 96 min, Russian Prod: Svetlana Kuchmaeva | Prod Comp: Valday | Sc: Alexander Radionov, Nikolay Khomeriki | Cam: Shandor Berkeshi | Ed: Ivan Lebedev | Prod Des: Denis Bauer | Sound Des: Boris Voit, Nikita Ganjkin | With: Alexander Yatsenko, Claudia Korshunova, Natalia Batrak, Alexander Ilyn, Renata Litvinova | Print/ Sales: Valday | Public SCREENINGS Wed 1-2 18:30 PA7 Thu 2-2 19:15 PA3 Fri 3-2 16:15 SGZ Sat 4-2 20:00 CI7 Press & Industry SCREENING Tue 31-1 14:30 CI2

In the opening scene, Kostya (23) is confronted with bad news: the doctor tells him that he is suffering from incurable heart disease. In theory, he could drop dead at any moment. Kostya then proceeds to share the news with no one. Not even with his mother, who seems so close. Not with the colleague he shares his metro journey with every day. And not with his girlfriend, with whom he has a difficult relationship. What is Kostya really going through? Is he trying to come to terms with his ticking time bomb? Is he reflecting on the radically changed meaning of his life? Russian director Nikolay Khomeriki builds up the mystery around Kostya’s psychological state subtly and patiently. The picturesque black-andwhite photography of St Petersburg in winter is by Shandor Berkeshi (Koktebel), whose camera remains at a distance and hence gives the viewer plenty of space to penetrate Kostya’s soul.




tatsumi Eric Khoo

Singapore, 2011 | colour, 35mm, 1:1.85, 98 min, Japanese Prod: Tan Fong Cheng, Phil Mitchell, Freddie Yeo, Eric Khoo | Prod Comp: Zhao Wei Films, Infinite Frameworks | Sc: Eric Khoo, based on works by Tatsumi Yoshihiro | Ed: Taufik Ramadhan | Prod Des: Widhi Saputro | Sound Des: Kazz | Music: Christopher Khoo, Christine Sham | With: voices of Bessho Tetsuya, Tatsumi Yoshihiro | Sales: The Match Factory GmbH | Distr NL: A-Film Distribution Public SCREENINGS Sun 29-1 22:302 LUX Tue 31-1 11:302 PA1

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Eric Khoo previously came to Rotterdam with a few Singapore features and now pays tribute to the Japanese manga author Tatsumi Yoshihiro in his first animation film. Tatsumi is known as a pioneer of the ‘gekiga’, the comic-strip genre aimed at adults that is regarded as the more serious form of manga. The film is based on A Drifting Life, Tatsumi’s autobiographical manga, through which Khoo has intertwined several of his short stories as independent episodes. At the age of 12, Tatsumi is already a passionate illustrator. He makes many attempts to build up a career as a manga artist, fed by his admiration for the manga grandmaster Tezuka Osamu. Impressions of post-war Japan can be seen in the background of this melancholy story. This last theme is above all powerfully present in the much grimmer short stories by Tatsumi, with their tragic characters and bizarre turns. The simple animation style remains close to the work of Tatsumi himself.

Jultak dongshi Stateless things Kim Kyung-Mook

South Korea, 2011 | colour, video, 115 min, Korean Prod: Park Jinweon | Prod Comp: ALIVE Pictures Co., Ltd | Sc: Kim Kyung-Mook | Cam: Kang Kook-Hyun | Ed: Kim KyungMook | Prod Des: Park Jae-Hyun | Sound Des: Lee Min-Hee, Pyo Yong-Soo | Music: Lee Min-Hee | With: Paul Lee, Yeom Hyun-Joon, Kim Sae-Byuk, Lim Hyung-Kook | Print/Sales: Mirovision Inc. Public SCREENINGS Thu 26-1 17:00 CI1 Fri 27-1 21:45 PA5 Thu 2-2 14:15 CI1 Sat 4-2 19:30 CI4


Jun has fled from North Korea and tries to manage without money or family in the South Korean capital, Seoul. It briefly looks as if a romance will develop with Sun-Hee, a colleague at the filling station where Jun has a job. But Sun-Hee, who comes from a Korean family in China, is too confused and afraid. In a different, more wealthy part of town, the young, handsome Hyeon looks at the night-time lights of Seoul. He lives in a chic apartment registered in the name of his older lover, who is so jealous that he would most like to lock Hyeon up. Slowly but surely, the stories of Jun and Hyeon, two lost souls, come together in the poetic and stylish Stateless Things. Despite his young age, Kim Kyung-Mook (b. 1985) has long been regarded as one of South Korea’s greatest talents; he has made a name for himself with short and mid-length films such as A Cheonggyecheon Dog (2008) and the controversial Faceless Things (2005). The positioning of the opening titles is enough to show Kim’s idiosyncrasy: they only appear on screen after 90 min.



Girigiri no onnatachi Women on the edge Kobayashi Masahiro

INterNAtIONAL premIere

Japan, 2011 | colour, video, 101 min, Japanese Prod: Kobayashi Masahiro | Prod Comp: Monkey Town Productions | Sc: Kobayashi Masahiro | Cam: Nishikubo Koichi | Ed: Kaneko Naoki | Prod Des: Kobayashi Masahiro | Sound Des: Eguchi Yasushi | Music: Kobayashi Masahiro | With: Fujima Miho, Nakamura Yuko, Watanabe Makiko | Print/ Sales: Monkey Town Productions Public SCREENINGS Sun 29-1 17:00 CI1 Mon 30-1 21:45 PA5 Tue 31-1 15:00 CI4 Fri 3-2 09:30 PA2 Press & Industry SCREENING Wed 1-2 17:30 DJZ

Women on the Edge has four leads: three actresses and a house. A house in a beautiful rural location, the countryside tarnished by the disaster which struck Japan in March 2011. However, in the house’s immediate surroundings everything seems normal. The three actresses play the sisters Takako (Watanabe Makiko), Nobuko (Nakamura Yuko) and Satomi (Fujima Miho). The three have a frosty relationship and the reunion is unplanned. They haven’t seen each other for ten years. They all accidentally return to the family home for different reasons, which leads to tensions, and the desolate landscape after the disaster just exacerbates the mood. Kobayashi (The Rebirth) has previously shot films in this area that he loves, which led him to purchase the house that the film is set in and around. Initially he doubted whether shooting in the disaster area was appropriate, but those who live there encouraged him.


I Wish Kore-eda Hirokazu

Japan, 2011 | colour, DCP, 128 min, Japanese Prod: Koike Kentaro, Hijiri Taguchi | Prod Comp: Shirogumi Inc., Big X | Sc: Kore-eda Hirokazu | Cam: Yamazaki Yutaka | Ed: Kore-eda Hirokazu | Prod Des: Mitsumatsu Keiko | Sound Des: Tsurumaki Yutaka | Music: Quruli | With: Maeda Koki, Maeda Ohshiro, Joe Odagiri, Nene Ohtsuka, Kiki Kirin, Hashizume Isao | Distr NL: A-Film Distribution Public SCREENINGS Tue 31-1 19:00 PA1 Wed 1-2 15:45 PA5 Fri 3-2 20:30 CI6 Sat 4-2 13:45 LV1

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The Japanese master of humanitarian fiction again focusses on children in complex family situations, just as in Nobody Knows (2004). However this time his approach is not as severe. Koichi and his younger brother Ryunosuke are very close but, after the divorce of their parents, each moves to a different city. Koichi lives with his mother and his grandparents in the village, while Ryunosuke and his father live in the city, where the father tries to make a name for himself as a musician. The two children decide to conceive a plan to bridge the physical distance once and for all. Their complex operation means taking risks, however. Kore-eda (After Life, Still Walking) chose two real brothers for this adventure – maybe his most accessible film so far. Again he shows the world of experience of children, without sentimentality or conventional answers. With beautiful camerawork, lucid colours and an apt rock score by the Japanese band Quruli.





A temple Umesh Vinayak Kulkarni

eurOpeAN premIere

India, 2011 | colour, 35mm, 1:1.66, 146 min, Marathi Prod: Abhijeet Gholap | Prod Comp: Devisha Films | Sc: Girish Kulkarni | Cam: Sudhakar Reddy | Ed: Abhijeet Deshpande | Prod Des: Prashant Bidkar | Sound Des: Anthony B.J. Ruben | Music: Mangesh Dhakde | With: Nana Patekar, Naseeruddin Shah, Sonali Kulkarni, Dileep Prabhavalkar | Print/ Sales: Devisha Films | Public SCREENINGS Fri 27-1 20:00 CI2 Sat 28-1 14:45 CI5 Mon 30-1 09:15 LV5 Sat 4-2 11:30 LV3 Press & Industry SCREENINGS Sun 29-1 09:30 DJZ Thu 2-2 12:30 CI2

A witty and somewhat lyrical black comedy situated in a small village in the Indian state of Maharashtra, where a simple young man unexpectedly receives a divine vision in his sleep. Kesha is visited by the god Dutta, and his auspicious experience changes the dynamics of daily life in the community. Kesha becomes important, but his new position in the limelight puts him under pressure as well. Elections are approaching, and local politicians juggle between two opposites regarding Kesha’s story. This intriguing film reflects contemporary issues, questioning the human position on faith, the dishonesty of those who are after power and money and the corruption in the whole of society. Kesha, played convincingly by Girish Kulkarni, a scriptwriter and a director himself, keeps the suspense alive throughout the film. This is the third feature fiction film by one of the most exciting directors in India today.

Los pasos dobles the Double Steps Isaki Lacuesta

Spain/Switzerland, 2011 | colour, video, 87 min, Bambara/French Prod: Luisa Matienzo, Dan Wechsler | Prod Comp: Tusitala Producciones Cinematográficas, Bord Cadre Films | Sc: Isa Campo, Isaki Lacuesta | Cam: Diego Dussuel | Ed: Domi Parra | Prod Des: Sebastián Birchler | Sound Des: Amanda Villavieja | Music: Gerard Gil | With: Bokar Dembele, Miquel Barceló, Alou Cissé, Hamadoun Kassogue, Amon Pegnere Dolo, Amassagou Dolo, Abinum Dolo | Print/Sales: m-appeal Public SCREENINGS Fri 27-1 20:15 CI6 Sat 28-1 22:00 LV1 Fri 3-2 12:15 PA6 Sat 4-2 14:30 CI6


The French writer and artist François Augiéras (1925-1971) loved adventure, grand gestures and mystification. He once made a series of enormous frescoes in a bunker in the desert of Mali, which he then allowed to be swallowed up by the advancing sand dunes. Later generations would have to try and find this grand masterpiece: ‘the Sistine Chapel of the desert’. Miquel Barceló, one of today’s leading Spanish artists, is fascinated by the work and life story of Augiéras. He also often works in Mali, where he finds inspiration for his sculptures and paintings. The Catalan director Isaki Lacuesta made a documentary about Barceló, The Clay Diaries, and simultaneously made the fiction film The Double Steps: a complex, enchanting mix of fantasy and reality in a plethora of narrative lines, inspired by Barceló (who also plays a role in the film), Augiéras, and the narrative tradition of the Mali Dogon people. Amateur actors play most roles in this film that won the Golden Shell in San Sebastián.



el cuaderno de barro the clay Diaries Isaki Lacuesta

Spain/Switzerland, 2011 | colour, video, 60 min, Bambara/French Prod: Luisa Matienzo, Dan Wechsler | Prod Comp: Tusitala Producciones Cinematográficas, Bord Cadre Films | Sc: Isa Campo, Isaki Lacuesta | Cam: Diego Dussuel | Ed: Lupe Pérez García | Prod Des: Sebastián Birchler | Sound Des: Amanda Villavieja | Music: Gerard Gil | With: Miquel Barceló, Josef Nadj, Alain Mahe, Amon Pegnere Dolo | Print/Sales: m-appeal Public SCREENINGS Fri 27-1 22:302 CI6 Sat 28-1 17:452 CI7 Sun 29-1 09:302 LV1 Sat 4-2 12:30 CI6

‘Who would bring clay to Mali?’ the inhabitants of the Dogon region wonder when a truck arrives from Spain with four tons of wet clay. It is raw material for a performance by Spanish artist Miquel Barceló and French dancer and choreographer Josef Nadj. The performance is called Paso doble, to be performed atop the famous Cliff at Bandiagara. It’s a beautiful, humorous choreography for two men in black suits using clubs and their hands to attack the clay, creating a work of art that fits in beautifully with the surroundings. It is immediately obvious why Miquel Barceló, undisputedly one of today’s greatest artists, feel so at home in Mali, a country where he has regularly worked for 20 years. He just gets more inspired, even when the wind prevents him painting and termites eat his work. The cooperation between Isaki Lacuesta and Barceló not only yielded this beautiful documentary, but also the fiction film The Double Steps, which also screens at the festival.

Les géants the Giants Bouli Lanners

Belgium/France/Luxembourg, 2011 | colour, 35mm, 1:2.35, 84 min, French Prod: Jacques-Henri Bronckart, Carole Scotta, Simon Arnal, Jani Thiltges | Prod Comp: Versus Production, Haut et Court, Samsa Film | Sc: Bouli Lanners, Elise Ancion | Cam: Jean-Paul De Zaeytijd | Ed: Ewin Ryckaert | Prod Des: Paul Rouschop | Sound Des: Marc Bastien | Music: The Bony King of Nowhere | With: Zacharie Chasseriaud, Martin Nissen, Paul Bartel, Marthe Keller, Karim Leklou, Didier Toupy, Gwen Berrou | Sales: Memento Films | Distr NL: EYE Film Institute Netherlands Public SCREENINGS Thu 26-1 18:30 PA7 Fri 27-1 16:002 LUX Sat 28-1 09:152 PA6 Mon 30-1 09:302 LV6

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Press & Industry SCREENING Mon 30-1 14:30 CI2 e.s.

Smoking weed, joyriding, stealing food: the ‘giants’ from the title are full of mischief. It’s a languid summer vacation in the Ardennes mountains of Belgium and the three teenage boys Zak, Seth and Dany have been left to their own devices by their parents. Without a penny in their pocket, they have to fend for themselves. The ideal recipe for an exciting boys book: a series of fairytale adventures in woodlands and over meandering rivers in which not only the local drug dealer and Dany’s crazy brother, but also three pigs, angry wolves and a good fairy turn up. The worlds of the Belgian actor/director Bouli Lanners are always populated by colourful, eccentric characters. Just as in Ultranova (2005) and Eldorado (2008), Lanners creates a universe of his own that is perched between magic realism and wry-comic absurdity. The painter in Lanners betrays himself in the majestic CinemaScope images. The Giants (SACD Prize in Cannes) is a modern, poetic, bittersweet fairytale about fragile family bonds and pure friendships.





Alps Yorgos Lanthimos

Greece, 2011 | colour, 35mm, 1:2.35, 93 min, Greek Prod: Yorgos Lanthimos, Athina Rachel Tsangari | Prod Comp: Haos Film | Sc: Yorgos Lanthimos, Efthimis Filippou | Cam: Christos Voudouris | Ed: Yorgos Mavropsaridis | Prod Des: Anna Georgiadou | Sound Des: Leandros Ntounis | With: Aggeliki Papoulia, Aris Servetalis, Johnny Vekris, Ariane Labed | Sales: The Match Factory GmbH | Distr NL: Filmfreak Distribution Public SCREENINGS Mon 30-1 19:302 LUX Tue 31-1 16:30 PA4 Thu 2-2 22:30 CI2 Sat 4-2 20:00 CI5

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Press & Industry SCREENING Mon 30-1 16:30 CI2 e.s.

They call themselves ‘Alps’. Their leader is called Mont Blanc. It’s a mysterious group; the four members – a nurse, a paramedic, a gymnast and her trainer – are not allowed to talk about their activities to non-Alps. In their spare time, they rent themselves out to families in order to fill in for a relative who has recently died. They then act like the lovely daughter, husband or girlfriend and claim that this helps ease the mourning. But it’s very doubtful whether the roleplay is really that healthy. Alps, after all, is a film by Yorgos Lanthimos, maker of the widely praised and award-winning Dogtooth (2009) and a specialist in creating unhealthy, absurd relationships. With their familiar style filled with wry dialogue spoken completely neutrally, Lanthimos and screenwriter Efthimis Filippou provide even more infamous commentary on Greek society in particular and human shortcomings in general. Everyone is always playing a role – a principle that is taken to extreme in Alps.

Demain? Christine Laurent

WOrLD premIere

France/Portugal, 2012 | colour, video, 95 min, French Prod: Martine de ClermontTonnerre | Prod Comp: MACT Productions | Sc: Christine Laurent | Cam: André Szankowski | Ed: Sandro Aguilar | Prod Des: Carlos Subtil | Sound Des: Rita Cerveira | With: Laure de Clermont-Tonnerre, Marc Ruchmann, Luís Miguel Cintra, Teresa Madruga, Adriano Luz, Vladimir Léon | Print/ Sales: Wide Management Public SCREENINGS Fri 27-1 16:45 SGZ Sat 28-1 21:45 PA5 Sun 29-1 10:30 PA4 Sat 4-2 11:45 SGZ Press & Industry SCREENING Tue 31-1 11:15 LV5


Tragic artists’ lives are always a thankful subject for films. Certainly if they end the same way as Shakespeare’s Romeo & Juliet. In this subtle, supercooled biography, the French director/ scriptwriter/actress Christine Laurent filmed the life of Delmira Agustini (1886-1914), a famous name within female poetry in Latin America. As a member of the Uruguayan aristocratic class, Agustini lived her short life in luxurious mansions, stylishly depicted by Laurent. Here she had all the room she needed to write her titillating, erotic poems. Laurent focuses primarily on the fickle love life on which Agustini’s work was based. Her relationship with the possessive Enrique Job Reyes had its ups and downs. He wants to marry her, but she has her doubts and also has to come to terms with her dominant mother. Spoken in French, Demain? turns into a portrait of a young woman who, despite growing up in relative freedom, has to fight for her independence.



Histoire de mes cheveux

Belgium/Russia, 2010 | colour, 16mm, 1:1.33, 90 min, French Prod: Boris Lehman | Prod Comp: Dovfilm | Sc: Boris Lehman | Cam: Antoine-Marie Meert | Ed: Ariane Mellet | Sound Des: Jacques Dapoz | With: Boris Lehman, Marie Duez | Print/ Sales: Dovfilm | Public SCREENINGS Wed 1-2 22:15 LV6 Thu 2-2 12:00 LV6 Fri 3-2 14:30 LV6

Story of my Hair Boris Lehman Boris Lehman had not cut his hair for more than two decades. It turned grey and dried out and something had to be done. Lehman has the misfortune of being a filmmaker, as he put it himself, so he decided to make a film about it. It became a personal documentary in which Lehman linked the growth of his hair to the time and space he has been on the Earth. Because hair, he found out, retains microscopic particles of everything that has happened in your life. He travelled through Europe, the Ukraine and Russia, back through his own history and that of his parents, but suddenly changed course when he couldn’t find anything, when it turned out that his past had partly been rubbed out. The story of Samson and Delilah and other literary fragments accompany Lehman on his journey and reflect on the vulnerability and fleeting nature of life.

the Loneliest planet Julia Loktev

USA/Germany, 2011 | colour, 35mm, 1:1.66, 113 min, English Prod: Jay Van Hoy, Lars Knudsen, Helge Albers, Marie Therese Guirgis | Prod Comp: Parts and Labor, Flying Moon Filmproduktion | Sc: Julia Loktev, based on ‘Expensive Trips Nowhere’ from the collection God Lives in St. Petersburg by Tom Bissell | Cam: Inti Briones | Ed: Michael Taylor, Julia Loktev | Prod Des: Rabiah Troncelliti | Sound Des: Martín Hernandez | Music: Richard Skelton | With: Gael García Bernal, Hani Furstenberg, Bidzina Gujabidze | Print/ Sales: The Match Factory GmbH Public SCREENINGS Sun 29-1 17:15 SGZ Mon 30-1 19:15 SGZ

This backpackers’ adventure is a loose adaptation of Tim Bissell’s Expensive Trips Nowhere, a series of stories about rich Westerners travelling in poor, beautiful parts of the world. In this case, Alex (Gael García Bernal) and Nica (Hani Furstenberg) have decided to go trekking in the Caucasus a few months before their wedding, led by local guide Dato (Bidzina Gujabidze). They walk for hours, sometimes talking or singing, but usually surrounded by the intoxicating silence of the rugged mountains. An unexpected event sorely tests their relationship. Julia Loktev’s second feature film deals with relationships disrupted by misunderstandings, but is also a masterful example of repetition and duration in cinema. Gujabidze, who makes his debut in this film, works as a real-life guide, enabling him to give an authentic performance, while Bernal and Furstenberg manage to create an alienating chemistry. The title is a playful reference to the popular publisher of travel guides.




La leggenda di Kaspar Hauser

WOrLD premIere

Italy, 2012 | b&w, 35mm, 1:1.85, 90 min, Italian/English Prod: Alessandro Bonifazi, Bruno Tribbioli, Davide Manuli | Prod Comp: Blue Film s.r.l., Shooting Hope Productions srl | Sc: Davide Manuli | Cam: Tarek Ben Abdallah | Ed: Rosella Mocci | Prod Des: Giampietro Preziosa | Music: Vitalic | With: Vincent Gallo, Claudia Gerini, Silvia Calderoni, Elisa Sednaoui, Fabrizio Gifuni, | Print/Sales: Intramovies Srl Public SCREENINGS Mon 30-1 19:00 PA1 Tue 31-1 14:45 LV2 Wed 1-2 22:30 DJZ Fri 3-2 22:15 PA3 Press & Industry SCREENING Sun 29-1 18:30 DWBZ

the Legend of Kaspar Hauser Davide Manuli Vincent Gallo plays a double lead in this Italian version of the legend of Kaspar Hauser, a mysterious boy who appeared in the streets of Nuremberg in 1828 and could hardly talk. His ancestry (royal, according to some) and history were never explained. In this absurdist retelling by director Davide Manuli, the tracksuit- and headphone-wearing Kaspar Hauser washes up on the beach of an almost uninhabited island, where he is found and received as the messiah by The Sheriff (Gallo) who is also a DJ. The Duchess, who rules the tiny community, feels threatened by the blond boy and sends The Pusher (also Gallo) to fix things. The brief chapters, which all consist of a single, long take and feature minimal, surreal dialogues, tell Hauser’s story. All in black-and-white against the sober background of deserted beaches and villages, supported by Vitalic’s pumping rhythms.

Buenas noches, españa Raya Martin

Philippines/Spain, 2011 | colour/ b&w, DCP, 70 min, no dialogue Prod: Arleen Cuevas, Samuel Martinez, Mario Madueño, Gonzalo de Pedro Amatria, Víctor Iriarte, Raya Martin | Prod Comp: Cinematografica, Pantalla Partida | Sc: Raya Martin | Cam: Víctor Iriarte | Ed: Víctor Iriarte, Lawrence S. Ang | Sound Des: Manuel Alvero, Pat Sarabia, Nacho R. Arenas | Music: Fernando Franco | With: Pilar López de Ayala, Andrés Gertrúdix | Print/Sales: Pantalla Partida | www. Public SCREENINGS Fri 27-1 22:452 PA7 Sat 28-1 09:302 PA7 Sun 29-1 22:302 CI1 Fri 3-2 20:152 LV3 Press & Industry SCREENING Wed 1-2 11:30 PA5


Spanish colonial domination has a very unusual translation in this experimental road movie. Raya Martin took an anecdote about a Filipino soldier who suddenly wakes up and finds himself in Mexico City in 1593. A case of teleportation, and the same goes for the holiday trip by the lovers in the film. They stop the car to admire a mountain panorama, stroll through the city, pull faces at each other and visit a museum, where they exhibit themselves to each other with corny surrender. The scenes, edited associatively, are regularly repeated. Are the protagonists about to be shot off to a different place or time? And is that because they are under the influence of drugs? Martin designs his film as a psychedelic LSD trip: the images are oversaturated in bright reds, blues, yellows and pinks and supported by a grinding and scratchy soundtrack. In his visual essay, Martin reflects on being stuck in time. An obsession with history – the colonial past of Spain, Mexico and the Philippines – has blocked the couple.



Los últimos cristeros the Last christeros Matías Meyer

eurOpeAN premIere

Mexico/Netherlands, 2011 | colour, 35mm, 1:2.35, 90 min, Spanish Prod: Julio Bárcenas, Matías Meyer, Paola Herrera, Frans van Gestel | Prod Comp: Axolote Cine, Una Comunión, Topkapi Films | Sc: Israel Cárdenas, Matías Meyer | Cam: Gerardo Barroso Alcalá | Ed: León Felipe Gonzalez | Prod Des: Nohemi Gonzalez | Sound Des: Alejandro De Icaza | Music: Galo Durán | With: Alejandro Limón, Antonio García, Jesús Moisés Rodríguez, Salvador Ferreiro | Sales: FiGa Films | Distr NL: Topkapi Films | Public SCREENINGS Sun 29-1 19:30 PA4 Mon 30-1 13:15 PA3 Tue 31-1 10:15 PA3 Thu 2-2 17:00 CI5 Press & Industry SCREENINGS Sat 28-1 15:30 DWBZ Wed 1-2 19:30 CI2

Mexico, 1938. The very last warriors fight a rearguard action in the latter days of the Cristiada, the bloody war that lasted years between Roman Catholic rebels and the Mexican government, which wanted to reduce the power of the church with strict anticlerical laws. This small group of ‘cristeros’ are fighting for their religious freedom and holing up in the wild expanse of the Mexican landscape. Occasionally there is a shot; apart from that the war remains limited to just surviving with less and less under the merciless sun. The father of director Matías Meyer is a historian who published several books about the Cristiada, still a sensitive subject in Mexico. While a Hollywood film was also being made about this civil war, with leading roles for Andy Garcia and Eva Longoria, Meyer made the opposite of a Hollywood spectacle: performed by nonprofessional actors, The Last Christeros is an intimate, minimalist Western with great attention to tranquil and comradely moments.

Gyakuten Saiban Ace Attorney Miike Takashi

WOrLD premIere

Japan, 2012 | colour, 35mm, 1:2.35, 135 min, Japanese Prod: Okuda Seiji | Prod Comp: Nippon Television Network Corporation | Sc: Iida Takeshi, Oguchi Sachiko | Cam: Oka Masakazu | Ed: Yamashita Kenji | Sound Des: Shibazaki Kenji | Music: Endô Kôji | With: Narimiya Hiroki, Kiritani Mirei, Saito Takumi, Dan Rei, Daito Shunsuke, Nakao Akiyoshi | Print/Sales: Nippon Television Network Corporation | Public SCREENINGS Fri 27-1 15:45 PA1 Sat 28-1 19:152 LUX Sun 29-1 14:00 SGZ Wed 1-2 22:15 PA3 Press & Industry SCREENINGS Thu 26-1 14:00 DJZ Thu 2-2 14:00 DJZ

Miike Takashi made a film adaptation of the popular Nintendo game Ace Attorney, about the young, rather clumsy lawyer Phoenix Wright, who was also the protagonist of the first three Capcom games. Wright, assisted by old school friends Miles Edgeworth and Larry Butz, has to win several court cases in this story in order to solve a 15-year-old mystery. Among all the comedy and sci-fi gadgets of the lawyers, the film provides a caricature of the show-business character of Japanese law. Through the immense pressure on the legal system, in the near future of Ace Attorney a case will only be allowed to last three days before the judge takes a decision. Under the enormous pressure of time, it is increasingly important for lawyers to intimidate the other party and give a smooth presentation, even though they say that success is determined by strong evidence. Miike’s typical cartoon style, combined with dynamic game visuals, results in a playful crossover between live-action, game and manga.




miss Bala Gerardo Naranjo Gonzalez

Mexico, 2011 | colour, 35mm, 1:2.35, 113 min, Spanish/English Prod: Pablo Cruz | Prod Comp: Canana Films | Sc: Mauricio Katz, Gerardo Naranjo | Cam: Mátyás Erdély | Ed: Gerardo Naranjo | Prod Des: Ivonne Fuentes | Sound Des: Salvador Félix, Pablo Lach | Music: Emilio Kauderer | With: Stephanie Sigman, Noe Hernandez, Irene Azuela, Jose Yenque, James Russo | Print/ Sales: Fox Searchlight Europe | Public SCREENINGS Fri 27-1 22:00 PA1 Sat 28-1 22:30 LUX Wed 1-2 21:30 PA7 Fri 3-2 18:30 PA1 Press & Industry SCREENING Tue 31-1 17:30 DWBZ

Gerardo Naranjo delivers a narcotics thriller with Hollywood pretensions. Entertaining, exciting, rapid, dark, and filled with action and violence. Like Steven Soderbergh’s Traffic, Miss Bala is situated around the drug wars on the Mexican-American border. Stephanie Sigman plays Laura Guerrero, a young, attractive but also poor woman who would like to be Miss Universe. When she decides to take part in a local beauty contest, she is blackmailed by the drug baron Lino: he promises her she will win, and in exchange she does a few jobs for him. The dream comes true, but the price is high, as Laura becomes increasingly entangled in the criminal circuit. Inspired by a true story, Naranjo stays close to reality. Just like the modern classic Gomorrah, he provides a raw glimpse of the drug world and packages it as a bloodcurdling, sensational thriller. Making her debut, Sigman presents Laura more as a fearful animal in distress than a thoughtless girl. And as a result, she sinks even deeper into the quagmire.

the Hunter Daniel Nettheim

eurOpeAN premIere

Australia, 2011 | colour, 35mm, 1:2.35, 101 min, English Prod: Vincent Sheehan | Prod Comp: Porchlight Films | Sc: Alice Addison, based on the novel by Julia Leigh | Cam: Robert Humphreys | Ed: Roland Gallois | Prod Des: Steven Jones-Evans | Sound Des: Sam Petty, Liam Egan | Music: Andrew Lancaster, Michael Lira, Matteo Zingales | With: Willem Dafoe, Sam Neill, Frances O’Connor, Morgana Davies, Finn Woodlock | Print/Sales: eOne Films International | Public SCREENINGS Sat 4-2 21:00 DGZ Sat 4-2 22:15 LUX Press & Industry SCREENING Fri 27-1 20:15 DWBZ


The Australian bush attracts and frightens. That also goes for Martin, who treks into the wilderness of Tasmania in this exciting psychological adventure drama. Via a mysterious biotechnological company, he has been commissioned to track down the last Tasmanian tiger. Not an easy commission, that much is clear. The tiger is sought at length, but without success. Martin hears from the local guide that the previous hunter has been missing for months. He also finds his traps are sabotaged and he’s being tracked on his quest. The Hunter, based on the debut novel by Julia Leigh, is both a literal journey and a metaphorical one: Martin, a layered role by Willem Dafoe, has to change his own opinions and behaviour because of his mission. The majestic, breathtaking shots were filmed entirely on location. Rough plateaux, desolate mountains, thick forests: their emptiness and deserted nature underlines the isolation, loneliness and urge for survival of the protagonist. Closing Film of the festival.



mata tertutup the Blindfold Garin Nugroho

WOrLD premIere

Indonesia, 2012 | colour, video, 90 min, Indonesian Prod: Garin Nugroho, Asaf Antariska, Endang Tirtana | Prod Comp: SET Film Workshop, Maaruf Institute | Sc: Tri Sasongko | Cam: Anggi Frisca | Ed: Arturo G.P., Beck | Print/Sales: SET Film Workshop Public SCREENINGS Sat 28-1 16:45 SGZ Sun 29-1 11:45 CI1 Tue 31-1 19:45 CI1 Thu 2-2 15:45 PA5 Press & Industry SCREENING Mon 30-1 11:45 CI3

In contemporary Indonesia, religious radicalisation is playing an increasingly important role. The banned Indonesian Islamic State (NII) successfully recruits among young people who don’t have any prospects of training or work. Nugroho tells three different stories: that of the girl Rima, who emerges as a valuable staff member of the NII; Jabir, who quits school for lack of money and returns to his parents, and Asimah, the mother of Ainsi, who has been kidnapped by the NII. Rima does so well that she acquires a leading role, but then it soon becomes apparent that there is no room for her ambitions in Islamic conventions. Jabir joins the radical Muslims out of frustration about the lives of his parents, who have no prospects. Asimah walks all over the city looking for her daughter. Nugroho (Leaf on a Pillow, Opera Jawa) made the film on a small budget (less than 100,000 Euros) with primarily non-professional actors.

Le reste du monde the rest of the World Damien Odoul

WOrLD premIere

France, 2012 | colour, DCP, 81 min, French Prod: Damien Odoul | Prod Comp: D.O.FILMS | Sc: Sophie Le Breton | Cam: Sylvain Rodriguez | Ed: Jean-Christophe Hym | Prod Des: Antoine Ainé | Sound Des: Fred Dabo | With: Marie-Eve Nadeau, Judith Morisseau, Mathieu Amalric, Emmanuelle Béart, Aurélie Mestres | Print/Sales: Le Pacte Public SCREENINGS Fri 27-1 18:45 PA5 Sat 28-1 12:15 PA6 Sun 29-1 09:15 CI1 Tue 31-1 17:30 LV3 Press & Industry SCREENING Thu 26-1 09:30 CI3

Eve is a young woman who lives in the South of France. One evening, her boyfriend commits suicide and soon after she turns out to be pregnant. It is the start of a drama that (primarily) investigates the role of parenthood. During a family dinner, the new wife of Eve’s father brings up an old family secret. As a result, Judith, one of Eve’s two sisters, becomes convinced that her father is not her biological father, and she goes looking for him. In the meantime, Eve wonders whether she wants to keep the child. Damien Odoul is a wayward outsider in the French film industry and based his film, made for television, on an autobiographical detail, using this as a starting point for his story about identity, origins, family bonds and mourning. The French actress Emmanuelle Béart stars as the alcoholic new mother-in-law. Also with minor roles for Mathieu Amalric and Charles Berling.




Francophrenia (or: Don’t Kill me, I Know Where the Baby Is) Ian Olds, James Franco

WOrLD premIere

USA, 2012 | colour, video, 69 min, English Prod: Vince Jolivette, Miles Levy | Prod Comp: Rabbit Bandini Productions | Sc: Ian Olds, Paul Felten | Cam: Doug Chamberlain | Ed: Ian Olds | Music: Joe DeNardo, Kevin Doria | With: James Franco, Vince Jolivette | Print/ Sales: Rabbit Bandini Productions Public SCREENINGS Tue 31-1 18:00 PA6 Wed 1-2 21:45 PA5 Fri 3-2 11:45 CI1 Sat 4-2 09:45 CI7 Press & Industry SCREENING Mon 30-1 14:00 DJZ

When James Franco announced he was to play a role in the TV series General Hospital, it caused quite a stir. Franco is known as a serious actor, so what was he doing in a soap series? There were rumours that his performance had something to do with an art project. Not such a crazy theory, as James Franco (who acted in Spider-Man, 127 Hours and Howl) has many talents. He directs, writes, studies and makes (performance) art. Francophrenia demonstrates that there is more to his role as artist/murderer Franco in General Hospital than meets the eye. The film starts innocently: we follow him during a day’s shooting of the soap series. But it soon becomes clear that directors Ian Olds and Franco didn’t want to make an ordinary documentary. In voice-over, we hear Franco’s thoughts as these become increasingly paranoid and megalomaniacal. Francophrenia is a humorous, experimental psycho-thriller that Franco grandly and stunningly trips up. ‘I’m everywhere. I’m the light of this world!’

play Ruben Östlund

Sweden/France/Denmark, 2011 | colour, 35mm, 1:1.85, 113 min, Swedish Prod: Erik Hemmendorff, Philippe Bober | Prod Comp: Plattform Produktion, Film i Väst, Coproduction Office | Sc: Ruben Östlund | Cam: Marius Dybwad Brandrud | Ed: Ruben Östlund, Jacob Schulsinger | Prod Des: Pia Aleborg | Sound Des: Jan Alvermark, Robert Sörling, Claes Lundberg | Music: Saunder Jurriaans, Daniel Bensi | With: Anas Abdirahman, Sebastian Blyckert, Yannick Diakité, Sebastian Hegmar, Abdiaziz Hilowle | Sales: Coproduction Office | Distr NL: EYE Film Institute Netherlands Public SCREENINGS Mon 30-1 14:45 LV3 Tue 31-1 22:30 PA4 Wed 1-2 14:15 SGZ Sat 4-2 22:30 PA4

d.s. d.s. d.s. d.s.

Three white boys aged about 12 are surrounded in a large shopping mall by five black kids, just a little older. Do they know the time? When one of them takes out his mobile phone, the game starts: that phone belongs to the younger brother of one of the attackers, he argues loudly. Let’s just go and ask him. And that is the start of an apparently endless journey, filmed in real time from the centre to the suburbs, driven by the constantly shifting group dynamics. Director and scriptwriter Ruben Östlund (Involuntary) based his film on true events: a group of kids managed to rob about 40 other children between 2006 and 2008 in Östlund’s home town of Göteborg in the roundabout yet non-violent way shown in the film in long, distant takes. Östlund was allowed to study the legal documents surrounding the case and spoke to culprits and victims in order to build up his powerful analysis layer by layer.

Press & Industry SCREENINGS Sun 29-1 14:15 CI2 e.s. Thu 2-2 15:30 CI2 e.s.




Duch, le maître des forges de l’enfer


Duch, master of the Forges of Hell

France, 2011 | colour, DCP, 103 min, Khmer Prod: Catherine Dussart | Prod Comp: Catherine Dussart Productions (CDP) | Sc: Rithy Panh | Cam: Prum Mésar, Rithy Panh | Ed: MarieChristine Rougerie, Rithy Panh | Sound Des: Sear Vissal | Music: Marc Marder | Print/Sales: Films Distribution Public SCREENINGS Sat 28-1 12:30 PA2 Thu 2-2 18:45 PA5 Fri 3-2 13:15 PA3 Sat 4-2 16:45 LV1

Rithy Panh ‘Duch’ is the nickname of Kaing Guek Eav. In 2009 he was the first leader of the Khmer Rouge to be tried by an international war tribunal. Between 1975 and 1979, he was part of the horrific regime that had Cambodia in its grip, first as administrator of the M13 prison and later of the S21 camp, a ‘murder machine’ in which the remaining archives suggest that 12,380 people lost their lives and probably many more were ‘destroyed’. Rithy Panh has for years chronicled the Khmer Rouge and allows Duch to tell his own story frankly and unhindered, in a dialogue. But where Duch paints a picture of himself as only a cog in the machine, archive footage and eyewitness accounts provide a very clear picture of that hellish machine which led to the death of almost 2,000,000 Cambodians – about a quarter of the population. Panh lays bare the mechanisms of a system that left no space for humanity.

the Descendants Alexander Payne

USA, 2011 | colour, 35mm, 1:2.35, 115 min, English Prod: Alexander Payne, Jim Taylor, Jim Burke | Prod Comp: Ad Hominem | Sc: Alexander Payne, Nat Faxon, Jim Rash, based on the novel by Kaui Hart Hemmings | Cam: Phedon Papamichael | Ed: Kevin Tent | Prod Des: Jane Ann Stewart | Sound Des: Frank Gaeta | Music: Dondi Bastone | With: George Clooney, Shailene Woodley, Amara Miller, Nick Krause, Patricia Hastie, Beau Bridges, Judy Greer | Sales: Fox Searchlight Europe | Distr NL: Warner Bros. Pictures Holland | www. Public SCREENINGS Wed 1-2 17:30 PA4 Thu 2-2 10:00 PA2 Fri 3-2 19:15 PA3 Sat 4-2 21:15 PA6

Thorough and subtle analyses of emotionally stranded men are a recurring theme in the work of Alexander Payne: the characters of Matthew Broderick in Election, Jack Nicholson in About Schmidt, Paul Giamatti in Sideways and now George Clooney all wrestle with their own selves. Payne chooses his projects with care and also avoids clichés and melodramatic pitfalls in this new comedy drama. The Descendants, based on the debut novel by Kaui Hart Hemmings, follows a man in Hawaii who is at a turning point in his life. His wife has gone into a coma after an accident and he is forced to look at himself. Until then he had been ‘the back-up parent’, but now this self-appointed understudy has to take full responsibility as a parent for his two daughters. In addition, he wrestles with the painful discovery that his wife had an extramarital affair, and with the question of whether he should sell his land for a large sum of money.




roman Diary Michael Pilz

WOrLD premIere

Austria, 2012 | colour, video, 124 min, no dialogue Prod: Michael Pilz | Sc: Michael Pilz | Cam: Michael Pilz | Ed: Michael Pilz | Sound Des: Michael Pilz | Print/ Sales: Michael Pilz | Public SCREENINGS Sun 29-1 17:30 CI4 Mon 30-1 12:15 CI4 Tue 31-1 20:00 LV2 Press & Industry SCREENING Sat 28-1 09:30 CI3

In a long, slow, silent procession, they pass by the viewer: the stone-hewn witnesses of a battle that took place more than a century and a half ago in Rome. In 1849 the city, where the advocates of the democratic republic had entrenched themselves, was besieged by French troops who wanted to restore the Papal States. Led by the legendary Giuseppe Garibaldi, the freedom fighters resisted for a long time. Film artist Michael Pilz shows the silent and tranquil remains in a Roman park, with music and sounds from the present in the background. Life around the statues goes in slow motion, but occasionally the noisy, warm, bubbling ‘present’ breaks through: people relaxing outside a restaurant, the remains of a meal. In between we see pictures of the city on which the heroes of yore looked out: a city filled with life in hard-fought freedom.

Shock Head Soul Simon Pummell

Netherlands/United Kingdom, 2011 | colour, DCP, 86 min, English Prod: Janine Marmot, Femke Wolting, Bruno Felix, Keith Griffiths, Marc Thelosen | Prod Comp: Hot Property Films Limited, Submarine, Illuminations Films, seriousFilm | Sc: Simon Pummell | Cam: Reinier van Brummelen | Ed: Tim Roza | Prod Des: Rosie Stapel | Sound Des: Bart Jilesen | Music: Roger Goula | With: Hugo Koolschijn, Anniek Pheifer, Thom Hoffman, Jochum ten Haaf | Sales: Autlook filmsales GmbH | Distr NL: Cinema Delicatessen | Public SCREENINGS Mon 30-1 19:15 PA5 Tue 31-1 19:152 PA3 Wed 1-2 19:002 LV1 Fri 3-2 22:152 CI5 Press & Industry SCREENING Sun 29-1 20:00 CI3


Daniel Paul Schreber had spent nine years in a psychiatric clinic when, in 1903, he published Denkwürdigkeiten eines Nervenkranken. His book is still regarded as the most famous autobiography ‘written from the inside’ about schizophrenia, paranoia and megalomania. Schreber believed that he was in contact with God through the Writing-Down Machine, a precursor to the typewriter, and that only his transformation into a woman could save the world. Schreber’s notes are the most important source for this experimental portrait of the British crossover filmmaker Simon Pummell (Bodysong) who, in an original, challenging way, mixes documentary, fiction and animation. Interviews with psychoanalysts, dressed in fin de siècle suits, are juxtaposed with fragments from Schreber’s prose, his typewriter floating through space like a glowing planet, and performances by the Dutch actor Hugo Koolschijn, who portrays Schreber as crazy and tormented and equally convinced of himself.



peace versus Justice Klaartje Quirijns

WOrLD premIere

Netherlands, 2012 | colour, video, 64 min, English/Afrikaans Prod: Janneke van de Kerkhof | Prod Comp: Submarine | Sc: Stacy Sullivan, Klaartje Quirijns | Cam: Martijn van Broekhuizen | Ed: Ruben van der Hammen, Rinze Schuurman, Michiel Reichwein, Menno Boerema | Sound Des: Jan Willem van den Brink | Music: Nick Laird-Clowes | Print/ Sales: Autlook filmsales GmbH Public SCREENINGS Sun 29-1 15:15 PA6 Mon 30-1 10:00 CI6 Thu 2-2 22:45 CI4 Press & Industry SCREENING Sat 28-1 12:30 CI3

For more than 20 years, the Ugandan government has been fighting the Lord’s Resistance Army (LRA) led by Joseph Kony. In the meantime, this army of child soldiers roams Sudan and Congo. The International Criminal Court (ICC) in The Hague hopes to try Kony, but locals mainly want peace and their children back. This layered documentary about complex moral issues shows that, even though deep down everyone wants the same, cultural differences get in the way of solving the problem. For years, Quirijns followed prominent Ugandans involved in peace negotiations with the LRA, when the ICC actively started hunting Kony. They experienced this as a new form of Western colonialism. Quirijns also visited ICC staff trying to stop the rebel leader using an international arrest warrant in the Netherlands. Quirijns (The Dictator Hunter) filmed crucial moments in the occasionally painful process and managed to lay his hands on rare recordings of the peace negotiations with Kony in the jungle.

Bé omid é didar Goodbye Mohammad Rasoulof

Iran, 2011 | colour, DCP, 104 min, Persian Prod: Mohammad Rasoulof | Prod Comp: Shargh Tamasha Media | Sc: Mohammad Rasoulof | Cam: Arastoo Givi | Ed: Mohammad Reza Moini | Prod Des: Saeid Asadi | Sound Des: Hosein Mahdavi | With: Leyla Zareh, Hassan Pourshirazi, Behname Tashakor, Sima Tirandaz, Roya Teymorian, Fariba Jedikar, Shahab Hoseini | Sales: Fortissimo Films | Distr NL: Hubert Bals Fund Public SCREENINGS Tue 31-1 13:30 PA4 Wed 1-2 22:00 PA1 Thu 2-2 14:45 LV3 Sat 4-2 17:15 CI3 Press & Industry SCREENINGS Mon 30-1 18:00 CI3 Wed 1-2 11:45 PA4

Together with Jafar Panahi, director Mohammad Rasoulof was sentenced on 20 December 2010 to six years in jail for alleging having endangered the security of the state of Iran. In October 2011, Rasoulof’s sentence was reduced to one year, while Panahi’s was kept at six. Goodbye is a sober, frightening portrait of a society that is stooping under the continual control and threats of its religious regime. Noora, a young, pregnant lawyer in Tehran whose husband has been sent to work in the desert because of his critical journalistic activities, continually faces opposition from the regime and decides to leave the country. That turns out to be very difficult. Because Rasoulof was already banned from making films, Goodbye was shot partly in secret in the winter of 2010/2011. The result is a disquieting film that makes impotence and the desire for freedom painfully tangible in all its simplicity. At Cannes it won the Un Certain Regard Directing Prize.




Black Dove Roh Gyeong-Tae

INterNAtIONAL premIere

South Korea, 2011 | colour, video, 120 min, Korean Prod: Ko Young-Jun, Roh GyeongTae | Prod Comp: M16 | Sc: Kaester | Cam: Lee Sun-Young | Ed: Choi Hyun-Sook | Prod Des: Sin Eon-Yeop | Sound Des: Lee Jae-Sin | With: Lim Hyung-Guk, Cho Su-Hyuk, Ahn Ji-Hye, Yang Eun-Yong, Chung Yun-Kyung | Print/Sales: M16 Public SCREENINGS Fri 27-1 17:00 CI1 Sat 28-1 20:00 DJZ Sun 29-1 22:30 CI4 Sat 4-2 20:45 LV3 Press & Industry SCREENING Tue 31-1 09:30 DJZ

Visually less radical than The Last Dining Table but narratively just as challenging, South Korean filmmaker Roh Gyeong-Tae brings together four characters in the tragic Black Dove whose lives are changed by a severe car accident. While present and past mingle imperceptibly and later the lives of the characters become more and more entangled, it becomes clear how differently these people react to what happens to them. The artist Lee Jon-Hoo wrestles with work for an exhibition while gallery owner and mistress Min-Hee wonders why their relationship suddenly cools so much. More severely damaged is the marriage between Professor Lee Jun-Gu and his subservient wife Sun-Mi. It soon becomes apparent that they were directly involved in the accident in which Lee Jon-Hoo’s wife and daughter died. But the filmmaker is not interested in a whodunit. Black Dove doesn’t want to know what the Ministry of Justice does with guilt and punishment, but focuses on the question of how those involved come to terms with themselves.

cornelia frente al espejo cornelia at Her mirror Daniel Rosenfeld

WOrLD premIere

Argentina, 2012 | colour, DCP, 100 min, Spanish Prod: Daniel Rosenfeld, Agusto G. Zapiola, Liliana Mazure | Prod Comp: Daniel Rosenfeld Films, argentinacine, INCAA | Sc: Eugenia Capizzano, Daniel Rosenfeld, based on the novel by Silvina Ocampo | Cam: Matías Mesa | Ed: Lorenzo Bombicci, Daniel Rosenfeld | Sound Des: Gaspar Scheuer | Music: Jorge Arriagada | With: Eugenia Capizzano, Leonardo Sbaraglia, Rafael Spregelburd, Eugenia Alonso | Sales: Daniel Rosenfeld Films | Distr NL: Hubert Bals Fund | Public SCREENINGS Fri 27-1 16:30 PA4 Sat 28-1 13:15 PA3 Sun 29-1 22:15 CI3 Fri 3-2 14:30 CI5 Press & Industry SCREENINGS Thu 26-1 13:30 PA3 Thu 2-2 09:30 PA5


She has brought a phial of poison with her. Cornelia has come to her parental home with only one intention: to commit suicide. Why would an attractive young woman like her do such a thing? And who are those strange people in the house? It should be empty, but Cornelia keeps having visitors. You could call them intruders: the former friends, the mysterious little girl at the door, the masked thief and the charming Daniel. They thwart Cornelia’s plan, even though she even begs them to murder her. With Cornelia at Her Mirror, Daniel Rosenfeld (1973, Argentina) has made a meticulous, stylish and oppressive literary film. The story by Silvina Ocampo (1903-1993) on which the film is based, is about mirrors and the possibility that we do not have just one personality, but several. In this way, gazing into the mirror is a metaphor for the creative process. At the same time, this contemplative, mysterious film is about the tragic, ironic and romantic last moments of Cornelia.



