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Using the Catalogue Catalogue & Festival Staff Foreword The Supportive Festival Jury Hivos Tiger Awards Competition Jury Tiger Awards Competition for Short Films Thanks to Partners & Sponsors

25 Hivos Tiger Awards Competition 43 Tiger Awards Competition for Short Films 53 Bright Future 91 Spectrum 131 Spectrum Shorts

tHis is reality not fiction

199 213 229 249 261 275

Signals: Dominik Graf Signals: Kira Muratova Signals: Inside Iran Signals: Changing Channels Signals: Sound Stages Signals: Regained

295 Industry Services & Facilities 301 315 320 325 329 335 356

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

Hivos supports independent filmmakers across tHe world main partner of iffr




Hivos Tiger Awards Competition 


Awards for the new generation. Sixteen nominated filmmakers compete with their first or second feature for three equal Hivos Tiger Awards.   Tiger Awards Competition for Short Films


Awards for the short but sweet. Twenty-three films running less than sixty minutes were selected for this competition, for which there are three equal Canon Tiger Awards for Short Films up for grabs.   


Bright Future 

Young blood. First or second films from filmmakers from whom the festival expects big things.  


Spectrum  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 talents.  

Spectrum Shorts 


The strength of the short: films between one and fifty-nine minutes long, from all over. Brought together in compilation programmes or screened ahead of features.  

Signals: Dominik Graf 


Retrospective of the work of Dominik Graf, the most important chronicler of modern Germany. His oeuvre encompasses some sixty productions, most of them made for television. Graf is the best-kept secret in German filmmaking.  

Signals: Kira Muratova 


Contemporary Iranian cinema and video art from the lively underground circuit in Teheran, where galleries are meeting places for filmmakers and audiences.

Signals: Changing Channels


The best examples of ‘episodic storytelling’, featuring television and Internet series made by independent filmmakers, for one time only on the big screen – or in the special web lounge in Cinerama.  

Signals: Sound Stages 


Sound rather than image takes centre stage in Sound Stages. The festival as jukebox, with a whole range of cinematic sound experiences and live performances, installations and films to stimulate the ears. Both in and outside the cinema.  

Signals: Regained 


A sample of cinematic memory, with the focus on experiments, restored classics, special events and exhibitions, as well as current opinions on film, history and visual culture. A regular component of the Signals section. 



Prod = Producer • Prod Comp = Production Company • Sc = Screenplay • 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 • SKZ = Schouwburg Kleine Zaal • PA1 - PA7 = Pathé 1 - 7 • CI1 - CI7 = Cinerama 1 - 7 • LV1 - LV6 = LantarenVenster 1 - 6 • LUX = Oude Luxor • UN = De Unie All films are English spoken or subtitled in English, except for the films marked: d.s. = Dutch subtitles or f.s. = French subtitles, n.d. = no dialogue 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).



For the first time ever outside of Russia and the Ukraine, the complete oeuvre of one of the most exceptional Eastern European artists of the past half century has been brought together. An inimitable, irresistible oeuvre that respects no boundaries.  

Signals: Inside Iran

Abbreviations Chief Editor SaskiaGravelijn Editors Lot Piscaer, Harriëtte

Ubels, Tanja Vlieger

Copy Editors (English:)

Mark Baker, Jane Bemont, Christine Gardner, (Dutch:) Mariska Graveland, Pauline Kleijer, Mark Mallon Contributors Zara Abdullaeva, Niels Bakker, Leo Bankersen, Joost Broeren, Edo Dijksterhuis, KEES Driessen, Jan Pieter Ekker, Mariska Graveland, Christoph Huber, Pauline Kleijer, Omar Kholeif, Sietse Meijer, Olaf Möller, Maricke Nieuwdorp, Nicole Santé, Ronald Rovers, André Waardenburg and Festival Staff Translators (English:) Mark Baker, Martin Cleaver, Titus Verheijen, Dimitri Frenkel Frank, (Dutch:) Sjaan de Bruijn, Leo Reijnen, (Russian-Dutch:) Eelco den Boer

Photo Editor Amanda Harput Production Marieke Berkhout,

Afke Duinkerken Programme Chris Schouten, Melissa van der Schoor Cover design 75B Design & typesetting Sjoukje van Gool, Gerald Zevenboom Print Veenman+ © 2013 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



Festival Staff 42nd International Film Festival Rotterdam PO Box 21696 3001 AR Rotterdam The Netherlands tel: +31 10 890 9090 fax: +31 10 890 9091 Supervisory Board Pieter Broertjes, Mart Dominicus, Frans van Gestel, Francine Houben, Rudy Stroink 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, Bianca Taal, Gerwin Tamsma, Gertjan Zuilhof, (short films:) Peter van Hoof, Maaike Gouwenberg, Erwin van ’t Hart, Juliette Jansen, Peter Taylor, Theus Zwakhals Guest Curators Christoph Huber, Olaf Möller Programme Advisors Mary Davies, 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, Pim Kipp, Robert de Rek, Melissa van der Schoor, Ioana Stanescu, Erik Tijman Press Bert-Jan Zoet, Lisa Gribling, Nancy van Oorschot, Justin Verhulst Communication & Marketing

Afke Duinkerken, Marieke Berkhout, Sanne de Rooij Sponsoring & Fundraising

4 - 7 april 2013 the cinemas willemstad



Martje van Nes, Kitty Bogte, Hedwig Hupkes, Barbara Korpershoek, Lennart Verschoor, Angela Visser CineMart Marit van den Elshout, Inke van Loocke, Tobias Pausinger, Nienke Poelsma, Emmy Sidiras, Jacobine van der Vloed, (consultants/ matchmakers:) Jolinde den Haas, Konstantinos Kontovrakis, David Pope Hubert Bals Fund Iwana Chronis, Fay Breeman, Janneke Langelaan, Stien Meesters, Bianca Taal General Editors Anton Damen, Saskia Gravelijn Editor Lot Piscaer, Harriëtte Ubels, Tanja Vlieger Photo Editor Amanda Harput Website Loes Evers, Rik Mertens, Pete Wu Film Office Nikolas Montaldi, Maite Klis, Stien Meesters, Hanno Reeder, Myrthe Terpstra, (industry consultants:) Hayet Benkara, Mary Davies, Marina Kozul, Louis Tisné

Video Library Rob Duyser,

Samanta Telleri Distribution Juliette Jansen,

Melvin van Gent Education & Youth Marketing

Ronny Theeuwes, Jessica Teunissen Finance & Human Resources Eva de Jong, Geert Hoeven, Mirjam Klootwijk, Marleen de Kok, Mariska Korff, Karin Zuijderwijk Office Helma Haak, Almud Krejza, Anne-Mercedes Langhorst, Sophie van Westrenen, (assistant to Rutger Wolfson:) Mirjam Klootwijk Production Juul Veenboer, Remke Annema, Rembrandt Boswijk, Rob van Doggenaar, Arielle Fenton, Eefje Goderie, Johan Ista, Adam Verhaar, Randi de Vries, Paul Westerweel, (CIFFR:) Joost Trines Guest Department & Hospitality Susanne van Doorn, Yasmin Buisman, Isabelle de Klein, Mercedes Martinez-Abarca, Nasztazia Potapenko, Stella de Wit Jury Support Jeroen Achterberg, Jindra Span, Charlotte van Zanten, Ann de Vries Information & Communication Technology Cornell den Broeder,

Jeroen Diderik, Erik Gelsema, Marcel van Sprang, Victor Verheij Volunteers Coordination Annemarie van Leeuwen, Thomas van der Zel, Hannah Abbink 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, Kathinka Verhoeven Car Service Marie-Louise Calame, Eline Kunz Q&A & Translators Maaike Boersma, Mirte Engelhard Talkshows Mieke van der Linden, Farid Tabarki Horeca Remco Ris CineMart International Advisory Board

Ido Abram, David Atlan-Jackson, Juan Gordon, Keith Griffiths, Claudia Landsberger, Scott Macaulay, Chris Paton, Lorna Tee, Susan Wendt International Liaison Lucius Barre CineMart Selection Committee

Jannie Langbroek, Frank Peijnenburg, Anita Voorham and CineMart/Festival Staff Hubert Bals Fund Selection Committee

Jan Pieter Ekker, Simon Field, Ilse Hughan, Jannie Langbroek, Amir Muhammad, Dicky Parlevliet, Lucas Rosant, Ineke Smits and HBF/Festival Staff Festival Groningen Gerben ter Haar, Hanneke van den Hoogen, Henk Klein Wassink, Lisa Klompe, Shanna Mank



Foreword Rutger Wolfson & Janneke Staarink

© Bram Belloni

For many years now, the legitimacy of cultural subsidies has been the subject of fierce debate in the Netherlands. It is an issue that, alongside a lot of good sense, also attracts a lot of nonsense. Such as the idea that the cultural sector is just a subsidy-devouring plaything of the elite – a sentiment which is by no means only typical of the Netherlands.

If there is one thing this debate has made clear over the years, it is that the arguments usually presented in the defence of culture have become threadbare. For example, presenting culture as a means of improving the masses, or on the other hand, simply as art for art’s sake. Or seeing the ‘creative industry’ as a driver of the economy or of urban renewal. Or putting forward culture as a solution to social problems that have so far proved impervious to attempts to fix them, such as failing social integration. All ideas that are still very much alive and kicking, but that somehow no longer seem as convincing as once they did. It is a discussion burdened with a sense of déjà vu, but which in actual fact has only really just begun. Because the only way to really convince the cynics is to redefine the value of culture. Such a redefinition demands new concepts, although defining these will be no easy task. One way to make a start, however, is to look at what is being done in cultural practice. For example – you guessed it – by International Film Festival Rotterdam (IFFR). A festival that offers a range of opportunities to identify the value of culture. Visible Developments

The first of these is of course the films themselves. Film, alongside its undoubted value as entertainment, has unique qualities that are clearly of value. One of these is well illustrated by the work of German cineaste Dominik Graf. His sizeable and wide-ranging oeuvre – most of which was made for television – encompasses genre experiments as well as more essayistic documentaries. Graf can perhaps even be said to be one of the major chroniclers of modern Germany – as well as one of its sharpest critics. His films and television series enable the viewer to reflect on the many changes that have taken place in German society. Graf’s work makes the real world visible and understandable. The same is true for the works in the programme focusing on recent Iranian cinema and video art, Inside Iran. The festival has always paid close attention to Iranian cinema, and the current situation for filmmakers working in Iran is extremely delicate. This has led to the growth of a lively underground culture of film screenings and presentations in informal gallery spaces. Inside Iran makes these developments visible to us.



Naturally, such developments are also made visible in other ways. By the media, for example, or through academic research. But film can do this in a unique, extremely powerful way. Film has this power because it keeps our eyes open and our minds curious – because film is constantly renewing itself – and sometimes is even reinvented entirely. Kira Muratova is a prime example of someone who has reinvented film. Muratova is without doubt one of the most phenomenal artists to emerge from Eastern Europe in the past fifty years. Her films do not fit into any film tradition except her own. The festival is therefore very proud to present the first tribute to her exceptional talent outside of Russia and the Ukraine. Innovation in film is not driven purely by filmmakers, however, but also by the way in which (where and how) we watch films. Questions such as ‘what is cinema?’ and ‘where is cinema?’ are now more relevant than ever. These questions are addressed in the Sound Stages programme. Future Sounds

Sound Stages is devoted to cinema as a ‘live event’, with sound as the key factor in creating a unique experience. It focuses on the collective experience that makes both cinema and live music performances so unique, and raises the question of whether this could be the future of cinema. Film is not only constantly in development, but is also – literally – forever moving. Film migrates constantly from the silver screen to other platforms. One of these, at present, is television. More and more IFFR directors are creating works for television and the internet and finding new opportunities within what could be called ‘episodic story telling’. Examples of this have been brought together in the Changing Channels programme. It is difficult to the define the intrinsic value of film in concrete terms, partly because this is so closely related to personal experience. Nevertheless, this is something no one would deny, as everyone has surely been touched by this at one time or another. Perhaps not yet by the most exceptional, adventurous and trail-blazing films – but this is exactly where a festival such as Rotterdam can make the difference. Adding Value

A second way of defining the value of culture using IFFR as an example is by borrowing a term from the realm of economics: ‘value added’. The festival adds value by supporting filmmakers in the production of their films at all stages of their careers. This year alone, the festival programme contains 16 former CineMart projects and 25 films that received support from the Hubert Bals Fund (HBF), five of which have been selected for the Hivos Tiger Awards Competition. Value added goes beyond the concrete value of the Hubert Bals Fund’s financial support for script development and postproduction, and the co-financing made possible by CineMart. A significant aspect of the value that the festival adds is recognition. The Tiger logo is also a valuable seal of approval that opens doors to critical acclaim, greater financing and new audiences. The value of this recognition can also be seen in the distribution



of festival films supported by IFFR. This year, the festival presents a new competition, The Big Screen Award. This competition for films without a Benelux distributor is intended to raise the profile of the selected films internationally. But also to guarantee that more exceptional festival films are released. In addition, later in 2013, the festival will present a selection of films on iTunes, helping these exceptional films to find audiences beyond the period of the festival. This support is partly practical, but once again the Tiger logo is an important factor. Audiences will be able to find these films thanks to this logo. Meaningful Connections

Culture enriches you The BankGiro Lottery is the cultural lottery of The Netherlands and we are the main partner of the International Film Festival Rotterdam. Together with our players we support museums, monuments, windmills and festivals by donating over 64 million euro every year. For more information, please visit

A third perspective on the value of culture as illustrated by IFFR concerns the making of meaningful connections. During the festival, filmmakers, the industry and audiences come together and form a real community. A community that allows the public, critics, sales agents and distributors to discover new films. In addition, film projects are (partly) financed thanks to the CineMart. In all of these cases, meaningful new connections are forged. Connections that increasingly reach beyond the film industry and festival audiences. IFFR is also entering into ever more partnerships with other international players in the city, such as the Erasmus University and the Port of Rotterdam, aimed at exchanging knowledge, expertise and networks. This exchange is of great value to all those concerned, particularly given the current difficult economic climate. These partners can open up new audiences for the festival and forge yet more new connections. Or provide a concrete context that enriches the film programme. And vice versa, the festival makes the city more attractive – also for the businesses already established here. Or it may be interesting for a commercial partner to have a cultural partner who is very active in parts of the world that are of importance for the future of that business. Going Further

Like all forms of art and culture, film has an intrinsic value that goes further than what the market is prepared to pay for it. Not only IFFR, but all cultural institutions add value and make meaningful connections – each in their own way. We believe that stating this is instrumental to developing a convincing idea of the value of culture in today’s society. Having said that, in the case of IFFR, the experience of the festival itself will probably always be the most persuasive argument of all. As anyone who has ever taken the plunge into the festival will tell you, the value of the culture represented by this festival is plain to see. Of course, a festival like this doesn’t happen just like that. We would therefore like to say a huge thank you to everyone involved, and in particular to the members of the festival staff, for all their hard work. And we wish you all an exceptional festival!



The Supportive Festival IFFR actively supports independent filmmaking from around the globe. The festival is a established 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 international film projects, takes place at the festival from January 27 to 31, 2013. 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. 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 International Film Festival Rotterdam. This year, IFFR proudly presents a total of 25 films supported by the HBF in various programme sections, including five HBF-supported films nominated for the Hivos 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 € 1.2 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. Boost!

Boost! is the new coaching trajectory started in 2011 organised by Hubert Bals Fund, CineMart, Binger Filmlab and the NFDC of India and is supported by MEDIA Mundus. Yearly five projects selected for



Hubert Bals Fund script and project development support are offered the opportunity to further develop their project at Binger Filmlab as part of the Binger On Demand programme. The collaboration with the NFDC of India entails the selection of one South Asian project that is presented at the Goa FilmBazar before travelling to Rotterdam. During the International Film Festival Rotterdam, the Boost! projects are presented at CineMart. HBF Harvest 2013

The Hubert Bals Fund is proud to present this year’s HBF Harvest at the 42nd edition of International Film Festival Rotterdam. Hivos Tiger Awards Competition

Noche, Leonardo Brzezicki (Argentina) Halley, Sebastián Hofmann (Mexico) Fat Shaker, Mohammad Shirvani (Iran) Penumbra, Eduardo Villanueva (Mexico) Longing for the Rain, Yang Lina (China) Bright Future

Peculiar Vacation and Other Illnesses, Yosep Anggi Noen (Indonesia) La Playa D.C., Juan Andrés Arango (Colombia) Los salvajes, Alejandro Fadel (Argentina) On Mother’s Head, Putu Kusuma Widjaja (Indonesia) Melaza, Carlos Lechuga (Cuba, France, Panama) Leones, Jazmín López (Argentina, France, Netherlands) Wadjda, Haifaa Al Mansour (Saudi Arabia, Germany) Poor Folk, Midi Z (Myanmar, Taiwan) Mai morire, Enrique Rivero (Mexico) Memories Look at Me, Song Fang (China) What They Don’t Talk About When They Talk About Love, Mouly Surya (Indonesia) Spectrum

Kalayaan, Adolfo B. Alix Jr. (Philippines) Steel Is the Earth, Mes De Guzman (Philippines) One Day When the Rain Falls, Ifa Isfansyah (Indonesia) Something Necessary, Judy Kibinge (Kenya, Germany) Rio Belongs to Us, Ricardo Pretti (Brazil) Atambua 39° Celsius, Riri Riza (Indonesia) Harmonica’s Howl, Bruno Safadi (Brazil) Lukas nino, John Torres (Philippines) Signals: Inside Iran

Modest Reception, Mani Haghighi (Iran) CineMart

The 42nd International Film Festival Rotterdam marks the 30th 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 33 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 2012, 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 IFFR and shares its location with the Festival Center, de Doelen, in the heart of Rotterdam.

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.

Former CineMart projects in IFFR 2013


CineMart is proud to present sixteen former CineMart projects now selected for this year’s film programme.

Leones, Jazmín López (Argentina, France, Netherlands) Call Girl, Mikael Marcimain (Sweden, Ireland, Norway, Finland) Diego Star, Frédérick Pelletier (Canada, Belgium) Ma belle gosse, Shalimar Preuss (France) Errors of the Human Body, Eron Sheean (Germany, Australia)

Art:Film is an initiative of IFFR/CineMart and CPH:DOX to further enhance, platform and nurture highly artistic cinema and visual arts. It reacts on the specific needs of radical art house cinema to expand in new fields of financing, production and distribution. As well as on the growing number of films by directors coming from the field of visual arts, which are successfully shown on festivals and theatres worldwide, thus proving a demand and also commercial success. The idea behind Art:Film is to connect people from the world of visual art and cinema, to exchange knowledge and contacts, and to support filmmakers and artists working on feature projects in between the two fields. Art:Film will carry on the selected projects over the ongoing year to follow up on their finance and development through organised workshops and case studies.



Hivos Tiger Awards Competition

De wederopstanding van een klootzak, Guido van Driel (Netherlands, Belgium) Dummy Jim, Matt Hulse (United Kingdom) Silent Ones, Ricky Rijneke (Netherlands, Hungary) Bright Future

Kalayaan, Adolfo B. Alix Jr. (Philippines) Lasting, Jacek Borcuch (Poland, Spain) In the Fog, Sergei Loznitsa (Germany, Russia, Belarus, Netherlands, Latvia) Post tenebras lux, Carlos Reygadas (Mexico, France, Netherlands, Germany) Il futuro, Alicia Scherson (Chili, Germany, Italy, Spain) Kid, Fien Troch (Belgium, Germany, Netherlands) La cinqième saison, Jessica Woodworth, Peter Brosens (Belgium, Netherlands, France) Signals: Regained

The Pervert’s Guide to Ideology, Sophie Fiennes (United Kingdom, Ireland) 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



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, IFFR pays a great deal of attention to digital developments. IFFR owns a YouTube channel that provides, for example, short film programmes and Hubert Bals Fund supported feature films. In 2011, IFFR launched the DVD & VoD (Video on Demand) series 10 to Watch; a package of 10 festival films, mainly Bright Future titles from the last festival edition, including a few Hubert Bals Fund-supported titles. The VoD releases are on the same day as the DVD releases, at the partner platforms Cinemalink, Ximon and since January 2012 also MUBI. This year’s package contains, for example, award-winners such as Clip, De jueves a domingo and Neighbouring Sounds. IFFR collaborates with with a VoD page on the IFFR website, which means the general public can now also stream festival hits such as Shame and A Single Man at a reasonable price. Main sponsor UPC also took IFFR titles for their UPC on demand service. IFFR also wishes to play a mediating role for filmmakers by participating in the very successful platform Festivalscope, a website where sales agents, programmers and other professionals can view art films. This edition a new initiative will be launched; IFFR collaborates with aggregator Under the Milky Way to facilitate Bright Future and Spectrum selected filmmakers in having their films available on iTunes Benelux. 23 January, an IFFR room will be launched on iTunes Benelux. This filmmakers’ service can be extended to other territories outside the Benelux and VoD platforms.



The Big Screen Award Competition

THE KILLING 3 Sarah Lund is weer terug! Het derde seizoen van de ijzersterke Deense crime serie. Sarah Lund stort zich op een mysterieuze moordzaak die haar naar de politiek, de bank- én de zakenwereld

This edition, the 42nd International Film Festival Rotterdam introduces a THE BIG SCREEN AWARD COMPETITION new competition in support of theatrical distribution of feature films in the Netherlands and Belgium. Over the past years, for cultural, demographical, economical or technological reasons, many things have changed in cinema distribution. Some of these changes have been beneficial, other have been problematic. But we feel some of the films in the festival’s line up have the potential to reach a wider audience than is possible during the festival. We have selected ten films, both from Bright Future and Spectrum sections, to be seen by an Audience Jury comprising five enthusiastic film lovers from the Netherlands. These ten films, including four world premieres, will also be eligible for the KNF Award, the prize given by Circle of Dutch Film Critics since 1984. The members of the Big Screen Award Jury 2013 are Menno van de Laars, Jeroen Laven, Ilse van de Spoel, Jorine Witte and Alexander Zwart. The members of the KNF Jury 2013 are Joost Broeren (De Filmkrant), Sven Gerrets (VPRO-gids/, Fritz de Jong (De Persdienst DPd/De Filmkrant), Pim Wijers (Preview Magazine) and Dineke de Zwaan (Uitagenda Rotterdam). Both prizes come with a guaranteed distribution offer for the Benelux, in collaboration with local distributor Amstelfilm. We hope to develop The Big Screen Award further in years to come. The Big Screen Award Selection

These are the nominees for The Big Screen Award: Bright Future

Matei Child Miner, Alexandra Gulea (Romania, Germany, France) Northwest, Michael Noer (Denmark) Diego Star, Frédérick Pelletier (Canada, Belgium)   Spectrum

Mater Dolorosa, Adolfo B. Alix Jr. (Philippines) Bellas mariposas, Salvatore Mereu (Italy) Soegija, Garin Nugroho (Indonesia) Il futuro, Alicia Scherson (Chile, Germany, Italy, Spain) Drug War, Johnnie To (Hong Kong) Odayaka, Uchida Nobuteru (Japan, USA) How to Describe a Cloud, David Verbeek (Netherlands)



€ 29,95



Jury Hivos Tiger Awards Competition The Tiger Awards Competition was established by IFFR in 1995. Having been a noncompetitive event up until then, the idea of it 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 275 filmmakers have competed with their first or second feature film. Ai Weiwei is a conceptual artist, political activist, philosopher, architect, photographer and filmmaker. Influenced by Marcel Duchamp’s Dadaism, Ai became known for his continuing criticism of social and cultural changes in China. He makes intensive use of the internet and Twitter when condemning the human rights situation, economic exploitation and environmental pollution. The designer of, among other things, China’s Olympic stadium was named the world’s most influential artist by the magazine Art Review in November 2011. After spending 10 years living in New York, Ai returned to China in 1993 where he was arrested in 2011; officially for tax avoidance, unofficially due to his criticism of the Chinese government. Because he is not permitted to leave Beijing, Ai will perform his jury duties from a distance and will communicate with the other jury members using Skype.

Spaniard José Luis Cienfuegos is the artistic director of the Sevilla Festival de Cine Europeo. Between 1995 and 2011, he directed the Gijón International Film Festival where he supported the work of daring filmmakers whose productions had, until then, been unknown in Spain. He succeeded in developing the event into one of the most prestigious independent film festivals in Spain. He has also written and hosted programmes for Spain’s Radio 4 and has curated various programmes for the Reina Sofía Art Center in Madrid and the LABoral Art and Industrial Creation Centre in Gijón. He is a regular jury member at film festivals and for the past two years has been a panel member for the Lux Film Awards presented by the European parliament.



Kees Hin interrupted his film studies in

1962 to become an assistant to filmmakers Fons Rademakers and Bert Haanstra. In 1965, he made his directorial debut under Haanstra with the documentary Onderaards, which heralded the start of a life-long scripting collaboration with Dutch author K. Schippers. Hin has made over 100 films and installations in his own unique style. From 2002 onwards, he developed a number of films in Mexico with Diego Gutierrez whom he met whilst lecturing at the Rijksakademie in Amsterdam. In 1985, he received the ‘L.J. Jordaan Prize’ from the Amsterdam Fund for the Arts for his oeuvre. Between 1988-2003, he was a member of the board of International Film Festival Rotterdam and from 1991-2001, he occupied the same position at the Dutch Film Museum (currently known as EYE). Kees Hin is currently an advisor to the Rijksakademie. Filmmaker, editor and screenwriter Sergei Loznitza grew up in Kiev, Ukraine and

graduated in applied mathematics in 1987. During the years that followed, he became an artificial intelligence researcher and also worked as a translator from Japanese. Loznitza completed his filmmaking studies in 1997 and made 12 documentaries that brought him many national and international prizes. He has also made two feature films; In the Fog won the FIPRESCI prize in 2012. In 2013, International Film Festival Rotterdam will be screening two of his shorts: Letter has been selected for the Tiger Awards Competition for Short Films and In the Fog is part of the Spectrum programme. Fatemeh Motamedarya was born in Tehran,

Iran. Motamedarya first became involved in theatre as a teenager. She now has over 80 national and international awards, making her the most acclaimed actress in Iran. In 2002, she received an honorary doctorate in the arts. Motamedarya is one of the founders of the Iranian House of Cinema and was a representative of the actors’ guild in Iran. In 2009, she provided seminars on Iranian film at the Academy of Motion Picture Arts and Sciences in Los Angeles. Two years ago, Motamedarya was banned from acting for the theatre, in film and on television. She currently works as a drama lecturer at the University of Isfahan.





Jury Tiger Awards Competition for Short Films In the IFFR section Tiger Awards Competition for Short Films, 23 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 plus a video camera, will be announced on Monday, 28 January at 21:00 in WORM.

© Anna Wagner, minimal tunesia

Phil Collins is a filmmaker, photographer,

21220KFO13_IFFR_110x117_RZ.indd 1

20.12.12 17:17



interviewer and producer. He studied Drama and English at the University of Manchester and Fine Arts at the University of Ulster. In his films, photographs, installations and live events, Collins often investigates the complex and ambiguous relationship between the camera and its subjects. In 2006, Collins was nominated for the Turner Prize, a prestigious British annual award for artists. In recent years, IFFR has screened many of his films including He Who Laughs Last Laughs Longest (2006) and the meaning of style (2011). He currently lives in Berlin and Cologne where he is Professor of Video Art at the Academy of Media Arts. Solange Farkas is the director and curator

of the Videobrasil International Electronic Art Festival. She is also the founder and head curator of the International Contemporary Art Festival SESC_Videobrasil, a festival for art from the southern hemisphere. During her 25year career, Farkas has successfully organised major exhibitions by famous artists all over the world. Between 2007 and 2010, she worked as the director and head curator of the Bahia Museum of Modern Art, where she promoted the work of Brazilian and international artists. In 2004, Farkas won the Sergio Motta Hors Concours Award for her contribution to electronic art. Joost Rekveld has been the head of

the ArtScience Interfaculty at the Royal Conservatoire and the Royal Academy of Art in The Hague since 2008 and started making abstract films and light installations in 1991. In most of his animations, he uses computers to orchestrate and compose the precise movements of the optical components. He is interested in cybernetics, artificial life, possible extensions to the senses and robot architecture. Alongside his film work, he has been involved in many theatre productions as a lighting and projection designer. He also lectures and curates film programmes. European Film Academy – European Short Film Award

At 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, 28 January at 21:00 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.



Thanks to

International Film Festival Rotterdam would like to thank:

Zara Abdullaeva Ahmed Aboutaleb Tikoy Aguiluz Ai Weiwei Sitora Alieva Arie Altena Emily Ansenk Rodrigo Areias Errki Astala David Atlan-Jackson Jean-Baptiste Babin Maria Baker Joke Ballintijn Christine Bardsley Annamaria Basa Violeta Bava Maartje Berendsen Julie Bergeron Guus Beumer Doreen Boonekamp Olya Borissova Ger Bouma Han Bouman Filip Braams Rémi Burah Carla Cattani Chang Ting Philip Cheah Zoë Chen Chung-jung Mihai Chirilov José Luis Cienfuegos Marcel Cobussen Phil Collins Ben Cook Simon Corsèl Arleen Cuevas Claudio Cunha Claudia Curio Ludmila Cvikova Costas Daskalakis Jan De Clercq Christian De Schutter Roman Dekhtiar Amy Dotson Esther van Driesum Marie-Pierre Duhamel Basak Emre Amir Esfandiari Gareth Evans Danielle Eversby Solange Farkas Tine Fischer Eric Franssen Raviv Ganchrow Angelique van Gasteren Amirali Ghasemi Evgeny Golubenko Jacob van der Goot Juan Gordon Dominik Graf Eva de Grote Trevor Groth Sandra den Hamer Briony Hanson Jacques van Heijningen Sonja Heinen Titia Hienema Kees Hin Elisabeth Holm Hong Hyosook


Barbara Honrath Rogier van der Horst Alexander Horvath Brigitte Hubmann Ge Huismans Hans Hurch Peter Inklaar Ruth de Jager Jo Ji-Hoon Igor Kalenov Marit Kapla Himesh Kar Ida de Kat Petri Kemppinen Alireza Khatami Omar Kholeif Kim Haery King Yiu Chu Gabe Klinger David Koh Oleg Kokhan Asya Kolodizhner Ekaterina Kopylova Mario Kozina Ivan Kozlenko Pieter Kunz Elise Labbé Claudia Landsberger Elena Lapina Stefan Laudyn Lee Yongkwan Ruby Lerner Liza Levanskaya Li Shanshan Michel Lipkes Jan Loorbach Michelle Lou Sergei Loznitsa Scott Macaulay Kate MacKay Claudia Marcoux François Margolin Steven Markovitz Dorleta Martin San Venancio Jasmin McSweeney Toni Monty Fatemeh Motamedarya Kira Muratova Nakayama Hiroki Nam Dongchul Pascale Nanning Mark Neirynck Lauge Nielsen Ken Okubo Roberto Olla Irina Orssich Jacqueline Oskamp Jerome Paillard Tolke Palm Michiel Pannekoek Dicky Parlevliet Arnaud Pasquali Chris Paton Onno Paymans Anna Pedroli Theo Peekel Frank Peijnenburg Mark Peranson Olivier Père Adina Pintilie Cristi Puiu Edvinas Puksta Simon Pummell

Thanks to

Marten Rabarts Alessandro Raja Dominique van Ratingen Joost Rekveld Rachel Robey Jeroen Roovers Peter Rorvik Ruan Liang-cheng Ben Russell Bart Rutten Aukje Rypma Eva Sangiorgi Marc-André Schmachtel Dan Schoenbrun Martin Schweighofer Shan Dong-Bing Petr Shepotinnik Aviva Silver Riina Spørring Zachariassen Dick Stegewerns Anocha Suwichakornpong Mika Taanila Meiske Taurisia James Thompson Intishal Al Timimi Ruth Timmermans Amanda Trager & Erik Moskowitz Tsai Jing-fang Wilbert van Twuijver Chalida Uebumrungjit Alicia Van Couvering Edwin Veekens Ronald Vierbergen Carlos Wendel Magelhaes Susan Wendt Frans Westra Manon WilbrinkLommen E-Shyh Wong Wong Tuck Cheong Ying Liang Yoo Un-Seong Gamila Ylstra Zhu Rikun Alliance Française Rotterdam Amakula Kampala International Film Festival AMC Networks Arminiuskerk ARTE France Cinéma Asian Film Market Ateliers du Cinéma Européen Austrian Film Museum Beijing Independent Film Festival Berlinale Co-Production Market BFI London Film Festival Binger Filmlab Blaak10 Gallery British Council Buenos Aires Festival Internacional de Cine Independiente (BAFICI) Busan International Film Festival CentEast Market Warsaw


Centre for the Moving Image Chinese Independent Film Festival Cinéfondation – Résidence du Festival de Cannes Cinema Digital Seoul Film Festival Cinémathèque de Toulouse Cinergia City Development Corporation CPH-DOX Creative Capital Creative Scotland Creative Skillset Czech Film Center Danish Film Institute Doha Film Institute Dubai International Film Festival Durban FilmMart/ Durban Film Office Durban International Film Festival Ecrans Noirs Festival Cameroun Edinburgh International Film Festival Embassy of Holland in Kiev Embassy of Holland in Ukraine Embassy of India Embassy of Poland Embassy of Ukraine in Holland Ethiopian International Film Festival Eurimages European Audiovisual Entrepreneurs (EAVE) EYE Film Instituut Farabi Cinema Foundation, Tehran FESPACO Festival del Film Locarno Festival du Film de Dakar Festival Internacional de Cine de Morelia Festival International du Film de Cannes Film Bazaar Film I Väst Film- und Medienstiftung NRW Filmmaker Magazine Les Films de l’Elysee Finnish Film Foundation Finnish Film Institute Flanders Audiovisual Fund Fundación TyPA Galway Film Fleadh Garage Center for Contemporary Culture Gdynia Film Festival Glamcult Goethe Institute Johannesburg Goethe Institute Khartoum

Goethe Institute Lagos Goethe Institute Rotterdam Gonzo (circus) Gosfilmofond of Russia Göteborg International Film Festival Guanajuato International Film Festival Haut et Court TV HBO Czech Republic HBO Latin America HBO Nederland IDFA Bertha Fund Independent Filmmaker Project (IFP) Irish Film Board Israel Film Fund Istanbul Film Festival (Meetings on the Bridge) Istituto Luce Cinecittà Filmitalia Jeonju International Film Festival Joey Ramone Gallery Kansai Television Karlovy Vary International Film Festival 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 Mediafonds Medienboard BerlinBrandenburg Ministerie van Buitenlandse Zaken Ministerie van OCW Moscow International Film Festival Mostra de Cinema de Belo Horizonte Mostra del Cinema di Venezia NAAS Network of Arab Arthouse Screens Iwana Nederlands Architectuurinstituut NAiM/Bureau Europa National Audiovisual Archive Finland National Film Development Corporation India NCDO NCP Holland Nederlands Filmfonds Nederlandse Film en Televisie Academie NETPAC New Zealand Film Commission Norwegian Film Institute

Oleksandr Dovzhenko National Centre (Kiev) Paris Cinéma Parking Gallery, Tehran ParOvisie Piet Zwart Instituut Polish Film Institute PrintRoom Proimagenes Colombia Quintessence International Film Festival of Ouidah Rialto Riviera Maya Film Festival  Rome Film Festival (New Cinema Network) Rotterdam Marketing Rotterdamse Raad voor Kunst en Cultuur Royal Film Commission Rwanda Film Festival Salaam Kivu International Film Festival Screen Australia (Indigenous Branch) ShanghART Singapore Film Commission Slovak Film Institute SØRFOND Norwegian South Film Fund Stedelijk Museum Amsterdam Stichting Verzameling van Wijngaarden-Boot Studio Media Madness Sub Urban Video Lounge Sundance Film Festival Sundance Institute Swedish Film Institute Swedish Music Center Telefilm Canada TENT T-Mobile New Horizons International Film Festival (Polish Days) Topkapi Films Toronto International Film Festival Tribeca Film Festival Tribeca Film Institute TV Man Union Unifrance Film Viennale Wallonie Bruxelles Images YLF-vertalingen Zanzibar International Film Festival Zimbabwe International Film Festival ...and special thanks to our patrons, individual donors and Tiger Friends






Hivos Tiger Awards Competition

Hivos Tiger Awards Competition


Su Re


The King

Leonardo Brzezicki

Giovanni Columbu

Miguel was absolutely obsessed about recording sound. The silence of a church interior, the roaring sound of a train trip abroad, a stroll through the tall grass, the account of a nightmare in which his mother dies and turns out to be a transvestite – Miguel recorded all of it. Now that’s all that is left of him, plus some clothes, equipment and boxes on a farm where he spent his last days before committing suicide. Six of his friends stay there to pack everything. In the meantime, Miguel’s recordings stream day and night from the loudspeakers that are set up everywhere in and around the house. Night is a psychological drama in which the dividing line between present, past and future becomes increasingly vague. Miguel’s audio legacy is mixed with the natural sounds around the farm and changes the meaning of the actions of those left behind. The mutual tension keeps increasing. Miguel’s ex, Pedro, is in the worst state. He can’t cope with the sorrow and neglects his new friend Juan. Miguel’s best girlfriend Violeta has to watch as her former lover Matias seeks solace by the newcomer Laura. And then we have the nameless girl who is ignored by everyone. Rudderless twenty-somethings who are really just discovering life already have to discover what mortality is.

D.W. Griffith, Cecil B. DeMille, George Stevens, Martin Scorsese, Norman Jewison, Mel Gibson, Pier Paolo Pasolini and Ciprì & Maresco: from the very first days of feature films, many willful directors have made their versions of the Passion of Christ. The Sardinian filmmaker Giovanni Columbu succeeds in adding a special chapter with his second film, Su Re (‘The King’). He takes his inspiration from the way in which the four Gospels provide different angles on the story, just as Kurosawa Akira did with Rashomon. While he is respectful toward the sources, in this way Columbu manages to give many characters unexpected depths. Just as painters for a long time used local landscapes as a backdrop when tackling biblical scenes, Columbu chose the dramatic landscape of his own birthplace. The Jesus figure is different from many films or paintings: he’s not a beautiful man, but was chosen to match the Biblical description that he was ‘the most unworthy among men’. The other roles, from the Apostles and Mary to the Scribes and the Roman soldiers, were played by local Sardinian amateur actors who wore their own scruffy clothing (augmented with robes designed for the occasion). Their weather-beaten faces provide a mood that is both authentic and contemporary, while being timeless and topical.



Argentina, 2013 | colour, DCP, 85 min, Spanish

Italy, 2012 | colour, DCP, 87 min, Sardinian

Prod: Leonardo Brzezicki | Prod Comp: Rewind My Future | Sc: Leonardo Brzezicki | Cam: Max Ruggieri | Ed: Filip Gsella | Prod Des: Alexis Dos Santos | Sound Des: Leandro de Loredo | With: Flavia Noguera, Jair Jesus Toledo, Maria Soldi, Nadyne Sandrone, Gaston Re, Julian Tello | Sales: Rewind My Future | Distr NL: Hubert Bals Fund

Prod: Giovanni Columbu | Prod Comp: Luches SRL | Sc: Giovanni Columbu | Cam: Massimo Foletti, Uliano Lucas, Francisco Della Chiesa, Leone Orfeo | Ed: Giovanni Columbu | Prod Des: Sandro Asara | With: Fiorenzu Mattu, Pietrina Menneas, Tonino Murgia, Paolo Pillonca, Antonio Forma, Luca Todde, Giovanni Frau, Simonetta Columbu | Print/Sales: Sacher Distribuzione |

Public SCREENINGS  Sun 27-1 18:45 Pathé 5 Mon 28-1 18:30 Pathé 7 Thu 31-1 16:15 Pathé 4 Sat 2-2 18:15 Pathé 2

Public SCREENINGS  Sat 26-1 15:45 Pathé 5 Sun 27-1 21:15 Pathé 6 Mon 28-1 09:30 Pathé 7 Sat 2-2 15:30 Cinerama 4


Press & Industry SCREENINGS  Sun 27-1 09:00 Cinerama 3 Mon 28-1 09:30 Pathé 5


Press & Industry SCREENINGS  Fri 25-1 09:30 Doelen Jurriaanse Zaal Sat 26-1 09:15 Doelen Jurriaanse Zaal



Hivos Tiger Awards Competition

Hivos Tiger Awards Competition

De wederopstanding van een klootzak

Gozetleme kulesi

Guido van Driel

Pelin Esmer

‘He’s totally different’, his mate Janus says a little shocked. ‘Just as Bruce Willis was totally different in The Sixth Sense from in Die Hard. He’s just not the old Ronnie anymore!’ The Amsterdam crook Ronnie (neck brace, large horn-rimmed glasses and a considerable belly) and his bodyguard/chauffeur Janus (sideburns, 1950s shirts) roam through the Friesian town of Dokkum, looking for a man with Dokkum’s coat of arms tattooed on his wrist. Then we see a flashback of ‘the old Ronnie’, a hardened crook with several obsessive neuroses. The eccentricities of Ronnie and Janus are intercut with those of Eduardo, a young asylum seeker from Angola who is in the refugee centre in Dokkum. Because Eduardo is unable to talk about the horrors he lived through, he sees his chances of a residence permit go up in smoke. The Resurrection of a Bastard is the feature debut by Amsterdam artist, graphic novelist and filmmaker Guido van Driel, based on his own graphic novel Om mekaar in Dokkum from 2004. The dialogues are challenging, the photography beautiful. Yorick van Wageningen is wonderful as the transforming Ronnie; the Dutch actor Jeroen Willems, who died on 3 December 2012, plays an impressive supporting role as a merciless gangster. Official Opening Film IFFR 2013.

‘Situation normal’, the fireman Nihat calls almost every day through his walkie-talkie, to indicate that the forests around the watchtower are not on fire. But in truth a lot is on fire in this indictment of conservative, patriarchal Turkey. Pelin Esmer does not package her fierce social realism in a noisy or emphatic statement. She chooses a subtle character study, presenting her themes more powerfully through the personal drama of Nihat and Seher. Nihat is a man with a guilt complex. He lost his wife and daughter in a car crash. Young Seher carries a scandal in her belly: a baby she doesn’t want. They have both withdrawn into a hiding place (him in the tower, her in a cellar), but fate decides that their paths will cross. Cautious overtures follow. Far from the inhabited world, in misty forests, they turn out to be able to help each other as no one else can. It’s obvious from her direct and honest style that Esmer had previously made documentaries. She isn’t afraid to tell it like it is. This forms a sharp contrast to the profound silence within Seher’s family. The cover-up is alive and well, not only among male chauvinists, but also their subservient wives. But behind the walls is where it hurts, as Esmer reveals in this powerful film.

The Resurrection of a Bastard



Netherlands/Belgium, 2013 | colour, DCP, 90 min, Dutch


Prod: Frans van Gestel | Prod Comp: Topkapi Films | Sc: Guido van Driel, Bas Blokker, based on a graphic novel by Guido van Driel | Cam: Lennert Hillege | Ed: Alain Dessauvage | Prod Des: Floris Vos | Sound Des: Peter Warnier | Music: Peter van Laerhoven | With: Yorick van Wageningen, Juda Goslinga, Goua Robert Grovogui, Jeroen Willems, Rian Gerritsen, René Groothof, Leny Breederveld | Sales: Topkapi Films | Distr NL: A-Film Distribution |

Prod: Pelin Esmer, Tolga Esmer, Nida Karabol Akdeniz | Prod Comp: Sinefilm | Sc: Pelin Esmer | Cam: Özgür Eken | Ed: Ayhan Ergürsel, Pelin Esmer | Prod Des: Osman Özcan | Sound Des: Marc Nouyrigat | With: Olgun Simsek, Nilay Erdönmez, Menderes Samancilar, Laçin Ceylan, Riza Akin | Print/Sales: Visit Films |

Public SCREENINGS  Fri 25-1 19:00 Pathé 4 Sat 26-1 16:00 Pathé 7 Sun 27-1 12:45 Pathé 5 Sat 2-2 19:15 Pathé 1

Public SCREENINGS  Mon 28-1 15:30 Pathé 7 Wed 30-1 21:45 Pathé 5 Fri 1-2 16:15 Pathé 1 Sat 2-2 19:00 Pathé 3


Press & Industry SCREENINGS  Thu 24-1 13:45 Doelen Jurriaanse Zaal Sat 26-1 09:30 Cinerama 5 Tue 29-1 09:00 Pathé 5


Turkey/Germany/France, 2012 | colour, DCP, 96 min, Turkish

Press & Industry SCREENINGS  Sun 27-1 16:00 Cinerama 3 Mon 28-1 09:15 Doelen Jurriaanse Zaal



Hivos Tiger Awards Competition

Hivos Tiger Awards Competition

Môj pes Killer

It Felt Like Love

My Dog Killer

Eliza Hittman

Mira Fornay A small village on the Slovak-Moravian border. Strangers are not welcome here. Locals seem to be suspicious even of each other. This is where eighteen-year-old Marek lives. His guard dog is his only true friend. Neglected by his relatives, he has found an illusory escape in the company of local skinheads. Nazi without a cause, he blindly follows them, and they train him exactly like he trains Killer, his dog. When his mother and young half-brother suddenly appear in his life, Marek faces a terrible dilemma. Either he will violently explode or he will find an inner capacity for the compassion he is so scared of. This subtle, sensitive film is not just about racists and ethnic conflicts in contemporary Europe. First of all, it is about wrong choices that, once made, cannot be altered. It is about chances that appear, only to be missed. Mira Fornay captures this state of terrifying apathy in a series of long contemplative shots. Calm on the surface, they are full of hidden anxiety and disturbing uncertainty. With no music, just natural sounds and real settings, Fornay makes what is almost a documentary portrait of totally lost human beings. The leading characters are very competently portrayed by native non-actors, and their huge contribution makes the film very authentic.

In her debut film, Eliza Hittman sketches a sensitive and often painful portrait of a 14-year-old girl on her way to adulthood. Something similar is often attempted, but the result is seldom as effective – and that is largely thanks to Hittman’s screenplay and directing. Unlike other coming-of-age dramas, this one focuses on the uneasy and embarrassing situations of growing up. Hittman is primarily interested in the turning points that form someone’s character and the inevitable disillusionments this process entails. Young Lila’s budding sexuality soon puts an end to the myth of romantic love. Lila is not looking for the love of her life; she wants sexual experience, and if possible she wants it now. The boy she focuses on isn’t really interested in her. Slowly but surely, Lila loses herself in this obsession. Her vulnerability is perfectly captured in a poetic visual style in which subjectivity and a very precise reflection of feelings are more important than a clear story or dialogue. With her radical approach to female sexuality, it’s no surprise that Hittman was inspired by directors such as Catherine Breillat. The result is a film that goes deep; Lila could be anyone, and her insecurity and unfortunate choices are familiar to all who remember anything about their puberty.



Slovakia/Czech Republic, 2013 | colour, DCP, 90 min, Slovak/Czech

USA, 2013 | colour, DCP, 80 min, English

Prod: Juraj Buzalka | Prod Comp: MIRAFOX | Sc: Mira Fornay | Cam: Tomá Sysel | Ed: Hedvika Hansalová | Prod Des: Adam Pitra | Sound Des: Ján Ravasz | With: Adam Mihál, Marián Kuruc, Irena Bendová, Libor Filo | Print: Juraj Buzalka | Sales: m-appeal |

Prod: Eliza Hittman, Shrihari Sathe, Laura Wagner | Prod Comp: Infinitum Productions, Bay Bridge Productions | Sc: Eliza Hittman | Cam: Sean Porter | Ed: Carlos Marques-Marcet, Scott Cummings | Prod Des: James Boxer | With: Gina Piersanti, Giovanna Salimeni, Ronen Rubinstein, Jesse Cordasco, Nicolas Rosen, Case Prime | Print/Sales: Visit Films |

Public SCREENINGS  Tue 29-1 15:30 Pathé 7 Wed 30-1 15:30 Pathé 7 Fri 1-2 12:15 Pathé 6 Sat 2-2 13:15 Pathé 1

Public SCREENINGS  Sat 26-1 16:00 Pathé 4 Sun 27-1 21:45 Pathé 5 Mon 28-1 19:15 Pathé 3 Sat 2-2 18:45 Pathé 4


Press & Industry SCREENINGS  Tue 29-1 09:15 Pathé 2 Thu 31-1 12:00 Doelen Jurriaanse Zaal


Press & Industry SCREENINGS  Fri 25-1 13:45 Doelen Jurriaanse Zaal Sat 26-1 12:00 Cinerama 5



Hivos Tiger Awards Competition

Hivos Tiger Awards Competition

Soldate Jeannette


Soldier Jane

Sebastián Hofmann

Daniel Hoesl Made in the most independent way, Soldier Jane is a film with a distinct personal signature in its impeccable aesthetics and original narrative, as well as in its philosophical account of freedom. Fanni is a middle-aged businesswoman living a lifestyle that only the most advanced post-postmodern capitalist society can offer: independence, financial speculation, compulsive consumerism, matcha, Taekwondo. She is well off – apparently – so much so that she can bypass real money to surround herself with luxury and its highest form of absurdity: buying to throw away. Yet, while indulging herself in the exuberance of extravagance and the ecstasy of momentary pleasures, her face seems incapable of the slightest expression. Before long, indeed, Fanni is at the end of the road. It’s time to fly away or sink. ‘We only live once, once and for all’, goes the song that welcomes Fanni at the farm as she arrives. She meets Anna, an attractive young woman in dire need of reinventing herself. Together, the comrades set out for new horizons, defying all conventions. ‘A rich man can fall because of market ruses while a poor man has nothing to lose’ – another song chanted innocently and loudly. Our heroines have indeed nothing to lose from now on.

Comets that circle the sun in less than 200 years have a sell-by date. That also applies for Halley’s Comet, the best-known in our solar system, which was first described in 466 BC and which appears every 76 years. Until the sun swallows it up and its seemingly eternal life comes to an end. Just like Halley, Alberto’s days are numbered. He has been dead for years, but can no longer hide the fact. Perfume and make-up don’t help to mask his physical decline; the end is now final for this silent zombie. He decides to withdraw from life, which for him primarily consists of working as a night watchman in a 24-hour gym and gazing at the TV in a cheerless flat. His manager Luly, however, takes an interest in him and takes him out. The rather stiff friendship that emerges ensures an unexpected upturn in Alberto’s condition in the autumn of his undead existence. At a fitting pace, Sebastián Hofmann shows us the world through the eyes of a zombie in decline, like a dislocating echoing-well filled with fading Christmas lights. There is not much contact between Alberto and his living neighbour. Yet Hofmann has no trouble in bridging the gap with the viewer. Halley is a contemporary Gothic story without spectacle, but with plenty of compassion. Also see Los micro burgueses in Signals: Changing Channels.



Austria, 2012 | colour, DCP, 79 min, German/French

Mexico, 2012 | colour, DCP, 85 min, Spanish

Prod: Katharina Posch | Prod Comp: A European Film Conspiracy | Cam: Gerald Kerkletz | Ed: Natalie Schwager | Prod Des: Daniel Hoesl | Sound Des: Gerhard Daurer, Peter Kutin | Music: Bettina Köster, Gustav | With: Johanna Orsini-Rosenberg, Christina Reichsthaler, Josef Kleindienst, Aurelia Burckhardt, Stephanie Fürstenberg, Ines Rössl, Julia Schranz | Print: A European Film Conspiracy | Sales: Premium Films |

Prod: Julio Chavezmontes, Jaime Romandía | Prod Comp: Piano, Mantarraya Producciones | Sc: Sebastián Hofmann, Julio Chavezmontes | Cam: Matías Penachino | Ed: Sebastián Hofmann | Prod Des: Gabriela Garciandía | Sound Des: Uriel Esquenazi | Music: Gustavo Mauricio Hernandez Dávila | With: Alberto Trujillo, Lourdes Trueba, Hugo Albores | Sales: Visit Films | Distr NL: Hubert Bals Fund |

Public SCREENINGS  Sat 26-1 18:45 Pathé 5 Sun 27-1 13:00 Pathé 4 Mon 28-1 22:15 Pathé 3 Sat 2-2 14:30 Cinerama 2

Public SCREENINGS  Fri 25-1 18:30 Pathé 7 Sat 26-1 13:15 Pathé 4 Sun 27-1 22:15 Pathé 3 Sat 2-2 14:15 Cinerama 1


Press & Industry SCREENINGS  Fri 25-1 15:45 Doelen Jurriaanse Zaal Sat 26-1 11:15 Doelen Jurriaanse Zaal


Press & Industry SCREENING  Thu 24-1 11:30 Doelen Jurriaanse Zaal Mon 28-1 13:15 Doelen Jurriaanse Zaal



Hivos Tiger Awards Competition

Hivos Tiger Awards Competition

Dummy Jim

Eles voltam

Matt Hulse

They’ll Come Back

In May 1951, the deaf Scotsman James Duthie, better known as Dummy Jim, cycled from his small fishing village in Scotland to the Arctic Circle. When he got back home, he wrote down his experiences in the book ‘I Cycled into the Arctic Circle’, which he published himself. Years later, the mother of director Matt Hulse found this rarity and sent it to her son, who decided to film the eccentric story. Together with deaf actor and filmmaker Samuel Dore, Hulse set out on the long journey through northern Europe. Hulse mixed fictional and documentary elements into a virtuoso blend: unusual people in fictional Super-8 films, playful animated sequences and archive footage of the era in the countries traversed. Back to the present, where the community gives the local hero a memorial and a gravestone. Hulse follows events closely, sketching a fascinating portrait of this small fishing community in the 21st century. With his rhythmic editing and visual style, Hulse clearly takes into account a deaf audience. The exceptional soundtrack is an added extra for the hearing and completes the experience. Dummy Jim died after a traffic accident in 1965 and his story remained unknown for a long time. This film and the website are certainly going to change this. Presented at the CineMart in 2007.

For all its simplicity, the opening scene is extremely effective. From a great distance, we see a car stop by the side of the road in the middle of a panoramic landscape of hills. Two figures get out of the car. We don’t know why and can’t make any judgement. They turn out to be Cris (12) and her slightly older brother who – rightly or wrongly – have been ordered out of the car by their parents. They don’t know where they are; initially they assume that their parents will come back for them. In beautiful shots by cameraman Ivo Lopes Araújo, the film then shows the adventures of an upper-class teenager whose eyes slowly open on her quest for familiar territory: she realises who she is, where she comes from and in which country she lives. In his first fiction film after several documentaries, Marcelo Lordello shows a journey that is certainly universal for adolescents, but here subtly moves through a country that despite – or precisely because of – the rapid economic developments, is confronted with major contrasts between the classes. They’ll Come Back, which has already won several prizes at the festival in Brasilia, makes it clear that the creativity of filmmakers from Recife and Pernambuco is still going strong: among those previously successful in Rotterdam are Cláudio Assis, Gabriel Mascaro, Marcelo Gomes and Kleber Mendonça.



UK, 2013 | colour/b&w, DCP, 90 min, English/French

Brazil, 2012 | colour, DCP, 105 min, Portuguese

Prod: Matt Hulse | Sc: Matt Hulse | Cam: Ian Dodds | Ed: Nic Currey | Sound Des: Matt Hulse | Music: The One Ensemble, Sarah Kenchington, Jez Butler | With: Samuel Dore, Marie Denarnaud, Jeni Reid, James Buchan, Annie Buchan, Graeme Noble, Melvyn Bryce | Sales: Bandit HQ | Distr NL: EYE Film Institute Netherlands |

Prod: Mannuela Costa | Prod Comp: Plano 9 Produções | Sc: Marcelo Lordello | Cam: Ivo Lopes Araújo | Ed: Eduardo Serrano | Prod Des: Iomana Rocha | Sound Des: Guga S. Rocha | Music: Rodrigo Caçapa | With: Maria Luiza Tavares, Georgio Kokkosi, Elayne de Moura, Mauricéia Conceição, Jéssica Silva | Print/Sales: Plano 9 Produções

Public SCREENINGS  Mon 28-1 19:00 Pathé 4 Tue 29-1 13:00 Pathé 4 Wed 30-1 12:15 Pathé 6 Sat 2-2 09:30 Pathé 2

Public SCREENINGS  Tue 29-1 18:30 Pathé 7 Wed 30-1 12:30 Pathé 7 Thu 31-1 13:15 Pathé 1 Sat 2-2 12:45 Pathé 5


Marcelo Lordello

Press & Industry SCREENINGS  Mon 28-1 11:15 Pathé 2 Wed 30-1 09:15 Doelen Jurriaanse Zaal


Press & Industry SCREENINGS  Mon 28-1 15:15 Doelen Jurriaanse Zaal Tue 29-1 11:15 Pathé 2



Hivos Tiger Awards Competition

Hivos Tiger Awards Competition

A csendesek

Larzanandeye charbi

Silent Ones

Fat Shaker

Ricky Rijneke

Mohammad Shirvani

Young Dutch director Ricky Rijneke examines with meticulous shots the fragile dividing line between life and death in her feature debut. Hungarian Csilla wakes up inside a crashed car, somewhere in the countryside. Her younger brother Isti is nowhere to be found. Dazed, Csilla leaves the spot to begin a second life, as she promised her brother she would. She’ll never return. Persuaded by the shady Gabor – he is involved in ‘import and export’ – she sets off with him in a freighter to Western Europe. During the endless journey, Gabor violates her and Csilla loses her only reminder of Isti. Slowly, she loses her grip. Life on board the freighter is like a vacuum in which Csilla finds herself – a surrealistic twilight zone. For Silent Ones, a former CineMart project, Rijneke brought together dexterously a choice selection of prize-winning European film talent, including Gergely Pohárnok (Hukkle, Taxidermia) and Jean-Paul de Zaeytijd (Bouli Lanners’ regular DOP) for the camera work. Andrej Dergatchev (who worked on The Return and The Banishment by Andrej Zvjagintsev) sets the tone for the film with his dreamy-ominous soundtrack. With her expressive face and few words, the Hungarian Orsi Tóth (Delta, Women Without Men) portrays a young woman fighting herself and her past.

Fat Shaker is no ordinary film – certainly not by Iranian standards. Its maker, Mohammad Shirvani, is an artist who uses powerful and occasionally absurd images. It’s fairly obvious that they say something about the situation in the country, but precisely what is left up to our imagination. Shirvani states concisely that the film aims to criticise the patriarchal system in Iran. The rest has to be told by the images. The story is about a fat father (obviously the ‘fat shaker’) who tries to con money from women with his young and attractive yet deaf-and-dumb son. The son allows himself to be picked up by a few young women for light diversion; then they are stopped by the father, who intimidates them and shows a pair of handcuffs. The women have to pay. At a certain point, father and son pick up a woman who does not allow herself to be intimidated, but takes things into her own hands. And then the film becomes even more surreal – if possible – and the images even stranger. When asked for an explanation, the maker refers to his dreams. The role of the father is played by Levon Haftvan. He also plays the striking protagonist in the film Parviz (also at this festival). As part of the Inside Iran programme, Mohammad Shirvani has also made a special installation; see Elephant in Darkness in Signals: Inside Iran.



Netherlands/Hungary, 2013 | colour, DCP, 97 min, Hungarian

Iran, 2013 | colour, DCP, 85 min, Farsi

Prod: Dirk Rijneke, Mildred van Leeuwaarden | Prod Comp: Rotterdam Films | Sc: Ricky Rijneke | Cam: Gergely Pohárnok, Jean-Paul de Zaeytijd | Ed: Ricky Rijneke | Sound Des: Andrey Dergatchev | Music: Andrey Dergatchev | With: Orsi Tóth, Roland Rába, Fatih Dervisoglu | Sales: Wide Management | Distr NL: Contact Film |

Prod: Mohammad Shirvani | Sc/Cam/Prod Des: Mohammad Shirvani | Ed: Mohammad Shirvani, Pouya Parsamagham | Sound Des: Bahman Ardalan | With: Levon Haftvan, Maryam Palizbaan, Hassan Rostami, Navid Mohammadzadeh | Sales: Mohammad Shirvani | Distr NL: Hubert Bals Fund

Public SCREENINGS  Sun 27-1 16:30 Pathé 4 Tue 29-1 16:30 Pathé 4 Wed 30-1 22:15 Pathé 3 Sat 2-2 18:45 Pathé 5

Public SCREENINGS  Sun 27-1 19:45 Pathé 4 Mon 28-1 13:15 Pathé 3 Fri 1-2 13:00 Pathé 4 Sat 2-2 12:15 Pathé 6


Press & Industry SCREENINGS  Sat 26-1 18:00 Cinerama 5 Sun 27-1 09:15 Doelen Jurriaanse Zaal Tue 29-1 11:30 Pathé 5


Press & Industry SCREENINGS  Sat 26-1 13:15 Doelen Jurriaanse Zaal Sun 27-1 15:15 Doelen Jurriaanse Zaal



Hivos Tiger Awards Competition

Hivos Tiger Awards Competition


Sao karaoke

Nawapol Thamrongrattanarit

Karaoke Girl

The title 36 refers to the roll of film in the filmmaker’s old-fashioned analogue still camera. Each roll had 36 photos and it was always a surprise to find out after it had been developed what was on the negatives. Often the photos didn’t have much to do with each other, and often he didn’t know when and why he had taken a picture. Nawapol Thamrongrattanarit also uses the number 36 to divide up his original, crisply-told film, which is made up of 36 shots. The filmmaker wanted to evoke something of the arbitrary nature of the old film rolls – and of memory – even though the story is told in a way that can be followed easily. The protagonist in this lightfooted and melancholy feature is Sai. She is a location scout and for her work she records a lot with her camera. One day it turns out that the hard disk of her laptop has crashed and she has lost a year’s worth of photos. She has the feeling that part of her own memory has been deleted and she does everything possible to get the photos back. In a playful way, this film tackles the issue of changing memory. These days a lot is remembered for us, but what do we still remember ourselves? Deeply hidden in the broken hard disk is also the picture of a possible lover. A persevering quest for lost digital time.

It’s often been tried and has often failed: mixing fiction and documentary. The elegant mix of both genres in this film raises the question of why it’s so complex, because here the effect is above all very natural. The film focuses on the Karaoke Girl – real-life person and dramatised one in a single character: Sa Sittijun, a sex worker in Bangkok. She grew up in a village in the countryside and at the age of 15 was sent to work in the big city. She worked for three years in a factory and concluded that the only way to support her family was to sell her body. At the moment when the director met Sa, she was a karaoke hostess with four years’ experience. The filmmaker and her ‘actress’ first spent several weeks together; only then did Visra Vichit Vadakan start writing a screenplay about her protagonist. By then she knew Sa like her own sister. For an intimate portrait of a sex worker, the film is remarkably discreet. It’s about dreams and feelings, not so much about paid sex. Visra and Sa become friends; there is no other way to describe it. Visra follows Sa on her way back to her birthplace and is received into the poor yet warm family. Sa steps into the imagination of the filmmaker in order to shape her own life. A unique amalgamation. And a singular cinematographic formula.



Thailand, 2012 | colour, DCP, 68 min, Thai

Thailand, 2013 | colour, 35mm, 1:1.85, 74 min, Thai

Prod: Aditya Assarat | Prod Comp: Pop Pictures Co. Ltd. | Sc: Nawapol Thamrongrattanarit | Cam: Pairach Khumwan | Ed: Chonlasit Upanigkit | Prod Des: Rasiguet Sookkarn | Sound Des: Akritchalerm Kalayanamitr | Music: Wuttipong Leetrakul | With: Koramit Vajrasthira, Wanlop Rungkumjad, Nottapon Boonprakob, Siriporn Kongma | Print: Pascale Ramonda | Sales: Pop Pictures Co. Ltd.

Prod: Pornmanus Rattanavich, Pran Tadaveerawat | Prod Comp: Hidden Rooster Films | Sc: Visra Vichit Vadakan | Cam: Chananun Chotrungroj, Sandi Sissel | Ed: Saraa Nii, Perry Blackshear | Prod Des: Songwat Asawanonda | Sound Des: Nit Ramintra | Music: Koichi Shimizu | With: Sa Sittijun | Print: Visra Vichit Vadakan | Sales: Hidden Rooster Films |

Public SCREENINGS  Mon 28-1 16:30 Pathé 4 Tue 29-1 12:30 Pathé 7 Thu 31-1 21:15 Pathé 6 Sat 2-2 17:45 Cinerama 4


Press & Industry SCREENINGS  Sun 27-1 11:00 Cinerama 3 Mon 28-1 11:30 Doelen Jurriaanse Zaal


Visra Vichit Vadakan

Public SCREENINGS  Tue 29-1 19:00 Pathé 4 Wed 30-1 18:30 Pathé 4 Fri 1-2 19:15 Pathé 3 Sat 2-2 17:15 Cinerama 2

Press & Industry SCREENINGS  Mon 28-1 19:00 Doelen Willem Burger Zaal Wed 30-1 10:30 Doelen Willem Burger Zaal



Hivos Tiger Awards Competition

Hivos Tiger Awards Competition



Eduardo Villanueva

Longing for the Rain

The border area between the Mexican coastal provinces of Jalisco and Colima is dry, rocky and wild. The sparse population of this poor and isolated region speaks a dialect difficult to follow for outsiders. Their everyday battle for existence is larded with rituals, in which spirits and natural faith play an important role. The film follows the old hunter Adelelmo Jimenez on his journeys through the forest, setting traps for wild animals and searching for medicinal plants. His pious wife Dolores stays at home, does the washing, prepares a frugal meal. ‘Penumbra’ is a term from optics and means half-shadow. Eduardo Villanueva shot his entire film in the hours between daylight and darkness. In this way, he augments the mood of a state in between, a social vacuum in which time seems to stand still. This is also a reference to the clair-obscur in paintings by for instance Caravaggio – intemperate, dramatic light-dark contrasts suggesting depth and volume. Besides being painterly, Penumbra is deeply human. Via the lives of an ageing married couple, the film portrays a world that is disappearing. Adelelmo Suffers from asthma, which not only affects his lungs but also his mental defences. Dolores mourns for her son, who was stabbed to death trying to cross the Mexican-American border. She’s waiting for the end.

In today’s China, the middle classes provide a supreme example of materialism, emptiness and yearning. The nouveau riche seem united only in their unstoppable race for more material wealth. Fang Lei, the protagonist in this feature debut by Chinese documentary maker Yang Lina, only has to care for her daughter. Safely cocooned in a loveless, sexless but also peaceful marriage, she spends much of her time shopping with girlfriends. Her anxieties – about dying, about her husband being unfaithful – only emerge in her dreams. One night, a mysterious young lover appears and makes passionate love to her. Time and again, he allows her to enjoy unprecedented pleasure and soon Fang Lei is no longer able to separate reality from dream and regards the man of her dreams as her real husband. She is happy, carefree and beautiful. Until a jealous rival looms up in her dreams. Yang Lina links various genres together in a surprising and successful way. Her film is an Asian ghost story in which documentary scenes – closely related to social satire – show how incongruous today’s reality can look in China. But Longing for the Rain can also be regarded as an original variation on a Freudian case, in which a worrying melange of social pressure, emptiness and female lust and eroticism is analysed and exposed.



Mexico, 2013 | colour, DCP, 89 min, Spanish

Hong Kong, 2013 | colour, DCP, 98 min, Mandarin

Prod: Eduardo Villanueva | Sc: Eduardo Villanueva | Cam: Patrick Ghiringelli | Ed: Eduardo Villanueva, Zazil Barba | Prod Des: Eduardo Villanueva, Alvara Ugarte | Sound Des: Pedro Martinez Negrette | With: Adelelmo Jimenez, Carlota Rodriquez | Sales: Eduardo Villanueva | Distr NL: Hubert Bals Fund

Prod: Vivian Qu, Yang Lina | Prod Comp: Sodium Productions | Sc: Yang Lina | Cam: Wang Min | Ed: Liao Chingsong, Yang Hongyu, Matthieu Laclau | Prod Des: Peng Shaoying | Sound Des: Zhang Yang | Music: Yoshi Hanno | With: Zhao Siyuan, Fu Jia, Dej Pongpazroj, Xue Hong | Sales: Chinese Shadows | Distr NL: Hubert Bals Fund

Public SCREENINGS  Sun 27-1 18:30 Pathé 7 Mon 28-1 12:30 Pathé 7 Tue 29-1 13:15 Pathé 3 Sat 2-2 15:15 Pathé 6

Public SCREENINGS  Fri 25-1 21:30 Pathé 7 Sat 26-1 12:45 Pathé 7 Mon 28-1 21:15 Pathé 6 Sat 2-2 12:30 Pathé 7


Yang Lina

Press & Industry SCREENINGS  Sat 26-1 13:45 Cinerama 5 Sun 27-1 21:45 Cinerama 3


Press & Industry SCREENINGS  Thu 24-1 16:00 Doelen Jurriaanse Zaal Fri 25-1 11:30 Doelen Jurriaanse Zaal



TIger AwArdS COmpeTITIOn fOr SHOrT fIlmS

Tiger Awards Competition for Short Films

Tiger Awards Competition for Short Films

Tiger Awards Competition for Short Films 1

Tiger Awards Competition for Short Films 2

Public SCREENINGS  Thu 24-1 20:00 LantarenVenster 1 Fri 25-1 15:00 LantarenVenster 1 Thu 31-1 14:15 Cinerama 1

Public SCREENINGS  Fri 25-1 17:00 LantarenVenster 1 Sat 26-1 14:15 LantarenVenster 1 Thu 31-1 16:15 Pathé 3

Kuuden päivän juoksu


Six Day Run

Sebastian Diaz Morales

Mika Taanila

The ultimate spiritual exertion takes place on a tarmac road through a park. The Six Day Run is one of the most extreme endurance sports ever, with participants using meditation to try and go furthest in six days virtually without sleeping, all in memory of spiritual leader Sri Chinmoy. Taanila movingly portrays the strange mix of euphoric spirituality and the hardcore competitive element.

A world with a mirror image, one that can be accessed by crossing the mirror’s surface. Indeed, within the realm of fiction, mirrors provide characters and readers alike with a gateway to a different world. Interaction with that new environment, be it purely fantastic or disturbingly didactic, pushes one to expand one’s horizons and reconsider the concept of a real world. Also see Smoke Signal in Spectrum Shorts. EUROPEAN PREMIERE

Netherlands/Argentina, 2012 | colour, DCP, 12 min, no dialogue

WORLD PREMIERE Prod: Lasse Saarinen, Cilla Werning | Prod Comp: Kinotar Oy | Sc: Mika Taanila | Cam: Jussi Eerola | Ed: Mika Taanila | Sound Des: Olli Huhtanen | Music: Circle | Print/Sales: Kinotar Oy

Prod/Sc: Sebastian Diaz Morales | Cam: Alan Badan | Ed: Sebastian Diaz Morales | Prod Des: Criollo Films | Sound Des: Sebastian Diaz Morales | With: Alan Badan, Juliana Gonzalez, Jose Palacios, Cali Marquez, Nicolas Stupenengo, Sebastian Diaz Morales | Print/Sales: Sebastian Diaz Morales |

By Pain and Rhyme and Arabesques of Foraging


Finland, 2013 | colour, DCP, 15 min, English

David Gatten

Inspired by 17th-century naturalist Robert Boyle, David Gatten took 14 years to collect and arrange his film into its current form with ‘experiments and considerations touching colours’ as its leitmotiv. The exceptional shots reveal how beautifully light manifests itself as colour and have been composed into a formal montage in accordance with the structure of a Petrarchan sonnet. An erudite, aesthetic work seemingly from another era. USA, 2012 | colour/b&w, video, 8 min, no dialogue Prod: David Gatten | Cam/Ed: David Gatten | Print/Sales: David Gatten |

Nummer veertien, home Number Fourteen, Home Guido van der Werve

A complex, but beautifully layered film using the Requiem structure of three movements and 12 acts, which intertwines stories about Alexander the Great, Frédéric Chopin’s death and elements from Van der Werve’s own life in a poetic, exceptionally cinematic manner. When Chopin died in Paris, his sister smuggled his heart back to his homeland. Van der Werve followed the heart’s 1500-kilometre route from Warsaw to Paris by swimming, cycling and running seven times the distance of an Ironman triathlon.

In five parts, Greystone shows what may have happened the night Ned Doheny Jr. and his assistant Hugh Plunket were murdered. Perfectly shot in 1920s style in the same rooms the 1929 tragedy took place in. The scene is constantly re-played. Since 1950, Greystone Mansion has often been used as a film set. Artificial language and distanced acting aid the critical interrogation of the Hollywood film myth. EUROPEAN PREMIERE

USA, 2012 | colour, video, 29 min, English Prod: Thomai Hatsios | Prod Comp: MetaHara Productions | Sc: Kerry Tribe | Cam: Vasco Nunes | Ed: Vahe Douglas, Dave Rock | Prod Des: Erika Alcoran, Astrid Anderson | Sound Des: Justin Walker | Music: Michael Webster | With: Joseph Will, Sam Littlefield, Camile Licate, Arthur Roberts | Print/Sales: Thomson/Tribe Studios |

Secretion Willie Doherty

The air disease-laden, waters putrid and all research abandoned before there is even a ghost of a chance to discover the affliction… Secretion ‘draws upon the possibilities of lost and forgotten narratives located somewhere between recent history and a near future’, taking a landscape familiar to the Brothers Grimm as its setting and redeploying a memory translated from photographer Lee Miller as inspiration. Ireland, 2012 | colour, video, 20 min, English


Netherlands, 2013 | colour, DCP, 54 min, English Prod: Guido van der Werve | Prod Comp: Roofvogel | Sc/Ed/Prod Des: Guido van der Werve | Cam: Ben Geraerts | Sound Des: Arjan van Asselt | Music: Guido van der Werve | With: Wies Ultee, Johanna Ketola, Guido van der Werve | Print/Sales: Roofvogel |


Kerry Tribe


Prod: Pearse Moore | Prod Comp: Raw Nerve Productions Ltd | Sc: Willie Doherty | Cam: Conor Hammond | Ed: Willie Doherty | Prod Des/Sound Des: Willie Doherty, Rory Donaghy | With: Matthew Jennings | Print/Sales: Willie Doherty



Tiger Awards Competition for Short Films

Immortelle David Verbeek

We see how a boy and a girl fare on the day their relationship ends. Back to the emptiness of their uninhabited modern villas. One in the city centre, the other high in Taiwan’s mountains. They are both overcome by hallucinations and strong feelings of degeneration. Immortelle slowly morphs into a study of the relationship between physical and emotional longing. Also see How to Describe a Cloud in Spectrum. WORLD PREMIERE

Taiwan/Netherlands, 2013 | colour, DCP, 17 min, no dialogue Prod: Yo-June Wen | Prod Comp: Can June International | Sc: David Verbeek | Cam: David Verbeek, Sky Chiu | Ed: David Verbeek | Prod Des: Hou Sheng-Hsin | Sound Des: Hein Verhoeven, Bouk Bouwmeester | Music: Bao Pu, Hein Verhoeven | With: Hu Chien, Lin Jou-Wen | Print/Sales: Can June International |

Tiger Awards Competition for Short Films 3

Tiger Awards Competition for Short Films

Tiger Awards Competition for Short Films 4 Public SCREENINGS  Sat 26-1 16:30 LantarenVenster 1 Sun 27-1 14:15 LantarenVenster 1 Fri 1-2 13:15 Pathé 3


The Mother Pimpaka Towira

Masterfully filmed, atmospheric moment. The period of mourning comes to an end at a temple-like funeral chapel. The final visitors are not mourners, but want to buy off their guilt. The mother wants to see a real confession. And money. The intense emotionality the death of a child evokes is, as it were, sculpted in space while the tension between the mother and the visitors is captured more subliminally by a roving camera. EUROPEAN PREMIERE

Public SCREENINGS  Fri 25-1 20:30 LantarenVenster 1 Sat 26-1 12:00 LantarenVenster 1 Thu 31-1 19:15 Pathé 3

Prod: Pimpaka Towira, Chatchai Chaiyon | Sc: Pimpaka Towira | Cam: Phuttiphong Aroonpheng | Ed: Chaloemkiat Saeyong | Prod Des: Vikrom Janpanus | Sound Des: Akritchalerm Kalayanamitr | With: Chontida Praton, Wanlop Rungkamjad | Print/Sales: Extra Virgin Co., Ltd.


The Tiger’s Mind

Claire Hooper

Beatrice Gibson

An exploration of strength, tracing the experiences of Danielle Marie Shillingford, a woman who has lost and struggles to regain custody of her children. In the film, the slippages between Danielle and her god-like alter ego Eris, the goddess of strife and discord, create a continuous blurring between the fantastical, the superhuman and the absolutely mundane. (CH)

Against the backdrop of a brutalist villa, this film explores the relationships between six characters: the sets, the music, the Foley, the special effects, narrator and author. Grappling, wrestling and dreaming with one another, they battle for control of the film. Like Cardew before her, Gibson’s forays into narrative and character are the remarkable results of a search for new and egalitarian modes of production.



UK, 2012 | DCP, 36 min, English

UK, 2012 | colour, DCP, 20 min, English

Thailand, 2012 | colour, DCP, 15 min, Thai

Prod: Claire Hooper | Sc: Claire Hooper | Cam: Claire Hooper, Jaime Felliu-Torres | Ed: Claire Hooper, Paul Simon Richards | Prod Des: Claire Hooper | Music: Beatrice Dillon | With: Danielle Marie Shillingford, Marlon Shillingford, Tyler Shillingford | Print/Sales: LUX |

Prod: Beatrice Gibson | Sc: Beatrice Gibson | Cam: Nick Gordon | Ed: Beatrice Gibson | Prod Des: Celine Condorelli | Sound Des: Alex Waterman | Music: John Tilbury | With: Laura Bartlett, with voice of Will Holder | Print/Sales: LUX |



Erik van Lieshout


The artist Erik van Lieshout plunges into Janus’s life by filming his family, neighbours and fellow-townspeople. Through interviews, he makes a connection with cultural-political subjects, such as the role of the artist and art grants. The images of Janus’s environment are interlaced with shots of Van Lieshout’s studio. Questions such as ‘What makes real art?’ and ‘What do I need to do?’ return in Van Lieshout’s existential monologues.

‘He loved the sperm, especially my sperm, which he said tasted like sugar from all the soda I was drinking daily.’ Memories of a brief, passionate affair. In all simplicity strongly portrayed debut with text and images engaging in a riveting battle. ‘I just wanted to make a normal film about two men having a simple relationship with each other, like everyone else – without having to categorise it.’ (TC)

Netherlands, 2012 | colour, video, 51 min, Dutch


Prod: Suzanne Weenink | Prod Comp: Erik van Lieshout BV | Cam: Erik van Lieshout | Ed: Core van der Hoeven | With: Erik van Lieshout, Marien Jongewaard, Arthur Noltee, Miranda Noltee, Annemieke Noltee | Print/Sales: Erik van Lieshout BV

Sweden, 2013 | colour, DCP, 5 min, Swedish



Tony Cederteg

Prod: Tony Cederteg | Prod Comp: Libraryman | Sc: Tony Cederteg | Cam: Mathias Sterner | Ed/Prod Des/Sound Des/Music: Jony/Tony Cederteg | With: Cristopher Nying | Print/Sales: Libraryman |



Tiger Awards Competition for Short Films

Tiger Awards Competition for Short Films


The Lament

Though I Know the River Is Dry

Aydin Ketenag

Omar Robert Hamilton

Subdued fiction about loss and mourning. A little boy, his mother and his grandparents try to carry on after the death of the still-young man of the house. This atmospheric, dialogue-free film explores the relationship between humans and nature. Emulates Semih Kaplanoglu, maker of the much-lauded Honey, Milk and Egg trilogy, who is thanked in the credits; equally measured tempo, sound and camera work.

Alaa returns to Palestine after living in New York for some years to visit his dying uncle. On the way, he re-experiences the tough choice he made before emigrating to America: a passport for his unborn child or creating a safe haven for his brother, the activist. Now, new forces pull him towards his homeland.


UK/Palestine, 2013 | colour, video, 20 min, Arabic

Turkey, 2012 | colour, video, 30 min, no dialogue Prod: Aydin Ketenag | Sc: Aydin Ketenag | Cam: Aydin Ketenag | Ed: Aydin Ketenag | Prod Des: Aydin Ketenag | Sound Des: Aydin Ketenag | With: Eray Eren, Gonca Çelik Ketenag, Yusuf Pasu, Mersiye Pasu, Ozan Sahin | Print/Sales: Aydin Ketenag |

Tiger Awards Competition for Short Films 5 Public SCREENINGS  Sat 26-1 20:00 LantarenVenster 1 Sun 27-1 12:00 LantarenVenster 1 Fri 1-2 10:15 Pathé 3

Unsupported Transit Zachary Formwalt

A story that begins with Muybridge’s development of time-lapse photography. The use of this technique to show large buildings being constructed seemingly within minutes and without human intervention is reminiscent of what Karl Marx called the ‘abbreviated form of capital’, which seemingly breeds more of itself on the stock market without human agency, rather than being generated as surplus value through production. INTERNATIONAL PREMIERE

WORLD PREMIERE Prod: Louis Lewarne | Prod Comp: RiverDry Film | Sc: Omar Robert Hamilton | Cam: Omar Robert Hamilton | Ed: Randa Mahmoud | Prod Des: Bashar Hasouneh | Sound Des: Basel Abbas | Music: Basel Abbas | With: Kais Nashef, Maya Abu Alhayyat, Selwa Nakkara, Hussam Ghosheh | Print/Sales: RiverDry Film |

Dentro Inside

Emiliano Rocha Minter

Dentro starts with a shot of a burnt tree stump in a forest. Materials are gathered. What are the various branches, stones and pieces of grass for and what will the silent activities lead to? Dentro slowly uncovers an act of human solidarity. The camera hovers around two boys, ramping up the tension, and is supported by an excellent soundtrack. INTERNATIONAL PREMIERE

Mexico, 2012 | colour, DCP, 15 min, no dialogue Prod: Emiliano Rocha Minter | Sc: Emiliano Rocha Minter | Cam: Yollotl Alvarado | Ed: Emiliano Rocha Minter | Prod Des: Emiliano García, Fermín Díaz | Sound Des: Nico Raibak | Music: Nico Raibak | With: Fernando Álvarez Rebeil, Fernando Huerta Zamacona | Print/Sales: Emiliano Rocha Minter

Tokyo Giants Nicolas Provost

Netherlands, 2011 | colour, DCP, 15 min, English Prod: Zachary Formwalt | Sc/Cam/Ed/Prod Des/Sound Des: Zachary Formwalt | Print/Sales: Zachary Formwalt |

Provost focuses on everyday scenes, from a couple arguing to lost drunks in the hyperkinetic city at night. There is the suggestion of a murder, probably planned by the Yakuza. Provost doesn’t tell the story, but does incorporate the classic crime genre’s tension. Surreptitious music, meaningful glances, cell phones and sirens create powerful suspense that is never resolved. WORLD PREMIERE

Belgium, 2013 | colour, DCP, 23 min, Japanese Prod: Nicolas Provost | Sc: Nicolas Provost | Cam: Nicolas Provost | Ed: Nicolas Provost | Prod Des: Nicolas Provost | Sound Des: Nicolas Provost | With: Johan Rooms, Miet Warlop | Print/Sales: Argos Centre for Art and Media |





Tiger Awards Competition for Short Films

Tiger Awards Competition for Short Films

Tiger Awards Competition for Short Films 6

Tiger Awards Competition for Short Films 7

Public SCREENINGS  Sun 27-1 16:30 LantarenVenster 1 Mon 28-1 14:15 LantarenVenster 3 Sat 2-2 12:30 Pathé 2

Public SCREENINGS  Sun 27-1 20:00 LantarenVenster 3 Mon 28-1 12:00 LantarenVenster 3 Sat 2-2 15:30 Pathé 2

Da Vinci

Die ArbeiterInnen verlassen die Fabrik

Yuri Ancarani

workers leaving the factory (again)

The final part of Ancarani’s trilogy is set in an operating theatre where a fabulous journey through the human body is undertaken by robot arms, with the surgeon at the joystick. Science fiction-like, it is reminiscent of Fantastic Voyage (1966). Ancarani captures the whole operation with minute precision, beautifully lit (no bloody effects) like a dazzling choreography accompanied by an exciting soundtrack.

Katharina Gruzei


A multitude of silent factory workers walk down a seemingly endless corridor towards the exit. The flashing neon transforms the space into a surreal light and sound show. At the end, they pose one last time for the camera before leaving the building. The automatic gates close slowly behind them. La sortie de l’usine Lumière à Lyon by the Lumière brothers dates back to 1895; now we face the end of the industrial age.

Italy, 2012 | colour, DCP, 25 min, no dialogue

Austria, 2012 | colour, 35mm, 1:1.85, 11 min, no dialogue

Prod: Maurizio Cattelan | Cam: Yuri Ancarani | Ed: Yuri Ancarani | Sound Des: Mirco Mencacci | Music: Lorenzo Senni | With: Franca Melfi, Olivia Fanucchi, Stylianos Korasidis | Print: Studio Ancarani | Sales: Galleria Zero |

Prod: Katharina Gruzei | Sc: Katharina Gruzei | Cam: Renate Bauer | Print/Sales: sixpackfilm |

Museum of Imagination

Letter Sergei Loznitsa

Amit Dutta

In 2011 and 2012, director Amit Dutta spent quite some time recording a series of conversations with Professor B.N. Goswamy, a leading Indian art historian, about his entire oeuvre. There were also a couple of silences. Dutta structured his film around a number of these, weaving a web of ideas and images that substantiate the interviewee’s mental landscape. India, 2012 | colour, video, 20 min, Hindi/English

Over 10 years ago, Loznitsa shot astounding black-and-white footage at a psychiatric institution in a forgotten corner of Russia. Since then it has resided in his archive. In recent years, he has made documentaries all on the same subject: ‘Homo Sovieticus’. In Letter he describes this country as a place inhabited by unconscious prisoners. No human voice can be heard and the pain is stifled in this unsullied environment. Also see In the Fog in Spectrum. WORLD PREMIERE

Prod: Amit Dutta | Cam: Dhanajai Sing, Mrinal Desai | Ed: Amit Dutta | Sound Des: Amit Dutta | Print/Sales: Amit Dutta

Russia, 2013 | b&w, DCP, 20 min, no dialogue



Peter Conrad Beyer

Omer Fast

Atropa Belladonna (Deadly Nightshade) is an important ingredient in flying ointment. The film Atropa takes us to the forgotten world of European shamanism and into the midst of a ritual in a river bounded by woodland. With her rituals, the shaman speeds up the natural elements around her, creating new energy and cohesion. In this way, the potent trance film Atropa accelerates to a higher level of consciousness.

Continuity reveals a German couple’s incapacity to get over the death of their son, who died in Afghanistan. Their endless attempts to get a grip on their emotions become clear from the repetition of a certain scene; hallucinatory and surreal moments; references to horror films. They culminate in disillusion. Sexual tension and frustrated excesses alternate in a very cinematographic film that Omer Fast was commissioned to shoot for dOCUMENTA 13.