Die unsichtbare cracks in the Shell Christian Schwochow

Germany, 2011 | colour, DCP, 113 min, German Prod: Jochen Laube, Fabian Maubach | Prod Comp: teamWorx Television & Film GmbH Ludwigsburg | Sc: Heide Schwochow, Christian Schwochow | Cam: Frank Lamm | Ed: Jens Klüber | Prod Des: Kobita Syed | Sound Des: Günter Friedhoff, Rainer Heesch | Music: Can Erdogan Sus | With: Stine Fischer Christensen, Ulrich Noethen, Ronald Zehrfeld, Anna Maria Mühe, Ulrich Matthes, Dagmar Manzel, Christina Drechsler | Print/Sales: Global Screen GmbH Public SCREENINGS Wed 1-2 16:30 LUX Thu 2-2 16:00 PA1 Fri 3-2 21:45 PA5 Sat 4-2 13:15 PA3

Maybe it’s her shyness, possibly it something else, but drama student Fine seems invisible in groups. That is also what she is told by her mentor at drama school just before – to everyone’s surprise – she is given the demanding leading role of Camille in a play by the celebrity director Kaspar Friedmann, who is determined to work with students this time. ‘Friedmann was looking for a sheep rather than a wolf for the role’ is one of the many destructive remarks that Fine hears. And Friedmann does want to destroy her, break her down until she almost disappears and then build her up again so she can play Camille. In the meanwhile,the fairly vague boundary between Fine’s turbulent private life and her work on stage becomes even more vague à la Aronofsky’s Black Swan and Cassavetes’ Opening Night. Just as in his debut November Child, Christian Schwochow shows that he can make young, talented actresses perform painfully probing and convincing roles.

els noms de crist the Names of christ Albert Serra

Spain, 2010 | colour, DCP, 193 min, Catalan Prod: Montse Triola | Prod Comp: Andergraun Films | Sc: Albert Serra | Cam: Jimmy Gimferrer, Àngel Martín | Ed: Àngel Martín | Prod Des: Montse Triola | Sound Des: Jordi Ribas | Music: Ferran Font, Marc Verdaguer, Enric Juncà, Joe Robinson | With: Román Bayarri, Nanu Ferrari, Jordi Pau, Montse Triola, Victòria Aragonés | Print/Sales: Andergraun Films Public SCREENINGS Fri 3-2 12:00 CI4 Sat 4-2 12:30 CI3

Catalonian Albert Serra’s career has been a curious one. He studied literature, but ended up becoming a film director – reluctantly, he once said, as he considers literature a higher form of art. This may explain why his films Honour of the Knights and Birdsong (IFFR 2009) were based on the literary classic Don Quichotte and the biblical story of the Three Wise Men respectively, but rendered in an unconventional manner. Serra pays more attention to cinematic atmosphere than to plot, thereby underlining the problems facing film adaptations of books. In this sense, this experimental 14part series sums up his entire oeuvre. The Names of Christ deals with the challenges of the translation process, from literature to film and from film to museum and from museum to television. The majority of the series, shot in Serra’s unfettered, slow style and over three hours in length, has been incorporated into the Barcelona Museum of Contemporary Art’s collection.




ctyri slunce Four Suns Bohdan Sláma

eurOpeAN premIere

Czech Republic, 2011 | colour, DCP, 105 min, Czech Prod: Pavel Strnad, Petr Oukropec | Prod Comp: Negativ s.r.o. | Sc: Bohdan Sláma | Cam: Divi Marek | Ed: Jan Danhel | Prod Des: Jan Vlasák | Sound Des: Jan Cenek | With: Jaroslav Plesl, Ana Geislerová, Karel Roden, Jirí Mádl, Klára Melí ková | Print/Sales: Films Boutique Public SCREENINGS Sat 28-1 15:45 PA5 Sun 29-1 16:15 LUX Fri 3-2 22:30 CI7 Sat 4-2 22:15 PA3 Press & Industry SCREENING Fri 27-1 10:00 LV2

Bohdan Sláma, who won a Tiger Award in Rotterdam in 2002 with his feature debut Wild Bees, continues to build up a refined, unmistakably personal oeuvre. His fourth feature, Four Suns, is set in a small Czech village; the protagonists are not so successful in life and only just manage to keep their heads above water. But alongside setbacks and poverty (and alcohol) there is always friendship and solidarity (and alcohol). Jára lives with his wife Jana, their young daughter and his teenage son Véna from a previous marriage. There are problems with Véna: he’s not getting on well at school and is hanging around with a group of losers. Basically he’s a lot like Jára, who has just been sacked again. Jára decides to work with his friend Karel, who is very spiritually inclined. But will Karel’s talents be of any value? Sláma again reveals himself to be a gifted narrator with much understanding for the weaknesses of his characters. Four Suns is a loving, almost magical story about growing up, believing and letting go.

Damsels in Distress Whit Stillman

USA, 2011 | colour, DCP, 92 min, English Prod: Whit Stillman | Prod Comp: Westerly Films | Sc: Whit Stillman | Cam: Doug Emmett | Ed: Andrew Hafitz | Prod Des: Elizabeth J. Jones | Sound Des: Mikhail Sterkin | Music: Mark Suozzo, Adam Schlesinger | With: Greta Gerwig, Adam Brody, Analeigh Tipton, Megalyn Echikunwoke, Carrie MacLemore | Sales: Sony Pictures Classics | Distr NL: Sony Pictures Releasing Netherlands | www. Public SCREENINGS Mon 30-1 22:00 PA1 Wed 1-2 16:00 PA1


With Metropolitan (Oscar nomination), Barcelona and The Last Days of Disco, director/scriptwriter/producer Whit Stillman had three of the most important American independent films of the 1990s to his name. After an absence of 13 years, he returns with this comedy. Again the succinct dialogues are most striking in his always rather bizarre characters. Stillman lets us take a look into the soul of rich American adolescents. Three attractive young female students, led by the dominant Violet, take the newcomer Lily under their wing. They teach her how to behave, who to date and, strikingly, how to prevent suicide on campus. But then men turn up on the scene. This summary hardly does justice to a plot filled with strange turns. Stillman adds another tragicomic chapter to the subgenre of girlfriend clique films that took off with Clueless, helped by a cast with TV stars Analeigh Tipton, Adam Brody and Megalyn Echikunwoke.




Summertime José Luis Torres Leiva

Chile, 2011 | colour, DCP, 93 min, Spanish Prod: Alicia Scherson | Prod Comp: La Ventura Ltda. | Sc: José Luis Torres Leiva | Cam: Inti Briones | Ed: Andrea Chignoli, José Luis Torres Leiva | Prod Des: Juan Rosas | Sound Des: Roberto Espinoza | Music: Roberto Espinoza | With: Rosario Blefari, Francisco Ossa, Julieta Figueroa, Ignacio Agüero, Mariana Muñoz, Muriel Miranda, Rodrigo Lisboa | Sales: m-appeal | Distr NL: Hubert Bals Fund Public SCREENINGS Fri 27-1 20:00 CI5 Sun 29-1 18:30 PA7 Mon 30-1 10:15 PA3 Tue 31-1 22:45 CI7 Press & Industry SCREENINGS Thu 26-1 11:30 DJZ Tue 31-1 19:00 CI3


Sunlight plays through the leaves, shining on the water of the swimming pool and on the guests lazing or sauntering around an old spa resort in southern Chile. Inside, the staff receive lessons in folding serviettes and from afar someone approaches on a motorbike after having a tattoo done. In the background, a young couple practices kissing. Like Torres Leiva’s previous The Sky, the Earth and the Rain (Tiger Awards Competition 2008), Summertime is a mosaic filled with minor everyday occurrences and outflanking manoeuvres. The film focuses on the mood, occasionally captured in extreme close-ups of eyes or drops of water on the skin. Love, desire and loneliness are themes in this film that, in the director’s words, ‘walks a thin line between beauty and desperation’. Shot on location, where Torres Leiva often accompanied his grandparents as a child, Summertime came about with the support of the Hubert Bals Fund and premiered in Venice.

Khyi rgan Old Dog Pema Tseden

China, 2011 | colour, video, 88 min, Tibetan Prod: Pema Tseden | Sc: Pema Tseden | Cam: Sonthar Gyal | Ed: Sangye Bhum, Guo Kang | Prod Des: Sonthar Gyal | Sound Des: Dukar Tserang | Music: Dukar Tserang | With: Lochey, Drolma Kyab, Yanbum Gyal | Print/Sales: Marion Bonnet Public SCREENINGS Sun 29-1 12:45 PA5 Mon 30-1 14:15 SGZ Tue 31-1 20:15 CI6 Wed 1-2 09:00 LV1

The writer and director Pema Tseden is regarded as the inventor of Tibetan cinema. His third feature is both a humorous and tragic allegory in which he manages to record in a pure and naturalistic way the extensive cultural changes in the Buddhist mountain state, with non-professional actors and grainy shots of the majestic Himalayas. The story is told from the perspective of a Tibetan mastiff. This race of dogs is very popular among rich Chinese. That’s why so many get stolen in a village that is hemmed in between the mountaintops. In order to beat the thieves to it, Gonpo decides to sell his mastiff. His father is not happy about this and decides to buy the animal back. This leads to a bizarre series of events that ends in a sad apotheosis. The mastiff keeps changing owner, time and again, and the father-son relationship is put to the test. But Tseden uses the story to show how Tibetans are becoming increasingly assimilated into the dominant Han culture.




Adikos Kosmos unfair World Filippos Tsitos

Greece/Germany, 2011 | colour, 35mm, 1:2.35, 118 min, Greek Prod: Alexandra G Boussioub, GianPiero Ringel | Prod Comp: Wrong Men, Neue Road Movies GmbH | Sc: Filippos Tsitos, Dora Masklavanou | Cam: Polydefkis Kyrlidis | Ed: Dimitris Peponis | Prod Des: Spiros Laskaris | Sound Des: Vaggelis Zelkas | Music: Josepha van der Schoot | With: Antonis Kafetzopoulos, Theodora Tzimou, Christos Stergioglou, Sofia Seirli, Achilleas Kiriakides, Minas Hatzisavvas | Print/Sales: Films Boutique Public SCREENINGS Sat 28-1 22:30 PA1 Wed 1-2 10:15 PA3 Thu 2-2 17:00 LUX Fri 3-2 19:45 CI2 Press & Industry SCREENING Fri 27-1 16:30 DWBZ

Sotiris is a policeman nearing retirement. His work consists of interrogating suspects. One day, he decides he only wants to be just – a decision which means all his interviewees are let off and which leads him to make a fatal mistake during a corruption hearing. Dora, an opportunistic cleaning lady, who just like everyone else is desperately trying to keep her head above water in a bankrupt country, is the only person who can help him. The tired policeman trusts her and they even seem to be falling in love. However, time and again, Sotiris’ desire for and faith in honesty is invalidated. Filippos Tsitos’ follow-up to Plato’s Academy, in which Antonis Kafetzopoulos also played the lead, is another GreekGerman co-production. The phlegmatic characters, the deadpan humour and the stylised, minimalist scenes are reminiscent of both the work of Aki Kaurismäki and Jacques Tati as well as that of Tsitos’ countryman Yorgos Lanthimos (Dogtooth).

Kotoko Tsukamoto Shinya

Japan, 2011 | colour, DCP, 91 min, Japanese Prod: Tsukamoto Shinya | Prod Comp: Kaijyu Theater | Sc: Shinya Tsukamoto | Cam: Shinya Tsukamoto, Satoshi Hayashi | Ed: Shinya Tsukamoto | Prod Des: Cocco | Sound Des: Masaya Kitada | Music: Cocco | With: Cocco, Shinya Tsukamoto | Print/Sales: Gold View Co. Ltd. | Public SCREENINGS Mon 30-1 22:152 LUX Thu 2-2 19:00 PA1 Fri 3-2 16:452 LUX


Kotoko is a confused single mother who sees terrifying people and situations everywhere. The only way she can control her fears is by singing. Because she is afraid she will hurt her baby during psychotic nightmares, she cuts herself to prove she is still experiencing reality. In one of her delusory moments, she stands on the roof with her helpless child in her arms. What if she lets go? It isn’t long before she is forced to give up her child. During her contact with a writer, Kotoko’s crises increasingly lead to violent scenes, leaving us wondering whether they are real or part of her gruesome nightmares. This psychological horror drives you mad and, with themes such as alienation and loss of control, fits perfectly in the oeuvre of the Japanese cult director Tsukamoto (Tetsuo). Although this consciously chaoticallyfilmed drama is not suitable for the tender at heart, Kotoko – with the powerful Japanese singer-songwriter Cocco in the title role – is not only terrifiying but heart-rendingly tragic.



Iceberg Gabriel Velázquez

INterNAtIONAL premIere

Spain, 2011 | colour, 35mm, 1:1.85, 84 min, Spanish Prod: Gabriel Velázquez | Prod Comp: Escorado Produccion | Sc: Blanca Torres, Gabriel Velázquez | Cam: David Azcano | Ed: Blanca Torres, Gabriel Velázquez, Manuel García | Prod Des: Arantxa Echevarria | Sound Des: Nacho Royo, José Martínez de San Mateo | Music: Pablo Crespo | With: Carolina Morocho, Jesús Nieto, Víctor García, Juanma Sevillano | Print/Sales: Escorado Produccion | Public SCREENINGS Sat 28-1 16:15 PA3 Sun 29-1 22:30 PA4 Thu 2-2 22:30 CI3 Sat 4-2 14:30 LUX

Everyone knows that the tip of the iceberg only shows a fraction of a larger picture. The same applies to the emotions of the teenagers in this subdued coming-of-age film. Its motto is the telling comment by Jean-Jacques Rousseau: ‘Adolescence is like a second birth. In the first a child is born, in the second, a man or a woman. And it’s always painful.’ In Iceberg, we follow several teenagers during a cold winter in a small town by the river. Mauri (13) is mourning his father who died in an accident. Rebecca (12) tries to survive during her first year at boarding school and two boys aged 17 and 18 lead an apparently carefree life in a small hut by the river. Little is said in this fragile, beautifully filmed drama, but the feelings of these struggling children are revealing. Sometimes their stories brush against each other, but they are all wrestling with their own demons.

Press & Industry SCREENING Fri 27-1 12:00 DWBZ

11 Flowers Wang Xiaoshuai

China/France, 2011 | colour, DCP, 110 min, Mandarin Prod: Wang Xiaoshuai, Isabelle Glachant, Lu Dong, Laurent Baudens, Didar Domehri, Gaël Nouaille | Prod Comp: WXS Productions, Chinese Shadows, Full House | Sc: Wang Xiaoshuai, Lao Nii | Cam: Dong JinSong | With: Liu Wenqing, Wang Jingchun, Yan Ni, Zhang Kexuan, Zhong Guo Liuxing, Lou Yihao, Wang Ziyi | Sales: Films Distribution | Distr NL: Imagine Nederland Public SCREENINGS Thu 26-1 21:30 PA5 Fri 27-1 10:15 PA1 Sat 28-1 15:00 LV3 Press & Industry SCREENING Tue 31-1 12:00 LV6

Wang Han is 11 years old and is growing up during the Cultural Revolution in the countryside of China. His calm, everyday life in which adults work in the factory and children go to school is disrupted. While he is playing, Wang’s new shirt, which has been made with great difficulty, is stolen. The culprit is a man suspected of murder who has escaped and asks the boy to help him. Apart from the story of Wang Han and his ward, 11 Flowers sketches a portrait of a society under a harsh regime. The consequences of the Cultural Revolution are noticeable for everyone in everyday life. There is poverty and violence: Wang Han’s father, an intellectual, is forced to do manual labour and has a harsh confrontation with the Red Army. The film has many autobiographical elements: for instance, Wang Xiaoshuai was born in the same year and the same region as the protagonist.



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Spectrum SHOrtS




Behind the Scenes A musical urban landscape, a deconstructed misty park, a mythical mountain view or an indoctrinating river: landscape that defines our thinking and demands a leading role. PUBLIC SCREENINGS Sun 29-1 15:00 LantarenVenster 2 Mon 30-1 17:15 LantarenVenster 5

Un luogo a venire A Place to Come Flatform

The enigmatic A Place to Come veers between a description of an action in a landscape and showing what is described. Shrouds of mist divide the various scenes that are always first announced and then shown. That leads to a new build-up of suspense. Italy, 2011 | colour, video, 7 min, Italian Prod/Sc/Cam: Flatform | Ed: Flatform, Marco Forni | Sound Des: Flatform | Print/Sales: Light Cone Distribution |

I Met Heine on the Rue Fürstenberg Andreas Rochholl

A kangaroo escapes, a conductor plays clarinet. A cellist in tears and a violin in lingerie, while a composer becomes increasingly entangled in his patterns. These are only a few of the passionate elements of this film work, which has its origins in a composition by Morton Feldman (1926-1987). WORLD PREMIERE

Germany, 2012 | colour, video, 13 min, no dialogue Prod: Andreas Rochholl | Prod Comp: KADMOS Produktion | Sc: Andreas Rochholl | Cam: Börries Müller-Büsching | Ed/Prod Des: Andreas Rochholl | Sound Des: Daniel Weingarten | Music: Morton Feldman, Arno Waschk | With: Zoé Cartier, Lisa Tjalve, Christina Fassbender, Simone Leona Hueber, Alexander Bader | Print: Karin Kleibel PR | Sales: KADMOS Produktion |

7 Peaks Anna Abrahams

Would it be possible to survey our complex existence on a mountain? Do angels fly around? Or do you have to fight off dragons? This timeless journey over the summits of Europe is the last part of a trilogy about the cultural significance of the landscape, after Desert 79°: 3 Journeys Beyond the Known World and 5 Walks. WORLD PREMIERE

Netherlands, 2012 | colour/b&w, 35mm, 1:1.85, 23 min, English Prod: Jan Frederik Groot | Prod Comp: Stichting Rongwrong | Sc: Anna Abrahams | Cam: Jan Frederik Groot | Ed: Anna Abrahams | Sound Des: Edwin Bakker, Sam Simons | Music: Edwin Bakker | With: Beek Groot, Carol Molenaar | Sales: Stichting Rongwrong | Distr NL: EYE Film Institute Netherlands |




Viento sur

A Wind from the South Paz Encina

Life along the banks of the Rio Paraguay is defined by the river. A Wind from the South shows the river and lets us listen to a stream of thoughts and memories of two brothers, both fishermen. They reflect on their lives and future and wait for the right moment to leave and flee their lives. WORLD PREMIERE

Paraguay, 2012 | colour, 35mm, 23 min, Guarani Prod: Maria João Mayer | Prod Comp: Filmes do Tejo II | Sc: Paz Encina | Cam: Willy Behnisch | Ed: Guillermina García Silva | Prod Des: Lukas Fúster | Sound Des: Guido Berenblum | Music: Dino Saluzzi | With: Ramón del Rio, Cristian Agüero Pereira, Gianinna Villalba Vera, Walter Villalba Vera | Print/Sales: Filmes do Tejo II

Bitter Sweet and Golden To conform to or escape reality? Three films in which time slows down, in between, as attention shifts from the everyday to the sublime. PUBLIC SCREENINGS Fri 27-1 20:15 LantarenVenster 2 Sat 28-1 12:30 LantarenVenster 2

Glucose Mihai Grecu, Thibault Gleize

A calmly meandering work filled with surprising symbols and delightful compositions with elements including fish, water and giant food. At the same time, the viewer’s observations are stimulated in an unorthodox way. WORLD PREMIERE

France/Romania, 2012 | colour, video, 6 min, no dialogue Prod/Sc/Cam/Ed/Prod Des/Sound Des: Mihai Grecu, Thibault Gleize | Music: Thibault Gleize | Print: Thibault Gleize | Sales: Mihai Grecu |

All that She Surveys Gary Mairs

The idea and screenplay are by James Benning: a day in the life of a young woman (a beautiful role by Amy Seimetz). We see her successively survey her surroundings in a coffee house, become emotional at a tram stop, deep in thought on the tram and attentive in a museum. She looks and listens and takes in the world. WORLD PREMIERE

USA, 2012 | colour, video, 15 min, no dialogue Prod: Gary Mairs | Sc: James Benning | Cam: Jay Keitel | Ed: Lee Anne Schmitt, Gary Mairs | Sound Des: Jerry Summers | With: Amy Seimetz, Ryan Beebe, Margery Fairchild, George P. Scott, Nathan Tucker | Paintings: James Hayward | Print/Sales: Gary Mairs |




Zima Katarina Stankovic

When Michael announces he is returning home after a lengthy absence, all those who love him come together. The promise of his arrival puts everyone in a blissful state of mind. This situation of ‘splendid limbo’ seems to last for ever. ‘Beauty is nothing other than the promise of happiness.’ (Stendhal) WORLD PREMIERE

Germany, 2012 | b&w, video, 49 min, German Prod: Ute Dilger | Prod Comp: Kunsthochschule fur Medien Köln | Sc: Katarina Stankovic | Cam: Matteo Cocco | Ed/Sound Des: Katarina Stankovic | With: Jules Schunevitsch, Juli Klement, Annette Simons, Jana Allgeier, Nikolai Stanic, Mia Stanic | Print/Sales: Kunsthochschule für Medien Köln

Chromotherapeutic Strips Colour and light therapy in one. Film as the stuff that dreams are made of. PUBLIC SCREENINGS Sat 28-1 17:00 LantarenVenster 6 Sun 29-1 17:00 LantarenVenster 6

Compound Eyes Paul Clipson

Compound Eyes shows a macromenagerie of natural life-forms that are introduced in a forest’s tapestry of earth, water and air: spiders, slugs, flies, bees, and ants navigate their lives in darkness and light. First film in a series of five short film studies, commissioned by the San Francisco Exploratorium. INtERNAtIONAL PREMIERE

USA, 2011 | colour/b&w, Super-8, 1:1.33, 6 min, English Prod/Cam/Ed: Paul Clipson | Music: Jefre Cantu-Ledesma | Print/Sales: Paul Clipson |

Caridea and Ichthyes Paul Clipson

Fish and crustaceans appear to swim within an ether of natural and unnatural energies. Fifth film in a series of five short film studies, commissioned by the San Francisco Exploratorium, studying aspects of insect and animal life, viewed within a succession of environments in unexpected ways. INtERNAtIONAL PREMIERE

USA, 2011 | colour, Super-8, 1:1.33, 6 min, English Prod/Cam/Ed: Paul Clipson | Music: Jefre Cantu-Ledesma | Print/Sales: Paul Clipson |




Deep Red Esther Urlus

Esther Urlus fervently runs the WORM. filmwerkplaats in Rotterdam. She herself does not lag behind in exploring new territories in processing film material. Deep Red is an investigation into additive colour mixing (a kind of silkscreen technique) but also a successful poetic work that evokes experiences from childhood. WORLD PREMIERE

Netherlands, 2012 | colour, 35mm, 1:1.37, 7 min, no dialogue Prod/Cam/Print/Sales: Esther Urlus

Reflect Hsu Tsen-Chu

This film is about the changes in time, light and reflection that I have observed in the place where I live. The intimacy comes not only from this personal space and the subtle things that happen in it, but also from my direct involvement in every aspect: shooting, hand-processing and editing. (HT) USA/Taiwan, 2010 | colour, 16mm, 1:1.37, 4 min, silent Prod: Hsu Tsen-Chu | Cam: Hsu Tsen-Chu, Brad Hoffarth | Ed: Hsu Tsen-Chu | Print/Sales: Hsu Tsen-Chu

Never a Foot too Far, Even Daïchi Saïto

A short fragment from a 35mm copy of an old Kungfu film has been developed into a picturesque work with sliding patterns and colours. The film acquires a polymetric structure thanks to overlapping 16mm double projection, accentuated by a hypnotic soundtrack by Malcolm Goldstein on violin. WORLD PREMIERE

Canada, 2012 | colour, 16mm, 1:1.37, 13 min, no dialogue Prod: Ben Donoghue, Daïchi Saïto | Prod Comp: LIFT (Liaison of Independent Filmmakers of Toronto) | Cam/Ed: Saïto Daïchi | Music: Malcolm Goldstein | Print/Sales: Daïchi Saïto

99 Clerkenwell Road Sophie Michael

Filmed in an empty shop, the remaining features of the space are used to create a film focused on light. Ceiling lamps become coloured spheres and circles that sweep across the frame. Pillars provide wipes and fades, window shutters are hole-punched stencils, passing buses shoot beams of light. EUROPEAN PREMIERE

United Kingdom, 2010 | colour, 16mm, 1:1.37, 8 min, silent Prod/Cam/Ed/Print/Sales: Sophie Michael |




Curious Light Charlotte Pryce

Charlotte Pryce explores protocinematic structures of reverie, juxtaposing the real and the imagined to create deeply saturated, fleeting illuminations that hover on the periphery of vision. Curious Light is an entirely hand-processed illumination, an elusive story revisited. USA, 2011 | colour, 16mm, 1:1.37, 4 min, no dialogue Prod/Cam/Ed/Print/Sales: Charlotte Pryce |

Sea Series #10 John Price

CinemaScope reflection on the power of the sea, shot on a beach near a nuclear complex and then developed, using that specific water. A reaction to the disaster in Fukushima from across the Pacific and the apocalypse predicted by Christian fundamentalists on 21 May 2011. EUROPEAN PREMIERE

Canada, 2011 | colour/b&w, 35mm, 1:2.35, 10 min, no dialogue Prod: Lea Carlson | Prod Comp: 1273503 Ontaro Ltd. | Cam/Ed: John Price | Print/Sales: 1273503 Ontaro Ltd. |

Cinematic tributes to Musicians Lively portrait of a Belgian jazz quartet which ‘prostitutes’ itself yet still remains true to itself, and the journey through England to support the latest inventive album by PJ Harvey. PUBLIC SCREENINGS Thu 26-1 22:00 LantarenVenster 6 Sat 28-1 22:30 Cinerama 4

Standards Maxime Pistorio, Julie Jaroszewski

A jazz quartet performs at a Belgian banquet for rich businessmen. Behind the scenes, they discuss how they feel about it. The scene in which the host forgets their names is hilarious. Light and enjoyable, voyeuristic documentary with many familiar situations. Belgium, 2010 | colour, video, 17 min, French Prod: Maxime Pistorio, Julie Jaroszewski | Sound Des: Benjamin Pasternak | Print/Sales: Maxime Pistorio |




Let England Shake Seamus Murphy

Dublin-raised photographer Seamus Murphy created short films for all 12 of the songs on PJ Harvey’s album Let England Shake (2011). In this road journey, Murphy opens himself up to England, the country he lives in, but rarely gets to shoot. An unscripted and unstaged marriage of Murphy’s visuals and PJ Harvey’s songs. United Kingdom, 2011 | colour, video, 53 min, English Prod/Cam: Seamus Murphy | Ed: Sebastian Gollek | Music: PJ Harvey | Print: Principle Management | Sales: Island Records |

Closer Reading Not close to the skin, but close to the soul. Three intimate contacts with film. PUBLIC SCREENINGS Sat 28-1 19:45 LantarenVenster 6 Sun 29-1 12:00 LantarenVenster 6

Villatalla Jeannette Muñoz

The world in Villatalla is not showcased but simply lived. Muñoz shoots film and records sounds but does not work with the illusion of the synchronisation of image and sound. According to her, these two dimensions do exist as realities independent of each other, and as such do in fact emerge in our consciousness. EUROPEAN PREMIERE

Switzerland, 2011 | colour/b&w, 16mm, 1:1.37, 22 min, no dialogue Prod/Sc/Cam/Ed/Music/Print/Sales: Jeannette Muñoz

Paulina, Franz & Maria Ute Aurand

Three intimate portraits. Paulina Buda and Franz von Lucke are godchildren of the director, Ute Aurand, who has filmed them from childhood. They are now 15 and 26 years old. She also follows Maria Lang, a good friend of Aurand’s, who lives in the countryside of Southern Germany. We see her gardening and visiting an exhibition. EUROPEAN PREMIERE

Germany, 2011 | colour/b&w, 16mm, 1:1.37, 13 min, no dialogue Prod/Sc/Cam/Ed: Ute Aurand | With: Paulina Buda, Franz von Lucke, Maria Lang | Print/Sales: Ute Aurand |




the Return Nathaniel Dorsky

Nathaniel Dorsky, there’s no harm in repeating it, makes unique films. Meticulous in their camerawork, editing and concentration. In silence, a dark universe unfolds, a measured structure that emerges from, but has nothing to do with, the visible world. ‘Like a memory already gone, this place of life.’ (ND) USA, 2011 | colour, 16mm, 1:1.37, 27 min, silent Prod/Cam/Ed: Nathaniel Dorsky | Print/Sales: Light Cone Distribution

Dig! Dig! Dig! Two resolutely original visions of cinema, uncovering landscapes and exploring histories in a seriously playful and generously subversive manner. PUBLIC SCREENINGS Sun 29-1 14:45 LantarenVenster 5 Mon 30-1 19:30 LantarenVenster 5

Sangre de Cristo Marcy Saude

Marcy Saude’s odyssey through highway towns, historical societies, communes, roadside attractions and mountain trails results in a stunning film where embedded layers of oppositional history converge and are revealed in the landscape of Colorado and New Mexico. INtERNAtIONAL PREMIERE

USA, 2011 | colour, video, 26 min, English/Spanish Prod/Sc: Marcy Saude | Cam: Eric Coombs | Ed: Marcy Saude | Sound Des: Sarah Jane Biagini | With: Daniel Cervantes, Alex Luna, Juliet Hougland, Dreux Moreland and voice of Ben Morea | Print/Sales: Marcy Saude |

Palácios de Pena Palaces of Pity

Gabriel Abrantes, Daniel Schmidt

Pre-adolescence meets the forest fires of globalisation, product placement, UNESCO world heritage and fearinflamed legacies of oppression. A post-dubbed, post, post, post wonder of cinematic imagination-in-heat from Abrantes & Schmidt, the inspirational partnership which brought the IFFR 2011’s succulently subversive A History of Mutual Respect. Portugal, 2011 | colour, video, 55 min, Portuguese Prod: Gabriel Abrantes, Daniel Schmidt | Prod Comp: A Mutual Respect Productions | Print/Sales: A Mutual Respect Productions




Echoes from the Past No ordinary history lesson, but film as a means to (re) animate the past, to make the course of time visible, to look again or differently. PUBLIC SCREENINGS Fri 27-1 15:00 LantarenVenster 2 Sun 29-1 17:15 LantarenVenster 3

Inquire Within Jay Rosenblatt

The grand master of found-footage film is back with a challenging and also hypnotic new work that uses heartrending archive footage, while we are subtly encouraged to make a series of choices that may be improper. WORLD PREMIERE

USA, 2012 | colour/b&w, video, 4 min, English Prod/Ed/Sound Des/Print/Sales: Jay Rosenblatt |

Historia del mal Benjamin Naishtat

1879: General Roca’s army walks to the great South to build the nation of Argentina. 1979: the military junta organises a National History Conference to celebrate the Conquest. 2011: another reenactment. ‘We want to talk of history, but we end up bogged down in these little stories which emerge from reality and take over.’ INtERNAtIONAL PREMIERE

Argentina/France, 2011 | colour, video, 17 min, Spanish Prod: Natalia Trebik | Prod Comp: Le Fresnoy | Sc: Benjamin Naishtat | Cam: Alexandre Maubert | Ed: Benjamin Naishtat | Prod Des: Marina Raggio | Sound Des: Ronny Trocker | Music: Sumo | With: Franco Lovisolo, Sonia Costantini | Print/Sales: Le Fresnoy |

Watashi no konseki traces of Other Nagaoka Daisuke

Nagaoka Daisuke creates video work using the process of pencil drawing as a part of his drawing method. On a single sheet of paper he draws one image, erases it and draws the next scene. Traces of Other features ordinary people during an ordinary coffee break in an ordinary office. Japan, 2010 | colour, video, 6 min, no dialogue Prod: Nagaoka Daisuke | Music: Yukiko Watanabe | Print/Sales: Nagaoka Daisuke




Isla Alta

High Island Federico Adorno

Violence after a violent act has ended. There’s fire in a clay oven; a pair of sunglasses is broken. Peasants from the Isla Alta village are near the ranch, observing, while a wealthy family searches for the missing Paraguayan rancher. High Island is set in the current atmosphere of life in Paraguay. EUROPEAN PREMIERE

Paraguay, 2011 | colour, video, 15 min, no dialogue Prod: Federico Adorno, Roberto Cardozo | Prod Comp: Adentro Cine | Sc: Federico Adorno | Cam: Gabriela Zuccolillo | Ed: Federico Adorno | Prod Des: Roberto Cardozo | Sound Des: José Bogado | With: Rogelia Rodríguez, Margarita Armoa, Adriana Casco, Herminio Giménez | Print/Sales: Adentro Cine

Ghaliz-tar az tiner

thicker than Paint thinner Babak Afrassiabi

Based on a true story in which Hossein, a revolutionary and former junkie, set fire to a cinema and killed nearly 400 people a few months before the end of the revolution in 1979. At the moment of the fire, the film being screened was The Deer. Afrassiabi made use of Hossein’s original confession. Netherlands, 2011 | colour, video, 29 min, Farsi Prod/Sc: Babak Afrassiabi | Cam: Claire Pijman | Ed/Prod Des: Babak Afrassiabi | Sound Des: Babak Afrassiabi, Ludo Keeris | Music: Morteza Mahjoubi | With: Ayat Najafi | Print/Sales: Babak Afrassiabi




Excitement of Stealing Stealing can be big-time or small. Shoplifting can be just as exciting as a robbery. You also have films about stealing in different sizes. PUBLIC SCREENINGS Mon 30-1 22:00 LantarenVenster 5 Tue 31-1 12:45 Cinerama 6

Sumidaku Kyojima San-chome

Kyojima 3rd St., Sumida City Yumiko Kimura

Kyojima is a district in the centre of Tokyo. It is the area where the teenage girl Sachi lives. A sweet and well-behaved girl, it seems. She goes shopping for her mother in a local store but is caught shoplifting. Maybe the girl isn’t that well-behaved, after all. Japan, 2010 | colour, video, 30 min, Japanese Prod: Kimura Yumiko | Prod Comp: Tachibanakan Executive Committee | Sc: Yoshida Kota | Cam: Seki Masafumi | Ed: Yoshida Kota | Sound Des: Shimazu Mikisuke | Music: Ikenaga Shouji | With: Ikenoue Mana, Serizawa Tateto, Kawata Nozomi, Yoshida Yuka | Print/Sales: Tachibanakan Executive Committee

Ken and Kazu Shoji Hiroshi

They are friends or at least they were. Together they traffic in drugs. One also works for himself by stealing from the big boss. You don’t have to have seen many gangster films to know that this tends to be fatal. Genre films are about variations and the filmmaker is well aware of that. Japan, 2011 | colour, video, 23 min, Japanese Prod/Sc/Cam/Ed: Shoji Hiroshi | With: Nomura Tatsuya, Maiguma Katsuya | Print: Short Shorts Film Festival Asia | Sales: Shoji Hiroshi

Ninifuni Tetsuya Mariko

Tanaka is a young man from the countryside. Not a professional criminal, but with a friend he robs a pachinko gambling hall. He escapes in the owner’s car. Days later, the car with Tanaka is found by the makers of a music video. They decide to finish the video anyway. Japan, 2011 | colour, video, 42 min, Japanese Prod: Nishigaya Toshikazu, Nishimiya Yuki, Kino Yoshihisa | Sc: Mariko Tetsuya | Cam: Tsukinaga Yuta | Ed: Mariko Tetsuya | Prod Des: Sagae Yoko | Sound Des: Takata Shinya | With: Miyazaki Masaru, Yamanaka Takashi, Clover Moimoro | Print/Sales: Nikkatsu Corporation |




Follow the Path In the footsteps of the master, the pupil should follow his own way. PUBLIC SCREENINGS Sat 28-1 17:15 LantarenVenster 5 Mon 30-1 12:00 LantarenVenster 6

Incêndio Fire

Miguel Seabra Lopes, Karen Akerman

Almost baroque in its ambition and detail, Akerman and Seabra Lopes’ mesmerising short film delves deeply into the hard-wired dread of music lessons. Sewn around Schubert’s steely Opus 1, which is itself based on the no less terrifying legend of Goethe’s Erlkönig, their film is a revelation. Portugal, 2011 | colour, video, 23 min, Portuguese/German Prod: João Matos, Joana Gusmão | Sc: Miguel Seabra Lopes, Karen Akerman | Cam: Paulo Menezes | Ed: Karen Akerman | Prod Des: Cypress Cook | Sound Des: Ricardo Leal | Music: Franz Schubert | With: António Moniz Pereira, António Seabra, Joana Craveiro, Joana Gama, Luís Duque | Print/Sales: Terratreme Filmes |


the Golden Bird Amit Dutta

Two travellers are in search of a flying craft that would take them to another dimension and possibly enable them to escape from the cycle of births. This intriguing philosophical piece evokes many memories and challenges various interpretations. The film is truly cinematic, a connoisseurs’ piece. India, 2011 | colour, video, 55 min, Hindi Prod: Pranav Ashar | Prod Comp: Enlighten | Sc: Amit Dutta | Cam: Prahalad Gopakumar | Ed: Amit Dutta | Prod Des: Dhanajai Singh | Sound Des: Amit Dutta, Ajit Singh Rathore | With: Nitin Goe, Gagan Singh Sethi | Print/Sales: Enlighten |




For a Better World Sometimes it is necessary: someone who lifts the lid on reality, tilts something and puts it back. Something is going on, but you can’t put your finger on it. Yet the world is no longer entirely the same. PUBLIC SCREENINGS Sat 28-1 20:15 LantarenVenster 2 Sun 29-1 12:30 LantarenVenster 2

De Bunker – Het Wennen – Het Wachten – Het Licht

the Bunker – the Habituation – the Wait – the Light Jonas Staal

Sober portrayal of the ‘control society’ in which people are conditioned to serve order, efficiency and productivity, but are also watched to shape everyone into a model citizen. ‘A society that doesn’t need prisons any more, but has itself become a prison,’ according to Staal. INtERNAtIONAL PREMIERE

Netherlands, 2011 | colour, video, 15 min, Dutch Prod: Mihnea Mircan | Prod Comp: Extra City Antwerpen | Sc: Jonas Staal, based on a concept by Fleur Agema | Cam: Jonas Staal | Ed: Sjoerd Oudman | Sound Des: Richard Beukelaar | With: Jonas Staal | Print: Jonas Staal | Sales: Extra City Antwerpen |

Rise Again Katarina Zdjelar

Zdjelar focuses on a number of asylum seekers from Afghanistan discovering the woods next to their asylum center. By combining allegorical imagery with martial arts elements, acted and documentary scenes, Rise Again develops a narrative structure in which the men appear in various roles and guises. INtERNAtIONAL PREMIERE

Netherlands/United Kingdom, 2011 | colour, video, 11 min, no dialogue Prod/Cam/Ed: Katarina Zdjelar | Sound Des: Maziar Afrassiabi | Print/Sales: Katarina Zdjelar |


Assassination Yael Bartana

Yael Bartana’s trilogy deals with the activities of the Jewish Renaissance Movement in Poland (JRMiP), a political group that calls for the return of 3,300,000 Jews; and with Zionist dreams, anti-Semitism, the Holocaust and the Palestinian right of return. Zamach revolves around the funeral ceremony of the assassinated leader of the JRMiP. Poland/Netherlands/Israel, 2011 | colour, video, 35 min, Polish/Hebrew/English Prod: Naama Pyritz | Sc/Cam/Ed: Yael Bartana | Prod Des: Naama Pyritz | Sound Des: Daniel Meir | Print/Sales: Annet Gelink Gallery




Remember Eléonore de Montesquiou

January 2010. ‘For the first time in my life, I am taking part in a demonstration... Until now, as a reporter, I could feel sympathy or rejection for the demonstrators. One way or the other however, there was a distance between us that I did not want to shrink. Tonight there is no distance.’ (Andrei Loshak, Moscow journalist) WORLD PREMIERE

Russia, 2012 | colour, video, 10 min, Russian Prod/Cam/Ed/Print/Sales: Eléonore de Montesquiou |

Homelandsssss Two extraordinary films from Portugal – one a debut, one from a seasoned master and both very different; dichotomies almost, but at the same time and both in their own way, dealing with home. PUBLIC SCREENINGS Thu 26-1 15:00 LantarenVenster 2 Fri 27-1 22:30 LantarenVenster 3

O nosso homem Our Man

Pedro Costa

‘Is there space for a green garden?’ ‘Not even for a house’. We revisit Fontainhas, thinking of Cape Verde, the country to which José Alberto Silva will be deported but which he’s never seen before. This is controlled, hypnotic cinema, moving between life and death, reality and fiction. Portugal, 2011 | colour, video, 24 min, Portuguese Prod: Pedro Costa | Sc: José Alberto Silva, Lucinda Tavares, Alfredo Mendes, Ventura, António Semedo, Pedro Costa | Cam: Pedro Costa | Ed: Patricia Saramago, João Diao | Sound Des: Olivier Blanc | Music: N’Toni Denti d’Ouro | With: José Alberto Silva, Lucinda Tavares, Alfredo Mendes, Ventura, António Semedo | Print/Sales: Pedro Costa

Yama no anata

Beyond the Mountains Aya Koretzky

A lyrical ode to what lies beyond, given texture from inky letters and the pixels of home video but sung by goats and crows, Aya Koretzky’s extraordinary debut, submerges us in the Mondego River, invoking spirits and interrogating memories to ask pertinent questions about coming and going and home. INtERNAtIONAL PREMIERE

Portugal, 2011 | colour, video, 59 min, Japanese/French Prod: Miguel-Clara Vasconcelos | Prod Comp: Andar Filmes | Sc/Cam: Aya Koretzky | Ed: Tomás Baltazar | Prod Des: Aya Koretzky | Sound Des: Pedro Góis | Music: Aya Koretzky | With: Anuta Koretzky, Jiro Koretzky, Aya Koretzky | Print/Sales: Andar Filmes |




In Dreams Deep underwater, deep in the forest, high in the sky or far away in the land of dreams. Films with a powerful cinematographic consciousness. PUBLIC SCREENINGS Sun 29-1 20:15 LantarenVenster 2 Mon 30-1 12:15 LantarenVenster 5

Line Describing Your Mom Michael Robinson

A brand new blurry, goofy, hallucinatory pop concoction squeezed from poisonous berries, but what is it? There’s interpretative dance, party-time apparitions of Buffalo Bill channelled through southern gothic voiceovers... ‘I’m talking to my mom, leave me alone.’ INtERNAtIONAL PREMIERE

USA, 2011 | colour, video, 6 min, English Prod/Ed/Print/Sales: Michael Robinson |

Piattaforma luna Platform Moon Yuri Ancarani

For three weeks, six scuba divers stayed alternately in the recompression chamber on board the platform Luna or were at work on the bottom of the ocean. All that time, they breathed oxygen mixed with helium and all their actions were tied to very strict protocols. Yuri Ancarani spent three days with them and meticulously recorded all their actions. INtERNAtIONAL PREMIERE

Italy, 2011 | colour, 35mm, 1:1.85, 25 min, Italian Prod: Maurizio Cattelan | Sc/Cam/Ed: Yuri Ancarani | Sound Des: Mirco Mencacci | Music: Ben Frost | With: Daniele Andaloro, Ezio Bozzato, Marcello Casadei, Piergiorgio Ferretti, Dario Fiorentino, Alessandro Fogli | Print/Sales: Galleria Zero |

Moving Stories Nicolas Provost

Stock footage is cheaper than shooting new material and is mainly used as illustrative material in a very sober way. Provost (Plot Point, The Invader) shows that it can have esthetic and cinematic value in itself and can tell a story. In this film, he uses nothing but stock footage of a Boeing plane, flying towards a sunset. Belgium, 2011 | colour, DCP, 7 min, no dialogue Prod: Nicolas Provost | Print/Sales: Argos Centre for Art and Media




Late and Deep Devin Horan

Dark North. Clarity upon waking. Beneath an expanse of sky, a night of flesh absorbed in fever. Second instalment in a film tetralogy that explores a statement made by existential writer Sadeq Hedayat: ‘In life it is possible to become angelic, human, or animal. I have become none of these things.’ Norway/USA, 2011 | colour, video, 17 min, no dialogue Prod/Sc/Cam/Ed: Devin Horan | Prod Des: Elena Perez Guembe, Devin Horan | Sound Des: Sanford Livingston | Print/Sales: Devin Horan |

It’s Immaterial Seven productions from the analogue film culture, using Super-8, 16mm or a pinhole camera; if necessary also hand-developed. By makers who consciously choose for traditional means. PUBLIC SCREENINGS Fri 27-1 12:00 LantarenVenster 6 Sun 29-1 14:30 LantarenVenster 6

Under the Shadow of Marcus Mountain Robert Schaller

Made with a rudimentary pinhole technique, traces of a mountain landscape are captured in black and white. ‘The structures of our thought filter what we see, and in fact there is no seeing apart from those structures. This film is part of an ongoing project to show where I am in a natural landscape in a way that reflects those structures of thought.’ (RS) INtERNAtIONAL PREMIERE

USA, 2011 | b&w, 16mm, 1:1.37, 7 min, no dialogue Prod/Print/Sales: Robert Schaller |

I Swim Now Sarah Jane Biagini

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. (SB) EUROPEAN PREMIERE

USA, 2011 | b&w, 16mm, 1:1.37, 9 min, English Prod/Ed/Print/Sales: Sarah Jane Biagini |




Pilgrimage Marc Pelletier

A simple walk in the park can become a spiritual experience, a moment of discovery, a pilgrimage. This film explores the meditative nighttime allure of the Parc Lafontaine in Montreal, Canada, turning this public space into a form of sanctuary. (MP) WORLD PREMIERE

Canada, 2012 | colour, video, 9 min, no dialogue Prod/Cam/Ed/Sound Des/With/Print/Sales: Marc Pelletier

Etienne’s Hand Richard Tuohy

A 16mm movement study of a restless hand, made from a single five-second film shot. The sound is constructed from an old French folk tune played on a hand-cranked musical box. WORLD PREMIERE

Australia, 2012 | b&w, 16mm, 1:1.37, 13 min, no dialogue Prod: Richard Tuohy | Cam: Richard Tuohy | Ed: Richard Tuohy | Print/Sales: Richard Tuohy

Resonance Karen Johannesen

Resonance is the tendency of a system to oscillate with larger amplitudes at some frequencies than at others. These are known as the system’s resonant frequencies. At these frequencies, even small periodic forces can produce large amplitude oscillations, because the system stores vibrational energy. EUROPEAN PREMIERE

USA, 2010 | colour, 16mm, 1:1.37, 3 min, silent Prod/Cam/Ed/Print/Sales: Karen Johannesen |

(k)now (t)here Jang Hey-Yeun

A train journey to nowhere; time passes differently when you’re on your way. (k)now (t)here is about what is already there, what isn’t and what still has to come. INtERNAtIONAL PREMIERE

USA, 2011 | colour, video, 9 min, no dialogue Prod/Cam/Ed/Sound Des/Print/Sales: Jang Hey-Yeun




Emblem Hayama Rei

Not a documentary, but an enchantment. Processed sequences of threatened bird species in an investigation into the relationship between what is portrayed and the observer. ‘I think of an image as a “standstill moment” and each of these essentially includes the whole; a single image already includes beginning and end.’ (HR) WORLD PREMIERE

Japan, 2012 | colour, video, 16 min, no dialogue Prod/Cam/Ed/Sound Des/Music: Hayama Rei | Telecine: Makino Takashi | Print/Sales: Hayama Rei |

Life’s Full of Wonders Hypnotic soundtracks in a very diverse programme. A platform for imagination and amazement. PUBLIC SCREENINGS Thu 26-1 22:15 LantarenVenster 2 Fri 27-1 12:30 LantarenVenster 2

Meteor Christoph Girardet, Matthias Müller

Meteor empathises with childlike realms of imagination, accompanying a boy’s stages of development towards individuation. The boy sets out on a phantasmatic journey. Conditions of detachment emerge visually against an emotionally charged aria expressing a desperate and futile longing for proximity. Voice-over by John Smith. Germany, 2011 | colour/b&w, 35mm, 1:1.66, 15 min, English Prod/Sc/Ed/Sound Des: Christoph Girardet, Matthias Müller | Music: Giacomo Puccini | With: voice of John Smith | Print/Sales: Christoph Girardet

Sound of Life Hirayama Shiho

We make our way through life to the sounds of our surroundings; we all have our own sound. The poetic Sound of Life visualises this music with a stunning hybrid drawing and clay animation technique. The head gets filled with small piles of coloured clay. Japan, 2011 | colour, video, 5 min, no dialogue Prod/Sc/Cam/Ed/Prod Des/Sound Des/Music/ Print/Sales: Hirayama Shiho |




Praça Walt Disney Walt Disney Square

Renata Pinheiro, Sergio Oliveira

An urban portrait through which polite and fickle sea breezes blow: the ‘quasimusical’ Walt Disney Square throws an elegant light on urban surroundings. Starting from a real square in the Brazilian city of Recife, we catch a glimpse of the kind of everyday life we all too often overlook. Brazil, 2011 | colour, 35mm, 1:1.85, 21 min, no dialogue Prod: Sergio Oliveira | Prod Comp: Aroma Filmes | Sc: Renata Pinheiro, Sergio Oliveira | Cam: Pedro Urano | Ed: Misha Warhmann | Prod Des: Ana Lu, Thales Junqueira | Sound Des: Guga Rocha | Music: Paul Dukas, João do Cello, Bernardo Viera | Print/Sales: FiGa Films

Dell’ammazzare il maiale About Killing the Pig Simone Massi

The men enter the pig’s sty and tie his snout. While he is being dragged out to be killed, the animal has the chance to see the sky and the things of the world. Beautiful, handmade drawing animation by award-winning filmmaker Simone Massi about the treatment of animals by human beings. INtERNAtIONAL PREMIERE

Italy, 2011 | colour/b&w, video, 6 min, no dialogue Prod/Sc: Simone Massi | Cam: Julia Gromskaya | Ed/Prod Des: Simone Massi | Sound Des/Music: Stefano Sasso | Print/Sales: Simone Massi |

Square Dance Hypnotist Allan Brown

Spun-out film with wall-to-wall image comprising a doubled progressive loop of a piece of square dance footage. The layered audio consists of station announcements that emphasise alienation and a police radio with live pursuit of a fleeing woman. No escape possible. WORLD PREMIERE

Canada, 2012 | colour, video, 17 min, English Prod/Sc/Ed/Prod Des/Sound Des: Allan Brown | Music: Joost van Balkom | Print/Sales: Allan Brown




NL International Exeptional Dutch film and video works from the last year, which we don’t want you to miss. PUBLIC SCREENINGS Thu 26-1 17:00 LantarenVenster 6 Mon 30-1 19:30 LantarenVenster 6

544/544 (up/down) Thomas Mohr

The music of Hanne Darboven (19412009), which is based on the conversion of calender dates into musical notes, inspired the filmmaker. Because the music was partly recorded at St. Peter’s Church (Hamburg), he made pictures of the church, processed frame by frame in a system of expanding cycles approaching infinity. Netherlands, 2011 | colour, video, 10 min, no dialogue Prod/Sales: Thomas Mohr | Distr NL: Nederlands Instituut voor Mediakunst (NIMk)

tampopo Head and the Name of the Dogs Toshie Takeuchi

Inspired by the lives of the former neighbours of the filmmaker, who named one of their dogs after her. The fairytale-like story and romantic pictures are based on daily experience, combined with fictive elements, and her own ideas about the relationship between humans and dogs. Netherlands, 2011 | colour, video, 18 min, Japanese/English Prod/Sc: Toshie Takeuchi | Cam: Manu Tau, Thomas Vroege | Ed/Prod Des: Toshie Takeuchi | Sound Des: Toshie Takeuchi, Rick Harring | Music: Lars Kynde, Nikolaj Kynde | With: Hilko de Vries, Janneke van der Putten, Ed van der Putten, Toshie Takeuchi | Sales: Toshie Takeuchi | Distr NL: EYE Film Institute Netherlands |

Dochters Daughters

Marta Jurkiewicz

Elzbieta took care of her mother until she passed away. The filmmaker and only daughter of Elzbieta, who has been living in the Netherlands for 10 years, returns to her home country of Poland to help clear away grandmother’s home. Apparently the demand for care has shifted to the next generation. Netherlands, 2011 | colour/b&w, video, 23 min, Polish/Dutch Prod: Judith de Weert | Prod Comp: Netherlands Film and Television Academy | Cam: Alex Wuijts | Ed: Leonie Hoever | Sound Des: Lars Blakenburg | Sales: Netherlands Film and Television Academy | Distr NL: EYE Film Institute Netherlands |