Germany, 2013 | colour/b&w, video, 30 min, no dialogue

Germany, 2012 | colour, DCP, 41 min, German

Prod: Peter Conrad Beyer | Sc: Peter Conrad Beyer | Cam: Peter Conrad Beyer, Julia Francken | Ed: Peter Conrad Beyer | Prod Des: Peter Conrad Beyer | Sound Des: Peter Conrad Beyer | Music: Akasha Project, B. Ashra, Yannick Franck | With: Nana Nauwald | Print/Sales: Peter Conrad Beyer



Prod: Maria Baker-Choustova | Sc: Sergei Loznitsa | Cam: Pavel Kostomarov | Ed: Sergei Loznitsa | Sound Des: Vladimir Golovnitski | Print/Sales: ATOMS&VOID |

Prod: Irene von Alberti, Frieder Schlaich | Prod Comp: Filmgalerie 451 | Sc: Omer Fast | Cam: Bernhard Keller | Ed: Heike Parplies, Omer Fast | Pd: Beatrice Schultz | Sound: Jochen Jezussek | With: André M. Hennicke, Iris Böhm, Josef Mattes, Lukas Steltner, Niklas Kohrt | Print: Filmgalerie 451 | Sales: Patra Spanou Film Marketing & Consulting |



Your films, your festival 25 SEP-04 OCT 2013 UTRECHT

BrIgHT fuTure

Bright Future

Bright Future

Vakansiy yang janggal dan penyakit lainnya

Miss Lovely Ashim Ahluwalia

Peculiar Vacation and Other Illnesses

Yosep Anggi Noen

India, 2012 | colour, DCP, 110 min, Hindi Prod: Sanjay Shah, Shumona Goel, Pinaki Chatterjee | Prod Comp: Future East Film | Sc: Ashim Ahluwalia, Uttam Sirur | Cam: Mohanan | Ed: Ashim Ahluwali, Paresh Kamdar | Prod Des: Ashim Ahluwali, Tabasheer Zutshi, Parichit Paralkar | Sound Des: Tarun Bhandari | With: Nawazuddin Siddiqui, Niharika Singh, Anil George, Zeena Bhatia, Ragesh Asthhanaa, Menaka Lalwani | Print/Sales: Fortissimo Films | Public SCREENINGS  Fri 25-1 22:00 CI1 Wed 30-1 19:15 DJZ Fri 1-2 16:45 SGZ Press & Industry SCREENING  Tue 29-1 14:00 CI4

Mumbai in the 1980s: the brothers Vicky and Sonu make soft-porn horror films, supplying the city’s growing underground market. Sensitive Sonu, his conscience burdened by the work, is pressed on by Vicky, the ‘brains’ of the outfit, through a world of illegal trafficking, sex parties, police corruption and dangerous mobsters. The appearance of the beautiful ‘debutante’ Pinky in the run-down warehouse that is used as a film studio turns the brothers’ lives upside down as the naïve Sonu falls in love and takes irresponsible risks to finance a romantic mainstream film for his muse. Originally planning a documentary on the topic, director Ahluwalia – known for his remarkable documentary John & Jane – meticulously investigated Mumbai’s exploitation film industry and effectively incorporates the C-grade type of reels of the 1980s into this engaging and violent retro thriller.

Indonesia, 2012 | colour, DCP, 90 min, Indonesian/Javanese Prod: Yosep Anggi Noen | Prod Comp: Limaenam Films | Sc: Yosep Anggi Noen | Cam: Bayu Prihantoro Filemon | Ed: B.W. Purba Negara | Prod Des: Bambang Kuntara Murti | Sound Des: Otto Muharom | Music: Charlie Meliala | With: Christy Mahanani, Joned Suryatmoko, Muhammad Abe Baasyin | Sales: m-appeal | Distr NL: Hubert Bals Fund  Public SCREENINGS  Fri 25-1 16:00 PA4 Sat 26-1 20:00 CI2 Thu 31-1 15:00 LV3 Fri 1-2 11:30 CI6

A floresta de Jonathas

La Playa D.C.

Jonathas lives with his parents and elder brother Juliano in a distant corner of the Amazon region. The family sells fruit from their stall next to the motorway. It’s an ideal spot for the kids to come into contact with passers-by from different worlds. Juliano especially is keen to grab every opportunity for new adventures, to the great frustration of his father. Yet Jonathas also allows himself to be persuaded to camp in the jungle with his dear brother, together with an exciting girl from the Ukraine. In this formative weekend, the magic rainforest and the mysterious girl both turn out to have a major effect on Jonathas. Andrade, who comes from this remote part of Brazil himself, has made a beautiful, contemporary drama about people far from the modern world, where nature is a living, magic entity. With colourful shots and a hallucinogenic soundtrack, the viewer is sucked into a magic-realistic jungle drama.

There’s a world of difference between the west coast of Colombia and the district of La Playa in Bogata, the capital. Ever since teenager Tomas had to flee his birthplace by the Pacific Ocean because of the civil war, he has yearned for the tropical countryside where he grew up. Everywhere he can, he draws scenes of his birthplace. Life in the city is hard too. His stepfather throws him out, his little brother Jairo is an addict and in big trouble. Together with his elder brother Chaco he is saving for a journey to the North, either the USA or Europe. Just as the sun is about to shine and he’s about to start earning money as a talented hairdresser, both his brothers ask for help and Tomas faces an impossible choice. To the accompaniment of latino hiphop beats, the camera follows the stoical Tomas through the streets of Bogota. A glimpse of the city’s AfroColombian subculture – in which hairstyles play a major role.

Jonathas’ Forest Sérgio Andrade


Brazil, 2012 | colour, DCP, 99 min, Portuguese/English Prod: Sérgio Andrade | Prod Comp: Rio Taruma Filmes | Sc: Sérgio Andrade | Cam: Yure César | Ed: Fábio Baldo | Prod Des: Sidney Medina | Sound Des: Fábio Baldo, Tico Dias | Music: Ian Fonseca | With: Begê Muniz, Francisco Mendes, Viktoryia Vinyarska, Ítalo Castro, Socorro Papoula, Alex Lima, João Tavares | Print/Sales: FiGa Films | Public SCREENINGS  Sat 26-1 15:30 PA2 Sun 27-1 09:45 PA5 Mon 28-1 09:30 LV3 Thu 31-1 17:45 CI2 Press & Industry SCREENING  Fri 25-1 17:00 LV5


Ning is not happy in her work or her relationship. A new job in a furniture store – which looks like the most spotless place in Yogyakarta – gives her hope of better fortune. Together with sympathetic driver Mur, she has to deliver a beautiful red sofa to a remote village. We see how they cautiously grow closer along the way. While at home, Ning’s husband kills time with TV dating shows, a small street stall and pathetic paid sex. After several shorts, Peculiar Vacation and Other Illnesses, partly supported by the Hubert Bals Fund, is the first full-length feature by Yosep Anggi Noen. In this modest road movie, he tackles issues which tend to be difficult in Indonesian filmmaking, such as adultery and sexual problems. With a great feeling for mood, the film was shot in and around Yogyakarta, where the director lives.


The Beach Juan Andrés Arango

Colombia, 2012 | colour, DCP, 90 min, Spanish Prod: Jorge Andrés Botero, Diana Bustamante | Prod Comp: Burning Blue, Séptima Films | Sc: Juan Andrés Arango | Cam: Nicolas Canniccioni | Ed: Felipe Guerrero | Prod Des: Angelica Perea | Sound Des: Pablo Bahamondez, Roberto Espinoza | Music: Erick Bongcam, Jacobo Vélez | With: Luis Carlos Guevara, Andres Murillo, James Solis, Einer Cortes, Hamilton Quinones | Sales: Doc & Film International | Distr NL: Hubert Bals Fund Public SCREENINGS  Thu 24-1 13:15 PA3 Fri 25-1 11:45 CI1 Sat 26-1 22:00 LV5 Thu 31-1 18:15 PA6



Bright Future

Bright Future


UK, 2012 | colour, DCP, 106 min, English Prod: Gareth Pritchard | Prod Comp: Moli-Mischief Films | Sc: Rowan Athale | Cam: Stuart Bentley | Ed: Kim Gaster | Prod Des: Chris Richmond | Sound Des: Burak Topalakci | Music: Neil Athale | With: Luke Treadaway, Iwan Rheon, Matthew Lewis, Gerard Kearns, Timothy Spall, Vanessa Kirby | Print/Sales: Bankside Films Public SCREENINGS  Fri 25-1 22:00 DJZ Mon 28-1 21:45 SGZ Fri 1-2 12:45 PA5 Sat 2-2 20:00 LUX Press & Industry SCREENING  Thu 24-1 14:00 CI7

L’étoile du jour

Rowan Athale

The Morning Star Sophie Blondy

Stylish heist film with a twist: the ingenious masterplan unfolds not in hip New York or gleaming Las Vegas, but in a grey town in northern England. The robbery is not at a jeweller’s or casino, but a working men’s club. It’s as if you hired Ken Loach to direct Ocean’s 11. It’s obvious from the start that the ingenious heist by Harvey Miller and his friends will not work out quite as planned. You see, Harvey tells the whole story in a police interrogation. How, fresh out of jail, he wanted to win back his girlfriend Nathalie, start a new life – but above all, get revenge on drug dealer Steven Roper, who framed him for his own crimes. Besides the story, in which of course nothing is as it seems, the camaraderie between the four robbers is a trump card in the film. Harvey and his mates Dempsey, Charlie and Dodd know each other through and through. For them, crime is the only way out in ‘broken Britain’.

The circus is a favourite backdrop for films that are anything but festive. In Sophie Blondy’s second feature, she introduces a motley mix of characters who are bound together in obscure ways. The story is set in a depressing town on the French coast, where the performances are held in front of halfempty benches. The real excitement is primarily outside the circus tent, where the sad clown Elliot (Holy Motors’ Denis Lavant) has an affair with ballerina Angèle, to the fury of the circus director Heroy – who will stop at nothing to conquer the object of his love. Apart from being plagued by the director, Elliot is also tormented by his silent yet eloquent conscience, surprisingly played by Iggy Pop. And in The Morning Star we also see Béatrice ‘Betty Blue’ Dalle, in her typecast role of flamboyant gypsy soothsayer.

France, 2012 | colour/b&w, DCP, 98 min, French Prod: Alain Peyrollaz | Prod Comp: Tabo Tabo Films | Sc: Sophie Blondy, Philippe Benkemoun | Cam: Nathalie Durand  | Ed: Anaïs Enshaian  | Prod Des: Nikos Meletopoulos | Sound Des: Jean-Luc Rault Cheynet | Music: Steve Mackay, Jim Peuvrel  | With: Denis Lavant, Iggy Pop, Tchéky Karyo, Natacha Régnier, Béatrice Dalle, Bruno Putzulu | Print/Sales: Wide Management Public SCREENINGS  Wed 30-1 18:45 PA5 Thu 31-1 12:30 PA2 Fri 1-2 16:30 CI6 Sat 2-2 21:45 LV1 Press & Industry SCREENING  Thu 31-1 10:15 CI4



Snow White Pablo Berger

Spain/France, 2012 | b&w, DCP, 104 min, no dialogue Prod: Ibon Cormenzana, Jerome Vidal, Pablo Berger | Prod Comp: Arcadia Motion Pictures, Noodles Productions | Sc: Pablo Berger | Cam: Kiko de la Rica | Ed: Fernando Franco | Prod Des: Alain Bainée | Music: Alfonso de Vilallonga | With: Maribel Verdú, Daniel Giménez Cacho, Pere Ponce, Angela Molina, Macarena García, Sofía Oria | Sales: UDream | Distr NL: A-Film Distribution | Public SCREENINGS  Sat 26-1 19:15 CI6 Sun 27-1 15:45 PA5 Mon 28-1 19:30  LUX Sat 2-2 21:45 CI6

Her mother dies in childbirth. Her father, a famous toreador, is skewered by a bull and ends up in a wheelchair. He marries his nurse, who turns out to be an evil stepmother. Instead of a mirror on the wall, she has a fashion magazine that tells her who is the most beautiful in the land. In this Spanish version of the Grimm classic, Snow White is called Blancanieves and hangs around with bullfighting dwarfs. But this is much more than a Spanish remake of a world-famous story; it’s a homage to the heyday of silent film. Pablo Berger, who worked on the film for eight years, situates the story in 1920s Seville. The stylish set is shot in sharp blackand-white. Dialogues are on inter-titles and are accompanied by a hot-blooded soundtrack with a large dose of flamenco. Blancanieves is a gloomy fairytale with an exotic undercurrent.

Press & Industry SCREENING  Tue 29-1 11:30 CI3

Kees Brienen


Netherlands, 2013 | colour, DCP, 80 min, English/Dutch Prod: René Goossens, Annemiek van Gorp, Kees Brienen | Prod Comp: De Productie, KINO International | Sc: Desiree Duwel | Cam: Benito Strangio | Ed: Menno Boerema | Prod Des: Elisa Miller | Sound Des: REC Sound | Music: Martijn van Boven | With: Kees Brienen, Big Mama Amma Ongel, Geeta Prasaad Regmi, Mister Pala Bhutia, Raul Langa, Naresh Choowdri, Kallu Sahani | Print/Sales: De Productie Public SCREENINGS  Fri 25-1 19:30 PA3 Sat 26-1 21:15 PA6 Tue 29-1 19:15 CI6 Thu 31-1 17:15 CI7 Press & Industry SCREENING  Mon 28-1 11:00 CI3



Kees Brienen plays himself in this meditative road movie in which the protagonist, on arriving in India, finds out that the friend with whom he wanted to watch an eclipse of the sun has died. Shocked and dazed, he sets out on a long journey that takes him from chaotic urban bustle to a mountain village where he finds the body of the deceased. Helped by villagers who perform the last rites and carry the body over the hills, Brienen accompanies his friend to his final resting place. This simple story with hardly any dialogue is borne by impressions of Brienen’s state of mind and mood shots of the surroundings: from scruffy hotel rooms, bustling street life and endless roads to the serenity of the mountains, cloaked in clouds. Several encounters on the way teach him to accept the natural rhythm of life and death. Inspired by true events, something the documentary opening shot refers to. After previous experimental work, this is Brienen’s first feature.



Bright Future

USA, 2012 | colour, DCP, 105 min, English/French Prod: Josh Mond, Sean Durkin, Matt Palmieri | Prod Comp: Borderline Films, FilmHaven Entertainment | Sc: Antonio Campos | Cam: Joe Anderson | Ed: Zachary StuartPontier | Prod Des: Nicolas de Boiscuillé | Sound Des: Coll Anderson | Music: Saunder Jurriaans, Danny Bensi | With: Brady Corbet, Mati Diop, Michael Abiteboul, Constance Rousseau, Lila Salot, Solo | Print/Sales: Fortissimo Films Public SCREENINGS  Fri 25-1 09:45 PA5 Sun 27-1 21:45 LV1 Mon 28-1 14:15 SGZ Press & Industry SCREENING  Thu 24-1 10:00 CI4

Bright Future

Simon Killer

A Fallible Girl

Antonio Campos

Conrad Clark

After an unpleasant break-up, American recent graduate Simon (Brady Corbet) arrives in France. He sends unanswered emails to his ex, amuses himself with internet porn and roams the streets of a bleak and standoffish Paris. Simon wrestles with himself. When one day he seeks solace in a sex club, he gets to know the prostitute Victoria (a powerful role by former Tiger Award for Short Film winner Mati Diop). A relationship blossoms between the two lost souls, but it doesn’t do Simon much good. Gradually he starts to get involved in unpleasant practices. His suppressed fury then seeks a way out. With a pulsating techno soundtrack, Simon Killer shows the seamy side of a young and tormented ‘American in Paris’. Campos made his debut in 2008 with Afterschool, and wrote this script in cooperation with the protagonists, leaving plenty of room for personal interpretation.

More than 80% of the population in Dubai comes from outside the United Arab Emirates. Immigrants have virtually no rights. They work very hard, live soberly, save as much as possible, and leave. That does not apply to the Chinese girl Lifei. She has been bit by the bug of entrepreneurship and wants to rediscover herself as a businesswoman. With her best friend Yaya, the two women start a mushroom farm in the desert. Yaya pulls out at the very first sign of a setback and Lifei is left to fend for herself. She hires workers from Bangladesh, crosses the city to sell her wares and seeks investors. But when she finally succeeds, she is forced by family circumstances to return to China. As a foreigner and woman, Lifei is doubly handicapped in the maledominated Arab world. A Fallible Girl shows the harshness of life in Dubai, but has a purifying end. In her downfall, Lifei rediscovers herself.


United Arab Emirates/China/ UK, 2013 | colour, DCP, 104 min, Mandarin/English Prod: Wendy Kuan, Yan Zhu, Chow Keung, Azza Aboul Magd | Prod Comp: Pract2 Entertainment Ltd, Xstream Pictures Limited, Soul Rebel Films | Sc: Conrad Clark | Cam: Raquel Fernandez Nuñez | Ed: Paul Monaghan | Prod Des: Yufang Lee | Sound Des: Akritchalerm Kalayanamitr | Music: Víg Mihály, Orchestra Elastique | With: Sang Juan, Huang Lu, Arthur Molinier | Print/Sales: PAD International Public SCREENINGS  Sun 27-1 19:00 PA2 Mon 28-1 13:00 PA4 Wed 30-1 16:00 PA4 Thu 31-1 20:00 CI5 Press & Industry SCREENING  Sat 26-1 09:15 CI3

Four Ways to Die in My Hometown


China, 2012 | colour, video, 90 min, Chinese Prod: Huang Jingwei | Sc: Chai Chunya | Cam: Huang Xiaoyu  | Ed: Zhang Anna  | Prod Des: Fang Gua  | Sound Des: Wang Hanyang | Music: Mamer, IZ Band | With: Gao Weixia, Yang Guiqing, Shi Tiansheng, Long Fanghe | Print/Sales: Chai Chunya Public SCREENINGS  Thu 24-1 19:30 CI3 Fri 25-1 15:30 PA2 Sat 26-1 22:15 LV1 Sat 2-2 09:00 CI3 Press & Industry SCREENING  Thu 24-1 09:45 CI3


Toegetakeld door de liefde

Chai Chunya

Devastated by Love Ari Deelder

Every year, 15 million Chinese move from the countryside to the city. The metropolises are bursting apart with migrants looking for work. In the rural areas, only the old, sick and weak remain behind as the fabric of society falls apart. Four Ways to Die in My Hometown is a poetic portrayal of this decay. Ga Gui travels to her home village because she has a premonition that her father does not have much longer to live. The man has shut out the outside world for seven years by living in a coffin and, before his last breath is breathed, he receives a visit from a spirit that calls on him to bring enlightenment to his fellow villagers. The decay of the old community and the values that go along with it has to be stopped. An experimental film with a spiritual and philosophical message. The story is structured around the four elements of Buddhism: earth, water, fire and wind.

Arie is behind on the rent and has writer’s block – and the book he hasn’t yet written has to be finished in two months. Then he finds inspiration at the tram stop of his life, in the form of the redheaded tram driver Sonja. When her route is abolished, the infatuated Arie does everything he can to get in touch with his muse. ‘No Sonja, no book; no book, no writer; no writer, no life; no life, no Sonja.’ In this way, Arie gradually loses everything: his house, his self-respect, his hope. Ari Deelder based her tragicomic directing debut on a story by Aat Ceelen, who is also from Rotterdam. The familiar Rotterdam setting is juxtaposed with absurdist fantasies and animations. Supported by the jazz of the New Cool Collective and with a brilliant leading role for Raymond Thiry, who manages to communicate many emotions convincingly. Plus a tiny bit part for her father, Jules Deelder.



Netherlands, 2013 | colour, DCP, 90 min, Dutch Prod: Jeroen Rozendaal | Prod Comp: StudioRev | Sc: Ari Deelder, based on a story by Aat Ceelen | Cam: Daan Nieuwenhuijs | Ed: Tim Roza | Prod Des: AMC Fok | Sound Des: Henk-Helle de Groot | Music: New Cool Collective | With: Raymond Thiry, Anna Hermanns, Stefan Degand, Leny Breederveld | Sales: StudioRev | Distr NL: Just Film Distribution Public SCREENINGS  Fri 25-1 19:15 PA1 Sat 26-1 18:45 PA7 Tue 29-1 12:00 CI2 Fri 1-2 17:15 CI2 Press & Industry SCREENINGS  Thu 24-1 09:30 DJZ Sun 27-1 17:15 DJZ



Bright Future

Bright Future

Las lágrimas


The Tears Pablo Delgado Sánchez


Mexico, 2012 | colour, DCP, 64 min, Spanish Prod: Guillermo Ortiz | Prod Comp: Centro de Capacitación Cinematográfica | Sc: Pablo Delgado Sánchez | Cam: Juan Pablo Ramírez | Ed: Gil González | Prod Des: Derzu Campos | With: Fernando Alvarez Rebeil, Gabriel Santoyo, Claudette Maillé | Print/Sales: Centro de Capacitación Cinematográfica Public SCREENINGS  Mon 28-1 15:30 PA2 Tue 29-1 11:45 CI1 Thu 31-1 09:452 PA4 Fri 1-2 09:30 CI5 Press & Industry SCREENING  Sat 26-1 15:45 CI4

The Mexican summer holiday is long and boring for Fernando and Gabriel. While their mother wallows in her sorrow about the absence of their father, they have to look after themselves. So the teenager Fernando loses himself in parties and drink, while little Gabriel lolls endlessly in front of the TV. Nature ought to offer a way out for the brothers, but things turn out differently. Pablo Delgado Sánchez made The Tears as a graduation film from the Centro de Capacitación Cinematográfica (CCC), a film school set up in 1975 in Mexico City that now has become one of the most important breeding grounds for young Mexican talent. Sánchez captures city life and the brother’s camping trip in dreamy images, shot in full-screen 16mm. The film, largely made using improvisation, was based on an outline only 20 pages long and won a Carte Blanche Prize for post-production at the Locarno Film Festival.

Igor Drljaca


Canada/Bosnia and Herzegovina, 2012 | colour, video, 70 min, Bosnian Prod: Igor Drljaca, Albert Shin | Prod Comp: TimeLapse Pictures | Sc: Igor Drljaca | Cam: Roland Echavarria | Sound Des: Matthew Chan | Music: Bojan Bodruzic | With: Goran Slavkovic, Jasmin Geljo, Edis Livnjak, Minela Ja ar, Neboj a Mijatovic, Petar Mijatovic, Jelena Mijatovic  | Print/ Sales: Princ Films, Inc. | www. Public SCREENINGS  Mon 28-1 22:002 CI3 Tue 29-1 14:152 CI3 Thu 31-1 17:002 CI5 Sat 2-2 13:45 CI3 Press & Industry SCREENING  Wed 30-1 09:00 LV3



Hold Back Rachid Djaïdani

France, 2012 | colour, DCP, 75 min, French/Arabic Prod: Rachid Djaïdani, Anne-Dominique Toussaint | Prod Comp: Rachid Djaïdani Productions, Les Films des Tournelles | Sc: Rachid Djaïdani | Cam: Julien Boeuf, Rachid Djaïdani, Karim El Dib, Elamine Oumara | Ed: Rachid Djaïdani, Svetlana Vaynblat, Julien Boeuf, Karim El Dib | Prod Des: Rachid Djaïdani | Sound Des: Benjamin Lécuyer | With: Slimane Dazi, Sabrina Hamida, Stéphane Soo Mongo | Print: The Festival Agency | Sales: Pathé Distribution | Public SCREENINGS  Thu 24-1 21:45 LV1 Sun 27-1 21:45 SGZ Tue 29-1 19:15 LV6 Fri 1-2 22:00 SGZ Press & Industry SCREENING  Fri 25-1 09:15 CI2


The winner of the FIPRESCI award at the Quinzaine des Réalisateurs in Cannes tackles the hypocrisy surrounding a forbidden love in Paris. French-Algerian Sabrina wants to get married to a black would-be actor, to the horror of her forty brothers. The two lovers try to build up a life together in these hostile surroundings. The brother who is most fiercely critical of the wedding has himself struck up a relationship with a Jewish woman. This energetic and topical variant on Romeo and Juliet, with Parisian Africans and Algerians as the Montagues and Capulets, charts new waters by looking at the racial gap between the two immigrant communities from different angles. For his feature debut, Rachid Djaïdani (boxing champion, novelist, actor, filmmaker) used extreme close-ups, rapid editing and a moving camera. His no-budget film, on which he worked for nine years, also has lighter moments, such as the scenes in which a few dance steps are unexpectedly made.


Krivina is an elegiac consideration of the traumas of war and migration, and what we are to make of such memories. Miro fled the war in former Yugoslavia in the 1990s and now lives in Toronto. His search for his childhood friend Dado, who is suspected of war crimes and every now and again appears in his home village like a ghost, brings Miro back to his homeland. Like Miro, the film seems caught between the present and the past; between Yugoslavia and Canada; between memory, dream and reality. The details of Miro’s journey remain unclear, as does Dado’s fate and the precise role of Drago, to whom Miro tells his woeful story of migration, and of an accident involving a bus full of children – the Yugoslav word ‘krivina’ can roughly be translated as a metaphorical ‘bend in the road’. A highly personal debut – director Drljac fled Yugoslavia with his parents for Canada as a ten-year-old boy.

Diederik Ebbinge


Netherlands, 2013 | colour, DCP, 87 min, Dutch Prod: Gijs van de Westelaken | Prod Comp: Column Film | Sc: Diederik Ebbinge | Cam: Dennis Wielaert | Ed: Michiel Reichwein | Prod Des: Elza Kroonenberg | Sound Des: Giel van Geloven | With: René van ‘t Hof, Ton Kas, Porgy Franssen, Ariane Schluter, Helmert Woudenberg, Elise Schaap, Alex Klaasen  | Sales: Column Film | Distr NL: Cinéart Netherlands Public SCREENINGS  Sun 27-1 19:30 PA1 Mon 28-1 13:00 PA6 Sat 2-2 13:00 PA4 Press & Industry SCREENING  Tue 29-1 13:00 LV3

Fred is a lonely 54-year-old man. Since the death of his wife, he has lived alone in a small village. His son disappeared from his life years ago. Fred rides around in the local bus, virtuously attending church and eating his green beans, meat and potatoes at 6 o’clock on the dot every day. One day, the tramp Leo wanders into his life. After an initial moment of suspicion, Fred takes Leo in. Like a strict father, he tries to educate his new housemate. He soon finds out that Leo has a special talent, as a result of which Fred again slowly starts to set out into the wide world. The style of this tragicomic story can in some ways be compared with the absurdism of Alex van Warmerdam. While the story is set in the present, the Dutch atmosphere of the 1950s presses heavily on the characters. The production design is also beautifully attuned to the God-fearing, stern mood the Dutch know so well.



Bright Future

Bright Future

Los salvajes


The Wild Ones Alejandro Fadel

Argentina, 2012 | colour, DCP, 119 min, Spanish Prod: Agustina Llambi Campbell, Alejandro Fadel | Prod Comp: La Unión de los Ríos | Sc: Alejandro Fadel | Cam: Julian Apezteguia | Ed: Andrés P. Estrada, Delfina Castagnino | Prod Des: Laura Caligiuri | Sound Des: Santiago Fumagalli | Music: Sergio Chotsourian, Santiago Chotsourian | With: Leonel Arancibia, Roberto Cowal, Sofía Brito, Martín Cotari, César Roldan | Sales: Memento Films International | Distr NL: Hubert Bals Fund Public SCREENINGS  Sat 26-1 12:30 PA2 Sun 27-1 12:30 PA7 Wed 30-1 21:45 DJZ Thu 31-1 21:30 PA7

Visually impressive feature about a group of young delinquents who violently escape from youth prison and find themselves in the Argentine wilderness. The Wild Ones is very realistic in the opening scenes, but soon transcends time and place, with a sharp eye for the beauty of the landscape. Words clearly play a less prominent role than images, distinguishing the solo directing debut by Alejandro Fadel from the films he wrote for Pablo Trapero (Leonera, Elefante blanco). Cameraman Julian Apezteguia is also from Trapero’s crew. The first half of the film follows the four young men and a girl on their journey to an unknown destination. As a result of internal disagreements and accidents, the group falls apart, after which the story concentrates on the youngest of them. In the descent into an increasingly intangible and mythical world, fate brings the characters together briefly, after which they lose each other for good.

Veronika Franz, Severin Fiala

Austria, 2012 | colour, DCP, 97 min, German Prod: Ulrich Seidl | Prod Comp: Ulrich Seidl Film Produktion GmbH | Sc: Veronika Franz, Severin Fiala | Cam: Harald Traindl | Ed: Birgit Bergmann, Nikolaus Eckhard | Sound Des: Severin Fiala | Print/ Sales: Ulrich Seidl Film Produktion GmbH | Public SCREENINGS  Sat 26-1 17:15 CI2 Sun 27-1 10:00 CI4 Tue 29-1 17:002 CI2 Fri 1-2 21:302 CI4

Une histoire d’amour

Ship of Theseus

Tied Hélène Fillières


France/Luxembourg, 2012 | colour, DCP, 80 min, French Prod: Matthieu Tharot, Jani Thiltges | Prod Comp: Albertine Productions, Samsa Film | Sc: Hélène Fillières, based on a novel by Régis Jauffret | Cam: Christophe Beaucarne | Ed: Philippe Bourgueil | Prod Des: Véronique Sacrez | Sound Des: Gert Janssen | Music: Etienne Daho | With: Benoît Poelvoorde, Laetitia Casta, Richard Bohringer, Reda Kateb | Sales: Wild Bunch | Distr NL: Imagine Nederland Public SCREENINGS  Sat 26-1 21:45 SGZ Sun 27-1 14:15 LV5 Tue 29-1 22:15 LUX Fri 1-2 22:30 DJZ Press & Industry SCREENING  Thu 24-1 21:45 CI5


No love story is complete without a dose of pain. But when it comes to physical, forced pain and there are pistols and latex rompers in the game, then a love story takes on a darker side. A banker with masochistic tendencies (Benoît Poelvoorde) asks a beautiful woman (Laetitia Casta) to be his dominatrix. She is dragged along in his hunger for humiliation and subjection, but herself is emotionally chained to her husband, for whom she does everything. The love triangle heads for a fatal climax. Set in a romantic no man’s land somewhere between Europe and the USA, echoed in the mixture of French and American love songs on the soundtrack. In a moral sense, the film is also in a twilight zone. Judgement, questions of guilt, psychology, explanation – it is all left out. The protagonists are so neutral they don’t even have names. All that counts is trust, daring and the intensity of love.


‘What kind of film are you actually making? Surely there’s no point?’ Peter Kern’s blunt criticism in the opening scene of this documentary dedicated to him is certainly not the last he will express. Yet the makers, Veronika Franz and Severin Fiala, continue to sketch a portrait of the homosexual Austrian director/actor/writer/singer. The more-than-obese Kern, who curses, groans and manipulates, is followed for 18 months – in his home, on the set and while he watches excerpts of his own work. ‘You’ll never see the real me’, he exclaims, but the camera captures revealing moments. For instance, when he sobs as he watches a scene from his documentary Knutschen, kuscheln, jubilieren (1998). Or when, his gigantic body bared, he sings a song at first reluctantly but later with increasing conviction. The last scenes put everything else in a totally different light. Might Kern be right after all?

Anand Gandhi

India, 2012 | colour, DCP, 139 min, Hindi/English Prod: Mukesh Shah, Anand Gandhi | Prod Comp: ReCyclewala Productions | Sc: Anand Gandhi | Cam: Pankaj Kumar | Ed: Sanyukta Kaza, Adesh Prasad, Satchit Puranik | Prod Des: Pooja Shetty, Rakesh Yadav | Sound Des: Gábor Erdélyi | Music: Naren Chandavarkar, Benedict Taylor | With: Aida ElKashef, Neeraj Kabi, Sohum Shah, Vinay Shukla, Sameer Khurana | Print/Sales: Fortissimo Films Public SCREENINGS  Fri 25-1 11:30 CI4 Mon 28-1 16:00 PA1 Sat 2-2 18:30 SGZ Press & Industry SCREENING  Thu 24-1 12:45 CI4

This original, idiosyncratic debut of philosophy graduate Anand Gandhi is a contemplative quest involving three parables. Plutarch’s paradoxical question of whether Theseus’s ship, when restored by replacing all of its parts, still remains the same ship, is applied to contemporary life issues. The first story focuses on a blind photographer who captures the essence of life through intuition, but faces an existential crisis when eye transplants restore her sight. In the second, a monk dedicated to animal rights, nonviolence and beliefs about cause and effect, refuses a life-saving transplant when faced with a lethal disease. Ethics and life-and-death decisions are the focus in the third tale about a stockbroker tracking down the culprits of an organ theft committed on a poor man in surgery. The stories, done in a cinematically refined manner, connect at the end in an ironic moment of belonging.



Bright Future

Bright Future

Oh Boy

O quinto evanxeo de Gaspar Hauser

Jan Ole Gerster

The Fifth Gospel of Kaspar Hauser

Alberto Gracia

Germany, 2012 | b&w, DCP, 85 min, German Prod: Marcos Kantis | Prod Comp: Schiwago Film GmbH | Sc: Jan Ole Gerster | Cam: Philipp Kirsamer | Ed: Anja Siemens | Prod Des: Juliane Friedrich | Sound Des: Fabian Schmidt | Music: The Major Minors, Cherilyn MacNeil | With: Tom Schilling, Marc Hosemann, Friederike Kempter, Andreas Schröders, Justus von Dohnányi, Arnd Klawitter, Ulrich Noethen, Martin Brambach, RP Kahl, Theo Trebs, Frederick Lau, Michael Gwisdek | Print: Schiwago Film GmbH | Sales: Beta Cinema | Public SCREENINGS  Fri 25-1 12:15 PA7 Tue 29-1 16:30 LUX Fri 1-2 19:30 LV5 Sat 2-2 14:00 CI6

How hard can it be in today’s Berlin – hipster hangout no. 1 – to order a cup of coffee? Very hard, actually, as dropout Niko (Germany’s current ‘it-boy’ Tom Schilling) discovers one day. The day starts off unpromisingly enough with his (ex) girlfriend, and from then on it just gets worse. He loses his driving licence after a bizarre psychological test, his bank account is blocked and an encounter with an old schoolmate goes horribly wrong. Along the way, Niko begins to realise something. Until now, he has managed to get away with pretty much everything thanks to his big beautiful eyes; but now suddenly it’s time to grow up. The tragicomic Oh Boy, filmed in sunny black-and-white, is a portrait of a young man on the verge of adulthood. With the help of a jazzy soundtrack, debut director Jan Ole Gerster smoothly guides us from a cheerful slacker comedy into a poignant ode to Berlin, its residents and its past.


Spain, 2013 | colour/b&w, DCP, 61 min, Galician (Gallegan)/Spanish Prod: Felipe Lage Coro | Prod Comp: Zeitun Films | Sc: Alberto Gracia | Cam: Mauro Herce | Ed: Alberto Gracia, Diana Toucedo | Prod Des: Oliver Laxe | Sound Des: Alberto Gracia, Enrico Fiocco | With: Josecho, Sara García, Oliver Laxe, Nando Vázquez, Alberto Gracia, Pedro Soler, Quique Amil | Print/Sales: Zeitun Films Public SCREENINGS  Fri 25-1 17:00 CI3 Sat 26-1 09:30 CI4 Mon 28-1 22:00 LV2 Press & Industry SCREENING  Fri 25-1 22:00 CI5

Nairobi Half Life

Matei copil miner Matei Child Miner Alexandra Gulea

David ‘Tosh’ Gitonga

Kenya/Germany, 2012 | colour, DCP, 96 min, Swahili Prod: Sarika Hemi Lakhani | Prod Comp: One Fine Day Films | Sc: Serah Mwihaki, Charles ‘Potash’ Mwihaki, Samuel Munene  | Cam: Christian Almesberger | Ed: Mkaiwawi Mwakaba | Prod Des: Naia Barrenechea | Sound Des: Matthias Lempert | Music: Xaver Von Treyer | With: Joseph Wairimu, Olwenya Maina, Nancy Wanjiku Karanja, Mugambi Nthiga, Paul Ogola | Print: The Festival Agency | Sales: One Fine Day Films | Public SCREENINGS  Fri 25-1 21:45 SGZ Sun 27-1 11:30 CI6 Thu 31-1 22:30 LUX Fri 1-2 19:00 CI4


Kenyan Oscar nomination, about a young actor from a peasant village in Kenya who hopes to make it in Nairobi, but soon finds out why it is called Nairobbery. He accidentally ends up in the world of crime while he has just got a position at the popular Phoenix Theatre. His double life has its advantages. One day he manages to stay on his feet among the criminals thanks to his acting talent, and another day he can play his theatre role as a thief with even more conviction. The well-oiled product of a training initiative by One Fine Day Films, DW Akademie and the Kenyan production company Ginger Ink, in which promising young African filmmakers were chosen to make a film under the supervision of Tom Tykwer and Soul Boy scriptwriter Billy Kahora. Gitonga is making his debut, and manages to capture the bustle and fury of downtown Kirinyaga Road very well. The incredibly filthy toilet in the prison is also portrayed very expressively.


The story of Kaspar Hauser, the German ‘wild child’ who grew up for 16 years in silence and virtually in the dark in a stable with only a wooden horse as company, remains fascinating, also for filmmakers. Werner Herzog did a film on him in 1974. In The Fifth Gospel of Kaspar Hauser, mostly shot in atmospheric black-and-white on 16mm, we see impressions of his life and ‘civilising process’. On one side there is ubiquitous nature, a world without language, and on the other we see him in the company of several archetypes: a masked, sadomasochistic dwarf; a vamp-like girl; a seaman and a man in a Batman suit (played by the director, Alberto Gracia). The soundtrack also has a constant tension between the peaceful sounds of nature and ominous music. Gracia divides his ‘gospeL’of Kaspar Hauser into seven chapters. The sixth is an absurdist intermezzo with the archetypal characters’ dialogues in inter-titles.


Romania/Germany/ France, 2013 | colour, DCP, 80 min, Romanian Prod: Thomas Ciulei, Florian Schneider, Céline Maugis | Prod Comp: Europolis Film, Lüthje & Schneider Filmproduktion, La vie est belle films associés | Sc: Alexandra Gulea | Cam: Reinhold Vorschneider | Ed: Alexandra GuleaPrzygodda | Prod Des: Mihaela Poenaru | Sound Des: Radu Stancu | Music: Stéphane Karo | With: Alexandru Czul, Remus Marginean | Print/Sales: Europolis Film Public SCREENINGS  Sun 27-1 14:15 SGZ Mon 28-1 16:00 PA5 Wed 30-1 13:15 PA1 Fri 1-2 15:30 PA7 Press & Industry SCREENING  Sat 26-1 20:15 CI4


The fiction debut of documentary maker Alexandra Gulea is about an 11-year-old boy, Matei, who has been living with his grandfather because his parents have gone to work in Italy. The boy is dismissed from school following a mix-up, and his normally understanding grandfather responds in an unexpectedly violent way. Matei runs away to Isidor, a shepherd in the hills. His life is changed by a visit to the Natural History Museum in Bucharest, but when he arrives back home, he faces more changes than he could possibly have wished for. When his mother arrives to take him away, he refuses to go. Matei thinks his future lies in Romania. He will now have to grow up quickly. Gulea films in beautiful, calm compositions, finding splendour – and even humour – in the gloomiest of settings. Her eye for the beauty of urban and natural landscapes alone make this film an exceptional addition to recent Romanian filmmaking. Nominated for The Big Screen Award.



Bright Future

Bright Future

Carne de perro

De nieuwe wereld

In Chile, people look to the future. They work, dream of success, lose themselves in shopping and saccharine soaps. They prefer not to think of the dictatorship of Pinochet, who drowned the country in fear from 1973 to 1990. Except, that is, for types like Alejandro. This shabby fifty-something worked in one of Pinochet’s torture prisons. Now he lives on the fringes of society, unable to reinvent himself. When one of his former colleagues commits suicide, this emotionally handicapped macho completely loses it. His wife and daughter leave him. His trusty yet noisy dog has to take the full force of his temper tantrums. Fernando Guzzoni makes his debut filming Alejandro very close up. His paranoia is almost tangible, the mood bordering on claustrophobia. Despite being oppressive, Dog Flesh is not moralistic. With a star role for Alejandro Goic, who was himself tortured by Pinochet’s bullies.

Mirte is a cleaner in the reception centre for asylum seekers near Schiphol Airport. Those entering the Netherlands as refugees stay ten days at most in this bunk-bedded vestibule to the promised land – a place and period that seems to stand outside of ordinary life. This no-man’s-land suits Mirte. She is a woman damaged by life, snappy and defensive, who seeks a hold in the routine of the mop, even keeping her little boy at a distance. But when the West African Luc turns up, she has to lower her shield. Luc scratches her open emotionally. A cautious love blossoms, after which the farewell is even more painful. The New World describes these grand emotions with expressive detail. The dialogue is sparse, the grey setting illustrative of a life on the fringe of society. The beautifully-maintained surly nature displayed by Bianca Krijgsman as Mirte ensures that this love-tragedy-in-ten-days does not get too sweet.

Dog Flesh Fernando Guzzoni

Chile/France/Germany, 2012 | colour, DCP, 81 min, Spanish Prod: Adrián Solar, Jacques Bidou, Gunter Hanfgarn | Prod Comp: Ceneca Producciones, JBA Production, Hanfgarn & Ufer Filmproduktion GbR | Sc: Fernando Guzzoni | Cam: Bárbara Alvarez | Ed: Javier Estévez | Prod Des: Bernardita Baeza | Sound Des: Carlo Sánchez | With: Alejandro Goic, Amparo Noguera, Maria Gracia Omegna, Alfredo Castro | Print/Sales: FiGa Films Public SCREENINGS  Sat 26-1 16:30 CI6 Sun 27-1 09:15 PA6 Tue 29-1 21:45 LV1 Thu 31-1 14:00 CI6

The New World Jaap van Heusden


Netherlands, 2013 | colour, DCP, 85 min, Dutch Prod: Marc Bary | Prod Comp: IJswater Films, NTR | Sc: Jaap van Heusden, Rogier de Blok | Cam: Jan Moeskops | Ed: Jasper Quispel | Prod Des: Jorien Sont | Sound Des: Marco Vermaas | Music: Minco Eggersman | With: Bianca Krijgsman, Issaka Sawadogo, Teun Stokkel, Janni Goslinga, Ali Ben Horsting, Tjebbo Gerritsma, Tarikh Janssen, Saskia Temmink | Print/Sales: IJswater Films  Public SCREENINGS  Wed 30-1 19:00 PA7 Thu 31-1 10:00 PA5 Fri 1-2 16:00 PA4 Sat 2-2 09:30 LUX Press & Industry SCREENINGS  Tue 29-1 14:00 PA5 Wed 30-1 09:15 CI6

The Love Songs of Tiedan

De ontmaagding van Eva van End

The Deflowering of Eva van End Michiel ten Horn

Hao Jie

China, 2012 | colour, video, 89 min, Mandarin Prod: Sun Kui | Prod Comp: Beijing YuanQi Cultural Development Co.,LTD | Sc: Hao Jie, Ge Xia | Cam: Du Pu | Ed: Baek Seung-Hoon | Prod Des: Li Cunwang | Sound Des: Pan Xiaolong, Zhang Wenbo | Music: Xiao He | With: Feng Si, Ye Lan, Feng Yun, Li Yuqin, Hao Guoying, Du Huanrong, Ge Xia | Print/Sales: Beijing Yuan Qi Cultural Development Co.,LTD Public SCREENINGS  Fri 25-1 10:00 PA4 Tue 29-1 19:00 PA3 Thu 31-1 13:00 PA4 Sat 2-2 17:00 CI1 Press & Industry SCREENING  Thu 24-1 19:45 CI5


Oh, the woman next door is so beautiful! 10-year-old Tiedan falls head-over-heels in love when his father forms a singing duo with ‘sister Mei from next door’. The pair achieve fame as performers of er-ren-rai, a form of mini-opera consisting of ‘oh-la-la’ texts and very popular in northwestern China. But Tiedan’s hot-tempered neighbour is not impressed, and drags his wife back home. Shortly afterwards, the Red Guards temporarily put an end to this form of entertainment in the name of the Cultural Revolution. When he’s grown up, Tiedan becomes an er-ren-rai singer of exceptional talent. And falls head-over-heels in love with all three daughters of the woman next door – one after the other. Love Songs of Tiedan is a musical comedy in a partly historical setting, with an ethnographic slant, a pinch of romance and a drop of tragedy. A film that is as wayward as it is engaging. And with an exceptional triple role for Ye Lan, who not only plays the woman next door, but also her eldest and youngest daughters.



Netherlands, 2012 | colour, DCP, 98 min, Dutch Prod: Iris Otten, Sander van Meurs, Pieter Kuijpers | Prod Comp: Pupkin Film BV | Sc: Anne Barnhoorn | Cam: Jasper Wolf | Ed: Sander Vos | Prod Des: Rikke Jelier | Sound Des: Michaël Sauvage | Music: Djurre de Haan | With: Vivian Dierickx, Abe Dijkman, Tomer Pawlicki, Jacqueline Blom, Ton Kas, Rafael Gareisen | Sales: m-appeal | Distr NL: Benelux Film Distributors | www. Public SCREENINGS  Tue 29-1 19:30  LUX Wed 30-1 20:30 PA1 Fri 1-2 11:45 CI3 Sat 2-2 13:00 CI4 Press & Industry SCREENING  Sun 27-1 13:00 DJZ

The very normal life of the Van End family swiftly changes thanks to the arrival of a German exchange student, who seems the perfect guy in every respect. From that day on, all members of the family get caught off balance: how could they ever have lived with all their imperfections? Mother Etty is stressed out, father Evert is a sweet guy but a weakling who can’t cope with his wife, while their three children – two teenagers and a young adult – suddenly see how far they have become removed from their ideals. They have only two weeks to reinvent themselves and their relationships. With all that this entails. This tragicomic debut is semiautobiographical – although very exaggerated. In its setting, soundtrack and absurdism, the story of the power and imperfections of family bonds is reminiscent of the films of Wes Anderson, but also of the equally crazy yet pitch-black works of Todd Solondz.



Bright Future

Bright Future

Jam mot deuneun bam

My Sister’s Quinceañera

Sleepless Night Jang Kun-Jae

South Korea, 2012 | colour, video, 65 min, Korean Prod: Kim Woori | Prod Comp: Mocushura | Sc: Jang Kun-Jae | Cam: Kim Byung-Soo | Ed: Jang Kun-Jae, Lee Yeon-Jung | Sound Des: Jang Kun-Jae | Music: Kim Dong-Wook | With: Kim Soo-Hyun, Kim Joo-Ryoung | Print: Mocushura | Sales: RAMONDAParis Public SCREENINGS  Wed 30-1 13:452 LV1 Thu 31-1 10:152 PA3 Fri 1-2 19:002 PA4


Denmark, 2012 | colour, DCP, 97 min, Danish Prod: Andreas Johnsen, Kirstine Barfod | Prod Comp: KILLIT FILMS, Rosforth | Sc: Andreas Johnsen | Cam: Andreas Johnsen, Jamel Sundoo, Theis Mortensen | Ed: Rasmus Stensgaard Madsen | Sound Des: Rasmus Winther Jensen | Music: Cheff Records | Print/Sales: Rosforth Public SCREENINGS  Mon 28-1 16:30 LUX Tue 29-1 22:15 CI1 Thu 31-1 21:45 PA5 Fri 1-2 11:30 CI4 Press & Industry SCREENING Mon 28-1 09:30 CI5


Just as new feelings can drift to the surface during a stroll on hot summer night, intangible issues gradually take shape in this intimate study. Hyun-Soo and Joo-Hee have been happily married for two years, but in their innocent conversations on the sofa and in bed or in discussions with friends there are signs of discomfort. Minor irritations about unpaid overtime and of course the question of whether to have a child or not. Although the film is fairly minimalist dramatically, we can feel that a lot is at stake. The physical contact between Hyun-Soo and Joo-Hee is still tender, but a lot remains unanswered. Apart from in dreams. Then a stolen bicycle provides unexpected insights. In this film, made after his widely praised debut Eighteen (2009), Jang Kun-Jae incorporates his own personal experiences and those of his actors. Sleepless Night won the audience award at the Jeonju Festival in South Korea.

Aaron Douglas Johnston


USA/Netherlands, 2013 | colour, DCP, 72 min, English Prod: Aaron Douglas Johnston | Prod Comp: Double Life Productions | Sc: Aaron Douglas Johnston | Cam: Hayo van Gemert | Ed: Xander Nijsten | Prod Des: Sanne Himmelreich, Rianne Ebeling | Sound Des: Luuk Hoogstraten | Music: Juho Nurmela, Alekos Vuskovic | With: Silas Garcia, Samantha Garcia, Becky Garcia, Elizabeth Agapito, Tanner McCulley, Nicole Streat, Josefina Garcia | Print/ Sales: Aaron Douglas Johnston Public SCREENINGS  Mon 28-1 18:15 PA6 Tue 29-1 10:00 PA6 Thu 31-1 16:30 CI4 Sat 2-2 22:30 CI2 Press & Industry SCREENING  Mon 28-1 09:00 CI3

In a small industrial town in Iowa, Mexican-American Silas lives with his little sisters and brothers and mother. The father is absent. It is summer and boredom takes over. Silas wants to go to the big city, but he doesn’t have any fixed plans – he only knows he wants to leave. Even though he’s just embarked on a new romance. The family prepares for the festive celebration of the 15th birthday of Silas’ sister. The quinceañera is an important event, marking the moment when a girl becomes a woman. A beautiful dress is bought and a limousine is hired. Aaron Douglas Johnston has adopted more or less the same approach as in his debut Bumblefuck, USA: he doesn’t work with professional actors, but with people from the local community who seem to play themselves, more or less. This makes for a naturally acted, subdued feature with enchanting characters that we increasingly start to care about.

Kidd Life


Andreas Johnsen

Kamal Karamattathil Muhammed

You only become famous once. Filmmaker Andreas Johnsen is there when Nicholas Westwood Kidd and his friends post their rap number on YouTube and rapidly become a hype in Denmark. Johnsen’s camera follows Kidd and his mates throughout a really extreme year, in which they produce, write and arrange everything themselves. They are transformed almost overnight from untrained, hard-up chaps into hugely popular stars. Johnsen records how Kidd is surprised but very happy about the hoards of teenage girls, the attention from the cultural elite and uncritical acceptance from the outside world. However, he also shows how, after a few months, Kidd is confronted by the other side of the coin: he drinks and parties too hard, and has unresolved issues to deal with. What’s more, Kidd shocks his friends and enemies alike with thoughtless comments. What are the consequences of consistently giving the world the finger? Johnsen always manages to film the crucial moments with his handheld camera: the highs, but also the very deep lows.

In this intriguing Indian merge between fiction and documentary, a cell phone serves as the catalyst through which events and encounters are reflected. Charu, a beautiful young migrant, shares an apartment with another migrant girl. Both are seeking a career in dynamic Mumbai. They are caught up in a chain of unpredictable events when a labourer painting their apartment suddenly collapses. As he has no identification on him, Charu faces a dilemma. Acting instinctively, she engages doctors, pays his medical bills and traces his identity. Led by his only possession, a cell phone, Charu’s investigation unveils lesser-known urban spaces and lifestyles that rarely get attention. Uncomfortable encounters mirror Charu’s own position as a migrant, but also address relevant issues: how do we define identity or connect with each other; what is left in us that we call a ‘humane’ attitude?


India, 2012 | colour, DCP, 87 min, Hindi/English Prod: Kamal Karamattathil Muhammed | Prod Comp: Collective Phase One | Sc: Kamal Karamattathil Muhammed | Cam: Madhu Neelakandan | Ed: B. Ajithkumar | Prod Des: Sunil Babu | Sound Des: Resul Pookutty, Arunav Dutta | Music: John P. Varkey, Sunil Kumar | With: Geetanjali Thapa, Murari Kumar, Ruksana Tabassum, Shinjini Raval, Shashi Sharma, Alok Chaturvedi , Bachan Pachera | Print/Sales: Collective Phase One | Public SCREENINGS  Tue 29-1 19:45 CI1 Wed 30-1 17:30 LV3 Thu 31-1 16:45 SGZ Fri 1-2 19:15 CI6 Press & Industry SCREENING  Mon 28-1 21:45 CI6



Bright Future


Iran/France, 2012 | colour, DCP, 84 min, Farsi Prod: Bani Khoshnoudi, Christie Molia | Prod Comp: Pensee Sauvage Films, Moteur s’il vous plait (MSVP) | Sc: Bani Khoshnoudi, Nafisseh Zakeri | Cam: Shahriar Assadi | Ed: Miguel Schverdfinger | Sound Des: ClaireAnne Largeron | Music: Andy Moor, Yannis Kyriakides | With: Neda Razavipour, Morteza Sokhangou, Mohammad Ali Zolfaghari, Zahra Sadeghi | Print/Sales: Pensee Sauvage Films | Public SCREENINGS  Sun 27-1 18:15 PA6 Mon 28-1 11:452 CI1 Fri 1-2 17:002 LV5 Sat 2-2 16:30 CI6 Press & Industry SCREENING  Sun 27-1 09:30 LV5

Bright Future


On Mother’s Head

Bani Khoshnoudi

Putu Kusuma Widjaja

Ziba is an upper-class housewife from Teheran who apparently has her life in order. Yet every day she is exhausted and feels paralysed in her daily routine. She can’t make it clear to anyone what exactly is wrong with her. When the silent Ziba and her irritated husband make a stopover on their way to the sea, they lose each other. Ziba literally gets stuck in a recently completed building owned by her husband. She kills time listening to a father and his rebellious daughter, who confides some very personal things to her, unasked. Director Bani Khoshnoudi does not so much make a portrait of Ziba, but shows through her character the suffocation experienced every day by many Iranians. Ziba is more a metaphor for the general state of oppression, alienation and imposed silence in today’s Iran, which is also referred to in the fragments of propaganda on TV and radio. Ziba results from the Cinéfondation Writing Residency at the Cannes Film Festival. Also see Scaffold in Signals: Inside Iran.

One day, grandmother Sari finds a young pig in a banana field. It’s a boar. Most villagers prefer sweeter and more obedient sows. When no one claims him, she takes him home, after which he grows up to be the most famous stud in the region. Because Grandma is getting on in years, daughter Ketut Norsy has taken on the responsibility of visiting the farmers with the pig. She also works in the building industry, carrying heavy baskets of bricks on her head. But with an unemployed husband and five children to feed, Ketut Norsy ends up having to borrow money. An unvarnished depiction of how harsh country life is on Bali. This documentary does not show the white beaches from the tourist brochures, but the troubles and drudgery that usually remain hidden from outsiders. For these three central characters – besides Grandma and daughter, there’s also granddaughter Ketut Fitry – life is primarily a question of survival.


Indonesia, 2013 | colour, DCP, 94 min, Indonesian Prod: Putu Kusuma Widjaja | Prod Comp: Sang Karsa Production | Sc: Putu Kusuma Widjaja | Cam: Putu Kusuma Widjaja | Ed: Putu Kusuma Widjaja | Prod Des: Putu Kusuma Widjaja, Eti Suryani Made | Sound Des: Made Pirsawan | With: With: Ketut Norsy, Me Sari, Ketut Ardika, Gede Setiawan, Ketut Fitry, Komang Roy | Sales: Sang Karsa Production | Distr NL: Hubert Bals Fund Public SCREENINGS  Fri 25-1 21:15 PA6 Sun 27-1 14:00 CI2 Mon 28-1 16:30 CI4 Sat 2-2 09:15 PA6 Press & Industry SCREENING  Fri 25-1 14:00 CI5

Ilgugugu, myeon hue

Our Nixon

Sunshine Boys Kim Tae-Gon


South Korea, 2012 | colour, DCP, 85 min, Korean Prod: Jeon Go-Woon | Prod Comp: Kwang Hwa Moon Cinema | Sc: Kim Tae-Gon  | Cam: Moon Sang-Won | Ed: Go Bong-Gon | Prod Des: Woo Moon-Gi | Sound Des: Go A-Young | Music: Kim Dae-Joong, Kim Hae-Won | With: Sim Hee-Sub, Kim ChangHwan, An Jae-Hong, Kim Kkobbi | Print/Sales: Indiestory Inc. Public SCREENINGS  Thu 31-1 16:15 PA1 Fri 1-2 12:45 PA7 Sat 2-2 14:00 LV1 Press & Industry SCREENING  Wed 30-1 12:15 CI3


The three best friends Sang-Won, Seung-Jun and Min-Wook all headed in different directions after secondary school. One is a student, the other is not completely ready for university and the third is in the army. One year after the graduation ceremony, Sang-Won and Seung-Jun set off to look for soldier Min-Wook. They have a Dear John letter for MinWook from his girlfriend. In the snowy village by the military barracks, they relive their friendship with the aid of lots of drink, snowballs and two prostitutes. The three boys, in many regards still novices, lose money, a camera and part of their innocence. Kim Tae-Gon finds a subtle balance between melancholy and humour in this Korean coming-of-age drama with a laugh (when all kinds of things go wrong for the clumsy kids) and a tear (when one of them is disillusioned about one more thing).


Penny Lane


USA, 2013 | colour/b&w, video, 85 min, English Prod: Penny Lane, Brian Frye | Prod Comp: Dipper Films | Ed: Francisco Bello | Sound Des: Tom Paul | Music: Hrishikesh Hirway | Print/Sales: Autlook Filmsales GmbH | Public SCREENINGS  Sun 27-1 19:45 CI1 Tue 29-1 19:15 LV1 Thu 31-1 11:45 CI1 Press & Industry SCREENING  Sat 26-1 16:00 CI5

Through an aquaintance, filmmaker Penny Lane came across a real treasure hidden away in an American archive: hours of amateur footage of Richard Nixon during his presidency, shot by three of his closest staff. Chief of Staff H.R. Haldeman, advisor John Ehrlichman and assistant Dwight Chapin were all enthusiastic amateur filmmakers, and recorded their work in the White House and much further afield for posterity on Super-8 film, even including a historic visit to Communist China (Nixon was the first US president to go there). Lane was able to have the film digitised thanks to a campaign on the Kickstarter crowd-funding platform, and plans to make the entire archive available online. Although it also includes unique personal footage (such as the wedding of Nixon’s daughter), Lane’s film mainly follows the political story: from Nixon’s inauguration in 1969 to his resignation in 1974 after the Watergate scandal – as a result of which all three amateur filmmakers were convicted.



Bright Future

Bright Future



Molasses Carlos Lechuga


Cuba/France/Panama, 2012 | colour, DCP, 80 min, Spanish Prod: Claudia Calvino, Samuel Chauvin | Prod Comp: Producciones de la 5ta Avenida, Promenades Films | Sc: Carlos Lechuga | Cam: Ernesto Calzado, Luis Franco | Ed: Luis Ernesto Doñas | Sound Des: Ruben Valdes | Music: Jesus Cruz | With: Yuliet Cruz, Armando Miguel Gomez, Lucho Gotti, Ana Gloria Buduen, Yaite Ruiz | Print/Sales: Latinofusion Public SCREENINGS  Tue 29-1 16:45 LV1 Wed 30-1 12:00 LV2 Thu 31-1 09:30 PA2 Fri 1-2 19:45 CI5 Press & Industry SCREENING  Mon 28-1 11:30 CI4

In the Cuban village of Melaza, named after the once flourishing sugarcane fields, time stands still. Even when all kinds of things happen, nothing ever changes. The State pretends to take care of everything, but it shuts the rum factory and makes swimming lessons impossible. There’s no use complaining, think the inhabitants, that’s just how it is. Melaza is the heartwarming love story of Aldo and Monica, a photogenic couple who live in a much too small cottage with their fat daughter and grumpy grandma. They try very hard to earn some extra money. Their attempts finally get the couple into deeper and deeper trouble. But together, the lovers manage to pull through it. New talent Carlos Lechuga tells his critical story with humour and sparse dialogue, taking us on a journey to the beauties of rural Cuba. Far from the hotels and from Havana, but with a reality familiar to everyone who has ever been to Cuba – or faced a shortage of cash.

Jazmín López

Argentina/France/ Netherlands, 2012 | colour, DCP, 80 min, Spanish Prod: Benjamín Domenech, Santiago Gallelli | Prod Comp: Rei Cine SRL | Sc: Jazmín López | Cam: Matías Mesa | Ed: Benjamin Domenech, Jazmín López | Prod Des: Barbi Arcuschin | Sound Des: Julia Huberman | With: Julia Volpato, Pablo Sigal, Macarena del Corro, Diego Vegezzi, Tomás Mackinlay | Print/Sales: Premium Films  Public SCREENINGS  Tue 29-1 19:15 CI4 Wed 30-1 21:45 CI6 Thu 31-1 15:45 PA5 Fri 1-2 16:30 CI4

Tang huang you di fu

To agori troi to fagito tou pouliou

Emperor Visits the Hell Li Luo


China/Canada, 2012 | b&w, video, 70 min, Mandarin Prod: Li Luo, Yang Cheng | Prod Comp: Cloudy Pixel, Heaven Pictures | Sc: Li Luo | Cam: Ren Jie | Ed: Li Juo | Prod Des: Po Lang | Sound Des: Zi Jie | With: Li Wen, Wu Wei, Li Juchuan, Yang Xiao, Li Hao | Print/Sales: Cloudy Pixel Public SCREENINGS  Mon 28-1 17:002 CI3 Tue 29-1 17:002 LV2 Thu 31-1 19:452 CI3 1-2 22:302 CI5 Fri Press & Industry SCREENING  Sun 27-1 11:15 DJZ


Good stories are timeless and easily allow themselves to be told centuries later. This also applies for the novel Journey to the West, written during the Ming Dynasty (16th century). For Emperor Visits the Hell, Li Luo transplanted three chapters to modern China. The protagonists are now bureaucrats, party bosses and gangsters. In this modern adaptation, Emperor Li Shimin is a leader with a mysterious government post. When the criminal Dragon King tries to manipulate the weather for a wager and calls down on him the wrath of the heavenly messenger, he intervenes. But he finds himself between the devil and the deep blue sea and is fatally wounded. On his deathbed, he is plagued by the ghost of the Dragon King, a curse that can only be undone by paying a price to the underworld. This low-budget political satire was a great hit at the Vancouver International Film Festival, where the film won the Dragons and Tigers Award for Young Cinema.


A young woman walks along a winding path through a dark forest. The camera follows her very closely. On the soundtrack, the cheerful chirping of birds competes with the rustling of the wind through the treetops. ‘Sofi!?’ the girl calls when four shadows loom in the distance. ‘Isa?!’ is the answer. ‘Where are you?’ The five of them walk on through the forest, searching and feeling their way. The young people kiss, squabble and try to frighten each other (‘I see dead people!’). One boy has recording equipment, another has a gun. On the way, their mutual relationships become clearer. And we find out exactly where the journey is leading them. The existentialist, visually stunning and auditively overwhelming Leones is the feature debut by the Argentine Jazmín López. She developed the meticulous script partly at the Binger Institute. Supported by the Hubert Bals Fund and co-produced by the Dutch company Lemming Film.

Boy Eating the Bird’s Food Ektoras Lygizos

Greece, 2012 | colour, DCP, 80 min, Greek Prod: Yorgos Karnavas | Prod Comp: Stefi Productions | Sc: Ektoras Lygizos | Cam: Dimitris Kassimatis | Ed: Gregory Rentis | Prod Des: Klio Boboti, Yorgos Liokalos | Sound Des: Dimitris Kanelopoulos | With: Yannis Papadopoulos, Lila Baklesi, Kleopatra Peraki, Vangelis Kommatas, Charalambos Goyios | Print/Sales: Premium Films Public SCREENINGS  Sun 27-1 18:002 CI4 Tue 29-1 09:302 PA7 1-2 22:152 LV1 Fri 2-2 12:30 LV3 Sat

The draconian austerity measures recently imposed in Greece as the country teeters on the verge of national insolvency give Boy Eating the Bird’s Food an exceptional relevance. Nevertheless, this update of Knut Hamsun’s novel Hunger (1890) is more existential drama than political statement – even with a countertenor (the current euphemism for eunuch) in the lead role and hunger as its omnipresent theme. Alienated from his friends and family, Yorgos lives in a bare flat in Athens. He scours litter bins, steals the odd crumb from his neighbours and eats the seeds intended for his only companion, a canary that sings its heart out regardless. His only contact with the outside world is his stalking of an attractive hotel receptionist. When he is evicted from his flat, he is left with nothing at all. Boy Eating the Bird’s Food is raw, realistic and oppressive in tone, unlike the stylised absurdism of recent Greek Weird Wave cinema. This debut, reminiscent of Dostoyevsky and Camus, is already a proven festival hit.



Bright Future

Bright Future


Saudi Arabia/Germany, 2012 | colour, DCP, 100 min, Arabic Prod: Gerhard Meixner, Roman Paul | Prod Comp: Razor Film Produktion GmbH | Sc: Haifaa Al Mansour | Cam: Lutz Reitemeier | Ed: Andreas Wodraschke | Prod Des: Thomas Molt | Sound Des: Sebastian Schmidt | Music: Max Richter | With: Waad Mohammed, Reem Abdullah, Abdullrahman Al Gohani, Ahd, Sultan Al Assaf | Sales: The Match Factory GmbH | Distr NL: Wild Bunch Benelux Public SCREENINGS  Sat 26-1 19:15 SGZ Sun 27-1 09:30 CI2 Tue 29-1 14:15 SGZ Fri 1-2 16:00 PA3


Haifaa Al Mansour

Call Girl Mikael Marcimain

Wadjda (10) lives with her parents in a suburb of Riyadh, the capital of Saudi Arabia. Despite her conservative surroundings, Wadjda is a playful child who regularly takes things to the limit. When the girl wants a beautiful green bicycle, her mother is opposed to it: what would people around them think? Cycling is not a suitable pastime for a girl. Wadjda doesn’t care and decides to save the money herself. Her mother, who is distracted by her husband’s desire to take a second wife, hardly realises what plans – often very unsuitable – her daughter thinks up to earn money. Haifaa Al Mansour, regarded as the first female filmmaker from Saudi Arabia, tells an intimate story about a girl with big dreams. Wadjda stands for many girls and women from Saudi Arabia. The drama offers a glimpse of a society that is otherwise closed, with universal and familiar themes such as hope, courage and perseverance.

Stockholm, 1976. While politicians talk about liberalising the laws on incest and paedophilia, 14-year-old Iris finds herself in a reception centre. There she meets a girl who works for a ‘madam’ with clients in the highest circles. Iris is soon a popular call girl herself. The feature debut by Mikael Marcimain is based on a true scandal (in which Prime Minister Olof Palme also played a role) that was brushed under the carpet for a long time by Swedish authorities. But the film is about more than political intrigue; it also makes the hypocrisy of the free and easy 1970s painfully clear. It’s fairly obvious that Marcimain was directing assistant on Tomas Alfredson’s Tinker Tailor Soldier Spy. The films share a cool tension and an incredible eye for detail. Cameraman Hoyte van Hoytema – who also shot Alfredson’s films – captured the atmosphere reminiscent of paranoia thrillers like All the President’s Men.

Sweden/Ireland/Norway/ Finland, 2012 | colour, DCP, 140 min, Swedish/English Prod: Mimmi Spång | Prod Comp: Garagefilm International AB | Sc: Marietta von Hausswolff von Baumgarten | Cam: Hoyte van Hoytema | Ed: Kristofer Nordin | Prod Des: Lina Nordqvist, Michael Higgins | Sound Des: Petter Fladeby, Per Nyström | Music: Mattias Bärjed | With: Pernilla August, Sofia Karemyr, Simon J. Berger, Sven Nordin, David Dencik, Ruth Vega Fernandez, Josefin Asplund, Magnus Krepper, Kristoffer Joner | Sales: TrustNordisk | Distr NL: Lumière Public SCREENINGS  Fri 25-1 13:00 LUX Sat 26-1 21:30 PA2 Wed 30-1 15:30 PA2 Fri 1-2 19:15 LV1

F*ck for Forest

Hassel – Privatspanarna Roland Hassel Måns Månsson


Sweden, 2012 | colour, 35mm, 1:1.85, 74 min, Swedish Prod: Charlotte Most | Prod Comp: Anagram Produktion AB | Sc: Måns Månsson | Cam: Måns Månsson | Ed: George Cragg | Prod Des: Jovanna Remaeus Jönson | Sound Des: Patrik Strömdahl | Music: Anders Neglin, Louis Hackett | With: Lars-Erik Berenett, Mats Stoltz, Nils-Anders Ekberg, Anders Khemi, Claes-Håkan Carlsson, Sune Persson, Micke Frisell | Print/ Sales: Anagram Produktion AB | Public SCREENINGS  Thu 24-1 15:30 PA2 Sat 26-1 13:302 PA3 Wed 30-1 20:152 LV3 Sat 2-2 22:302 LV3

Swedish prime minister Olaf Palme was assassinated in 1986. The detective series Hassel – a precursor to Wallander and the Millenium trilogy – began the same year. In his feature debut, Måns Månsson interweaves these historic events to create an inventive mix of fiction and documentary. Retired detective Roland Hassel reemerges for one last job: to solve the murder of Olaf Palme. Hassel rounds up his (not all equally competent) assistants to re-examine every tiny detail and re-play all the cards. The investigation turns into an exciting hunt that exudes the tacky atmosphere of the 1980s. The film looks like a faded VHS tape, with LarsErik Berenett, the original TV Hassel, shining in the lead role. Månsson reopens a wound in the Swedish psyche with a reflective film that is both funny and serious. Putting Hassel on the Palme case is like calling in Columbo to investigate the murder of JFK.

Press & Industry SCREENINGS  Fri 25-1 19:15 DWBZ Wed 30-1 12:45 DWBZ



Michal Marczak


Poland, 2012 | colour, DCP, 85 min, English/German/ Spanish/Norwegian Prod: Mikolaj Pokromski | Prod Comp: Pokromski Studio Warsaw | Sc: Michal Marczak, Lukasz Grudzinski | Cam: Michal Marczak | Ed: Dorota Wardeszkiewicz | Music: Marcin Masecki | Print/Sales: Dogwoof Public SCREENINGS  Thu 24-1 21:45 PA3 Fri 25-1 12:30 PA2 Sat 26-1 14:00 CI4 Fri 1-2 19:30 LV2 Press & Industry SCREENING  Fri 25-1 09:15 LV6

Danny, a roaming twenty-something from Norway, moves in with neohippies in Berlin. His new housemates form a group that campaigns on behalf of nature through ‘ecoporn’. Surrounded by old-school clouds of incense and guitar music, they film their sexual exploits and then publish the films on their activist website. Visitors to the site pay to watch the films and the group uses the money to save rainforests. For this documentary, Marczak follows these extremely serious ‘erotic activists’ in Berlin and on their trips to Colombia and Peru, from which the well-intentioned hippies return rather disillusioned. The protagonists are introduced in a dryly comic voice-over that subtly confirms all the stereotypes. As do the protagonists themselves, who make coffee topless, incessantly smoke joints and say such things as: ‘I really like your energy level.’ Free love meets altruism meets twenty-first-century campaigning.



Bright Future

Bright Future

Qiong Ren, Liu Lian, Ma Yao, Tou Du Ke


Midi Z is one of the most promising talents in Asian cinema. A year ago, he presented Return to Burma, a tragicomic film about a povertystricken country where everything revolves around money. Poor Folk embroiders forth on this theme. The sister of protagonist A-Hong falls into the hands of human traffickers. He travels to Bangkok and starts life as a hustler. With other illegal Burmese, he rips off Chinese tourists and sells raw materials for amphetamines to heavily-armed gangsters. Once he earns enough money to buy his sister free, the trail leading to the traffickers has gone cold. Then he comes into contact with San Mei, a prostitute who mediates for the crooks in exchange for a promised residence permit. Poor Folk has all the ingredients for a crime film, but is primarily about uprooting and alienation. In the lengthy wide-angle shots, sadness and unexpected humour always simmer under the surface.

Lyrical, multiform essay about one of the most fascinating natural phenomena: lightning. In four chapters linked to the four seasons, the documentary maker looks for the meaning and influence of lightning. In chapter one, Autumn, lightningchaser Baal talks about his passion, and five victims describe their experiences, which are not purely negative. In Winter, we look at the healing effects of electricity with a psychiatrist who uses electric shocks. Spring stands for myths, articulated by an archaeologist and seer working in Syria; he talks for instance about the magical effects of the Kama truffle, which can be found once a year thanks to lightning. In Summer, love that strikes like lightning is portrayed in a poetic costume drama about two lovers on an island. Contemplative voiceovers and impressive images of inaccessible nature link the four parts; a tour de force which took over ten years to complete.

Lightning Manuela Morgaine

Poor Folk Midi Z


Taiwan/Myanmar, 2012 | colour, DCP, 105 min, Mandarin/Thai Prod: Midi Z, Patrick Mao Huang | Prod Comp: Seashore Image Productions, Flash Forward Entertainment | Sc: Midi Z | Cam: Midi Z | Ed: Midi Z, Lin Sheng-wen | Sound Des: Chou Chen | Music: Sonic Deadhorse | With: Wang Shin-hong, Wu Ke-xi, Zhao De-fu, Zheng Meng-lan | Sales: Flash Forward Entertainment | Distr NL: Hubert Bals Fund Public SCREENINGS  Tue 29-1 18:15 PA6 Wed 30-1 14:30 LV2 Thu 31-1 16:30 CI6 Fri 1-2 12:00 CI2 Press & Industry SCREENING  Mon 28-1 13:45 CI5


France, 2013 | colour, DCP, 230 min, French Prod: Mathieu Bompoint | Prod Comp: Mezzanine Films | Sc: Manuela Morgaine | Cam: Manuela Morgaine, Pauline Lormant, Giovanni Laniado, Hervé Labourdette | Ed: Gordana Othnin-Girard, Pauline Lormant | Music: Philippe Langlois, Emmanuel Hosseyn During | Print/Sales: Mezzanine Films | Public SCREENINGS  Thu 24-1 19:15 CI6 Fri 25-1 11:30 CI6 Mon 28-1 09:45 CI7

Bassa marea


Low Tide Roberto Minervini

USA/Italy/Belgium, 2012 | colour, DCP, 92 min, Italian Prod: Roberto Minervini, Denise Lee, Luigina Smerilli, João Leite | Prod Comp: Pulpa, Ondarossa Film, Poliana Productios | Sc: Roberto Minervini | Cam: Diego Romero | Ed: MarieHélène Dozo | Prod Des: Roberto Minervini | Sound Des: Julian McKenna | With: Daniel Blanchard, Melissa McKinney, Vernon Wilbanks | Print/Sales: Doc & Film International Public SCREENINGS  Sat 26-1 14:00 CI6 Sun 27-1 09:30 PA7 Thu 31-1 21:45 SGZ Fri 1-2 13:45 CI6

Low Tide is the documentary-like story of a 12-year-old boy who lives in a trailer with his mother who uses drugs and alcohol. He cares for and helps his mother in a loving and matter-of-fact way, despite her total lack of attention for him. The days pass in boredom – his mother is at her job in a nursing home or in the bar and his only friends are the animals he finds in and around the trailer. Nature gives him answers to the questions of life, but as the film progresses it becomes clear that there are major differences between human and animal society. Roberto Minervini shot his film with non-professional actors – including the angelic Daniel Blanchard as the nameless boy. Just like the raw camera work, the natural lighting and the basic soundtrack, this contributes significantly to the credibility and intimacy of this subdued drama.

Maryam Najafi


Lebanon/Canada, 2012 | colour, video, 86 min, Arabic/English/Farsi Prod: Amir Naderi | Prod Comp: Mehr Studio | Sc: Maryam Najafi | Cam: Farhad Saba | Ed: Maryam Najafi, Ramin San | Prod Des: Nima Nafei | Sound Des: Ivan Ignjatovic | Music: Pirouz Ebadypour, Sadaf Amini | With: Oula Hamadeh, Seira Emami, Kayan Bennett, Kiara Bennett, Mohammed Saadi, Maryam Ghaeni | Print/Sales: m-appeal | Public SCREENINGS  Mon 28-1 16:45 LV1 Wed 30-1 22:00 PA4 Thu 31-1 17:30 CI3 Fri 1-2 22:15 CI1

The Iranian-born Maryam Najafi, now living in Canada, was obliged to live in many different countries. She takes her inspiration from the places where she has been and the people whom she has met. With a cast of non-professional actors, the lively Kayan shows how a Lebanese restaurant is a safe haven for immigrants from all over the world. Its owner, Hanin, is at the centre. Every day, she bravely dons her high heels to face up to all worries, with hardly any time left for her two teenage daughters, who sometimes fall asleep among the guests. Hanin yearns for a shoulder to lean on, but her boyfriend only reports in on her cell phone. While a flamenco orchestra provides a new musical atmosphere, Hanin wonders whether she should answer the advances of a recent arrival from Iran. This first full-length feature of Najafi’s shared a New Currents Award at Busan.

Press & Industry SCREENING  Sun 27-1 10:00 LV3





Bright Future

Bright Future

Miryoku no ningen

Diego Star

The Charm of Others Ninomiya Ryutaro


Japan, 2012 | colour, video, 89 min, Japanese Prod: Ninomiya Ryutaro | Sc: Ninomiya Ryutaro | Cam: Nishimura Yosuke | Ed: Ninomiya Ryutaro | Music: Pot au feu | With: Hosokawa Yoshitaka, Ninomiya Ryutaro, Ashihara Kensuke, Udagawa Daisuke, Minagawa Keisuke | Print/Sales: PIA Film Festival Public SCREENINGS  Thu 24-1 22:00 CI1 Fri 25-1 10:15 PA3 Sat 26-1 19:30 LV5 Tue 29-1 16:30 LV6 Press & Industry SCREENING  Thu 24-1 14:15 CI5


Hyper-realistic, comic drama about a group of workers in a small Japanese vending-machine factory. The young men gossip in their grubby canteen about women and each other. In order to drive out the boredom, they play soccer on the colourless industrial site. The relationships do not entirely run smoothly: ‘senior’ employee Takahashi enjoys making his colleague Yoda feel every day that he is at the bottom of the ladder. Yoda barely reacts. In the meantime, Sakata, a cheerful kid, tries in vain to make friends with the taciturn Yoda. This ensemble film shows in a dryly comic way the everyday lives of these so very normal Japanese kids, who still have one foot in childhood, but need to make choices as adults. The director himself plays the lead of the charming Sakata, who closely observes his colleagues. As he does in the role of filmmaker: his clear gaze soon reveals how it all fits together.


Canada/Belgium, 2013 | colour, DCP, 91 min, French/ English/Russian Prod: Sylvain Corbeil, Pascal Bascaron, Nancy Grant, Marion Hänsel | Prod Comp: Metafilms inc., Man’s Films Productions | Sc: Frédérick Pelletier | Cam: Philippe Roy | Ed: MarieHélène Dozo | Prod Des: Marjorie Rhéaume | Sound Des: Frédéric Cloutier | With: Issaka Sawadogo, Chloé Bourgeois, Yassine Fadel, Abdelghafour Elaaziz, Nicole-Sylvie Lagarde, Marie-Claude Guérin | Print/Sales: FiGa Films Public SCREENINGS  Fri 25-1 18:45 PA5 Sat 26-1 14:00 PA1 Mon 28-1 21:45 LV1 Fri 1-2 19:30 LUX Press & Industry SCREENING  Fri 25-1 16:00 CI5


The Russian cargo ship on which African engineer Traoré works (Issaka Sawadogo, seen last year in Nicolas Provost’s The Invader), strands off the coast of a wintry Canada. Traoré is held responsible for the engine failure. Wrongfully, claims the mechanic: the engine was far too old. While the Canadian authorities investigate what really happened, the multicultural crew of the ship is housed with the local population. Traoré finds himself with Fanny, a single mother who wants to use this opportunity to earn some money on the side. At first she keeps her distance, but soon the lanky African wins her over with his gentle character. But then Traoré is sacked. He’s out in the cold, 10,000 kilometres from home. Diego Star is a beautifully-filmed social realistic drama about a world in which workers are regarded as collateral damage. Humanity flickers within this harrowing injustice. But is that enough? Nominated for The Big Screen Award.

Die Welt

Northwest Michael Noer



Denmark, 2013 | colour, DCP, 96 min, Danish Prod: Tomas Radoor, René Ezra | Prod Comp: Nordisk Film A/S | Sc: Rasmus Heisterberg, Michael Noer | Cam: Magnus Nordenhof Jønck | Ed: Adam Nielsen | Prod Des: Thomas Greve | Sound Des: Kasper Janus Rasmussen, Rasmus Winther Jensen | With: Gustav Dyekjær Giese, Oscar Dyekjær Giese, Lene Maria Christensen, Nicholas Westwood Kidd, Roland Møller, Dulfi Al-Jaburi  | Print: Danish Film Institute | Sales: TrustNordisk Public SCREENINGS  Mon 28-1 21:00 PA5 Tue 29-1 13:15 PA1 Wed 30-1 19:30  LUX Sat 2-2 22:15 CI1 Press & Industry SCREENING  Mon 28-1 11:30 PA5


Michael Noer is fascinated by the Danish underworld. After the prison drama R (a Tiger Awards competitor in 2010), he has now made another rugged, adrenaline-fuelled crime drama in which disputes are settled by violence. 18-year-old Caspar wants to reach the top, no matter what. He carries out small-time break-ins for Jamal, before moving on to work for big player Björn. All goes well, until Jamal’s gang decide they want revenge. What starts with pushing and shoving soon escalates into armed conflict. This is a big test for Caspar: is he ruthless enough for this battle? And will he drag his younger brother into it? Noer, who wrote the screenplay himself, sets up a tense plot emphasizing the grim psychology of criminals. His background as a documentary maker shows in the style, reminiscent of socialrealism, with the camera constantly moving and the characters in merciless close-ups. Nominated for The Big Screen Award.



Netherlands, 2012 | colour, DCP, 80 min, Arabic/English/Dutch Prod: Alex Pitstra | Prod Comp: Alex Pitstra Media | Sc: Alex Pitstra, Thijs Gloger, Abdallah Rezgui | Cam: Thijs Gloger | Ed: Alex Pitstra, Thijs Gloger, René Duursma | Prod Des: Mourad Negri | Sound Des: Renger Koning | Music: Renger Koning | With: Abdelhamid Nawara, Mohsen Ben Hassen, Rahma Ben Hassen, Ilse Heus | Print/Sales: Alex Pitstra Media | Public SCREENINGS  Sat 26-1 21:00 PA7 Sun 27-1 12:15 PA6 Mon 28-1 14:15 CI1 Thu 31-1 19:15 CI4 Press & Industry SCREENINGS  Fri 25-1 17:45 DJZ Tue 29-1 13:00 CI5

A young DVD seller in Tunesia named Abdallah tries to make ends meet in a society caught in a vacuum between democracy and dictatorship. It is 2011, shortly after the Jasmine Revolution and jobs are all but non-existent. Abdallah’s friends dream of Europe and its wealth, telling success stories about acquaintances in the rich West. But Addallah’s father, who was once a ‘guest worker’ in the Netherlands, tells a different story. ‘That world’, as he calls Europe, has had its day. Nevertheless, Abdallah’s frustration with life in Tunisia grows and after meeting a Dutch tourist, he cautiously starts to dream of a future in Europe. This contemporary fiction intertwines the personal anecdotes and perspective of the half-Dutch Tunisian filmmaker with stories from members of his family. Pitstra’s hybrid, documentarylike style provides colourful, realistic images of everyday life in the region.



Bright Future

Bright Future



USA, 2013 | colour, video, 86 min, no dialogue Prod: Alex Orlovsky, Hunter Gray | Prod Comp: Artists Public Domain | Sc: Shannon Plumb | Cam: Brett Jutkiewicz | Ed: Joseph Krings | Prod Des: Katie Hickman | Sound Des: Ryan Price | Music: David Wilder | With: Shannon Plumb, Derek Cianfrance, Cody Cianfrance, Walker Cianfrance | Print/Sales: Artists Public Domain | Public SCREENINGS  Fri 25-1 22:00 PA3 Sat 26-1 17:15 LV5 Mon 28-1 19:30 CI3 Press & Industry SCREENING  Fri 25-1 09:45 LV3

Dakujem, dobre

Shannon Plumb

Fine, Thanks Mátyás Prikler

Hauling stuffed baby carriages up rotting steps, a carpet of cornflakes on the floor after breakfast and no construction workers whistling at you any more – these are familiar issues for every young mother. New York video artist and filmmaker Shannon Plumb gives us a slapstick version of the vicissitudes of mother Penelope (played by Plumb herself). Torn between professional and artistic satisfaction and activities at home that consume time and energy, Penelope tries a variety of strategies. Would a more male attitude give her more empowerment? Or is a pole-dancing course the answer in this feminist issue? Plumb uses the physical humour of film legends such as Buster Keaton and Charlie Chaplin and her very expressive face as stylistic devices. Her whole family more or less plays themselves, including Plumb’s husband Derek Cianfrance (director of Blue Valentine) as the often-absent man of the house.

A realistic drama about a company in which everyone is hit by the financial crisis. In three main stories, we follow different Slovaks who wrestle with everyday worries and issues such as alcoholism, divorce and family dramas. For instance Miroslav, the boss, has to deal with problems in his company and at home. The lonely old Béla resists his adult children’s plan to put him in a nursing home. Béla’s sacked son Atilla refuses to see the consequences of his imminent divorce. A wedding finally brings all the characters together. It becomes an evening filled with misery, but also with hope of a better future. Director Mátyás Prikler and scriptwriter Marek Lešcák made this film based on events which they saw around them. Precisely because of the authentic story, they decided to use documentary methods; they filmed without extra lighting, with simple handheld cameras and a small crew.


Slovakia, 2013 | colour, 35mm, 1:1.66, 130 min, Slovak/Hungarian Prod: Mátyás Prikler | Prod Comp: MPhilms | Sc: Marek Lešcák, Mátyás Prikler | Cam: Peter Balcar, Milan Balog | Ed: Maro lapeta, Zuzana Cséplo  | Prod Des: Erika Gadus | Sound Des: Du an Kozák | With: Attila Mokos, Miroslav Krobot, Béla Várady, Vladimír Ob il, Zuzana Mauréry, Jana Olhová, István Olasz | Print/ Sales: MPhilms | Public SCREENINGS  Thu 24-1 18:30 PA2 Sun 27-1 21:30 CI4 Mon 28-1 21:45 PA4 Thu 31-1 14:30 CI2 Press & Industry SCREENING  Mon 28-1 10:00 DWBZ

Ma belle gosse


France, 2012 | colour, DCP, 80 min, French Prod: Emmanuel Chaumet | Prod Comp: Ecce Films | Sc: Shalimar Preuss | Cam: Virginie Surdej | Ed: Gustavo Vasco | Sound Des: Olivier Touche | Music: Vincent Segal | With: Lou Aziosmanoff, Jocelyn Lagarrigue, Victor Laforge | Print/Sales: Ecce Films Public SCREENINGS  Mon 28-1 15:15 PA6 Wed 30-1 16:30 CI6 Thu 31-1 22:15 DJZ Sat 2-2 19:30 CI4 Press & Industry SCREENING  Tue 29-1 21:30 PA5


Frankenstein’s Army

My Blue Eyed Girl Shalimar Preuss

Richard Raaphorst

Seventeen-year-old Maden spends the summer in her family’s holiday home with her (half-) brothers and sisters. The days pass in lazy peace and quiet, with games, visits to the beach and secret bunkers in the dunes, lounging in the garden and the usual family quarrels born of petty squabbling. It slowly becomes clear that the maturing young woman is conducting a romantic correspondence with a much older, male inmate of a nearby prison. Initially, only her half-brother Vadim knows about this, but it is not long before everyone is aware of it. This raises tensions and acts as a catalyst for simmering irritations. The natural way this film comes across is aided by the use of a hand-held camera, filming with existing light and sound only, and the natural performances of the child actors in particular, whose ages range from five to seventeen years.

Toward the end of WWII, Russian soldiers break into the caves of a secret Nazi laboratory where insane experiments are performed in order to give Hitler total victory. Frankenstein’s Army starts as a foundfootage film with handheld fragments in various formats (filled with scratches and scorch marks) made by a Russian film student at the orders of Stalin. Gradually this WWII variation on The Blair Witch Project changes into a bloody, very filthy ‘Ten Little Niggers’ pastiche, in which one Iron-CurtainEnglish-speaking soldier after the other meets a sticky end. Richard Raaphorst worked for over ten years on his Nazi zombie project, initially under the title ‘Worst Case Scenario’. Raaphorst wrote the script with Chris W. Mitchell (Süskind) and Miguel Tejada-Flores (Beyond Re-Animator). For the cast, he managed to persuade Karel Roden (Hellboy) and Alexander Mercury (The Golden Compass), among others.