Natural Beauty Lernert & Sander

The filmmakers investigate the urge for cosmetic overkill by having makeup artist Ferry van der Nat and his assistant Vanessa Chan apply 365 layers of make-up on supermodel Hannelore Knuts in one day to see how much is needed to go from a natural look to an outrageous one. Netherlands, 2011 | colour, video, 3 min, no dialogue Prod: Jennifer Byrne | Prod Comp: Blinkart | Cam: Ram van Meel | Ed: Mathijs Kok | Music: All Shall Be Well | With: Hannelore Knuts | Sales/Distr. NL: Nederlands Instituut voor Mediakunst (NIMk) |

Printed Matter Sirah Foighel Brutmann, Eitan Efrat

The father of one of the filmmakers was a press photographer who followed the news in the Middle East for two decades. The photographs change the common picture people have about the Israeli-Palestinian conflict. The film consists entirely of contact prints and photographic negatives from the photographer’s archive. Netherlands/Belgium, 2011 | colour, 16mm, 1:1.37, 29 min, English Prod: Marie Logie | Prod Comp: Auguste Orts | Sc: Sirah Foighel Brutmann, Eitan Efrat | Cam: Sébastien Koeppel | Ed: Sirah Foighel Brutmann, Eitan Efrat | Sound Des: Laszlo Umbreit | Sales: Auguste Orts | Distr NL: EYE Film Institute Netherlands |

Nothing Without a Woman or a Girl It’s quite common for a woman or a girl, real or imagined, to be the motor of a cinematic story. Sometimes more, sometimes less. Here more. Much more. PUBLIC SCREENINGS Fri 27-1 22:15 LantarenVenster 2 Mon 30-1 20:15 LantarenVenster 2

After Dark John Hsu

Mu-shih is a young woman who works as a masseuse. She had a blind daughter who died three years ago. Mu-shih obviously still has not yet overcome her sorrow, and when she herself slowly becomes blind, she refuses to have an operation. She wants to live on in the dark, because her child was not able to. INtERNAtIONAL PREMIERE

Taiwan, 2011 | colour, video, 21 min, Mandarin Prod: Lin Shih-ken, Lin I-ling | Sc: John Hsu | Cam: Lin Chun-yang | Ed: John Hsu, Hsiao Chung-fu | Prod Des: Tang Hao | Sound Des: Agnes Liu, Tseng Ya-ning | With: Hannah Lin, Lu Xue-feng, Tsai Yu-wen, Hsu Chuen-gen | Print/Sales: Public Television Service Foundation




I Want to Remember Sherman Ong

An elderly man and a young woman in an interrogation room. He has often told his story. A story about a land torn in two: Malaysia and Singapore. And a story about the man’s lover who left for Singapore with her family while he stayed behind in Malaysia. INtERNAtIONAL PREMIERE

Singapore/Malaysia, 2011 | colour, video, 26 min, Malay/Mandarin Prod: Sherman Ong | Prod Comp: 13 Little Pictures | Sc: Sherman Ong | Cam: Lesly Leon Lee | Ed: Azharr Rudin | Prod Des: Foo Fei Ling | Sound Des: John Chua | Music: John Chua | With: Dato Rahim Razali, Foo Fei Ling, Mohd Hanafi Rosdi, Ng Xin Ying | Print/Sales: 13 Little Pictures |

5f-2 Chung Lee

With little sign of concealment, a scriptwriter for B-films plays the lead in his own story. The world of the imagination starts in the adjacent home of his neighbour and landlord. As detective Fay, he penetrates the bizarre erotic world of ‘Duckie Pete’. INtERNAtIONAL PREMIERE

Taiwan, 2011 | colour, video, 24 min, Mandarin Prod/Sc: Chung Lee | Cam: Leung Ming-Kai | Ed: Yang Wei-Shin | Prod Des: Miss Guai | Sound Des: R.T. | Music: Aphasia | With: Michael Chang, Gia Xia-Guo, Enno Cheng | Print/Sales: Chung Lee |

twenty Dollars Lam See Chit

It’s usually boys who like to show they can make an action movie. Show that they know how a gangster should look. How he talks and frowns and makes it clear he won’t put up with something. How he casually decides on life and death. But this is a film by a promising girl. Hong Kong, 2011 | colour, video, 15 min, Cantonese Prod: Lok Ting Ho | Prod Comp: Academy of Film, Hong Kong Baptist University | Sc: Lam See Chit | Cam: Li Yin Tao | Ed/Sound Des: Lam See Chit | With: Ng Kam Pui, Tsang Ying Lin, Wong Pui Ying, Cheng Ka Wai Cari, Ng Kai Ho | Print/Sales: Lam See Chit




On the Move Memories are formed by everything that surrounds us. Sometimes showing it is enough. Sometimes words are needed. PUBLIC SCREENINGS Thu 26-1 22:00 LantarenVenster 5 Sat 28-1 12:15 LantarenVenster 3

A Free Moment Nir Evron

A Free Moment pans around the site of an uncompleted palace, inviting us not to see Jerusalem as the Jordanian king once hoped to see it, nor as many Israelis now hope to see it, a ‘united Jerusalem’ to remain under Israeli control. Instead, we are invited to loosen our ways of looking at architecture and landscape and to turn them on their head. Israel, 2011 | b&w, video, 5 min, no dialogue Prod: Eyal Vexler | Cam: Ziv Berkovich | Ed: Nir Evron | Print/ Sales: Nir Evron |

Polvo Dust

Angela Reginato

An essay about corruption and political disappearances in Mexico City under President José López Portillo in the late 1970s, told using archive footage, old family photos and other, apparently random images. The main theme is the son of an acquaintance who went missing. A story about memory and recollection. WORLD PREMIERE

USA/Mexico, 2012 | colour, video, 27 min, English/Spanish Prod/Sc: Angela Reginato | Cam: Rosario Sotelo | Ed: Angela Reginato | Music: Dave Douglas | Print/Sales: Angela Reginato

Le songe de poliphile the Strife of Love in a Dream Camille Henrot

Inspired by Sudhir Kakar’s idea of ‘India as the unconscious of the West’, The Strife of Love in a Dream is composed in a braided structure, interweaving a pilgrimage, the production of anti-anxiety medication and the extraction of snake venom, all of which are linked to human strategies to ward off fear. INtERNAtIONAL PREMIERE

France, 2011 | colour, video, 11 min, no dialogue Prod: Mathilde Henrot | Prod Comp: Maharaja Films | Sc: Camille Henrot | Cam: Camille Henrot, William O’Callaghan | Ed: Yann Chapotel | Sound Des: Joakim Bouaziz | Music: Joakim Bouaziz | Print/Sales: Maharaja Films |




Kreis Wr.Neustadt A to A

Johann Lurf

Johann Lurf once again reveals his striking talent and his sense of humour. A to A is an extensive catalogue of mediocre architectural objects on roundabouts, competing for attention in the few seconds as they are passed. A unique artist’s impression, shot from a spluttering Vespa. INtERNAtIONAL PREMIERE

Austria, 2011 | colour, 35mm, 1:1.66, 5 min, no dialogue Prod/Sc: Johann Lurf | Cam: Mark Gerstorfer | Ed: Johann Lurf | Sound Des: Nils Kirchhoff | Print/Sales: sixpackfilm |

All the Lines Flow Out Charles Lim Yi Yong

With beautiful camerawork, the maker very visually and minutely follows the flow of the drainage system in, through and under Singapore: what it carries along with it, and how this lifeline and the fine mesh of the network can apparently no longer be controlled by man. Special mention at the Venice film festival. Singapore, 2011 | colour, DCP, 21 min, no dialogue Prod: Wee Li Lin, Leon Cheo | Prod Comp: Bobbing Buoy Films | Sc/Cam/Ed/ Prod Des: Charles Lim Yi Yong | Sound Des: Evan Tan | Music: Williamette | With: Ali Apriadi, James Khoo | Print/Sales: Bobbing Buoy Films |




Ordinary Madness And now for something different, a rather unsettling observation: the ordinary is, in fact, laced with the contradictory, uncanny, and surreal. On the other hand, the absurd sometimes has a logic and truth of its own. PUBLIC SCREENINGS Thu 26-1 17:15 LantarenVenster 3 Sat 28-1 22:30 LantarenVenster 3

the Living Room Roderick Hietbrink

The private atmosphere of a Dutch living room is interrupted by the disturbing presence of a large oak tree that slowly enters the room. Being both realistic and absurd, the confrontation between the tree and the home raises questions about the meaning and symbolism of the tree and the private domain. Netherlands, 2011 | colour, video, 9 min, no dialogue Prod/Sc: Roderick Hietbrink | Cam: Jeroen Simons | Ed: Roderick Hietbrink | Prod Des: Fenna Stapel | Sound Des: Gregoor van de Kamp | Print/Sales: Roderick Hietbrink |

Rigid Regime Erkka Nissinen

‘A pornographic monologue about sense certainty in Hegelian sense’ with ‘a strong home-made look and feel’. In Rigid Regime, the protagonist has two arms chopped off in order to stigmatize himself and is being buried alive. He accepts the situation, goes through the history of mankind and stammers farewell to life. WORLD PREMIERE

Hong Kong/China, 2012 | colour, video, 14 min, English Prod/Sc/Cam/Ed/Prod Des/Sound Des/Music/With: Erkka Nissinen | Print/Sales: AV-arkki

Modern No.2 Mirai Mizue

In this apparently simple animation, consisting only of straight lines drawn with a pencil on a sheet of squared paper, architectural details and patterns that closely resemble optical illusions come to life in a special way. A short and sweet work that is propelled along by a powerful soundtrack. Japan, 2011 | colour, DCP, 4 min, no dialogue Prod/Sc/Ed: Mirai Mizue | Sound Des/Music: twoth | Animation: Mirai Mizue | Print/Sales: CaRTe bLaNChe




Commission Erik van Lieshout

Erik van Lieshout opened a temporary ‘shop’ in an abandoned unit in the Zuidplein mall in Rotterdam South, a working class district home to several large immigrant communities. The film is both a portrait of a place and of an artist’s half-sceptical, half-hopeful attempt to become an agent of social good. Netherlands, 2011 | colour, video, 49 min, Dutch Prod: Suzanne Weenink | Prod Comp: Sculpture International Rotterdam | Sc/Cam: Erik van Lieshout | Ed: Core van der Hoeven | Prod Des: Suzanne Weenink | Sound Des: Core van der Hoeven | Print/Sales: Suzanne Weenink |

Out and About Africa Films from or about Africa can also be funny or hopeful or just plain beautiful. Or is that not allowed? PUBLIC SCREENINGS Fri 27-1 14:45 LantarenVenster 3 Sat 28-1 22:15 LantarenVenster 2

Aisha’s Song Orlando von Einsiedel

It might have become a sad film about the girl Aisha Sani Abdullahi, who almost went blind as a child and pined away in the streets of Nigeria. But the film is fairly optimistic and above all beautifully shot. Not many filmmakers are making beautiful films in Africa, so this is already quite a change. Nigeria/United Kingdom, 2011 | colour, video, 10 min, Hausa Prod: Orlando von Einsiedel | Cam: Franklin Dow | Ed: Peta Ridley, Katie Bryer | Sound Des/ Music: Patrick Jonsson | With: Aisha Sani Abdullahi | Print/Sales: Orlando von Einsiedel

My Name Is Feker Orlando von Einsiedel

A girl might end up in prostitution anywhere in the world, but the chance of this happening to a poor Ethiopian girl is greater. The filmmaker made a portrait of Feker, who meanwhile has managed to escape from prostitution, by allowing three young prostitutes to tell their stories. Ethiopia, 2011 | colour, video, 12 min, Amharic Prod: Orlando von Einsiedel | Cam: Franklin Dow | Ed: Peta Ridley | Sound Des/ Music: Patrick Jonsson | Print/Sales: Orlando von Einsiedel




Mama Mother

Jean Bosco Nshimiyimana

Many films have been made about the traumatic genocide in Rwanda, but maybe not yet enough by Rwandan filmmakers themselves. It’s an ordinary story in Rwanda: a woman who has to live alongside her husband’s murderer. The children are the first to attempt reconciliation. WORLD PREMIERE

Rwanda, 2012 | colour, video, 19 min, Afrikaans Prod: Jean Bosco Nshimiyimana | Prod Comp: Almond Tree Films-Rwanda | Sc: Richard Mugwaneza | Cam/Ed: Jean Bosco Nshimiyimana | Sound Des: Musafiri Kayambi | Music: Thadeo | With: Grace Kayitesi | Print/Sales: Almond Tree Films-Rwanda

Gangster Project Teboho Edkins

A young white filmmaker wants to make a film in a dangerous neighbourhood in Cape Town – a film about real gangsters. He looks for his protagonists and finds them and from a comic documentary, the film changes into a realistic short feature. A feature in which home truths about South Africa are again real. Germany/South Africa, 2011 | colour, video, 55 min, Afrikaans/English Prod: Andreas Louis, Anna Guddat | Prod Comp: Deutsche Film- und Fernsehakademie Berlin | Sc: François Xavier Drouet, Teboho Edkins | Cam: Tom Akinleminu | Ed: Rune Schweitzer | Sound Des: Thomas Wallmann, Niklas Kammertoens | Music: Alan Mensah | With: Teboho Edkins, Thurston Moses, Tammy Miosha Rass, Ralf ‘Jackals’ Peterson | Print/Sales: Deutsche Film- und Fernsehakademie Berlin |




Puzzled These monumental works were produced by a brilliant and simple intervention or by skillfully juggling an endless number of jigsaw pieces. PUBLIC SCREENINGS Fri 27-1 17:30 LantarenVenster 2 Sat 28-1 14:45 LantarenVenster 5

River Rites Ben Russell

A trance dance water implosion, a newer line drawn between secular possession and religious phenomena. Filmed in one shot at a sacred site on the Upper Suriname River, the minor secrets of a Saramaccan animist are revealed every day as time itself is undone. Rites are the new trypps; embodiment is our eternal everything. (BR) USA/Suriname, 2011 | colour, video, 12 min, no dialogue Prod: Ben Russell | Cam: Chris Fawcett | Ed/Sound Des: Ben Russell | Music: Mindflayer | Print/Sales: Ben Russell |

Well then there Now Lewis Klahr

A list of 254 shots, divided over 15 scenes. The script is not so much intended as instructions for directing, but more as a musical composition: open to more than one interpretation. The spiritual father of the project is the musician/composer John Zorn. The director is the winner of a Tiger Award for Short Films 2010, Lewis Klahr. EUROPEAN PREMIERE

USA, 2011 | colour, video, 19 min, English Prod: Lewis Klahr | Sc: John Zorn | Cam/Ed/Sound Des: Lewis Klahr | Music: John Zorn | Print/Sales: Lewis Klahr

Arcana Henry Hills

The treatment for this project was written by musician John Zorn. It concists of 254 scenes bundled in 15 sequences. Hills has collected takes for each of the 254 script directions and funneled them into a complex stream of associations, underscored – or rather, interlocked – by pieces from the John Zorn composition The Bribe (1986). (C. Höller) INtERNAtIONAL PREMIERE

Austria/USA, 2011 | colour, video, 31 min, no dialogue Prod: Henry Hills | Sc: Henry Hills, John Zorn | Cam/Ed: Henry Hills | Music: John Zorn | Print/Sales: sixpackfilm |




Secret Codes If our world disintegrates into particles, is there any way to understand it? Each particle has its own story, and if that story doesn’t exist, then we create it ourselves. PUBLIC SCREENINGS Sat 28-1 20:00 LantarenVenster 3 Mon 30-1 14:45 LantarenVenster 5

#29 José Miguel Biscaya

#29 belongs to a series of video works and researches the relationship between landscape representation, perception and the unconscious. The techniques applied to the footage are a mix between hacking of the MPEG information and faulty encoding settings. Crucial data is removed, forcing software to re-interpret the visual information. WORLD PREMIERE

Netherlands, 2012 | colour, video, 7 min, no dialogue Prod/Cam/Ed/Sound Des/Print/Sales: José Miguel Biscaya |

Remote Jesse McLean

There is a presence lingering in the dark woods, just under the surface of a placid lake and at the end of dreary basement corridor. It’s not easy to locate because it’s outside, but also inside. It doesn’t just crawl in on your wires because it’s not a thing. It’s a shocking eruption of electrical energy. WORLD PREMIERE

USA, 2012 | colour, video, 12 min, English Prod: Jesse McLean | Cam: Lori Felker, Mike Gibisser, Jesse McLean | Ed/Sound Des: Jesse McLean | Music: Thad Kellstadt | Print/Sales: Jesse McLean |

Bradley Manning Had Secrets Adam Butcher

Short animation of Bradley Manning, the whistleblower who leaked secret files to WikiLeaks, portraying him as a young US soldier going through a crisis of conscience and gender identity, as revealed in his chat logs. The style of ‘pixel minimalism’ is used in a serious and provocative way. INtERNAtIONAL PREMIERE

United Kingdom, 2011 | colour, video, 6 min, English Prod/Sc: Adam Butcher | Cam: Alisdair Cairns, Alec Milne | Music: Blair Mowat | With: Voice of Danny Mahoney, Angus Dunican | Animated by: Ben Claxton, Adam Butcher | Print/Sales: Adam Butcher |




Joule Nadia Ranocchi, David Zamagni

The ‘joule’ is a unit of energy, work or heat. The term is adapted here as a sort of prayer, an exercise in devotion and the act of letting go. In the sequential frames of Joule, a daily practice manifests itself in the form of worship, of liturgy; an expression of tensions straddling the realms of the political and the sacred. Italy/Austria, 2010 | colour/b&w, video, 23 min, Italian Prod: Nadia Ranocchi, David Zamagni, Leonardo Monti | Prod Comp: Zapruder, Steirischer Herbs Festival, LM Cineservice | Sc: David Zamagni, Nadia Ranocchi | Cam: Monaldo Moretti, David Zamagni | Ed/Prod Des: David Zamagni, Nadia Ranocchi | Sound Des: Francesco Brasini, Mattia Dallara | Print/Sales: Zapruder |

Vexed Telcosystems

While scientists get closer and closer to revealing that one particle that confirms our understanding of the universe, Telcosystems shows a much less unambiguous particle theory: a recalcitrant and unstable digital world that is only visible at speeds faster than light. WORLD PREMIERE

Netherlands, 2012 | colour, DCP, 29 min, no dialogue Prod: Telcosystems | Prod Comp: Spatial Media Laboratories | Sc/Cam/Ed/ Music: Telcosystems | Print/Sales: Spatial Media Laboratories |

Short Circuit Two magical films with a leading role for the camera, which breathes new life into the world. PUBLIC SCREENINGS Thu 26-1 20:15 LantarenVenster 2 Sat 28-1 17:30 LantarenVenster 2

Lighthouse Wouter Venema

With a special feeling for time and space, Venema manages to create a magical, almost hushed world. We follow the protagonist closely in a labyrinth of corridors, stairs and rooms. Here he comes across an old man who is sitting in a chair gazing quietly into the distance. Something seems to be getting in the way of the course of events. WORLD PREMIERE

Netherlands, 2012 | colour, video, 18 min, no dialogue Prod: Tim Leyendekker | Prod Comp: Absent without Leave | Sc: Wouter Venema | Cam: Stef Tijdink | Ed: Wouter Venema, Laurent Fluttert | Prod Des: Lotte de Vries | Sound Des: Jaim Sahuleka, Matt Kemp | With: Ward Weemhoff, Henk Stuurman | Print/Sales: Absent without Leave |




Kaspar Film Florence Pezon

The intriguing stories of the ‘wolf child’ Kaspar Hauser, found in Neurenberg in 1833, and the lesser-known ‘Genie’ Susan Wiley, found in Los Angeles in 1970, have been interwoven into a very authentic and poetic film. The striking camerawork portrays the world as if it is being seen for the first time. France, 2011 | colour/b&w, video, 55 min, French/German Prod/Sc: Florence Pezon | Cam: Thomas Favel | Ed/Prod Des: Florence Pezon | Sound Des: Vincent Villa | Music: Jean-Christophe Marti | With: Axel Bogousslavsky, Vincent Lacoste, Laurent Lacotte, Jean-Christophe Marti | Print/Sales: Florence Pezon

Short Stories: Family ties Stifling yet loving family ties in these four excellent fiction films from Portugal, Cuba, Slovenia and Austria. PUBLIC SCREENINGS Sat 28-1 22:00 LantarenVenster 5 Sun 29-1 12:15 LantarenVenster 5

Lov na race Duck Hunting Rok Bicek

Two brothers wait for their father by the jail where he has been imprisoned for years. They are going hunting again, just like the old days. Emotional and yet soberly shot film about very difficult family relationships that erupt into violence. A very powerful student film from Slovenia. Slovenia, 2010 | colour, video, 23 min, Slovene Prod: Jozica Blatnik | Prod Comp: University of Ljubljana – Academy of Theatre, Radio, Film and Television | Sc: Rok Bicek | Cam: Simon Tansek | Ed: Janez Bricelj | Prod Des: Niko Novak | Sound Des: Joze Trtnik, Vlado Popovic | With: Jernej Sugman, Jure Henigman, Blaz Setnikar, Mateja Koleznik, Rok Strucelj, Jost Strucelj | Print/ Sales: University of Ljubljana – Academy of Theatre, Radio, Film and Television

Mila Caos Simon Paetau

Warm, human and – in view of the subject – exceptionally unhysterical: in an illegal transvestite show in Havana, 17-year-old Sebastián turns into the singing diva ‘Mila Caos’ every weekend. He dreams that his mother will see him onstage one day, but she has no desire to know about it yet. Cuba/Germany, 2011 | colour, 35mm, 1:1.66, 18 min, Spanish Prod: Ute Dilger | Prod Comp: Academy of Media Arts | Sc: Fábian Suárez, Simon Jaikiriuma Paetau | Cam: Charlotte Michel | Ed: Ilka M. Valdés | Prod Des: Alicia Estrella | Sound Des: Raynier Hinojosa, Vincent Ribaud | Music: Juan Formell | With: Yaniel Castillo, Paula Ali, Rebeca Rodriguez, Jaime Reyes Nomi, Felipe Reyes, Betsy Padrón | Print/Sales: Academy of Media Arts |




Apnoe Harald Hund, Paul Horn

A day in the life of an apparently normal family, which however has to live without gravity and this makes their everyday activities considerably more difficult. Brilliant and absurd third part of the Living Space series by Hund and Horn about human life in bizarre circumstances. IFFR has also screened parts 1 and 2. INtERNAtIONAL PREMIERE

Austria, 2011 | colour, video, 10 min, German Prod: Harald Hund, Paul Horn | Sc: Harald Hund | Cam: Viktor Schaider | Ed: Harald Hund | Prod Des: Paul Horn | Sound Des: Andreas Berger, Andreas Hamza | Print/ Sales: sixpackfilm |

Cerro negro João Salaviza

A young woman visits her husband in prison. Both are Brazilian immigrants in Lisbon. Her son is left behind. Powerfully acted, sober and gripping fiction in grey-blue tints by João Salaviza, who won a Golden Palm in Cannes in 2009 for his short film Arena. WORLD PREMIERE

Portugal, 2012 | colour, video, 22 min, Portuguese Prod: Maria João Mayer | Prod Comp: Filmes do Tejo II | Sc: João Salaviza | Cam: Vasco Viana | Ed: João Salaviza | Prod Des: Nádia Henriques | Sound Des: Raquel Jacinto | With: Ana Jara Laisa Amarante, Allison Vinicius Silva, Iuri Jardim Gonçalves | Print/Sales: Filmes do Tejo II

Short Stories: Friend or Foe Three powerfully acted dramas with an idiosyncratic view of relationships and their sometimes far-reaching consequences. PUBLIC SCREENINGS Fri 27-1 20:00 LantarenVenster 3 Sat 28-1 12:15 LantarenVenster 5

Le marais sauvage the Wild Swamp Martin Drouot

What do you do if the world is against you? The 10-year-old girl Fiona and her depressed neighbour Benjamin make friends on holiday. When Fiona has to leave again, the two decide to turn their backs on the world and to set off – a perfect, timeless moment ensues. But it can’t last for long. WORLD PREMIERE

France, 2012 | colour, video, 25 min, French Prod: Mina Driouch | Prod Comp: Les Productions Balthazar | Sc: Martin Drouot | Cam: Frederic Mainçon | Ed: Damien Maestraggi | Sound Des: Pierre Bariaud | Music: Alexander Zekke | With: Laurent Lacotte, Fiona Elkaïm | Print/Sales: Les Productions Balthazar




Everything Will Be OK Jonas Matzow Gulbrandsen

Two Polish friends work illegally in the Norwegian timber industry. They stay up all night at a party nearby and this has enormous consequences next day. Excellently acted gripping fiction with a powerful build-up of tension. Director Jonas Matzow Gulbrandsen studied at the Polish film school in Lodz. INtERNAtIONAL PREMIERE

Norway, 2011 | colour, DCP, 25 min, Polish Prod: Alan R. Milligan, Marte Blyseth Pedersen, Stine Blichfeldt | Prod Comp: Film Farms As, De jentene der AS | Sc/Cam: Jonas Matzow Gulbrandsen | Sound Des: Krzysztof Stasiak | With: Jedrzej Przysiecki, Bartosz Someart Cichorack, Jeanette Alexandra Sundt, Sondre Sløgedal, Åge Henriksen | Print/Sales: Norwegian Film Institute

Ausreichend Average

Isabel Prahl

A new, young and ambitious teacher does his best to appeal to his pupils and this almost leads to his demise. During a trial lesson, the situation escalates. Exquisite German drama that is reminiscent of Entre les murs. A student film from the Kunsthochschule für Medien, Cologne. EUROPEAN PREMIERE

Germany, 2011 | colour, video, 30 min, German Prod: Ute Dilger, Lutz Heineking,jr., Jan Mocka | Prod Comp: Academy of Media Arts, Eitelsonnenschein, Jan Mocka Produktion | Sc: Isabel Prahl | Cam: Max Kaiser | Ed: Daniel Scheuch | Sound Des: Kai Holzkaemper, Andrew Mottl | Music: Gregor Keienburg | With: Thomas Fränzel, Jonathan Dümcke, Carola Schnell, Simon Eckert, Thomas Balou Martin, Mariele Millowitsch | Print/Sales: Academy of Media Arts |




Short Stories: Power and Politics Unconventional, powerful dramas with a political and social undertone. Preceded by short teasers, made by secondyear AV students at the Willem de Kooning Academy in Rotterdam. PUBLIC SCREENINGS Thu 26-1 19:30 LantarenVenster 5 Fri 27-1 12:15 LantarenVenster 3

Duelo antes da noite Duel Before Nightfall Alice Furtado

A boy and a girl walk together through the jungle for a long time, until their ways part. By then, their lives have changed for good. A subtle drama on the border between reality and fantasy, based on a short story by João Gilberto Noll. Selected for the student competition at the Cannes film festival 2011. Brazil, 2011 | colour, 35mm, 1:1.85, 20 min, Portuguese Prod: Alice Furtado | Prod Comp: Raio Verde Filmes | Sc: Alice Furtado, Calac Nogueira | Cam: Tiago Rios | Ed: Alice Furtado | Prod Des: Júlia Vanini, Laura Shalders | Sound Des: Joice Scavone | With: Ana Vitória França, Chico Vitti, Ricardo Rodrigues | Print/Sales: Raio Verde Filmes

Doña Sonia Borrowed a Gun from Her Neighbor Alcides Gabriel Martins

Everything is surprising in this condensed narrative from the favela: the narrator, Doña Sonia herself, her son, the neighbour and the gun. An eye for an eye, a tooth for a tooth. INtERNAtIONAL PREMIERE

Brazil, 2011 | colour, video, 18 min, Portuguese Prod: André Novais Oliveira, Gabriel Martins, Maurílio Martins | Sc: Gabriel Martins | Cam: Marcello Marques | Ed: Gabriel Martins | Prod Des: Mariana Souto | Sound Des: Carlucio Ribeiro, Pedro Martins | Print/Sales: Gabriel Martins |

Bahari Ahmed Ghoneimy

One night, Amr wanders alone in the streets of Bahari, the marginalized eastern shore of Alexandria. While collecting material for an art project, he is allured into filming a playful group of children. Two locals are provoked by Amr’s actions. (AG) EUROPEAN PREMIERE

Egypt, 2011 | colour, video, 13 min, Arabic Prod/Sc: Ahmed Ghoneimy | Cam: Islam Kamal | Ed: Perry Moataz | Sound Des: Samir Nabile | With: Yasser Beltagy, Amr Wishahy, Mohamed El Sayed | Print/Sales: Ahmed Ghoneimy




Killing the Chickens to Scare the Monkeys Jens Assur

The title refers to the Chinese government policy by which dissidents are executed in order to frighten off others. In a breathtakingly beautiful opening scene, we see the gruesome conclusion of a series of apparently chance events. In eight powerful scenes, the fateful story is told of someone who just happened to be passing. Sweden/Thailand, 2011 | colour, 35mm, 1:2.35, 25 min, Mandarin Prod: Jens Assur | Prod Comp: Studio Jens Assur | Sc: Jens Assur | Cam: Marek Septimus Wieser | Ed: Fredrik Morheden, Åsa Mossberg | Prod Des: Sudamol Chaban | Sound Des: Wille Peterson-Berger, Niclas Merits | Print/Sales: Studio Jens Assur |

Short Stories: Surprising Mysteries Strange twists in mysterious and atmospheric fiction films, in which nothing is what it seems. PUBLIC SCREENINGS Thu 26-1 14:45 LantarenVenster 3 Fri 27-1 22:00 LantarenVenster 5

Yo de aquí te estoy mirando

I Am Always Looking from Here Felipe Gálvez Haberle

A man returns from hunting. His lover is waiting for him in an empty swimming pool in quiet woodland surroundings. There’s a conversation about a suicide in the man’s family. The second short film by the Chilean Felipe Gálvez Haberle is a mysterious, atmospheric drama with a surprising denouement. INtERNAtIONAL PREMIERE

Chile, 2011 | colour, video, 18 min, Spanish Prod: Ana Perera | Prod Comp: Cinedafne | Sc: Felipe Gálvez Haberle | Cam: Andrés Jordán | Ed: Felipe Gálvez Haberle | Prod Des: Ana Perera | Sound Des: Roberto Espinoza | Music: Rodrigo Salvatierra | With: Cristián Carvajal, Macarena Teke | Print/Sales: Cinedafne

Domicile Maeva Ranaivojaona

What if your everyday routine, arriving home after your work, is disrupted by the presence of – well, of what? You’d rather find a crocodile under your bed. Powerful form experiment. Without using digital means, fear acquires a very physical and overpowering form here. WORLD PREMIERE

France, 2012 | colour, video, 15 min, no dialogue Prod/Sc: Maéva Ranaïvojaona | Cam: Blaise Basdevant | Ed: Gregory Fourquet | Sound Des: André Fèvre | With: Xavier Stentz, Cécile Choumiloff | Print/Sales: Maeva Ranaivojaona





Cross Country Maryna Vroda

‘Cross’: a race over uneven terrain. In this case, that terrain is the microcosm of a boy who has to quick-shift between violence and summer boredom. Maryna Vroda: ‘Is it more important to live or to observe life?’ Winner of the Golden Palm for short film at the 2011 Cannes Film Festival. INtERNAtIONAL PREMIERE

France, 2011 | colour, DCP, 15 min, Russian Prod: Florence Keller | Sc: Maryna Vroda | Ed: Thomas Marchand | Sound Des: Masha Nesterenko | With: Egor Agarkov, Nastia Dunaeva, Masha Tkatchenko, Yulia Trigubenko | Print/Sales: Florence Keller

Snow Canon Mati Diop

Her parents have gone to a funeral and Vanina has the chalets in the picturesque yet godforsaken village in the French Alps to herself. The boredom is only broken by the Skype sessions with her friend Eloïse. Then the babysitter Mary Jane arrives. Their love-hate relationship comes to a surprising conclusion. Mati Diop’s Big in Vietnam screens in the compilation programme Tiger Awards Competition for Short Films 1. France, 2011 | colour, 35mm, 1:1.66, 33 min, French/English Prod: Charlotte Vincent | Prod Comp: Aurora Films | Sc: Mati Diop, Judith Lévy | Cam: Jordane Chouzenoux | Ed: Ael Dallier Véga | Sound Des: Sylvain Copans, Delphine Malaussena | With: Nilaya Bal, Nour Mobarak, Alban Guyon, Chan Coïc | Print/Sales: Aurora Films |




Short Stories: Women’s Destiny Sensitive yet funny fiction films in which women try to come to terms with their fate. PUBLIC SCREENINGS Sun 29-1 22:00 LantarenVenster 5 Mon 30-1 15:00 LantarenVenster 2

Hors saison Off Season

Victoria Saez

A woman returns from Paris to the island where she grew up. Her mother has died, after her father. It is some time before she comes to terms with her past. A serene and humorous fiction about identity, beautifully shot and with a wonderful leading role by the French-Spanish director Victoria Saez. INtERNAtIONAL PREMIERE

France/Spain, 2011 | colour, video, 25 min, Spanish/French Prod: Jean-Jacques Albert | Prod Comp: Arimage Productions | Sc: Victoria Saez | Cam: Luis Armando Arteaga | Ed: Angel Hernandez Zoido | Prod Des: Victoria Saez | Sound Des: Jean-Paul Bernard | Music: Pink Noise Party | With: Victoria Saez, Paquita Canavate Gonzalez, Maria del Carmen Amador Lopez | Print/Sales: Arimage Productions

Le marin masqué the Shady Sailor Sophie Letourneur

Delightful girly chatter in black-andwhite by the maker of La vie au Ranch. During a weekend in Laetitia’s Breton birthplace, she and her girlfriend Sophie find all kinds of things: the best pancake bakery, the beach and the local disco. With a revival of F.R. David’s Words Don’t Come Easy. France, 2011 | b&w, video, 36 min, French Prod: Emmanuel Chaumet | Prod Comp: Ecce Films | Sc: Sophie Letourneur | Cam: Ludivine Renard | Ed: Carole Le Page | Prod Des: Yannig Willmann | Sound Des: Laure Arto | With: Sophie Letourneur, Laetitia Goffi, Johann Libéreau | Print/Sales: Ecce Films

fancy-fair Christophe Hermans

A rather unstable woman visits her family when she is allowed out of the clinic for a day. She’d love to see her daughter’s school performance, but apart from her son, no-one really wants to see her. A painfully beautiful drama about fragility and family relationships, beautifully acted. Belgium, 2011 | colour, 35mm, 1:1.85, 20 min, French Prod: Marie Besson | Prod Comp: Eklektik Productions | Sc: Christophe Hermans, François Verjans | Cam: Frédéric Noirhomme | Ed: Joël Mann | Prod Des: Laurence Goemine | Sound Des: Jean-François Levillain | Music: Clare Lousie | With: Dominique Baeyens, Kris Cuppens, Jérémie Ségard | Print: Ministère de la Communauté Française de Belgique | Sales: La Luna Productions |




Signal Lost and Found What goes around, comes around. Something disappears, nothing escapes the attention. PUBLIC SCREENINGS Fri 27-1 17:00 LantarenVenster 6 Mon 30-1 17:00 LantarenVenster 6

Loss David Ferrando-Giraut

Loss reflects on the processes of image recording – be they psychological or technological. It expresses a feeling of longing for lost realities that are accessible just through images, and for those aspects of lived realities that have been stranded during their transformation into images. (DFG) United Kingdom, 2011 | colour/b&w, video, 17 min, English Prod: David Ferrando-Giraut | Print/Sales: LUX |

Space Is the Place Eriko Sonoda

Space Is the Place is the latest video animation by the Japanese Eriko Sonoda, whose meticulous lo-fi explorations of flattened space use sheets of paper to transcend finitude. A corner wall in the artist’s room is transmuted through a staccato of origami exchanges. EUROPEAN PREMIERE

Japan, 2011 | colour, video, 6 min, silent Prod/Sc/Cam/Ed/Print/Sales: Eriko Sonoda |

Landfill 16 Jennifer Reeves

This ultimate film-recycling project about the end of 16mm is made up of material left over from Reeves’ earlier work When It Was Blue; first buried for several months in a rubbish tip where the enzymes and moulds provided beautiful patterns. Then Reeves meticulously painted the 16mm film material again by hand. INtERNAtIONAL PREMIERE

USA, 2011 | colour, 16mm, 1:1.37, 9 min, no dialogue Prod: Jennifer Reeves | Prod Comp: Sparky Pictures | Cam/Ed/Sound Des: Jennifer Reeves | Print/Sales: Sparky Pictures |




did i? Sawa Hiraki

did i? explores the phenomenon of amnesia through a series of abstract visual sequences. A boy closes his eyes and wakes up to discover the world behind his thoughts gone missing. His mind is like an emptied lake, unable to contain the depth of it all, the bottomless, fathomless wealth of the things he lost in his sleep. United Kingdom/Mexico/Japan, 2011 | b&w, video, 9 min, no dialogue Prod: Abigail Addison | Prod Comp: Animate Projects Limited | Ed: Hiraki Sawa | Print: Animate Projects Limited | Sales: Jessica Lin Cox |

Radiotehnika Eléonore de Montesquiou

The camera first roams for some time around a deserted industrial site. We see a group of women approach the Radiotehnika building, where once the production line stood for high quality hi-fi radio equipment. While the picture traces the surroundings, we hear eyewitness reports by former employees. WORLD PREMIERE

Latvia, 2012 | b&w, video, 19 min, Russian Prod/Cam/Ed: Eléonore de Montesquiou | Sound Des/Music: Phonic Psychomimesis | With: Galina Tralmane, Ausma Smiltniece, Mikhail Bogdanov | Print/Sales: Eléonore de Montesquiou |

20 Hz Semiconductor

Geo-magnetic storm data collected from the CARISMA radio array is interpreted as audio. The sound generates tangible and sculptural forms suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena. WORLD PREMIERE

United Kingdom, 2012 | b&w, video, 5 min, no dialogue Prod: Semiconductor | Prod Comp: Semiconductor Films | Cam: Semiconductor | Sound Des: Audio data courtesy of CARISMA, operated by the University of Alberta | Print/Sales: LUX |




Sound Bites Fifteen DINAMO distributors of experimental film and video art will show unexpected examples of sound bites or else of sound that bites. PUBLIC SCREENINGS Sun 29-1 19:45 LantarenVenster 6

De magische tol the Magic top Joost van Veen

A spinning top performs on stage, and while it turns enthusiastically, it brings images of a circus acrobat and his donkey to life. A very short and charming film by Joost van Veen, made for children as part of the project Big Art for Small People (Grote Kunst voor Kleine Kinderen) by Cut-n-Paste and KRO TV. Netherlands, 2007 | b&w, video, 2 min, no dialogue Prod/Sc/Cam/Ed/Prod Des: Joost van Veen | Sound Des/Music: Matt Hulse | Sales/Distr. NL: EYE Film Institute Netherlands |

Pipeline Liv Strand

Filmmaker Liv Strand placed a camera in a pneumatic pipe system in the University Hospital at Stockholm. While the camera navigates the piping at varying speeds, Strand studies both the portrayal of speed and the way movement sounds with her video. Sweden, 2007 | colour, video, 6 min, no dialogue Prod: Liv Strand | Cam: Micke Hรถglund, Liv Strand | Ed/Prod Des/ Sound Des: Liv Strand | Print/Sales: Filmform |

Superimposed Sad Chris Newman

Newman is reflecting on the effects of happiness and sorrow. How does sadness weigh up against happiness? Accompanied by an atmospheric jazzy soundtrack, he gazes with his contemplative look at what directly brings him happiness. Humorous report on a vision of happiness and the deception of grief. Germany, 2009 | colour, video, 3 min, English Prod: Bill Dietz | Sc/Cam: Chris Newman | Ed: Bill Dietz | Sound Des: Chris Newman | Music: Glenn Miller Big Band | Print/Sales: inter media art institute (imai) |




Ruled by Dead People Delacrew

The camera follows the electric charge of the music through an empty complex, alternating between static and moving modes and with unexpected changes of speed. Animated graffiti on the walls give significance to the empty space. A short, futuristic and explosively powerful social commentary. EUROPEAN PREMIERE

Spain, 2006 | colour, video, 2 min, English Prod: Delacrew | Print/Sales: HAMACA, Media & Video Art Distribution from Spain |

God Moves on the Water Erik B端nger

Composer/filmmaker Erik B端nger combines two musical narratives about the sinking of the Titanic, with 70 years in between: that by Celine Dion and by Blind Willie Johnson (1929). In a hilarious way, the new context of both versions permanently changes the way we think about the well-known tearjerker My Heart Will Go On. Germany, 2008 | colour, video, 3 min, English Prod: Erik B端nger | Print/Sales: Argos Centre for Art and Media |

Very Nice, Very Nice Arthur Lipsett

Working for the National Film Board of Canada, Arthur Lipsett collected discarded sound material in order to edit it into a new creation. With a combination of archive footage and old photos, he created a unique portrait of an era when sound told the story. Canada, 1961 | b&w, video, 6 min, English Prod: Colin Low, Tom Daly | Prod Comp: National Film Board of Canada | Sc/Cam/Ed/ Sound Des: Arthur Lipsett | Print/Sales: Light Cone Distribution |




Surface Noise Paul Rowley, David Philips, Tim Blue

By isolating and processing archive films affected by dirt and scratches, the makers created an interesting symphonic experiment. With the aid of images of political unrest and intense red colours, interesting parallels are drawn between the mechanics of cinema and the patterns of social unrest. USA, 2010 | colour, video, 7 min, no dialogue Prod/Sc/Cam/Ed/Sound Des: Paul Rowley, David Philips, Tim Blue | Print/Sales: Arsenal – Institut für Film und Videokunst e.V. |

taste test Andrew Lampert

Three home-movie scenes form an inane symphony to a ballad by James Brown. A familiar work within the oeuvre of film archivist Andrew Lampert, who focuses on coincidences in the changing meaning of private visual material in the public domain of cinema. INtERNAtIONAL PREMIERE

USA, 2011 | colour, video, 3 min, English Prod: Andrew Lampert | Print/Sales: Electronic Arts Intermix (EAI) |

Liberty Kids Moira Tierney

Primary school project in Dublin in which the children chose the Super-8 images and the soundtrack that were incorporated into this film by Moira Tierney. The enthusiasm of the children and the grainy quality of the film material create a charming and carefree picture of a school with not very many means at hand. Ireland, 2006 | colour, 16mm, 1:1.37, 5 min, English Prod: Moira Tierney | Print/Sales: Collectif Jeune Cinéma (CJC) |

Do I Belong? Joel Gibb

A man is confronted with a question of identity. While he gets ready for work, he is waylaid by a festive gang of acquaintances from the gay scene in Toronto. A lipdub music video by the ‘queer’ church folk group The Hidden Cameras that was largely made in a single take. EUROPEAN PREMIERE

Canada, 2011 | colour, video, 5 min, English Prod: Joel Gibb, Daniel-Konrad Cooper, Brad Horvath | Prod Comp: The Hidden Cameras | Sc: Joel Gibb | Cam: Ben Lichty | Ed: Joel Gibb | Prod Des: Anya Tarboulsy | Music: The Hidden Cameras | With: Joel Gibb, Andrew Paterson, Sean Ling | Print/ Sales: Canadian Filmmakers Distribution Centre (CFMDC) |




Kaivo Well

Juha M채ki-Jussila

The camera pulls us along, as it were, down the tunnel deep into our thoughts. Here we find ourselves in a transcendental world where memories come to us like bubbles. A hypnotic animation about the distinction between our conscious and unconscious selves and the symbolism of water. WORLD PREMIERE

Finland, 2012 | colour, video, 5 min, no dialogue Prod/Sc/Cam/Ed/Prod Des/Sound Des/Music: Juha M채ki-Jussila | Print/Sales: AV-arkki |

Hands Bob Kohn

In a fast cut of existing close-up shots of hands, Bob Kohn juxtaposes everyday, religious and sexual activities, accompanied by a rhythmic and exciting soundtrack. Not only are we confronted by human actions, but also with the nature of our existence. EUROPEAN PREMIERE

France, 2011 | colour, video, 3 min, no dialogue Prod/Sc/Ed/Prod Des: Bob Kohn | Sound Des/Music: Jean-Jacques Palix | Print/Sales: Heure Exquise! |

Woodcarver Ehren BEARwitness Thomas

In a confrontation in the street, a policeman shoots the innocent John T. Williams dead. The incident resounds on the radio, while we watch through the windscreen of a police patrol car. The hectic nature of the incident becomes even more convincing thanks to the driving dub-step soundtrack. INtERNAtIONAL PREMIERE

Canada, 2011 | colour, video, 6 min, English Prod/Sc/Cam/Ed/Prod Des: Ehren BEARwitness Thomas | Sound Des/ Music: A Tribe Called Red | Print/Sales: V tape |




Elektrotechnique Lernert & Sander

A vacuum cleaner and a rotating office chair have never looked so sexy. The tension builds subtly while the household objects in various installations start moving, as if they’re dancing excitedly to the music. Winner of the Dutch Design Award in the category Best Motion Design. Netherlands, 2011 | colour, video, 3 min, no dialogue Prod: Macha Rousakov | Prod Comp: suikerdepôt | Ed: Derek van Egmond | Prod Des: Lernert & Sander | Music: De Jeugd Van Tegenwoordig | Sales/ Distr. NL: Nederlands Instituut voor Mediakunst (NIMk) |

German Song Sadie Benning

A lyrical short film to the sombre tones of the number by the indie rock band Come. A girl roams and enjoys herself in the apparently grimy atmosphere of a town. The black-and-white film German Song , shot on Super-8 with chance images of people and situations, exudes a special homemovie feel. USA, 1995 | b&w, video, 6 min, English Prod: Sadie Benning | Print/Sales: V tape |

Structural Principles Film is made from material, just like the rest of the world for that matter. The filmmaker is Lord and Master over this material. For as long as it lasts. PUBLIC SCREENINGS Fri 27-1 19:45 LantarenVenster 6 Sat 28-1 12:00 LantarenVenster 6

tape Generations Johan Rijpma

Countless rolls of tape go through a process of development and degeneration. In the extremely slowpaced life of these objects, everything starts out the same. But deviations and differences slowly become visible through the force of gravity, resulting in unpredictable shapes and movements that somehow feel familiar. (JR) EUROPEAN PREMIERE

Netherlands, 2011 | colour, video, 3 min, no dialogue Prod/Sc/Cam/Ed/Prod Des/Sound Des/Music/Print/ Sales: Johan Rijpma |




Alone with the Moon Peter Burr

Stepping aside from his adventures in psychedelic insurrection under the CARTUNE XPREZ and HOOLIGANSHIP monikers, Peter Burr creates instead a slow, liminal illusion in black-and-white, switching perspectives and matrices and crescendoing in time with Christopher Doulgeris’ portentously pulsating soundtrack. WORLD PREMIERE

USA, 2012 | b&w, video, 14 min, no dialogue Prod/Sc/Cam/Ed/Prod Des: Peter Burr | Sound Des/Music: Christopher Doulgeris | Print/Sales: Peter Burr |

Arrastre Nicholas Brooks

Through virtuoso camera work, editing and sound, Nicholas Brooks creates a universe from plexiglass, paper and stone where things and non-things come into relation with each other as protagonists in an intriguing drama of indeterminate parameters and force. EUROPEAN PREMIERE

United Kingdom, 2010 | colour, video, 8 min, no dialogue Prod/Cam/Sound Des/Print/Sales: Nicholas Brooks |

Sack Barrow Ben Rivers

With a look of love, Rivers returns with a mineral-encrusted portrait of Servex Ltd, an eight-decades-old factory, fallen out of time and space. A chill falls with only easy listening music, pin-ups and tea breaks to keep us warm in this crystalline cavern. United Kingdom, 2011 | colour, 16mm, 1:1.37, 21 min, English Prod/Cam/Ed/Sound Des: Ben Rivers | Print/Sales: LUX |

Jardin du sel Salt Garden Rose Lowder

The production of sea salt flower is a process of concentration and saturation of sea water in order to form salt crystals. The agricultural character of the activity is evoked by the term ‘salt garden’. Six poetic pictures, five based on the sun, the wind and the sea, while the last lingers on a small park left fallow. WORLD PREMIERE

France, 2012 | colour, 16mm, 16 min, no dialogue Prod/Cam/Ed: Rose Lowder | Music: François Alexis Degrenier | Print/Sales: Light Cone Distribution |




tales and two Cities Bring two people together, anywhere in the world, and a story emerges. That can be different: a dialogue between a filmmaker and his city also provides a story. PUBLIC SCREENINGS Sat 28-1 15:00 LantarenVenster 2 Sun 29-1 17:15 LantarenVenster 5

Afrikka Africa

Matti Harju

Nerve-wracking and frayed experimental fiction that shows a psychotic man and his direct surroundings in a totally uncompromising way. ‘Our interaction with others is based on the idea that we all share the same reality. That turns out not always to be the case. (MH) WORLD PREMIERE

Finland/United Kingdom, 2012 | colour, video, 9 min, English Prod/Sc: Matti Harju | Cam: Benjamin Kracun | Ed: Matti Harju, Maya Maffioli | With: Glenn Conroy, Chuk Iwuji | Print/Sales: Matti Harju

tjelesna funkcija Bodily Function Dane Komljen

A young man goes into town in a van to sell vegetables at the market. He gets in touch with a childhood friend. The low-budget Bodily Function has a completely self-sufficient form and breathes a calm that betrays a great talent. In 2011, the IFFR screened Van Dane Komljen’s I Already Am Everything I Want to Have. INtERNAtIONAL PREMIERE

Bosnia and Herzegovina, 2011 | colour, video, 38 min, Bosnian Prod: Alex Traila, Davorka Begovic, Vlado Bulajic | Prod Comp: Obala Art Centar | Sc: Dane Komljen | Cam: Amel Ðikoli | Ed: Jelena Maksimovic | Sound Des: Igor Camo | With: Anel Hasanbašic, Rijad Gvozden | Print/Sales: Obala Art Centar

Radioactive City Richard Sandler

The mood in Los Angeles was apocalyptic in the spring of 2011. A meticulous diary report about the city dominated by two important events: the disaster at the nuclear power station in Fukushima and the serious assault on a Giants fan outside the Dodger Stadium. WORLD PREMIERE

USA, 2012 | colour/b&w, video, 22 min, English Prod/Cam: Richard Sandler | Ed: Richard Sandler, Brett Solem, Daniel Brown | Sound Des/Print/Sales: Richard Sandler |




traces In these two films, the makers go looking for traces from the past, as silent witnesses of battle and human suffering. PUBLIC SCREENINGS Sun 29-1 20:00 LantarenVenster 3 Mon 30-1 17:15 LantarenVenster 3

War Is Over Roy Villevoye, Jan Dietvorst

The search for the unknown soldiers on the battlefield of the First World War often has very different motives that can also be contradictory. The culture of remembrance turns out to be a combination of mythomania, enterprise, psychopathology and poetic urges. Kaleidoscopic documentary about the aftermath of war. Netherlands, 2011 | colour, video, 29 min, French/Dutch Prod/Sc/Cam/Ed/Prod Des/Sound Des: Jan Dietvorst, Roy Villevoye | With: Denis Martin, Oswald Gryson | Print/Sales: Jan Dietvorst

Mrtva trat Into Oblivion Šimon Špidla

With a single pencil stroke, Stalin indicated the line where he wanted a railway through the inhospitable frozen landscape. For four years, 80.000 Gulag prisoners were put to work in horrendous conditions. The death of Stalin was their liberation. Sˇpidla goes looking for witnesses from that period. INtERNAtIONAL PREMIERE

Czech Republic, 2011 | colour, video, 52 min, Russian Prod: Pavel Bercik | Prod Comp: Evolution Films | Sc: Šimon Špidla | Cam: Lukáš Hyksa, Filip Šturmankin | Ed: Šimon Špidla | Sound Des: Martin Ženíšek | Music: Roman Fojtícek | Print/Sales: Evolution Films |




Waiting for Snow in My Kampong It never snows in a tropical village. So how could it get radioactively contaminated? In Japan it can snow. And become contaminated. PUBLIC SCREENINGS Thu 26-1 14:45 LantarenVenster 5 Fri 27-1 17:15 LantarenVenster 5

15th thai Short Film and Video Festival: Opener Nawapol Thamrongrattanarit

‘Opener’ is a suitable description for a short film that starts a festival and can also work as an eye-opener. Just how simple is it to make a film these days? Even the filmmaker’s grandma can do it with a modern photo camera. Apt. INtERNAtIONAL PREMIERE

Thailand, 2011 | colour, video, 2 min, Thai Prod/Sc/Cam/Ed/Prod Des/Sound Des: Nawapol Thamrongrattanarit | With: Sunisa Thamrongrattanarit, Sok Gieng | Print/Sales: Nawapol Thamrongrattanarit |

Survival Guide untuk Kampong Radioaktif Survival Guide for Radioactive Village

Liew Seng Tat, Tan Chui Mui, Woo Ming Jin, Yeo Joon-han

Of all filmmakers in Southeast Asia, the Malaysians may be the least politically committed, but that is changing rapidly. They are also maintaining their sense of humour. A factory that processes rareearth metals (with radioactive effects) threatens the surroundings on the coast of eastern Malaysia. INtERNAtIONAL PREMIERE

Malaysia, 2011 | colour, video, 40 min, Malay/Cantonese Prod: Foo Fei Ling, Chua Thien See | Prod Comp: Kampong Radioaktif | Sc: Yeo Joon Han, Tan Chui Mui, Liew Seng Tat, Woo Ming Jin | Cam: Tan Teck Zee, Eric Yeong, Yap Gee Yuen | Ed: Yeo Joon Han, Tan Chui Mui, Liew Seng Tat, Woo Ming Jin | Prod Des: Chin Khin Yeow, Ong Sir Shen | Sound Des: Yeo Joon Han, Liew Seng Tat, Woo Ming Jin, Tan Chui Mui | Music: Yeo Joon Han, Liew Seng Tat, Woo Ming Jin | With: Azman Hassan, Ayam Fared, Jerrica Lai, Bella Rahim, Loh Wai Tong | Print/Sales: Kampong Radioaktif |




Girl in the Water Woo Ming Jin, Jeppe Rønde

Made as part of a collaborative project set up by the Danish CPH: Dox. A Scandinavian filmmaker and a Malaysian one made a film together in Malaysia with Scandinavian finance. The Malaysian showed the Dane that he knows the way along the coast of his own country. INtERNAtIONAL PREMIERE

Denmark/Malaysia, 2011 | colour, video, 19 min, Malay/Thai Prod: Edmund Yeo, Tine Fischer, Patricia Drati | Prod Comp: Greenlight Pictures, CPH:DOX | Sc: Jeppe Rønde, Woo Ming Jin | Cam: Wan Chun Hung | Ed: Morten Giese, Olivier Bugge Coutte, Edmund Yeo | Sound Des: Rune Palving | Music: Jonas Bjerre | With: Sajee Apiwong | Print/Sales: CPH:DOX

Last Fragments of Winter

Dong tian zui hou de sui pian Edmund Yeo

The maker calls his film a ‘cinematic poem’, which can serve to explain the unexplainable. A young boy in Malaysia goes shopping for his sick mother, while a girl in distant Japan tries to photograph an incredibly beautiful snow landscape. She finds an antique watch. EUROPEAN PREMIERE

Malaysia/Japan, 2011 | colour, video, 24 min, Mandarin Prod: Foo Fei Ling | Prod Comp: Greenlight Pictures | Sc: Edmund Yeo | Cam: Kong Pahurak, Tan Teckzee | Ed: Edmund Yeo | Music: Wong Woan Foong | With: Berg Lee, Tan Ley Teng, Arisa Koike, Foo Kang Chen | Print/Sales: Edmund Yeo |




Preludes Short films screened before a variety of feature length films during the festival.

Shelter Ismail Basbeth

Apparently a simple film. One single long shot. That’s what it looks like. Under the superficial boredom, there are grand feelings, however. Loneliness. Lost love. Fear of death. And all the while we look at a sleepy couple in an empty bus. Screened before Parts of the Heart. EUROPEAN PREMIERE

Indonesia, 2011 | colour, video, 16 min, no dialogue Prod: Suryo Adhi Wiyogo | Prod Comp: Hide Project Indonesia | Sc: Ismail Basbeth | Cam: Budi Arifianto | Ed: Ismail Basbeth | Prod Des: Beni Arjuna | Sound Des: Lintang Enrico, Rangga Sang Eshayoga | Music: Teguh Hari | With: Hananda Hutami Putri, Krisna E. Putranto | Print/Sales: Hide Project Indonesia PUBLIC SCREENINGS Thu 2-2 10:002 LantarenVenster 3 Fri 3-2 22:152 LantarenVenster 6


The Search Resit Baskin

Halil (55) lives in a remote mountainous region and hasn’t heard from his son for a long time. He has a powerful bond with his horse, but he also loses that. A beautiful, intimate portrait of the relationship between a man and an animal. The first short film by the Kurdish Zaza (Iranian) Baskin. Screened before He Was a Giant with Brown Eyes. WORLD PREMIERE

Turkey, 2012 | colour, video, 16 min, Kurdish Prod: Resit Baskin | Sc: Çetin Baskin | Cam: Abdurrahman Öner | Ed: Abdurrahman Öner | Prod Des: Çetin Baskin | Sound Des: Mehmet Celik | Music: Ciwan Haco | With: Halil Baskin, Çetin Baskin, Remzi Baskin | Print/Sales: Resit Baskin PUBLIC SCREENINGS Thu 2-2 12:302 Cinerama 6 Sat 4-2 19:302 Cinerama 6




café Regular, cairo Ritesh Batra

A young Egyptian couple has an honest conversation in public about their relationship. Recorded in a bar with real customers, with amateur actors who play their own lives. Taboo-breaking, humorous fiction about male-female relationships in modern Cairo. Ritesh Batra alternates between living in Mumbai and New York. Screened before Night #1. EUROPEAN PREMIERE

Egypt, 2011 | colour, video, 11 min, Arabic Prod: Alaa Mosbah, Guneet Monga | Sc: Ritesh Batra | Cam: Islam Abdelsamea | Ed: Wajdi Elian | Sound Des: Wajdi Elian | With: Alaa Ezzat, Mai Abozeed | Print/Sales: Ritesh Batra PUBLIC SCREENINGS Sat 28-1 22:302 Pathé 4 Thu 2-2 21:452 Schouwburg Grote Zaal

Sacha l’ours Sacha the Bear Henri Desaunay

A hunter is after a bear in the forest. The bear hides in the house of the little girl Goldilocks, who gives him food and plays with him. But then everything changes. The first short film by Desaunay is a wayward, ironic adaptation of the British fairytale Goldilocks and the Three Bears. Screened before Electra, for Instance. WORLD PREMIERE

France, 2012 | colour, video, 11 min, no dialogue Prod: François Morisset | Prod Comp: Salaud Morisset Production | Sc: Henri Desaunay | Cam: Fabien Drugeon | Ed: Henri Desaunay | Prod Des: Etienne Desaunay | Sound Des: Gaël Eleon, Sylvain Lambinet, Olivier Voisin, Fanny Weinzaepflen | Music: Henri Desaunay | With: Lise Werkmeister, Antoine Baillet, Antoine Suarez-Pazos | Print/Sales: Salaud Morisset Production PUBLIC SCREENINGS Fri 27-1 18:152 Pathé 6 Sat 28-1 22:302 Cinerama 6 Sun 29-1 15:002 Cinerama 4 Mon 30-1 11:302 Pathé 2

A Resident of the city Adham El Sherif

Documentary by an Egyptian film student about the big city is told and shot entirely from the perspective of a stray dog. Beautiful camerawork in a very powerful and urgent film, in which the political metaphor about finding and defending your own space is clear. Screened before The Three Disappearances of Soad Hosni. EUROPEAN PREMIERE

Egypt, 2011 | colour, video, 15 min, Arabic Prod: Adham El Sherif | Prod Comp: High Institute of Cinema | Sc: Adham El Sherif, Atef Nashed | Cam: Bassam Ibrahim | Ed: Isalm Amer | Prod Des: Maged Nader | Sound Des: Ahmed Kamal, Ahmed Nabil | Print/Sales: Adham El Sherif PUBLIC SCREENINGS Mon 30-1 14:302 LantarenVenster 6 Tue 31-1 19:452 Cinerama 5




Silêncio de dois sons Silence of Two Sounds Rita Figueiredo

A secret story is stored in a reel of tape and is unfolded by a mother to her child, inside an organic house that commands the characters. Two babies sleep while hearing the story; however, their world of dreams casts other mysteries deeper than those of our own. Fine fiction with a marvellous soundtrack. Screened before Swirl. INTERNATIONAL PREMIERE

Portugal, 2011 | colour, video, 14 min, Portuguese Prod/Sc/Cam/Ed/Prod Des: Rita Figueiredo | Sound Des: Rita Figueiredo, Miguel Cabral | With: Tânia Ferreira, Joana Pedro, David Sil, Gabriel Zuzarte, Mercedes Zuzarte | Print/Sales: Rita Figueiredo PUBLIC SCREENINGS Mon 30-1 17:002 Pathé 4 Wed 1-2 16:002 Cinerama 5 Fri 3-2 13:302 Schouwburg Grote Zaal

Moxie Stephen Irwin

Moxie is a film instilled with verve, safety matches and smudgy, misanthropic bear heartbreak. This is bear life, way beyond the territories mapped out in nature documentaries. Beautifully imaginative *&^%ed up animation, featuring a doubly *&^%ed up bear. Screened before Kotoko. United Kingdom, 2011 | b&w, video, 6 min, English Prod: Stephen Irwin | Sound Des: Zhe Wu | With: voice of Ragga Gudrun | Print/Sales: Stephen Irwin | PUBLIC SCREENINGS Mon 30-1 22:152 Oude Luxor Fri 3-2 16:452 Oude Luxor

Mourir auprès de toi To Die By Your Side

Spike Jonze, Simon Cahn

Designer Olympia Le-Tan’s embroidered clutch bags spring to life in Spike Jonze’s tragicomic stop motion animation. On a shelf in a famed Parisian bookstore, the star-crossed love story of a klutzy skeleton and his flame-haired amour plays out amidst Le-Tan’s illustrations of iconic first edition book covers. Screened before The Pettifogger. France, 2011 | colour, video, 6 min, English Prod: Gregory Bernard, Diane Jassem | Prod Comp: Realitism Films | Sc: Olympia LeTan, Spike Jonze, Simon Cahn | Cam: Jean-Louis Padis, Stephen Barcello | Ed: Simon Cahn | Prod Des: Sylvain Derosne, Leonard Cohen, Fabien Feintrenie | Sound Des: David Amsalem, Jocelyn Robert | Music: Sam Spiegel, Koool G Murder, Soko | With: Pierre Le-Tan and with voices of Spike Jonze and Soko | Print/Sales: Realitism Films PUBLIC SCREENINGS Thu 2-2 15:002 Cinerama 4 Fri 3-2 16:302 Pathé 4




Tamino Eveline Ketterings

This film is a stop-motion opera scene from Die Zauberflöte: Pamina’s ‘Ach, ich fühl’s, es ist verschwunden!’ Since her beloved Tamino doesn’t want to speak to her anymore, she prefers to die. This film is dedicated to the one who knows how to keep silent… (EK) Screened before Nana. WORLD PREMIERE

Netherlands/Poland, 2012 | colour/b&w, DCP, 5 min, no dialogue Prod: Eveline Ketterings | Prod Comp: Stichting 8X10 | Cam: Grzegorz Klatka | Ed/Sound Des: Eveline Ketterings | Music: Daniël Lehmann, Eveline Ketterings, Julia Beusenberg, Marcel van der Zwet | With/Print/ Sales: Eveline Ketterings | PUBLIC SCREENINGS Sun 29-1 19:152 Pathé 3 Mon 30-1 23:002 Cinerama 5 Wed 1-2 14:452 LantarenVenster 2

Dans le cadre In the Frame

Philippe Lasry

The actress Karine (Norah Krief) is taking an audition for the first time in ages. Showing emotions, switching, staying in the frame and crying. Crying is easier said than done. Her opposite number gives her a helping hand. An impressive display of competence that should not be missing at any film festival. Screened before Louise Wimmer. EUROPEAN PREMIERE

France, 2010 | colour, DCP, 14 min, French Prod: Benjamin Celliez | Prod Comp: La vie est belle films associés | Sc: Philippe Lasry | Cam: Quentin Balpe | Ed: Celine Ameslon | Sound Des: Damien Boitel | With: Norah Krief, Mounir Margoum | Print/Sales: La vie est belle films associés | PUBLIC SCREENINGS Sun 29-1 22:152 Pathé 3 Mon 30-1 17:152 Cinerama 7 Tue 31-1 14:152 Schouwburg Grote Zaal

Patlang Blank

Jet Leyco

The film opens with images of a sorrowful young woman. The film concludes with images of a desperate young man fleeing into a jungle. In between, images that comprise a wealth of information, but there is still no clarity. Only the despair of the disappearance. Screened before Mondomanila. INTERNATIONAL PREMIERE

Philippines, 2010 | colour/b&w, video, 15 min, Filipino Prod: Jet Leyco | Prod Comp: Kerberus Kinorama Klassiks, Barong Tagalog Inc., Asia Pacific Film Institute | Sc: Jet Leyco | Cam: Jet Leyco, Gym Lumbera | Ed/Prod Des/Sound Des/Music: Jet Leyco | With: Herald Gregory Chavez, Nica Santiago | Print/Sales: Kerberus Kinorama Klassiks PUBLIC SCREENINGS Fri 27-1 12:302 Cinerama 6 Sat 28-1 12:452 Cinerama 7




Boxing in the Philippine Islands Raya Martin

Raya Martin loves old silent films and knows better than anyone how to use old moods and techniques in his own films. You could say that he loves experimental films and that he manages to revitalise the old techniques. Here he looks at boxers, even though we hardly see them. Screened before Buenas noches, España. Philippines, 2011 | colour/b&w, video, 7 min, no dialogue Prod: Arleen Cuevas, Raya Martin | Prod Comp: Cinematografica | Sc: Raya Martin | Ed: Lawrence Ang | Print/Sales: Cinematografica PUBLIC SCREENINGS Fri 27-1 22:452 Pathé 7 Sat 28-1 09:302 Pathé 7 Sun 29-1 22:302 Cinerama 1 Fri 3-2 20:152 LantarenVenster 3

Bete & Deise Wendelien van Oldenborgh

Van Oldenborgh’s practice explores social relations through an investigation of gesture in the public sphere. Bete & Deise brings about a meeting between veteran telenovela actress and political activist Bete Mendes and Deise Tigrona, one of the most powerful voices in Baile funk, whose song Injeção was the basis for M.I.A.’s Bucky Done Gun. World premiere at 22:00 hours in the WORMyWOOD: Friday 27 compilation programme. WORLD PREMIERE

Netherlands/Brazil, 2012 | colour, video, 40 min, Portuguese Prod: Frédérique Bergholtz | Prod Comp: If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution | Sc: Wendelien van Oldenborgh, Deise Tigrona, Bete Mendes | Cam: Heloisa Passos | Ed: Wendelien van Oldenborgh | With: Deise Tigrona, Bete Mendes | Print: Wendelien van Oldenborgh | Sales: Gallerie Wilfried Lentz

hope Pedro Pires

Director and visual effects artist Pedro Pires explores the moments just before death. Intense and haunting, Hope relays the terrors of war through the eyes of a dying army general. Indelible images of a battlefield, a barber shop and brutality define the general’s last moments of consciousness. Screened before Shock Head Soul. EUROPEAN PREMIERE

Canada, 2011 | colour, DCP, 11 min, no dialogue Prod: Phoebe Greenberg | Prod Comp: Phi Group Inc | Sc: Pedro Pires, based on the play Jimmy, créature de rêve by Marie Brassard | Cam: Pedro Pires | Ed: Pedro Pires, Aube Foglia | Prod Des: Catherine Chagnon | Sound Des: Bernard Gariepy-Strobl, Sylvain Bellemare | Music: Robert M. Lepage | With: Bill Croft, Lucas Silveira, Vincent d’Arbouze, Catherine Lipscombe | Print/Sales: Phi Group Inc | PUBLIC SCREENINGS Tue 31-1 19:152 Pathé 3 Wed 1-2 19:002 LantarenVenster 1 Fri 3-2 22:152 Cinerama 5




Standards Maxime Pistorio, Julie Jaroszewski

A jazz quartet performs at a Belgian banquet for rich businessmen. Behind the scenes, they discuss how they feel about it. The scene in which the host forgets their names is hilarious. Light and enjoyable, voyeuristic documentary with many familiar situations. Screened before Grandma Lo-fi: The Basement Tapes of Sigrídur Níelsdóttir. Belgium, 2010 | colour, video, 17 min, French Prod: Maxime Pistorio, Julie Jaroszewski | Sound Des: Benjamin Pasternak | Print/Sales: Maxime Pistorio | PUBLIC SCREENINGS Fri 27-1 21:152 Pathé 6 Sun 29-1 09:452 Pathé 5

Naach Ganesh Dance of Ganesha Bikas Ranjan Mishra

Beautifully shot fiction without dialogue about the harsh life of a man who maintains his family and father by working as a welder and, in his little free time dances. He portrays Ganesha, the God of the elephants, a family tradition. Simple yet striking drama about the battle to survive. Screened before Carnival. EUROPEAN PREMIERE

India, 2011 | colour, DCP, 15 min, no dialogue Prod: Pankaj Dubey | Prod Comp: Sadak Chhaap Films | Sc: Bikas Ranjan Mishra | Cam: Gaurav Singh | Ed: Vinoo Choliparambil | Sound Des: Bikas Ranjan Mishra | Music: Natraj Kala Mandir | With: Hemant Mahto, Aganu Kumar, Balram Mahto, Janki Devi | Print/Sales: Sadak Chhaap Films | PUBLIC SCREENINGS Wed 1-2 17:152 Cinerama 7 Thu 2-2 17:152 LantarenVenster 2

Dois Two

Thiago Ricarte

A boy and a girl spend the day in the park, where they do maths homework and meet their friends. Then there’s a problem with her brother. Moving fiction about the confrontation with real life and about the relationship between rationality and feelings, shot very naturally with excellent teenage actors. Screened before Rânia. WORLD PREMIERE

Brazil, 2012 | colour, DCP, 16 min, Portuguese Prod: Lara Lima | Prod Comp: Lira Cinematografica | Sc: Lima Ricos | Cam: André Brandão | Ed: Thiago Ricarte | Prod Des: Richard Tavares | Sound Des: Marcelo Lima, Raul Arthuso | With: Gabriela Rocha, Carlos Mandel, Francisco Miguez, Bárbara Trabasso | Print/Sales: Lira Cinematografica PUBLIC SCREENINGS Mon 30-1 16:002 Pathé 1 Sat 4-2 09:302 Pathé 7




Dimanches Sundays

Valery Rosier

Sundays is made up of 30 static shots, still lifes really, in which we see people who do or don’t do something on a Sunday. Mildly humorous fiction about boredom, the passing of time and the pointless nature of existence. With several delightfully absurd tragicomic situations. Screened before The Giants. Belgium, 2011 | colour, 35mm, 1:1.66, 15 min, no dialogue Prod: Nicolas Guiot | Prod Comp: Ultime razzia productions | Sc: Valéry Rosier | Cam: Olivier Boonjing | Ed: Nicolas Rumpl | Prod Des: Juliette Fassin, Fred De Loof | Sound Des: Arnaud Calvar | Music: Jurgen Biller | With: André Caron, Germaine Dervaux, Jonathan Masure, Fernande Delcroix | Print/Sales: Ultime razzia productions PUBLIC SCREENINGS Fri 27-1 16:002 Oude Luxor Sat 28-1 09:152 Pathé 6 Mon 30-1 09:302 LantarenVenster 6

Romance Georges Schwizgebel

A grand romantic saga set to Rachmaninoff’s Sonata for Cello and Piano, Op. 19; we are transported into a traveller’s labyrinthine thoughts. Animated with pencil, pastels and acrylics by the Swiss maestro Georges Schwizgebel, Romance is a dazzling visual transcription of this Rachmaninoff scherzo. Screened before Goodbye First Love. Switzerland/Canada, 2011 | colour/b&w, 35mm, 1:1.66, 7 min, no dialogue Prod: Georges Schwizgebel | Prod Comp: Studio GDS | Sc/Cam/Ed/Prod Des: Georges Schwizgebel | Sound Des: Olivier Calvert | With: Katja Pahor, Nicolas Bigler | Print: Dellers Film | Sales: National Film Board of Canada | PUBLIC SCREENINGS Thu 2-2 10:152 Pathé 3 Fri 3-2 21:302 Pathé 7 Sat 4-2 15:302 Pathé 7

hurdy Gurdy Daniel Seideneder, Daniel Pfeiffer

A hurdy gurdy is a musical instrument that you play by turning the handle. They often keep playing the same tune over and over again, just like the people, cars, ships and trains that are continuously moving in this miniature film. An investigation into degrees of reality with the aid of special lenses that were designed for architecture photography. Screened before Oslo, August 31st. Germany, 2011 | colour, 35mm, 1:1.85, 3 min, no dialogue Prod: Susanne May | Prod Comp: Dropout Films | Sc: Daniel Seideneder | Cam: Daniel Seideneder, Daniel Pfeiffer, Uwe Winter | Ed/Sound Des: Fred Schuler | Music: Aphex Twin | Print/Sales: Daniel Seideneder PUBLIC SCREENINGS Mon 30-1 16:302 Oude Luxor Tue 31-1 19:152 Schouwburg Grote Zaal





house Party Adrian Sitaru

On her return from Bucharest, the neighbours welcome Neli with stories about the trouble caused by the wild party her 17-year-old son Dan organised in her absence. Dan, however, has a different version. Neli didn’t know her neighbours as well as she thought. Excellently acted fiction from Romania. Screened before Visiting Room. WORLD PREMIERE

Romania, 2012 | colour, video, 18 min, Romanian Prod: Monica Lazurean-Gorgan | Prod Comp: 4 Proof Film | Sc: Adrian Sitaru | Cam: Adrian Silisteanu | Ed: Andrei Gorgan | Prod Des: Adrian Cristea | Sound Des: Florin Tabacaru | With: Tania Filip, Clara Voda, Natasa Raab, Elena Ivanca, Emilian Marnea | Print/Sales: 4 Proof Film PUBLIC SCREENINGS Mon 30-1 14:452 Cinerama 1 Wed 1-2 21:302 Pathé 2 Fri 3-2 09:302 Pathé 6 Sat 4-2 19:152 Schouwburg Grote Zaal

Bonz Shohei Tada

A ball. According to the maker, it’s an iron ball. It floats around like a balloon and appears to be looking for a destination. It seems to find where it belongs – with a man whose life is far from spectacular. A joke, but also a mystery. And evidence that special effects can be enjoyable. And simple. Screened before About the Pink Sky. INTERNATIONAL PREMIERE

Japan, 2011 | colour, video, 6 min, Japanese Prod: Shohei Tada | Sc: Shohei Tada | Cam: Hideo Fujiwara | Ed: Shohei Tada | With: Ryusuke Igarashi | Print/Sales: Short Shorts Film Festival Asia PUBLIC SCREENINGS Wed 1-2 09:152 Cinerama 1 Thu 2-2 16:302 Schouwburg Grote Zaal

My Big-Assed Mother Tekla Taidelli

For the first time as an actor on the big screen: Abel Ferrara in the role of Charles Bukowski, while he fervently tells his unmistakable stories to a packed bar. Those present hang on his every word. At the end, Abel shuts the book; the applause surprises him. Screened before Black & White & Sex. WORLD PREMIERE

USA/Italy, 2012 | colour, video, 10 min, English Prod: Tekla Taidelli | Sc: Tekla Taidelli, Angelica Hester, Giulio Franz | Cam: Frederic Fasano, Aldo di Berardino | Ed: Massimiliano Paolacci | Prod Des: Simona Caruso | Sound Des: Daniele Bertinelli | Music: Giorgio Gaslini | With: Abel Ferrara, Doris Susan Gramovot, Ilene Kristen, Theodore Bouloukos, Mosaad Hassan Mohamed | Print/Sales: Tekla Taidelli | PUBLIC SCREENINGS Fri 27-1 19:152 Pathé 3 Sat 28-1 09:452 Pathé 5 Sun 29-1 21:302 Pathé 2 41ST INTERNATIONAL FILM FESTIVAL ROTTERDAM



Dreams Keiichi Tanaami, Aihara Nobuhiro

As a duo, Keiichi Tanaami and Aihara Nobuhiro made a series of masterly surrealistic hand-drawn animation films. Many have also been screened at this festival. Unfortunately, Keiichi Tanaami will have to carry on alone, because Aihara Nobuhiro died in 2011. One last dream by and for him. Screened before Tatsumi. EUROPEAN PREMIERE

Japan, 2011 | colour, video, 6 min, no dialogue Prod/Cam/Ed: Keiichi Tanaami, Nobuhiro Aihara | Music: Masahiro Saeki | Print/Sales: CaRTe bLaNChe PUBLIC SCREENINGS Sun 29-1 22:302 Oude Luxor Tue 31-1 11:452 Schouwburg Grote Zaal

Deux inconnus The Strange Ones

Lauren Wolkstein, Christopher Radcliff

A man and a boy with a broken-down car find a motel with a swimming pool. They soon start talking to the woman who works there. When the boy confides in her, we have to start wondering what kind of relationship they really have. Disturbing and powerfully acted fiction. Screened before Rough. France, 2011 | colour, video, 14 min, English Prod: Sebastien Aubert | Prod Comp: Ad Astra Films | Sc: Lauren Wolkstein, Christopher Radcliff | Cam: Drew Innis | Ed: Lauren Wolkstein, Christopher Radcliff | Prod Des: Juliet Lashinsky-Revene | Sound Des: Anthony Thompson | Music: Saunder Jurriaans, Danny Bensi | With: David Call, Tobias Campbell, Merritt Wever | Print/Sales: Ad Astra Films | PUBLIC SCREENINGS Tue 31-1 11:452 Cinerama 1 Thu 2-2 22:152 Pathé 4 Fri 3-2 21:452 LantarenVenster 1

Applied Theories of Expanding Minds Rut Karin Zettergren, Jennifer Rainsford, Lena Bergendahl

Within a future community in Kenya, a group of people have decided to free themselves from years of oppression and no longer follow the usual customs. From now on, they will organise their lives according to rules imposed by the magnetic fields of the Earth. Screened before The Clay Diaries. INTERNATIONAL PREMIERE

Kenya/Sweden, 2011 | colour, video, 29 min, English/Swahili Prod: Rut Karin Zettergren | Prod Comp: ZBR Productions | Sc/Cam/Ed: Rut Karin Zettergren, Lena Bergendahl, Jennifer Rainsford. Marius Dybwad Branderud | Prod Des: Rut Karin Zettergren, Lena Bergendahl, Jennifer Rainsford | Sound Des: Boris Laible | Music: Petter Emil Samuelsson | With: Hsing Fen Tu Ålemark, Delphine Nimu, Mariam Khamis, Ken from Black Diamond, Elisha Kwingare | Print/Sales: ZBR Productions | PUBLIC SCREENINGS Fri 27-1 22:302 Cinerama 6 Sat 28-1 17:452 Cinerama 7 Sun 29-1 09:302 LantarenVenster 1




WORMyWOOD Late-night programme in WORM – draped around themes from the festival – with live music, films, performances and DJs.

WORMyWOOD: Fri 27 Special programme presented by If I Can’t Dance, structured around the world premiere of Wendelien van Oldenborgh’s latest work, Bete & Deise. Preceded by a screening of Câncer (Glauber Rocha, 1972, 86’) and followed by a response from art historian Eric de Bruyn, a Q&A with Van Oldenborgh, and a concert from one of the film’s two protagonists: Baile funk singer Deise Tigrona supported by DJ Lonely & Bàbà Electronica and Kuduro DJs Marfox and Nervoso. Location: WORM, Fri 27, 20:00 till late.

WORMyWOOD: Sat 28 Variety evening starting with two 16mm solo performances: the poetic Quelques minutes de soleil après minuit by Xavier Quérel (Metamkine) and the compact Sounddefect by Riojim (MTK). Then a music performance by the Spanish Internet2 (pure-bred weirdo Carlos Carbonell), just as ridiculous and intriguing as the name. Also tonight: the eccentric Kollywood video compilation Play That Beat Mr. Raja by and with DJ Arc de Triomphe. Location: WORM, Sat 28, 22:00 till late.

WORMyWOOD: Sun 29 Two sound artists from the Soundtrackcity project. Francisco López created deep ‘sonic universes’ in the dark and Lee Patterson opens up an auditive world by using ‘contact mics’. The images this evening are by film alchemist Alex MacKenzie with the intimate 16mm set-up of Logbook and the immersive Emaki/Light by Ishida Takashi and Tiger Short nominee Makino Takashi, with live improvisation by cellist Okkyung Lee. Location: WORM, Sun 29, 22:00 till late.

WORMyWOOD: Mon 30 Awards ceremony for the Tiger Awards for Short Films as the finale of the short film weekend and also the opening of the topical Signals: Power Cut Middle East programme. With music and visuals by Swiss/Lebanese duo Praed (Raed Yassin, Paed Conca), a concert by the North African band BooDooRoo, plus a special Sounds of the Middle East set by DJ Arc de Triomphe. Location: WORM, Mon 30, 22:00 till late. 41ST INTERNATIONAL FILM FESTIVAL ROTTERDAM




Two one-off performances. Rutger Zuydervelt (Machinefabriek), Roel Meelkop and Marco Douma present Pierdrie, a visual and auditory experience in Rotterdam’s Waalhaven. Karl Lemieux makes short films and film performances and created the live visuals (on 16mm) for bands like Godspeed You! Black Emperor and The Black Keys. This evening, a long dreamt-of collaborative venture between Lemieux and the prominent electronic and field recordings musician BJNilsen. Location: WORM, Tue 31, 22:00 till late.


Dronywood triple bill night with Nunatak, a spiritual and icy Nordic performance. Aestuarium makes beautiful, spectral, minimalist music, inspired by Gaelic psalmery and the microtonality of the tetrachord. Phurpa is a Russian group led by artist Aleksei Tegin, which reinterprets an old form of Tibetan ritual music. Two acts by Stephen O’Malley’s label Ideologic Organ. Location: WORM, Wed 1, 22:00 till late.

WORMyWOOD: Thu 2 Home-made dim sum. A varied evening programme, in which the Chinese zeal for imitation is zealously imitated. With I Did It My Wei Wei (Chinese hotchpotch) and DadaMachinima – avant-gardist videogame modification, in a WORMyWOOD surprise night compiled by the chef de mission of WORM: Hajo Doorn. Location: WORM, Thu 2, 22:00 till late.

WORMyWOOD: Fri 3 Dance night. Hieroglyphic Being aka Jamal Moss is a house & techno veteran from Chicago, producer, DJ and promoter. He is linked to Ron Hardy (Music Box), the Powerplant in Chicago, Steve Poindexter and labels like 6277, Spectral Sound, Crème Organization and Klang Elektronik. His own productions are independent, electronic pearls that are difficult to categorise. In addition, the official release party for Social Disturbance 001 by I ❤ Tekno. Location: WORM, Fri 3, 21:00 till late.




DINAMO P&I Screenings DINAMO (Distribution Network of Artists’ Moving image Organizations) is a network of independent distributors of video art and experimental film from the USA, Canada and Europe. The IFFR presents four Press & Industry programme slots in which 12 of the DINAMO distributors will show recently acquired work. These titles can also be seen in the festival video library. The film descriptions can be found on the IFFR website.

DINAMO P&I Screenings 1

DINAMO P&I Screenings 2


inter media art institute (imai)

Fri 27, 10:00, LV 6 Miracle Pink Twins

Finland, 2012 | colour, video, 8 min, no dialogue Prod: Pink Twins Print/Sales: AV-arkki

In a Musty, Misty Thicket Maarit Suomi-Väänänen

Finland,2012 | colour, video, 13 min, no dialogue Prod: Maarit Suomi-Väänänen Print/Sales: AV-arkki

heure Exquise ! The Beautiful Language Mounir Fatmi

France, 2010 | colour, video, 16 min, no dialogue Prod: Mounir Fatmi Print/Sales: Heure Exquise !

Sat 28, 10:00, LV 2

The Lake Aki Nakazawa, Jan Verbeek

Japan, Germany, 2011 | colour, video, 3 min, Japanese Prod: Aki Nakazawa, Jan Verbeek Print/Sales: imai

[∫] Sunjha Kim

Germany, 2011 | b&w, video, 12 min, no dialogue Prod: Sunjha Kim Print/Sales: imai

Land of Neon Aki Nakazawa

Japan, Germany, 2011 | colour, video, 5 min, Japanese Prod: Aki Nakazawa Print/Sales: imai

Nederlands Instituut voor Mediakunst (NIMk)

1862 Philippe Rouy

France, 2011 | colour, video, 7 min, no dialogue Prod: Philippe Rouy Print/Sales: Heure Exquise !

Brûler la mer Sabine Massenet

France, 2011 | colour, video, 9 min, no dialogue Prod: Sabine Massenet Print/Sales: Heure Exquise !

Gartenberg Media Enterprises Friendly Witness Warren Sonbert

USA, 1989 | colour, 16mm, 1:1.33, 22 min, no dialogue Prod: Warren Sonbert Print/Sales: Light Cone Distribution, Gartenberg Media Enterprises

Cyclopean 3D: Life with a Beautiful Woman (Opening Sequence)

The Hottest Day of the Year Keren Cytter

Germany, Israel, 2010 | colour, video, 13 min, English, Hebrew Prod: Keren Cytter Print/Sales: NIMk

Sans-titre Neil Beloufa

France, 2010 | colour, video, 15 min, Arabic, French Prod: Neil Beloufa, Natalia Trebik Print/Sales: NIMk

Electronic Arts Intermix (EAI) A Fire in My Belly (A Work in Progress) David Wojnarowicz

USA, 1986 | colour, b&w, video, 21 min, no dialogue Prod: David Wojnarowicz Print/Sales: EAI

Ken Jacobs

USA, 2012 | colour, video, 5 min, silent Prod: Ken Jacobs, Jon A. Gartenberg Print/Sales: Gartenberg Media Enterprises 41ST INTERNATIONAL FILM FESTIVAL ROTTERDAM


SPeCtruM ShOrtS

DINAMO P&I Screenings 3

DINAMO P&I Screenings 4

Arsenal - Institut für Film und Videokunst e.V.

Argos – Centre for Art and Media

Parallel Worlds

The Corridor

Sun 29, 10:00, LV 2

Mon 30, 10:00, LV 2

Harald Thys, Jos de Gruyter

Belgium, 2010 | colour, b&w, video, 26 min, Dutch Prod: Harald Thys, Jos de Gruyter Print/Sales: Arsenal

Sarah Vanagt Belgium, 2010 | colour, video, 7 min, no dialogue Prod: Sarah Vanagt Print/Sales: Argos

Parole à la femme


Eléonore de Montesquiou

Estonia, Germany, 2010 | b&w, video, 8 min, French Prod: Eléonore de Montesquiou Print/Sales: Arsenal

Video Data Bank (VDB) Shayne’s Rectangle Dani Leventhal

USA, 2011 | colour, video, 5 min, English Prod: Dani Leventhal Print/Sales: VDB

Ceibas: Epilogue - The Well of Representation

Pieter Geenen

Belgium, 2011 | colour, video, 23 min, no dialogue Prod: Pieter Geenen Print/Sales: Argos

Collectif Jeune Cinéma (CJC) Nouakchott Rocks Moira Tierney

Mauritania, Ireland, 2010 | b&w, video, 19 min, no dialogue Prod: Moira Tierney Print/Sales: CJC

Evan Meaney


OWS Newsreel No. 5

Thailand, 2010 | colour, video, 2 min, no dialogue Prod: Tanatchai Bandasak Print/Sales: CJC

USA, 2011 | colour, video, 7 min, English Prod: Evan Meaney Print/Sales: VDB Jem Cohen USA, 2011 | colour, video, 7 min, English Prod: Jem Cohen Print/Sales: VDB

V tape Wee Requiem

Tanatchai Bandasak

Back + Forth Clint Enns

Canada, 2009 | colour, video, 3 min, no dialogue Prod: Clint Enns Print/Sales: CJC

Jenn E Norton Canada, 2010 | colour, video, 7 min, English Prod: Jenn E Norton Print/Sales: V tape

Canadian Filmmakers Distribution Centre (CFMDC)


Kelly Egan

Scott Treleaven USA, Canada, 2006 | colour, video, 5 min, English Prod: Scott Treleaven Print/Sales: V tape

Republic of God

MIMO Canada, 2011 | colour, video, 11 min, English Prod: MIMO Print/Sales: V tape

The Ballad of Roy and Silo

John Greyson Canada, 2011 | colour, video, 6 min, English Prod: John Greyson Print/Sales: V tape


Ransom Notes Canada, 2011 | colour, 35mm, 1:1.37, 5 min, no dialogue Prod: Kelly Egan Print/Sales: CFMDC

A Little Prayer (H-E-L-P) Louise Bourque

Canada, 2011 | colour, 35mm, 1:1.85, 8 min, no dialogue Prod: Louise Bourque Print/Sales: CFMDC

Starlings (at Nightfall)

Peter Dudar Canada, 2010 | colour, video, 8 min, no dialogue Print/Sales: CFMDC






Made in rotterdam 1 A sample of talent from Rotterdam, compiled by the IFFR and the Rotterdam Media Fund and comprising animation, dance film, fiction and documentary, the latter sometimes experimental. PUBLIC SCREENINGS Thu 2-2 22:15 Cinerama 5 Sat 4-2 17:30 LantarenVenster 3

Jay’s taste Hans Lein

Jay has finished his prison term and has started a restaurant. Full of good intentions, he attempts to encourage his stepson not to make the same mistakes he did. The kid takes no notice and dreams of power, money and cars. Hans Lein combined film and animation with the palpable directness of theatre. WOrLD PreMIere

Netherlands, 2012 | colour, video, 13 min, Dutch Prod: Ruud Boel | Prod Comp: Cosmic | Sc: Hans Lein | Cam: Robert Jan Schmidt | Ed: Arthur Bueno | Prod Des: Fabio Thomaz | Sound Des: Henk Jelle de Groot | Music: Paul M. van Brugge | With: Dennis Rudge, Elvin Rigters, Jeremy Moniz, Caitlin Schaap | Print/Sales: Cosmic |

Kát’a Katya

Francisca Toetenel

With a mentally ill mother and a father who ran away, Katya is forced to behave more maturely than her actual age. Despite the fact that her mother denies the existence of Katya’s father, she decides to go looking for him. That leads to both disappointment and new insight. Netherlands, 2011 | colour, video, 15 min, Czech Prod: Francisca Toetenel | Prod Comp: Cisca films | Sc: Francisca Toetenel | Cam: Nisha Jurairatanaporn, Dimo Popov | Ed: Francisca Toetenel | Sound Des: Casey Contreary | With: Michaela Patocková, Veronika Bellová, Michal Bregant, Eva Leimbergerová | Print/Sales: Cisca films

Motor Simone Bennett

An experimental film about seven inhabitants of an apartment block who all live separate lives, but who are linked in a strange way. They share fear and gossip accompanied by the violin and cello sounds of Simon Lenski. The violin was designed especially for this film by Yuri Landman. WOrLD PreMIere

Netherlands, 2012 | colour, video, 9 min, no dialogue Prod: Bea de Visser | Prod Comp: AnotherFilm | Sc: Simone Bennett | Cam: Lonneke Worm | Ed: Tim Roza | Prod Des: Billy Leliveld | Sound Des/Music: Simon Lenski | With: Henk Stuurman, Herman Gilis, Sjaak Hartog, Fania Sorel, Walter Bart, Toos Scheffers | Print/Sales: AnotherFilm |




Sobota Saturday

Anna Okrasko

To use the filmmaker’s own words to describe her work, Saturday is a nonexistent portable public monument, dedicated to the migrant workers in the Netherlands. The film is made up of a collection of contemporary black-and-white shots of Rotterdam, combined with a Polish documentary soundtrack from the 1950s. WOrLD PreMIere

Netherlands/Poland, 2012 | b&w, video, 21 min, no dialogue Prod/Sc: Anna Okrasko | Cam: Marta Bartoszek, Bartlomiej Drygas, Serena Lee, Rene Nuvelstijn, Martijn in’t Veld, Anna Okrasko, Catarina Lopez Antunes de Oliveira, Jaroslaw Zaleski, Olga Zaleska | Ed/Prod Des/Sound Des: Anna Okrasko | Music: Zbigniew Jezewski, Halina Paszkowska | With: Marta Bartoszek, Bartlomiej Drygas, Rene Nuvelstijn, Anna Okrasko, Olga Zaleska, Jaroslaw Zaleski | Print/Sales: Anna Okrasko |

Letting Go Gerco de Ruijter

The filmmaker attached a tiny camera to the back of a young homing pigeon and released the bird from the top of a tall building in Delft. We follow it on its flight home to the old city centre of Rotterdam. The maker was inspired by his neighbour who has over two hundred homing pigeons. WOrLD PreMIere

Netherlands, 2012 | colour, video, 9 min, no dialogue Prod/Sc/Cam: Gerco de Ruijter | Music: Michel Banabila | Print/Sales: Gerco de Ruijter |

untitled/tithed Vicente Fita Botet

The maker travels in three days from his birthplace Cuenca (in Spain) to Rotterdam. On the way, he not only takes photographs of the road, landscape and travellers, but also of filling stations, traffic and receipts. He edited the images to the music of Johann Strauss. WOrLD PreMIere

Netherlands, 2012 | colour, video, 5 min, no dialogue Prod: Vicente Fita Botet | Ed: Chris Baronavski | Music: Johann Strauss | Print/Sales: Vicente Fita Botet |




the rocketeer Richard Raaphorst

Marc is an obsessive Star Wars collector; his marriage has failed because of it. On eBay he finds an ad for the ultimate collector’s item The Bobafett Rocketeer for a couple of thousand euros. Marc’s furious attempts to scrape together enough cash culminate in him becoming an organ donor. WOrLD PreMIere

Netherlands, 2012 | colour, video, 30 min, Dutch Prod: Herman Slagter | Prod Comp: Riverpark Film | Sc: Richard Raaphorst, Pim Gerrits | Cam: Gabor Deak | Ed: Jasper Verhorevoort | Prod Des: Billy Lelieveld | Sound Des: Rens Pluijm | Music: Reyn Ouwehand | With: Stephan Evenblij, Pauline Greidanus | Print/Sales: Riverpark Film |

Made in rotterdam 2 For an explanation of the content, see the compilation programme Made in Rotterdam 1. PUBLIC SCREENINGS Thu 2-2 19:30 Pathé 4 Sat 4-2 15:00 LantarenVenster 3

Nol King ruter Noud Heerkens

Third dance film by director Noud Heerkens and choreographer Ton Lutgerink about the last intimate performance by former dancer Nol King Ruter. Over the course of the day it becomes apparent that the body can’t dance forever. Almost without dialogue, his story is expressed entirely through dance. WOrLD PreMIere

Netherlands, 2012 | colour, video, 30 min, no dialogue Prod: Nadadja Kemper | Prod Comp: Holland Harbour Productions | Sc: Noud Heerkens, Clara van Gool | Cam: Niels Boon | Ed: Nathalie Alonso Casale | Prod Des: Tom van den Haspel | Sound Des/Music: Harry de Wit | With: Ton Lutgerink, Kelly Hirina, Rafael Zielinski, Hans Dagelet, Marlies Heuer, Romana Vrede | Sales: Holland Harbour Productions | Distr. NL: EYE Film Institute Netherlands

Bad Luck City Aaike Stuart

With a melancholy expression, a man shuffles through a park. He collects some coins from the fountain and uses the money to go bowling. Then he unburdens himself in front of the camera in a poetic monologue. An exceptionally joyous musical story about the melancholia of an urban cowboy. WOrLD PreMIere

Netherlands/Germany, 2012 | b&w, video, 12 min, English Prod: Aaike Stuart | Prod Comp/Sc: Authentic Boys | Cam: Boris van Hoof | Ed: Aaike Stuart | Sound Des: Bart Jilesen | Music: Authentic Boys, R.L. Burnside | With: Gregory Stauffer | Print/Sales: Authentic Boys |




Ning Lichun Tseng

By juxtaposing film positives and film negatives on 16mm, filmmaker and visual artist Lichun Tseng creates an unusual depth that seems to mislead the eye. The calm, almost hypnotic soundtrack turns the film into a poetic form of cinema. WOrLD PreMIere

Netherlands, 2012 | b&w, video, 8 min, no dialogue Prod: Lichun Tseng | Sc: Lichun Tseng | Cam: Lichun Tseng | Ed: Lichun Tseng | Prod Des: Lichun Tseng | Sound Des: Gabriëlle Barros Martins | Music: Gabriëlle Barros Martins | Print/Sales: Lichun Tseng |

Pablo & Poëzie Pablo and Poetry Leo Verheul

Jules Deelder is accompanied on his trip to Medellin, Colombia for the world’s largest poetry festival. His comic performances are alternated with his fascination for the life of drug lord Pablo Escobar. Deelder and Columbia is a tastefully presented, unusual, but convincing combination. WOrLD PreMIere

Colombia/Netherlands, 2012 | colour, video, 50 min, Dutch/Spanish Prod: Marc van Staveren, Leo Verheul | Prod Comp: Men at Work | Sc: Leo Verheul | Cam: Leo Verheul | Ed: Ernst Gonlag | Prod Des: Leo Verheul | Sound Des: Ernst Gonlag | Music: Lafe-Kurubi, Afri-k Bambata | Print/Sales: Men at Work



signals Peter von Bagh

signals: Peter von Bagh

Peter von Bagh

the Finland inside Olaf Möller

Peter von Bagh has seen every movie worth seeing, usually more often than once; during his half century in film, he has met every icon and every genius, every maverick and every overlooked auteur, every underrated master and even every interesting underachiever from this our art’s ancient mornings – every one, given that he has lived long enough; and being a great raconteur, graced with a strong, commanding voice as well as a perennially bemused smile around the eyes, he knows how to tell a good story about each of them – for he loves to pass on what he learnt during all those hours spent in their company. Yes, Von Bagh is truly a rare example of cinema lived to the full: a legend of oldschool cinephilia. That said, while Von Bagh is undeniably a celebrity of world cinedom, he’s still an unknown, ni vu ni connu, certainly outside of Finland. Sounds like a contradiction? Not at all. As a film critic and historian, Peter von Bagh has (co-)written and/or (co-)edited roughly two dozen books, mostly but not only on cinema. Yet who has read them, as only a few (mainly his Kaurismäki studies) were ever translated? Even more importantly, who has seen his masses of films? (We’re talking about some 50 or 60 titles here: shorts, features, series, not including his contributions to the works of other directors.) Only Von Bagh knows the complete size of his oeuvre, for no filmography so far has proven to be complete; new titles seem to pop up all the time. Again, this has a lot to do with accessibility. Until recently, only a very few of his films got subtitled – and that includes into Swedish, Finland’s official second language. It seems that the quiet success

Helsinki, Forever

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signals: Peter von Bagh

story of Helsinki, Forever (2008), a vision of the nation’s capital made from myriads of film scenes, photographs and popular tunes, has changed that for good. Without too much promotion, it managed to chalk up a remarkable number of festival screenings. Jonathan Rosenbaum’s featuring of Helsinki, Forever as one of the ‘Noughties’ Ten Best’ was the icing on the cake. Yet, language was probably not the only barrier here. Culture in general had even more to do with it, as almost all of Von Bagh’s films talk about history vue par Finlande. Let’s be honest: How much do we really know about Finland? Which key dates of Finnish history could we name? What personalities come readily to mind? Hey, would we really be able to find the country on a map? If we’re honest with ourselves, we have to admit that we know very little about Finland, and that what little we (think we) know is but clichés. It doesn’t matter that many of them are as true as reality gets, including the rampant alcoholism, sisu, the discrete warmth and kindness of its people, the stabs of sudden violence, the gut-wrenching beauty of its landscapes, the insane number of suicides. In this world of information, a light grey spot on our data-scape such as Finland, its history and culture, should provoke at least some unease. And mind you, it’s a European nation, and a wealthy, economically more stable one at that. Kind of embarrassing, isn’t it, to know so little about a people so close and not exactly unimportant for our continent’s well-being. So, yes, there’s a lot to learn here. But not only that. It’s nice that we will get a sense of the nation’s becoming and development, thanks to a series of works dealing with key years in Finnish history: 1939 (1993), The Last Summer 1944 (1992), 1952 (1980). Nice to be able to fathom the complexities of opaque figures like the Communist politician Otto Wille Kuusinen (Man in the Shadows,1994; codirectors: Elina Katainen & Iikka Vehkalahti) or modernist AVbard Mikko Niskanen (The Story of Mikko Niskanen, 2010). To know more about and probably even start to love popular Finnish music after seeing Blue Sky – Journey into the Land of Memories (1978). But that’s not all there is to them, for Von Bagh’s films are never simple history lessons: they’re meditations on the nature of history. Few are the films by Peter von Bagh in which Finns learn something truly new about their history and culture (Man in the Shadows is probably the most important of those). What they can get out of them is how to consider these dates and names anew – what could this, their own history, all mean and be, not only now but in the future, for all the morrows to come? How could these long-gone presences be our contemporaries, possibly even our children and grand-children? How can we give birth to the bygone Finland that Von Bagh finds in newsreels and features, records and recordings from the nation’s past, its cultural production? History as science fiction, the Steam-Tango variety? That, too. Because, you see, Von Bagh’s films do not solely deal with the facts. They talk about the once and future dream called Finland, the vision of an easy and comfortable communal life, well-distributed wealth, the promise of beauty and love we find in the voice of the incomparable Olavi Virta (Olavi Virta, 1972), the running of the one and only Paavo Nurmi (Paavo Nurmi – The Man and His Times, 1978; co-director: Markku Koski), the words of Juhani Aho and the paintings of his wife Venny Soldan-Brofeldt and the documentaries of his sons Heikki Aho and Björn Soldan and the photographs of his grand-daughter Claire Aho (Splinters – A Century of an Artistic Family, 2011), or places like the Midnight Sun Film Festival in Sodankylä (Sodankylä Forever: The Century of Cinema, 2010) or Karl Marx’s grave


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signals: Peter von Bagh

in London (A Day at Karl Marx’s Grave, 1983). For hark: Von Bagh’s Finland is, in the final analysis, a state of mind to which places and times are but apropos matter – just look at Helsinki, Forever, how he shuttles between years, periods, eras, ages. It’s telling, really, that Von Bagh’s first major credit as a screenwriter is on a film about a historian obsessed with bringing the past back to life: late-60s icon Risto Jarva’s A Time of Roses (1968), ostensibly Finland’s first science fiction film, and an always somewhat underestimated work in this gone-too-young-master’s corpus. Around the time of Jarva’s demise, Von Bagh’s Finland ends. He only ever so rarely ventures beyond the early 1970s, the same way he almost never goes further back in time than the mid 1860s, and even that is the rarest of exceptions; most of his films are devoted to the period from the mid 1930s to the late 1960s – the time shortly before he was born (August 29, 1943), whose objects and sounds still lingered around when he was little, until the moment he got really serious about filmmaking himself, therewith entering his own time. Almost all films by Von Bagh are made mainly from archive materials; some use shot-for-the-production interviews, many benefit from commentaries spoken often (at least in part) by Von Bagh himself. While the main ingredients remain the same, films like Yrjö Norta’s SF-paraati (1939/40) have an almost totemic meaning for him. Von Bagh constantly reconsiders and invents the compilation film form, occasionally in one and the same work. For instance, the mid-segment of The Story of Mikko Niskanen – which is devoted solely to what many consider the best Finnish film ever, Niskanen’s Eight Deadly Shots (1972) – differs markedly from the two flanking it. Some, like Blue Sky – Journey into the Land of Memories or Helsinki, Forever, resemble a prose poem, others, like The Last Summer 1944 (1992), an oratory; others again, like Man in the Shadows, an investigation, and so on. The one thing they all have in common is an almost impossibly perfect sense of rhythm and pacing, pitch and cadence. In the end, what Peter von Bagh’s cinema feels like is a surprising, invigorating, enlightening and mightily empowering, yet above all else deeply moving, mix of the romantic eternal in Chris Marker and the proto-modernist undertow in post-WWII John Ford, with a will to tell of one’s own nation that sometimes resembles Andrzej Wajda and sometimes Hou Hsiao-hsien. Or put more simply: It’s la comédie humaine in all its greatness, suomeksi.