Netherlands/Czech Republic/USA, 2013 | colour, video, 86 min, English Prod: Nick Jongerius | Prod Comp: Pellicola | Sc: Chris W. Mitchell, Miguel Tejada-Flores | Cam: Bart Beekman | Ed: Jasper Verhorevoort | Prod Des: Jindrich Kocí | Sound Des: Luis Flores | With: Karel Roden, Joshua Sasse, Robert Gwilym, Alexander Mercury | Print/Sales: MPI Media Group | Public SCREENINGS  Sat 26-1 18:30 PA4 Mon 28-1 22:152 CI1 Fri 1-2 21:302 PA2 Sat 2-2 22:302 LUX Press & Industry SCREENINGS  Fri 25-1 19:45 CI5 Tue 29-1 22:30 PA2



Bright Future

Bright Future

Syngué sabour

5 Jahre

In an unnamed country – that has all the characteristics of today’s Afghanistan – a young woman cares for her older husband, who is in a coma. He was shot during the fighting. She looks after their two young daughters and protects his motionless body against advancing militias. Meanwhile, she speaks increasingly openly to her husband, who was an oppressor when he was still healthy. She sees him more and more as the ‘patience stone’ from ancient Persian legend, to which you told all your secrets and sins before it broke, and in doing so delivered you from your guilty feelings. Atiq Rahimi’s film, based on his own book (which won the prestigious French Prix Goncourt), focuses continuously on the strong young woman, played with magnetic power by Iranian actress Golshifteh Farahani. The woman’s confessions sketch an open-hearted and revealing picture of this male-dominated society.

Turkish-German Murat Kurnaz was held from 2001 to 2006 in American detention camps in Afghanistan and at Guantánamo Bay. He was 19 when, as a fresh convert to Islam, he was on a pilgrimage to Pakistan and was promptly arrested on suspicion of terrorism. 5 Years is based on true events and tells his story: how he was tortured and interrogated continuously and mercilessly at Guantánamo Bay. The film concentrates on the harsh struggle between Kurnaz and his American interrogator, Gail Holford, who tries to win his trust in order to get him to confess, while the physical and psychological torture goes on. It cost Kurnaz enormous willpower to maintain his innocence under this pressure. Stefan Schaller chooses to seldom show the violence explicitly. He lets the imagination of the viewer do the work, which makes the horror of Kurnaz’s detention even more insistent.

The Patience Stone Atiq Rahimi

Afghanistan/France, 2012 | colour, DCP, 98 min, Farsi Prod: Michael Gentile | Prod Comp: The Film, | Sc: Atiq Rahimi, Jean-Claude Carrière, based on a novel by Atiq Rahimi | Cam: Thierry Arbogast | Ed: Hervé de Luze | Prod Des: Erwin Prib | Sound Des: Noemi Hampel | Music: Max Richter | With: Golshifteh Farahani, Hamid Djavdan, Hassina Burgan, Massi Mrowat | Sales: Le Pacte | Distr NL: Cinéart Netherlands Public SCREENINGS  Thu 24-1 19:30 LV5 Mon 28-1 14:00 CI6 Fri 1-2 16:30 DJZ Sat 2-2 10:15 PA1

Mexico, 2012 | colour, DCP, 84 min, Spanish Prod: Paola Herrera, Fernando Delgado | Prod Comp: Una Comunión | Sc: Enrique Rivero, Aleka Rivero | Cam: Arnau Valls Colomer | Ed: Enrique Rivero, Javier Ruiz Caldera | Prod Des: Christopher Lagunes | Sound Des: Jose Muguel Enriquez | Music: Alejandro de Icaza | With: Margarita Saldaña, Amalia Salas, Juan Chirinos | Print/Sales: RAMONDAParis Public SCREENINGS  Fri 25-1 19:30 CI4 Sat 26-1 10:15 PA7 Tue 29-1 11:30 CI6 Wed 30-1 14:00 CI6


5 Years Stefan Schaller


Germany, 2013 | colour, DCP, 95 min, German/English Prod: Jochen Laube, Fabian Maubach | Prod Comp: teamWorx Television & Film GmbH | Sc: Stefan Schaller | Cam: Armin Franzen | Ed: Simon Blasi | Prod Des: Julian Wagner | Music: Enik | With: Sascha A. Gersak, Ben Miles | Print/Sales: Global Screen GmbH Public SCREENINGS  Fri 25-1 14:45 PA7 Sat 26-1 11:30 CI6 Thu 31-1 16:45 LUX Sat 2-2 11:15 LV1 Press & Industry SCREENING  Fri 25-1 10:45 PA6

Mai morire

Big Boy

Enrique Rivero

Shireen Seno

Following on from the thriller plot and sting in the tail of his debut Parque vía, Enrique Rivero takes a different path in Mai morire. The minimal style remains, but this time there is no rigid structure. And this perfectly suits this meditative reflection on the passing of time and (ritually) taking leave from a loved one. Chayo, a middle-aged Mexican woman, hears that her mother is dying. She returns to her native village, via the waterways of Xochimilco, and takes on the everyday chores. She does the housework, is reunited with her husband and two children and prepares for the inevitable. Using sparse interraction and sparing dialogue, Rivero proves that he is able to tell a story with few narrative means. The drama is equally revealed in the lovely wide-screen images of fields, rivers, trees and distant mountain ranges. In combination with a dreamy soundtrack, these are beautiful metaphors for Chayo’s emotions, which seem calm on the surface, but underneath are raging. Pure poetry.

Shot on Super-8, the feature debut by visual artist Shireen Seno shows authentic-looking images of a family on the Philippine island of Mindoro in the middle of the last century. The ‘big boy’ from the title is Julio, a boy who is pulled from both ends every day in order to stretch him. His growth has to provide evidence of the effect of a growth serum that his parents sell. In the aftermath of World War II, the family finds a parachute with American goods, such as cans of food. In the former US colony, the discovery leads to an obsession with the American Dream – the dream of a different and better life. Seno shows that the idea of typically close-knit family life in the Philippines is a myth. And the memories she portrays of a Filipino past are not only nostalgic, but also about the violence often hidden just below the surface.



Philippines, 2012 | colour, video, 89 min, Tagalog Prod: John Torres, Ronald Arguelles | Prod Comp: ABS-CBN Creative Programs Inc. | Sc: Shireen Seno | Cam: Gym Lumbera, Shireen Seno | Ed: Shireen Seno, John Torres | Prod Des: Niki de los Reyes Torres | Sound Des: Teresa Barrozo, Manuel Nicolas Alvero | With: Ian Lomongo, Pam Miras, John Lloyd Evangelista | Print/ Sales: ABS-CBN Creative Programs Inc. | Public SCREENINGS  Sat 26-1 20:00 CI7 Sun 27-1 09:30 PA2 Mon 28-1 19:30 LV5 Fri 1-2 14:30 LV2 Press & Industry SCREENING  Fri 25-1 12:00 CI5



Bright Future

Bright Future

Errors of the Human Body

Ixjana Józef Skolimowski, Michal Skolimowski

Eron Sheean

Germany/Australia, 2012 | colour, DCP, 101 min, English Prod: Darryn Welch | Prod Comp: Instinctive Film GmbH | Sc: Eron Sheean, Shane Danielsen | Cam: Anna Howard | Ed: Patrick Wilfert | Prod Des: Karin Betzler | Sound Des: Patrick Giraudi | Music: Anthony Pateras, Christan Meyer | With: Geoffrey Burton, Michael Eklund, Rebekka Fiedler, Karoline Herfurth, Jarek Novak, Tómas Lemarquis | Print/ Sales: MPI Media Group | www. Public SCREENINGS  Fri 25-1 21:45 PA5 Sun 27-1 22:00 CI1 Fri 1-2 22:15 LUX Sat 2-2 19:15 LV1 Press & Industry SCREENING  Fri 25-1 11:15 CI2

Eron Sheenan spent six years as an artistin-residence at the Max Planck Institute in Germany. He has written a grim suspense drama about the moral implications of genetic manipulation. Where is the boundary between science and ethics? Can a scientist allow his personal life to intrude into his work? Michael Eklund puts in a strong performance as Geoff Burton, an American geneticist doing stem cell research in Dresden. He is close to making a medical breakthrough, causing tensions with his colleagues to build. Then Burton also discovers a deadly virus – of which he is the first carrier. Burton undergoes a degenerative process that is not only physically painful but also takes an incredible psychological toll. As tumours and boils rage across his body, he is reminded of the terrifying death of his son, caused by a genetic mutation. The fine boundary it explores between science and madness, and its morbid horror atmosphere, mean Sheean’s eagerly anticipated debut can justifiably be compared to David Cronenberg’s classic The Fly.

Poland, 2012 | colour, DCP, 98 min, Polish Prod: Jacek Samojlowicz | Prod Comp: Film Media S.A | Sc: Michal Skolimowski, Józef Skolimowski  | Cam: Adam Sikora | Ed: Jaroslaw Pietraszek | Prod Des: Katarzyna Boczek | Sound Des: Bartosz Putkiewicz | Music: Józef Skolimowski  | With: Sambor Czarnota, Borys Szyc, Magdalena Boczarska, Ewa Hornich, Lukasz Simlat, Anna Derezowska, Jan Frycz | Print/Sales: Premium Films Public SCREENINGS  Fri 25-1 21:45 CI4 Sun 27-1 13:15 PA3 Fri 1-2 21:45 CI6 Sat 2-2 20:00 CI2 Press & Industry SCREENING  Wed 30-1 11:15 DJZ

Vergiss mein nicht

Ji yi wang zhe wo

Four years ago he could already see the first signs, reflects David Sieveking in his very personal documentary portrait of his mother, Gretel (73). The many notes as reminders, the Christmas gift she forgot. Now he has come back to record how Gretel and his father, Malte, a retired mathematician, face up to her advancing Alzheimer’s. In the 1960s, Gretel and Malte were active in the student movement and had an open relationship. Their bond only just survived, and is now put to the test again by other factors. David experiences how difficult it is to care for his mother, but the question of whether a nursing home would be better is painful and hard to answer. They visit old haunts and Malte wonders whether he should have been there more for her. There are sides to Gretel that he only now discovers. Forget Me Not was named best film at the Critics’ Week in Locarno.

Song Fang is the protagonist in her own soberly filmed docudrama, in which she returns from Beijing to the house of her parents in Nanjing. The film is largely set indoors, where Song shares everyday life and many memories with her parents, sister-inlaw, brother and niece. Song is always on screen as they talk about relatives living and dead, about more or less successful careers, about old friends, illnesses and accidents, funerals and weddings. A young niece, Diandian, makes disarming comments that provide a lighter note. Between the conversations – that often take place around food – and rare excursions, we catch a glimpse of changing Chinese society. It is obvious that the norms and values of the older generation are being devalued, but that some deep-rooted traditions will probably continue for a very long time. Memories Look at Me received the Best First Feature prize in Locarno.

Forget Me Not David Sieveking

Germany, 2012 | colour/b&w, DCP, 88 min, German Prod: Martin Heisler, Carl-Ludwig Rettinger | Prod Comp: Lichtblick Media GmbH, Lichtblick Film- und Fernsehproduktion GmbH | Sc: David Sieveking | Cam: Adrian Stähli | Ed: Catrin Vogt | Sound Des: Björn Wiese | Music: Jessica de Rooij | Print/ Sales: Autlook Filmsales GmbH | Public SCREENINGS  Fri 25-1 14:15 CI2 Wed 30-1 11:30 CI4 Fri 1-2 09:15 CI1 Sat 2-2 10:00 LV3 Press & Industry SCREENING  Thu 24-1 16:30 CI7


The second film by the Skolimowski brothers, the sons of filmmaker Jerzy Skolimowski (Essential Killing) who was honoured in 2009 in Rotterdam with a retrospective. One of them, Józef Skolimowski, died in 2012 in India. The film is a dark and expressive glimpse into the soul of a young man plagued by guilty feelings. Faustian references and occult elements are amplified by the ominous soundtrack, written by Józef. The writer Marek has completed a successful debut novel, but is tormented by the memories of his best friend, Arthur, who was found dead in the garden after an extravagant costume ball in the villa of Marek’s publisher. What happened on that night filled with drink and drugs? And what was Marek’s role? He seeks advice from a soothsayer, the girl he and Arthur once quarrelled about. A mysterious figure with a black goatee beard also offers help. However, it comes at a price.


Memories Look at Me Song Fang

China, 2012 | colour, DCP, 91 min, Mandarin Prod: Jia Zhang-ke, Song Fang | Prod Comp: Xstream Pictures | Sc: Song Fang | Cam: Guan Dongpei, Zhou Wen-cao | Ed: Song Fang | Prod Des: Ye Wen-bin  | Sound Des: Aya Yamashita  | With: Ye Yu-zhu, Song Di-jin, Song Fang, Song Yuan | Sales: Xstream Pictures | Distr NL: Hubert Bals Fund Public SCREENINGS  Fri 25-1 13:15 PA3 Sat 26-1 09:15 CI6 Tue 29-1 13:45 LV1 Thu 31-1 11:30 CI6



Bright Future

Bright Future

90 Minutter

Yang tidak dibicarakan ketika membicarakan cinta

90 Minutes Eva Sørhaug

Norway, 2012 | colour, DCP, 90 min, Norwegian Prod: Hakon Øverås | Prod Comp: 4 1/2 | Sc: Eva Sørhaug | Cam: Harald Gunnar Paalgard | Ed: Vidar Flataukan | Prod Des: Nina Bierch Andresen | Sound Des: Bent Erik Holm | Music: Henrik Skamm | With: Aksel Hennie, Mads Ousdal, Bjørn Floberg, Kaia Varjord, Pia Tjelta, Annemari Kastrup | Print: Norwegian Film Institute | Sales: LevelK Aps Public SCREENINGS  Mon 28-1 13:15 PA1 Wed 30-1 19:15 LV6 Thu 31-1 18:30 PA2 Fri 1-2 21:45 PA5


Russia, 2013 | colour, DCP, 90 min, Russian Prod: Sofiko Kiknavelidze | Prod Comp: White Mirror Film Company | Sc: Andrey Stempkovsky | Cam: Dmitry Ulyukaev | Ed: Natalia Strakhova | Prod Des: Anton Polikarpov | Sound Des: Stanislav Mikheev | With: Alexander Plaksin, Darya Ekamasova, Eugeniy Tkachuk, Juris Laucinsh | Print/ Sales: White Mirror Film Company Public SCREENINGS  Tue 29-1 15:30 PA2 Wed 30-1 21:30 PA7 Fri 1-2 17:00 LUX Sat 2-2 22:00 CI4 Press & Industry SCREENING  Mon 28-1 21:45 DJZ


What happens in the last 90 minutes before a person commits murder? This is the central question in this trilogy of stories about men who mask frustration, emasculation and loss of face with violence. In an objective style, directorscreenwriter Eva Sørhaug weaves the three stories together as musical variations on a theme. The story of the businessman Johan, who arranges his affairs before he prepares an exuberant last supper for his wife; the policeman Fred, who loses control during the weekly visit to his ex-wife and children; the drug addict Trond, who terrorises his young wife and their newborn baby. The spotless houses in which the characters live slowly but surely turn into prisons. 90 Minutes does not answer any questions about domestic and social violence, does not seek psychological explanations, but simply shows the last hour and a half in these lives, which are often terrifyingly close to our own.

What They Don’t Talk About When They Talk About Love

Mouly Surya


Indonesia, 2013 | colour, DCP, 101 min, Indonesian Prod: Parama Wirasmo | Prod Comp: Cinesurya Pictures | Sc: Mouly Surya | Cam: Yunus Pasolang | Ed: Kelvin Nugroho | Prod Des: Rita Yossy | Sound Des: Khikmawan Santosa | Music: Zeke Khaseli | With: Nicholas Saputra, Ayushita Nugraha, Anggun Priambodo, Karina Salim, Lupita Jennifer | Sales: m-appeal | Distr NL: Hubert Bals Fund Public SCREENINGS  Tue 29-1 15:45 PA5 Wed 30-1 21:45 CI4 Thu 31-1 16:45 LV5 Fri 1-2 21:15 PA6 Press & Industry SCREENING  Mon 28-1 16:00 CI5

‘It’s always about love. It’s boring’, someone remarks about the romantic radio play her friend is listening to. That infinite variations on the theme of love are possible is proven by the second film by young Indonesian director Mouly Surya. She sets her film, for which she also wrote the screenplay, in a school for the blind and partially-sighted in Jakarta. Just like everyone else, the pupils here also have their desires. To attract the attention of the boy she is secretly in love with, Diana buys a bottle of her favourite perfume. In spite of her disability, Maya wants to be an actress, but has to put up with a lot of teasing about this from her boyfriend. Fitri is also taken for a ride – by a hard-of-hearing rocker, who poses as a mysterious doctor. Surya’s film, full of steadicam shots flowing through the corridors of the institute, is not only about blindness, but tackles all the senses: there is plenty of tasting, listening, sniffing and touching.


Grand comme le Baobab

The Delivery Guy Andrey Stempkovsky

Tall as the Baobab Tree Jeremy Teicher

One thing is certain: Alexey can never pay for his father’s operation from his income as a pizza courier. Everything changes when the courier finds an envelope containing a Sim card. As soon as he activates it, Alexey gets instructions to do a dangerous yet lucrative job. Alexey doesn’t hesitate a moment. At least that’s how it looks, because the young Russian director deliberately leaves out any psychological explanation. As a result, the film has the matter-of-fact nature of a mathematical proposition: if A then B then C. And yet we are repeatedly confronted with unexpected events. Stempkovsky amplifies this dislocating tone by allowing apparently crucial events to pass unnoticed, while the camera focuses on what is known as ‘dead time’: the time between the actions. In the end, we wonder whether the whole thing happened by accident. Maybe that was the idea all along.

In a Senegalese village, modern life cautiously makes an entrance. The sisters Coumba and Debo are the first in their family to go to school. But when their brother has an accident, father wants to marry off the youngest daughter in order to pay the brother’s medical expenses. Coumba is fiercely opposed to the plan and does everything she can to prevent the forced marriage of her little sister. Jeremy Teicher was only 22 when he started on this film debut. As a student, he had previously made a documentary in the village of Sinthiou Mbadane with the pupils of the very first school there. He incorporated their experiences into this subtle, skilfully photographed portrait of a strong young woman who is caught between tradition and progress. The narrative tempo, accompanied by kora music, is as calm as the rhythm of life in the village, with grazing cows, washing women and transport by horse and cart.


Senegal, 2012 | colour, video, 82 min, Wolof Prod: Mala Bawer | Prod Comp: Cybersmart Learning Institute | Sc: Jeremy Teicher, Alexi Pappas | Cam: Chris Collins | Ed: Sofi Marshall | Sound Des: Arjun G. Sheth | Music: Jay Wadley | With: Dior Kâ, Oumoul Kâ, Cheikh Dia, Alpha Dia, Mboural Dia, Mouhamed Diallo, Birame Ndour, Mamel Dia | Print/ Sales: Cybersmart Learning Institute | Public SCREENINGS  Thu 24-1 17:00 CI3 Fri 25-1 09:30 PA2 Wed 30-1 19:30 LV5



Bright Future

Bright Future

The Radiant

Thallium shoujo no dokusatsu nikki

The Otolith Group

GFP Bunny

Tsuchiya Yutaka

UK, 2012 | colour, DCP, 64 min, English Prod: The Otolith Group | Sc: The Otolith Group | Cam: Sebastian Mayer | Ed: Simon Arazi | Sound Des: Simon Arazi, Tyler Friedman, The Otolith Group | Music: Tyler Friedman | With: Atsuhiro Ito | Print/ Sales: LUX | Public SCREENINGS  Fri 25-1 22:30 CI7 Sat 26-1 09:45 LV5

The severe earthquake in the sea near Sendai on 11 March 2011, measuring 9 on the Moment Magnitude Scale, caused the death of tens of thousands Japanese people. It also caused severe damage to parts of the Fukushima I nuclear power station. As a result, radioactive material was released into the atmosphere. What consequences did this have for the Japanese population? In this experimental documentary, the makers travel through the history of nuclear energy in general and that of Japan in particular. With the aid of interviews, old public information films, newsreel items and jerky shots of disasters, questions are answered and new questions posed. How great is the radioactivity as described? How is it measured? Why have parts of Japan emptied and why do the inhabitants who remain behind live like high-class laboratory rats? And what does it say about a government which exposes its citizens to this danger?


Japan, 2012 | colour, video, 82 min, Japanese Prod: Tsuchiya Yutaka | Prod Comp: W-TV Office | Sc: Tsuchiya Yutaka  | Cam: Iizuka Ryo | Ed: Tsuchiya Yutaka  | Sound Des: Tahara Isao | With: Kuramochi Yuka, Watanabe Makiko, Furutachi Kanji, Takahashi | Print/Sales: UPLINK Co. | Public SCREENINGS  Mon 28-1 19:45 CI1 Tue 29-1 10:15 PA3 Wed 30-1 21:45 LV1 Thu 31-1 22:30 CI5 Press & Industry SCREENING  Sun 27-1 18:00 CI3

Disappearing Landscape

Kuramochi Yuka plays an enquiring girl who is harshly bullied at school. Is that why she cuts open frogs, experiments with her mother’s goldfish and even administers thallium to her mother? ‘You’ve got it wrong!’ she argues. ‘It all has to do with control.’ The girl also protests when the director, who bases his film on a notorious case from 2005, states that he will experiment by moving the story to 2011. ‘There isn’t a story at all!’ GFP Bunny, named after genetically modified fluorescent rabbits, is a kaleidoscopic mix of fiction, documentary, diary notes and internet videos. The filmmaker and his protagonist wonder what biotechnology, cosmetic surgery, surveillance, avatars, extreme piercings and new religion can mean to us. A meeting with a body artist is the prelude to an unexpected and proud finale for the girl. Best film in the Japanese Eyes section of the Tokyo International Film Festival.

Ninah’s Dowry Victor Viyuoh

Vladimir Todorovic


Singapore/Serbia/Spain, 2013 | colour, DCP, 70 min, Japanese/ Mandarin/Serbian/Spanish Prod: Fran Borgia | Prod Comp: Akanga Film Asia | Sc: Vladimir Torodovic | Cam: Urata Hideho, Jelena Prekajski, Ferran Castera | Ed: Shantha Kumar | Prod Des: Urata Tomomi  | Sound Des: Roberto Alonso | Music: Brian O’Reilly | With: Machida Hiroyuki, Bobbi Chen, Peter Vasiljevic, Adam Vukovic, Goran Andrejin, Ives Laboire, Carolina Torres, Jordi Palau Castro | Print/Sales: Akanga Film Asia Public SCREENINGS  Wed 30-1 19:15 PA3 Thu 31-1 17:00 CI1 Fri 1-2 17:00 LV2 Sat 2-2 11:30 CI6 Press & Industry SCREENING  Tue 29-1 09:15 LV3


With taut, often symmetrical images of natural and industrial landscapes, artist Vladimir Todorovic tells three stories that are set in Singapore, Serbia and Spain. In all these countries, immigrants try to bond to landscapes and places with which they share no past, but of which they do form a part. In Singapore, a couple from China and Japan suffer from the monotony and loneliness of their expat life. They travel to a neighbouring island, where they feel just like the coral, trapped in an industrial landscape. A man returns after a ten-year stay in the USA to Serbia. The Serbian steppes through which he cycles evoke memories of landscapes from his past. He feels alienated from his own country. In Catalonia, Spain, a young couple from Colombia and Chile search for a better life. He has not yet found any work, but they face their uncertain future with self-confidence.



Cameroon/USA, 2012 | colour, DCP, 95 min, English/Babanki Prod: Victor Viyuoh | Prod Comp: Fintu Films LLC | Sc: Victor Viyuoh | Cam: Yibain Emile-Aime Chah | Ed: Andrew Groves | Prod Des: Atabong Elvis Forbin | Sound Des: Jedidiah Njei | Music: Cody Westheimer | With: Mbufung Seikeh, Anurin Nwunembom, Kecha Norbert, Nkwah Kingsley | Print/Sales: Fintu Films LLC | Public SCREENINGS  Fri 25-1 22:00 PA4 Sat 26-1 17:00 CI1 Thu 31-1 15:30 DJZ Press & Industry SCREENING  Thu 24-1 11:45 CI7

It’s a euphemism to say it’s more difficult to make a film in Africa than elsewhere. It’s usually just plain impossible. That’s why the films that miraculously are made should be embraced. The Ninah from the title is a woman who doesn’t have any choice in life. She is married off and abused. But she is not the kind of woman who lets this all happen to her; she starts her own restaurant, but can’t escape from her own past. She was once traded like a cow, and that value continues to pursue her. The story should have been set in the hottest season, but a filmmaker doesn’t always have the choice. That’s why he had to shoot it in the rainy season and make the best of it. It seems symbolic for the situation of the film and basically for all African filmmaking. But some times necessity, that season, that African landscape, give something extra to a film. Survival is also an art. And every art has its own laws of beauty.



Bright Future

Avanti popolo Michael Wahrmann

Brazil, 2012 | colour, DCP, 72 min, Portuguese Prod: Sara Silveira | Prod Comp: Dezenove Som e Imagens | Sc: Michael Wahrmann | Cam: Rodrigo Pastoriza | Ed: Ricardo Alves Jr., Fellipe Barbosa | Prod Des: Ana Paula Cardoso | Sound Des: Daniel Turini, Fernando Henna | Music: Michael Wahrmann | With: André Gatti, Carlos Reichenbach, Eduardo Valente, Marcos Bertoni | Print: Dezenove Som e Imagens | Sales: FiGa Films | Public SCREENINGS  Sun 27-1 19:152 CI6 Tue 29-1 16:302 CI4 Wed 30-1 17:002 LV2 Thu 31-1 15:452 PA6 Press & Industry SCREENING  Tue 29-1 09:45 CI6

Almost 30 years after the Brazilian dictatorship, Michael Wahrmann is afraid this period and its victims will be forgotten. This inspired him to make his first feature, in which he incorporates his own experiences as a young left-wing militant in Israel alongside themes such as family traumas and suppressed memories. Recently divorced André moves in with his father, who leads a withdrawn life in a stuffy flat. The ever-present absence is that of André’s brother, who studied in Russia in the 1970s and disappeared without a trace after his return. The claustrophobic fixed-frame scenes are intercut with Super-8 films shot by the brother, which André has found. In this way, bits of the past come to life. However, the father doesn’t want to know. In an aside, leaders of the dictatorship turn up in an art project. The protagonists are played by film academic André Gatti and the Nestor of Brazilian film, Carlos Reichenbach, who died in 2012.

Fahrtwind – Aufzeichnungen einer Reisenden Fair Wind – Notes of a Traveller Bernadette Weigel


Austria, 2013 | colour, DCP, 85 min, German Prod: Florian Brüning | Sc: Bernadette Weigel | Cam: Bernadette Weigel | Ed: Alexandra Schneider | Sound Des: Maximilian Liebich | Music: Astrid Schwarz | Print/ Sales: sixpackfilm | Public SCREENINGS  Thu 24-1 18:15 PA6 Fri 25-1 14:30 CI4 Sun 27-1 12:00 CI2 Thu 31-1 09:00 CI6 Press & Industry SCREENING  Mon 28-1 22:15 LV6


In this journey with no destination, Bernadette Weigel heads East, without knowing where she will end up next day. She travels via the Danube Delta to Odessa, Georgia, Azerbaijan and Kazakhstan. On the way, she passes locks, dancing couples, refugees from Abkhazia, nodding donkey pumps and a trunk full of apples. She also manages to capture dazzling water and the sun shining between her toes, as if the camera is a large butterfly net. Filmed on Super-8 with asynchronous sound, this travelogue without dialogue does not show any unusual events, but random moments in which Weigel uses her camera to bite a piece out of life. The essence of movement lies in immersion rather than progress through the world. Only then, when you need not go anywhere, do you realise where you are. ‘When I’m on the move, when I’m in-between, I feel light. Dancing is not about moving ahead. And travelling is like dancing.’ But when do you know that a journey has come to an end?





Ping’an Yueqing

Mater Dolorosa

Ai Weiwei



China, 2012 | colour, video, 142 min, Mandarin Prod: Ai Weiwei | Prod Comp: Ai Weiwei Studio | Sc: Ai Weiwei | Cam: Zhao Zhao | Ed: Ding Ding | Music: Zuoxiao Zuzhou | Print/ Sales: Ai Weiwei Studio Public SCREENINGS  Thu 24-1 14:00 CI3 Fri 25-1 11:00 CI3 Wed 30-1 12:00 CI7 Press & Industry SCREENING  Thu 31-1 09:00 CI3

On 27 December 2010, village chief Qian Yunhui died in a road accident in Yueqing, in Eastern China. He was crushed under the front wheel of an enormous red truck. That, at least, was the version spread by the Chinese authorities and the trucker was soon convicted. But there were also doubts; according to his family and many fellow villagers, he was murdered. Protests soon swelled, especially online, where gruesome photos appeared of his crushed body. Ai Weiwei Studio, the production company of the world’s most celebrated thorn in the side of the authorities, the artist Ai Weiwei, also took an interest in the case. In this thorough documentary, terrified villagers appear in front of the camera and the accident is reconstructed. It gradually becomes clear that Qian Yunhui was an irritation for the authorities and that this incident is not isolated. A tragic road accident or brutal murder?


Philippines, 2012 | colour/b&w, DCP, 86 min, Filipino Prod: Ronald Arguelles | Prod Comp: ABS-CBN Creative Programs Inc. | Sc: Jerry Gracio | Cam: Albert Banzon | Ed: Benjamin Gonzales Tolentino | Prod Des: Adolfo Alix Jr. | Sound Des: Ditoy Aguila, Mark Locsin, Herbert Relagio, Joseph Santos | Music: Eigen Ignacio | With: Gina Alajar, Carlo Aquino, Alessandra de Rossi, Cogie Domingo, Felix Roco, Anita Linda, Bembol Roco | Print/Sales: ABSCBN Creative Programs Inc. Public SCREENINGS  Sun 27-1 22:00 DJZ Mon 28-1 17:00 CI1 Fri 1-2 21:45 PA7 Sat 2-2 17:45 LUX Press & Industry SCREENING  Tue 29-1 09:30 CI4


Miroir mon amour

Filipino soldier Julian is stationed on an uninhabited island. Another character jokes that the island once beat Vietnam at basketball. In the first half of the film, Kalayaan follows the everyday life of the soldier. He sleeps, fishes, watches porn and masturbates. Occasionally, he listens to the radio, which reports on a rebellion against the president. His only companion is a turtle. In the second half, the solider’s intense loneliness seems to be leavened by the arrival of two other soldiers. They talk about things like spirits and mermaids; conversations that reveal the start of the film – in which a mermaid gives a naked man a blow job – in a different light. Julian increasingly withdraws into his own world and loses his grip on reality. Kalayaan makes beautiful use of the natural locations and takes its time to let us sense the boredom of Julian, played by Thai teenage idol Ananda Everingham.

Everyone knows that the hunter who had to kill Snow White didn’t do it. He was too soft-hearted. As a result, she remained the most beautiful in the land, instead of her evil stepmother. But what happened afterwards? This French film continues where the Brothers Grimm stopped. The girl with skin as white as snow, lips as red as blood and hair as black as ebony has grown up and is about to marry a prince. But she isn’t happy. The basis of her frustration can be found – indeed – with her mother. In this arty version of the fairytale, she is incredibly attractive for the opposite sex. And the spoilt Snow White thinks that now it’s her turn to shine. This comic fairytale about dysfunctional families does not only play with the classic story, but also with the design, in which there is room for castles and royal robes, but also for Rolls-Royces, aspirins and Christian Louboutins.

Wildlife Adolfo B. Alix Jr.

Philippines, 2012 | colour, DCP, 115 min, Filipino Prod: Arleen Cuevas | Prod Comp: Phoenix Features | Sc: Adolfo Alix Jr. | Cam: Albert Banzon | Ed: Aleks Castaneda | Prod Des: Adolfo Alix Jr. | Sound Des: Ditoy Aguila | Music: Tereza Barrozo | With: Ananda Everingham, Luis Alandy, Zanjoe Marudo, Kiki Sugino, Angeli Bayani | Print/Sales: Phoenix Features Public SCREENINGS  Sat 26-1 20:00 CI3 Mon 28-1 14:45 CI7 Wed 30-1 16:45 LV5


At the heart of every Filipino film is the family, according to Adolfo B. Alix Jr. In his cool yet charged Mater Dolorosa, the actress Gina Alajar, who is very well known in the Philippines, plays a woman who dominates illegal activities in an old district of Manila. Her family’s welfare has to be weighed against the interests of the criminal business she runs with her children. Her sons Joseph and Eli focus on stealing cars, drugs and gambling. Her daughter Fatima is the link with the corrupt police. She tries to keep Benjamin, the youngest, safe from harm. Just before New Year, everything moves into a dangerously higher gear when the mayor and his criminal son start a counterattack, while internal tensions threaten family harmony. A strikingly sober yet apt style (there is virtually no music) with powerful, carefully composed images in a palette that is almost black-and-white, focusing on the actors. Nominated for The Big Screen Award.


Mirror My Love Siegrid Alnoy


France, 2012 | colour, DCP, 84 min, French Prod: Sylvette Frydman, JeanFrançois Lepetit | Prod Comp: Flach Film Production | Sc: Siegrid Alnoy, Lise Macheboeuf | Cam: Sabine Lancelin | Ed: Benoît Quinon | Prod Des: Véronique Barneoud | Sound Des: Simon Apostolou | Music: Gabriel Scotti, Vincent Haenni | With: Judith Chemla, Fanny Ardant, Laurent Stocker, Carlo Brandt, Aurore Clement, Jean-Pierre Kalfon | Print/ Sales: Pyramide International Public SCREENINGS  Fri 25-1 14:30 CI1 Sat 26-1 10:00 PA4 Wed 30-1 19:30 CI7 Thu 31-1 21:45 CI6 Press & Industry SCREENING  Thu 24-1 09:45 CI7






Après mai

Cuban cinema guarantees sultry sensual tension, but also the everpresent undertone of envy. You save your own skin, and if you’re lucky, you can improve things for yourself a bit. The young lovers Manuel and Lia manage to lay their hands on the keys of the house from which Tania has been evicted: no rent in a beautiful old house in the middle of the city. But Tania also refuses to give up her home. Jirafas takes us along in this silent war largely set indoors. Havana plays a role in the stories of the waitress Lia, who seems more interested in the good life than her boyfriend Manuel does. Three beautiful twenty-somethings in a house inevitably evokes more tension than just a question of who owns it. All the pent-up irritations and sensuality reach boiling point when a hurricane approaches. Álvarez, a well-known face at IFFR, made Jirafas with a group of promising young Cuban talent from the EICTV where he teaches.

Gilles, a student in Paris in the early 1970s, is mad about watching films and painting. These hobbies are reviled by his politically active contemporaries and his girlfriend after the student revolution in May 1968: Gilles is also expected to surrender everything. But the summer starts and, alongside revolution, there are holidays to be had. Gilles and his girlfriend take their first steps on the path of love in this turbulent period, discover the freedom of travel and the added value of art in their young lives. In this semi-autobiographical comingof-age drama by Olivier Assayas, an important period in French history is interwoven with personal events – without becoming nostalgic. Après mai, with music by Captain Beefheart, Syd Barrett and Nick Drake, was previously shown at film festivals in Toronto and Venice. At the latter, this French drama was nominated for a Golden Lion.

Giraffes Enrique Álvarez


Cuba/Colombia/Panama, 2013 | colour, DCP, 94 min, Spanish/English Prod: Nicolás Ordoñez, Gina Villafañe, Ivonne Cotorruelo | Prod Comp: Galaxia 311, Open Roads Media, Producciones LargasLuces | Sc: Claudia Muñiz | Cam: Nicolás Ordóñez Carrillo | Ed: Johanna Montero | Prod Des: Ivonne Cotorruelo | Sound Des: Gina Villafañe | Music: Abel Omar Pérez | With: Claudia Muñiz, Olivia Manrufo, Yasmani Guerrero | Print/Sales: Galaxia 311 | Public SCREENINGS  Sun 27-1 16:15 PA3 Mon 28-1 22:00 LV5 Wed 30-1 14:15 SGZ Press & Industry SCREENINGS Sat 26-1 21:45 CI5 Sun 27-1 12:30 CI3

Something in the Air Olivier Assayas

France, 2012 | colour, DCP, 122 min, French Prod: Charles Gillibert, Nathanaël Karmitz, Sylvie Barthet, Marin Karmitz | Prod Comp: MK2 | Sc: Olivier Assayas | Cam: Eric Gautier | Ed: Luc Barnier | Prod Des: Francois-Renaud Labarthe | Sound Des: Nicolas Cantin, Olivier Goinard | Sales: MK2 | Distr NL: A-Film Distribution Public SCREENINGS  Thu 24-1 17:00 LUX Fri 25-1 19:15 CI1 Tue 29-1 12:00 CI7 Fri 1-2 13:15 PA1

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Press & Industry SCREENING  Fri 25-1 11:00 LV5 [e.s.]

The Master

USA, 2012 | colour, 70mm, 1:1.85, 137 min, English Prod: JoAnne Sellar, Paul Thomas Anderson, Megan Ellison | Prod Comp: Annapurna Pictures | Sc: Paul Thomas Anderson | Cam: Mihai Malaimare Jr. | Ed: Leslie Jones, Peter McNulty | Prod Des: Jack Fisk, David Crank | Sound Des: Christopher Scarabosio | Music: Jonny Greenwood | With: Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams, Laura Dern, Ambyr Childers, Rami Malek, Jesse Plemons | Sales: The Weinstein Company USA | Distr NL: A-Film Distribution | Public SCREENINGS  Wed 23-1 19:00 PA1 Fri 25-1 10:15 PA1 Sun 27-1 13:15 PA1 Wed 30-1 16:30 SGZ Fri 1-2 14:15 CI1

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Paul Thomas Anderson

God’s Horses Nabil Ayouch

The major winner in Venice with Paul Thomas Anderson (Magnolia, 1999; There Will Be Blood, 2007) as best director and a shared acting award for Joaquin Phoenix and Anderson regular Philip Seymour Hoffman. The latter plays a charismatic sect leader, based on Scientology leader L. Ron Hubbard, who enters into a kind of father-son relationship with Phoenix’s character, a traumatised and frustrated WWII veteran who distils illegal alcohol. While the authoritarian Master works hard to maintain unity among his followers, supported by his wife (Amy Adams), he also tries to convert his volatile protégé to his doctrine, The Cause. The Master was shot on the now rare 65mm format, and this is striking in the panoramic wide-angle shots. The soundtrack is by Radiohead guitarist Jonny Greenwood, his second for Anderson after There Will Be Blood. Audience Opening Film IFFR 2013.

Inspired by the novel Les étoiles de Sidi Moumen by Mahi Binebine, Les chevaux de Dieu tells the story of two brothers who grow up in a poor neighbourhood in Casablanca. At an early age they become familiar with drugs and crime. Through a mixture of poverty, dissatisfaction and fury, they become fascinated by Islamic fundamentalism and decide to become martyrs for Al Qaeda. No one is born to be a martyr. The film can be regarded as a study of the motivations of terrorists: how do they reach the point where they want to give up their lives in an attack? A film that sows the seed of understanding for Islamic terrorists is automatically controversial. But it’s a clever achievement on the part of Nabil Ayouch that he manages to persuade the viewer not only to understand the protagonists, but also to empathise with them. The film does not condemn them, so we can’t simply judge them.

Press & Industry SCREENING  Wed 30-1 12:30 LV3


Les chevaux de Dieu


Morocco/France/Belgium, 2012 | colour, DCP, 115 min, French Prod: Nabil Ayouch, Pierre-Ange Le Pogam, Eric van Beuren, Patrick Quinet | Prod Comp: Les Films Du Nouveau Monde, Stone Angels, YC Aligator Film, Artémis Productions | Sc: Jamal Belmahi, based on a novel by Mahi Binebine | Cam: Hichame Alaouie | Ed: Damien Keyeux | Prod Des: Hafid Amly, Hind Ghazali | Sound Des: Zacharie Naciri, Eric Lesachet | Music: Malvina Meinier | With: Abdelhakim Rachid, Abdelilah Rachid, Hamza Souidek, Ahmed El Idrissi Amrani | Sales: Wild Bunch | Distr NL: Cinéart Netherlands Public SCREENINGS  Sun 27-1 22:00 PA1 Tue 29-1 19:30 LV5 Thu 31-1 12:45 PA5 Fri 1-2 18:15 PA6

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Ja tozhe hochu

Io e te

Somewhere between Saint Petersburg and the town of Uglich is a deserted belltower. Those who enter the belltower go straight to heaven – if they are chosen. No one knows how it works. But it is certain that happiness awaits there. That is what a man, known as the bandit, tells his acquaintance the musician. The men do not hesitate for a moment: they want to go there. They don’t care that this mysterious portal to paradise is in an area seriously polluted with radiation. In the end, a group of five embark on the journey: the musician, the bandit, his friend, the latter’s old father and a female hitchhiker. Me Too is confrontational and grim, as we may expect from Balabanov (Of Freaks and Men, Cargo 200, Morphia), one of Russia’s leading directors. But the film also has an element of black comedy and an unexpectedly esoteric side. Take special note of what the boy with prophetic powers (played by Balabanov’s son) says in one of the first scenes.

Lorenzo is a 14-year-old, hyperintelligent loner with dark brown curls and bright blue eyes who is seeing a psychiatrist on the orders of his overly worried mother. Because he doesn’t want to go to ski camp with his classmates, he hides in the cellar of his parental home. There he receives his half-sister: the stunningly attractive, addicted and fairly unmanageable Olivia. Me and You – a coming-of-age film that also has something to say about family bonds and the state of Italy now – is a film version of the novel by Italian bestseller author Niccolò Ammaniti, who also co-wrote the screenplay. The director is the veteran Bernardo Bertolucci; it’s his first film since The Dreamers in 2003, and the first film he has made in Italy in 30 years. Debutant actors Jacopo Olmo Antinori and Tea Falco are beautiful in the leading roles and the ever-present soundtrack features songs by The Cure, Arcade Fire, Muse, Red Hot Chili Peppers and David Bowie.

Me Too Alexey Balabanov

Russia, 2012 | colour, DCP, 83 min, Russian Prod: Sergey Selyanov | Prod Comp: CTB Film Company | Sc: Alexey Balabanov | Cam: Alexander Simonov | Ed: Tatyana Kuzmicheva | Prod Des: Anastasia Karimulina | Sound Des: Stanislav Miheev | Music: Leonid Fedorov | With: Yuri Matveyev, Alexandr Mosin, Oleg Garkusha, Alisa Shitkova, Alexey Balabanov, Viktor Gorbunov, Petr Balabanov | Print/ Sales: Intercinema Agency Public SCREENINGS  Sat 26-1 22:15 PA1 Sun 27-1 19:30 SGZ Wed 30-1 19:15 LV1 Sat 2-2 16:15 PA1 Press & Industry SCREENING  Thu 31-1 10:15 DJZ


India, 2012 | colour, DCP, 110 min, Hindi Prod: Dibakar Banerjee, Priya Sreedharan, Ajay Bijli, Sanjeev K Bijli | Prod Comp: PVR Pictures Limited, Dibakar Banerjee Productions | Sc: Urmi Juvekar, Dibakar Banerjee | Cam: Nikos Andritsakis | Ed: Namrata Rao | Prod Des: Vandana Kataria | Sound Des: Pritam Das | Music: Vishal & Shekhar | With: Abhay Deol, Emraan Hashmi, Prasenjit Chatterjee, Kalki Koechlin | Print/ Sales: Dibakar Banerjee Productions | Public SCREENINGS  Fri 25-1 19:30 DJZ Sat 26-1 22:15 LUX Fri 1-2 14:00 CI4 Sat 2-2 19:15 CI6 Press & Industry SCREENING  Thu 24-1 18:15 DJZ


Me and You Bernardo Bertolucci

Italy, 2012 | colour, DCP, 103 min, Italian Prod: Mario Gianani | Prod Comp: Fiction SRL/ Wildside SRL | Sc: Niccolò Ammaniti, Umberto Contarello, Francesca Marciano, Bernardo Bertolucci, based on the novel by Niccolò Ammaniti  | Cam: Fabio Cianchetti | Ed: Jacopo Quadri | Prod Des: Jean Rabasse | Sound Des: Remo Ugolinelli, Sandro Palmerini | Music: Franco Piersanti | With: Jacopo Olmo Antinori, Tea Falco, Sonia Bergamasco, Veronica Lazar, Tommaso Ragno, Pippo Delbono | Sales: HanWay Films | Distr NL: ABC – Cinemien Public SCREENINGS  Sat 26-1 19:30  LUX Sun 27-1 15:00 PA2 Wed 30-1 19:45 CI1 Fri 1-2 19:30 SGZ

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Cherchez Hortense

Dibakar Banerjee

Pascal Bonitzer

An exciting political thriller from one of the most talented new directors in India today. A prominent professor, a social activist, is run over by a lorry; is it an accident or a politically motivated crime? It happens in a vibrant small town that is subjected to an ambitious infrastructure project supported by the corrupt ruling party. Multinational companies promise to establish economic growth in the region, after the example of Shanghai. The unfortunate victim was raising awareness among the working class, mobilising those who are paying the price for this prosperity. The professor’s assistant, a committed young woman, sets out on a dangerous investigation in search of truth and justice. A local pornographer witnessed the accident, but withholds the evidence he is suspected to have. The story is loosely based on Vassilis Vassiliko’s novel Z, but has been profoundly Indianised by imaginative scriptwriter Urmi Juvekar and the director himself.