Peter von Bagh

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signals: Peter von Bagh

lastuja – taiteilijasuvun vuosisata splinters – a Century of an artistic Family

Peter von Bagh

international PreMiere

Finland, 2011 | colour, video, 74 min, Finnish Prod: Jouko Aaltonen | Prod Comp: Illume Ltd | Sc: Peter von Bagh | Ed: Petteri Evilampi | Sound Des: Martti Turunen | With: voices of Erja Manto, Eero Saarinen, Peter von Bagh | Print/Sales: Illume Ltd Public SCREENINGS Sat 28-1 21:30 PA2 Mon 30-1 15:00 CI6 Wed 1-2 15:30 LV1 Press & Industry SCREENING Tue 31-1 09:30 LV5

A family like a nation: Finland’s painful path to independence, its development from a poor rural backwater to a prime example of progress and liberalism as seen through three generations of the Aho family. Pater familias Juhani wrote Juha (1911), a luminary of Nordic literature; his wife, Venny SoldanBrofeldt, was among Finland’s first female painters; his sons Heikki Aho and Björn Soldan became pioneers of Finnish documentary cinema; his grand-daughter Claire was among the country’s leading (fashion and ad-art) photographers of the 1950s and 1960s. An immensely moving study of Finnishness, its essence; a grand essay on time and memory, their limits and abysses; a paean to the arts as pillars of a nation’s self; a vigil for an era in human development. A lifetime in 74 minutes.

sodankylä ikuisesti: elokuvan vuosisata

sodankylä Forever: the Century of Cinema

Peter von Bagh

Finland, 2011 | colour/b&w, video, 90 min, English/Finnish Prod: Peter von Bagh, Mark Lwoff | Prod Comp: Nosferatu Oy, Bufo Film Production Company | Sc: Peter von Bagh | Cam: Arto Kaivanto | Ed: Petteri Evilampi | With: voice of Peter von Bagh | Print: The Finnish Film Foundation | Sales: Bufo Film Production Company Public SCREENINGS Sun 29-1 09:302 LV6 Thu 2-2 15:302 PA2

Over the last quarter of a century, many of the best and the brightest have come to the Midnight Sun Night Film Festival in Sodankylä to talk about their art. Out of literally hundreds of hours of taped public discussions with Samuel Fuller, Marlen Huciev, Jacques Demy, Michael Powell, Jancsó Miklós, Dino Risi, Jerzy Skolimowski, Andrej Smirnov, Ivan Passer, Joseph H. Lewis, Aleksej German, Mario Monicelli, Francis Ford Coppola, Claude Sautet and others, Von Bagh has carved and chiselled a forceful, fast-paced, often melancholic – while time and again unexpectedly funny – essay about cinema as the essence of the 20th century. A splendid work – half elegy, half rallying cry – that sees the programming of films as the art of building a community, and festivals as a utopia that, perplexingly enough, is within our reach – if we chose to embark upon the journey.



signals: Peter von Bagh

Mikko niskanen – ohjaaja matkalla ihmiseksi

international PreMiere

Finland, 2010 | colour/b&w, video, 178 min, Finnish Prod: Peter von Bagh | Prod Comp: Nosferatu Oy | Sc: Peter von Bagh | Cam: Arto Kaivanto | Ed: Petteri Evilampi | Music: Kaj Chydenius | With: voice of Peter von Bagh | Print: The Finnish Film Foundation Public SCREENINGS Mon 30-1 20:15 LV3 Tue 31-1 20:15 LV3

the story of Mikko niskanen Peter von Bagh Director-actor Mikko Niskanen was probably his generation’s greatest auteur, as well as its most troubled – in his career, success and failure almost always came in pairs, and sometimes proved indistinguishable. Between the early 1960s, when he directed his brilliant debut feature Pojat (1962), and the late 1980s, when he concluded his œuvre with a mind-boggling diptych, Elämän vonkamies (1986) and Nuoruuteni savotat (1988), while reaching a zenith in 1972 with the greatest Finnish film ever, Kahdeksan surmanluotia, Niskanen was as much a chronicler of his life and times as the AV-poet laureat/ poète maudit of his nation. In a lot of ways, The Story of Mikko Niskanen is a companion piece to Man in the Shadows (1994). If the earlier work describes a man trying to be everything and nothing at the same time, then this piece reconstructs the soul’s painful attempt at becoming a unified whole. A stunning, moving and often painful paean to a life not lived to the full.

helsinki, ikuisesti helsinki, Forever Peter von Bagh

Finland, 2008 | colour/b&w, 35mm, 1:1.33, 74 min, Finnish Prod: Jouko Aaltonen | Prod Comp: Illume Ltd | Sc: Peter von Bagh | Ed: Petteri Evilampi | Music: Henrik Otto Donner | With: voices of Sulevi Peltola, Erja Manto, Peter von Bagh | Print/Sales: Illume Ltd Public SCREENINGS Fri 27-1 14:45 LV5 Sun 29-1 17:00 CI5


Peter von Bagh’s international breakthrough: a portrait of Finland’s capital made with material taken from all eras and sources, with newsreel footage finding a place as easily as scenes from feature films. Certain locales are contemplated throughout the years, if not always in chronological order – as every so often, Von Bagh’s montage follows an emotional logic that questions real historical developments. The Helsinki he creates is different from the slightly hilly city one can stroll through so pleasurably in summer – it’s a mythical place haunted by ghosts of ever-changing stories and buildings never seen. Von Bagh once casually said: ‘People think I like Helsinki because I made that film; they’re mistaken.’ Or maybe he’s just in denial, for something this beautiful is always made from some kind of love.


signals: Peter von Bagh


Mies varjossa

Man in the shadows Peter von Bagh, Elina Katainen, Iikka Vehkalahti

Finland, 1994 | colour, video, 165 min, Finnish Prod Comp: Epidem, YLE | Cam: Arto Kaivanto | Ed: Elina Katainen | With: voice of Pekka Milonoff | Print: YLE Public SCREENING Fri 3-2 09:15 LV5

Otto Wille Kuusinen remains among the most disputed characters in Finnish history. He was one of the young nation’s leading Communists, turned traitor to his people by selling out to Stalin, and until he died remained a powerful man – as a member of the USSR’s Politburo, among other things – who was so afraid of power that he did everything he could to protect those close to him from its wrath. That he was known for being vengeful and unforgiving is but the coin’s flip-side. As a man of contradictions, Kuusinen is as much an enigma as an archetype of the 20thcentury man. Man in the Shadows is a prime example of serious, investigative political filmmaking – with an uncommon philosophical edge.

vuosi 1939 the Year 1939 Peter von Bagh

Finland, 1993 | colour/b&w, 16mm, 1:1.37, 107 min, Finnish Prod: Peter von Bagh | Prod Comp: Nosferatu Oy | Sc: Peter von Bagh | Cam: Jussi Äkräs | Ed: Anne Lakanen | Sound Des: Martti Turunen | Print: Finnish National Audiovisual Archive KAVA Public SCREENINGS Thu 2-2 12:30 PA2 Sat 4-2 14:30 LV6

Helsinki was scheduled to host the 1940 Summer Olympics, which didn’t happen, for historical reasons well known. 1939 was a year of anticipation – but of what exactly? Judging by the year’s key films, a violent clash with the neighbouring leviathan, the USSR, was as much in the air as track-and-field glory. When the Winter War broke out on November 30th, the ambiguous waiting ended. In its utter, almost absurd schizophrenia, The Year 1939 is an exemplary reconstruction of an historical turning point. Time and again, the images and the remembered stories, the songs and the faces of actors, politicians and millions like us, just refuse to add up to a vision that is whole and clear – here, something is always askew. History is the abyss staring back, and looking none too happy. A profound meditation on doubt and sorrow.



signals: Peter von Bagh

viimeinen kesä 1944 the last summer 1944 Peter von Bagh

Finland, 1992 | colour, 16mm, 1:1.37, 105 min, Finnish Prod: Heikki Takkinen | Prod Comp: Filminor | Cam: Jussi Äkräs | Ed: Anne Lakanen | Sound Des: Martti Turunen | Print: Finnish National Audiovisual Archive KAVA Public SCREENINGS Tue 31-1 20:00 LV6 Thu 2-2 21:30 PA2

Finland won the Winter War, and fast. The Continuation War was something else: the fighting went on for more than three years (June ‘41 – September ‘44) and the nation was slowly bleeding dry; in the end, it took a political ruse to get Finland out of this mess. Even more than The Year 1939 (1993) and The Year 1952 (1980), The Last Summer 1944 is a work of collective remembrance – an oratory, really, a memorial mass for a time and people long gone. Von Bagh uses comparatively little archival material here – instead, with love and compassion, worry and scepticism, he gazes long and hard into the faces of elderly people trying to talk about those last months of tired drudgery: of time slowing down more and more until that standstill became capitulation. A monument to unknown oral history.

vuosi 1952 the Year 1952 Peter von Bagh

Finland, 1980 | b&w, video, 120 min, Finnish Prod Comp: YLE | Sc: Peter von Bagh | Cam: Antero Virta | Ed: Risto Salo | Sound Des: Jussi Olkinuora | Print: YLE Public SCREENINGS Fri 3-2 12:30 PA2 Sat 4-2 17:15 LV6


It took a dozen years, but in 1952 the greatest dream of sports-crazy Finland finally came true: the Helsinki Olympics took place. The nation had recovered, risen from the ashes of two wars and regained its economic footing. For the first time in a long time, the future looked like a lazy stroll down easy street. The Year 1952 is certainly the lightest work in Von Bagh’s cycle on decisive moments in Finnish history – more like a slightly up-beat tango, perhaps, than a piece of modern classical music. The Year 1952 sways through the days and months of 1952, aware of the bleakness behind as well as the brightness ahead, of a bygone gravitas and a looming flimsiness, of stories left untold back then and a history twisted and distorted ever since. A masterpiece of deft, multi-layered, polyphonic storytelling.


signals: Peter von Bagh

Paavo nurmi – Mies ja aika


Paavo nurmi – the Man and his times

Peter von Bagh, Markku Koski

Finland, 1978 | colour/b&w, video, 61 min, Finnish Prod: Mikko Valtasaari | Prod Comp: YLE | Sc: Markku Koski, Peter von Bagh | Cam: Pekka Aine, Kalevi Kankainen, Raino Kuisma, Matti Kurkikangas | Ed: Risto Salo | Sound Des: Jussi Olkinuora | Print: YLE Public SCREENINGS Sun 29-1 22:152 LV6 Fri 3-2 15:302 PA2

Paavo Nurmi was one of the greatest runners ever, and he had the wins to show it. For some time, his name was synonymous with speed, endurance and grace: if you did something the Nurmi way, you were doing good. But Nurmi’s story had its more depressing side. He was accused of violating his amateur status. Nurmi died in disgrace, if fondly remembered. Paavo Nurmi – The Man and His Times is not so much a portrait of the athlete as a vision of his times. Nurmi, here, is an icon, an epitome – just check out the opening, where we see not him but a scene from Orvo Saarikivi’s Urho Karhumäki-adaptation, Avoveteen (1939), a work inspired by the Nurmi cult. More than most other works by Von Bagh, this one has a strident severity to it, a formal rigour, a focused sense of ritual that fits the subject perfectly.

sinitaivas – Matka muistojen maisemaan

Blue sky – Journey into the land of Memories

Peter von Bagh

Finland, 1978 | colour, video, 71 min, Finnish Prod Comp: YLE | Sc: Peter von Bagh | Cam: Lasse Naukkarinen | Ed: Esteri Tuovinen | With: voice of Peter von Bagh | Print: YLE Public SCREENINGS Sat 28-1 09:302 LV6 Wed 1-2 19:452 LV6

Finland is the greatest tango nation on this planet, save Argentina. The dance pavilion is accordingly a key place in communal life. To quote Von Bagh: It is ‘at the nexus of nature and civilization, town and country, dream and reality. Tenderness, toughness, seriousness bordering on moroseness, and joy derived from a flask ingeniously concealed in a jacket or a trouser pocket. Tensions coming to a dramatic head in the sense of smell: perfume, tobacco, spirits and beer sanitised with breath mints, and sweat.’ Blue Sky – Journey Into the Land of Memories was made in praise of that locus’s common magic and its heart, the iskelmä (Finnish schmaltzy song). The film itself resembles a popular song, and if at the end one doesn’t walk out enchanted and willing to immediately fall in love for all the pain it will bring – then surely one is just too stunned by its formal virtuosity.



signals: Peter von Bagh

Kahdeksan surmanluotia

international PreMiere

Finland, 1972 | b&w, video, 316 min, Finnish Prod: Mikko Niskanen | Prod Comp: Käpy-Filmi, YLE | Sc: Mikko Niskanen | Cam: Seppo Immonen, Kimmo Simula, Juhani Voutilainen | Ed: Jyrki Rapp | Music: Erkki Ertama | With: Tarja-Tuulikki Tarsala, Mikko Niskanen, Paavo Pentikäinen, Tauno Paananen | Print: The Finnish Film Foundation Public SCREENINGS Sat 28-1 13:15 CI1 Sat 4-2 11:45 LV5

eight Deadly shots Mikko Niskanen Peter von Bagh was always joking that Martin Scorsese’s World Cinema Foundation should handle the restoration of this Zola-esque monument, as it was obviously made in a Third World country. And true, it’s difficult to imagine that the downtrodden, poverty-stricken, backwoods hole we see here is situated somewhere in 1960s Finland. The real-life story on which Eight Deadly Shots is informally based happened in 1969. In a moment of sheer hopelessness, a certain Tauno Veikko Pasanen shoots four police officers. Tauno is called Pasi here and played by scenario-writer Niskanen himself. Pasi ekes out a meagre living for himself and his family. Times grow increasingly harder. One thing slowly leads to another. In the end, there’s blood. A raw, grim, uncompromising, unrelenting, unforgiving and nonconsoling masterpiece which will be shown in its five-hour-plus original version. A very, very rare opportunity!


the Count Peter von Bagh

Finland, 1971 | b&w, 35mm, 1:1.37, 92 min, Finnish Prod: Jörn Donner, Risto Jarva | Prod Comp: Jörn Donner Productions, Filminor | Sc: Peter von Bagh | Cam: Lasse Naukkarinen | Ed: Lasse Naukkarinen | Sound Des: Paul Jyrälä, Tuomo Kattilakoski, Matti Kuortti, Timo Linnasalo | Music: Kaj Chydenius, M.A. Numminen | With: Pertti Ylermi Lindgren, Irma Martinkauppi, Titta Karakorpi, Elina Salo, Kirsti Wallasvaara | Print: Finnish National Audiovisual Archive KAVA Public SCREENINGS Sun 29-1 20:002 CI2 Tue 31-1 13:152 PA3


Pertti Ylermi Lindgren was engaged to 76 women, married none of them and took the money of each and every one. As far as swindlers go, Lindgren is the real thing. Von Bagh asked him to play his proper part in a film that would reconstruct some of his greatest moments; that is, his most flamboyant ‘stunts’ – and he agreed! So, marvel at Lindgren playing Lindgren, and study the film’s second narrative line: how he’s trying to get by with dancing and being charming all through the summer of 1970 in this dance hall or that pavilion. This is Peter von Bagh’s feature debut and his sole attempt so far at fiction filmmaking – if one can say that of this bizarre hybrid full of lewd humour and a sprightly sense of the all-too-human. The only way to top this would be Von Bagh’s admission that he invented and carefully planted Lindgren in the real Finland of the late 1960s. Who knows?


signals: Peter von Bagh

ruusujen aika

a time of roses Risto Jarva

Finland, 1969 | b&w, 35mm, 1:1.66, 108 min, Finnish Prod: Risto Jarva | Prod Comp: Filminor | Sc: Risto Jarva, Jaakko Pakkasvirta, Peter von Bagh | Cam: Antti Peippo | Ed: Risto Jarva | Music: Kaj Chydenius, Henrik Otto Donner | With: Arto Tuominen, Rita Vepsä, Tarja Markus, Eero Keskitalo | Print: Finnish National Audiovisual Archive KAVA Public SCREENINGS Wed 1-2 21:152 PA6 Fri 3-2 10:002 LV3

2012: Raimo Lappalainen is wary of his society, which believes in science as the answer to everything, even the imponderables of history. He begins to investigate the life of a certain Saara who died in the mid-1970s in a car accident and who’d made a living from appearing in films and on stage, sometimes dressed and often not. He finds a girl called Kisse to play Saara – this, as everybody knows who’s ever read Georges Rodenbach’s Bruges-la-Morte (1892) and/or seen Alfred Hitchcock’s Vertigo (1958), will end in despair. Yes, this is now the year of A Time of Roses, and it’s terrifying to see how precisely Risto Jarva, Jaakko Pakkasvirta and Peter von Bagh predicted all our failings and stupidities – not of our everyday lives, but of the body politic, not to mention the soul. A gem of science fiction cinema which takes its philosophicalsociopolitical dimension more seriously than most exercises in this particular genre.

sF – Paraati Yrjö Norta

Finland, 1939 | b&w, 35mm, 1:1.37, 86 min, Finnish Prod: T.J. Särkkä | Prod Comp: Suomen Filmiteollisuus SF Oy | Sc: Tapio Piha | Cam: Theodor Luts | Ed: Yrjö Norta | Prod Des: Antero Suonio | Sound Des: Viljo Soini | Music: Georg Malmstén | With: Ansa Ikonen, Tauno Palo, Aku Korhonen, Siiri Angerkoski, Kaarlo Angerkoski, Antero Suonio | Print: Finnish National Audiovisual Archive KAVA Public SCREENINGS Thu 2-2 16:15 PA3 Fri 3-2 22:30 CI3

An x-ray of Finland in 1939. The story’s simple: singing cabby meets singing tourist guide in a blindingly white and sunny Northern capital. The subtext is more complex: there’s unemployment, authoritarianism, a nation in all kinds of uniforms rattled by a certain sense of general unrest – something is going to happen. That ‘something’ should have been the Helsinki Olympics – instead, it became the Winter War. To make things even more interesting: although this axiomatic musical comedy (the songs in which by now are part of Finnish pop-cultural DNA) was shot before the outbreak of war, it got released only afterwards – which makes one wonder how certain lines played then. A must-see for every Von Bagh-ian, as this is one of the films he quotes most often throughout his oeuvre. Besides, as the first revue film in Finland, it’s a mighty fine example of assembly-line art.



signals: Peter von Bagh

Preludes Short films screened before feature length films in this section.

Faaraoiden maa land of the Pharaohs Peter von Bagh Excerpts from Mika Waltari’s classic of popular historical fiction, Sinuhe egyptiläinen (1945), considered as comments on postwar Finland. A lean work, clear in its conception, straight-forward in its execution, muscular in its movement, and deep in its thoughts. Splendid. Screened before Blue Sky – Journey Into the Land of Memories. Finland, 1988 | b&w, video, 29 min, Finnish Prod Comp: YLE | Ed: Pentti Kauranen, Risto Salo | Print: YLE PUBLIC SCREENINGS Sat 28-1 09:302 LantarenVenster 6 Wed 1-2 19:452 LantarenVenster 6

ajan draama Drama of time Peter von Bagh While Von Bagh was on holiday in the countryside, a hostage crisis kept the capital on its toes – till it all ended in bloodshed. Von Bagh took the materials detailing this media (non-)event to craft a concise essay on the slippery reality of time. Screened before A Time of Roses. Finland, 1986 | colour, video, 15 min, Finnish Prod Comp: YLE | Ed: Heikki Salo | With: voice of Peter von Bagh | Print: YLE PUBLIC SCREENINGS Wed 1-2 21:152 Pathé 6 Fri 3-2 10:002 LantarenVenster 3

Päivä Karl Marxin haudalla

a Day at Karl Marx’s grave Peter von Bagh People from some twenty nations meet at the grave of Karl Marx in London’s Highgate Cemetery, a century after the philosopher’s death. The name ‘Marx’ stands for a hope shared by people from all over the world. A finely wrought essay on hope. Screened before Sodankylä Forever: The Century of Cinema. Finland, 1983 | colour, 16mm, 1:1.37, 16 min, English/Finnish Prod: Peter von Bagh | Prod Comp: Nosferatu Oy | Cam: Tony Chapman | Ed: Elina Katainen | Music: Tapio Tamminen | Print: Finnish National Audiovisual Archive KAVA PUBLIC SCREENINGS Sun 29-1 09:302 LantarenVenster 6 Thu 2-2 15:302 Pathé 2



signals: Peter von Bagh

olavi virta Peter von Bagh Portrait of a national icon as an old, lost and lonely man. When Olavi Virta was screened for the first time, people all over Finland went ballistic – they couldn’t take that sad sight of their tango’s greatest voice, the incarnation of postwar wealth and glory in ruins. A masterpiece. Screened before Paavo Nurmi – The Man and His Times. Finland, 1972 | colour, video, 30 min, Finnish Prod Comp: YLE | Sc: Peter von Bagh | Cam: Lassa Naukarinen | Ed: Jyrki Rapp | Sound Des: Paul Jyrälä | Print: YLE PUBLIC SCREENINGS Sun 29-1 22:152 LantarenVenster 6 Fri 3-2 15:302 Pathé 2

Pockpicket eli katkelmia helsinkiläisen porvarisnuoren elämästä Pockpicket – recollections of a helsinki Bourgeois Youth

Peter von Bagh, Pertti Maisala A cheeky homage to Robert Bresson: Instead of taking money out of people’s pockets, the film’s protagonist puts it in – to help those in need. A hilarious comment on late 1960s ideological confusion, inspired somewhat by the particular genius of Finnish comedy icon Spede Pasanen. Screened before The Count. Finland, 1968 | b&w, 35mm, 1:1.37, 18 min, Finnish Prod: Peter von Bagh, Pertti Maisala | Sc: Peter von Bagh | Cam: Pertti Maisala, | Ed: Pertti Maisala | Music: Kaj Chydenius | With: Sulevi Peltola | Print: Finnish National Audiovisual Archive KAVA PUBLIC SCREENINGS Sun 29-1 20:002 Cinerama 2 Tue 31-1 13:152 Pathé 3




MOVIE The opportunities to watch African films in Africa are limited, even though this is important for African cultural awareness. Thanks to the support of the DOEN Foundation, SOON S.A. is able to distribute African films to a widespread local population in Senegal and Mali by mobiCINES: motorcycles with a trailer containing all necessities to build a digital cinema. The mobiCINEs also show several films made by filmmakers supported by Hubert Bals Fund.

For more information about DOEN’s projects, visit

Photo credits: Sarama Films Bamako - SOON S.A. Dakar

. Dakar

signals Regained

signals: REgainEd

Regained Edwin Carels

Over the past decade, the programme section Regained has become a popular oasis for cinephiles and film explorers wanting to reconnect with cinema’s history. Restorations, remakes and homages have been and remain the primary vehicle for taking a fresh look at the past. This year, however, the scope of Regained is being expanded. In addition to documentaries, found-footage experiments and other metamusings, our selection now includes installations, flip books, a documentary salon full of eye candy and even a comic book. Another way of broadening the scope of Regained is by embracing mainstream Hollywood cinema and accentuating the way some directors ascribe their work to a long tradition. And finally, we are also opening up the section to practices other than narrative cinema and beyond the Western canon. Our ambition is to demonstrate how cinema’s traditions (narrative, documentary and experimental) are still more than relevant to an understanding of contemporary film, media and visual culture at large. Enjoy!

Babeldom Paul Bush

As a ‘science fiction documentary’, this portrait of a futuristic city is narrated by one of its inhabitants. The twist is that all the images in this found-footage film come from architecture, science and technology of the present day. The future is already here. Thu 26-1 to Sun 29-1, 10:00-17:00, Friday until 20:00 and Sunday from 11:00, Netherlands Architecture Institute, Museumpark 2. United Kingdom, 2011 | colour/b&w, video, 80 min, English Prod: Paul Bush | Prod Comp: Ancient Mariner Productions Ltd | Sc: Paul Bush | Cam: Paul Bush | Ed: Lawrence Huck | Sound Des: Zhe Wu | Music: Andy Cowton, Stuart Earl | With: Youla Boudali | Print/Sales: Ancient Mariner Productions Ltd |

Celluloid Brushes This growing anthology of films and posters focuses on the filmic representation of the artist, from 1267 till the present. Contemporary artists are invited to create new poster designs for each biographical title; by now there are already more than 50 graphic reinterpretations. Wed 1-2 to Sun 5-2, 11:00-18:00, Witte de With, Witte de Withstraat 50.

Confiseries et jouets

Recent documentaries such as Vivement le cinéma (Jérôme Prieur, 2011) and The First Interview (Denis Tupicoff, 2011) recreate pioneering French contributions to the art of cinema. This setting pays homage to the great film magician Georges Méliès, who ended up as a shopkeeper in a railway station. Free admission. Wed 25-1 to Sat 4-2 (except Sunday) 09:00-18:00, Saturdays until 13:00. Alliance Française, Westersingel 14.



ur ull of pe of ating ly, ema


signals: REgainEd

Crumbled Papers, Fragments of Cinema Madhuja Mukherjee

Inspired by Indian film stars on glass plate negatives from the 1930s, this video installation is an attempt to draw upon the cultural memory of cinemas. The scanning of such rare negatives is like excavating a forgotten archaeological site and traversing through the tracks of history and a range of collective narratives. Mukherjee also presents her first feature, Carnival, at this festival. Wed 25-1 to Fri 27-1 and Tue 31-1 to Fri 3-2, 11:00-18:00, Nieuwe Oogst, Maashavenzuidzijde 20.

in Memoriam Bart Vegter Compilation of Rotterdam filmmaker Bart Vegter’s artistic legacy, interlaced with a number of works by fellow artists. See also the compilation programmes Space and Time: The Abstract Films of Bart Vegter 1 and 2. Wed 25-1 to Sun 5-2, 12:00-17:00, Sub-urban video Lounge, Botersloot 44a. Free admission.

The Flip Collection ii PrintRoom

This group show introduces several young artists who use the playful format of the flip book for surprisingly serious, documentary purposes. With the premières of new works by Esther Urlus, Masha Krasnova-Shabaeva, Sarah Vanagt and Katrien Vermeire. Wed 1-2 to Sun 5-2, 12:00-18:00, PrintRoom, Schietbaanstraat 17.

Pour en finir avec le cinéma Blutch

From the waste-paper basket of film history, comic book artist Blutch digs out his favorite quotes and images. The protagonist’s flashbacks, nightmares and daydreams are populated by film legends: Hayworth, Deneuve, Piccoli, Visconti, Bardot, and above all Burt Lancaster. But what about about this image of Godard catching dead fish? Blutch paradoxically celebrates his cinephilia by establishing an iconoclast pantheon. Daily, 18:00-19:00, on the video wall in the Rotterdamse Schouwburg.



signals: REgainEd

Traité de bave et d’éternité On Venom and Eternity

France, 1951 | b&w, 35mm, 1:1.37, 120 min, French Prod: Marc’o, Leon Vickman | Prod Comp: Films M.-G. Guillemin | Sc: Jean Isidore Isou | Cam: Nat. Saufer | Ed: Suzanne Cabon | Music: Daniel Garrigue | Print/ Sales: Pip Chodorov Public SCREENINGS Thu 26-1 19:30 LV6 Sat 28-1 17:30 LV3

Isidore Isou Cannes jury member Jean Cocteau proclaimed in 1951 that perhaps in 50 years’ time, the radical aesthetics of this film might feel more acceptable. Poet, film critic and visual artist Isou’s first and only stab at filmmaking caused a major scandal. After five minutes of Letterist poetry in the pitch dark, the film kicks off by rejecting any appreciation of the audience. A certain Daniel embodies all that Isou loves and hates about the cinema. Wandering around the streets of Paris like a proto-beatnik, he argues for a film that hurts our eyes. But his aim is also to ‘sculpt flowers on the film stock’. Isou inspired many to rethink the parameters of cinema, to exploit the discrepancy between sound and image or to treat the film material as exactly that: substance to be manipulated in every possible way. Ironically, the film that wanted to destroy cinema has itself undergone restoration now and the pompous manifesto has become part of the canon.

anna Alberto Grifi, Massimo Sarchielli

Italy, 1975 | b&w, DCP, 225 min, Italian Prod: Alberto Grifi, Massimo Sarchielli | Sc: Massimo Sarchielli, Roland Knauss | Cam: Alberto Grifi, Mario Gianni, Raoul Calabrò | Prod Des: Alberto Grifi, Massimo Sarchielli | Sound Des: Raoul Calabrò, Agostini, Ponchia | With: Massimo Sarchielli, Vincenzo Mazza, Stefano Cattarossi, Louis Waldon, Jane Fonda, Ivano Urban | Print/Sales: Cineteca Nazionale | Public SCREENINGS Thu 26-1 15:30 CI6 Sat 28-1 09:15 LV1


In the early 1970s, two Italian filmmakers met pregnant, 16-year-old Anna, a junky, on the Piazza Navone in Rome. One of them took her under his wing, partly out of pity, partly due to opportunism – thinking ‘there’s a great film in this’. They film her slow recovery from feral homeless person to human being, initially using a film camera and later on video – which, at the time, was a novelty. Alberto Grifi turned the 11 hours of material shot by the duo into a four-hour film and transferred the video onto 16mm film. Anna is more than cinema vérité, it is a reflection on the camera’s role in documentary filmmaking whereby the crew also have their say. The long takes create a fascinating portrait of the dynamic between filmmaker and subject, and the work also documents a society very similar to today’s – rife with political and social discontent. Anna was recently restored by film lab L’Immagine Ritrovata and can now be seen with subtitles outside Italy for the first time.


signals: REgainEd

Jouer Ponette Playing Ponette Jeanne Crépeau


Canada, 2007 | colour/b&w, DCP, 92 min, French Prod: Jeanne Crépeau | Prod Comp: Box Film | Sc: Jeanne Crépeau | Ed: Jeanne Crépeau | Print/Sales: Box Film | Public SCREENINGS Tue 31-1 17:30 CI6 Wed 1-2 22:30 CI5 Press & Industry SCREENING Tue 31-1 09:30 PA5

In 1996, four-year-old Victoire Thivisol was for many the surprise winner of the best actress award at the Venice Film Festival for her leading role in Jacques Doillon’s Ponette. How could an infant run off with this award? The documentary Playing Ponette shows how patiently Doillon worked with her, from the first disastrous day of shooting, up to the triumph in Venice. Playing Ponette consists almost entirely of material that was filmed with the black-and-white camera of the video assist on the set of Ponette. The quality is not up to much, but in all that raw material – rehearsals, several takes and footage in between the shots – we can discern a meditation about the mystery of acting. One moment Thivisol is romping playfully on the set, less than a minute later she is highly concentrated and embodies very convincingly the role of the girl who has to learn to cope with the recent death of her mother, while she doesn’t understand the concept of death.

Retour de flamme saved from the Flames Serge Bromberg

France, 2011 | colour/b&w, DCP, 90 min, French Prod: Serge Bromberg | Prod Comp: Lobster Films S.A. | Print/Sales: Lobster Films S.A. | Public SCREENING Sat 28-1 19:00 PA4

Since 1985, Bromberg has been bringing a wild variety of short films, commercials and animations back in circulation, either in the cinema, on television or via the Lobster DVD label. This collection of cartoons however, can only be experienced in a cinema with the proper set of anaglyph (red-green) or polarised glasses. From behind his piano, Bromberg demonstrates how the film industry has been developing 3D techniques throughout the entire 20th century. Besides American examples from the Fleischers, Disney and Charley Bowers, there is also a Soviet ‘Parade of Attractions’. As a climax, Bromberg has joined two film prints by Méliès together, to obtain a bizar 3D effect. Frustrated by all the plagiarism, Méliès decided to shoot his films with two synchronised cameras. Having two negatives of the same action, he could then release the same title concurrently in Europe and the USA, and thus be ahead of any bootleg copies.



signals: REgainEd

il se peut que la beauté ait renforcé notre résolution – Masao adachi it May Be That Beauty Has strengthened Our Resolve – Masao adachi

France, 2011 | colour/b&w, video, 74 min, Japanese/French Prod: Annick Lemonnier | Prod Comp: EPILEPTIC | Sc: Philippe Grandrieux | Cam: Philippe Grandrieux | Ed: Philippe Grandrieux | Prod Des: Philippe Grandrieux | Sound Des: Philippe Grandrieux | Music: Ferdinand Grandrieux | Print/Sales: EPILEPTIC | Public SCREENINGS Wed 1-2 17:30 CI4 Thu 2-2 09:45 CI7 Fri 3-2 20:15 LV2 Press & Industry SCREENING Sat 28-1 11:45 DJZ

Philippe Grandrieux French director Philippe Grandrieux (Sombre, 1999; A Lake, 2009) wants to make a series of portraits of politically committed filmmakers. His film about Japanese avant-gardist Masao Adachi (1939) is the first in this series. In the 1960s and 1970s, Adachi was a prominent film critic and underground filmmaker, with experimental films such as Sain (1963) to his name. He often collaborated with his contemporary and ally Nagisa Oshima, wrote scripts for Koji Wakamatsu and made films in the pink genre. Disappointment with the political direction of Japan made him join the the extreme left-wing Japanese Red Army in the early 1970s and he started making films in Beirut. Grandieux engages in sometimes cryptic conversations with him about film, art and politics and films him in his characteristic style: sometimes out of focus, sometimes under or overexposed. With a few clips from Adachi’s work, such as The Red Army/PFLP: Declaration of World War from 1971.

Hugo Martin Scorsese

USA, 2011 | colour, DCP, 126 min, English Prod: Graham King, Martin Scorsese | Prod Comp: GK Films, Paramount Pictures | Sc: John Logan, based on the book The Invention of Hugo Cabret by Brian Selznick | Cam: Robert Richardson | Ed: Thelma Schoonmaker | Prod Des: Dante Ferretti | Sound Des: John Midgley | Music: Howard Shore | With: Asa Butterfield, Ben Kingsley, Sacha Baron Cohen, Chloe Grace Moretz, Ray Winstone, Emily Mortimer | Sales: Paramount Pictures | Distr NL: Universal Pictures International Netherlands BV Public SCREENINGS Fri 27-1 19:00 PA1 Sun 29-1 10:15 PA3 Wed 1-2 15:00 PA4 Sat 4-2 16:15 PA3


With his 12-year-old daughter in mind, Scorsese translates Brian Selznick’s children’s book into an initiation into the art of cinema. He does this both in a literal and a metaphorical sense: with an evocation of the both glorious and tragic career of Georges Méliès as well as a playful conceptualisation of filmic parameters such as the notion of time, mechanised movement and the illusion of depth. Leafing through an old note-pad leads to the discovery of a flip book, and a panoramic view over Paris suddenly becomes one big festival of light. While conceiving a homage to analogue film, Scorsese manifests himself a master of digital cinema. And yet the actors always remain his central concern. The film also contains some hints of a larger historical perspective. One of the most stunning and memorable archival documents is the tinted footage of traumatised soldiers returning from the front in the First World War.


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Fragments of Kubelka Martina Kudlácˇ ek


Austria, 2012 | colour, video, 232 min, English Prod: Martina Kudlácˇek | Sc: Martina Kudlácˇek | Cam: Martina Kudlácˇek | Ed: Henry Hills | Print/Sales: sixpackfilm Public SCREENINGS Sun 29-1 11:45 LV1 Fri 3-2 20:00 CI4

This epic documentary subtly introduces the complex worldview of iconic filmmaker and theoretician Peter Kubelka (b. 1934, Vienna). While Kubelka’s radical and pioneering body of films is a highly condensed work of little more than an hour, his lectures are legendary for their extended length. These drawn-out presentations on ‘what is cinema’ and ‘cooking as an art form’ are frequently illuminated by archaeological objects from Kubelka’s eclectic collection. He considers his ongoing collecting to be an expanded film practice that explores the evolution of humanity. Martina Kudlácˇek has carefully woven an open-ended portrait that contains a wealth of biographical materials, and yet always remains focused on the essence of cinema.

Pablo Richard Goldgewicht


USA, 2012 | colour, video, 103 min, English Prod: Jeremy Goldscheider | Prod Comp: Goldstreet Films | Sc: Richard Goldgewicht, Neil Katcher, Adam Trunell | Ed: Richard Goldgewicht | Music: Lior Ron | Print/ Sales: Shoreline Entertainment | Public SCREENINGS Mon 30-1 19:30 PA4 Tue 31-1 09:15 CI1 Fri 3-2 21:30 SGZ Sat 4-2 10:00 CI6 Press & Industry SCREENING Wed 1-2 11:30 CI3

In the opulently designed, largely animated documentary Pablo, the Brazilian director Richard Goldgewicht sketches a lively portrait of the renowned title designer, artist and bohemian Pablo Ferro. Ferro was born in Cuba in 1935, moved to the United States in 1947 and later worked for a design studio where he continued developing his unique style – focusing on typography (including handwriting) and high-speed editing. The breakthrough came when Stanley Kubrick asked him to make a trailer and title sequence for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Ferro made countless iconic opening credits, from Bullit and The Thomas Crown Affair to Stop Making Sense and Men in Black. Jeff Bridges is the narrator of the documentary. A cartload of famous names praises the creative spirit, but his children, exes, wives and girlfriends do not fail to mention the darker side of this exponent of the 1960s; he certainly wasn’t a traditional father.



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Combined Programme A playful documentary on the restoration of Méliès’  A Trip to the Moon, followed by the restored classic itself. PUBLIC SCREENINGS Sun 29-1 13:152 Pathé 3 Sat 4-2 16:302 Pathé 4

le voyage extraordinaire The Extraordinary Voyage Serge Bromberg, Eric Lange

One of the most inventive manifestations of early cinema, Georges Méliès’ A Trip to the Moon, is now honoured by one of the most expensive and sophisticated restorations in film history. Beyond an introduction to this fantasy-imbued universe (with lots of stunning fragments from old Méliès films), this film is also a case-study of state-of-the-art digital restoration. Jean-Pierre Jeunet, Michel Gondry and others demonstrate their admiration and put Méliès’ achievements into perspective. Screened together with A Trip to the Moon. France, 2011 | colour, DCP, 65 min, French/English Prod: Serge Bromberg | Sc: Serge Bromberg | Music: Bruno Alexiu | Print/Sales: MK2

le voyage dans la lune a Trip to the Moon Georges Méliès

From the extensive oeuvre of the film pioneer Georges Méliès, A Trip to the Moon (1902) is by far the best-known work. Méliès based the story on two popular novels from his time, The First Men in the Moon (1901) by H.G. Wells and Jules Verne’s De la terre à la lune (1865). The recently restored film can now be seen in colour. Screened together with The Extraordinary Voyage. France, 1902 | colour, 35mm, 1:1.33, 14 min, no dialogue Prod: Georges Méliès | Sc: Georges Méliès | Cam: Michaut, Lucien Tainguy | Ed: Georges Méliès | Prod Des: Georges Méliès | Music: AIR | With: Bleuette Bernon, Henri Delannoy, Georges Méliès, Jeanne d’Alcy, Victor André | Print/Sales: MK2



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Combined Programme The enchantment of incomplete digital images complements Bill Morrison’s celebration of decaying film stock. PUBLIC SCREENINGS Thu 26-1 16:152 Pathé 6 Sat 28-1 19:302 LantarenVenster 5 Sun 29-1 17:302 LantarenVenster 2

Tributes – Pulse Bill Morrison

In music, a pulse is the heartbeat of a composition, but a pulse does not necessarily have to be regular. The Danish composer Simon Christensen studied the use of the pulse by four modern American composers: Charles Ives, Conlon Nancarrow, Steve Reich and Trent Reznor. Tributes – Pulse is his homage to these composers. Bill Morrison is responsible for the visuals: damaged found-footage shots that have their own pulse (and beauty). Denmark/USA, 2011 | colour, video, 65 min, no dialogue Prod: Klaus Ib Jørgensen | Prod Comp: Edition – S | Sc: Bill Morrison, Simon Christensen | Ed: Bill Morrison | Prod Des: Bill Morrison | Sound Des: Simon Christensen | Music: Simon Christensen | Print/Sales: Edition – S |

lyrische data lyrical data

Elias Heuninck

Just like old nitrate films, digital files are vulnerable. For instance, data files can be corrupted and the download can fail as a result. This result can generate its own beauty. In his short film Lyrical Data, Elias Heuninck uses an incomplete download of Peter Delpeut’s found-footage film Lyrical Nitrate (1991) for a reflection on the power of images. Screened before Tributes – Pulse. Belgium, 2010 | colour, video, 5 min, no dialogue Prod: Elias Heuninck | Cam: Elias Heuninck | Ed: Elias Heuninck | Print/ Sales: Elias Heuninck |



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Combined Programme A portrait of French filmmaker Jean Epstein filming in Brittany, followed by his film The Tempest: Poem on the Sea. PUBLIC SCREENINGS Tue 31-1 15:152 LantarenVenster 3 Wed 1-2 10:002 Cinerama 5

Jean Epstein, Young Oceans of Cinema James June Schneider

This portrait of the French film theorist and avant-garde director Jean Epstein (1897-1953) concentrates on the period when he filmed in Brittany, the spot where he became inspired by the sea. Using rare archive footage, Jean Epstein, Young Oceans of Cinema also looks at Epstein’s views on the specificity of the film medium. Screened together with The Tempest: Poem on the Sea. France, 2011 | colour/b&w, video, 68 min, French Prod: Nicolas Anthomé | Prod Comp: Bathysphere Productions | Sc: James Schneider | Cam: James Schneider, Benjamin Echazarreta | Ed: James Schneider, Mathias Bouffier | Sound Des: Nicolas Leborgne, Florent Klockenbrig | Print/Sales: Bathysphere Productions |

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The Tempest: Poem on the sea Jean Epstein

The Tempest: Poem on the Sea (1947) was filmed in Brittany, the region where Jean Epstein found much inspiration. He gave the rough sea and the howling wind an important place in this short film, both in sound and image. It is a mystical story about a woman who senses that something will happen to her boyfriend, a fisherman, when he sets sail. With thanks to La Cinémathèque Française. Screened together with Jean Epstein, Young Oceans of Cinema. France, 1947 | b&w, 35mm, 1:1.37, 22 min, French Prod: Jean Epstein | Cam: Albert Militon | Music: Yves Baudrier | Print: Cinémathèque Française



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Combined Programme As a homage to Raúl Ruiz, the festival is screening two of his films: his first, and one of his last. PUBLIC SCREENINGS Tue 31-1 20:002 Schouwburg Kleine Zaal Wed 1-2 22:452 Cinerama 4

la maleta Raúl Ruiz

Ruiz always considered this beginning of his exceptionally rich filmography (113 titles) unfinished, and the original print was lost for a long time. In 2008, it resurfaced in a mis-labelled film can in Chile, and typically the director then edited a shorter version, so turned it into one of his last films. Screened before Ballet aquatique. Chile, 1963 | b&w, video, 19 min, no dialogue Prod: Raúl Ruiz | Prod Comp: Cine Experimental de la Universidad de Chile | Sc: Raúl Ruiz | Cam: Enrique Urteaga | Ed: Raúl Ruiz | Music: Jorge Arriagada | With: Gastón Duvauchelle, Hector Duvauchelle, Orieta Escamez, Gonzalo Palta | Print: Festival Internacional de Cine de Valdivia |

Ballet aquatique Raúl Ruiz

Why it is so difficult to count fish in an aquarium? Ruiz, his loyal actor Melvil Poupaud and his producer François Margolin come up with a wide range of hypotheses. With their bone-dry wit, they keep up the tradition of the French pataphysics: the science of imaginary solutions. inTERnaTiOnal PREMiERE

France, 2011 | colour, video, 50 min, French Prod: Raúl Ruiz | Prod Comp: Centre Georges Pompidou | Sc: Raúl Ruiz | Cam: Christian Bahier | Ed: Ombeline Blanchard | Sound Des: Nicolas Joly | Music: Jorge Arriagada | With: Raúl Ruiz, Melvil Poupaud, François Margolin | Print/Sales: Centre Georges Pompidou |



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george Kuchar: Wrap Party The very last productions of the eternal enfant terrible of the American avant-garde show Kuchar (who died in 2011) at his vintage best: as the perverse orchestrator of a low-tech, low-budget campy fantasy and as a lost soul, yet always in good company. PUBLIC SCREENINGS Thu 26-1 22:30 LantarenVenser 3 Sun 29-1 22:15 LantarenVenser 2

Empire of Evil George Kuchar

Students of the San Francisco Art Institute clearly enjoy acting out Kuchar’s idiosynchratic film noir satire. Combining a love triangle with homoerotic subculture, the story gradually slides into outlandish orgies. An exuberant celebration of creative freedom in the face of death. EUROPEan PREMiERE

USA, 2011 | b&w, video, 51 min, English Prod: George Kuchar | Cam: George Kuchar | Ed: George Kuchar | Print/ Sales: Video Data Bank (VDB) |

Hotspell George Kuchar

In this iconic series, some of which will be included in the Whitney Biennial film programme in 2012, Kuchar enjoyed mixing the meteorological with the corporeal, and his solipsism with the desire for social interaction. His eccentric journalistic escapades ended with a visit to Norman, Oklahoma. WORld PREMiERE

USA, 2012 | colour, video, 26 min, English Prod: George Kuchar | Cam: George Kuchar | Ed: George Kuchar | Print/ Sales: Video Data Bank (VDB) |



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Kubelka Films Peter Kubelka (1934) is an artist, anthropologist, cook and teacher. During the five decades he has been active as a filmmaker, he has produced a grand total of 62 minutes of film, in which he explores the essential qualities of cinema. The IFFR will be screening 39 minutes of film, and Kubelka will be present to explain his work. PUBLIC SCREENINGS Mon 30-1 21:30 LantarenVenser 6 Sat 4-2 12:00 LantarenVenser 6

adebar Peter Kubelka

Only certain predetermined shot lenghts are used. The visual material in the film is combined according to certain rules and there is a consistent alternation of positive and negative. Originally commissioned as a commercial, Adebar became Kubelka’s first ‘metric’ film. Austria, 1957 | b&w, 35mm, 1:1.37, 1 min, no dialogue Prod: Peter Kubelka | Cam: Peter Kubelka | Ed: Peter Kubelka | Print/ Sales: sixpackfilm |

schwechater Peter Kubelka

Kubelka returns to the individual still frame as the essence of cinema. The fact that a projected film consists of 24 still images per second serves as the basis of his ‘metric’ art. At the same time, he subverts the supposed power of subliminal messages, by pushing these to the extreme. A deliriously dense ode to consumption. Austria, 1958 | colour, 35mm, 1:1.37, 2 min, no dialogue Prod: Peter Kubelka | Cam: Peter Kubelka | Ed: Peter Kubelka | Print/ Sales: sixpackfilm |

arnulf Rainer Peter Kubelka

One of the most absolute films ever conceived, this ‘metric’ film derives its title from the friendship (and sponsorship) of fellow artist Arnulf Rainer. The same radical reduction was also pursued in the ‘Flicker’ films made by Tony Conrad, Paul Sharits and others. With a very different outcome each time. Austria, 1960 | b&w, 35mm, 1:1.37, 7 min, no dialogue Prod: Peter Kubelka | Cam: Peter Kubelka | Ed: Peter Kubelka | Print/ Sales: sixpackfilm |



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Unsere afrikareise Our Trip to africa Peter Kubelka

The intensely concentrated quality stems in part from the multitude of connections between image and image, sound and sound and image and sound, orchestrated into a unified whole. (Fred Camper) The film is like a monument erected as a record of civilisation, not as a statement but as a kind of totem. Austria, 1966 | b&w, 16mm, 1:1.37, 13 min, English Prod: Peter Kubelka | Cam: Peter Kubelka | Ed: Peter Kubelka | Print/ Sales: sixpackfilm |

The Master’s Voice Two short documentary portraits of canonical avant-garde figures direct the eyes via the ears. In Maya Deren Take Zero, the subject is mostly present through a rare voice recording; in The Silence of Peleshan, the maestro refuses to speak. PUBLIC SCREENINGS Mon 30-1 17:30 LantarenVenser 2 Tue 31-1 22:45 Cinerama 6

Maya deren, Take Zero Gerard Gil Fargas, Jaime Ballada Larrasa

Maya Deren (1917-1961) was an experimental filmmaker. In the 1940s and 1950s, she made several influential avant-garde films, such as Meshes of the Afternoon (1943). Images from this and her other work are used in this documentary. You can also hear her voice, as well as accounts by contemporaries such as Jean Rouch and Jonas Mekas. WORld PREMiERE

Spain, 2012 | colour, video, 30 min, English Prod: Gerard Gil Fargas, Jaime Ballada Larrasa | Prod Comp: La Ferida Produccions, Marcialav | Sc: Jaime Ballada Larrasa, Gerard Gil Fargas | Cam: Jaime Ballada Larrasa, Gerard Gil Fargas | Ed: Jaime Ballada Larrasa, Gerard Gil Fargas | Prod Des: Jaime Ballada Larrasa, Gerard Gil Fargas | Sound Des: Jaime Ballada Larrasa, Gerard Gil Fargas | Music: Maya Deren, Teiji Ito | With: Jean Rouch, Sasha Hammid, Jonas Mekas, Graeme Ferguson, Cecile Starr, Herbert Passin, Robert Gardner | Print/Sales: La Ferida Produccions |



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il silenzio di Pelesjan The silence of Peleshian Pietro Marcello

This homage to Armenian director Artavazd Peleshian (1938) juxtaposes lyrical scenes from some of his films with contemporary images of Peleshian in Moscow, where he went in the early 1960s to study at the famous VGIK film school. His ideas about editing (‘distance montage’) are reflected in The Silence of Peleshian. inTERnaTiOnal PREMiERE

Italy, 2011 | colour/b&w, video, 52 min, Italian Prod: Simone Gattoni | Prod Comp: Kinesis Film | Ed: Sara Fgaier | Sound Des: Benny Atria, Mirco Perri | Music: Marco Messina, Sacha Ricci | With: Artavazd Pelesjan | Print/Sales: Kinesis Film |

REVERBERaTiOns Three short films that appeal as much to our sense of imagination as to our notion of (film) history. A search for the trail of Méliès in the Texas mountains is followed by a nightly visit to a museum and a sombre monologue about Cameron’s Avatar. PUBLIC SCREENINGS Fri 27-1 22:15 LantarenVenser 6 Sat 28-1 22:15 LantarenVenser 6

Méliès (single screen) Teresa Hubbard, Alexander Birchler

Besides being an unsuccesful businessman, the mysterious Gaston Méliès was also a filmmaker with anthropological interests. Méliès (2011) and Grand Paris Texas (2009) are the first two installations in Hubbard/Birchler’s trilogy exploring the social and physical locations of cinema. WORld PREMiERE

USA/Switzerland/Germany, 2012 | colour, video, 24 min, English Prod: Teresa Hubbard, Alexander Birchler | Prod Comp: Hubbard / Birchler Studio | Sc: Teresa Hubbard, Alexander Birchler | Cam: Wilson M. Waggoner, Teresa Hubbard, Adam Schreiber | Ed: Alexander Birchler, Maria Clara Garcia | Prod Des: Teresa Hubbard, Alexander Birchler | Sound Des: Alexander Birchler, Lyman Hardy | Music: Catherine Davis | With: Ben Lowry, Tom D. Ellison, David Armstrong, Sara Marta, Kit Bramblett, Tom Neely, John Elder | Print/Sales: Hubbard / Birchler Studio |



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Flash in the Metropolitan Rosalind Nashashibi, Lucy Skaer

Artefacts from the Near Eastern, African and Oceanic collections are filmed in the depths of darkness in the Metropolitan Museum of Art in New York. The flashing strobe light used in the filming allows the viewer to see the objects as if in animation. The viewer is only granted a fleeting glimpse of a series of artefacts, which, with any detail removed, reduces their status to an icon without a narrative. United Kingdom, 2006 | colour, 16mm, 1:1.37, 3 min, silent Prod: Rosalind Nashashibi, Lucy Skaer | Print/Sales: LUX

speech act Herman Asselberghs

The epic sci-fi genre inspires a teacher to question our visual culture. His film studies class gradually transforms into a theatrical interior monologue, elaborating on the Godard quote: ‘If you really want to see the world, shut your eyes.’ An apology for the black image. WORld PREMiERE

Belgium, 2012 | colour, video, 29 min, Dutch Prod: Marie Logie | Prod Comp: Auguste Orts | Sc: Herman Asselberghs | Cam: Sebastien Koeppel | Ed: Fairuz | Prod Des: Fairuz | Sound Des: Els Viaene, Boris Debackere | With: Willy Thomas | Print/Sales: Auguste Orts |

space and Time: The abstract Films of Bart Vegter 1 Posthumous tribute to the idiosyncratic abstract filmmaker Bart Vegter. From his earliest works devoted to animated geometric patterns, he later evolved to quiet computer animations relating to natural processes. A compact oeuvre of nine short films in 30 years. With an introduction by Joost Rekveld and a DVD presentation. PUBLIC SCREENING Fri 27-1 14:30 LantarenVenser 6

structuurverschillen van tijd en plaats Peter Struycken

Very short and formal film by the multidisciplinary artist Peter Struycken, one of the founders of computer art in the Netherlands. Netherlands, 1971 | b&w, 16mm, 1:1.37, 1 min, silent Prod: Peter Struycken | Cam: Peter Struycken | Ed: Peter Struycken | Print/Sales: EYE Film Institute Netherlands



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Ponskaart polonaise Matthijs Blonk

Rhythmic play of light and shadow via holes in the roll of film awakes the suggestion of punch card holes dancing across the image. Formal investigation of rhythm in light and darkness with a powerful visual effect. Netherlands, 1976 | b&w, 16mm, 1:1.37, 3 min, no dialogue Prod: Matthijs Blonk | Cam: Matthijs Blonk | Ed: Matthijs Blonk | Music: Frans Krijger | Print/Sales: EYE Film Institute Netherlands |

Horizontalen Bart Vegter

A film without an outer subject. Only light and motion. Like sunlight, reflected by waves of water on a white wall. By moving a surface vertically in front of the camera and using an eightfold exposure of the film, an image emerges of horizontal stripes in various tints of grey. Netherlands, 1981 | b&w, 16mm, 1:1.37, 6 min, silent Prod: Bart Vegter | Cam: Bart Vegter | Ed: Bart Vegter | Print: EYE Film Institute Netherlands |

in need of space Bart Vegter

In Need of Space is inspired by the minimal music of Steve Reich and consists of moving vertical lines and colour surfaces; the ribs and surfaces of a rotating cube with the format of a film frame. By tilting the object in the frame, a totally different dynamic emerges in three dimensions. Netherlands, 1982 | colour, 16mm, 1:1.37, 6 min, no dialogue Prod: Bart Vegter | Music: Steve Reich | Print/Sales: EYE Film Institute Netherlands |

Kalah Dora Maurer

The rules of an old Arab game, Kalah, played by two players with 36-36 stones, works as a ready-found system for generating the film. The filmstrip registers the moves of a game based on their notation in a diagram, converting the elements into 72 colour forms and 72 sounds of a chromatic scale in rapid sequences. Hungary, 1980 | colour, 35mm, 1:1.37, 10 min, no dialogue Prod: Dora Maurer | Cam: Dora Maurer | Ed: Dora Maurer | Music: Zoltan Jeney | Print/ Sales: Hungarian National Film Archive |



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space-Modulation Bart Vegter

The point of departure in SpaceModulation is the discovery of the moment when a two-dimensional image transforms into a three-dimensional space. Vegter shows this using a pattern of 196 points that move in relation to each other. By zooming in and out, he seeks the moment when the depth becomes visible. Netherlands, 1994 | b&w, 16mm, 1:1.37, 1 min, silent Prod: Bart Vegter | Cam: Bart Vegter | Ed: Bart Vegter | Print: EYE Film Institute Netherlands |

Ecosystem-6-a sort of Mycelium Koike Teruo

Ecosystems is an extended series of films that work with abstract patterns of extraordinary density and complexity; it is inspired by the elaborate chaos systems present in nature. Ecosystem-6 will be presented in the original Super-8 format, accompanied by Japanese traditional flute played by Koike Teruo. Japan, 1989 | colour, 1:1.37, 21 min, silent Prod: Koike Teruo | Cam: Koike Teruo | Ed: Koike Teruo | Print/Sales: Koike Teruo

nacht-licht Bart Vegter

A computer-generated film in three parts, whereby each part has its own, formal starting point. The images consist of 8 to 14 independent elements. On this formal basis, variations are executed continuously by means of gradual changes in the position, direction, movement, velocity and colour of the elements. Netherlands, 2011 | colour, 16mm, 1:1.37, 13 min, no dialogue Prod: Bart Vegter | Cam: Bart Vegter | Ed: Bart Vegter | Music: Kees van der Knaap | Print: EYE Film Institute Netherlands |

#3 Joost Rekveld

#3 is a film with pure light. The images were created by recording the movements of a tiny light source using extremely long exposures, so that it draws traces on the emulsion. The light is part of a simple mechanical system that exhibits chaotic behaviour. Netherlands, 1994 | colour, 16mm, 1:1.37, 4 min, no dialogue Prod: Joost Rekveld | Cam: Joost Rekveld | Ed: Joost Rekveld | Print/ Sales: EYE Film Institute Netherlands |



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de tijd Bart Vegter

A flat, monochrome image slowly evolves into a dramatic spectacle; colour allows lines and conical forms to subtly dissolve and solidify. In the end, the colours lose their intensity, leaving only the basic structure of the image, ‘the skeleton’. Vegter used the Fourier transformation, in three dimensions, to create De tijd. Netherlands, 2008 | colour, 35mm, 1:1.33, 9 min, silent Prod: Noud Heerkens | Prod Comp: Stichting Picos de Europa | Cam: Bart Vegter | Ed: Bart Vegter | Print: EYE Film Institute Netherlands | Sales: Stichting Picos de Europa |

space and Time: The abstract Films of Bart Vegter 2 Second part of a homage to the filmmaker Bart Vegter. Preceded by a presentation by Simona Monizza of the EYE Film Institute about the complexities of conserving Vegter’s artistic heritage. See also In Memoriam Bart Vegter in this section. PUBLIC SCREENING Sat 28-1 14:30 LantarenVenser 6

Reversals Jacques Verbeek, Karin Wiertz

The earliest work by Jacques Verbeek and Karin Wiertz was an important source of inspiration for Bart Vegter when he became interested in making film. Reversals is a geometric animation and comprises continuous movements of tipping, turning and sliding blocks and surfaces. Netherlands, 1972 | b&w, 16mm, 1:1.37, 3 min, no dialogue Prod: Jacques Verbeek, Karin Wiertz | Cam: Jacques Verbeek, Karin Wiertz | Ed: Jacques Verbeek, Karin Wiertz | Music: Bertus Borgers | Print/Sales: EYE Film Institute Netherlands

de hemel is vierkant square shape of Heaven Bart Vegter

Exposed to light several times, the images of this abstract film are compiled from basic elements that emerge when a cube is cut equidistant from its three main axes. The surfaces move independently of and in reaction to each other. The rotations and shifts evoke a change in form and composition. Netherlands, 1985 | colour, 16mm, 1:1.37, 12 min, no dialogue Prod: Bart Vegter | Cam: Bart Vegter | Ed: Bart Vegter | Music: Ruud Spetter | Print: EYE Film Institute Netherlands |



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Four Moves Bart Vegter

...Four ways to leave home, four ways to hold time... Four Moves consists of four parts, each of which depicts its own abstract variation on the theme of colour and movement. The only shapes used are squares, which move back and forth over each other in different tempos and colours. Netherlands, 1987 | colour, 16mm, 1:1.37, 7 min, no dialogue Prod: Bart Vegter, Jan Ketelaars | Cam: Bart Vegter | Ed: Bart Vegter | Music: Floris Kolvenbach | Print: EYE Film Institute Netherlands |

luma nocturna nighttime light Sky-David

Nighttime Light uses overlapping dissolves of hand-drawn images to capture the luminescent magic of light strewn across the black city at night, from the majestic convergences of great boulevards to ephemeral, amorphous supple reflections. USA, 1974 | colour, 16mm, 1:1.37, 4 min, no dialogue Prod: Sky-David | Cam: Sky-David | Ed: Sky-David | Print courtesy: iotaCenter | Print/Sales: Academy Film Archive |

The garden of Earthly delights Stan Brakhage

Classic meditative collage film created entirely without the use of a camera by pasting montane zone vegetation such as petals, grasses and leaves onto strips of clear film leader. As the title suggests, it is a homage to (but also an argument with) Hieronymous Bosch. USA, 1981 | colour, 16mm, 1:1.37, 3 min, no dialogue Prod: Stan Brakhage | Cam: Stan Brakhage | Ed: Stan Brakhage | Print/Sales: Light Cone Distribution

Forest-Views Bart Vegter

The astonishingly delicate, computergenerated Forest-Views suggests the processes not only of blossoming and decay, but also, ironically, of the chemical laboratory. The screen itself seems to sprout organic forms, like a magnified Petrie dish. (Sundance Film Festival Catalogue 2001). Netherlands, 1999 | colour, 16mm, 1:1.37, 17 min, silent Prod: Gerard Holthuis | Cam: Bart Vegter | Ed: Bart Vegter | Print: EYE Film Institute Netherlands | Sales: Filmstad Producties bv |



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interlude Joost van Veen

A short meditation inspired by the track Interlude by the British band Manyfingers, a Chris Cole project. The film shows a group of ‘Lookdown Fish’ (Selene Vomer) swimming through chemical layers of high-contrast black-and-white film stock. Winner of Tiger Short Award at IFFR 2005. Netherlands, 2005 | b&w, 16mm, 1:1.37, 3 min, no dialogue Prod: Esther Urlus | Prod Comp: WORM | Cam: Joost van Veen | Ed: Joost van Veen | Music: Manyfingers | Print/Sales: Joost van Veen |

Monologue exterieur Francien van Everdingen

Fragments of an interior appear from the dark like pieces of a puzzle that just don’t seem to fit. The walls do talk, from whispering to buzzing to a lively conversation about a world outside this tiny room. A botanical kaleidoscope of treetops, green leaves and blossoms with a neurotic claustrophobic taste. Netherlands, 2003 | colour, 16mm, 1:1.37, 3 min, silent Prod: Francien van Everdingen | Cam: Francien van Everdingen | Ed: Francien van Everdingen | Print/Sales: EYE Film Institute Netherlands

Zwerk Bart Vegter

Zwerk is an abstract film that depicts an illusionary world. The film was made with the purpose of creating an opportunity to view something as it is. What remains is a visual experience. When making the film I let myself be inspired by the words ‘at the edge of emptiness’ and by my interest in the field between chaos and order. (BV) Netherlands, 2004 | colour, 35mm, 1:1.66, 8 min, silent Prod: Gerard Holthuis | Prod Comp: Filmstad Producties bv | Cam: Bart Vegter | Ed: Bart Vegter | Print: EYE Film Institute Netherlands | Sales: Filmstad Producties bv |



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Waving Back An eclectic compilation of experimental short films, each communicating a sense of threat. The artists share a fascination for looming violence, inviting us to reflect on the return of the repressed, in both nature and human history. PUBLIC SCREENINGS Thu 26-1 17:15 LantarenVenser 5 Sun 29-1 19:30 LantarenVenser 5

The green Wave Ken Jacobs

Jump cuts, tinting and sudden changes in aspect ratio make for a pulsating spectacle. At once an archeologist and an innovator, Jacobs keeps on adapting old or inventing new technologies for exploring the potential of the illusion of depth and motion. USA, 2011 | colour/b&w, video, 5 min, silent Prod: Ken Jacobs | Cam: Ken Jacobs | Ed: Ken Jacobs | Print/Sales: Ken Jacobs

goose Weather Stephen Sutcliffe

Film images, poems and archive material, manipulated by means of collage, editing and cheap effects: this is the strategy Sutcliffe has been applying for almost a decade. In old samples of no more than a few enigmatic minutes, he points us back to the pre-MTV era of British culture and television. EUROPEan PREMiERE

United Kingdom, 2011 | colour, video, 4 min, English Prod: Stephen Sutcliffe | Cam: Stephen Sutcliffe | Ed: Stephen Sutcliffe | Print/Sales: LUX |

night Hunter Stacey Steers

The young Lillian Gish – who had a career spanning 75 years – is appropriated from silent-era cinema and plunged into a new and haunting role. She finds herself amidst a riot of Freudian imagery in a stream of nightmarish images. Steers’ style and technique strongly recall the collage novels of Surrealist Max Ernst. EUROPEan PREMiERE

USA, 2011 | colour, video, 16 min, no dialogue Prod: Stacey Steers | Sc: Stacey Steers | Cam: Victor Jendras | Ed: Phil Solomon | Prod Des: Stacey Steers | Sound Des: Larry Polansky | Music: Larry Polansky | With: Lillian Gish | Print/Sales: Stacey Steers |



signals: REgainEd

The Rodeo Trilogy Kevin Jerome Everson

Everson appeals to the filmic notion of the traditional cowboy, yet here all the performers are black. With a sense of place and history, Everson investigates the gestures or tasks caused by certain conditions in the lives of working-class African Americans and other people of African descent. Trilogy consisting of The Mayberry Practice Calf, Second Place and The Wooden Calf. WORld PREMiERE

USA, 2012 | colour, video, 9 min, no dialogue Prod: Kevin Jerome Everson, Madeleine Molyneaux | Prod Comp: Trilobite-Arts-DAC, Picture Palace Pictures | Sc: Kevin Jerome Everson | Cam: Kevin Jerome Everson | Ed: Kevin Jerome Everson | Print/Sales: Picture Palace Pictures |

intermezzo (notes on Film 04) Norbert Pfaffenbichler

Pfaffenbichler revisits and reworks film history in a systematic way, to address our fascination with power, iconic faces and the aesthetics of violence. WORld PREMiERE

Austria, 2012 | colour/b&w, video, 2 min, no dialogue Prod: Norbert Pfaffenbichler | Cam: Norbert Pfaffenbichler | Ed: Norbert Pfaffenbichler | Music: Wolfgang Frisch | Graphics: Nik Thoenen | Print/ Sales: sixpackfilm |

Maurice Patrick Kack-Brice

All the features and attributes of the last cinema in Paris (and possibly the entire world) still screening porn films on 35mm are fetishised and celebrated on the brink of their disappearance: the box office, the posters, the film reels, the pink(!) seats, and of course the mythic seclusion of the projection booth. inTERnaTiOnal PREMiERE

France, 2011 | colour, video, 18 min, French Prod: Robin Robles | Cam: Lucie Baudinaud | Ed: Arnaud De Cazes | Sound Des: Sylvain Lambinet | With: Maurice Laroche | Print/Sales: Patrick Kack-Brice



signals: REgainEd

Village, silenced Deborah Stratman

The footage comes from the 1943 docudrama The Silent Village (Humphrey Jennings). Welsh coal miners reenact the Nazi invasion and annihilation of a Czech mining village. Labour, power, industrialisation and historical relevance are the larger themes behind this simple but efficient treatment of forgotten material. inTERnaTiOnal PREMiERE

USA, 2011 | b&w, video, 5 min, no dialogue Prod: Deborah Stratman | Prod Comp: Pythagoras Film | Cam: H.E. Fowle | Ed: Deborah Stratman | Sound Des: Deborah Stratman | Print/ Sales: Pythagoras Film |

Conference (notes on Film 05) Norbert Pfaffenbichler

This bizarre conference illustrates our tireless fascination with evil. The expressive modulations of the iconic faces provide an increasingly comic tone. The soundtrack throughout is a degraded vocal sample of Chaplin’s nonsense language from The Great Dictator, with constant applause abstracted to static. Austria, 2011 | b&w, 35mm, 1:1.37, 8 min, no dialogue Prod: Norbert Pfaffenbichler | Sc: Norbert Pfaffenbichler | Ed: Norbert Pfaffenbichler | Sound Des: Bernhard Lang | Music: Bernhard Lang | Print/ Sales: sixpackfilm |

day and night Ken Jacobs

Jacobs uses the stereoscopic effect he patented as ‘eternalism’ to create a hypnotising rhythm. Since the 1960s, he has been extending the teachings of the painter Hans Hofman to the realm of the cinema. His resolutely original visual forms are the result of equally radical social views. USA, 2011 | colour, video, 3 min, silent Prod: Ken Jacobs | Cam: Ken Jacobs | Ed: Ken Jacobs | Computer Technical Assistance: Jason Drakeford | Print/Sales: Ken Jacobs



signals The Mouth of garbage



SignalS: The MouTh of garbage

the Mouth of garbage

the lost Film Culture of the Boca de lixo gabe Klinger, gerwin tamsma

The Boca do Lixo (‘Mouth of Garbage’) is first and foremost a physical place in the center of São Paulo, covering a few blocks of the Santa Ifigênia neighborhood behind the city’s main railway terminal. The prevalence of banditry and prostitution in the area earned it its namesake in the film world (by the late 1980s, the area was better known as ‘Crackland’). Unglamorous in the absolute, the Boca was a place for young producers to set up shop on little to no budget. The working-class ethos of the neighborhood provided a production infrastructure: construction materials for sets, props, food, costumes, etc., were all furnished cheaply and locally. A restaurant owner could cater for a film shoot with the promise of earning back-end profits. Its proximity to central railway lines also brought added convenience for shipping films to cinemas all over Brazil. In the early 1950s, distributors and small production outfits had already installed themselves on the Boca’s main arterial pathway: Triunfo Street (the subject of two affectionate short essay films by Ozualdo Candeias, included in the programme). The Given Word (1962), the first (and only) Palme d’Or in Cannes for a Brazilian film, was in fact, a Boca do Lixo product. Oswaldo Massaini, who founded Cinidistri in 1949, had recruited studio talent and suave leading man Anselmo Duarte to direct a series of features, thereby legitimizing the Boca as a production center almost overnight. By the end of the decade, Triunfo Street was a hangout for aspiring filmmakers, starlets, journalists, students, and many others. Business meetings happened unceremoniously in local bars, where a pitch from a confident first-timer could result in a production deal. Studio exiles and young intellectuals congregated in the Boca; its peculiarity as a quick-and-dirty production center meant producers were more likely to take risks on unconventional material, such as twenty-one year-old film critic Rogério Sganzerla’s debut and paean to cinema, The Red Light Bandit. Twenty-somethings João Callegaro (The Pornographer) and João S. Treivsan (Orgy: or the Man Who Gave Birth) also made their first (and regrettably only) features in much the same vein: one a highly inventive noir riff, the other a violent repudiation of Cinema Novo. For better or worse (mainly worse), these types of productions became scarcer by the minute as it dawned on Boca producers that to survive they had to find a way to squeeze into a distribution landscape monopolized by American product. When Sganzerla, Callegaro and Trevisan were making these first forays, the number of filmmakers actively working under the patronage of the Boca could be counted on two hands. Only 12 films were produced in the neighborhood in 1969 (compared to the 44 per year that would be produced a decade later, and the 55 produced in 1981 alone). Massaini was still knocking out ‘sertanejo’ films (adventure yarns set in the Brazilian badlands) at the rate of two a year, and independent producers like Ozualdo Candeias and José Mojica Marins – who had already crafted his on-screen alter-ego Coffin Joe as early as 1964 – were successful enough with At Midnight I’ll Take Your Soul to find financing for

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Lilian M.: Confidential Report

roughly one feature every twelve months. Carlos Reichenbach, Antônio Lima and Callegaro, young students of one of Brazil’s first cinema schools, the short-lived Escola Superior de Cinema São Luis, initiated a production company in the Boca, but only managed to produce a single film: the portmanteau As libertinas (1968). Producers and filmmakers were still testing out the contours of a system that hadn’t yet proved a worthwhile alternative to the bankrupt São Paulo-based studios Vera Cruz, Maristela and Multifilmes. These titans of prestige flourished briefly in the 1950s, but failed to justify their means – highend production modeled on American studios – when national audiences still preferred imports. The new production model was therefore a no-brainer: hire resourceful, hungry youngsters to cheaply turn around a wide range of genre films starring secondrate starlets and heart-throbs in a short period of time. Presto! By 1973, the Boca do Lixo had entered its golden era. Experimenters such as Sganzerla, Callegaro, Trevisan and others migrated elsewhere (Trevisan briefly returned as a screenwriter), while populists like A.P. Galante, Antonio Palacios, Tony Viera and David Cardoso were firmly installing themselves. Burgeoning filmmakers now played it by the book – the risks were minimal, and the ‘system’ had generated a steady audience. Movie-theater owners began to take note. A producer like Galante could now find production funds by negotiating upfront cash from theater executives, covering his production expenses before the cameras had even been loaded with film. Others – like Viera and Cardoso – were expert marketers, who starred in their own films and worked largely on the branding of their own charismatic personalities. Under this more straightforwardly commercial enterprise, production apprentices were promoted and became reliable directors-for-hire: Ody Fraga, Jean Garret, Alfredo Sternheim, among others. Reichenbach, an avid cinema-lover who mingled in both lowbrow and highbrow circles, found work in the Boca in virtually every skill-set he had: screenwriter, cinematographer, lighting technician, actor and eventually as sought-after director. A major issue looming over national production at the time was the military dictatorship. By the late 1960s, censorship had reached Soviet levels and producers who proposed any political discourse or wanted to push narrative norms (to say nothing of even vaguely explicit on-screen depictions of sex, drug use and violence) could find their films shelved for years (as was the case with three films included in the programme: Orgy; Awakening of the Beast and Vereda


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Orgy: or the Man Who Gave Birth

tropical). Often arbitrary and nonsensical, a military veto could be a decisive nail in the coffin for an emerging producer. But in the 1970s, the military authorities loosened their policies as films of an erotic nature became hugely popular with audiences. Sex was in; politics, however, was still out. A new category of film emerged from the changing tide, pejoratively (or affectionately, depending on who you ask) dubbed pornochanchada. Chanchadas, popular musical comedies that proliferated in the 1930s, were reconfigured as soft-core romps, promoting a similar sense of escapism, only this time catering to a generation that had lived through the sexual politics of the 1960s. In the periphery of the Boca do Lixo, space remained for the socially conscientious and intellectually minded participants. Jairo Ferreira, a film critic and theorist, was one of these, producing no-budget Super 8 essays shown outside of the commercial circuit and below the military’s radar. Ozualdo Candeias, whose widely praised The Margin (1967) brought plenty of initial attention to the Boca, also remained active, directing short and medium-length films and working on film sets while searching for financing for the more ambitious feature film projects he would eventually return to. Ferreira and Candeias were notable exceptions; most who stayed in the Boca got with the programme or fled the scene. Often, working within the confines of pornochanchadas was the more attractive option for directing and writing talent, as state film financing through government body Embrafilme imposed an entirely different set of exigencies. Navigating the politics of Brazilian art house production could prove infinitely more demoralizing, whereas active involvement in Boca filmmaking at least offered the luxury of a steady paycheck and a wide release. Adding to the incentives, cultural laws instigated by Brazil’s national cinema agency made it compulsory for movie theaters to devote screens to national product (known as the ‘Lei da Obrigatoriedade’ or ‘Mandatory Law’). In 1980, Oshima Nagisa’s notorious In the Realm of the Senses (1976) became an unexpected art house sensation in Brazil, selling five million tickets and setting an allowing precedent for hardcore production. Censors stepped aside, obliging Boca producers to tackle the hitherto unconquered sexual extremities of pornochanchada. Triple X-rated movie theaters soon proliferated. Many Boca filmmakers were reluctant to adapt, often using pseudonyms (David Cardoso became Roberto Fedegoso, Jean Garret switched to J.A. Nunes), while others embraced explicit sex wholeheartedly (Ody Fraga was an eager and playful contributor, with films such as Sit on Mine and I Will Enter Yours). The whopping number of hardcore films produced in the Boca

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reached nearly 500; even filmmakers like Marins and Candeias were absorbed by the trend. In spite of the boom set off by Oshima’s film, Boca production began to decelerate at an alarming pace in the late 1980s, however. A low-budget feature cost producers the equivalent of 35-40,000 Euros back in the day, whereas licensing the rights to an American or European film for Brazilian distribution usually cost 1,500 Euros or less. When the exhibitor Servian Ribeiro negotiated a deal to release fifty North American hardcore films in his theaters, demand for Boca films just about dried up. The starlets and heartthrobs quietly withdrew, producers redistributed their small fortunes into more stable enterprises, and a handful of directors attempted to navigate the subsequent ‘recovery’ period of Brazilian cinema, most of them unsuccessfully. Although the Boca do Lixo comprises the most prolific and financially solvent production phase in the entire history of Brazilian cinema, its memory has never been recovered from the ruins. Overshadowed by state-funded art films and middlebrow studio product, the Boca is a heroic example of how a low-budget filmmaking movement prevailed over government oppression and American hegemony, cultivating millions of spectators and yielding some of contemporary cinema’s most distinguished talents along the way. Thank you to Inácio Araújo, Gabriel Carneiro, Alfredo Sternheim and Matheus Trunk.


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a margem

The Margin Ozualdo R. Candeias

Brazil, 1967 | b&w, 35mm, 1:1.75, 96 min, Portuguese Prod: Ozualdo R. Candeias, Antônio Alves Cury, Otávio Fernandes, Cleuza Rillo, Virgílio Roveda, Michael Saddi | Prod Comp: Ozualdo R. Candeias Produções Cinematográficas, Produtora Nacional de Filmes | Sc: Ozualdo R. Candeias | Cam: Ozualdo R. Candeias, Belarmindo Manccini | Ed: Ozualdo R. Candeias, Maximo Barro | Prod Des: José Pereira da Silva | Music: Luíz Chaves, Zimbo Trio | With: Mário Benvenutti, Valeria Vidal, Bentinho, Lucy Rangel, Tele Kare, Paulo Ramos, Brigitte Maier | Print: Cinemateca Brasileira | Sales: Heco Produções Public SCREENINGS Fri 27-1 17:002 CI5 Tue 31-1 15:302 CI7 Press & Industry SCREENING Sat 28-1 18:00 CI2

Candeias’ contemplative fiction taken from real situations narrates brief moments in the lives of four characters inhabiting the banks of São Paulo’s Tietê river. The film’s point of departure is a woman who floats along in a canoe; as we follow her, we see the problems of survival in this community. The Margin is about two couples: on the one hand, a black woman – a prostitute – who has an affair with an unemployed white man who wears a suit; and on the other, an obsessive guy chasing after a blond girl. The Tietê isn’t always the setting for the film, but its characters are always more or less ‘in the margins’ – uprooted from their environments, disoriented, oppressed by the fastchanging city. Finding images that are disarming in their metaphoric simplicity, Candeias opened the possibilities for thoughtful production in the highly commercial environment of the Boca do Lixo.

o bandido da luz vermelha

Brazil, 1968 | colour, 35mm, 1:1.37, 92 min, Portuguese Prod: Rogério Sganzerla, José Alberto Reis | Prod Comp: Urano Filmes | Sc: Rogério Sganzerla | Cam: Peter Overbeck | Ed: Silvio Renoldi | Prod Des: Andrea Tonacci | Sound Des: Rogério Sganzerla | Music: Rogério Sganzerla | With: Paulo Vilaça, Helena Ignez, Luís Linhares, Sérgio Hingst, Pagano Sobrinho | Print: Cinemateca Brasileira Public SCREENINGS Sun 29-1 14:30 CI5 Mon 30-1 19:15 PA3


The red light bandit Rogério Sganzerla ‘Third World is going to explode! Those who wear shoes won’t survive!’ Cinema and life on the fringes, Brazil, poverty, and the Boca do Lixo writ large in 21- year-old Sganzerla’s feature debut, widely considered one of the great Brazilian films. Jorge, a suave bandit/rapist (sketched from the exploits of real-life crook João Acácio Pereira da Costa), rapidly rises to the ranks of crime superstardom. Feared by police, desired by housemaids, mythologised by journalists, he hardly exists in a vacuum of sleaze: dubious cops, politicians, and businessmen encircle Jorge at every corner of the bustling metropolis. Enjoyably crude, Sganzerla’s bandit creation is equal parts Mickey Spillane and Mario Andrade (Macunaíma), a hero barely contained by the slum universe that created him. Complemented by paramour Janete Jane (played with uncommon verve by Helena Ignez), Jorge briefly finds an escape before resuming the path of obliteration.


SignalS: The MouTh of garbage

uma rua chamada triumpho (1969-1970) & (1970-1971) a Street Called Triumph (1969-1970) & (1970-1971)

festa na boca Party at the boca

Ozualdo R. Candeias Brazil, 1970/1971/1976 | b&w, 35mm, 11/10/12 min, Portuguese Prod/Cam: Ozualdo R. Candeias | Ed: Ozualdo R. Candeias, Luiz Elias | Music: Vidal França | Print: Cinemateca Brasileira | Sales: Heco Produções

A Street Called Triumph (1969-1970) will be screened before The Margin. Fri Tue

27-1 17:002 CI5 31-1 15:302 CI7

A Street Called Triumph (1970-1971) will be screened before The Pornographer. Sat Tue

28-1 20:302 CI5 31-1 18:152 CI7

Party at the Boca will be screened before The Option (or: The Roses on the Highway). Fri Tue

27-1 19:152 SGZ 31-1 20:302 CI7

The first two are intimate essays on the communities inhabiting the Santa Ifigênia area in São Paulo – from filmmakers to shop-owners and the homeless. Edited largely from the filmmaker’s own extensive photo documentation of the neighbourhood (he was a long-time resident), these episodes may be described as bittersweet, nostalgic, quietly personal while also retaining a newsreel appearance indicative of Candeias’ experience as an industrial filmmaker. In the third short, Party at the Boca, Candeias submits a ‘report’ on a lively party thrown on New Year’s Eve, 1976, reflecting the camaraderie among São Paulo’s low-budget filmmaking community. These three films helped to mythologise the Boca as a vital centre of production while also capturing the distinctive humanity of the place.

o pornógrafo The Pornographer João Callegaro

Brazil, 1970 | b&w, 35mm, 1:1.37, 88 min, Portuguese Prod: João Callegaro, Alfredo Palácios, Antonio Polo Galante, Silvio Renoldi | Prod Comp: Itu Produções Cinematográficas, Servicine Serviços Cinematográficos | Sc: João Callegaro, Jairo Ferreira | Cam: Oswaldo de Oliveira | Ed: Sylvio Renoldi | Music: João Callegaro | With: Stênio Garcia, Edgard Gurgel, Liana Duval, Sérgio Hingst, Júlia Miranda, Bentinho, Francisco Di Franco | Print: Cinemateca Brasileira | Sales: Galante Filmes Ltda Public SCREENINGS Sat 28-1 20:302 CI5 Tue 31-1 18:152 CI7

Things aren’t easy for Miguel Metralha. Boredom and his affinity for the easy life have made him switch roles, from run-of-the-mill journalist to editor of porno mags. But Metralha quickly discovers that the world of pinups and sex bombs brings its own ups and downs. Surrounded by underworld figures, he finds himself dropped into a meta-narrative resembling the American crime films he – and the filmmakers, evidently – admires. Taking as its departure point the nihilistic, Godardian style of The Red Light Bandit, the sole feature by João Callegaro is a traditional genre piece transformed into a carnival of mockery and the grotesque. Attempting to craft a myth for the Brazilian gangster by skillfully inverting film noir tendencies, The Pornographer is an unjustly forgotten landmark from the energetic first period of Boca do Lixo production.



SignalS: The MouTh of garbage

o despertar da besta awakening of the beast José Mojica Marins

Brazil, 1970 | colour/b&w, 35mm, 1:1.66, 93 min, Portuguese Prod: Giorgio Attili, José Mojica Marins, George Michel Serkeis | Prod Comp: Fotocena Filmes, Ovni Indústria Cinematográfica | Sc: Rubens F. Lucchetti, José Mojica Marins | Cam: Giorgio Attili | Ed: Luiz Elias | With: Maurice Capovilla, João Callegaro, Carlos Reichenbach, Jairo Ferreira, Walter C. Portella | Print: Cinemateca Brasileira Public SCREENINGS Thu 26-1 19:452 CI5 Sat 28-1 14:15 SGZ Press & Industry SCREENING Sun 29-1 16:00 DWBZ

Originally titled Sadists’ Ritual and marketed as a ghastly haunted house film, Awakening of the Beast was directed by Brazil’s horror maestro José Mojica Marins and promised a scream-filled romp much like the filmmaker’s earlier This Night I’ll Possess Your Corpse (1967); however, this film ended up going far beyond its genre parameters and became one of the key political films of Brazil’s era of military repression. A tongue-in-cheek commentary on 1960s counterculture, the plot begins in pseudo-documentary style with a series of experts on TV – played by notable Boca do Lixo figures like Carlos Reichenbach and Jairo Ferreira – debating the possible link between the use of psychedelic drugs and violent and sexually deviant behavior. An experiment involving four volunteers, LSD and Marins’ on-screen alter ego Coffin Joe ensues, playfully debunking the drug-related hysteria that dominated the mainstream discourse of the time. Censors did not take the film lightly; it was banned for 14 years.

orgia (ou: o homem que deu cria)

Brazil, 1970 | b&w, 35mm, 1:1.37, 90 min, Portuguese Prod: João Silvério Trevisan | Prod Comp: Indústria Nacional de Filmes | Sc: João Silvério Trevisan | Cam: Carlos Reichenbach | Ed: João Batista de Andrade | Music: Ibanez de Carvalho | With: Fernando Benini, Sérgio Couto, Pedro Paulo Rangel, Jean-Claude Bernardet, José Fernandes, Cláudio Mamberti | Print: Cinemateca Brasileira | Sales: João Silvério Trevisan Public SCREENINGS Sat 28-1 18:00 CI5 Sun 29-1 12:15 CI7 Fri 3-2 20:00 CI7


orgy (or: The Man Who gave birth) João Silvério Trevisan The sole film by celebrated novelist João Silvério Trevisan is an anarchic repudiation of the Cinema Novo, a cannibalisation of mainstream cultural tendencies, clichéd tropicalist ideas and worn-out Brazilian literary myths about the sertão (the backwoods), all in one highly irreverent package that infuriated censors (it was immediately banned) and exasperated left intellectuals trying to find the tools to describe it. Ostensibly about a group of allegorical creations that slowly come together in search of a country, the film expresses the alternating sense of euphoria (economic miracle! football glories!) and fear (secret police squads! media control!) that dominated Brazil at the end of the 1960s. Orgy may have been designed as a provocation, and the immediate rupture that it provoked is a testament to that, but it’s also a seductively crafted piece of sculptural cinema, inventing unprecedented moments of sensuality even as it attempts to destroy everything else in its path.


SignalS: The MouTh of garbage


lilian M.: relatório confidencial

Brazil, 1975 | colour, 35mm, 1:1.66, 120 min, Portuguese Prod: Carlos Reichenbach, Elias Curi Filho | Prod Comp: Brasecran, Jota Filmes | Sc: Carlos Reichenbach | Cam: Carlos Reichenbach | Ed: Inácio Araújo | Prod Des: Marta Salomão Jardim | With: Célia Olga, Benjamin Cattan, Sérgio Hingst, Maracy Mello, Walter Marins, Edward Freund, Caçador Guerreiro | Print: Cinemateca Brasileira Public SCREENINGS Fri 27-1 14:45 CI7 Mon 30-1 20:00 CI5 Thu 2-2 22:30 CI7


lilian M.: Confidential report Carlos Reichenbach A wife and mother from the provinces travels to the big city to get away from her oppressive domestic life and begins to explore her newfound freedom, starting by changing her name from Maria to Lilian. The idea of the sexually liberated woman in 1960s and 1970s Brazil had certainly not been treated extensively in film (the exoticised and much too simplistic Dona Flor and Her Two Husbands came the following year). Reichenbach doesn’t approach a taboo subject didactically or exploitatively, his ‘tragicomedy of adventures’ recalling Joaquim Pedro de Andrade’s Macunaíma (1968) in its liberal assortment of stories and colourful personalities that veer in and out of the film. At its centre, Lilian M. is about the awakening of different forms of consciousness: from simple family life to a multiplicity of relationships, from agrarian politics to urban politics, and the complex nature of survival in all its shades.

o vampiro da cinemateca The Vampire of the Cinematheque

o insigne ficante


The insig nificant

Jairo Ferreira

Brazil, 1976/1980 | colour, video, 60/60 min, Portuguese Prod: Jairo Ferreira | Prod Comp: Jairo Ferreira Produções Cinematográficas | Sc: Jairo Ferreira | Cam: Jairo Ferreira | Ed: Jairo Ferreira | With: Júlio Calasso, Jairo Ferreira, Luiz Alberto Fiori, Jards Macalé, José Mojica Marins, Carlos Reichenbach, Lygia Reichenbach | Print/Sales: Olhos de Cão Produções Cinematog

The Vampire of the Cinematheque screens in combination with The Insig Nificant. Each film is 60 minutes long (120’ combined). Thu Sat Sat

26-1 17:002 CI4 28-1 15:002 CI7 4-2 14:302 CI5

In the margins of the Boca was a subversive diarist, a fly on the wall whose free-flowing Super-8 works cast Rogério Sganzerla, Carlos Reichenbach, José Mojica Marins and dozens of others from São Paulo’s film communities; sometimes straightforwardly documenting bar conversations with these luminaries and sometimes launching off into more digressive, even fictive pathways inspired by those same conversations. Remaining invisible – Ferreira’s Super-8 films were always shown clandestinely – The Vampire of the Cinematheque and The Insig Nificant suggest cine-clubism as its own art of invention, not to mention a subversive response to military oppression. As a cheeky homage to pornochanchada, for example, The Vampire shows us a close-up of a man masturbating. And in another part, an inaudible piece of recited poetry by Orlando Parolini is interrupted with Ferreira informing the audience in voice-over that Kodak is cheapening the sound quality of its Super-8 stock. Honest and intimate, Ferreira offers a secret history of the Boca.



SignalS: The MouTh of garbage

Snuff – Vitímas do prazer

Brazil, 1977 | colour, video, 109 min, Portuguese Prod: Carlos Duque | Prod Comp: A.R.M. Produções Cinematográficas, Kinema Filmes | Sc: Cláudio Francisco Cunha, Carlos Reichenbach | Cam: José Roberto Buzzini, José Roberto Buzzini | Ed: Silvio Renoldi | Prod Des: Waldir Siebert | Music: Cláudio Francisco Cunha | With: Carlos Vereza, Rossana Ghessa, Canarinho, Nadir Fernandes, Hugo Bidet, Fernando Reski, Roberto Miranda | Print/Sales: Claudio Cunha Artistic Productions Public SCREENINGS Thu 26-1 22:15 CI5 Mon 30-1 15:15 PA6 Fri 3-2 22:15 LUX

Snuff – Victims of Pleasure Cláudio Francisco Cunha Two shady producers out to make a snuff film concoct a bizarre plan to trick a crew of technicians and actors by pretending to be well-todo Americans producing high-end porn in Brazil. With a clever script by Carlos Reichenbach, Snuff plays like an exploitation version of Fassbinder’s Beware of the Holy Whore. Director and producer Cláudio Cunha devised several William Castle-like marketing tactics – such as parking an ambulance outside the screening room and paying audience members to scream at the film’s premiere – and Snuff ended up becoming an unprecedented hit (four million tickets sold). Embodying both the commercial and artistic aspirations of Boca do Lixo filmmaking, the film looked forward to the uncertain decade that would follow, when censorship norms loosened and producers became eager to take flashier directions.

Vereda tropical Tropical Path Joaquim Pedro de Andrade

Brazil, 1978 | colour, DCP, 18 min, Portuguese Prod: César Memolo | Prod Comp: Editora Tres, Lynx Filmes | Cam: Kimihiko Kato | Music: Carlos Galhardo | With: Cláudio Cavalcanti,Cristina Aché, Carlos Galhardo | Print: EYE Film Institute Netherlands | Sales: Filmes do Serro Ltda. Public SCREENING Thu 26-1 19:452 CI5


Testing the contours of censorship (it was immediately banned), Andrade’s small erotic milestone, and one of the funniest Brazilian films of the 1970s, centres on a man whose objects of desire are fresh fruits and vegetables – the riper the better! Made as part of an omnibus project of short stories adapted from Brazil’s men’s magazine Status, Andrade described his film as a fantasy whose lead character is ‘cultured’ and speaks about his personal life in a lucid and healthy way. ‘There’s no nudity or bad words’, Andrade said to the press, discouraged, as he received news of the military veto. Evidently the film suggests a liberated form of consciousness that the new regime feared. The outlandishness of fruit-fucking is beside the point, unless the censors were worried people would waste the food supply? Screened before Awakening of the Beast.


SignalS: The MouTh of garbage

o convite ao prazer invitation to Pleasure Walter Hugo Khouri

Brazil, 1980 | colour, video, 109 min, Portuguese/English Prod: Antonio Polo Galante | Prod Comp: Galante Filmes Ltda, W.H.K.Cinema | Sc: Walter Hugo Khouri | Cam: Antonio Meliande | Ed: Gilberto Wagner | Prod Des: Campelo Neto | Music: Rogerio Duprat | With: Roberto Maya, Helena Ramos, Serafim Gonzalez, Aldine Muller, Kate Lyra | Print: Cinemateca Brasileira | Sales: Galante Filmes Ltda Public SCREENINGS Mon 30-1 17:30 CI4 Tue 31-1 21:30 PA2 Sat 4-2 22:30 CI7 Press & Industry SCREENING Tue 31-1 16:15 CI3

Narrating the extra-marital adventures of Luciano, a middle-class dentist, and Marcelo, a wealthy businessman, who renew their curious friendship after a lengthy hiatus, Invitation to Pleasure is a not-so-distant sister piece to Walter Hugo Khouri’s better-known 1960s films about alienated big city dwellers. Touching on similar existential dread – this time largely through the lens of pathologically sex-obsessed white males – Luciano leeches off Marcelo, whose luxurious lifestyle attracts a vast array of beautiful women. Parallel to this, the men’s wives – Anita and Ana – contemplate a radical course of action in the light of their husbands’ betrayals. Drawing from Antonioni and Bergman, while also folding in uniquely Brazilian themes, Invitation to Pleasure is a complex look at the male psyche, underlining ambivalence even as it relishes the exquisite physiques of its Boca starlets.

a opção (ou: as rosas da estrada) The option (or: The roses on the highway)

Ozualdo R. Candeias

Brazil, 1981 | b&w, 35mm, 1:1.66, 87 min, Portuguese Prod: Ozualdo Ribeiro Candeias | Prod Comp: Embrafilme, Ozualdo R. Candeias Produções Cinematográficas, Prodsul Filmes, Secretaria de Cultura do Estado de São Paulo | Sc: Ozualdo R. Candeias | Cam: Ozualdo R. Candeias | Ed: Ozualdo R. Candeias | With: Carmen Angélica, Alan Fontaine, Christina Gondinho, Carmen Ortega, Virgílio Roveda, Lair Norton, Júlia Veloso | Print: Cinemateca Brasileira | Sales: Heco Produções Public SCREENINGS Fri 27-1 19:152 SGZ Tue 31-1 20:302 CI7

Combining documentary and staged action, Candeias delves into the profoundly quotidian reality of a group of rural women who cut sugar cane and live modestly in ramshackle neighborhoods along the highway. For many, the only escape (or option, as the title implies) to potentially better their lives is through prostitution. Candeias, a former truck driver, offers a deeply felt vision of these communities based on firsthand experiences. Shot in stark black-and-white at a time when most Boca do Lixo production had turned to colour, The Option unravels powerfully in a few nearly wordless movements. A culmination of Candeias’ preoccupation with marginality and his craft as a filmmaker (in addition to directing, he also shot, edited, wrote, and acted in the film), The Option received an unexpected plaudit in the form of a Bronze Leopard from the Locarno Film Festival.



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o império do desejo The empire of Desire/Sensual anarchy Carlos Reichenbach

Brazil, 1981 | colour, 35mm, 1:1.37, 110 min, Portuguese Prod: Roberto P. Galante | Prod Comp: Galante Filmes Ltda | Sc: Carlos Reichenbach | Cam: Carlos Reichenbach | Ed: Gilberto Wagner | Prod Des: Conrado Sanchez | With: Roberto Miranda, Benjamin Cattan, Márcia Fraga, Meiry Vieira, Orlando Parolini, Jose Luiz Franca, Nadia Destro | Print: Cinemateca Brasileira Public SCREENINGS Mon 30-1 21:45 SGZ Wed 1-2 20:00 CI5

A widow named Sandra is on a trip from the city to reclaim her remote beach house from squatters. She picks up a hippie couple along the way, eventually inviting them to become house-sitters at her coastal getaway. Aided by a shyster named Doctor Carvalho, she successfully evicts the home-invaders and an erotic ménage is suddenly sparked when Sandra’s boyfriend arrives. Parallel to this, Sandra is horrified as she hears stories of a ‘vindictive angel’ living in the area, out to kill uncultured loafers, adding a violent counterpoint to the mood of euphoria. The Empire of Desire/Sensual Anarchy was the first Brazilian film to be designated by the loosening military censors as ‘pornographic spectacle’ and released in cinemas freely as such, setting an important precedent for 1980s Brazilian film culture. Originally programmed by Hubert Bals for the IFFR in the mid-1980s, the film never showed up due to various complications. Unavailable and nearly forgotten for 30 years, the festival presents Sensual Anarchy in a brand new 35mm print.

oh! rebuceteio Cláudio Francisco Cunha

Brazil, 1984 | colour, video, 84 min, Portuguese Prod: Cláudio Francisco Cunha | Prod Comp: Claudio Cunha Artistic Productions | Sc: Cláudio Francisco Cunha, Mário Vaz Filho | Cam: José Roberto Buzzini | Ed: Eder Mazzini | Music: Miguel Paiva, Zé Rodrix | With: Ronaldo Amaral, Elizabeth Bacelar, Eleni Bandettini, Cláudio Francisco Cunha | Print/Sales: Claudio Cunha Artistic Productions Public SCREENINGS Sat 28-1 22:30 CI1 Mon 30-1 12:15 CI7


Okay, let’s first attempt to tackle that strange, unspeakable title. The ‘Oh!’ is obviously a tribute to Kenneth Tynan’s groundbreaking Broadway sex farce Oh! Calcutta. ‘Rebu’ in Portuguese means a very confusing situation. ‘Rebuceteio’ is a conjugation of ‘rebu’ with ‘buceta’ (vulgar name for the female organ) and the suffix ‘io’, which implies collectivity. So, perhaps, knowing all that, you can make up your own title! Oh! Rebuceteio centres on a group of young thesps cast in an experimental theatre production desperate to please their egomaniacal director (played by director Cláudio Cunha himself). Early on, they improvise bizarre, unsimulated sexual acts as part of the rehearsal process, playing aggressive one-upmanship to see who can send their boss into the highest state of elation. This hard-core Chorus Line parody is one of the most unexpectedly heady and complex explicit sex films ever made in Brazil – wittily breaking down established notions of pornographic spectatorship.


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Senta no meu, que eu entro na tua

Sit on Mine and i Will enter Yours

Ody Fraga

Brazil, 1985 | colour, 35mm, 88 min, Portuguese Prod: Ody Fraga | Prod Comp: Maspe Filmes | Cam: Aloysio Raulino | With: Jaime Cardoso, Sílvia Dumont, Walter Gabarron, Sandra Midori, Débora Muniz, Kelly Muriel, Germano Vezzani | Print: Cinemateca Brasileira | Sales: Heco Produções Public SCREENINGS Sun 29-1 22:30 CI5 Mon 30-1 22:30 CI7

A clever diptych about odd genital protractions, as it were: Hello, Pussy and The Unicorn, written and directed by one of the Boca do Lixo’s most audacious voices, Ody Fraga. In the first, a married but sexually loose woman discovers her vagina has the ability to communicate with passersby. Naturally, she obliges her genitalia’s naughty demands whenever and with whomever she can. In the second, a man wakes up one day with an odd penile outgrowth in his hair, finding that he has to satiate the primordial urges of having not one but two opportunely situated phalluses. A perfect satire on the breaking down of sexual norms with its dialectical approach to inward/outward, discreet/ indiscreet, liberation/repression, autonomy/dependence, it captures a transitional moment in Brazil deploying witty puns and hilarious visuals every step of the way. Radley Metzger and John Waters would approve.

fuk fuk à brasileira fuk fuk brazilian Style Jean Garret

Brazil, 1986 | colour, 35mm, 80 min, Portuguese Prod: Antonio Meliande | Prod Comp: Meliande Produções Artísticas | Sc: Jean Garret | With: Chumbinho, Bianchina Della Costa, Andrea Pucci, Oasis Minniti, Oswaldo Cirillo | Print: Cinemateca Brasileira Public SCREENINGS Fri 27-1 22:30 CI5 Sun 29-1 17:45 CI7

A class conflict satire thinly veiled as ‘pornochanchada’, Fuk Fuk Brazilian Style is one of the strangest works to come out of the Boca do Lixo’s hardcore phase. Mixing slapstick comedy and surrealism, the film stars prolific dwarf actor Chumbinho as Siri, a domesticservant-cum-slave who escapes captivity from a wealthy couple to go on a dream-like journey through a subterranean world of repressed sexual yearning. Dragging a crate of dildos behind him, Siri’s episodic adventures include a flophouse rub from a horny couple and a chance meeting with a talking horse on a beach. Eventually, the character finds himself a servant again, this time in a brothel, where he discovers a spaceship shaped like a giant penis.