Damien, a professor of Chinese Civilisation, is forced by his wife to ask his father a favour. As a senior civil servant, he could help a woman get residency papers. The request is a true horror for Damien, who hates to ask his father anything. But he doesn’t reveal this to his wife. She is very busy as a stage director and with a male colleague, on whom she focuses a suspicious amount of attention. In the meantime, Damien meets a young woman who shares his interests and is fascinated by his life. Plenty of starting points for a comic drama of relationships, which director and scriptwriter Bonitzer situates in the Parisian intellectual elite. The most important themes are identity and the quest for self-confidence: you don’t just get that, it has to be earned. Despite such serious themes as dysfunctional families and stalling relationships, Bonitzer keeps the tone pleasantly light.


France, 2012 | colour, DCP, 100 min, French Prod: Saïd Ben Saïd | Prod Comp: SBS Productions | Sc: Pascal Bonitzer, Agnès de Sacy | Cam: Romain Winding | Ed: Elise Fievet | Prod Des: Emmanuel de Chauvigny | Sound Des: Philippe Richard | Music: Aleksei Aigi | With: Jean-Pierre Bacri, Kristin Scott Thomas, Isabelle Carré | Sales: SBS Productions | Distr NL: Filmfreak Distribution Public SCREENINGS  Tue 29-1 16:15 PA1 Wed 30-1 10:00 PA4 Sat 2-2 15:30 PA7 Press & Industry SCREENING  Sat 26-1 22:15 CI4







Poland/Spain, 2012 | colour, 35mm, 1:2.35, 93 min, Polish/Spanish Prod: Piotr Kobus | Prod Comp: Mañana | Sc: Jacek Borcuch | Cam: Michal Englert | Ed: Beata Walentowska | Prod Des: Elwira Pluta | Sound Des: Maria Chilarecka | Music: Daniel Bloom | With: Jakub Gierszal, Magdalena Berus, Angela Molina, Juanjo Ballesta, Joanna Kulig, Andrzej Chyra | Print/Sales: Mañana Public SCREENINGS  Thu 31-1 19:00 PA4 Fri 1-2 10:00 PA4 Sat 2-2 21:30 PA4 Press & Industry SCREENINGS  Fri 25-1 17:00 DWBZ Mon 28-1 12:45 DWBZ

Happiness Building 1

Lasting Jacek Borcuch

Chen Chieh-jen

Life is sunny and carefree for young Michal and Karina. The two Polish students meet in Valencia, Spain, where they have holiday jobs, and fall in love on the spot. But then Michal becomes involved in a fight in which someone dies and suddenly everything is different. The world that only a few moments earlier seemed so available falls apart, slowly yet inevitably. The mountainous landscape that was at first idyllic now becomes a threat. The tender holiday love turns into a nightmare. The protagonists – Jakub Gierszal, who is already known as the Polish James Dean and who drives round in this film on a big motorbike, and the former model Magdalena Berus – balance between hysteria, despair and emotional sincerity. Their mutual chemistry and intense acting makes this film more than a fateful love story. Lasting is close-up investigation into the humain condition.

Chen Chieh-jen asked Taiwanese born in the 1980s to write about their lives. From their prose and poetry, the filmmaker constructed his panoramic, subversive look at a country that has changed radically since the neoliberal reforms of 1984. The easing of restrictions on sacking employees and the dismantlement of social programmes and housing rights have created an insecure society that fears the future. To show this individualised world, the film presents the occupants of an apartment building soon to be demolished: an unemployed single woman, a lesbian whose father committed suicide, a handicapped actor who does performances of ‘standing still silently’ as a form of protest. Not only state companies have been privatised thanks to the neoliberal ideology. The lives and vicissitudes of a new generation of Taiwanese have also become completely disjointed. Contrived freedom, under the motto ‘everyone for themselves and no one for all of us’.


Taiwan, 2012 | colour/b&w, video, 84 min, no dialogue Prod: Chen Chieh-yi | Cam: Chien Ming-chi | Ed: Lee Chun-yi, Huang Hsiao-wen | Sound Des: Lo Songce | With: Li Cheng-hao, Hsiao Wen-hua, Cheng Chih-chung, Huang Pin-yueh , Chan Chia-ju | Print/Sales: Chen Chieh-jen Public SCREENINGS  Tue 29-1 17:00 CI3 Wed 30-1 19:45 LV2 Thu 31-1 22:15 CI3 Press & Industry SCREENING  Mon 28-1 17:30 DJZ

Misericordia: The Last Mystery of Kristo Vampiro

La fille de nulle part

The Girl from Nowhere Jean-Claude Brisseau

France, 2012 | colour, DCP, 91 min, French Prod: Jean-Claude Brisseau | Prod Comp: La Sorcière Rouge | Sc: JeanClaude Brisseau | Cam: David Chambille | Ed: Maria-Luisa Garcia, Julie Picouleau | Prod Des: Clemence Bry, Maria-Luisa Garcia | Sound Des: David Chambille | With: Jean-Claude Brisseau, Virginie Legeay, Claude Morel | Print/Sales: Wide Management Public SCREENINGS  Thu 24-1 14:15 SGZ Sat 26-1 21:45 PA5 Sun 27-1 11:45 LV5 Tue 29-1 15:15 PA6 Press & Industry SCREENING  Thu 31-1 14:30 CI4


Always balancing between parody and gravity, The Girl from Nowhere plays with elements from French cinema. Femme fatale and amour fou dance together with didactic monologues about God and the unknown. This low-budget Golden Leopard winner is set in the Paris apartment of the director, who casts himself as Michel, a retired maths teacher and widower preparing for the end. Before it finally arrives, however, he takes into his house the young Dora, who was physically abused in front of his door by an ex-lover. While she recovers, strange things start to happen in the house. Jean-Claude Brisseau, Filmmaker in Focus at IFFR in 2003, constructed his story around the need for myths and illusions and their influence on our experience. Here and there, he mixes fiction and reality flamboyantly, to great comic effect. The power of illusions is finally confirmed when Michel’s tragic fate and the passing of time become tangible.


Khavn De La Cruz


Philippines, 2013 | colour, DCP, 70 min, no dialogue Prod: Achinette Joy Villamor | Prod Comp: Kamias Road, Ltd | Sc: Caloy Piocos, Khavn, Arvie Bartolome | Cam: Albert Banzon | Ed: Lawrence S. Ang | Sound Des: Lawrence S. Ang | Music: Kristine Kintana | With: Dante Perez | Print/Sales: Kamias Road, Ltd | Public SCREENINGS  Mon 28-1 19:002 CI4 Tue 29-1 22:002 LV5 Wed 30-1 11:002 PA3 Press & Industry SCREENING  Sun 27-1 20:00 CI4

This travel-shockumentary-vampire fiction could well be a disguised ode to the Mondo films of Jacopetti, but with Khavn you never really know. Our guide is Kristo Vampiro, who admits in a voice-over that he is willing to go very far to quench his thirst for blood. The entirely blood-red images show the continual self-castigation of people in the street, juxtaposed with cock fights and acted crucifixions, complete with mouth-organ music. According to Khavn, the film came about during a four-day tour of the Filipino archipelago which he gave an Italian friend. They stopped at the folk-&-roll bar Hobbit House, where all the waiters are dwarfs, and visited the Ringside brothel. They also stopped at several cock fights, which cost the losing gamblers a week’s income, but also made them believe that one good win could save them. Khavn also filmed the cemetery, ‘maybe the only real utopia in Southeast Asia’. Also see How to Raise a Smart & Happy Child from Age Zero to Five in Spectrum Shorts.





Comrade Kim Goes Flying

Ang mundo sa panahon ng bakal

Anja Daelemans, Nicholas Bonner, Kim Gwang-Hun

Belgium/UK/North Korea, 2012 | colour, DCP, 81 min, Korean Prod: Anja Daelemans, Nicholas Bonner, Mi Hwa Ryom | Prod Comp: Another Dimension of an IDea, Koryo Group, KFEIC | Sc: Sin MyongSik, Kim Chol | Cam: Hwang Jin-Sok  | Ed: Alain Dessauvage, Kim Yun-Sim, Gao Bing, Ren Jia | Prod Des: Kim Won-Song  | Music: Ham Chol, Frederik Van de Moortel | With: Kim Chol, Han Jong-sim, Pak Chung-guk, Ri Yong-ho, Kim Son-nam | Print/ Sales: Another Dimension of an IDea | Public SCREENINGS  Fri 25-1 17:00 CI1 Sat 26-1 09:45 PA5 Sun 27-1 12:00 LUX Fri 1-2 11:45 SGZ Press & Industry SCREENING  Wed 30-1 11:30 CI6

A heroine strives to realise her dream, is thwarted by a haughty co-star but perseveres and is finally successful. It sounds like a standard recipe for a fairytale in the Hollywood mould. But this film comes from North Korea and adopts the form of cheerful melodramatic propaganda from the Stalinist utopia. The heroine in question is Kim YongMi. She’s a miner but, despite her fear of heights, wants to be a trapeze artist. She is scorned by the circus star Pak Jang-Phil. Aiming to perform at the workers’ festival, Kim perseveres with her training, wins the heart of her costar and finally shines in the ring. Although at first sight it is traditional, by North Korean standards Comrade Kim Goes Flying is quite unconventional. The protagonist is not a macho folk hero, but a woman, while party and state play a secondary role. It can’t be called subversive, but it is a new sound from the most isolated country in the world.


Philippines, 2013 | video, 114 min, Filipino Prod: Mes De Guzman, Susan Santos, Rhea Operaña | Prod Comp: Sampaybakod Productions, Cinelarga | Sc: Mes de Guzman | Cam: Tristan Salas | Ed: Abbas Tabas, Ronnie de Acal | Prod Des: Seño Dee | Sound Des: Mon Ching | With: Jess Evardone, John Paul Escobedo, Abdul John Candelario, Zanderson Vicente, José Escobedo | Sales: Cinelarga | Distr NL: Hubert Bals Fund Public SCREENINGS  Wed 30-1 17:00 CI3 Fri 1-2 11:30 LV6 Sat 2-2 09:15 CI1 Press & Industry SCREENING  Tue 29-1 10:45 CI5

First Comes Love


USA, 2012 | colour, video, 107 min, English Prod: Nina Davenport | Prod Comp: Baby Pictures | Cam: Nina Davenport | Ed: Nina Davenport | Music: Ilan Isakov | Print/Sales: Baby Pictures | Public SCREENINGS  Tue 29-1 17:00 CI5 Wed 30-1 21:30 PA2 Fri 1-2 22:30 CI7 Sat 2-2 19:30 CI7 Press & Industry SCREENING  Mon 28-1 09:30 LV6


Steel Is the Earth Mes De Guzman Mes De Guzman builds his ‘earth trilogy’ around three raw materials – stone, steel and ice – that are at once elixir and poison. Necessary to survive, but also a threat to life. Carlito, protagonist of the second part, has a patent on steel. His motorbike and pistol are made of it, and in his business he uses it in many ways. Steel stands for cold, hard and mechanical, contrasting with the soft, warm emotional issues in his life. For instance love: Carlito is getting married. But he doesn’t dare tell his parents. He also takes advantage of the safety of the bartering rural community from which he commutes back and forth to work. Meandering loosely and with apparent improvisation – apparent because it’s based on a substantial script full of dry comic dialogue – the film works treacherously: the mood almost inconspicuously becomes grimmer as it heads for a fatal – or steely – conclusion.

Gebo e a sombra

Nina Davenport

Gebo and the Shadow Manoel de Oliveira

After Always a Bridesmaid (2000) and Parallel Lines (2004), documentary maker Nina Davenport again points the camera at herself with humour and openness. As a 41-year-old single woman, she decides to try and have a child and to film this process, difficult as it is with so many ethical and medical objections. In her own liberal surroundings, she’s not the only one who only wants to try and have a child after a successful career, and flying in the face of all the statistics. Davenport looks for support to her best girlfriend Amy and for sperm to her gay friend Eric. While she’s pregnant, she starts to have an affair with film critic John Anderson. The film not only tells the story of Davenport, but also shows that while the age and circumstances of mothers may change in modern society, pregnancy, birth and motherhood remain issues of patience, perseverance and tolerance.

This adaptation of Raul Brandão’s play from 1923 is about the poor patriarch Gebo who lives with his wife and daughter-in-law. Gebo is advanced in years, but has to carry on working as an accountant in order to maintain his family. The three talk a lot about the fate of the son, João. He ended up in the gutter; that much is known to both Gebo and his daughter-in-law Sofia, but they keep it secret from mother Doroteia, in order to avoid disrupting her ideal picture of her son. That turns out to have major consequences when João returns and moves in with his parents. Portuguese master Manoel de Oliveira, the world’s oldest active filmmaker, once again persuaded great names to take part in his idiosyncratic production, among them Jeanne Moreau, Michael Lonsdale and Claudia Cardinale. With its static camera, use of symbolism and theatrical styling, Gebo and the Shadow is a vintage De Oliveira.


Portugal/France, 2012 | colour, 35mm, 1:1.66, 91 min, French Prod: Martine de Clermont-Tonnerre, Luís Urbano | Prod Comp: MACT Productions, O Som e a Fúria | Sc: Manoel de Oliveira, adopted from the play by Raul Brandão | Cam: Renato Berta | Ed: Valérie Loiseleux | Prod Des: Christian Marti | Sound Des: Henri Maikoff | With: Michael Lonsdale, Claudia Cardinale, Jeanne Moreau, Ricardo Trêpa, Leonor Silveira, Luís Miguel Cintra | Print/ Sales: Pyramide International Public SCREENINGS  Thu 24-1 17:15 CI2 Mon 28-1 12:00 CI2 Wed 30-1 13:00 PA4 Sat 2-2 20:15 LV3 Press & Industry SCREENING  Fri 25-1 12:00 DWBZ





The Island of St. Matthews

Grenzgänger Crossing Boundaries Florian Flicker

Kevin Jerome Everson


USA, 2013 | colour/b&w, DCP, 70 min, English Prod: Madeleine Molyneaux, Kevin Jerome Everson | Prod Comp: Picture Palace Pictures, Trilobite-ArtsDAC | Sc: Kevin Jerome Everson | Cam: Kevin Jerome Everson | Ed: Kevin Jerome Everson | Print/ Sales: Picture Palace Pictures  Public SCREENINGS  Sun 27-1 17:00 CI6 Tue 29-1 12:15 PA6 Wed 30-1 10:00 LV5 Press & Industry SCREENING  Sun 27-1 09:00 LV2

Years ago, Kevin Jerome Everson asked his aunt where their old family photos had gone. Her answer – ‘they were all lost in the flood’ – sparked this trip to meet the inhabitants of Westport, a small town just to the west of Columbus, Mississippi. They reminisce about the great flood of the Tombigbee River in 1973, when some people lost everything. Many heirlooms and photos of the Eversons were swallowed up, and part of the family history disappeared. The independently operating and very productive filmmaker Everson has made many films about the workingclass culture of black Americans. Now he presents a serenade to the black inhabitants along the Tombigbee River: his family, a barber, a lock keeper, passers-by. They use the river for many different purposes. In long shots on 16mm stock, Everson shows a water skier, a lock filling up and a baptism in the same river that caused so much misery.

Austria, 2012 | colour, DCP, 87 min, German Prod: Mathias Forberg, Viktoria Salcher | Prod Comp: Prisma Film- und Fernsehproduktion GmbH | Sc: Florian Flicker, based on a novel by Karl Schönherr | Cam: Martin Gschlacht | Ed: Karina Ressler | Prod Des: Katharina Wöppermann | Sound Des: Heinz Ebner, Veronika Hlawatsch, Bernhard Maisch | Music: Eva Jantschitsch | With: Andreas Lust, Andrea Wenzl, Stefan Pohl | Print/Sales: Prisma Film- und Fernsehproduktion GmbH | Public SCREENINGS  Tue 29-1 21:30 PA7 Fri 1-2 22:30 CI2 Sat 2-2 09:45 PA5

L’enclos du temps


The Enclosure of Time Jean-Charles Fitoussi

France, 2012 | colour, DCP, 67 min, French Prod: Jean-Charles Fitoussi | Prod Comp: Aura été production | Cam: Jean-Charles Fitoussi | Ed: JeanCharles Fitoussi | Sound Des: JeanCharles Fitoussi, Erwan Kerzanet, Bruno Ehlinger, Ivan Gariel | With: Théophile Gady, Valentine Krasnochok, Bruno Passera, Luis Miguel Cintra, Frédéric Schiffter, Gabrielle Passera Chevallier, Jean-Claude Passera | Print/Sales: Aura été production Public SCREENINGS  Thu 24-1 16:30 CI4 25-1 09:15 PA6 Fri Sat 26-1 21:45 CI6 Thu 31-1 20:15 CI2


You can’t build castles on chance, they say in France, but Jean-Charles Fitoussi contradicts that. Under the name ‘The Castle of Coincidence’, he has been making films ever since 2002 in which chance is allowed to play a leading role, both in the stories and during the making. The Enclosure of Time is the eighth part in the series, which revolves around the key character, Saturn, and in which the tragicomic insecurity of life repeatedly predominates. This theme may sound ponderous, but Fitoussi – who has a background in philosophy and architecture and learnt filmmaking under Straub and Huillet – manages to keep his films lightfooted, filled with humorous references to the classics. In this way, the old Dr William Stein, who brings the dead back to life, is a great-grandson of Dr Frankenstein. But the nurse he sends when Théophile’s grandpa gets ill is something very different.


Florian Flicker’s first feature in 12 years takes the triangluar relationship from Der Überfall and the Western ascetics from No Name City and combines them in a nerve-racking, sultry thriller. It’s 2001, at the EU border between Austria and Slovakia. Innkeepers Hans and Jana earn some cash by smuggling immigrants across the border. When the army hears of their illegal activities, they send the young soldier Ronnie to see them. He has to collect evidence against the couple by flirting with Jana. This increases the mutual mistrust – also between Hans and Jana. Flicker, who doesn’t take sides, explores boundaries: where does love end and where does treachery begin? The dusty boredom and bright blue skies evoke memories of classic Westerns. That only contributes to the shimmering psychological tension that slowly creeps under your skin in this contemporary adaptation of Der Weibsteufel (1914).

Matteo Garrone

Italy/France, 2012 | DCP, 115 min, Italian/English Prod: Domenico Procacci, Matteo Garrone | Prod Comp: Archimede Film, Fandango, Le Pacte, Garance Capital | Sc: Maurizio Braucci, Ugo Chiti, Matteo Garrone, Massimo Gaudioso | Cam: Marco Onorato | Ed: Marco Spoletini | Prod Des: Paolo Bonfini | Music: Alexandre Desplat | Sales: Fandango Portobello | Distr NL: Imagine Nederland Public SCREENINGS  Sat 26-1 14:30 LV5 Sun 27-1 11:45 SGZ Tue 29-1 21:45 SGZ Fri 1-2 20:00 DJZ

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Press & Industry SCREENINGS  Fri 25-1 14:30 DWBZ [e.s.] Wed 30-1 15:00 DWBZ [e.s.]

In the same year when Woody Allen filmed a subplot about an insignificant Italian who was blasted from nowhere to hero of a reality show (To Rome With Love), Matteo Garrone (well known from the prize-winning Gomorrah, 2008) made a film about an insignificant Italian who wrongly believes the same thing happened to him. After the tough Mafia film Gomorrah, Garrone surprises us with a comedy of manners that pokes fun at the Italian obsession with television fame. Luciano does an audition for Grande Fratello (the Italian Big Brother) and then, all over the place, he sees ‘scouts’ for the programme who come to observe him in his everyday life. With Italian passion and machismo, Luciano challenges his wife’s reality checks, while the story displays parallels with Christianity – from always being seen or wanting to be, to the opportunism of good deeds intended to gain access to a better world. Winner of the Grand Jury Prize in Cannes.






Japan, 2012 | colour, DCP, 72 min, Japanese Prod: Naomi Kawase | Prod Comp: Nara International Film Festival | Sc: Pedro GonzálezRubio | Cam: Pedro GonzálezRubio | Ed: Pedro González-Rubio | Prod Des: Pedro González-Rubio | Sound Des: Osamu Takizawa  | Music: Hector Ruiz | With: Fukui Sakae, Kotani Shigefumi, Yanase Tetsuo, Ikeo Ryo, Ikeo Noriko | Print/ Sales: Nara International Film Festival  Public SCREENINGS  Sat 26-1 11:30 CI4 Sun 27-1 09:30 CI6 Wed 30-1 17:15 CI2 Thu 31-1 17:30 LV3

La tendresse

Pedro González-Rubio

Tenderness Marion Hänsel

Pedro González-Rubio, who won the Tiger Award in 2010 with Alamar, was invited by Japanese filmmaker Naomi Kawase to take part in the project NARAtive at her Nara Film Festival. The only condition was that the film be set in the surroundings of her birthplace, Nara, the capital of Japan in the eighth century. So the documentary Inori shows a life that has almost come to a halt in a mountain village beautifully situated in a valley between thickly forested hills with an abundance of water. You used to hear children playing everywhere, one inhabitant remembers, but now the school has closed. The lack of work has driven young people away. Only a few old people have remained behind, musing during their daily activities about the way things were. Soon the mountain will just be a mountain, someone remarks nostalgically. GonzálezRubio records it in calm images in which nature is ever present. A certain thematic link with Alamar is obvious.

For the first time in her lengthy career, Marion Hänsel entirely wrote her own screenplay for one of her films – without a cowriter and, possibly even more important, without a literary source to fall back on. The result is a surprisingly light road movie that does justice to its title, not only focusing on the tenderness between parents and son, but also between the son and his lover, and between the divorced parents themselves. Frans and Lisa have already separated for 15 years, so what is it that comes to the surface when they get in the car to drive from Brussels to the ski village Flaine deep in the Alps to pick up their injured son? Indifference? Jealousy? Friendship? Love? When they reach the village, designed in the 1970s by Le Corbusier, its concrete structures offer a unique background for this nimble reflection on broken love.


Belgium/France/Germany, 2013 | colour, DCP, 81 min, French Prod: Marion Hänsel, Cedomir Kolar, Ernst Szebedits | Prod Comp: Man’s Films Productions, A.S.A.P. Films, Neue Pegasos | Sc: Marion Hänsel | Cam: Jan Vancaillie | Ed: Michèle Hubinon | Prod Des: Thierry Leproust | Sound Des: Henri Morelle | Music: René-Marc Bini | With: Marilyne Canto, Olivier Gourmet, Adrien Jolivet, Sergi Lopez | Sales: Doc & Film International | Distr NL: Cinéart Netherlands Public SCREENINGS  Sun 27-1 17:00 PA1 Mon 28-1 18:15 PA5 Tue 29-1 17:00 CI1 Press & Industry SCREENING  Mon 28-1 09:15 PA2

White Epilepsy

Lee Towers: The Voice of Rotterdam

Philippe Grandrieux

Hans Heijnen

France, 2012 | colour, DCP, 69 min, no dialogue Prod: Annick Lemonnier | Prod Comp: EPILEPTIC | Sc: Philippe Grandrieux | Cam: Philippe Grandrieux | Ed: Philippe Grandrieux | Sound Des: Corinne Thévenon, Philippe Grandrieux, Emmanuel Soland | With: Hélène Rocheteau, Jean-Nicolas Dafflon, Anja Röttgerkamp, Dominique Dupuy | Print/Sales: EPILEPTIC Public SCREENINGS  Thu 24-1 22:30 CI2 Fri 25-1 16:30 CI6 Sat 2-2 17:45 LV3


They are ghosts – do they really exist? A film like a dream or a nightmare. In the middle of a forest, two naked bodies, those of a man and a woman, perform a very slow and hideous choreography. It looks like an ageold ritual about domination and submission. The male ghost withdraws, but the woman doesn’t let him go: she throws herself at him. Philippe Grandrieux, the maker of Sombre (1999) and countless other films, often experimental, shows the ceremonial wrestling in slow motion, with the bodies sometimes seeming no more than a collection of muscles, tendons and pale flesh, as in paintings by Francis Bacon. Apart from being terrifying and violent, the dance occasionally looks sensual. White Epilepsy, created in collaboration with dancer Hélène Rocheteau, is the first part of the trilogy Unrest. The theme linking the three films/ installations is fear, with the viewer watching from a safe position – as if through a slit in a castle wall.



Netherlands, 2013 | colour/ b&w, DCP, 93 min, Dutch Prod: Hans Heijnen | Sc: Hans Heijnen | Cam: Adri Schrover | Ed: Ozan Olçay | Sound Des: Bert van den Dungen | Print/Sales: Hans Heijnen Public SCREENINGS  Sun 27-1 19:00 LUX Mon 28-1 11:30 CI6 Thu 31-1 21:45 CI4 Sat 2-2 09:00 LV1 Press & Industry SCREENING  Sat 26-1 11:45 CI3

Lee Towers: The singing crane driver. The Voice of Rotterdam. The man with the deep voice, spectacles, golden microphone and mobile elbows. His concerts in Rotterdam’s Ahoy arena were Galas of the Year, Las Vegas style. Complete with big band, showbiz stairs and dancers. In the 1980s such extravaganzas were unknown in the sober Netherlands. But few know the man behind the glamorous exterior: Leen Huijzer from Bolnes. A loving father, a calm and hard-working man who likes to tell jokes. We follow the singer around the time of the concert he gave in 2011 in Ahoy, after an 11-year break. The rehearsals and the emotions contrast starkly with the calm at home with his wife Laura. We also see Towers at his countless performances throughout the country. From herring parties to pirate festivals. And that, when he’s standing in the kitchen of a bar beside buckets of mayonnaise waiting to go on stage, he honestly states: ‘ I love my trade, really.’






Centro histórico

While the loved ones of the deceased mourn and pull themselves together, at the crematorium the dead are taken care of. Using stylish shots, Heise records the activities between Christmas Eve and the New Year in this ordered German enterprise. Without interviews or commentary, the long scenes show how advanced software programmes run the oldfashioned ovens, how employees push coffins through empty spaces and how equipment is maintained by technicians. In the meantime, a Christmas cake stands untouched on a desk. In the background, we always hear the humming of all kinds of machinery and there is very little talking. In solemn silence, an employee checks the deceased while another one puts ash in the grinding mill. With a sharp eye for detail, Heise reveals a confrontational world devoid of any magic; a both alienating and comforting experience. In the style of Nikolaus Geyrhalter (Our Daily Bread), Heise shows what happens to us after we’ve died.

The Portuguese city of Guimarães was European Cultural Capital for 2012. To celebrate that, four directors – two local maestros, a neighbour (Basque) and an outsider (Finnish) – were asked to make an omnibus film on ‘the stories the city has to tell’. They give an idiosyncratic, varied picture in substance, style and tone. Aki Kaurismäki starts off with a bittersweet comedy without dialogue about a lonely barman, who sees a lot without really experiencing anything. Pedro Costa takes a reflective dive into the colonial past using a lift ride with a Cape Verdean migrant and a Portuguese soldier. In the only documentary part, the Basque Victor Erice pays homage to Guimarães’ 150-year-old textile industry, now almost entirely outsourced to Asia. The final word is for the world’s oldest active filmmaker, Manoel de Oliveira, with a spicy satire on wildly photographing tourists in Guimarães’ historic centre.

Consequence Thomas Heise

Germany, 2012 | colour, video, 65 min, German Prod: Meike Martens | Prod Comp: Blinker Filmproduktion GmbH | Sc: Thomas Heise | Cam: Robert Nickolaus | Ed: Mike Gürgen | Sound Des: Dietmar Künze | Print/ Sales: Deckert Distribution GmbH Public SCREENINGS  Thu 24-1 22:002 LV5 Sat 26-1 09:452 CI7 Fri 1-2 17:002 CI3

Historic Centre Aki Kaurismäki, Pedro Costa, Víctor Erice, Manoel de Oliveira

Portugal, 2012 | colour, DCP, 90 min, Portuguese Prod: Rodrigo Areias | Prod Comp: Fundação Cidade Guimarães | Sc: Aki Kaurismäki, Pedro Costa, Victor Erice, Manoel de Oliveira | Cam: Timo Salminen, Pedro Costa, Lonardo Simoes, Valentín Alvarez, Fransisco Lagrifa Oliveira | With: Ilkka Koivula, António Santos, Manuel Furtado, Valdemar Santos, Amândio Martins, Ricardo Trêpa | Print/ Sales: Urban Distribution International Public SCREENINGS  Thu 24-1 11:00 LV1 Fri 25-1 21:45 CI6 Wed 30-1 19:15 CI6

The View from Our House

Rumah dan musim hujan One Day When the Rain Falls Ifa Isfansyah


Indonesia, 2013 | colour, video, 98 min, Indonesian Prod: Frederica, Ifa Isfansyah | Prod Comp: Falcon Pictures | Sc: Ifa Isfansyah | Cam: Gandang Warah | Ed: Edi Cahyono, Greg Arya | Sound Des: Khikmawan Santosa, Jantra Suryaman | Music: Krisna Purna Ratmara | Sales: Falcon Pictures | Distr NL: Hubert Bals Fund Public SCREENINGS  Tue 29-1 18:302 PA2 Wed 30-1 14:152 CI3 Thu 31-1 19:302 LV5 2-2 16:45 LV5 Sat Press & Industry SCREENING  Mon 28-1 18:30 CI5


In three chapters, the relationships are sketched within one Indonesian family. The first scenes are set in the father’s house, just after the dinner which ends the fast. The family is sitting at the table, minus mother: son Ragil with another new girlfriend, son Raga who still lives at home and daughter Ade. After the departure of the others, Raga and his father are left behind. Their visibly loving relationship, portrayed calmly and implicitly, is overshadowed by a secret. Chapter two is set on the way to, and in, the house of the divorced mother, where the daughter Ade lives and experiences events that transcend normal reasoning. The last part looks at Ragil, girlfriend Sukma and an ex-girlfriend who suddenly turns up. Although each chapter is told in the same calm tempo, they are different in character and tone and we see three films in one: drama, horror and comedy – always with an unexpected turn.


Anthea Kennedy, Ian Wiblin


UK, 2013 | colour, video, 76 min, English Prod: Anthea Kennedy, Ian Wiblin | Sc: Anthea Kennedy, Ian Wiblin | Cam: Ian Wiblin | Ed: Anthea Kennedy | Sound Des: Philippe Ciompi | With: voice of Maren Hobein | Print/Sales: Anthea Kennedy | Public SCREENINGS  Thu 24-1 16:45 LV1 Fri 25-1 16:15 PA3 Sun 27-1 20:15 CI7 Press & Industry SCREENING  Tue 29-1 15:00 CI5

A photographer, a woman like any other, describes the everyday horrors of the Nazi regime in the prelude to World War II. Every day she walks past a SA prison, where the screaming of tortured prisoners can be heard through the walls. While the soundtrack presents excerpts from the diaries of this woman, we see the surroundings of this prison as it now is, filmed in static, tactile video and Super-8 shots. The notes continue chronologically in the voice-over (loosely based on real diaries and letters by an aunt of one of the makers) as the images keep returning to the same place from different corners and different seasons – the repetition of the recollection. When the narrator moves to England, the pictures remain in Germany, by those memories that will never fade.





Nippon no higeki

Something Necessary


Kenya/Germany, 2013 | colour, DCP, 85 min, Kikuyu/ English/Swahili Prod: Sarika Hemi Lakhani, Ginger Wilson | Prod Comp: One Fine Day Films, Ginger Ink Films | Sc: Mungai Kiroga, JC Niala | Cam: Adeyinka Edward Daniyan | Ed: Justin Kariuki Wachira | Prod Des: Carol Gaciku Wahome | Sound Des: Lucas Seeberger | Music: Matthias Petsche | With: Susan Wanjiru, Walter Lagat, David Koprotich, Anne Kimani, Caroline Kibet | Sales: VODconsulting | Distr NL: Hubert Bals Fund | Public SCREENINGS  Mon 28-1 19:15 CI6 Tue 29-1 09:00 LV1 Wed 30-1 15:00 CI7 Sat 2-2 18:15 PA6 Press & Industry SCREENING  Mon 28-1 12:00 LV5

South Korea, 2012 | colour, video, 104 min, Korean Prod: Kim Soon-mo | Prod Comp: Kim Ki-Duk Film | Sc: Kim Ki-Duk | Cam: Jo Yeong-Jik | Ed: Kim Ki-Duk | Prod Des: Lee Hyun-Joo | Sound Des: Lee Seung-Yeop  | Music: Park In-Young | With: Cho Min-Soo, Lee Jung-Jin  | Sales: Finecut Co, Ltd | Distr NL: Contact Film Public SCREENINGS  Tue 29-1 22:00 PA4 Wed 30-1 18:45 PA2 Sat 2-2 15:15 PA3

Judy Kibinge

Japan’s Tragedy Kobayashi Masahiro

Election violence based on ethnicity is a recurrent phenomenon in Kenya, but the destruction in 2007 was unparalleled. Youth gangs egged on by politicians roamed the country for three months, plundering, raping and murdering. Some 1200 people were killed. Over 300,000 Kenyans fled. The International Court of Justice in The Hague is still investigating suspects. Anne is one of the victims: her husband dead, son in a coma, farm destroyed and she herself ended up in a hospital bed. For the sake of her child, she wants to build up her life again, whatever the cost. She meets Joseph, who was on the side of the culprits during the riots. He is burdened by guilt, but is still under the control of the gang he was a member of. Both look for a way out. Something Necessary tells the true story. The film primarily shows how complex things are when it’s not about the statistics of a conflict but the people behind the numbers.

This restrained family drama, shot almost entirely in black-and-white, is dedicated to the victims of the earthquake and tsunami in 2011, but also to the 31,560 people who committed suicide in Japan in 2010. The famous actor Nakadai Tatsuya (Kagemusha, Ran) plays a retired widower diagnosed with lung cancer. He doesn’t want to be treated, shuts himself up in the room with the altar for his deceased wife and refuses food and drink. This, despite the pleas of his son who lost his wife and daughter in the tsunami. Japan’s Tragedy is set entirely in this house, while in flashbacks the prior history unfolds: the son, who is hit by unemployment and depression, is sad that he cannot live up to the expectations of parents and family. Kobayashi (The Rebirth), Filmmaker in Focus 2008 and never afraid to tackle issues that are sensitive in Japan, chooses a sober, apparently classic style. This story about helplessness and loneliness again reveals his humanist gaze.


Japan, 2012 | colour/b&w, video, 101 min, Japanese Prod: Kobayashi Masahiro | Prod Comp: Monkey Town Productions | Sc: Kobayashi Masahiro | Cam: Ooki Sumio | Ed: Kaneko Naoki | Prod Des: Yamazaki Teru | Sound Des: Fukuda Shin | With: Nakadai Tatsuya, Kitamura Kazuki | Print/Sales: Monkey Town Productions Public SCREENINGS  Thu 24-1 17:00 CI1 Thu 31-1 22:00 PA4 Fri 1-2 12:30 PA2 Sat 2-2 12:15 CI7 Press & Industry SCREENING  Mon 28-1 13:45 PA5


Spring Breakers

Kim Ki-Duk

Harmony Korine

This feature by Kim Ki-Duk, which won the Golden Lion at the Venice film Festival, is closer to harsh, strange and morally confusing predecessors like Samaritan Girl and Bin-jip/3-Iron than to his modest contemplation Spring, Summer, Fall, Winter... and Spring. Unlike the breathtaking natural beauty of that Buddhist reflection, Pieta is dark, nerve racking, urban and coarse. Yet the theme is just as existential. An unscrupulous sidekick in Seoul, who cruelly maims people who don’t pay their debts to a usurer in order to claim insurance money, is suddenly confronted with his long-lost mother. She pursues him until he allows her into his solitary, immoral life. And that brings him doubts about what he’s doing and who he is. In addition, Kim mixes the Christian symbolism of the pietà (Mary mourning over the dead Jesus on her lap) with black humour and sexual tension between mother and son.

The most mainstream film of perennial enfant terrible Harmony Korine (Gummo, 1997; Mister Lonely, 2007) is the most extreme for his protagonists: certainly for fresh Disney stars Selena Gomez and Vanessa Hudgens and to some extent also for James Franco, who plays a violent drug dealer, but then hilariously over the top, as he takes the still-naive bikini girls in Florida under his wing. With virtuosity, Korine films the gradual derailing of their pursuit of sex, alcohol and drugs, which forms the hollow core of the American ‘spring break’ tradition, in glossy, sexy, always undulating images (supported by Skrillex’s dubstep soundtrack). The only similarity with his previous feature, Trash Humpers (2009), shot on scratchy VHS tapes, is that the form again seamlessly matches the content. At the Venice festival, Korine called this a ‘liquid narrative’. ‘It’s meant to be about surfaces. The culture is about surfaces.’

USA, 2012 | colour, DCP, 92 min, English Prod: Chris Hanley, Jordan Gertner, Charles-Marie Anthonioz, David Zander | Prod Comp: Muse Films, Radar Pictures, O’Salvation Cine Ltd., Iconoclast Productions | Sc: Harmony Korine | Cam: Benoit Debie | Ed: Douglas Crise | Prod Des: Elliott Hostetter | Sound Des: Aaron Glascock | With: James Franco, Selena Gomez, Vanessa Hudgens, Ashley Benson, Rachel Korine, Gucci Mane; Heather Morris | Sales: Kinology | Distr NL: Independent Films Nederland bv | Public SCREENINGS  Thu 24-1 21:45 CI4 Fri 25-1 22:15 PA1 Sat 26-1 15:30 PA6 Sat 2-2 22:15 PA1 Press & Industry SCREENING  Wed 30-1 18:30 CI5








Bellas mariposas Pretty Butterflies Salvatore Mereu

Pablo Larraín


Chile/France/USA, 2012 | colour/b&w, DCP, 118 min, Spanish Prod: Juan de Dios Larraín, Daniel Marc Dreifuss | Prod Comp: Participant Media, Fabula Producciones | Sc: Pedro Peirano, based on a play by Antonio Skarmeta | Cam: Sergio Armstrong | Ed: Andrea Chignoli | Prod Des: Estefania Larraín | Sound Des: Miguel Hormazabal | With: Gael García Bernal, Alfredo Castro, Antónia Zegers, Luis Gnecco, Marcial Tagle, Nastor Cantillana, Jaime Vadell, Pascal Monteiro | Sales: Funny Balloons | Distr NL: Filmfreak Distribution Public SCREENINGS  Sun 27-1 19:00 DJZ Mon 28-1 19:00 PA1 Sat 2-2 21:30 PA7

[d.s.] [d.s.] [d.s.]

Press & Industry SCREENING  Wed 30-1 15:30 CI5 [e.s.]

The third film by Pablo Larraín about the Chilean Pinochet dictatorship, which lasted from 1973 to 1990. After portraying life under the dictatorship (Tony Manero, 2008, KNF winner in Rotterdam) and how it started (Post mortem, 2010), he now shows the deathblow for Pinochet’s regime: the pro-democratic ‘No’ vote in a referendum held in 1988 under international pressure. This time, Alfredo Castro, the protagonist of Tony Manero and Post mortem, has an important supporting role, while the lead is for Gael García Bernal, as a commercial advertising man who encourages the gloomy opposition to fight a cheerful and optimistic ‘No’ campaign. After the highly stylised design and black-comic tone of his two previous films, Larraín now uses a reportage style in which original news and advertising images have been integrated seamlessly into the film, thanks to the use of old U-matic video cameras. Also see Prófugos in Signals: Changing Channels.


Italy, 2012 | colour, DCP, 102 min, Italian Prod: Elisabetta Soddu | Prod Comp: Viacolvento s.r.l. | Sc: Salvatore Mereu, based on a story by Sergio Atzeni | Cam: Massimo Foletti | Ed: Paola Freddi | Prod Des: Pietro Rais, Marianna Sciveres | Sound Des: Valentino Gianni, Stefano Sabatini | With: Sara Podda, Maya Mulas, Davide Todde, Micaela Ramazzotti, Luciano Curreli, Maria Loi, Rosalba Piras | Print: Viacolvento s.r.l. | Sales: RAMONDAParis Public SCREENINGS  Tue 29-1 18:45 PA5 Wed 30-1 16:30 PA1 Thu 31-1 18:45 PA5 Sat 2-2 18:30 PA7 Press & Industry SCREENING  Mon 28-1 13:15 PA2

V tumane

Ai to Makoto

The western frontier of the Soviet Union in 1942; the local partisans are offering fierce resistance to the German occupiers. Two partisans are ordered to kill a local man who is suspected of collaborating. Sushenya, as the man is known, tries desperately to prove his innocence, while he is taken into the forest by his comrades. In the Fog is based on the book by the White Russian writer and social activist Vasil Bykov (1924-2003). The Ukrainian Sergei Loznitsa (My Joy) aptly portrays the ambivalent, heavyweight war drama in an infinite number of shades of grey. Co-produced by the Dutch company Lemming Film, with the support of the Netherlands Film Fund, In the Fog was a CineMart project in 2011. At the Cannes festival, this intriguing moral tale was awarded by FIPRESCI, the federation of film journalists. Also see Letter in Tiger Awards Competition for Short Films.

Miike Takashi’s versatility needn’t really surprise us, yet the great contrast with Lesson of the Evil, Miike’s other film at the IFFR this year, is sharp to put it mildly. Blood, bullets and screaming have given way to the song and dance of the exuberant For Love’s Sake, in which love reigns supreme. The story is inspired by a popular manga from the 1970s by Ikki Kajiwara: The Legend of Love and Sincerity, which you could call the Japanese West Side Story. The respectable rich girl Ai falls for the hooligan Makoto, a boy from the lower class who saved her when she had a skiing accident. Ai does everything – almost as a slave – to help him climb the ladder, but you can’t tame a wildcat. The impossible love unfolds in a richly designed setting filled with choreographed fights, slapstick violence, campy musical numbers with Bollywood dance and an animation here and there. Old-fashioned enjoyment. Also see Lesson of the Evil in this section.

In the Fog Sergei Loznitsa

Germany/Russia/Belarus/ Netherlands/Latvia, 2012 | colour, DCP, 128 min, Russian Prod: Heino Deckert | Prod Comp: ma. fiction GmbH | Sc: Sergei Loznitsa, based on a novel by Vasil Bykov | Cam: Oleg Mutu | Ed: Danielius Kokanauskis | Prod Des: Kirill Shuvalov | Sound Des: Vladimir Golovnitski | With: Vladimir Svirski, Vlad Abashin, Sergei Kolesov, Vlad Ivanov, Julia Peresild, Nadezhda Markina | Sales: The Match Factory GmbH | Distr NL: Contact Film | Public SCREENINGS  Thu 24-1 16:15 PA3 Thu 31-1 21:30 PA2 Fri 1-2 15:30 PA2


Caterina (11) lives in a sombre, povertystricken neighbourhood of Cagliari, capital of Sardinia. She has a tyrannical father and a horde of brothers and sisters, most of whom are up to no good. And yet the girl is in a good mood. She talks openly – occasionally straight into the camera – about her love for Gigi, the boy next door, and her bond with her best friend Luna. Pretty Butterflies, based on a story by Sergio Atzeni, follows a day in Caterina’s life: the day on which she fears for Gigi because her brother Tonio has just threatened to kill him, and discovers that Gigi is in love with the local slut. But it is also the day when Caterina and Luna go to the beach, eats lots of ice cream, giggle and swim. In the best Italian tradition of films like Brutti, sporchi e cattivi and the recent Gomorrah, Salvatore Mereu shows poverty and misery, but thanks to Caterina’s gaze, the film is also a contemporary version of Zazie dans le métro – filled with youthful recklessness and unruffled optimism. Nominated for The Big Screen Award.


For Love’s Sake Miike Takashi

Japan, 2012 | colour, video, 134 min, Japanese Prod: Shinichiro Inoue, Yasushi Shiina, Takayuki Sugisaki | Prod Comp: Kadokawa Shoten Co., Ltd. | Sc: Takuma Takayuki | Cam: Kita Nobuyasu | Ed: Yamashita Kenji | Prod Des: Hayashida Yuji  | Sound Des: Nakamura Jun | Music: Kobayashi Takeshi | With: Tsumabuki Satoshi, Takei Emi, Saitoh Takumi, Ono Ito, Ando Sakura, Maeda Ken, Kato Seishiro | Choreography: Suzuki Papaya | Print/Sales: Kadokawa Shoten Co., Ltd. | Public SCREENINGS  Sat 26-1 13:15 LUX 2-2 12:00 LUX Sat





Akuno kyoten


Lesson of the Evil Miike Takashi

Japan, 2012 | colour, video, 129 min, Japanese Prod: Koji Higashi, Usui Hisashi, Saka Misako | Prod Comp: Toho International Co., OLM, Inc. | Sc: Miike Takashi, based on the novel by Yusuke Kishi | Cam: Kita Nobuyasu | Ed: Yamashita Kenji  | Prod Des: Hayashida Yushi, Sakushima Eri  | Sound Des: Shibasaki Kenji | Music: Endo Koji | With: Ito Hideaki, Nikaido Fumi, Sometani Shota, Hayashi Kento, Asaka Kodai, Mizuno Erina, Takayuki Yamada | Print/Sales: Toho International Co. | Public SCREENINGS  Thu 24-1 19:15 CI1 Sat 26-1 22:15 CI7 Wed 30-1 15:30 DJZ Thu 31-1 19:30 LUX Press & Industry SCREENING  Thu 31-1 12:15 DJZ

Mr Hasumi, English teacher at a Japanese secondary school, is every teenager’s dream. He is handsome, friendly and cool. He is also popular among the other teachers because of his clever methods of combating cribbing. Mr Hasumi defends his pupils: he efficiently tackles a gym teacher who can’t keep his hands off the kids. His motives are however far from altruistic. That’s no surprise. The viewer knows right from the terrifying start that disaster is looming. This clever thriller gradually goes off the rails in spilling blood à la Battle Royale meets American Psycho. Miike’s masterful signature can be seen in the crafted narrative, the stunning art direction and creative torture techniques, with a soldering iron proving its usefulness this time. Film for the fans. The creepy soundtrack, in which several versions of Kurt Weill and Bertold Brecht’s Mack the Knife can be heard, will reverberate in everyone’s head for a long time to come. Also see For Love’s Sake in this section.



Indonesia, 2012 | colour, DCP, 120 min, Indonesian/ Dutch/English/Japanese/ Javanese/Cantonese/Latin Prod: Yoseph Iswarahadi | Prod Comp: Puskat Pictures/PT Alam Media | Sc: Armantono, Garin Nugroho | Cam: Teoh Gay Hian | Ed: Wawan I. Wibowo | Prod Des: Ong Hari Wahyu | Sound Des: Satrio Budiono | Music: Djaduk Ferianto | With: Nirwan Dewanto, Annisa Hertami, Wouter Braaf | Print/ Sales: Puskat Pictures/PT Alam Media | Public SCREENINGS  Tue 29-1 19:30 PA1 Wed 30-1 13:15 PA3 Fri 1-2 18:30 PA7 Sat 2-2 09:30 PA7 Press & Industry SCREENING  Mon 28-1 20:45 PA7

Kuroyuri danchi


Since the overwhelming success of Ring, Ring 2 and Dark Water, Nakata Hideo has been one of the best-known representatives of J-Horror: Japanese horror focusing on the psychological and the supernatural. After a series of American remakes, things were fairly quiet on this front, but with the oppressive film The Complex, Nakata is back on familiar territory. The student nurse Asuka has moved with her parents and little brother to an apartment in a fairly dilapidated building. It’s a deserted, quiet spot. The neighbour shies away from any form of contact. At night, he keeps Asuka awake with exasperating, scratching sounds. Her family doesn’t seem to notice at all. In addition, it is impolite to complain to the neighbours if you’ve just moved in somewhere. Yet the girl sets off alone to investigate. Entirely in accordance with the laws of the genre, this starts off a terrifying sequence of events that severely try Asuka’s mental state.

On 3 April 1948, a rebellion broke out on the Korean island of Jeju, resulting in conflicts that lasted until September 1954 and tens of thousands of people dead. There are still disagreements about the cause of the bloodbath; thanks to the dubious role played by the South Korean government, the events were ignored for a long time in Korean history. O Muel, who himself comes from this island south of the Korean peninsula, now pays homage to the victims with a requiem. He does not focus on the large-scale struggle, but on the stories of ordinary people, occasionally with black humour and then again sad: quarrels, conflicts, reconciliation and comfort. The most important part of the film focuses on one of the forgotten stories in the rebellion, in which a group of villagers flees to a cave. They hide underground for months, cold and numb, far too close for comfort – just like the potatoes to which the title refers.

The Complex Nakata Hideo


Japan, 2013 | colour, video, 106 min, Japanese Prod: Yuji Ishida | Prod Comp: Nikkatsu Corporation | Sc: Miyake Ryuta, Kato Junya | Cam: Hayashi Junichiro | Ed: Aono Naoko | Prod Des: Yakuchi Kyoko | Sound Des: Yano Masato | Music: Kawai Kenji | With: Maeda Atsuko, Narimiya Hiroki, Katsumura Masanobu, Nishida Naomi, Tanaka Kanau | Print/ Sales: Nikkatsu Corporation Public SCREENINGS  Sun 27-1 22:00 PA4 Mon 28-1 22:15 LUX Fri 1-2 22:00 PA4 Sat 2-2 22:00 LV5 Press & Industry SCREENING  Sat 26-1 15:30 DJZ


Soegijapranata, or Soegija as he was called, was the first Javanese bishop to be installed in the Dutch East Indies. That happened in 1940, the year when Japanese troops invaded Indonesia. Garin Nugroho tells the story of Indonesia’s complex multicultural society until after its independence, based on various characters whose lives touched each other and who were influenced by the ideas of Soegija. For instance, there is the nurse Maryem, whose brother is shot in the street. And Ling Ling, who is separated from her mother by the Japanese. And of course there are also roles for Dutch people: photographer Hendrick and soldier Robert. Nugroho shows there is no such thing as absolute good and evil; that the Dutch were anything but sweet, and that not all Japanese entered the war with great conviction. Nugroho previously made the IFFR opening films Leaf on a Pillow (1998) and Opera Jawa (2006). Soegija is nominated for The Big Screen Award.


Jiseul O Muel


South Korea, 2012 | b&w, DCP, 108 min, Korean Prod: Ko Hyuk-Jin | Prod Comp: Japari Film | Sc: O Muel | Cam: Yang Jung-Hoon | Ed: Lee Do-Hyun | Sound Des: Lee Sang-Min | Music: Jeon Song-E | With: Sung Min-Chul, Yang Jung-Won, Oh Young-Soon, Moon Suk-Bum, Jang Kyung-Sub, Uh Sung-Wook | Print/Sales: Indiestory Inc. Public SCREENINGS  Thu 31-1 19:15 CI6 Fri 1-2 22:00 LV5 Sat 2-2 12:00 CI2 Press & Industry SCREENING  Wed 30-1 10:15 CI5




USA/Greece, 2012 | colour, video, 80 min, English/Japanese Prod: Athina Rachel Tsangari | Prod Comp: Haos Film | Sc: Atsuko Okatsuka, Mike Ott | Cam: Mike Gioulakis | Ed: David Nordstrom | Prod Des: WenDee Cuneo | Sound Des: Ron Salaises | Music: María Huld Markan Sigfúsdóttir | With: Atsuko Okatsuka, Cory Zacharia, John Brotherton, Stephen Tobolowsky | Print/Sales: Haos Film Public SCREENINGS  Fri 25-1 22:15 CI3 Wed 30-1 22:15 LV2 Thu 31-1 13:45 LV1 Fri 1-2 22:00 PA3


Pearblossom Hwy


Mike Ott

Park Chan-Wook

Pearblossom is a small desert town in California, where the Japanese immigrant Anne hangs out with the American Cory, who has not yet come out of the closet. Anna lives with her uncle and aunt and regularly calls her grandma in Japan, whom she misses terribly. To earn money for a trip to Japan, she works as a prostitute. Cory does nothing, except sing in an unsuccessful death-metal band and film himself, hoping to get a place in a reality show. Together with Cory’s conservative brother Jef, the two set off to San Francisco to look for Cory’s real father. The relationships between the three gradually emerge during the journey and it slowly becomes clear what lies behind the deeds (or lack thereof) of the travellers, whose life is set in grittily shot and depressing motel rooms, rainy streets and bars full of strangers, where the truth bubbles to the surface after you’ve had enough beer. The leading roles are played by Atsuko Okatsuka and Cory Zacharia, just as in Mike Ott’s first film, Littlerock.

It was Hitchcock’s Vertigo that made Park Chan-Wook decide to be a filmmaker. Blood-curdling tension, visual symbolism and characters who go off the straight-and-narrow in slow motion are regular ingredients in his films. Stoker, Park’s English-language debut, in which there is more than an echo of Hitchcock’s Shadow of a Doubt, is a new high point in his oeuvre. Evelyn Stoker and her daughter India try to come to terms with father Richard’s fatal car crash. The sudden arrival of Richard’s brother Charlie puts the two women emotionally even further off balance. India soon finds out that the mysterious uncle has a hidden agenda. But instead of reacting with fury or shock, she falls in love with him. The title refers to Bram Stoker, writer of Dracula. But there are no vampires in the plot. There is an opportunist charmer who is targeting the mother and daughter. Stoker is a dark sexualpsychological drama about murder and betrayal. Closing Film IFFR 2013.

International PREMIERE

South Korea, 2012 | colour, DCP, 99 min, English Prod: Ridley Scott, Tony Scott, Michael Costigan | Prod Comp: Scott Free Productions, Fox Searchlight Pictures, Indian Paintbrush | Sc: Wentworth Miller | Cam: Chunghoon Chung | Ed: Nicolas De Toth | Prod Des: Thérèse DePrez | Sound Des: Chuck Michael | Music: Clint Mansell | With: Mia Wasikowska, Matthew Goode, Nicole Kidman, Dermot Mulroney, Jacki Weaver, Lucas Till | Sales: Fox Searchlight Europe | Distr NL: Warner Bros. Pictures Holland Public SCREENING  Sat 2-2 21:00 DGZ


Hong Kong, 2012 | colour, DCP, 92 min, Cantonese Prod: Subi Liang | Prod Comp: Making Film Productions Limited | Sc: Pang Hocheung, Lam Chiu-wing, Luk Yee-sum | Cam: Jason Kwan | Ed: Wenders Li | Sound Des: Ken Wong | Music: Alan Wong, Janet Yung | With: Chapman To, Ronald Cheng, Dada Chan, Susan Shaw, Simon Loui, Matt Chow, Jacqueline Chan, Kristal Tin | Print/ Sales: Golden Scene Company Ltd. Public SCREENINGS  Thu 24-1 14:30 CI2 Fri 25-1 22:15 LUX Thu 31-1 20:15 LV3 Fri 1-2 22:30 PA1 Press & Industry SCREENING  Thu 31-1 12:30 CI4


Die Erbin

Pang Ho-cheung

The Heiress Ayse Polat

‘Your attention please. This film contains high doses of curses, political incorrectness, discrimination and sexual situations. Anyone who can’t cope with this has 10 seconds to leave the auditorium.’ Clearly, the latest film by provocateur Pang Ho-cheung is no paragon of good taste. Vulgaria is the humorous – occasionally evoking groans – story of down-and-out film producer To Wai-cheung (Chapman To) who explains to a group of film students what his profession exactly involves. It’s more like a confession than a lecture. One by one, the embarrassing depths of his career are plumbed, including a gruesome dinner with a Chinese Mafia boss who makes To do something indescribable with a mule. Pang is eager to show the banalities of making B-films (To is specialised in films with exploding body parts and/or porn). Yet the cheeky, satirical Vulgaria also has a heart – because the divorced film producer really wants nothing more than to make his little daughter proud.

Hülya is a young German-Turkish writer. Several years after the death of her father, she decides to write a novel about him. In order to get to know him better, she travels to Damal, the place where her father was born and grew up. She meets the people from his youth and reconstructs his life there – at school, at home and in the expansive landscape around the village. While she observes, she does not always get an equally positive picture of her father and the dramatic events that shaped his life and hers. Confusing memories fall into place. At the same time, present, past, reality and fantasy start mingling increasingly naturally and it becomes more and more clear that memory is a far-from-infallible instrument. Nature, idyllically one time and mercilessly next, forms the atmospheric decor for this reflection on the value of family bonds, love and honour.



Germany/Turkey, 2013 | colour, DCP, 72 min, Turkish Prod: Ayse Polat | Prod Comp: PunktPunktPunkt Filmproduktion | Sc: Ayse Polat | Cam: Anne Misselwitz | Ed: Levent Celebi, Ayse Polat | Prod Des: Güner Cagla | Sound Des: Stephan Blosche | Music: Efe Kirik | With: Oktay Cagla, Özlem Sagdic | Print/ Sales: PunktPunktPunkt Filmproduktion Public SCREENINGS  Sun 27-1 19:15 PA3 Mon 28-1 14:00 CI4 Tue 29-1 17:30 LV3 Thu 31-1 11:45 LV5 Press & Industry SCREENING  Sat 26-1 09:00 CI2





Ginger and Rosa

Trois exercises d’interpretation

Sally Potter

Cristi Puiu

UK/Denmark, 2012 | colour, DCP, 86 min, English Prod: Christopher Sheppard, Andrew Litvin, Jonas Allen | Prod Comp: Adventure Pictures, Miso Film | Sc: Sally Potter | Cam: Robbie Ryan | Ed: Anders Refn | Prod Des: Carlos Conti | With: Elle Fanning, Alice Englert, Alessandro Nivola, Christina Hendricks, Annette Bening, Timothy Spall | Print/Sales: The Match Factory GmbH | Public SCREENINGS  Fri 25-1 13:002 PA5 Tue 29-1 22:302 PA1 Fri 1-2 09:452 PA5 Sat 2-2 16:452 LV1 Press & Industry SCREENING  Thu 31-1 20:30 DJZ

The teenage girls Ginger and Rosa are best friends who grow up in London in the 1960s, under the real threat of a nuclear war as a result of the Cuba crisis in 1962. The friendship between the two is put to the test: Ginger becomes obsessed by her desire to take action and joins protest movements. In the meantime, Rosa falls for the charms of Ginger’s father, who has just left her mother. The mood of the restless 1960s, which is not only shaped by political changes but also by sexual liberation, is effectively captured in atmospheric images supported by a jazzy soundtrack (Dave Brubeck’s Take Five). Sally Potter (Orlando) took on a cast including Annette Bening, Alessandro Nivola and Mad Men’s Christina Hendricks alongside the widely-praised leading lady, Elle Fanning, who was 13 when the film was shot.


Romania/France, 2012 | colour, DCP, 157 min, French Prod: Cristi Puiu | Prod Comp: Chantiers Nomades | Cam: Luchian Ciobanu | Ed: Dragos Apetri, Thomas Johannsen | Sound Des: Jean-Paul Bernard | Print/Sales: Chantiers Nomades Public SCREENINGS  Fri 25-1 13:30 LV5 Sat 26-1 17:15 CI4

O Rio nos pertence

Morro dos Prazeres

This could be two films. Either it’s a film-noir thriller, in which information emerges in fits and starts in a rollercoaster ride to inevitable danger. Or it’s a psychological drama with a poetic bent, in which the viewer is immersed in the memories of the troubled protagonist. The protagonist is Marina, who returns to Rio de Janeiro after an absence of 10 years. The motivation was a mysterious postcard, but Marina herself doesn’t really know why she is back in town. She looks for answers with an ex-boyfriend and her sister, but doesn’t get any further. Gradually, daydreams and reality start to mingle and paranoia grips her. Rio Belongs to Us was made on a modest budget of less than 200,000 dollars, but that can’t be seen in the design. The camera effectively captures the light and space of the metropolis, which can be stunningly beautiful one minute and threatening the next.

Rio de Janeiro has some 700 favelas. The poorest of these slum districts have the most beautiful names, such as Morro dos Prazeres – Hill of Pleasures – where drugs gangs rule the roost and terrorise the population. To make matters worse, torrential rains in 2010 caused a mudslide resulting in 15 deaths and enormous havoc. Things were just starting to look up for these slums. Only two years earlier, the city council had introduced the Unidade de Polícia Pacificadora (UPP), a large-scale police force to combat the violence. This was of course in preparation for the football World Cup in 2014 and the Olympic Games in 2016. This skilful documentary shows life in the favela through the eyes of a policewoman, a bookseller, a community leader, a postman and a 13-year-old girl. Has their life got better in recent years? Does the UPP work, and is it as immune to corruption as the authorities say? And will protection be guaranteed after 2016?

Rio Belongs to Us Ricardo Pretti


Brazil, 2013 | colour, DCP, 75 min, Portuguese/English Prod: Rita Toledo | Prod Comp: Daza Produção Cultural LTDA ME | Sc: Ricardo Pretti | Cam: Ivo Lopes Araújo | Ed: Luiz Pretti, Gustavo Parente | Prod Des: Rita Toledo | Sound Des: Bernardo Uzeda | Music: Bernardo Uzeda | With: Leandra Leal, Mariana Ximenes, Jiddu Pinheiro | Sales: Daza Produção Cultural LTDA ME | Distr NL: Hubert Bals Fund Public SCREENINGS  Sat 26-1 21:45 PA3 Sun 27-1 13:30 CI4 Tue 29-1 12:00 LV2 Fri 1-2 20:00 CI2 Press & Industry SCREENING  Fri 25-1 12:45 PA6


This trilogy (consisting of the films The Cat is On the Chair, The Mouse is Under the Table and The Monkey is On the Branch) is the result of a workshop at the French artists’ studio Chantiers Nomades. Puiu was inspired by Three Conversations, the masterpiece by 19thcentury Russian philosopher Vladimir Solovyov. The treatise, subtitled ‘About War, Morality and Religion’, is embedded in refined character studies. In his subdued cinematography, Puiu always puts the acting first. In The Cat... Anne-Marie and her daughter Ludivine receive their old friends Diana and Bernabé for lunch. In The Mouse… the academic Ugo takes his childhood friend Jean-Benoit, a soldier, out to lunch with Patrick and his wife Marion. In The Monkey... we see the girlfriends Hillary, Perrine, Anne and Nathalie talk as they have lunch. All discuss life, friendship, war and faith. In the evening, all the groups meet in a light-footed scene in which they hold a séance.


Hill of Pleasures Maria Ramos


Netherlands/Brazil, 2013 | colour, video, 95 min, Portuguese Prod: Janneke Doolaard | Prod Comp: KeyDocs | Sc: Maria Augusta Ramos | Cam: Guy Gonçalves, Leo Bittencourt, Miguel Lindenberg | Ed: Karen Akerman | Print/Sales: KeyDocs Public SCREENINGS  Mon 28-1 18:30 PA2 Wed 30-1 16:15 PA3 Thu 31-1 11:45 LV1 Sat 2-2 14:15 LV5 Press & Industry SCREENING  Tue 29-1 13:30 PA2





El muerto y ser feliz

Spain/Argentina/France, 2012 | colour, DCP, 94 min, Spanish Prod: Luis Miñarro, José Nolla, Damián París | Prod Comp: Eddie Saeta S.A. Iconica, S.A., Lolita Films, | Sc: Lola Mayo, Javier Rebollo, Salvador Roselli | Cam: Santiago Racaj | Ed: Ángel Hernández Zoido | Prod Des: Miguel Ángel Rebollo | Sound Des: Pelayo Gutiérrez, Daniel Fontrodona | With: José Sacristán, Roxana Blanco, Valeria Alonso, Jorge Jellinek  | Print/ Sales: Urban Distribution International | Public SCREENINGS  Fri 25-1 20:00 CI7 Mon 28-1 21:30 PA2 Tue 29-1 20:00 CI2 Fri 1-2 15:45 PA5

Atambua 39° Celsius

The Dead Man and Being Happy Javier Rebollo

Riri Riza

With a yellow case filled with morphine, which he bought from a nurse who also offers erotic services, the terminally-ill ex-hitman Santos embarks on his last journey. The destination of this ‘everyman’ is just as uncertain as it is sure, because however capricious his course, he cannot avoid death. Or is there maybe a way to live on? In his old car, which he lovingly calls Camborio, the equally charming and impenetrable Santos travels across panoramic Argentine plains, staying in scruffy hotels. On the way, he has the company of a young woman who also has a bond with death. A loving road movie with occasionally unexpected absurd elements and a contrary addition: a voice-over that provides a commentary on events and makes us aware of the fact that we are watching a film. Winner of the FIPRESCI Prize from the international press in San Sebastian, where José Sacristán (Santos) won the best actor award.

Rootlessness gnaws at the souls of East Timorese refugees in the dusty border town of Atambua. Bus driver Ronaldo escaped when violence broke out over independence after the referendum in 1999. He left his wife and two daughters behind but took his son João with him. Embittered, he swears he will only return when his birthplace is Indonesian again. João is now a teenager who avoids his father, hangs out with friends and seeks solace in cassette recordings of his mother’s voice. Apart from Ronaldo being sacked for drinking, not much happens in their lives, that have ground to a halt, until João takes a fancy to Nikia, a girl he hasn’t seen for a long time and who holds a painful secret. Against the background of impressions of everyday life and religious customs on this largely Catholic island, we see how this encounter kick-starts the lives of the three again. A low-budget film with local actors by a director who also has commercial hits to his name.


Indonesia, 2012 | colour, video, 90 min, Indonesian Prod: Mira Lesmana | Prod Comp: Miles Films | Sc: Riri Riza | Cam: Gunnar Nimpuno | Ed: Waluyo Ichwandiardono | Sound Des: Satrio Budiono | Music: Basri B Sila | With: Gudino Soares, Petrus Beyleto, Putri Moruk | Sales: Miles Films | Distr NL: Hubert Bals Fund | Public SCREENINGS  Tue 29-1 19:45 CI3 Wed 30-1 16:45 LV1 Fri 1-2 18:30 PA2 Sat 2-2 14:45 CI7 Press & Industry SCREENING  Mon 28-1 11:45 CI5

Post tenebras lux

Avant que mon coeur bascule

Carlos Reygadas

Before My Heart Falls

Sébastien Rose

Mexico/France/Netherlands/ Germany, 2012 | colour, DCP, 120 min, Spanish Prod: Jaime Romandía, Carlos Reygadas | Prod Comp: Mantarraya Producciones, NoDream Cinema | Sc: Carlos Reygadas | Cam: Alexis Zabe | Ed: Natalia López | Prod Des: Gerardo Tagle | Sound Des: Sergio Diaz | With: Adolfo Jiménez Castro, Nathalia Acevedo, Willebaldo Torres, Rut Reygadas, Eleazar Reygadas | Sales: NDM | Distr NL: Wild Bunch Benelux Public SCREENINGS  Thu 24-1 21:45 SGZ Fri 25-1 16:30 CI2 Wed 30-1 21:15 PA6 Thu 31-1 14:00 SGZ


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Mexican master Carlos Reygadas juxtaposes computer-generated images of a fiery red devil moving like the Pink Panther with B-film horror (a man pulls off his own head); group sex in a sauna with fairytale-like, slightly distorted images of a young girl pacing through a majestic landscape; and an affluent man and his stunningly beautiful wife having existential discussions about their relationship(s) with shots of a junior rugby team. Reygadas, whose feature debut Japón had its world premiere at the IFFR in 2002, compares the rough, associative and instinctive Post Tenebras Lux (‘light after darkness’) with an Expressionist painting in which he makes room for his deepest feelings, his memories, dreams, desires and fears. At the Cannes festival the film was booed, but Reygadas took home the prize for best direction. Partly financed by the Dutch Film Fund and co-produced by the Dutch company Topkapi Films.



Canada, 2012 | colour, DCP, 96 min, French Prod: Paul Barbeau | Prod Comp: Reprisefilms | Sc: Stefanie Lasnier, Sebastien Rose | Cam: Nicolas Bolduc | Ed: Philippe Melançon | Prod Des: Marjorie Rhéaume | Sound Des: Gilles Corbeil | With: Sophie Lorain, Clémence Dufresne-Deslières, Alexis Martin, Sébastien Ricard, Étienne Laforge | Print/Sales: Reprisefilms Public SCREENINGS  Tue 29-1 21:15 PA6 Wed 30-1 09:30 PA7 Fri 1-2 19:15 LV6 Sat 2-2 16:00 SGZ Press & Industry SCREENING  Mon 28-1 09:15 CI4

Unscrupulous teenager Sarah has an unusual life. In a strange, marginal ménage à trois with her contemporary Louis and the older Ji-Guy, she fills her days with petty crime. During the day she hangs around with Louis by motorways, where she deceives and robs innocent people offering a lift. One day things go wrong: a driver dies during a robbery attempt. Sarah can’t stop thinking about the dead man and goes looking for the wife he left behind. In her, she finally finds something of the security and friendship she had unconsciously been seeking for so long. But her alternative family doesn’t just let her go. Sébastien Rose films the story of this adolescent girl as she grows up and becomes conscious in very realistic images, against the sombre background of grey motorways and decaying industrial sites.





La noche de enfrente

O uivo da gaita

This last film by Raúl Ruiz, who died in 2011, is an adaptation of the novel by Hernan del Solar and can be regarded as a long take through themes that the Chilean filmmaker tackled in over 100 films. Music, literature, cinema, flowing and circular time, childhood and political exile, as a result of which he was forced to leave his homeland for many years. It is Wednesday when the film starts. Don Celso has to retire in five days’ time. He doesn’t want to, even though he declares that he has no more ideas to enable him to do his work. When asked, he says he is waiting for a foreigner who is coming to murder him. Ruiz allows the present and past to overlap increasingly in the course of the film and, just like life and death, they are no longer separate categories. A melancholy reflection of what Ruiz was thinking about at the end of his life, but he always maintains his characteristically light tone.

In the opening scene, which lasts for minutes, we see a gigantic container ship slowly sailing by at dawn. At the end of the film, Brazilian director Bruno Safadi shows an enormous cruise ship, but then in the middle of the night, filmed in the same way with a fixed camera from a distance. In between, Safadi focuses on three beautiful, young, affluent people: Pedro, Antônia and Luana circle each other like floating islands. Restless. Adrift. Possessed by love. Possessed by themselves. The form is experimental; the title only appears on screen after half an hour and the powerful, penetrating soundtrack often tells a completely different story from the suggestive images. This hypnotic, alienating film is part of Operation Sonia Silk, a project supported by the Hubert Bals Fund and made by a collective of filmmakers, actors and crew who shot three feature films in two weeks on a very modest budget.

Night Across the Street Raúl Ruiz

France/Chile, 2012 | colour, DCP, 110 min, Spanish Prod: François Margolin | Prod Comp: Margo Cinema | Sc: Raúl Ruiz | Cam: Inti Briones | Ed: Valeria Sarmiento | Prod Des: Raul Rúiz | Sound Des: Roberto Espinoza Sonamo | Music: Jorge Arriagada | With: Christian Vadim, Sergio Hernandez, Valentina Vargas, Chamila Rodriguez | Print/ Sales: RAMONDAParis Public SCREENINGS  Fri 25-1 09:15 CI1 Sat 26-1 18:15 PA6 Mon 28-1 09:15 CI6 Fri 1-2 14:15 SGZ

Harmonica’s Howl Bruno Safadi


Brazil, 2013 | colour, DCP, 72 min, Portuguese Prod: Rita Toledo, Bruno Safadi, Ricardo Pretti, Carolina Benjamín | Prod Comp: Daza Produção Cultural LTDA ME, TB Produções, Alumbramento Produções Cinematográficas Ltda | Sc: Bruno Safadi | Cam: Ivo Lopes Araújo | Ed: Luiz Pretti, Guto Parente | Prod Des: Luísa Horta | Sound Des: Edson Secco | Music: Guilherme Vaz | With: Mariana Ximenes, Leandra Leal, Jiddu Pinheiro | Sales: TB Produções | Distr NL: Hubert Bals Fund Public SCREENINGS  Sat 26-1 19:30 PA3 Sun 27-1 16:00 CI4 Tue 29-1 14:30 LV2 Fri 1-2 09:00 CI4 Press & Industry SCREENING  Fri 25-1 18:00 CI5



Brazil, 2012 | colour, DCP, 75 min, Portuguese Prod: Bruno Safadi, Jan Roldanus | Prod Comp: TB Produções, GreenGo Films | Sc: Antonia Pellegrino, Bruno Safadi | Cam: Lula Carvalho | Ed: Rodrigo Lima | Prod Des: Jan Roldanus | Sound Des: Edson Secco | Music: Guilherme Vaz | With: Leandra Leal, João Miguel, Julio Andrade, André Ramiro, Cristina Lago, João Zappa | Print/Sales: TB Produções Public SCREENINGS  Fri 25-1 21:302 PA2 Sun 27-1 21:45 CI6 Thu 31-1 22:15 PA1 Fri 1-2 11:452 LV5 Press & Industry SCREENING  Fri 25-1 09:45 CI4


The Unspeakable Act

Eden Bruno Safadi

Dan Sallitt

In the beautiful opening scene, a tear trickles from the left eye of a pretty young woman whose face is filmed in close-up. The droplet however does not fall down, but defies gravity and moves sideways. When the camera zooms out, it becomes clear that the woman is lying in a sky-blue indoor swimming pool, with both her hands clamped around her enormous belly. She is very pregnant. What follows is a penetrating portrait of a lonely, terrified woman in the last few days of her confinement. She desperately seeks support from a TV evangelist, who in front of his camera confronts her with the man who shot the father of her unborn child. Leandra Leal is amazing in the leading role, and the beautiful photography of the suburbs of Rio de Janeiro and the hypnotic soundtrack (Leal for instance gives a memorable if not entirely in tune interpretation of the Spandau Ballet hit True) contribute to the intense alienating mood.

The act that is unspeakable is the consummation of a forbidden love: that between 17-year-old Jackie and her elder brother Matthew, who grow up in a wealthy, intellectual, one-parent family in Brooklyn. A one-sided love, because while Matthew loves her, he is not sexually interested in his sister. That causes problems when he goes off to study and gets girlfriends. Jackie finds herself in a crisis and then on the sofa of a psychiatrist, where she analyses her romantic desires and the inevitable onset of maturity. She also makes half-hearted attempts to form relationships with boys other than her brother. In a voice-over, we follow closely the inner struggles of Jackie, who is played with great care and eye for detail by the newcomer Tallie Medel, directed by former film critic Dan Sallitt in what is already his third feature.


USA, 2012 | colour, video, 91 min, English Prod: Shari Berman, Ania Trzebiatowska, Jaime Christley | Sc: Dan Sallitt | Cam: Duraid Munajim | Ed: Dan Sallitt | Prod Des: Bridget Rafferty | Sound Des: Dan Sallitt | With: Tallie Medel, Sky Hirschkron, Aundrea Fares, Kati Schwartz, Caroline Luft | Print/Sales: Dan Sallitt Public SCREENINGS  Thu 24-1 12:30 PA2 Fri 25-1 19:15 SGZ Sun 27-1 14:30 LUX Fri 1-2 12:00 CI5





Il futuro

The Future Alicia Scherson


Chile/Germany/Italy/ Spain, 2013 | colour, DCP, 94 min, Italian/English Prod: Bruno Bettati | Prod Comp: Jirafa | Sc: Alicia Scherson, based on a novel by Roberto Bolaño | Cam: Ricardo de Angelis | Ed: Soledad Salfate, Ana Alvarez Ossorio | Prod Des: Tim Pannen, Marta Zani, Sebastián Muñoz | Sound Des: Miguel Hormazábal | Music: Eduardo Henriquez, Caroline Chaspoul | With: Manuela Martelli, Luigi Ciardo, Rutger Hauer, Alessandro Giallocosta, Nicolas Vaporidis | Print/ Sales: Visit Films | Public SCREENINGS  Sat 26-1 16:30 PA1 Sun 27-1 21:30 PA2 Mon 28-1 09:15 CI1 Sat 2-2 10:00 PA4 Press & Industry SCREENING  Sat 26-1 22:30 CI3

Paradies: Glaube Paradise: Faith Ulrich Seidl


When the parents of Bianca and Tomas suddenly die, the teenagers are left alone. The brother and sister try to carry on with their lives, made more difficult by the bright blue-green light that keeps them awake at night. Two friends persuade Bianca to work for Maciste, an old film star, as his ‘lady companion’. He is thought to have hidden a lot of cash in his villa – which could bring a better future for Tomas and Bianca. Il futuro, surprisingly enough the first filming of a novel by Roberto Bolaño, is as much about the past as it is about the future. This is primarily expressed in the figure of Maciste (a beautiful role by Rutger Hauer, with a nod to a famous role from his own past). Unexpressed emotions that are also tangible and an almost matter-offact magic realism, a soundtrack that tears and then is light, the play of light and darkness – these paradoxes in Scherson’s third feature are very cleverly forged into a whole. Nominated for The Big Screen Award.

Austria/France/Germany, 2012 | colour, DCP, 113 min, German Prod: Ulrich Seidl | Prod Comp: Ulrich Seidl Film Produktion GmbH | Sc: Ulrich Seidl, Veronika Franz | Cam: Wolfgang Thaler, Ed Lachman | Ed: Christof Schertenleib | Prod Des: Renate Martin, Andreas Donhauser | Sound Des: Ekkehart Baumung | With: Maria Hofstätter, Nabil Saleh, Natalija Baranova, Rene Rupnik, Dieter Masur, Trude Masur | Sales: Coproduction Office | Distr NL: EYE Film Institute Netherlands Public SCREENINGS  Sun 27-1 16:45 SGZ Mon 28-1 10:00 PA6 Fri 1-2 17:15 CI1 Sat 2-2 21:45 PA5 Press & Industry SCREENING  Wed 30-1 09:45 CI3

Fata Morgana


Austria, 2013 | b&w, DCP, 140 min, German Prod: Peter Schreiner | Prod Comp: | Sc: Peter Schreiner | Cam: Peter Schreiner | Ed: Peter Schreiner | Sound Des: Johannes SchmelzerZiringer | Music: Johannes Schmelzer-Ziringer | With: Awad Elkish, Christian Schmidt, Giuliana Pachner | Print/Sales: sixpackfilm Public SCREENINGS  Fri 25-1 18:15 PA6 Sat 26-1 11:00 CI2 Tue 29-1 19:15 LV2 Press & Industry SCREENING  Thu 24-1 16:45 CI5


What started as one film project with three stories developed into the Paradise trilogy. After premieres at Cannes (Love, 2012) and Venice (Faith, 2012), the third part, Hope (2013), is debuting at the coming Berlin Festival – meaning that Ulrich Seidl has scored a unique hat-trick. Faith, hope and love do not guarantee happiness with the melancholy Austrian, who makes features and documentaries in more or less the same style, focusing on long, static shots of sombre, symmetrically shot spaces. Seidl’s subject is, as always, shocking. In Paradise: Faith, the Christian faith of an Austrian fundamentalist (regular Seidl heroine Maria Hofstätter), who sells statues of the Virgin Mary door to door, chastises herself and also professes her love of Jesus in a sexual way, clashes increasingly violently with the reactionary worldview of her Islamic and wheelchair-bound Egyptian husband. This earned the film the Special Jury Prize in Venice.

Reosian seoseol

Peter Schreiner

The Russian Novel Shin Yeon-Shick

Austrian experimental documentary maker Peter Schreiner undertakes a psychoanalytic quest for human existence. It’s a cross between Freud and Sartre, magical and minimalist, as long as you dare. Two wrinkled lovers, marked by life, expose their deepest inner emotions. Giuliana compares the vaults of her spirit with closed doors that you ‘have to open cautiously’. ‘But,’ Christian wonders, ‘does that make you happier?’ They talk slowly and calmly, looking for the right words for their inner demons. It all comes down to reason and feeling and where the two meet. About reality that looks both familiar and alienating. And about the impossibility of understanding yourself – let alone anyone else. Schreiner’s magnum opus is spiritualising but also stimulating. Majestic panoramic landscape shots fade into close-ups of faces, meticulously examined by the camera. As such, Schreiner is hard yet humane, merciless yet tender.

Many writers only become famous after their death. That also applies to a certain extent to the 27-year-old Shin-hyo, who in the first part of the film, shot in black-and-white, tries to become a successful writer. His books do not manage to find an interested audience, however. He seeks solace in the advice of a writer who is already successful, turns to excessive drinking and women, but all in vain. In the end he gives up and tries to commit suicide. But even that is a failure. The disappointed author ends up in a coma but recovers from his vegetative state 27 years later. Then he discovers that a book attributed to him, The Russian Novel, has become very popular and thus he is world-famous. As a result his life – shot in the second part in colour – is anything but orderly. It is more reminiscent of a Russian novel: long, complex and with many characters.



South Korea, 2012 | colour, DCP, 140 min, Korean Prod: Shin Yeon-Shick | Sc: Shin Yeon-Shick | Cam: Choi Yong-Jin | Ed: Kim Jeong-Hoon | Prod Des: Choi Yong-Jin | Sound Des: Kim ChangHoon | Music: Kim Seen-Eel | With: Kang Shin-Hyo, Kyoung SeongWhan, Kim In-Soo, Lee Jae-Hye | Print/Sales: Shin Yeon-Shick Public SCREENINGS  Thu 24-1 15:15 PA6 Fri 25-1 16:30 CI4 Sun 27-1 16:15 CI2 Sat 2-2 21:45 CI7 Press & Industry SCREENING  Thu 24-1 09:15 CI5






Du zhan Drug War Johnnie To

Cate Shortland

Australia/Germany/UK, 2012 | colour, DCP, 109 min, German/English Prod: Vincent Sheehan, Liz Watts, Paul Welsh, Karsten Stöter, Benny Drechsel | Prod Comp: Porchlight Films, Edge City Films Ltd., Rohfilm | Sc: Cate Shortland, Robin Mukherjee, based on a novel by Rachel Seiffert | Cam: Adam Arkapaw | Ed: Veronika Jenet | Prod Des: Silke Fischer | Sound Des: Sam Petty | Music: Max Richter | With: Saskia Rosendahl, Kai Malina, Nele Trebs, Ursina Lardi, Hans-Jochen Wagner, Mika Seidel, André Frid | Sales: Memento Films International | Distr NL: ABC – Cinemien Public SCREENINGS  Thu 24-1 11:30 CI1 Wed 30-1 16:15 LUX Fri 1-2 16:45 LV1 Sat 2-2 11:00 SGZ

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Press & Industry SCREENING  Fri 25-1 21:15 DWBZ [e.s.]

After the sensitive coming-of-age drama Somersault (2004), Australian Cate Shortland turns to a theme much further from home: the physical and mental ruins of Germany in 1945, directly after the capitulation. Yet this film is also about growing up and making choices. Lore is a girl with a firm faith in the values of her upbringing. That faith is put under pressure when, shortly after Hitler’s suicide, both her SS father and her mother disappear – probably thrown into jail. Lore is alone and has to get her younger sister and three little brothers to safety. With sensitive, glowing camerawork and a secure soundtrack, Shortland captures Lore’s state of mind. By consistently choosing the point of view of the girl, the film avoids making any all too easy moral judgements. Lore, an intimate story about indoctrination and the collapse of a world view, won the Locarno Festival’s audience award.

Hong Kong, 2012 | colour, DCP, 107 min, Mandarin Prod: Johnnie To, Wai Ka-Fai | Prod Comp: Milkyway Image, Hairun Media  | Sc: Wai Ka-fai, Yau Nai-hoi, Ryker Chan, Yu Xi | Cam: Cheng Siu-keung | Ed: David Richardson, Allen Leung | Prod Des: Horace Ma | Sound Des: Ricky Yip | Music: Xavier Jameux | With: Sun Honglei, Louis Koo, Huang Yi, Gao Yungxiang, Wallace Chung, Hao Ping, Gan Tingting | Print/ Sales: Media Asia Distribution Limited Public SCREENINGS  Sat 26-1 16:15 LUX Thu 31-1 19:15 PA1 Fri 1-2 18:45 PA5 Sat 2-2 13:30 SGZ Press & Industry SCREENING  Thu 31-1 14:45 CI5



USA, 2013 | colour, video, 70 min, Mandarin/Cantonese Prod: Shelly Silver | Prod Comp: House Productions | Sc: Shelly Silver | Cam: Shelly Silver | Ed: Shelly Silver, Cassandra Guan | Prod Des: Shelly Silver | Sound Des: Bill Seery | With: voice of Lu Yu | Print/Sales: House Productions | Public SCREENINGS  Fri 25-1 19:30 LV5 Sat 26-1 10:45 PA3 Fri 1-2 17:00 CI5 Press & Industry SCREENING  Thu 24-1 12:30 CI5



The taciturn police commander Zhang leads an undercover drugs team and in his continuous battle against the ubiquitous drug barons, takes up arms against his arch enemy, Timmy Choi. When he gets hold of Choi, he makes a deal with him: in exchange for his life (in China you can get the death penalty for producing only 50 grams of drugs) the young criminal will help the police infiltrate a sizeable drug network. Zhang is helped by the young female detective Xiao Bei: undercover, they are the cheerful drug dealer Ha-ha and his vulgar wife. Johnnie To’s first action film on the Chinese mainland – again made in cooperation with scriptwriter Wai Ka-fai – is a grubby, realisticlooking glimpse of the work of the narcotics brigade. Accompanied by a driving score by Xavier Jamaux, the cinematogenic action scenes follow each other at high speed with pursuits, shoot-outs and explosions. Nominated for The Big Screen Award.

Torres & cometas

Shelly Silver

Towers & Comets Gonçalo Tocha

A man returns, after fifty years, to Chinatown to care for his dying mother. He is a librarian, a cataloguer and recorder, a gay man, a watcher, an impersonator. He passes his time collecting images – his witnesses and collaborators. Sitting in the dark, we look at them and share his cloak of invisibility, both a benefit and a curse. Touch is an essay narrated from one man’s point of view. But it is also fiction, for this man is a made-up person, an amalgam of research, interviews, off-the-record comments, secrets, improbabilities, and free-floating desires. This man, who never tells us his name, returns as both insider and outsider to a neighbourhood from which he escaped, as a teenager, as fast as he could. Silver: ‘I want to focus on the act – particular, yet open-ended – that entrances my protagonist: an act that we, the audience, share with him. This is the act of watching. Looking. Seeing. What does it mean to look, to watch, to photograph, to film?’

Guimarães, founded in the ninth century A.D., is in northern Portugal. From this town, Afonso Henriques fought against the Spanish ruler and declared independence in 1128. Guimarães – now a world heritage site – was the first capital of the new kingdom. Last year, the town was European Cultural Capital, along with Maribor in Slovenia. In this context, several films were made, including Centro histórico by Aki Kaurismäki, Pedro Costa, Victor Erice and Manoel de Oliveira. Towers & Comets also fits in this list. Together with sound man Didio Pestana, Gonçalo Tocha circles the mediaeval town like a comet. Against the background of the city walls with their imposing battlements, in which the text ‘Portugal was born here’ is hewn, he dives into a lively past filled with saints, historical key figures and above all music – a lot of music – from string orchestras to party bands with accordions.