Cultuur verbindt. Al voor E 4 sluit u zich aan. eur t a on ! d d Worjuist nu Het Prins Bernhard Cultuurfonds steunt het IFFR 2012. Beeldende kunst, geschiedenis & letteren, monumentenzorg, muziek & theater en natuurbehoud. Het Prins Bernhard Cultuurfonds zet zich in voor cultuur die u raakt. Al vanaf e 4 per maand sluit u zich aan. Ga naar



SignalS Power Cut Middle east




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Power Cut Middle East

Busy Making Revolution Sacha Bronwasser, Peter van Hoof

Flashback to IFFR 2011: On the same day that the film festival in Rotterdam started, the first demonstrators made their way to Tahrir Square in Cairo and never left. Naturally, we had already seen the astounding events in Tunisia. On 17 December 2010, the 26-year-old Tunisian fruit seller Mohamed Bouazizi set fire to himself and this led to demonstrations and riots against the 23-year regime of dictator Ben Ali. In less than a month, the unheard-of happened: the dictator gave in and fled. At the time, however, no one expected there would be such an immense knock-on effect. For the first time in decades, cracks – both large and small – appeared in regimes around the Arab world. That Hosni Mubarak would resign only a few weeks later in Egypt; that Saudi women would ignore the ban on female driving en masse; that the people of Syria would revolt; and that, after a prolonged struggle, freedom fighters in Libia would pose next to the lifeless body of Muammar Gaddafi – in early February 2011 all this was still unthinkable. Naturally, this edition of the IFFR will pay attention to the Arab revolutions, whatever their outcome. As the IFFR has demonstrated for decades, filmmakers are the first to draw outside attention to the injustices in their countries – whether openly or concealed by metaphor. Moreover, these contemporary revolutions are supported and fed by moving images. Thanks to the omnipresent cameras, such major historic events can now be, for the first time, experienced almost ‘live’ at street level. The moving image – the raw material for a film festival – plays an essential role. The filmmakers both record and participate in the protests. Egyptian artist Hala

In Search of a City (in the Papers of Sein)

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Elkoussy sent the following e-mail when she did not turn up for the première of her short film Mount of Forgetfulness. ‘I didn’t make it to the screening because I was busy making revolution.’ And there are many others like her. ‘Power Cut Middle East’ intends to understand these moving images by turning them inside out. Because what are we really looking at? Not just the moving images that spread the Arab revolutions to neighbouring countries, or even farther afield, over the past year. But also the images of what went on behind the news cameras: the video footage filmmakers have been using to show the sentiments of Arab populations for quite some time. Because one thing becomes abundantly clear from the films and installations that are part of Power Cut Middle East: this is not a sudden, Facebook or Twitter revolution. The new social media played an important part as did, for that matter, the rapid dissemination of news images, but large groups of demonstrators did not use the internet. Moreover: revolutions don’t develop due to 140-character slogans.  There was a much longer run-up to these revolutions, as there will be a longer aftermath. Spring – even an Arab one – passes, and true democratic change takes time. People’s dissatisfaction does not dissipate overnight. This is precisely the time at which a new, complex reality develops, which entails intense scrutiny of the new rulers. Power Cut Middle East does not focus on the entire Arab world, but on two countries in particular: Syria and Egypt. Syria, because – in spite of continuous massive demonstrations – the regime is the only one in the Arab world to refuse to see that things have to change. Egypt, because the revolution seemed te be over; until violence erupted once more.  ViSual aRtS FEStiVal DaMaSCuS in ExilE

Syrian film is often referred to as ‘the best kept secret’ of Arab cinema, even though national film production was, until only recently, entirely government funded. However, you cannot see this by looking at the works of pioneers such as Omar Amiralay, Mohamad Malas and Oussama Mohammad. Precisely because of the stringent censorship, Syrian filmmakers often developed extremely personal visual idioms in order to be able to still express themselves critically on social and political matters.  The first edition of the Damascus Visuals Arts Festival took place in 2010 and featured exhibitions, film screenings, multimedia performances, lectures and debates which sought to create a dialogue between contemporary visual culture in the Middle East and that elsewhere in the world. The odds of another edition of the festival taking place in Damascus in 2012 are slim, however. This is why the festival will now take place ‘in exile’: at the IFFR.  Suspended Dreams will screen documentaries by sociallycommitted makers who artfully managed to avoid censorship. The restrictions stimulated the development of a rich visual language full of metaphors and symbols which enabled them to deal with subjects that would otherwise have been off-limits. Young filmmakers in particular have, since 2000, employed an idiosyncratic mix of fiction and documentary. Their films will


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Dreams of the City

be screened alongside the Syrian classic Dreams of a the City by Mohamad Malas, which dates back to 1983 and which inspired many young directors to invent the new, ‘camouflaged’ style of film. A debate will be held on developments in Syrian cinema entitled: The Road to Damascus. Shifting Shores presents recent video works by Arab artists in which memory, identity and transformation are key concepts in individual quests for the manner in which historic background, collective memory and the transmitted images and stories influence the constantly changing Arab reality. Traditional views are critiqued; new perspectives are presented – issuing a challenge to reconsider ideas based on the media reality from before the Arab revolutions. The programme also comprises four installations at the Ai Weiwei Café/Power Cut Installations building located at Karel Doormanstraat 278. EgyPtian tiMElinES

Over the past twelve months, a mass of images were sent into the world from Tahrir Square in Cairo that all spelled r-e-v-o-lu-t-i-o-n. But the essence of all the unrest and discontent, i.e. the demonstrators’ real motives for being on the enormous square, can be found in the films from before 25 January 2011. This socio-historical, visual and cultural context can be found in the Egyptian Timelines programme. A number of filmmakers also juxtaposed their own film with another Egyptian production which had inspired them. Their choices are films which have almost never been screened abroad. Egyptian Timelines is an impressive selection of styles and subjects: from the dreamy, poetic walk through Cairo in which Hala Elkoussy makes the city’s torn core tangible in In Search of a City (in the Papers of Sein) to the astounding banality of the executioner who explains how he cut short hundreds of lives in Dina Hamza’s documentary In/Out of the Room. From Abwab al khouf: el naddaha, an episode of the world’s first Arab horror series, to an exploration of silence in Emad Maher’s Neon Lamp. In the sobering Back to the Square, Petr Lom shows how the systematic use of violence from the Mubarak era continues to this day. Another exceptional film is the tragedy The Three Disappearances of Soad Hosni about the imagined life of the famous Egyptian actress Soad Hosni. Edited together, excerpts

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Remarks on a Square

from Hosni’s films (on VHS) illustrate a remarkable social move: whilst Arab women first became increasingly modern in the eyes of the outside world, their rights were increasingly being eroded by conservative social movements. Besides screening films from outside of official Egyptian cinema, Egyptian Timelines also reveals a complex daily reality which the old regime preferred to keep under wraps. Stories of cultural repression; national identity pressured by internationalisation; poverty, prostitution and the abuse of power; but above all stories concerning the transitoriness of the city as a metaphor for cultural and economic decline, the arena for all frustrations.  REaDing tHE aRaB iMagE

During an evening of debate, Power Cut Middle East will comment on all these images utilising two lectures and a performance. What are the effects of the omnipresence of moving images? How do these influence the course of events? Has this put us in a constant, global loop of action and reaction? Which images do we or don’t we trust? The speakers will be Dutch journalist Ferry Biedermann, former Middle East correspondent of Dutch daily de Volkskrant who nowadays writes for The National and Elsevier Magazine; the Lebanese artist and musician Raed Yassin, with his new performance; and Jasmina Metwaly, artist, activist and one of the founders of Mosireen, a new, independent filmmakers’ collective in Cairo which developed on Tahrir Square and aims to record the revolution and use the power and emancipatory strength of those images. The English newspaper The Times named Tunisian fruit-seller Mohamed Bouazizi the most influential person of 2011. The American weekly TIME opted to name not an individual, but ‘the demonstrator’ in general as its ‘Person of the Year 2011’. Over the course of a single year, a desperate, brave individual became a movement, a fearless mass. Power Cut Middle East demonstrates – in images, films, artworks and in visual culture – that this mass had been coming to the boil for some time. Visual Arts Festival Damascus in Exile is curated by Delphine Leccas (Shifting Shores) and Charlotte Bank (Suspended Dreams and Shifting Shores). Nat Muller is co-curator for Egyptian Timelines.


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Suspended dreams The programme Suspended Dreams gathers films by Syrian filmmakers that explore alternative and experimental means of storytelling through the use of documentary. From very personal angles they offer a variety of readings of different issues of Syrian society and concerns of the region.

ahlam al-Madinah dreams of the City Mohamad Malas

Syria, 1983 | colour, video, 120 min, Arabic Prod Comp: General Organization for Cinema | Sc: Mohammad Malas, Samir Zikra | Cam: Ordijan Anjin | Ed: Haitham Kuwwatli | With: Rafiq Sbei’i, Yasmin Khlat, Basel al-Abyad, Talhat Hamdi | Print: ArteEast | Sales: Dunia Film Public SCREENING Tue 31-1 12:30 LV3


A young widow and her two sons are forced to move from their native Quneitra to Damascus to find shelter in her father’s house, only to be met with cruelty and rejection. The youngest son is sent to an orphanage, while the oldest boy, Dib, is forced to take responsibility for himself and his family. Against the background of the turbulent 1950s in Syria with its succession of military coups, Dib comes of age as he learns to support himself and tries to understand the complex realities of Damascene society with its political changes, communal strife and multiple facets. The film is an early example of Syrian auteur cinema; of fiction that borrows strongly from documentary. Filmed from the perspective of a boy, it is at once a document of Syrian recent history and a compelling coming-ofage story.


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ana alati tahmol azouhour ila qabriha i am the one who Carries Flowers to Her grave Hala Alabdalla, Ammar Al-Beik

Syria/France, 2006 | b&w, video, 105 min, Arabic Prod: Hala Alabdalla, Ammar Al-Beik | Prod Comp: Ramad Films, Les Films d’Ici | Sc: Hala Alabdalla | Cam: Hala Alabdalla, Ammar Al-Beik | Ed: Hala Alabdalla, Ammar Al-Beik | With: Fadia Lazkani, Rola Roukbi, Raghida Assaf, Youssef Abdelke, Nazih Abouafach, Fekrya Miro | Print: mec film Public SCREENINGS Wed 1-2 20:15 LV2 Thu 2-2 12:15 CI7

As one of the filmmakers approaches the age of 50, she decides to embark on a mental and physical journey to re-visit places, people and dreams that have had an impact on her life. She talks with the companions of her youth, friends from her days as a young political activist, asks a filmmaker friend to film the love of her life on his return to his beloved city. The film is an intimate portrait of four strong women, the filmmaker and her close friends and their personal struggles, the changes inflicted upon them through prison, and how life in exile, flight and other harsh experiences have shaped them. It is a film about the strength of art, poetry, love and companionship and a document of love for a country that never fades, even after many years of exile.

dolls: a woman from damascus Diana El Jeiroudi

Syria/Denmark, 2007 | colour, video, 57 min, Arabic Prod: Orwa Nyrabia, Mikael Opstrup | Prod Comp: Proaction Film, Final Cut Production | Sc: Diana El Jeiroudi | Cam: Joude Gorani | Ed: Diana El Jeiroudi | Sound Des: Dahna Abou Rahme | Music: Noma Omran | Sales: Proaction Film | Distr NL: Jan Vrijman Fund | Public SCREENING Tue 31-1 12:30 CI4

Manal, a young woman from a traditional Damascene milieu, tries to keep up the image of perfect housewife and mother expected by the community: always busy and loving, fulfilled by caring for her husband and children. Her two young daughters are fascinated by a new product on the toy market: Fulla, the Arab Barbie doll, the perfect personification of such ideals, carefully marketed to transmit the idea of the devout, subordinate and pious woman to young girls. Behind her facade, however, Manal misses her professional life before she became a mother, and the satisfaction it gave her. She starts looking for a job, refusing to give up her personal dream, despite the constant pressure she faces. The film interweaves interviews with the Fulla marketing manager with conversations with Manal to investigate the social climate of growing conservatism and the effect it has on women’s lives.



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Behind walls Two critical documentaries about how the prison system has been exploited in the recent past to suppress the protests in Syria. PUBLIC SCREENING Mon 30-1 10:00 Cinerama 4

ibn al am Cousin

Mohammad Ali Atassi The Syrian dissident Riad al-Turk is a prominent critic of the Baath regime in Syria and has spent over 17 years in prison. The film reveals a man of deep humanism who, faced with extreme harshness, also managed to keep his ideals. Syria, 2001 | colour/b&w, video, 50 min, Syrian Prod: Mohammad Ali Atassi | Print/Sales: Visual Arts Damascus

Fawqa al-raml, tahta al-shams

on the Sand, under the Sun Mohamad Malas, Hala Alabdalla The film presents a reflection on the effects of prison in general and on the theatre director Ghassan Jbaii in particular. The artist used his work to come to terms with his haunting memories and regain the world outside the prison walls. Syria, 1998 | colour, video, 32 min, Arabic Prod: Mohamad Malas | Print/Sales: Visual Arts Damascus



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Short Syrian documentaries 1 Since the middle of the past decade, Syrian filmmakers have been making increasing use of new digital media. This has opened up hitherto unknown possibilities, also for young emerging filmmakers. An independent film scene has emerged, strongly inspired by the former generations of auteur filmmakers. PUBLIC SCREENINGS Tue 31-1 14:45 LantarenVenster 6 Thu 2-2 17:30 Cinerama 4

Crack Reem Ghazzi The film tells the story of an elderly tailor who has chosen to withdraw from the world after a traumatic incident. He now observes his surroundings from behind the safety of the closed door of his shop. Syria, 2007 | colour, video, 4 min, Arabic Prod: Reem Ghazzi | Print/Sales: Visual Arts Damascus

Madeenatain wa sijn two Cities and a Prison Soudade Kaadan The filmmaker follows an experimental theatre project in Syria on its tour through rural Syria and in a prison for young delinquents. Through interactive plays, they attempt to question traditional social rules and achieve a re-thinking of role models. Syria, 2008 | colour, video, 39 min, Arabic Prod/Sc: Soudade Kaadan | Cam: Soudade Kaadan, Raed Sandid | Ed: Soudade Kaadan | Print/Sales: Video Arts Festival Damascus

Zabad Foam

Reem Ali Foam presents a sensitive and multilayered portrait of a Syrian couple as they strive to balance their care for a mentally disabled family member with work, memories of political prison and a longing for change and emigration. Syria, 2006 | colour, video, 46 min, Arabic Prod Comp: Arab Institute of Film | Print/Sales: Visual Arts Damascus



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Short Syrian documentaries 2 For an explanation of the content, see the compilation programme Short Syrian Documentaries 1. PUBLIC SCREENINGS Tue 31-1 17:15 Cinerama 5 Thu 2-2 14:30 LantarenVenster 6

innahum kanu hun they were Here Ammar Al-Beik In this contemplative homage to an important part of Damascene industrial history, the filmmaker revives the old steam engine plant of Damascus, once a symbol of optimistic belief in development, but now a deserted and desolate place. Syria, 2000 | b&w, video, 8 min, Arabic Prod: Ammar Al-Beik | Print/Sales: Video Arts Festival Damascus

Before Vanishing Joude Gorani This film revolves around the Barada river that runs through Damascus and used to be the traditional source of its wealth. Nowadays, the river is polluted and on the point of drying out. and only runs through the city as a poor trickle. Syria/France, 2005 | colour, video, 14 min, Syrian Prod Comp: La FĂŠmis | Cam: Joude Gorani | Ed: Delphine Dumont | Print/Sales: Video Arts Festival Damascus

the right Side of that road Hazem Alhamwi A film essay that represents a search for the small details and beauty of the popular quarters of the Old City of Damascus. Life here is characterised by a specific simplicity that seems to be disappearing, and a strong sense of community. Syria, 2004 | colour, video, 14 min, Syrian Prod: Hazem Alhamwi | Print/Sales: Video Arts Festival Damascus

Madinat al faragh City of emptiness Ali Sheikh Khudr In this experimental short documentary, the filmmaker revisits the city of his youth and presents a searching look back to another time, but seems only to find emptiness and escape as the sole final solution. Syria, 2008 | colour, video, 8 min, no dialogue Prod/Sc/Cam/Ed/Prod Des/Sound Des/Music: Ali Sheikh Khudr | Print/Sales: Visual Arts Damascus



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Silence Rami Farah Silence is an emotional investigation of sense and senselessness in the conflict over the occupied Golan Heights and the events leading to its loss. It is a film about loss and memory, and a tribute to people who remain human when faced with inhumanity. Syria, 2006 | colour, video, 40 min, Arabic Prod: Diana El Jeiroudi | Prod Comp: Proaction Film | Cam: Raed Sandid | Ed: Firaas Jawwaad | Music: Tareq El Naser | Print/Sales: Visual Arts Damascus

Short Syrian documentaries 3 For an explanation of the content, see the compilation programme Short Syrian Documentaries 1. PUBLIC SCREENINGS Wed 1-2 14:30 LantarenVenster 6 Thu 2-2 11:45 LantarenVenster 5

Jibal alsawan Flint Mountains Nidal Hassan Abu Beram is a sculptor and architect who collects stones from the mountains surrounding his native village and creates artworks from them. The film presents the protagonist with his circle of friends and their life, filled with friendship and simple joys. Syria, 2009 | colour, video, 46 min, Arabic Prod: Shadi Abo Fagher | Print/Sales: Visual Arts Damascus

Stone Bird Hazem Alhamwi Stone Bird follows the eccentric Abu Hajar, who has chosen a life apart from society to escape an intractable personal conflict. The film is a reflection on society with its rigid rules and its crippling effects on humans. Syria, 2006 | colour, video, 35 min, Syrian Prod: Hazem Alhamwi | Print/Sales: Video Arts Festival Damascus



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Shifting Shores 1 Recent video works by artists from different Arab countries. Centring on a net of meaning around the concepts of memory, identity and change, the works represent individual investigations into how history, collective memory and transmitted images and narratives are closely linked to contemporary, fast-changing realities. PUBLIC SCREENINGS Tue 31-1 20:00 LantarenVenster 5 Wed 1-2 12:30 LantarenVenster 2

transparent evil Roy Samaha In early 2011, the filmmaker set out together with a friend to undertake a commissioned project to follow in the footsteps of James Bruce and document the Nile river from Alexandria to Aswan, but he got caught up in the events of the Egyptian revolution. international PreMiere

Lebanon/Germany, 2011 | colour/b&w, video, 27 min, Arabic/English Prod: Jean-Jeaques Viau | Sc/Cam/Ed: Roy Samaha | Prod Des: JeanJacques Viau | Sound Des: Roy Samaha | With: Gheith El-Amine, Roy Samaha | Print/Sales: Video Arts Festival Damascus

Hadinat al shams the Sun’s incubator Ammar Al-Beik The life of a young family as it is interwoven with the stories of the past year; of protests, change, revolutions and martyrs. The birth of a baby, the death of a child who became iconic: hope and misery are closely linked. Syria, 2011 | colour, video, 11 min, Arabic/French Prod/Sc/Cam/Ed/Prod Des/Sound Des: Ammar Al-Beik | With: Sofia Shams Al-Beik, Myriam Jakiche Al-Beik, Ammar Al-Beik | Print/Sales: Ammar Al-Beik

the Story of Milk and Honey Basma Alsharif This film tells the story of the failure of an unknown author to write a love story. Images, letters and songs are linked through a voice-over narrative and develop into a detailed search for the human perception of history, truth, images and sounds. Lebanon, 2011 | colour, video, 10 min, Arabic Prod/Sc/Cam/Ed/Prod Des/Sound Des: Basma Alsharif | Music: Nagat El Saghira, Abdel Halim Hafez | Print/Sales: Video Data Bank (VDB)



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of Heroes, Football and all that remains of My Childhood Lynn Kodeih Taking as her starting point the heritage of ‘impossible change’ – a fatalistic acceptance of the impossibility of change that characterizes her generation of Arabs – the artist explores the concept of ‘the revolutionary’ as the necessity arises to define her place vis-à-vis the recent events in the Arab world. Performance. Lebanon, 2011 | colour, video, 25 min, Arabic/English Prod: Lynn Kodeih, Koussay Hamzeh | Prod Comp: MAD4FILMS | Ed: Pamela Ghanimeh | Sound Des: Victor Bress | Print/Sales: Video Arts Festival Damascus

Shifting Shores 2 For an explanation of the content, see the compilation programme Shifting Shores 1. PUBLIC SCREENINGS Wed 1-2 15:00 Cinerama 6 Thu 2-2 16:45 LantarenVenster 5

adam Ali Heraize In this portrait of Egyptian youth, a young man moves through the streets of Cairo, with their many facets and contrasts. At once familiar, yet at odds with the surroundings, he seems to struggle for a place to be and be heard. international PreMiere

Egypt, 2011 | colour, video, 2 min, Arabic Prod: Ali Heraize | Print/Sales: Video Arts Festival Damascus

one eye open Ikon The image of a city slowly appears as the glittering lights gain in intensity. Traffic noise mounts and mounts to an almost unbearable level. Alluring, yet disturbing, the city seems to hold its breath at the point of a climax, waiting for events to come. Egypt, 2011 | colour, video, 18 min, Arabic Prod: Ikon | Print/Sales: Video Arts Festival Damascus |



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e.d.l. Siska The video portrays Lebanon’s national electricity building, shot on Super-8 and accompanied by droning noises reminiscent of experimental electronic sounds of the 1950s and 1960s. It presents an homage to a modernist project linked to the very construction of Lebanon’s modern state. international PreMiere

Lebanon, 2012 | colour, video, 21 min, no dialogue Prod: Christine Thome | Prod Comp: Ashkal Alwan | Sc/Cam/Ed/Prod Des: Siska | Sound Des/Music: Christian Blumberg | Print/Sales: Video Arts Festival Damascus

Master-Slave dialectic Paul Hage Boutros The video presents an encounter between a self-conscious being and a non-selfconscious object, where the director is engaged in a struggle with the camera in order to enslave it, only to find that this does not give him the expected control over the machine. international PreMiere

Lebanon, 2011 | colour, video, 7 min, no dialogue Prod/Sc/Cam/Ed/Prod Des: Paul Hage Boutros | Sound Des/Music: Marc Ernest | With: Paul Hage Boutros, Charbel Hage Boutros, Elyse Hage Boutros, Joseph Hage Boutros | Print/Sales: Video Arts Festival Damascus

Bombes Bombs

Sandra Ghosn The artist imitates a succession of profile pictures of Facebook users in a reflection on the social networking site as a breeding ground for narcissism. With its audio track evolving from bomb sounds to entertaining J-pop, the piece evokes an evolution from harsh reality to denial. international PreMiere

France/Lebanon, 2011 | colour, video, 5 min, no dialogue Prod/Sc/Cam: Sandra Ghosn | Ed: Sandra Ghosn, Rabih Gebeile | Prod Des: Sandra Ghosn | Sound Des: Rabih Gebeile | Music: C-ute | With: Sandra Ghosn | Print/Sales: Video Arts Festival Damascus



SignalS: Power Cut Middle eaSt

Power Cut installations A journey to different parts of the Middle East. Images of war and peace and a phone call from Space. Three installations from the Shifting Shores section and one from the section EgyptianTimelines, brought together at the festival venue Ai Weiwei Café/Power Cut Installations.

Pipe dreams Ali Cherri In a face-to-face encounter between a PVM monitor and a pocket projector, the installation combines archival images, images from the current Syrian uprising and constructed images. Two moments in the history of contemporary Syria that echo the situation across all Arab countries: a memorable phone call between the Syrian cosmonaut Muhammed Faris, who was part of the Russian mission to the Mir Space Station, and the late president Hafez al-Assad, and the removal of the statue of Assad by the Syrian government to prevent its destruction by the demonstrators. Location: Ai Weiwei Café/Power Cut Installations, Thu 26 - Sat 4, 12:00 - 20:00. Lebanon/France, 2011 | colour, video, 5 min, Arabic Prod: Imane Farès | Prod Comp: Imane Farès Galerie | Print/ Sales: Video Arts Festival Damascus |

trespass the Salt Larissa Sansour, Youmna Chlala In this collaborative project, Sansour and Chlala investigate the nuanced relationship of Europe and the Middle East through a sumptuous feast around a lavishly set dinner table. As the guests reflect on cultural differences with respect to food and drink, the work examines cultural and power-related dynamics through humour and references to the grotesque and surreal. Location: Ai Weiwei Café/Power Cut Installations, Thu 26 - Sat 4, 12:00 - 20:00. world PreMiere

Lebanon/Palestine/United Kingdom, 2012 | colour, video, 11 min, Arabic/English/French Prod/Sc: Larissa Sansour, Youmna Chlala | Cam: Hanna Abu Sada, Ayman Nahle | Ed: Riffy Powers | Prod Des: Larissa Sansour, Youmna Chlala | Sound Des: Sheraz Reshmawi, Ziad Amjad | With: Darine Flefel, Johnny W Hazboun, Baha Hilo, Manal Mitri, Leila Sansour | Print/Sales: Video Arts Festival Damascus



SignalS: Power Cut Middle eaSt

out of Focus Salah Saouli This installation presents a vision of a city at a crucial moment of transition. Four videos, each of which presents images from the centre of Beirut in the early 1990s, convey the impression of a panoramic view of the streets of Beirut as the city seems to hold its breath and regain its strength after the end of the Civil War. Located somewhere between fantasy and reality, real and virtual, the images move in an interaction between past and present and draw the observer into an almost physical engagement. Location: Ai Weiwei CafĂŠ/Power Cut Installations, Thu 26 - Sat 4, 12:00 - 20:00. Lebanon, 2011 | colour, video, 60 min Prod: Salah Saouli | Sales: Video Arts Festival Damascus |

remarks on a Square Jasmina Metwaly A series of videos shot in Tahrir Square during and after the uprising in Cairo, Egypt, in 2011. Here, everything happens in a circle. We may enter as a viewer. Moving towards it, the edge of the circle expands. Remarks on a Square is situated somewhere between the moment and the memory. Remarks are like reminders that were once developed and now turn into mirrors of themselves. They are not about the revolution. Location: Ai Weiwei CafĂŠ/Power Cut Installations, Thu 26 - Sat 4, 12:00 - 20:00. Egypt, 2011 | 53 min



SignalS: Power Cut Middle eaSt

egyptian timelines 1 The revolution did not happen overnight - it was foreshadowed in Egyptian films, visual pamphlets, artworks and documents in recent years. In Egyptian Timelines, current events are placed in a larger socio-historical, visual and cultural context. In addition, some of the filmmakers show, beside their own work, a film of choice: influential or clarifying, but rarely shown abroad. PUBLIC SCREENINGS Mon 30-1 17:00 LantarenVenster 1 Thu 2-2 19:30 LantarenVenster 5

dakhal kharag el gorfa in/out of the room Dina Hamza In/Out of the Room features the life of an executioner in Egypt. Also known as ‘Ashmawi’, the film dwells into the life of 63-year-old Am Hussien, inside and outside of the execution room. Is there a difference between both worlds? Do they affect each other? A few years are left before he reaches retirement age. Does he want to open up without fear? The film is an attempt to get a fearless closer look. Egypt, 2010 | colour, video, 52 min, Arabic Prod: Khaled Abdel-Galil | Prod Comp: Egyptian Film Center | Sc: Dina Mohammed Hamza | Cam: Mahmoud Lotfy | Ed: Mohammed Eid | Music: Hazem Shaeen | With: Mahmoud Lotfy, Hazem Shaheen,Mohamed Eid, Khaled M. Ibrahim, Khaled Abdel Galil | Print/Sales: Dina Hamza

ahlam Hind we Kamilia (Fragment)

dreams of Hind and Camilia (Fragment)

Mohammed Khan Two women, housemaids abused by their employers and male family members, decide to make new lives for themselves, starting a friendship which invents a whole new relationship, a sisterhood unusual in Arab cinema. Egypt, 1989 | colour, video, 5 min, Arabic Prod: Hussein M. Kalla | Prod Comp: Al-Alamiya | Sc: Mohamed Khan, Mustapha Gomaa | Cam: Mohsen Nasr | Ed: Nadia Shoukry | Music: Ammar Al-Chereï | With: Naglaa Fathy, Aida Reyad, Ahmed Zaki

Sturm: ahmonseto Philip Rizk In 2002, Mohamed Khamis – a business tycoon close to the Mubarak regime – tried to become a partner in the Ahmonseto textile factory. Shortly after owner Adel Agha rejected the offer, he was accused of fraud charges and imprisoned. After his release, Agha fled the country. Caught in the middle of this business dispute were the 2,000 workers employed at the Ahmonseto complex. Egypt, 2010 | colour, video, 6 min, Arabic Prod/Print/Sales: Philip Rizk



SignalS: Power Cut Middle eaSt

Sturm: Fayoum Philip Rizk In Abuxa, the water no longer reaches the fields. One of the reasons is that those who oversee the water distribution do so for their personal benefit. Not only are many of these agri-businesses owned by former members of parliament, but government policy actually encourages food export. Increased exports are said to ‘strengthen the economy’. In 2011, food prices increased by 18%. Egypt, 2010 | colour, video, 5 min, Arabic Prod: Philip Rizk | Print/Sales: Philip Rizk

egyptian timelines 2 For an explanation of the content, see the compilation programme Egyptian Timelines 1. PUBLIC SCREENINGS Tue 31-1 15:00 Cinerama 5 Wed 1-2 17:00 LantarenVenster 6

Maydoum Omar Robert Hamilton When he hears his cousin is about to sell their grandmother’s land, Sharif gets on the first plane to Cairo. On arrival, he finds himself faced with old arguments and new decisions in a changing country. Shot over 2009 in Cairo and London, Maydoum stars Khalid Abdalla (The Kite Runner, Green Zone) in an original screenplay by best-selling novelist Ahdaf Soueif. Egypt/United Kingdom, 2010 | colour, video, 13 min, Arabic/English Prod: Omar Robert Hamilton | Sc: Ahdaf Soueif, Omar Robert Hamilton | Cam: Mahmoud Lotfi, Brian Fawcett | Ed: Ahmad Abdalla, Colin Campbell | Prod Des: Daniel Nussbaumer | Music: Omar Fadel | With: Khalid Abdalla, Salma Said, Mahmoud Hamdy | Print/Sales: Omar Robert Hamilton |

in the last days of the City (trailer) Tamer El Said In the fading grandeur of downtown Cairo, Khalid struggles to make a film about the city in which he is losing everything he loves: he is about to be kicked out of his apartment; the woman he loves is emigrating; and the death of his father has reawakened memories of his childhood, when Cairo and his country seemed a brighter world. international PreMiere

Egypt, 2011 | colour, video, 3 min, Arabic Prod: Tamer El Said | With: Khaled Abdalla | Print/Sales: Tamer El Said |



SignalS: Power Cut Middle eaSt

Blue dive Mostafa Youssef The sea is a source of life, but at the same time a destructive power. Alexandria: three people who meet each other in the corridors of a hospital have experienced the dangers of the beautiful blue sea. Developed with the aid of the Berlinale Talent Campus, Mostafa Youssef investigates death in today’s Egypt. international PreMiere

Egypt, 2011 | colour, 35mm, 1:1.85, 16 min, Arabic Prod Comp: Egyptian Film Center | Sc: Mostafa Youssef | Cam: Mohamed Abdel Raouf | Ed: Doaa Fadel | Prod Des: Ayman Elhamy | Music: Huda Asfour | With: Sayed Ragab, Donia Massoud, Atef Youssef | Print/Sales: Egyptian Film Center

eshk akhar

another Passion Heba Yossry Another Passion is about a dialogue between a mother and a daughter, in which the former’s dream of becoming an actress is dismissed by the latter as dangerous and haram, playing out the potential conflict of art and religion until the father bursts in and puts an end to the dream. Egypt, 2006 | colour, 35mm, 1:1.85, 20 min, Arabic Prod: Heba Yossry | Prod Comp: High Institute of Cinema | Sc: Heba Yossry | Cam: Ahmad Yacoub | Ed: Haitham El Hall | Prod Des: Marwa Waheed | Sound Des: Ahmad Gamal | With: Heba Yossry, Salah Rashwan, Fatima Akawi, Maryam Akawi, Azziza Rashed | Print/Sales: High Institute of Cinema

nosskha shabeyya local Copy Islam Kamal The prostitute Marwa and her friend agree to meet a regular customer, the student Adel, and his friend. The public nature of the spot she choses, the square in front of the Bibliotheca Alexandria, irritates him. A beautiful play unfolds in front of bystanders. international PreMiere

Egypt, 2010 | colour, video, 20 min, Arabic Prod: Islam Kamal | Prod Comp: Bibliotheca Alexandrina Arts Center, Figleaf Studios | Sc: Islam Kamal | Cam: Tamer Nady | Ed: Islam Kamal, Emad Maher | Prod Des: Ahmed Nabil | Sound Des: Samir Nabil | Music: Samir Nabil | With: Ahmed Mustafa, Saeid Kabil, Violla Fayez, Sarah Shalaby | Print/Sales: Figleaf Studios

neon lamp Emad Maher Quietness as it is actually defined, including the non-existence of sound waves and pressure and all of that, exists only in outer space. Neon Lamp is a journey into quietness. What does it mean? How is it interpreted? An exploration of apparent human (and inhuman) silence: clocks ticking, lamps buzzing or street noise. international PreMiere

Egypt, 2008 | colour, video, 26 min, Arabic Prod: Emad Maher | Prod Comp: Fig Leaf Studio | Sc: Charles Akl | Cam: Islam Kamal | Ed/Prod Des: Emad Maher | Sound Des: Samir Nabil | Music: Shady El Garf | With: May Waleed, Sahdy El Garf, Mostafa Abo Sreaa, Mark Lofty, Mahamed Kareem | Print/ Sales: Fig Leaf Studio |



SignalS: Power Cut Middle eaSt

egyptian timelines 3 For an explanation of the content, see the compilation programme Egyptian Timelines 1. PUBLIC SCREENINGS Tue 31-1 17:00 LantarenVenster 6 Wed 1-2 12:30 Cinerama 4

rant Hassan Khan This piece uses a minimalist form of expression. The subject, actress Roba El Shamy, is sitting in front of the camera, behind a table. Over a period of roughly six minutes she utters ten phrases. Her gestures and facial expressions are accompanied by a piano composition by the artist. Egypt, 2009 | b&w, video, 7 min, no dialogue Prod: Graham Waite | Print/Sales: Galerie Chantal Crousel

rice City Sherif El Azma The fi lm mainly borrows its aesthetics from 1930s-1940s fi lm noir and melodrama: to build tension through the craft of narrative fi lmmaking (with all its conventions regarding the use of cinematography, art direction and blocking) without succumbing to its tendency to gravitate towards an ultimate, humanistic meaning. Desires float, suspend and frustrate themselves without generating any obvious emotional climax. Egypt, 2010 | b&w, video, 20 min, Arabic Prod/Sc: Sherif El Azma | Cam: Sherif Galal | Ed: Mariam Mikiwi | Music: Nahla Mattar | With: Count Federio di Wardal, Mona Gamil, Santo Walle | Print/Sales: Sherif El Azma

al bahth an madina – fi awraaq Sein in Search of a City (in the Papers of Sein) Hala Elkoussy A journey through Cairo, led by the voice of the contemporary ‘flâneuse’ Sein. Her journey leads through the age-old streets, through colonial districts modelled on Paris to new apartments in international style. Using voices from now and from the past, Hala Elkoussy shows how ‘the City’ is constantly reborn, resisting meanings just as recalcitrantly as its eight million inhabitants and in this way becoming the megalopolis it is today. world PreMiere

Egypt/United Kingdom, 2012 | colour, video, 34 min, Arabic Prod: Hala Elkoussy | Prod Comp: Folkestone Triennial | Sc: Hala Elkoussy | Cam: Abde lsalam Moussa | Ed/Prod Des/Sound Des: Hala Elkoussy | Music: Mohamed Antar | With: Solafa Ghanem, Bassem Wadie, Bassem Yousry | Print/Sales: Hala Elkoussy



SignalS: Power Cut Middle eaSt

Kit Kat (Fragment) Daoud Abdel Sayed Sheikh Hosny, portrayed by Mahmoud Abdel Aziz in one of his best roles ever, is a blind man who doesn’t pay attention to his disability and enjoys life in many ways, including riding a motorcycle on his own! His son Youssef is an unemployed university graduate who wishes to go to Europe to earn his living. His friends try to persuade him to seek work in Iraq, Kuwait or Saudi Arabia, but he refuses. Egypt, 1991 | colour, video, 5 min, Arabic Sc: Daoud Abdel Sayed | Music: Ragueh Daoud | With: Mahmoud Abdel Aziz, Sherif Mounir, Aida Reyad, Nagah El-Mogui | Print: Egyptian Film Center | Sales: El Sobky Film

abwab al khouf: el naddaha

doors of Fear: el naddaha Ahmed Khaled This episode of the unique and first Arab horror series revolves around Adam Yassin (played by Amr Waked), a clairvoyant journalist who writes about unsolved mysteries with details that are only known to him and the people he writes about. He has a gift that enables him to contact another realm to find out things about these unsolved cases. This gift, however, plagues him in his personal life as he struggles with his visions and reality. international PreMiere

Egypt, 2011 | colour, video, 42 min, Arabic Prod: Amr Koura | Prod Comp: alkarma | Sc: Mahmoud Desoky, Ahmed Khaled, Mohamed Solaiman | Cam: Nezar Shaker | Ed: Ashraf Kholy, Rania Montasser | Prod Des: Karim Shatila | Sound Des: Ibrahim Desoky | Music: Sammy Sayed | With: Amr Waked, Riham Ayman, Gamil Rateb, Rania Shahin | Print/Sales: alkarma |

revolution Khaled Hafez We learn throughout the four minutes of this work that what remains of the broken promises are the social equity of the military gun, the pseudo-liberty of the multinational transcontinental corporations and the unity of chopping off heads, representing the global rise of right-wing religious fundamentalism. Egypt, 2006 | colour, video, 3 min, no dialogue Prod: Khaled Hafez | Prod Comp: Anubis Productions | Sc: Khaled Hafez | Cam: Haysam Hosny | Ed: Mohamad el Sahrkawi | With: Bassem Wadie | Print/ Sales: Anubis Productions |

the a77a Project Khaled Hafez The work ironically documents the current state of the streets of Cairo, once described as one of the most beautiful downtowns in the world, and a reflection of the social and economic challenges facing many communities in the world now. Egypt, 2009 | colour, video, 3 min, Arabic Prod: Khaled Hafez | Prod Comp: Anubis Productions | Sc/Cam: Khaled Hafez | Music: Ahmed Saleh | Animator: Ahmed El Shaer | Print/Sales: Anubis Productions |



SignalS: Power Cut Middle eaSt

akhtifa’at Soad Hosni ath-thalathat

the three disappearances of Soad Hosni

Rania Stephan

Lebanon, 2011 | colour/b&w, video, 68 min, Arabic Prod: Rania Stephan | Prod Comp: JOUN FILMS | Sc: Rania Stephan | Ed: Rania Stephan | Sound Des: Rania Stephan | Print/Sales: JOUN FILMS Public SCREENINGS Mon 30-1 14:302 LV6 Tue 31-1 19:452 CI5

The Egyptian Soad Hosni was born in 1943 and committed suicide in 2001. Hosni, one of the most celebrated Arab actresses, played in 82 features. Rania Stephan reconstructed her life, just using fragments on VHS films in which Hosni was a shining star. The film is divided into three acts, a prologue and epilogue, and not only tells the life story of the versatile film star, but also of Egyptian cinema and society. In the first part, we see the actress sing and dance and a cheerful gathering of boys, girls and family. In the second part, we see Hosni – who in reality had countless affairs – as a desirable woman in sometimes complex relationships. Act three runs parallel to a change in the mood of society: there is violence against and oppression of women. It isn’t only the body of Hosni that disappeared; this form of cinema and VHS as a medium also disappeared – three disappearances.

Back to the Square Petr Lom

world PreMiere

Norway/Canada, 2012 | colour, video, 83 min, Arabic Prod: Torstein Grude | Prod Comp: Piraya Film AS | Sc: Torstein Grude, Petr Lom | Cam: Petr Lom | Ed: Petr Lom, Erik Andersson | Sound Des: Jeroen Goeijers | Print: Piraya Film AS | Sales: Films Transit International Inc. Public SCREENINGS Sun 29-1 21:15 PA6 Mon 30-1 12:15 LV2 Wed 1-2 18:30 PA2 Press & Industry SCREENING Sat 28-1 14:30 CI3


What have the sacrifices on Tahrir Square at the start of 2011 yielded? Unfortunately, not a great deal: this much is apparent from the stories of five Egyptians involved, about six months after the historic revolution. A young horse herdsman tells how he drove to the square to ask for the pyramids to be opened again; he only just managed to survive that day. A taxi driver talks about his six years in prison, the torture, and how the police now behave worse than ever. A young woman talks about intimidation and unjust arrests, which according to human rights lawyers are happening continuously. The young Salwa describes how she met her first love during the demonstrations. And then the brother of Michael Nabil: a blogger who was arrested because of his internet comments and is now on hunger strike – he is followed on Tahrir Square during the protests that still continue against the ongoing violations of human rights.



SignalS Hidden Histories

SignalS: Hidden HiStorieS

Hidden Histories

the independent Chinese documentary makers and the documentary works of ai Weiwei gerwin tamsma, gertjan Zuilhof

The most independent documentary films coming out of China can hardly be described as political at all. And if any criticism is aimed at those in positions of authority, those targeted are always people on the lower rungs of the power ladder, or from far-flung provinces. The carryings-on of those at the top of the political tree are never discussed – the political decisions taken in Beijing are unassailable. The situation was no different 20 years ago, when Wu Wengguang made Bumming in Beijing: The Last Dreamers (1990). This documentary portrays five artists, illegally staying in Beijing during the period immediately following the bloodbath around Tiananmen Square in 1989. With this film, Wu laid the foundation for the current generation of independent documentary filmmakers. The next milestone appeared more than ten years later: Wang Bing’s nine-plus-hour masterpiece Tie Xi Qu: West of the Tracks – a report, in minute detail, of the consequences for the common man of the macroeconomic course being set in the New China. The filmmakers in this programme also feel a commitment to the lot of the common man, and the poorest of the poor – people who are usually overlooked, or who don’t want to be seen. To film them, it is often necessary to undertake long journeys to places far away from the capital; often, to the provinces where they themselves were born. It is for this reason that their presence can go unremarked: they know the way, and they speak the language. Several of these filmmakers could be described as ethnographers or anthropologists in their own country. Filmmaker Cong Feng, for example, spent more than four years in a small community in Gansu province, in the northwest of China. He became so settled there that no one remembered what he had originally come to do. This allowed him to record everyday life, unaffected by the camera. He finally made two films: Doctor Ma’s Country Clinic and The Unfinished History of Life. Filmmaker Xu Tong, a guest in Rotterdam last year with Fortune Teller, gave rise to controversy by the way he portrays the shadowy dealings of the flamboyant female brothel keeper and ´entrepreneur´ Tang Caifeng in Shattered. Not only was he accused of being too close to Tang, but – more seriously – he remained completely aloof from her at times highly dubious moral practices. Another remarkable aspect of these filmmakers’ working methods is the length of time they take to record their subjects. Time that proves an effective judge, jury and executioner: the lies inherent in the propaganda of progress are remorselessly exposed by its passing. The camera, however, is also trained on Beijing itself: Born in Beijing by Ma Li and When the Bough Breaks by Ji Dan painstakingly document various homeless communities on the periphery of

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the city. These films provide irrefutable proof that the economic growth of today’s China by no means benefits all. Born in Beijing also tells another story. That of the ‘petitioners’ – people in Beijing who have wanted to lodge a complaint against their local authorities. The old women in the film living under bridges were originally petitioners, or in some cases even their children. The other side of the petitioners’ story is revealed in one of the most exceptional films in this programme: Zhang Zanbo’s The Interceptor from My Hometown. An ‘interceptor’ is an official hired by the authorities, authorised to do anything and everything to intercept petitioners from the provinces. He is even authorised to forcibly return them to their place of residence, if necessary. Zhang happened to meet a former classmate of his, who had become an interceptor, and who was prepared to tell his story in front of the camera, allowing Zhang to expose one of the perverse cogs in the power machine. ai WEiWEi

On Sunday evening, 3 April 2011, world-famous artist Ai Weiwei was arrested at the airport in Beijing. He was confined for 81 days without any clear charge, at a location that was initially kept secret. After being released, he was held under house arrest, suspected of tax evasion and bigamy. Ai Weiwei is China’s best-known political activist after Liu Xiaobo – the writer and human rights activist who received a Nobel Peace Prize in prison in 2010. The Chinese authorities became alarmed when Ai Weiwei garnered a huge army of followers on Twitter-style website Weibo. Not only students and activists, but also artists and filmmakers followed Ai Weiwei’s activities on this social network. Ai Weiwei has now been removed from Weibo. The arrest of Ai Weiwei made a big impression in China, in particular on independent documentary makers, whose work exposes them to similar risks. In recent years, many activists and their lawyers have been locked up, or have even disappeared;

Born in Beijing


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So Sorry

nevertheless, the fact that such a famous figure as Ai Weiwei could be arrested just like that was an extremely worrying development. During the months after his arrest, many less well-known artists and filmmakers came into conflict with the authorities. Film festivals were postponed or forbidden and their organisers advised to leave their jobs or return to their home towns or villages to reconsider. Paradoxically, the year in which Ai Weiwei was arrested – a year in the shadow of repression – proved to be a good, productive year for the independent film scene. Not all independent filmmakers in China have undergone professional film training. Many of the filmmakers included in the Hidden Histories programme are autodidacts. Cong Feng, for example, was a newspaper weatherman, Ji Dan a teacher, He Yuan an anthropologist and Yu Guangyi a wood carver. Only a few people realise that versatile artist and architect Ai Weiwei did receive professional film training, at the film academy in Beijing no less, where he was in the same year as Zhang Yimou and Chen Kaige. Nevertheless, his films display few academic trademarks; his art videos are far removed from traditional filmmaking and his ‘social documentaries’ often seem to be more about him than made by him. It is remarkable for an artist-filmmaker of his status that his works have hardly been available to the public until now. Opportunities for exhibition in China were minimal, and are now completely non-existent. Previously, Ai Weiwei would give out his films on free DVDs at public appearances, but this option is now closed, too. Of the five documentary films included in this programme (Fairytale; Disturbing the Peace; One Recluse; Ordos 100; So Sorry), only two had subtitles, and Ordos 100 and So Sorry were not even finished. This has now been taken care of, specially for the IFFR.

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Ai Weiwei is not a filmmaker in the usual sense of the word. All of his films are part of larger social, architectural or visual art projects. Some are reports on political activities, such as the entertaining, in fact comical Disturbing the Peace – in which Ai Weiwei is plucked from his hotel bed in the pitch darkness one night by the police – and some are art projects. But on a grand scale: in Ordos 100, one hundred international architects are invited to realise a huge project in Inner Mongolia; in Fairytale, a thousand Chinese attend the documenta event in Kassel, Germany. Ai Weiwei is the artist who had millions of hand-painted porcelain sunflower seeds made and shipped to London, as well as the tireless demonstrator who leaves hundreds of messages on the internet, night after night (!/aiww). He is never limited by scale, duration or length. The art video Beijing 2003, for example, is no less than 150 hours long. Maybe no one will ever see the film in its entirety, but it’s the idea that counts : recording all the streets in the centre of Beijing from a moving car. ai WEiWEi CaFé

The films in this programme cannot be seen in the cinemas in China. This is not always the fault of the censors. Some of the films can be shown without problems in museums and at festivals. Sometimes, these festivals encounter difficulties, and may even have to go underground. But not always. Whatever the case, these films are shown in China – often in small, at times almost living-room settings. To give visitors to the IFFR a feel of what this is like, during the festival a special café will be set up and we will call this the Ai Weiwei Café – not only because many of these films require an informal screening and the possibility to speak to the makers, or because Ai Weiwei’s installation-style art videos need a space, but above all because one very important festival guest cannot be present this year.


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the Unfinished History of life Cong Feng

eUroPean PreMiere

China, 2011 | colour/b&w, video, 245 min, Mandarin Prod: Cong Feng | Cam: Cong Feng | Ed: Cong Feng | Prod Des: Cong Feng | Sound Des: Cong Feng | Print/Sales: Cong Feng Public SCREENINGS Tue 31-1 19:45 CI4 Fri 3-2 15:00 LV2

For this film, Cong Feng returned to the village of Huangyangchuan in Gansu province in the north-west of China, where he had previously made Doctor Ma’s Country Clinic. A very ordinary place and far from flourishing, where very ordinary people live who have very little. That’s precisely why Cong went there: he wanted to paint a picture of typical Chinese life in the rural areas. In making this very extensive portrait, he maintained the approach of an anthropologist. Above all, he lived, ate and drank with the people he was filming – and not just briefly. All together, he lived in this place for four years. Many of his friends are teachers or former teachers, but they live in poverty as peasants. The filmmaker sees their lives as a repetition of cycles and also tries to depict them as such. This may help explain the considerable length of the film.

Kong shan yi lost in the Mountain Gao Zipeng

eUroPean PreMiere

China, 2011 | colour, video, 95 min, Mandarin Prod: Bai Qifan | Prod Comp: Beijing Star Wheat Media | Sc: Gao Zipeng, Sun Min | Cam: Yang Yang, Quan Ke | Ed: Gao Zipeng, Wang Fan | Sound Des: Wang Fan, Lou Kun | With: Zhao Shijian, Jia Xinxu, Julie Gary, Li Jianhui | Print/Sales: Indie Workshop Public SCREENINGS Sat 28-1 17:30 CI4 Sun 29-1 09:45 CI7 Mon 30-1 14:45 CI7 Press & Industry SCREENING Fri 27-1 18:30 CI3


This film is an exception within the Hidden Histories programme; it is the only fiction film in the programme – one with a hidden story that is told indirectly. Bie Lei has disappeared in a mountainous region and hasn’t been found, even after lengthy searches. Part of his family still lives on the mountain – a hollow mountain. Hollowed out by large-scale and intensive mining that has now stopped and left the villages in a desolate state. Six months later, four friends of the missing Bie Lie decide to head up the mountain to look for him. Not that they think they will find him, but the journey and the ritual are important for them. The journey through the deserted mining region shows a special side of China. A side in which people just disappear without trace, but also where whole areas are sacrificed to another vested interest.


SignalS: Hidden HiStorieS

apuda de shouhou apuda He Yuan

eUroPean PreMiere

China, 2010 | colour, video, 145 min, Mandarin Prod: Xiaoqiu Feng | Sc/Cam/ Ed: He Yuan | Sound Des: Sha Qing | Print/Sales: He Yuan Public SCREENINGS Wed 1-2 20:152 CI6 Thu 2-2 17:002 CI1 Fri 3-2 09:452 CI7

In a sensitive and balanced way, He Yuan portrays two men who live in bitter poverty. Apuda is a simple man, who almost thinks like a child – a good child, because he dedicates himself to caring for his sick old father. Even though the film focuses on these two men specifically, it also provides a picture of a China in which millions of people still live in deprived circumstances. Like other Chinese independent filmmakers, He Yuan has an ethnographic and anthropological background and also a fascination with the lives of ordinary Chinese citizens outside the modern urban centres. But he does not observe in the way a social scientist would. He prefers to compare himself with painters from olden times who went out into nature to capture reality as it revealed itself to them. While Apuda worries about the health of his father and lovingly nurses him, the filmmaker observes the inevitable end no less lovingly.

Wei chao

When the Bough Breaks Ji Dan

international PreMiere

China, 2011 | colour, video, 144 min, Cantonese Prod: Ji Dan | Cam: Ji Dan | Ed: Sha Qing, Ji Dan | Print/Sales: Ji Dan Public SCREENINGS Thu 26-1 19:45 CI4 Fri 27-1 20:30 CI7

‘When the bough breaks, the cradle will fall, and down will come baby, cradle and all.’ Ji Dan, one of the most important female filmmakers in China, borrowed the title for her at times startling new film from the cautionary lullaby Rock-a-bye Baby. In 2004, at a school for migrant children in Beijing, she met four children from one family. The children, aged between 10 and 19, lived with their parents in a ramshackle slum while the tuition fees were paid by the school. By 2009, when she started filming, the situation had changed: there were now three children and amidst all the economic bustle, they were confronted with the limited choices that life has to offer. In turn, the filmmaker was confronted with the gap between herself and the lowest class: ‘Never before have I become so involved in the story of my subjects and never before have I felt as unsettled or overwhelmed.’



SignalS: Hidden HiStorieS

Jing sheng Born in Beijing Ma Li

international PreMiere

China, 2011 | b&w, video, 240 min, Cantonese Prod: Ma Li | Cam: Ma Li | Ed: Ma Li | Music: Wang Fan | Print/Sales: China Independent Film Archive (CIFA) Public SCREENINGS Wed 1-2 10:00 LV3 Fri 3-2 14:45 CI7 Sat 4-2 12:15 LV2

For years, Ma Li has made documentaries for television. After a film about Tibetan celestial burials, Mirror of Emptiness, she has now made an equally gripping work that has been shot in crystal clear black-and-white. Born in Beijing tells the story of ‘petitioners’: citizens who feel themselves wrongfully treated by the local authorities and seek settlement in the capital. There are thought to be more than 100,000 petitioners in Beijing. These people, harassed by ‘interceptors’ (see the film Interceptor from My Hometown), brave terrible conditions in their battle against injustice and corruption. For six years, Ma Li followed the efforts and suffering of a group of homeless petitioners in the south of Beijing. The original title, Jing sheng (‘born in Beijing’), refers to a woman in the film who was born in Beijing more than thirty years ago; her mother came there looking for justice.

lao tang tou Shattered Xu Tong

China, 2011 | colour/b&w, video, 100 min, Mandarin Prod: Li Shanshan | Sc: Xu Tong | Cam: Xu Tong | Ed: Xu Tong | Print/Sales: Li Shanshan Public SCREENINGS Fri 27-1 21:302 PA2 Sun 29-1 09:302 CI5 Thu 2-2 17:152 CI7 Sat 4-2 09:452 LV2


Tang Xixin is a retired railway official who has lost little of his outspoken character at the age of 80. He does not like to receive his adult children in his ramshackle home, but he makes an exception for his daughter Caifeng (who was a guest in Rotterdam last year). She runs a brothel and is involved in equally illegal mining practices. In other words, a woman of the world who tries energetically to keep out of the hands of the law. Xu Tong films the family the way it is. The old Tang, with his flood of words, is an ideal witness to the 20th century; his daughter is a colourful symbol of the new China. Even though in the views of the state she is undoubtedly far from being a role model. Xu Tong’s intimate, occasionally raw style of filming fits in well with that. He does not make any moral judgement and that makes him controversial in China. The result is nevertheless sincere and authentic.


SignalS: Hidden HiStorieS


Bachelor Mountain Yu Guangyi

eUroPean PreMiere

China, 2011 | colour, video, 95 min, Mandarin Prod: Yu Guangyi | Cam: Yu Guangyi | Ed: Yu Guangyi | Print/Sales: Yu Guangyi Public SCREENINGS Fri 27-1 12:30 PA2 Sat 28-1 12:30 CI4 Thu 2-2 20:00 CI7 Fri 3-2 17:30 CI6

A moving and human portrait of a group of unemployed and above all lonely men who stayed behind when their wives moved to the city looking for work. They worked in the timber industry in the province of Heilongjiang, but deforestation has taken its toll. For instance, we see 46-year-old San Liangzi. Twelve years ago, he divorced his wife and became unemployed. For ten years, he has had an eye on Wang Meizi, the only unmarried woman in the area. But the love is not mutual. Director and autodidact Yu Guangyi started recording life in Heilongjiang, the area he came from, a few years ago without too much practical knowledge of filmmaking. He turned out to be an enormous talent. After Timber Gang, about the barren winter lumberjack season, and Survival Song, about an unemployed forest ranger, Bachelor Mountain is the third film he has made about this region in the far north of China.

You yi zhong jing jiao zhuang yan the interceptor from My Hometown

international PreMiere

China, 2011 | colour, video, 90 min, Mandarin Prod: Zhu Rikun | Cam: Zhang Zanbo | Ed: Zhang Zanbo | Music: Zuoxiao Zuzhou | Print/Sales: Li Shanshan Public SCREENINGS Wed 1-2 17:15 LV2 Thu 2-2 10:00 CI4 Sat 4-2 20:00 LV2

Zhang Zanbo The versatile and productive documentary maker Zhang Zanbo is just as much at ease making a wellconstructed and beautifully composed film like Falling from the Sky (2010) as a ‘spontaneous’ film, when the opportunity arises. He is a filmmaker with his camera always at the ready. At the end of 2010, Zhang received a phone call from an old classmate. The two, who had not seen each other for twelve years, turned out to have taken very different paths in life. He is the critical, independent filmmaker while his classmate had made a career for himself within the Communist Party – he was about to become mayor of their home town. The classmate turns out to be very talkative and tells revealing stories about his activities for the government. He explains what an ‘interceptor’ is: a civil servant who has to do everything he can to prevent citizens from seeking justice. The classmate is just such a man. A unique document.



SignalS: Hidden HiStorieS

ordos 100 Ai Weiwei

World PreMiere

China, 2012 | colour, video, 61 min, Mandarin Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Wang Fen, Zhao Zhao | Ed: Wang Fen, In-serk Yang | After effects: Zhang Jun | Print/Sales: Ai Weiwei Studio Public SCREENINGS Fri 27-1 17:152 CI6 Sat 28-1 09:452 CI7 Sun 29-1 14:452 CI7

Ordos 100 is a construction project curated by Herzog & de Meuron and Ai Weiwei. One hundred architects from 27 countries were chosen to participate and each design a 1000-square-meter villa to be built in a new community in Inner Mongolia. The 100 villas would be designed to fit a master plan designed by Ai Weiwei. On January 25, 2008, the 100 architects gathered in Ordos for a first visit to the site. The film Ordos 100 documents a total of three site visits, during which time the master plan and design of each villa was completed. As of this date, the Ordos 100 project remains unrealised (Ai Weiwei Studio). Screened together with So Sorry.

So Sorry Ai Weiwei

World PreMiere

China, 2012 | colour, video, 55 min, Mandarin Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Guo Ke, Li Wake, Zhang Jun, Zhao Zhao | Ed: Wang Fen | Music: Zuo Xiao Zu Zhou | After effects: Wang Xiaoqian, Zhang Jun | Print/Sales: Ai Weiwei Studio Public SCREENINGS Fri 27-1 17:152 CI6 Sat 28-1 09:452 CI7 Sun 29-1 14:452 CI7


As a sequel to Ai Weiwei’s film Disturbing the Peace, the film So Sorry (named after the artist’s 2009 exhibition in Munich, Germany) shows the beginnings of the tension between Ai Weiwei and the Chinese government. In Disturbing the Peace, Ai Weiwei travels to Chengdu, China to attend the trial of the civil rights advocate Tan Zuoren, as a witness. In So Sorry, we see the investigation led by Ai Weiwei’s studio to identify the students who died during the Sichuan earthquake as a result of corruption and poor building construction, leading to a confrontation between Ai Weiwei and the Chengdu police. After being beaten by the police, Ai Weiwei traveled to Munich, Germany to prepare his exhibition at the Haus der Kunst museum. The result of his beating led to intense headaches caused by a brain hemorrhage, which was treated by emergency surgery. These events mark the beginning of Ai Weiwei’s struggle against and surveillance by state police (Ai Weiwei Studio). Screened together with Ordos 100.


SignalS: Hidden HiStorieS

one recluse Ai Weiwei

China, 2010 | colour, video, 180 min, Mandarin Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Ai Weiwei Studio | Ed: Ai Weiwei Studio | Print/Sales: Ai Weiwei Studio Public SCREENINGS Fri 3-2 11:00 CI6 Sat 4-2 12:15 CI7

In June 2008, Yang Jia carried a knife, a hammer, a gas mask, pepper spray, gloves and Molotov cocktails to the Zhabei Public Security Branch Bureau and killed six police officers, injuring another police officer and a guard. He was arrested on the scene and subsequently charged with intentional homicide. In the following six months, while Yang Jia was detained and trials were being held, his mother mysteriously disappeared. One Recluse is a documentary that traces the reasons and motivations behind the tragedy and investigates a trial process filled with shady cover-ups and questionable decisions. The film provides a glimpse into the realities of a government-controlled judicial system and its impact on the lives of citizens. (Ai Weiwei Studio).

disturbing the Peace Ai Weiwei

China, 2009 | colour, video, 78 min, Mandarin Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Zhao Zhao | Ed: Wang Xiaoqian, Zhang Jun | Music: Zuoxiao Zuzhou | Print/Sales: Ai Weiwei Studio Public SCREENINGS Tue 31-1 22:30 LV6 Wed 1-2 09:45 LV5 Sat 4-2 22:30 LV2

Disturbing the Peace is a documentary on an incident during Tan Zuoren’s trial on August 12, 2009. The civil rights advocate was charged with ‘inciting subversion of state power’. During his trial, Chengdu police violently detained witnesses, which is an obstruction of justice. Tan Zuoren was arrested as a result of his questions regarding the casualties among 512 Wenchuan students and corruption resulting in poor building construction. He was sentenced to five years in prison. (Ai Weiwei Studio)



SignalS: Hidden HiStorieS

Fairytale Ai Weiwei

China, 2008 | colour, video, 152 min, Mandarin Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Ai Weiwei Studio | Ed: Ai Weiwei Studio | Music: Zuoxiao Zuzhou | Courtesy of: Urs Meile Gallery Beijing-Lucerne, Erlenmeyer Stiftung Switserland, Leister Foundation Switserland | Print/Sales: Ai Weiwei Studio Public SCREENINGS Tue 31-1 09:30 CI6 Thu 2-2 09:30 CI5

Fairytale documents Ai Weiwei’s project of the same name for Europe’s most innovative five-year art event, documenta 12, in Kassel, Germany in 2007. Ai Weiwei invited 1,001 Chinese citizens of different ages and from various backgrounds to Germany to experience their own fairytale for 28 days. It was the most sensational artwork at documenta 12. The 152-minute film documents the whole process, from the preparations for the project to the challenges the participants had to face before actually travelling to Germany as well as the artist’s ideas behind the work. (Ai Weiwei Studio)

Beijing: the Second ring Ai Weiwei

China, 2005 | colour, video, 66 min, Mandarin Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Ai Weiwei Studio | Ed: Ai Weiwei Studio | Print/Sales: Ai Weiwei Studio


A video document of the two opposite directions of traffic flow on 33 bridges along Beijing’s ‘Second Ring’. The artist records a single one-minute-long frame for each direction on the bridge. The entire piece is made up of 66 segments. The length of the film is 1 hour and 6 minutes. As opposed to Beijing: The Third Ring, which was entirely shot on sunny days, the segments of this film were all shot on cloudy days. The circular ring roads are important urban structural elements of Beijing. They govern the whole spatial organization of the city’s urban fabric. Like the Chang’an Boulevard piece, the act of recording is minimal, focusing on the process of pure observation and the nature of time. The film documents the city’s historic aspects and modern development, its nearly 13 million people, mass transport, and the urban reality that defines Beijing. (Ai Weiwei Studio) Location: Ai Weiwei Café/Power Cut Installations, Thu 26 - Sat 4, 12:00 - 20:00.


SignalS: Hidden HiStorieS

Beijing: the third ring Ai Weiwei

China, 2005 | colour, video, 110 min, Mandarin Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Ai Weiwei Studio | Ed: Ai Weiwei Studio | Print/Sales: Ai Weiwei Studio

A video document of the flows of traffic from two opposite directions on 55 bridges along Beijing’s ‘Third Ring’. The artist records a single, one-minute-long frame for each direction on the bridge. The entire piece is made up of 110 segments. The length of the film is one hour and fifty minutes. As opposed to Beijing: The Second Ring, which was entirely shot on cloudy days, the segments of this film were all shot on sunny days. The circular rings are important urban structural elements of Beijing. They govern the spatial organization of the city’s urban fabric. Like the Chang’an Boulevard piece, the act of recording is minimal, focusing on the process of pure observation and the nature of time. The film documents the city’s historic aspects and modern development, its nearly 13 million people, mass transport, and the urban reality that defines Beijing. (Ai Weiwei Studio) Location: Ai Weiwei Café/Power Cut Installations, Thu 26 -Sat 4, 12:00 - 20:00.

Chang’an Boulevard Ai Weiwei

China, 2004 | colour, video, 613 min, no dialogue Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Ai Weiwei Studio | Ed: Ai Weiwei Studio | Print/Sales: Ai Weiwei Studio

This film is a record of Chang’an Boulevard, captured in a sequence of measured distances along its entire 45 kilometers. At each measured increment, the artist records a single, one-minutelong frame. The whole film is composed of 608 one-minute segments. The length of the film is 10 hours and 13 minutes. Beijing, the capital of China for over 600 years, has a prime architectural orientation and order to its urban fabric. The structure of the city is bisected by Chang’an Boulevard along its east-west axis. After 1949, this boulevard and the heart of the city, Tiananmen Square, became China’s main cultural political center and landmark. The film records the city through the transformation of its urban landscape. The work reveals Beijing as an organic whole, capturing the city’s rhythms, social structure, cityscape, socialist planned economy, capitalist market and political power center as pieces of a multi-layered urban collage. (Ai Weiwei Studio) Location: Ai Weiwei Café/Power Cut Installations, Thu 26 - Sat 4, 12:00 - 20:00.



SignalS: Hidden HiStorieS

Beijing 2003 Ai Weiwei

China, 2003 | colour, video, 9000 min, no dialogue Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Cam: Ai Weiwei Studio | Ed: Ai Weiwei Studio | Print/Sales: Ai Weiwei Studio


Beijing 2003 is a video about the city that the artist lives in, and its people. Participants include assistants Liang Ye and Yang Zhichao, and driver Wu. The piece took 16 days to complete, starting on October 18, 2003. Beginning below the Dabeiyao highway interchange, the vehicle from which the video is shot travels every street within the ‘Fourth Ring’ of Beijing, one by one. Approximately 2,400 kilometers and 150 hours of footage later, it ends where it began: below the Dabeiyao highway interchange. Through the windshield, the camera objectively investigates all visual information that appears before the vehicle – the spatial state of the city’s streets, the endlessly changing times, scenery, movements, behavior and other aspects – thoroughly, meticulously, and calmly recording the megacity of Beijing through a single lens. The sum of the entire process becomes the meaning of the work (Ai Weiwei Studio). Location: Ai Weiwei Café/Power Cut Installations, Thu 26 - Sat 4, 12:00 - 20:00.


SignalS: Hidden HiStorieS

Preludes Short films screened before feature length films in this section.

one old Man Hai Bo A portrait, without words, of an old man in the countryside. The man was undoubtedly a farmer, but now he is only an old man, a poor and useless man. He shuffles round and watches others at work. A man like so many others in the great China. Screened before Apuda. international PreMiere

China, 2011 | colour, video, 19 min, no dialogue Prod/Sc/Cam: Hai Bo | Ed: Yu Shu Yuan | Prod Des/Sound Des/Print/Sales: Hai Bo PUBLIC SREENINGS Wed 1-2 20:152 Cinerama 6 Thu 2-2 17:002 Cinerama 1 Fri 3-2 09:452 Cinerama 7

Whose eyes Tan Tan Four ‘fake surveillance videos’, mixed with violent outbursts that are recorded on real security cameras and apparently random shots from everyday Chinese reality: the image of Whose Eyes. Which reality is the most real, and who sees what? Screened before Shattered. international PreMiere

China, 2011 | colour/b&w, video, 15 min, Mandarin Prod: Tan Tan | Cam/Ed/Prod Des/Sound Des: Tan Tan | Music: Song Song | Print/Sales: Tan Tan PUBLIC SCREENINGS Fri 27-1 21:302 Pathé 2 Sun 29-1 09:302 Cinerama 5 Thu 2-2 17:152 Cinerama 7 Sat 4-2 09:452 LantarenVenster 2

the road toward Jokhang Zhao Yantao The young filmmaker Zhao Yantao is surprised about how Tibetan pilgrims exhaust themselves while making their strange journey to the great temples of their country. He is similarly surprised by his fellow countrymen who go to Tibet as tourists but know hardly anything about Tibetan culture. Screened before Ordos 100 and So Sorry. international PreMiere

China, 2011 | colour, video, 19 min, no dialogue Prod/Cam/Ed/Print/Sales: Zhao Yantao PUBLIC SCREENINGS Fri 27-1 17:152 Cinerama 6 Sat 28-1 09:452 Cinerama 7 Sun 29-1 14:452 Cinerama 7 41ST INTERNATIONAL FILM FESTIVAL ROTTERDAM


Koop nu uw tickets op Prettige voorstelling! vanaf 2 februari

THE DESCENDANTS 9at van de regisseur van

‘about schmidt’ en ‘sideways’

“George Clooney in grootse vorm.” “Afwisselend hartverscheurend en hilarisch.” VPRO

Een rijke landeigenaar probeert de relatie met zijn dochters weer nieuw leven in te blazen.


2 februari in de bioscoop

3 februari



The Chemical Brothers - Don’t Think is als een magisch, psychedelische trip,Think waarbij bioscoopThe Chemical Brothers - Don’t is alsdeeen magisch, bezoeker de show alleen en hoort, psychedelische trip,niet waarbij deziet bioscoopbezoeker de maar niet ook alleen voelt. ziet en hoort, maar ook voelt. show

11 februari - liVE vanuit New York!

WAgNEr - göTTErDämmEruNg


Deborah Voight speelt Brünnhilde en Gary Lehman is Siegfried; de verdoemde geliefden die door het lot uit elkaar worden gedreven.

25 februari - liVE vanuit New York!

VErDi - ErNANi


Angela Meade speelt de hoofdrol in een van Verdi’s juweeltjes; Salvatore Licitra speelt de geliefde die niet bij haar past. De cast is compleet met Dmitri Hvorostovsky en Ferruccio Furlanetto.



SignalS For real



SignalS: For real

For Real

Reality is the Whole World around us inge de leeuw

‘Reality is the whole world around us, not just that thing in front of us.’ – Kevin Slavin In ‘For Real’, the boundaries of cinema are stretched and a relatively uncultivated area emerges somewhere between film and reality – where the power of the audience’s imagination plays the leading role. As early as 2001, media pundit Lev Manovich posited in his Language of New Media that the rules shaping cinema are fixed in a set of specific cultural conventions – the mobile camera, representation of space and editing techniques – it’s all laid down. Manovich points out that these conventions are not restricted to cinema. The visual language of other media, such as internet, is based on these cultural conventions. With the advent of smartphones and mobile internet, moving pictures have penetrated deeply into our everyday lives. We are constantly exposed to them. As a result, a cinematographic gaze has become second nature. More and more, we spontaneously interpret the world around us according to cinematographic conventions. In other words, reality is increasingly becoming film. Not only is the moving image always within reach these days, but the interaction between virtual and physical space has become considerably more intense. This means that the mingling of film and reality is a fact of life – the start of a new era for cinema; an era

Michel Gondry’s Home Movie Factory

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SignalS: For real

in which cinema partly takes place within reality, and partly in our heads. This also changes the role of the audience, who no longer sit passively in the cinema, but participate as an actor, or even director. Not only are the boundaries between film and reality fading, but the boundaries between professional filmmaker and film-lover are too, while the frontiers between film studio and exhibition space, between script and spontaneous improvisation, are also being stretched. This is the central theme of the For Real programme. The most appealing cinematographic conventions – such as framing, script, set design and sound – are superimposed upon reality, transforming the festival locations into a huge potential film set. Together with several subtle interventions in reality and a few new technologies, this turns each For Real project into a special cinematographic experience. SCREEn WitH a ViEW

The rectangular cinema screen makes its appearance in several For Real projects, but each time it’s a little different. For Eye Trap, Germaine Kruip uses the view from the Cruise Terminal by the river (Nieuwe Maas) as a cinema screen. The Metropole Orchestra will perform a soundtrack specially composed by the Multimedia Music Institute, briefly making reality seem very different. Wouter Huis will be framing the public space by placing a huge disclaimer sign, with the proportions of a cinema screen. Everyone who reads this sign immediately experiences reality as a film set in which he himself is playing a leading role. SCRiPting REality

The script – the basis of most fiction films – is used precisely in For Real to orchestrate reality. The results are clear: the Finnish artist Pilvi Takala, for instance, prefers nothing more than disrupting everyday reality with actions that do not fit in with social conventions. For instance, in Real Snow White (to be seen in Among Others) she visits Disneyland dressed as Snow White. Of course, she is thrown out of Disneyland, because she looks too much like the real Snow White; Disney is afraid of the new and unknown reality she brings with her. In 100 Meters Behind the Future by American artist duo eteam, reality is scripted in a very subtle way. Passers-by and everyday actions are filmed and put on the screen ten seconds later. In this case, two screens are used – a car windscreen and a tablet – so real reality runs 100 metres ahead of filmed reality. tHE SEt iS all aROunD yOu

Production design determines the style and mood of a film. One section of this that appeals to the imagination is the film set. All the film sets in For Real require interaction with the audience. Whether the backdrops in Michel Gondry’s Home Movie Factory or Meet Your Stranger, all these sets depend on active participation by the audience. In Home Movie Factory, the audience is challenged to make its own short film in ready-made film sets – in just three hours, no more is necessary. The Schouwburgplein and a partial virtual space form the set for Dutch project Meet Your Stranger. In this exciting ‘mobile film’, you can join in the action with the smartphone acting as your prompter. Do you want to know more about the link between reality as experience and design? Then go to Designed Realities, in which Professor Timo de Rijk talks to production designer Carol Spier. She is best known for her inventive set design on films by David Cronenberg, such as Videodrome, Eastern Promises and eXistenZ.


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SignalS: For real


Sound is crucially important for film – a soundtrack can completely change our film experience. In the project Soundtrackcity Rotterdam, our experience of reality is transformed by sound into a cinematographic experience. For this project, special soundtracks were composed. The more-thancinematographic backdrop for these is formed by the Kop van Zuid area, which will instantly undergo a real transformation. Sound also plays an essential role in the subtlemob Our Broken Voice, for instance. This happens literally in your head; you hear instructions whispered to you through an MP3 player. If you follow them, the world around you will become an exciting film. REality CHECK

During the festival, there will be a special space, a space in which films and events just pop up: it is called Reality Check. A lot will happen here – conversations with For Real artists, special film screenings, an exclusive book presentation. Here you can find out all about the various For Real projects, and this is where Meet Your Stranger and Our Broken Voice will start. In addition, the special installation Reframing the Artist by Sascha Pohle can be seen here. And of course you can sit down and enjoy again all the experiences you’ve had. A visit to Reality Check is a constant cinematographic thrill for the senses. Upon entering, you’ll immediately be surprised by the newly framed reality, designed by Glamcult Studio. Combine this with the alienating soundscapes by Rotterdam sound designers Daniel Sillem and Enio Ramalho and the experience is complete – the perfect starting point for your For Real experience. Look on the website or read the festival Daily for the programme. You’ll find Reality Check at Schouwburgplein 54. For Real is a programme by Rutger Wolfson, Edwin Carels and Inge de Leeuw. Soundtrackcity Rotterdam is compiled by Michiel Huijsman and Renate Zentschnig on behalf of the Soundtrackcity Foundation and Peter van Hoof (IFFR). With grateful thanks to Corto Blommaert and Katrien Lamers.

Soundtrackcity Rotterdam: Jeroen Stout

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SignalS: For real

eye Trap Germaine Kruip

Netherlands, 2012 | 90 min Music: Bob Zimmerman, Loek Dikker, Renger Koning, Stan Koch, Toon Vieijra, Paul van Vulpen, Than van Nispen, Harry de Wit, Yorick Goldewijk, Vincent de Koning, Jos Jansen, Ad van Dongen | With: Metropole Orkest Public SCREENING Fri 3-2 17:00 Cruise Terminal

On 3 February, the Dutch Metropole Orchestra will perform Eye Trap, conducted by Ernst van Tiel and in cooperation with the Muziekinstituut MultiMedia (MiMM) and artist Germaine Kruip. The musical work is a new soundtrack, but not for a film. It was specially written for one of the most spectacular panoramas in the city: the view from the Cruise Terminal at sunset. In front of the spectators’ very eyes, lies the Nieuwe Maas river, the Erasmus Bridge and the North Bank of Rotterdam. Germaine Kruip, who has often worked with ingress of light, architecture, composition and the passing of time in her works of art and installations, puts the audience in front of an enormous real-time screen. The viewer allows events to pass by and learns to take a second look at reality.

l’usine de films amateurs

France | 180 min

Home Movie Factory Michel Gondry In Michel Gondry’s Home Movie Factory, amateurs make a short film at high speed. In this amateur film factory, anyone can set to work. Talent, experience and training are not relevant, but enthusiasm is. With several ready-made film sets and pieces of equipment, teams start work after an introductory workshop and, in three hours, they make a short film together (including their own design for the DVD cover). The team is given a DVD of the film to take home. In addition, a copy is put in the video library, where clients can watch the film. The basis for Home Movie Factory can be found in Gondry’s film Be Kind Rewind (2008), in which the protagonists play out well-known films with their own homemade props and sets. The do-it-yourself film style was called sweding in the film, based on the self-invented Swedish origins of the strange works. For instance on the YouTube Channel Be Kind Rewind, countless sweded films can now be seen. Wed 25 Jan to Sun 4 March, Roodkapje ROTTTERDAM, reservations recommended.



SignalS: For real

100 Meters Behind the Future eteam Filmed from a car, and ten seconds later to be seen in a second car via a tablet. Subtle intervention in reality plays with the audience’s experience of reality. What is actually real? Artist duo eteam has made several projects in recent years that investigate the interaction between virtual and physical reality. Fri 27 - Mon 30, 16:30 - 19:00, point of departure LantarenVenster. USA, 2012 | 15 min Prod: eteam | Sc/Cam/Ed: Franziska Lamprecht, Hajoe Moderegger | Print/Sales: eteam |

among others Pilvi Takala Staging social situations that run counter to some unspoken societal convention is Pilvi Takala’s favorite game. By breaking the rules implicit in pseudo-public contexts and situations, the artist (usually performing herself) exposes the closed systems at work, from office spaces to shopping malls and dance-halls. Continuous screening, point of departure Reality Check. Finland, 2001-2010 Prod: Pilvi Takala | Print/Sales: Pilvi Takala

Bla Bla Vincent Morisset This physical version of BLA BLA, originally an interactive web project, creates an experience in which the audience takes over directing. The animated story in six chapters shows various aspects of communication between people. Morisset previously made interactive video clips for bands such as the Arctic Monkeys. Continuous screening in the Rotterdamse Schouwburg. Canada, 2012 Prod: Hugues Sweeney | Prod Comp: National Film Board of Canada | Prod Des: Caroline Robert | Sound Des: Philippe Lambert | Programming: Edouard Lanctôt-Benoit | Sales: National Film Board of Canada |



SignalS: For real

Designed realities: Production Designer Carol Spier Carol Spier has been active in the film world as a production designer for 30 years. For instance, she worked on many films by David Cronenberg, including Eastern Promises (2007), eXistenZ (1999) and Videodrome (1983). Spier is interviewed by Timo de Rijk, who presently occupies the Premsela Chair in Design Cultures at the VU University in Amsterdam. The lecture is being organised in collaboration with Premsela, the Netherlands Institute for Design and Fashion. Sat 28, 16:00, Reality Check. Netherlands | 90 min

imagined Cinemas This symposium is a follow-up to the Piet Zwart Institute’s 2011 conference Imagine an Audience: Filmmaking Post-cinema and TV. Speakers: Pip Chodorov, Paolo Cirio, Ulrich Schreiber, Paolo Davanzo and Lisa Marr, Michiel Huijsman and Renate Zentschnig, and others. Moderators: Simon Pummell and Edwin Carels. Mon 30, 10:00 - 17:00, Piet Zwart Institute. Netherlands, 2012 Prod: Florian Cramer | Prod Comp: Piet Zwart Institute, Postgraduate Studies and Research, Willem de Kooning Academy

Map Aram Bartholl Bartholl explores the power structures, social systems, cultural innovations, inner dynamics and the products that are shaping our digital age. Map is also the cover image of The Speed Book, his brand new first monograph, introducing an oeuvre in which ‘space and cyberspace mingle and mangle each other’. Location: Schouwburgplein. Germany, 2012 Prod: Aram Bartholl |

Meet Your Stranger Sander Veenhof, André Freyssen In this exciting, mobile film, all the protagonists lead a murky double life. As they improvise, the visitors play the lead in this film, with the smartphone as prompter. Meet your counterparts on Schouwburgplein, where not only the film is set in reality; the square is also transformed into a set of virtual augmented reality. Wed 25 - Sun 5, 16:00 - 20:00, point of departure Reality Check. Netherlands, 2012 Sc: Madeleen Bloemendaal |



SignalS: For real

our Broken Voice Circumstance Circumstance is an international collective of artists that creates cinematic experiences in unexpected locations. It draws on its members’ backgrounds in performance, theatre, interactive design, music composition, locative and pervasive media. But their focus is always on the social, political and emotional impact of technology. Their motto is ‘try to remain invisible.’ Thu 26, 18:00, Thu 2, 18:00, point of departure Reality Check. United Kingdom, 2012 Prod: Circumstance | Music: Sarah Anderson, Duncan Speakman | Developed by: Sarah Anderson, Lottie Child, Emilie Grenier, Duncan Speakman, Tassos Stevens | Sales: Circumstance |

Performance #1 & Disclaimer Wouter Huis The presentation is held in a vacant garage that for the duration of the event is turned into a theatre. At some point, the electric door opens to reveal a view into a particularly (un) interesting street. With his marble ‘Disclaimer’ sign, Huis transformes a street into both a screen and a new space. Thu 27, 16:00 & 20:00, Fri 3, 16:00 & 20:00, Theater De Gouvernestraat. Netherlands, 2011 | 10 min Prod: Wouter Huis | Sales: Wouter Huis |

reframing the artist Sascha Pohle In the movies, artists are almost always painters. In his video works Sascha Pohle often explores stereotypes. Taking his cue from such French masters as Chris Marker or Jean Rouch, he combines journalism with an anthropological perspective. Thus, nothing was modified in the settings of the Dafen Village. Continuous screening in Reality Check, 12:00 - 20:00. Netherlands, 2010 | colour, video, 35 min, Mandarin Prod: Sascha Pohle | Sc: Sascha Pohle | Cam: Sascha Pohle | Ed: Sascha Pohle | Print/Sales: Sascha Pohle |



SignalS: For real

Soundtrackcity rotterdam: Francisco lópez Francisco López López’s work with field recordings creates new sound worlds of experience from the sonic substance behind the apparently mundane. In this soundwalk, he has dramatically transmutated original recordings from Rotterdam to give rise to several virtual, vivid, hyper-real, sonic micro-worlds. Thu 26 - Mon 30, 14:00 and Tue 31 - Sat 4, 20:00, point of departure LantarenVenster. Spain/Netherlands, 2012 | 45 min Prod Comp: Stichting Soundtrackcities | Sc: Francisco López | Sound Des: Francisco López | With: Barbara Ellison

Soundtrackcity rotterdam: lee Patterson Lee Patterson Of Steel and Water uses sounds from the city, not the vibrations that bounce off countless new surfaces, but the interior resonance, usually unheard, of things old and new. Thu 26 - Mon 30, 16:30 and Tue 31 - Sat 4, 12:30, point of departure LantarenVenster. United Kingdom/Netherlands, 2012 | 45 min Prod Comp: Stichting Soundtrackcities | Sc: Lee Patterson | Sound Des: Lee Patterson | With: Lee Patterson

Soundtrackcity rotterdam: Jeroen Stout Jeroen Stout The Hive is the title of the soundwalk that Jeroen Stout made with Jan-Bas Bollen. A re-enactment of the tumult on the internet that drove the popular Korean actress Choi Jin-sil to commit suicide. A soundwalk that allows us to experience how social media influence our manner of communication. Thu 26 - Mon 30, 20:00 and Tue 31 - Sat 4, 16:30, point of departure LantarenVenster. Netherlands, 2012 | 45 min Prod Comp: Stichting Soundtrackcities | Sc: Jeroen Stout | Sound Des: Jan-Bas Bollen | Music: Jan-Bas Bollen | With: Jihyun Youn, Mikae Natsuyama, Astrid de Bondt, Rolf Bron, Floortje Doornik



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Soundtrackcity rotterdam: Katarina Zdjelar & Maziar afrassiabi







Katarina Zdjelar, Maziar Afrassiabi

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In this soundwalk, the listener is guided by the voices of famous people from foreign countries, talking about catastrophes that shocked their world. A soundwalk about how listening and sound can mediate the body’s movemement and behaviour in an architecturally defined environment at the Kop van Zuid, as well as on the other side of the world. Thu 26 - Mon 30, 12:30 and Tue 31 - Sat 4, 14:30, point of departure at d s tra LantarenVenster. d e l la n 1 e M id ijkw al

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2011 Adv DMP IFFR 117x110.indd 1

06-01-12 11:0

w w w. f e s t i v a l t i c ke t s . n l

inDuSTrY SerViCeS & FaCiliTieS

lm 06-01-12 11:06




aCCREDitatiOnS For the 2012 edition, the International Film Festival Rotterdam is providing four different types of accreditations.

Accreditation assignment is at the discretion of the Festival. Badges and delegate bags can be collected from the Accreditation Desk on the third floor of Festival Center de Doelen. An administration fee or accreditation fee may be applicable. For more information, please visit the Accreditation Desk or Guest Desk. 1. CineMart accreditation (for professionals taking part in CineMart) • Access to all CineMart events and CineMart Meeting Request Service • Access to all Festival and Industry activities and main events • Free admission to Public Screenings (ticket via internet or guest box-office required) • Free admission to Press & Industry Screenings (ticket not necessary) • Use of the Video Library and other Film Office services • Listing in the Industry Manual • Access to the Industry Club 2. Industry accreditation (for professionals active in the international film industry) • Access to all Festival and Industry activities and main events • Free admission to Public Screenings (ticket via internet or guest box-office required) • Free admission to Press & Industry Screenings (ticket not necessary) • Use of the Video Library and other Film Office services • Listing in the Industry Manual • Access to the Industry Club 3. Director accreditation (for filmmakers with a film in the Festival) • Access to all Festival and Industry activities and main events • Free admission to Public Screenings (ticket via internet or guest box-office required) • Free admission to Press & Industry Screenings (subject to availability of seats) 4. Press accreditation (for journalists and media representatives seeking coverage of the Festival) • Access to all Festival and Industry activities and main events

292 22

• Free admission to Public Screenings (ticket via internet or guest box-office required) • Free admission to Press & Industry Screenings (ticket not necessary) • Use of the Video Library and Press Desk services

DESK All desks are located on the third floor of de Doelen. The members of the desk teams will assist you in finding your way through the Festival. Opening hours:

Accreditation Desk 09:00 - 20:00, Wed Jan 25 - Sat Feb 4

CineMart Desk 09:00 - 20:00, Wed Jan 25 - Wed Feb 1

Guest Desk 09:00 - 20:00, Wed 25 Jan - Sat 4 Feb

Press Desk 09:00 - 20:00, Wed 25 Jan - Wed 1 Feb 09:00 - 18:00, Thu 2 Feb - Sat 4 Feb

tiCKEtS & BOx OFFiCES Press & Industry Screenings Accredited guests are welcome to attend the extensive programme of Press & Industry Screenings. As Public Screenings tend to be very busy and are often fully booked, we strongly advise you to schedule your personal programme around the Press & Industry Screenings. The Press & Industry Screenings take place from Thu January 26 through Fri February 3, both day and evenings in de Doelen, Cinerama, LantarenVenster and Pathé. All locations are within walking distance. For access to the Press & Industry Screenings, badge holders do not have to get a ticket. At the entrance of the Press & Industry screening auditoriums, your badge will be scanned. Screening Schedule The Press & Industry Screening Schedule is combined in this catalogue with the Public Screenings. Schedule changes are published in the Daily Tiger and on the Festival website. The latest print versions of schedule changes are also available at the Box Offices and at the Guest and Press Desk. Access to Public Screenings

Tickets are only available for Public Screenings on the day before and the day of the screening up until



two hours before the screening begins and can be booked via MyIFFR, on the festival website or via the Guest Box Office in de Doelen. Central Box Office The Central Box Office is located on the ground floor of de Doelen (entrance Willem Burgerkwartier, Kruisplein 40). Open to the public and badge holders. Opening hours: 09:00 - 21:00, Wed Jan 25 09:00 - 23:00, Thu Jan 26 - Fri Feb 3 09:00 - 18:00, Sat Feb 5 From Sat 5 February 18:00, the Central Box Office will move to Pathé.

SERViCES & FaCilitiES Film Office services The Film Office offers information and advice to all attending filmmakers and industry guests, and lays out the best possible means of screening and promoting their films at the IFFR. It assists filmmakers and their representatives to make the most of their time in Rotterdam and help to facilitate networking between buyers and filmmakers/producers. Together with the Programme Department, the Film Office offers a range of possibilities and facilities to ensure that distributors and buyers are fully informed about and able to view the newly completed films in the Festival programme. During the festival period itself the Film Office team can be found on the third floor of Festival Center de Doelen. Contacts: Jolinde den Haas, Nikolas Montaldi, Inke Van Loocke and Myrthe Terpstra E-mail: Industry Information The Film Office is the first point of contact for the Press & Industry Screenings, the Video Library and the Industry Club, and distributes all relevant film and contact data to distributors, sales agents and producers worldwide. Available information includes the Rights List (overview of feature length films that are currently not represented by an international sales agent), Audience Award List, Sales & Print Source List, and Viewing Reports of the Video Library and Press & Industry Screenings. Contact: Nikolas Montaldi

Video Library Accredited industry guests are welcome to use the Video Library on the fourth floor of de Doelen to view festival titles. Please note that demand can be high, especially during CineMart (Sun Jan 29 – Wed Feb 1), and certain restrictions may apply. Opening hours: 09:00 - 23:00, Thu Jan 26 - Fri Feb 3 09:00 - 20:00, Sat Feb 4 Coordinator: Samanta Telleri

Consultancy Meetings & Panels As part of the Film Office’s services, a time slot can be pre-booked with our Industry Consultants. They assist filmmakers and buyers in making the right contacts at the IFFR and can give information about the selected films, the attending industry guests, film market developments and the international festival circuit. The Film Office also sets up a number of industry panels aimed at filmmaker and industry guests. Information on the panels and meetings will be available separately. These both take place on the fourth floor of Festival Center de Doelen in the Industry Club. Industry Consultants: Hayet Benkara, Mary Davies, Jannie Langbroek, Marina Kozul and Aneta Lesnikovska. Coordinator: Nikolas Montaldi and Inke Van Loocke Industry Club This year, we are pleased to once again invite buyers and sellers to take advantage of the Industry Club. This facility is exclusive for buyers, sellers (who will automatically have access) and invited guests and includes:

• Comfortable, private meeting areas • Information stands • Reading table with industry periodicals • Coffee counter • Wi-Fi connection The Industry Club aims to be an efficient and relaxing work environment, centrally located on the fourth floor of Festival Center de Doelen, directly opposite the Video Library. Opening hours: 10:00 - 17:00, Wed Jan 25 - Fri Feb 3


293 23


Mailboxes Mailboxes are located behind the desks on the third floor. You can find the Press, CineMart and Guest mailboxes behind the corresponding desks. You are kindly asked to regularly check and collect your mail. Please ask the staff behind the desks for assistance. Print Facilities Professional guests will find print and photo copying facilities to use at their own expense in de Doelen behind the Guest Desk.


Press Office Contacts: Bert-Jan Zoet, Head of Media Relations & International PR Nancy van Oorschot, Press Officer & Trainee Project Manager Edwige Leblay, Press Accreditations & Press Desk Manager Albert Hidding, Press Office Intern Press Desk The Press Desk team can answer questions about the attending guests and arrange interviews with them. As each of the members of the Press Desk is specialized in a group of festival titles and associated attending talent, please do not hesitate to ask for more information. Interview requests and interpreters Press badge holders are invited to contact the Press Desk for arranging their interview requests with attending talent. If possible, interviews take place on a ‘one-to-one’ basis; there is a possibility – in agreement with the filmmaker – of a photo call and an interview room. We ask for your understanding if the attendance period of talent does not allow for all interview requests to be honored. For interview schedules with directors from films acquired for distribution within the Netherlands, the Press Desk collaborates with the distributor’s representatives. In case an interpreter is needed during the interview session, the Press Desk will arrange for this. During the Festival the Press Desk is reachable for any further information. Press Materials Upon request, the Press Desk will provide additional information about feature films and documentaries within the Festival programme. Hi-res stills from films in the programme selection

294 24

are also available for download on the press page of the Festival website: We advise all press to use the information available online. For the purpose of television broadcast, the Press Office provides free use of clips from a select number of 2011 titles on Betacam SP tapes. Please call the Press Desk first to ask if a DVD, EPK or Betacam tape is available. The tapes are available for copying at own cost and have to be returned to the Press Office the same day. The Festival does not provide copying or editing services. For copying purposes, the Press Office Intern Tim Vijgen, can provide addresses and contact information of nearby Rotterdam-based companies.

MERCHanDiSE Festival T-shirts, bags, sweaters and other souvenirs can be purchased in the Festival Shops on the ground floor of de Doelen, Pathé Cinema and LantarenVenster, along with the catalogue and DVDs from the Festival’s own Tiger Releases label. You can also purchase various products from the Festival’s webshop by visiting: Opening hours:

de Doelen and Pathé Cinema: daily 09:00 - 22:00 Opening hours LantarenVenster: daily from 09:00 until fifteen minutes after the start of the last screening.

PuBliCatiOnS / SOuRCES The following list comprises the main points of reference published in English by the Festival in print and/or online as well as official documents sent out to film representatives before and after the Festival. Festival Catalogue The IFFR Catalogue is the complete and essential guide to all festival films and events, including all industry, sales and print information. The catalogue is also a practical guide to the festival, it includes a concise programme overview and schedule. Festival Website All practical information and the latest Festival news can be found on our website. There is a public part (in Dutch and English) for the general audience and a professional part (in English) for our international Industry and Press guests:



Daily Tiger The bilingual (Dutch and English) Festival newspaper, written by professionals, published daily, available at all festival locations and online, and containing the latest news, announcements, programme changes, interviews and more. Daily Tiger Topics E-newsletter During the Festival, a daily version of the monthly digital Tiger Topics newsletter is sent out to international relations of the Festival, informing them about festival highlights. Events List An overview of all official Festival events, both those which are open to all badge-holders as well as those events which are accessible by invitation only. Delegates List The quick reference manual to all Festival and CineMart guests attending, including the dates of their stay and where to find them. Industry Manual The quick reference guide to all Industry companies and representatives attending CineMart and the Festival. There is an online version available prior and during the Festival for CineMart and Industry badge holders. Sales and Distribution Letter The Sales Letter is sent out several times prior to the festival and available during the Festival, details all feature length films not currently represented by an international sales agent. The Distributor Letter lists all feature films in the festival with full contact information. CineMart Dossier The CineMart Dossier has detailed information for all CineMart projects including synopses, directors’ biographies and filmographies, production company background, budget and technical specifications, and more. The CineMart Dossier is also available online for all CineMart badge holders prior to and during the Festival. The printed version is distributed to CineMart guests upon arrival.

Screening Report – Video Library Viewings The Video Library staff keeps detailed records of viewings in the Video Library and provides this information to the contact person for each film.


Festival Center de Doelen Kruisplein 40 SCREEning VEnuES

de Doelen Kruisplein 40 Screens: 3 Capacity: 425 - 1516

Rotterdamse Schouwburg Schouwburgplein 25 Screens: 1 Capacity: 600 Pathé Schouwburgplein Schouwburgplein 101 Screens: 7 Capacity: 205 - 760 Cinerama Filmtheater Westblaak 18 Screens: 7 Capacity: 103 - 291 LantarenVenster Otto Reuchlinweg 996 Screens: 5 Capacity: 91 - 240 Oude Luxor Theater Kruiskade 10 Screens: 1 Capacity: 850

Screening Report – Press & Industry Screenings All accredited guests who attend a Press & Industry Screening will have their badge scanned. This data is compiled and sent out to the contact person for each film.


295 25

Ed Wubbe Live music

Combattimento Consort Amsterdam Playing: 3 Feb. till 8 Apr. 2012 throughout The Netherlands 8 till 11 Feb. & 7 and 8 Apr. in the Rotterdamse Schouwburg Ed WubbeÕ s latest full-length production is steeped in the rich, theatrical sphere of the Baroque, driven by the tempo and dynamism of now. Romance, resplendence and sumptuousness, seduction, decadence and decay are the ingredients that Wubbe, and his full complement of dancers invoke in bringing Ô PearlÕ to life. More on &

FFR_2012_Pearl.indd 1

CheCk out the latest edition of

see nl the magazine on dutCh Cinema for international film professionals



21-12-2011 12:30:5




rical now. and ncers


21-12-2011 12:30:59






A-Film Distribution

Just Film Distribution

1273503 Ontaro Ltd.

Meeuwenlaan 98-100 1030 BG,Amsterdam Netherlands T: +31 20 3445144 F: +31 20 3445145

Melkpad 51 1217 KB,Hilversum Netherlands T: +31 35 6882834 F: +31 35 6882800

ABC - Cinemien


Amsteldijk 10 1074 HP,Amsterdam Netherlands T: +31 20 5776010 F: +31 20 5776029

KNSM-Laan 171 1019 LC,Amsterdam Netherlands T: +31 20 3031280 F: +31 20 3031290

Benelux Film Distributors

De Poort 40 3991 DV,Houten Netherlands T: +31 20 6255296 F: +31 30 6381312

Cinéart Netherlands

Nederlands Instituut voor Mediakunst (NIMk)

Keizersgracht 264 1016 EV,Amsterdam Netherlands T: +31 20 6237101 F: +31 20 6244423

O’Brother Distribution

Herengracht 328-III 1016 CE,Amsterdam Netherlands T: +31 20 5308848 F: +31 20 5308849

9, Quai de la Goffe 4000,Liège Belgium T: + 32 4 2324050 F: + 32 4 2232171

Cinema Delicatessen

Sony Pictures Releasing Netherlands

Jan Luijkenstraat 2 1071 CM,Amsterdam Netherlands T: +31 20 4207123 F: +31 20 4207124

EYE Film Institute Netherlands

Vondelpark 3 1071 AA,Amsterdam Netherlands T: +31 20 5891400 F: +31 20 7582370

Overschiestraat 186 c 1062 XK,Amsterdam Netherlands T: +31 20 3462070 F: +31 20 3462061

Topkapi Films

Filmfreak Distribution

Schippersstraat 7 1011 AZ,Amsterdam Netherlands T: +31 20 4864940 F: +31 20 4864941

Rapenburgerstraat 123 1011 VL,Amsterdam Netherlands T: +31 20 3032494

Universal Pictures International Netherlands BV

Postbus 9255 1006 AG,Amsterdam Netherlands T: +31 20 6177575 F: +31 20 6623240

Hubert Bals Fund

PO Box 21696 3001 AR,Rotterdam Netherlands T: +31 10 8909090 F: +31 10 8909091

Warner Bros. Pictures Holland

Postbus 59226 1040 KE,Amsterdam Netherlands T: +31 20 6802300 F: +31 20 6802306

Imagine Nederland

Wild Bunch Benelux

Prinsengracht 452 1017 KE,Amsterdam Netherlands T: +31 20 6252653 F: +31 20 6268978

Jan Vrijman Fund

Frederiksplein 52 1017 XN,Amsterdam Netherlands T: +31 20 6273329 F: +31 20 6385388

Haarlemmerdijk 159 1013 KH,Amsterdam Netherlands T: +31 20 5357550 F: +31 20 5357551

185 Vine Avenue M6P 1V9,Toronto Canada T: +1 416 7624884

13 Little Pictures

6 Kovan Close 548199,Hougang Singapore T: +65 9 7689986 F: +65 6 5431643

4 Proof Film

Intrarea Iuliu Valaori 6, ap.1 030683,Bucharest Romania T: +40 74 9100958

5 to Five Team Production

21 rue Rothschild 1202,Genève Switzerland T: +41 7 64325383 F: +41 76 4325383

A Mutual Respect Productions

Rua da Barroca 59 1200-047,Lisbon Portugal T: +351 2 13430205

mutualrespectproductions@ www.mutualrespectproductions.

Absent without Leave

Mauritsstraat 167 3012 CH,Rotterdam Netherlands T: +31 6 39793165

Academy Film Archive

1313 North Vine Street CA 90028,Los Angeles USA T: +1 310 2473016 F: +1 310 2473032

Academy of Media Arts

Peter Welter Platz 2 50676,Cologne Germany T: +49 221 20189330 F: +49 221 20189117

Ad Astra Films

150 Impasse Bellon 06370,Mouans-Sartoux France T: +33 9 64352584

Adentro Cine

Santiago 1333 casi Brasilia Barrio Jara 1425,Asuncion Paraguay T: +595 21 296115

Afrassiabi, Babak

van Brakel Straat 58 3012 XZ,Rotterdam Netherlands T: +31 6 20990174

Ai Weiwei StudioBeijing

China T: +86 10 84561233







Alhamwi, Hazem

Arclight Films (IFTA)

T: +963 11 46 10 444

Bldg 61, Suite 228, FSA # 40 Fox Studios Australia, Driver Av. NSW 2021,Moore Park, Sidney Australia T: +61 2 83532440 F: +61 2 83532437 www.hazem.alhamwi.


18 Nawal Street 12311,Cairo Egypt T: +20 23748 8756 F: +20 23748 8693