Portugal, 2012 | colour, DCP, 61 min, Portuguese Prod: Gonçalo Tocha | Prod Comp: Fundação Cidade Guimarães | Sc: Gonçalo Tocha | Cam: Gonçalo Tocha | Ed: Gonçalo Tocha, Rui Ribeiro | Sound Des: Didio Pestana, Andre Neto | Music: Minhotos Marotos | With: Jerónimo Silva, José Paul, Júlio Castro, Roriz Mendes, José Novais | Print: Gonçalo Robalo | Sales: Gonçalo Tocha Public SCREENINGS  Wed 30-1 17:152 CI4 Fri 1-2 16:452 LV6 Sat 2-2 11:002 CI4 Press & Industry SCREENING  Tue 29-1 09:00 CI5





Lukas nino

Odayaka na nichijo

Lukas the Strange John Torres


Philippines, 2013 | colour, DCP, 85 min, Tagalog Prod: John Torres | Prod Comp: Los Otros Films | Sc: John Torres, Sherad Anthony Sanchez, Dodo Dayao | Cam: Albert Banzon, Gym Lumbera | Ed: John Torres | Prod Des: Whammy Alcazaren, Jacyn Esquillon | With: Cheeno Dalog Ladera, Edilberto Marcelino | Sales: Los Otros Films | Distr NL: Hubert Bals Fund Public SCREENINGS  Fri 25-1 19:15 CI6 Sat 26-1 10:00 PA6 Mon 28-1 16:30 CI6 Press & Industry SCREENING  Tue 29-1 12:00 CI4

The films of John Torres have a highly personal style that results from a very unique, improvisational way of working. Here, he remains faithful to his improvisational approach with fragments of reality, but there is obviously more history, more drama and a certain level of convoluted strangeness. Lukas the Strange has a light and disruptive tone. Those who know Torres’ previous work will be surprised that special digital effects have now been given a role in his normally so documentary-like reality. Torres had several points of departure. He wanted to pay homage to the legendary Filipino filmmaker Ishmael Bernal, give the horrific news of the murder of 40 journalists a place and also tell his own story about a local maker of video letters for overseas lovers. All of this bathed in the benevolent light of Mindanao in the Philippines. A film in which the discovery of film is still implied.

Odayaka Uchida Nobuteru


Japan/USA, 2012 | colour, video, 100 min, Japanese Prod: Kiki Sugino, Eric Nyari | Prod Comp: WA Entertainment Inc | Sc: Uchida Nobuteru | Cam: Tsunoda Shinichi | Ed: Uchida Nobuteru | Prod Des: Yamashita Shuji | Sound Des: Jo Keita  | Music: Jo Keita | With: Sugino Kiki, Shinohara Yukiko, Yamamoto Takeshi, Watanabe Ami  | Print/Sales: WA Entertainment Inc Public SCREENINGS  Thu 24-1 14:15 CI1 Fri 25-1 13:00 PA4 Thu 31-1 19:30 CI1 Fri 1-2 13:30 DJZ Press & Industry SCREENING  Tue 29-1 11:00 DJZ


The suburb of Tokyo where this latest film by Uchida Nobuteru is set may be far from the disaster zone in northeastern Japan, but this does not reduce the psychological aftershocks of the earthquake on 11 March 2011. Two young women are very worried about the radioactivity that escaped from the nuclear power plant at Fukushima and rebel against the common tendency to act as if everything is under control. Saeko, deserted on the day of the disaster by her husband, is accused of being a troublemaker at her daughter’s school. Yukako has great difficulty persuading her husband to ask for a transfer. Using the ironic title Odayaka na nichijo (which can be translated as ‘Calm Daily Life’), Japanese unity falls from its pedestal. While refugees from the disaster zone face discrimination, the fear and uncertainty of Saeko and Yukako leads to an emotional denouement. Just as in Love Addiction (Tiger Awards Competition 2011), in this realistic low-budget film, Uchida depends very much on his actors. Nominated for The Big Screen Award.

How to Describe a Cloud

Fien Troch

David Verbeek

Belgium/Germany/Netherlands, 2012 | colour, DCP, 90 min, Dutch Prod: Antonino Lombardo | Prod Comp: Prime Time | Sc: Fien Troch | Cam: Frank van den Eeden | Ed: Nico Leunen | Prod Des: Walter Brugmans | Sound Des: Michel Schöpping | Music: Senjan Janssen | With: Bent Simons, Maarten Meeuwsen, Gabriella Carizzo, Rit Ghoos, René Jacobs, Sander Van Sweevelt | Sales: Media Luna New Films | Distr NL: Cinéart Netherlands | Public SCREENINGS  Mon 28-1 22:15 PA1 Tue 29-1 14:00 CI6 Thu 31-1 19:15 SGZ Press & Industry SCREENING  Wed 30-1 13:00 CI5 [e.s.]


Kid is the youngest of two sons who live on a farm with their single mother – and for a long time we don’t find out what is up with their father. And it also soon becomes clear that they are in a desperate situation. There is no money and the mother is harassed by a bunch of shady types. In the meantime, Kid and his brother Billy go to school, where things are also far from easy. Kid’s life is captured in meticulously framed scenes with a static camera. In the house, in the classroom and in the headmaster’s office or in the desolate parking lot of the supermarket. Dramatic events and important conversations occur just out of sight and out of hearing of the youngsters, as is the case for all young children. And just like Kid, impressively played by Bent Simons, the audience has to make its own interpretation of the situation based on scant details.




Netherlands, 2013 | colour, DCP, 80 min, Mandarin Prod: Wout Conijn | Prod Comp: Conijn Film | Sc: David Verbeek | Cam: Jean Counet | Ed: Patrick Schonewille | Sound Des: Peter Warnier | With: Lu Huang, Yi Ching Lu, Pong Fong Wu | Print/Sales: Conijn Film Public SCREENINGS  Sat 26-1 19:15 PA1 Sun 27-1 15:30 PA7 Mon 28-1 19:30 DJZ Thu 31-1 14:15 LV5 Press & Industry SCREENINGS  Fri 25-1 14:30 PA6 Tue 29-1 17:00 DJZ


David Verbeek made this film on a tiny budget in the lull before his larger Dead & Beautiful had been fully financed. With its reflections on the role of spirituality in modern society, this film may be a precursor to his next, a socially critical vampire film. But How to Describe a Cloud can stand on its own two feet. The story of Liling seems to unfold intuitively. When her mother goes blind, the young musician is suddenly forced to leave her big-city cocoon and return to the small island where she grew up. There, her scientific approach to blindness, in which she presents the world to her mother through words on the advice of the doctor, clashes with her old mother’s spiritual approach. She argues that she can’t see the world around her any more, but can still sense it. Could the science-fiction drawings of the former scientist with whom she flirts in the city provide mediation? Nominated for The Big Screen Award. Verbeek’s Immortelle screens in Tiger Awards Competition for Short Films.





11.25 jiketsu no hi: Mishima Yukio to wakamono-tachi

Sightseers Ben Wheatley

11.25 The Day Mishima Chose His Own Fate

Wakamatsu Koji

Japan, 2012 | colour, DCP, 119 min, Japanese Prod: Wakamatsu Koji, Ozaki Noriko | Prod Comp: Wakamatsu Production | Sc: Kakegawa Masayuki, Wakamatsu Koji | Cam: Tsuji Tomohiko | Ed: Sakamoto Kumiko | Sound Des: Yoshida Noriyoshia | Music: Itabashi Fumio | With: Iura Arata, Terajima Shinobu, Mitsushima Shinnosuke, Tamoto Soran, Shibukawa Kiyohiko | Print/Sales: Wild Bunch Public SCREENINGS  Fri 1-2 13:45 LV1 Sat 2-2 15:00 LUX

France/Hong Kong, 2012 | colour, DCP, 89 min, Mandarin Prod: Sylvie Faguer, Mao Hui | Prod Comp: Album Productions, Chinese Shadows | Cam: Huang Wenhai, Li Peifeng, Wang Bing | Ed: Louise Prince | Sound Des: Antoine Fournier | Print: Album Productions | Sales: Chinese Shadows Public SCREENINGS  Thu 24-1 12:15 PA6 Wed 30-1 19:15 CI4 Thu 31-1 18:30 PA7 Sat 2-2 09:45 PA3 Press & Industry SCREENING  Thu 31-1 18:15 DJZ


Besides a feted writer, Mishima Yukio (1925-1970) was a fanatical supporter of the Japanese Emperor and ‘bushido’ honour codes of the Samurai. Here, director Wakamatsu Koji, who died in October 2012, shows Mishima’s rightwing radicalisation in the turbulent 1960s. Japan was a polarised society in which extreme left-wing students occupied universities while the right tried to put Japanese nationalism back on the map, by revising the 1951 security treaty between Japan and the US that banned Japanese military intervention and allowed American military bases in Japan. The film, larded with archive footage, shows Mishima undergoing intensive military training and becoming increasingly radical, founding the paramilitary organisation Tatenokai (Shield Society) in order to organise a coup like the one in 1936. When this fails, there is nothing left for him than to commit seppuku (ritual suicide).

UK, 2012 | colour, DCP, 89 min, English Prod: Nira Park, Claire Jones, Andrew Starke | Prod Comp: Big Talk Productions, Rook Films | Sc: Amy Jump, Alice Lowe, Steve Oram | Cam: Laurie Rose | Ed: Robin Hill, Amy Jump, Ben Wheatley | Prod Des: Jane Levick | Sound Des: Martin Pavey | Music: Jim Williams | With: Alice Lowe, Steve Oram, Eileen Davies, Jonathan Aris, Richard Glover, Monica Dolan | Sales: Protagonist Pictures | Distr NL: Cinéart Netherlands Public SCREENINGS  Fri 25-1 19:30  LUX Sun 27-1 09:45 LV1 Tue 29-1 22:15 LV2 Sat 2-2 21:00 PA2 Press & Industry SCREENING  Thu 31-1 13:00 CI5

This very British, loose variation on Bonnie and Clyde and Badlands follows an apparently everyday couple who go on holiday together for the first time. Tina and Chris are both in their thirties. She lives at home with her dominant and fairly hysterical mother; he is a connoisseur of attractions such as the pencil museum in Keswick and the Valhalla for tram lovers, the Crich Tramway Village. Once on holiday, they get to really know each other. Tina discovers that good-natured, gentle Chris has a darker side – he doesn’t hesitate to kill people who annoy him. In turn, she surprises him with the ease with which she goes along with his murderous lusts. After the violent gangster comedy Down Terrace and the horror film Kill List, Ben Wheatley’s third film has a lighter tone. The screenplay was not written by himself this time, but by the protagonists Steve Oram and Alice Lowe, who come from the British comedy circuit.

Gu du

La cinquième saison

Alone Wang Bing

The Fifth Season Jessica Woodworth, Peter Brosens

His documentaries previously screened in Rotterdam, including the epic Tie Xi Qu: West of the Tracks, have shown Wang Bing to be a gifted and sensitive observer of today’s China. For his documentary Alone, he went to the province of Yunnan where, in a very poor mountain village, he filmed the daily lives of three sisters aged 10, 6 and 4. The mother left three years ago for an unknown destination; father works in a remote town. It looks like the eldest girl seldom goes to school and has taken on the role of caring for her still playful sisters. Despite their difficult circumstances, they also have fun and occasionally drop in to see an aunt and grandpa. Their life changes drastically when father decides to take the youngest two with him and leave the eldest with grandpa. Until another surprising twist occurs. Alone is a shorter version of the film Three Sisters screened in Venice.

After Khadak (situated in Mongolia) and Altiplano (Peru), for this concluding part of their trilogy Brosens and Woodworth stay closer to home. The magic feeling is however the same. In a Belgian farming village, winter is driven out every year with a huge bonfire, but this time it refuses to catch light. It’s as if the world is hit by a mysterious disaster. Spring and summer remain barren and dead, the cock doesn’t crow, the cows give no milk and seeds don’t germinate in the fields. Even the tender love of Alice and Thomas does not seem able to survive this lapse of nature. Solidarity in the once lively village is affected and people go looking for a scapegoat. Once again, the impressive images and powerful visual styling are striking and painting is one of the inspirations of the makers. Often a cross between documentary realism and open-air theatre, it won the Young Cinema Award in Venice.


Belgium/Netherlands/ France, 2012 | colour, DCP, 94 min, French/Dutch Prod: Peter Brosens, Diana Elbaum, Philippe Avril, Joop van Wijk | Prod Comp: Bo Films, Entre Chien et Loup | Sc: Peter Brosens, Jessica Woodworth | Cam: Hans Bruch Jr. | Ed: Jessica Woodworth | Prod Des: Igor Gabriel | Music: Michel Schöpping | With: Aurélia Poirier, Django Schrevens, Sam Louwyck, Gill Vancompernolle | Sales: Films Boutique | Distr NL: Contact Film | Public SCREENINGS  Sat 26-1 21:00 PA4 Sun 27-1 12:30 PA2 Fri 1-2 15:15 PA6 Press & Industry SCREENING  Wed 30-1 09:00 CI4




Wo hai you hua yao shuo When Night Falls Ying Liang

South Korea/China, 2012 | colour, video, 70 min, Mandarin Prod: Jo Ji-Hoon | Prod Comp: Jeonju International Film Festival | Sc: Ying Liang | Cam: Otsuka Ryuji | Ed: Tong Wai-wing | Prod Des: Xu Qian-chun, Peng Shan | Sound Des: Benny Chan, Pekkle Sham | Music: Benny Chan, Pekkle Sham | With: Nai An, Kate Wen, Sun Ming | Print/ Sales: Jeonju International Film Festival Public SCREENINGS  Tue 29-1 22:15 CI3 Wed 30-1 14:15 LV5 Thu 31-1 09:15 CI1 Sat 2-2 22:00 PA3

When Wang Jingmei returned home on 1 July 2008, she was met by the police because her son had murdered six policemen. She was taken to a psychiatric hospital where she was held for months without being able to attend the trial or make a statement to support her son. In the docudrama based on these events, When Night Falls (Best Direction and Actress at Locarno), director-screenwriter Ying Liang focuses in calm scenes on the mother’s silent indignation and sorrow. Back in her poorly heated apartment in Beijing, she desperately wonders whether she can do anything for her son, who is on death row. In the meantime, she is besieged by activists protesting against the dubious court proceedings, a sensitive subject in China. This affair was also the subject of the documentary One Recluse by the artist and activist Ai Weiwei that was screened last year in Rotterdam.

Sedia elettrica – Il making-of del film Io e te Electric Chair – The Making-of the Film Me and You

Monica Stambrini

Italy, 2012 | colour, video, 47 min, Italian Prod: Mario Gianani | Prod Comp: Wildside SRL | Cam: Monica Stambrini | Ed: Paola Freddi | Sound Des: Monica Stambrini | Music: Franco Piersanti | Print/ Sales: cWildside SRL Public SCREENINGS  Sun 27-1 17:00 PA2 Wed 30-1 21:45 CI1




Io e te is the first feature film by Bernardo Bertolucci since The Dreamers (2003) and his first in Italy since La tragedia di un uomo ridicolo (1981) – and that despite the fact that the 72-yearold director has been confined to a wheelchair for some years now. Monica Stambrini follows the master – in his ‘electric chair’ as he calls it, and which he jokingly describes as ‘God’s punishment’ for the many dolly-shots in his oeuvre – around the set of Io e te. His new position seems to have influenced the style and content of his film. His lead, a surly teen, consciously limits his mobility by retreating to a basement. And the way in which Bertolucci’s camera glides after the boy reflects how the director moves around on set. Stambrini recorded Bertolucci’s doubts about digital cinema, his nervousness as he waits until the crew is ready, brief, intimate moments with his young leads and a visit to the set from Debra Winger and Richard Gere.



Spectrum Shorts

Spectrum Shorts

Ai Is Japanese for Love

Beyond the Beyond

Two female Japanese directors examine family love. Kawase’s concluding part of a series of intimate portraits of her foster grandmother and an experimental work on sexuality by Oguchi.

Films that leave a lot to the imagination: but have a tangible basis.

Public SCREENINGS  Thu 24-1 14:45 LantarenVenster 2 Wed 30-1 14:00 LantarenVenster 6

Public SCREENINGS  Fri 25-1 19:45 LantarenVenster 2 Sat 26-1 14:45 LantarenVenster 2

Point de Gaze Chiri

Jodie Mack

Naomi Kawase

Jodie Mack shoots analogue film and uses all manner of existing materials to create dizzying patterns. Point de Gaze features lace and intertwines gossamer threads into an exquisite optical film. Minute details become visible when projected.


You can view this as a sequel to birth/ mother (IFFR 2007), Naomi Kawase’s film about the elderly woman Uno who had always looked after her like a mother. In birth/mother she filmed Uno in the bath. Trace could also be called ‘death/mother’ as she once again films Uno’s body, but after she’s dead. A monument to Uno. Japan/France, 2012 | colour, DCP, 45 min, Japanese Prod: Naito Yuko | Prod Comp: Kumie Inc. | Cam: Naomi Kawase | Ed: Naomi Kawase | Sound Des: Osamu Takizawa | Music: Hasiken | Print/Sales: Kumie Inc. |

USA, 2012 | colour/b&w, 16mm, 1:1.37, 5 min, silent Prod: Jodie Mack | Cam: Jodie Mack | Print/Sales: Jodie Mack |

Strange Lines and Distances Joshua Bonnetta

Aiga tomaranai

Don’t Dare to Stop Love Oguchi Yoko

A painful story from a filmmaker who originally made non-narrative work. She experimented with form and also with her, as yet largely undefined, masochistic tendencies. Here, she does so again, but now with a real story about a mother who believes herself to be dying and then oversteps her boundaries.

It was over 100 years ago that Marconi successfully made the first transAtlantic radio transmission. Strange Lines and Distances links radio stations in Newfoundland, Canada and Cornwall, England, that lie 3,500 km apart, into a single atmospheric image and sound work. INTERNATIONAL PREMIERE

Canada, 2012 | colour, DCP, 30 min, no dialogue Prod: Joshua Bonnetta | Cam: Joshua Bonnetta | Ed: Joshua Bonnetta | Sound Des: Joshua Bonnetta | Music: Joshua Bonnetta | Print/Sales: Joshua Bonnetta |


Japan, 2012 | colour, video, 54 min, Japanese Prod: Oguchi Yoko, Suzuki Akihiro | Sc: Oguchi Yoko | Cam: Suzuki Eiji | Ed: Oguchi Yoko | Music: Inner Science | With: Fujishima Kazumi, Hatori Yosiro, Abe Fumiko | Print/Sales: S.I.G. Inc.

2012 Makino Takashi

Tiger Award for Short Films winner Makino Takashi says 2012 developed almost subconsciously and marks a transitional year. Originally a live performance where he also provided the music, 2012 ultimately congealed into a film with a new dynamic by switching from analogue to digital. WORLD PREMIERE

Japan, 2013 | colour, video, 30 min, no dialogue Prod: Makino Takashi | Music: Makino Takashi | Print/Sales: Makino Takashi





Spectrum Shorts

Spectrum Shorts

Blind Colour

Filme para poeta cego

How free are we really? Free your mind, and the rest will follow. Suddenly you can see colours. Lots of colours.

Gustavo Vinagre

Public SCREENINGS  Sun 27-1 17:00 LantarenVenster 2 Mon 28-1 14:45 LantarenVenster 2

Releasing Human Energies Mark Toscano

Releasing Human Energies brings to life an iconic image that has come to symbolise the human face of disappearing analogue film culture, in the shape of an old-fashioned instructional on human capital and profit maximisation. Voiced by film artist Morgan Fisher. USA, 2012 | colour, 16mm, 1:1.37, 6 min, English

Film for Blind Poet

Glauco Mattoso, a blind sadomasochistic poet, agrees to participate in a documentary about his own life, but the conditions he imposes raise difficulties for the work of the young director. In an ambiguous way the film reveals the fine line between high literature and fag-end vulgarity. INTERNATIONAL PREMIERE

Brazil/Cuba, 2012 | colour, DCP, 25 min, Portuguese Prod: Juliana Vicente | Prod Comp: Preta Portê Filmes e Produções Culturais | Sc: Gustavo Vinagre | Cam: Thais Taverna | Ed: Rodrigo Carneiro | Prod Des: Carla Comino | Sound Des: Raymi Morales-Bres | With: Glauco Mattoso, Akira Nishimura | Print/Sales: Preta Portê Filmes e Produções Culturais 

Twice Over Simon Payne

Prod: Mark Toscano | Print/Sales: Mark Toscano

Two Russians in the Free World Erik Moskowitz, Amanda Trager

Simon Payne’s Twice Over features layers of re-filmed video, from which the texture and noise of analogue decay, combined with the artist’s authoritative colour mixing, recalls antecedents such as the work of David Hall and Paul Sharits but allows the piece to enter a territory of its own. INTERNATIONAL PREMIERE

UK, 2012 | colour, video, 12 min, no dialogue

A dialogue between two men which poses a deeper question: Why and for whom do artists create? The narrative telescopes out to include the story of its own making, as the artists depict themselves debating plot-line and meaning as well as the virtues (or lack thereof) of their collaboration. Wonderful. WORLD PREMIERE

USA, 2013 | colour, video, 30 min, English Prod: Erik Moskowitz, Amanda Trager | Prod Comp: American Trance Productions | Sc: Erik Moskowitz, Amanda Trager | Cam: Erik Moskowitz, Amanda Trager | Ed: Erik Moskowitz, Amanda Trager | Prod Des: Erik Moskowitz, Amanda Trager | Sound Des: Erik Moskowitz, Amanda Trager | Music: Erik Moskowitz, Amanda Trager | With: Joshua Mack, Sasha Jampolsky, Amanda Trager, Erik Moskowitz, Robert Janitz | Print/Sales: American Trance Productions |

Prod: Simon Payne | Sound Des: Simon Payne | Print/Sales: LUX |

Bust That Paradigm Paradigms are made to be broken! A programme that brings you Persian pickles, new ways of looking at familiar habitats and an Elysian electric toothbrush. Public SCREENINGS  Fri 25-1 12:30 LantarenVenster 2 Sat 26-1 19:45 LantarenVenster 2

Rear Window Timelapse

Persian Pickles

Jeff Desom

Jodie Mack

Fitting epilogue to Alfred Hitchcock’s 1954 classic with a reconstruction of the actual view on the courtyard, created using modern technology. An all-encompassing image littered with plot elements. Winner of the Golden Nica at the Ars Electronica festival.

During the psychedelic 1960s, paisley patterns – originally Iranian – became immensely popular. In Persian Pickles, Jodie Mack ups the ante by editing the colourful motifs on 16mm into a dazzling visual experience. Highfrequency cut and paste.

Luxembourg, 2012 | colour, DCP, 3 min, no dialogue


Prod: Jeff Desom | Print/Sales: Jeff Desom |

USA, 2012 | colour, 16mm, 1:1.37, 3 min, no dialogue Prod: Jodie Mack | Cam: Jodie Mack | Sound Des: Jodie Mack | Print/Sales: Jodie Mack |





Spectrum Shorts

Spectrum Shorts

Shana Moulton

Close Encounters: Peripheral Images and Histories of the Present 1

A new-age soap opera that transforms pastel colours, the hysterically optimistic aesthetic of drug commercials, and Elysian memories of Enya into pure gold. Electric toothbrushes and kitschy household decorations become items with enigmatic and possibly magical properties. This is visual poetry of the highest order.

Can an image narrate a history? How do we deal with a history that brims so close to the present that it is impossible to distance one’s self from it? Close Encounters is a programme that seeks to articulate the present with one eye on the future and another inextricably linked to the past. Fragments of images – simulated and illusory, are pieced together to form a tense mise-en-scène. Curated by Omar Kholeif and Peter van Hoof.

Restless Leg Saga


USA, 2012 | colour, DCP, 7 min, English Prod: Shana Moulton | Sc: Pamela Muñoz | Cam: Mauricio Palacios | Ed: Jasmín Valdés | Prod Des: Patricia Muñoz | Sound Des: Patricia Muñoz | Music: Eduardo Ortíz Mora | With: Raúl Palma, Pelusa Troncoso, Marta Méndez | Print/Sales: Shana Moulton |

Fort Buchanan Benjamin Crotty

When Roger’s husband Frank is deployed to Djibouti, he is left alone with his group of female friends and his adopted daughter, the temperamental Roxy. Her violent outbursts finally drive Roger to begin boxing lessons. Empowered, Roger confronts Roxy. (BC)

Public SCREENINGS  Sat 26-1 14:15 LantarenVenster 6 Sun 27-1 19:30 LantarenVenster 6

Nation Estate Larissa Sansour

A nine-minute science fiction film that offers a clinically dystopian, yet humorous approach to the deadlock in the ‘Middle East conflict’. The film explores a vertical solution to Palestinian statehood: One colossal skyscraper housing the entire Palestinian population – now finally living the high life. WORLD PREMIERE

France, 2012 | colour, DCP, 13 min, French

Denmark/Palestine, 2013 | colour, DCP, 9 min, Arabic/English

Prod: Judith Lou Lévy | Prod Comp: Les Films du Bal | Sc: Benjamin Crotty | Cam: Michael Capron | Ed: Cedric Le Floch | Prod Des: Judith Lou Lévy | Sound Des: Arnaud Dezoteux, Ivan Gariel | Music: Ragnar Árni Ágústsson | With: Andy Gillet, Iliana Zabeth, Pauline Jacquard, Mati Diop, Nancy Lane Kaplan | Print/Sales: Les Films du Bal

Prod: Morten Revsgaard Frederiksen | Prod Comp: Beofilm Productions ApS | Sc: Søren Lind | Cam: Jesper Toffner | Ed: William Dybeck Sorensen | Prod Des: Line Frank | Sound Des: Roar Skau Olsen | Music: Aida Nadeem | With: Larissa Sansour, Leila Sansour, Maxim Sansour | Print/Sales: mec film |



Robert Todd

Maha Maamoun

Habitat reveals where the filmmaker’s life take place in an exceptional manner. The various locations shift, merge and diverge again. This results in a meticulously camera-edited tableau of the chaos of everyday working life

Based on a text from the recent Egyptian novel The Revolution of 2053 by Mahmoud Uthman, and referencing a scene from Chris Marker’s La Jetée (1962). A time traveller recounts his vision of the future of the Pyramids area, and by extension Egypt, in the year 2026.

USA, 2012 | b&w, 16mm, 1:1.37, 10 min, no dialogue Prod: Robert Todd | Sc/Cam/Ed/Prod Des/Sound Des: Robert Todd | Music: Robert Todd | Print/Sales: Robert Todd |

Sinais de serenidade por coisas sem sentido Signs of Stillness Out of Meaningless Things

Sandro Aguilar According to the perpetual lunar calendar: ‘When sparks catch a pot of water, it signifies wind. When the hills echo loudly and the sea generates great noise, it signifies tempestuous winds and storms at sea. When dense fog forms at dawn, it signals two days’ serenity.’ Let’s wait and see. (SA) Portugal, 2012 | colour, video, 28 min, Portuguese Prod: Sandro Aguilar, Luís Urbano | Prod Comp: O Som e a Fúria | Sc/Ed: Sandro Aguilar | Cam: Rui Xavier | Sound Des: Pedro Melo | With: Isabel Abreu, Albano Jerónimo, Gustavo Sumpta, Cristovão Campos | Print/Sales: Agencia – Portuguese Short Film Agency |



Egypt, 2010 | b&w, DCP, 9 min, Arabic Prod: Maha Maamoun | Sc: Mahmoud Osman | Cam: Maha Maamoun | Ed: Louly Seif, Maha Maamoun | Prod Des: Doa Aly, Tamer Eissa | With: Ahmad Kamal | Print/Sales: Maha Maamoun

Contribute a Better Translation Sharif Waked Google Translate calls on its users to improve its translations by clicking on the link ‘Contribute a better translation.’ In this video, dozens of political slogans are considered, taken from the repertoire of Palestinian resistance, ranging from the left to the right, and from the Balfour Declaration of 1917 until today. Palestine, 2011 | colour, DCP, 5 min, English Prod: Sharif Waked | Ed: Eyas Salman | Print/Sales: Sharif Waked |



Spectrum Shorts

Spectrum Shorts

Colorful Journey

Under a Rainbow

Arab Abu Nasser, Tarzan Abu Nasser

Roy Dib

The first film from the fictional Gazawood project by Tarzan and Arab, aka Gaza-born twin brothers Mohammed and Ahmed Abu Nasser, Colorful Journey is about factional infighting within Gaza. Tarzan and Arab depict a fratricidal war, their identical appearances reinforcing their message that Gazan brothers need to unite to face their common enemy. INTERNATIONAL PREMIERE

‘I did not grieve over the civil war, since I did not experience it. But along with my cousin, I always liked to pretend that our parents were killed in the war so that we could be like Remi.’ This experimental film intersperses VHS samples of a film starring the 1980s-era child performer Remi, female TV performers and archive footage of the Lebanese Civil War.

Palestine, 2010 | colour, video, 7 min, Arabic

Lebanon, 2011 | colour, video, 17 min, Arabic

Prod: Arab Abu Nasser | Prod Comp: Gazawood | Sc: Arab Abu Nasser, Tarzan Abu Nasser | Cam: Khalil Al-Mozian, Hassan Mashhrawi | Ed: Abdelrahman Hussen | Prod Des: Arab Abu Nasser, Tarzan Abu Nasser | Sound Des: Momen Awadallah | Music: World Track | Print/Sales: Gazawood

Prod: Roy Dib | Sc: Roy Dib | Cam: Roy Dib | Ed: Roy Dib | Prod Des: Roy Dib | Sound Des: Roy Dib | Print/Sales: Roy Dib

Beace Brocess No. 1

How Can I Resist U

Sharif Waked

Sophia Al-Maria

12 July 2000. Ehud Barak in the role of Israel and Yasser Arafat in the role of the Palestine Liberation Organization meet under the patronage of Bill Clinton in the role of the USA at Camp David to promote the ‘peace process.’ Beace Brocess No. 1 duplicates and reconstructs into infinity the mutual dance of acknowledgment between Barak and Arafat. Palestine, 2010 | colour, DCP, 3 min, English Prod: Sharif Waked | Music: Kevin MacLeod | Print/Sales: Sharif Waked |

I’ve Heard Stories: Part 1 Marwa Arsanios This film explores various ways to narrate an incident that once took place in the mythical Hotel Carlton. Against images of the deserted hotel today, the artist sketches situations that evoke the rumours once circulated there about a murderous homosexual threesome.

A ‘love letter’ to dubstep and its role in the turbulent cultural meshing between the Middle East and London, How Can I Resist U melds together shots of stark South London projects with YouTube videos of pseudo-stripteases performed for private groups of Middle Eastern men, geometric patterns flickering over their bodies. Qatar/Kuwait, 2012 | DCP, 4 min, no dialogue Prod: Sophia Al-Maria | Cam: Sophia Al-Maria | Music: Fatima Al Qadiri | Print/ Sales: Sophia Al-Maria |

Kawabis beeshu Beeshu’s Nightmare Jameel Al Abyad


Part of the Top Goon: Diaries of a Little Dictator, Part 1 series, Beeshu’s Nightmares paints a lacerating and hilarious picture of corruption under Syria’s Ba’ath regime. A finger puppet show produced by an anonymous theatre collective called Masasit Mati, led by Jameel, and distributed freely on YouTube. Masasit Mati utilises a level of satire never before seen under the Al-Assad regime.

Mahmoud Khaled

Prod: Jameel Al Abyad | Print/Sales: Jameel Al Abyad |

Lebanon, 2008 | colour, DCP, 4 min, English Prod: Marwa Arsanios | Sc/Cam/Ed/Prod Des/Sound Des: Marwa Arsanios | Music: Marwa Arsanios, Haddaway | With: Marwa Arsanios | Print/Sales: Marwa Arsanios

Syria, 2011 | colour, DCP, 7 min, Arabic

CAMARADERIE is pulled together from YouTube footage showing Egyptian professional bodybuilders in different situations. By using techniques such as appropriation and cropping, the work attempts to understand the representative nature of the masculine body, in its many variations: from the official to the popular, ethical, personal and the erotic. Egypt, 2009 | colour, DCP, 11 min, Arabic Prod: Mahmoud Khaled | Prod Comp: Mashrabia Gallery | Sc: Mahmoud Khaled | Ed: Perry Moataz | Prod Des: Mahmoud Khaled | Sound Des: Mahmoud Khaled | With: voice of Bassam El Baroni | Print/Sales: Mahmoud Khaled |





Spectrum Shorts

Close Encounters: Peripheral Images and Histories of the Present 2 For an explanation of the content, see the compilation programme Close Encounters: Peripheral Images and Histories of the Present 1. Public SCREENINGS  Sat 26-1 19:45 LantarenVenster 6 Sun 27-1 22:00 LantarenVenster 6

Gazing at the Catastrophe

Spectrum Shorts

Night Visitor: The Night of Counting the Years Maha Maamoun Historically, the term ‘Night Visitor’ referred to undercover police investigators who would attack houses and arrest political activists under the darkness of night. On this occasion, the roles are reversed, and the hunted become the hunters. The video uses material that documents the recent Egyptian revolution, shot by the protagonists while storming the state security offices and later posted on the internet. Egypt, 2011 | colour, video, 8 min, no dialogue Prod: Maha Maamoun | Ed: Maha Maamoun | Print/Sales: Maha Maamoun

Ali Cherri

In Gazing at the Catastrophe, Ali Cherri reflects on how suffering has become increasingly integrated into his daily life. Witnessing of atrocities, Cherri argues, seems to be an inevitable condition of modernity. The knowledge of war gained by those who have not experienced it firsthand is informed exclusively by mediated images found on the internet or in the media. Lebanon/France, 2012 | colour, video, 5 min, silent Prod: Imane Farès | Prod Comp: Galery Imane Farès | Sc: Ali Cherri | Cam: Ali Cherri | Ed: Ali Cherri | With: Ali Cherri | Print/Sales: Galery Imane Farès |

Home Video No. 1 Gaza (They Accepted the Pleasures of Morning) Basma Alsharif In an attempt to describe everyday life where people are struggling for the most basic human rights, Home Video No. 1 Gaza... introduces us to the Gaza Strip as a microcosm for a decline in civilization, finding perspective in a domesticity that is complicated, derelict, impossible to separate from its politics. WORLD PREMIERE


Palestine, 2013 | colour, video, 15 min, Arabic

Marouan Omara, Johanna Domke

Crop is an experimental documentary film. By putting images of Egypt’s political leaders into historical perspective, the film reveals how the notion of image ‘framing’ has been utilised by state-controlled media up until the present day. The soundtrack is composed of interviews with writer and media theorist Maria Golia and photographer Yasser Alwan. WORLD PREMIERE

Egypt/Germany, 2013 | colour, video, 52 min, English Prod: Johanna Domke | Sc: Johanna Domke, Marouan Omara | Cam: Melanie Brugger | Ed: Ehmad Maher | Sound Des: Bilgehan Özis | Music: Bilgehan Özis | Print/Sales: Johanna Domke |

Prod: Basma Alsharif | Sc/Cam/Ed/Prod Des/Sound Des/Music: Basma Alsharif | With: Huda Abdel Shafi, Osama Abu Middain | Print/Sales: Basma Alsharif |

Time Laughs Back at You Like a Sunken Ship Basim Magdy The film is about our understanding of time, how we construct our memories, and considers how these subtly unfold and fade into each other. This quiet paean exists without narration, and is accompanied by a delicately composed soundtrack by Magdy. EUROPEAN PREMIERE

Egypt/Switzerland, 2012 | colour, DCP, 9 min, no dialogue


Prod: Basim Magdy | Sc/Cam/Ed/Prod Des/Sound Des/Music: Basim Magdy | Print/Sales: Basim Magdy |

Katia Kameli

Cardboard boxes strewn along a pavement are seen to form a peculiar assemblage. From this fragile architecture, a woman emerges and makes a placard that contains no slogan; a wordless piece of cardboard. While raising the placard, the woman is joined by other women. A silent uprising is then set in motion. Can it be considered a revolution?

At Five in the Afternoon Mahmoud Khaled


Mahmoud Khaled’s video work is a hushed elegy that explores one man’s struggle to reconcile his own desire and longing for love. Acted out in three spaces consecutively, the video uses the temporal languages of cinema to capture uncertain fear in a personal narrative.

Algeria/France, 2011 | colour, DCP, 3 min, silent


Prod: Katia Kameli | Sc: Katia Kameli | Cam: Katia Kameli | Ed: Katia Kameli | With: Rym Laredj, Hind Faiza, Fatma Zohra Alahoum, Kenza Mehadji | Print/Sales: Katia Kameli |



Lebanon, 2012 | colour, DCP, 6 min, Arabic Prod: Christine Thome | Prod Comp: Asgkal Alwan: The Lebanese Association for Plastic Arts | Ed: Belal Hibri | Sound Des: Jowe Harfoushe | Music: Hamed Sino | Print/Sales: Mahmoud Khaled | 42ND INTERNATIONAL FILM FESTIVAL ROTTERDAM


Spectrum Shorts

Do-Say-Make-Think Variations on the American Dream: the self-made man, soap series, fantasy, Hollywood and the media turned into cleverly structured, moving, engaging films. Public SCREENINGS  Sat 26-1 20:15 LantarenVenster 3 Sun 27-1 16:30 LantarenVenster 6

Spectrum Shorts

Mr. President Nina Yuen

An engaging stream-of-consciousness work with a dream-like aesthetic, grappling with themes of memory, childhood and loss while playing with the dichotomy between fantasy and tangibility. Yuen narrates using a varied collection of found texts and original material. EUROPEAN PREMIERE


USA, 2012 | colour, DCP, 5 min, English

María Alché

Prod: Nina Yuen | Sc: Nina Yuen | Cam: Nina Yuen | Ed: Nina Yuen | Prod Des: Nina Yuen | Sound Des: Nina Yuen | Music: Nina Yuen | With: Nina Yuen | Print/Sales: Galerie Juliette Jongma |

Noelia is lonely and has all the time in the world. She wanders around town with her little camera searching all over for homeliness, family ties, a mother. Not everyone is happy about this, but Noelia perseveres.

Hollywood Movie Volker Schreiner

Argentina, 2012 | colour, DCP, 15 min, Spanish Prod: María Alché | Sc: María Alché | Cam: Cecilia Bruck | Ed: Alvar Martín | Sound Des: Guido Beremblum, Manuel De Andrés | With: Laila Maltz | Print/Sales: FiGa Films

Vengeance – Episode 1 Keren Cytter

Protagonists of mainstream cinema are assembled to speak a text about deconstructing film-watching. ‘You can make any Hollywood movie interesting, if you cut the movie several times and splice it again or put the lamp on and play a cheap transistor radio in your seat.’ A remodelling of Nam June Paik’s 1963 text ‘Film Scenario’. Germany, 2012 | colour/b&w, video, 7 min, English

Clichéd texts and situations become absurd if they are dryly acted and yet deviate slightly from our collective soap memories. Steve Kaufman’s soundtrack and distinctive editing give the film its finesse. Cytter creates a space for viewers to project their own stereotypes and beliefs. Germany, 2012 | DCP, 15 min, English Prod: Keren Cytter | Sc: Keren Cytter | Cam: Keren Cytter | Ed: Keren Cytter | Prod Des: Keren Cytter | Sound Des: Keren Cytter | Music: Steve Kaufman | With: Alexander Kellogg, Anna Mosher, Jenny Grace, K.C. Leiber, Matt Decoaster | Print/ Sales: Christian Nagel Gallery |

Desert Hopes Michael Patten

Prod: Volker Schreiner | Sc: Volker Schreiner | Ed: Volker Schreiner | Sound Des: Volker Schreiner | Print/Sales: Volker Schreiner |

...Because Superglue Is Forever! Johan Grimonprez

Study of the history of happy endings starts with a casting in Los Angeles where children play love scenes from films, TV ads and YouTube videos. Low-budget film refers to vloggers and Facebook and ironically tackles our overconsumption of images. INTERNATIONAL PREMIERE

USA/Belgium, 2012 | colour/b&w, DCP, 12 min, English

Trapped in his draughty apartment on New Year’s Eve, Roko, a middle-aged Aboriginal, tries to protect a litter of newborn rabbits from the cold. In the meantime he watches recordings of previous years’ New Year and dreams of better times.

Prod: Johan Grimonprez | Prod Comp: Zap-O-Matik | Sc: Johan Grimonprez | Cam: Michal Dabal | Ed: Pedro Collantes | With: Raquel Startz, McKenna LeVasseur-Tripp | Print/Sales: Zap-O-Matik |


USA, 2013 | colour, video, 10 min, English Prod: Michael Patten | Sc: Michael Patten | Cam: Chloe Walker | Ed: Michael Guggenheim | Prod Des: Armann Ortega | Sound Des: Austin Plocher, Ryan King | Print/Sales: Michael Patten |





Spectrum Shorts

F for Fake Dramatic, overly theatrical, then abstract. Always structured. A series of sometimes absurd ideas takes us to new worlds. Public SCREENINGS  Fri 25-1 19:45 LantarenVenster 6 Sat 26-1 12:15 LantarenVenster 3


Spectrum Shorts

Gonda Ursula Mayer

In the play Ideal, Amy Rand unpacked her philosophical system of Objectivism, with its stubborn individualism and anti-altruism. As a critical counter, Gonda addresses cinematic and linguistic space by creating settings in which image, text and sound shift roles to affect presupposed ideals of identity and existence. Main actor is Dutch transgender model Valentijn de Hingh. INTERNATIONAL PREMIERE

Hito Steyerl

UK, 2012 | colour, DCP, 30 min, English

A reflection on image-making and its political economy, juxtaposing the Berlin lair of Lockheed Martin, manufacturer of assault weapons sold by the German government to the Turkish Army, with images of the bombed-out cave where Andrea Wolf, Steyerl’s friend and member of the PKK was killed in 1998. Germany/Poland, 2012 | colour, DCP, 7 min, Kurdish Prod: Aneta Szylak | Prod Comp: Wyspa Institue of Art | Sc: Hito Steyerl | Cam: Tina Leisch, Selim Yildiz, Christoph Manz, Vincent Grunwald, Leon Kahane, Esme Buden, Diana McCarty | Ed: Hito Steyerl, Christoph Manz | Prod Des: Aneta Szylak | Sound Des: Apo | With: Hito Steyerl | Print/Sales: Hito Steyerl

Prod: Ursula Mayer | Prod Comp: Mayer Productions | Sc: Maria Fusco | Cam: Margaret Salmon | Ed: Ursula Mayer | Prod Des: Lucie Wilkins | Sound Des: Christiano Looker | Music: Sullom Voe, Sebastian Schlecht, Charlie Looker | With: Valentijn de Hingh, Nina Braunsteiner, Joachim Gram, Carson McColl, Nova | Print/Sales: LUX |

Guimarães: Rocking the Cradle In turbulent times, four jewels of Portuguese filmmaking, three international premieres – big questions, difficult translations and unfettered imaginations. Public SCREENINGS  Thu 24-1 14:15 LantarenVenster 5 Wed 30-1 22:15 Cinerama 3

Polis X Erkka Nissinen


In this video, Erkka Nissinen constructs a ‘kaleidoscope of human destinies’ that references the ancient Greek ideal of the city-state. Instead of a perfected state of utopian community, the viewer is confronted with the obscene historical traces of mankind’s inhumanity. USA/Hong Kong, 2012 | colour, video, 15 min, English Prod: Erkka Nissinen | Sc: Erkka Nissinen | Cam: Erkka Nissinen | Ed: Erkka Nissinen | Prod Des: Erkka Nissinen | Sound Des: Erkka Nissinen | Music: Erkka Nissinen | With: Erkka Nissinen | Print/Sales: Erkka Nissinen |

João Lopes

Luís de Camões is considered Portugal’s national poet, an equivalent to England’s Shakespeare or Spain’s Cervantes. João Lopes’s film takes us on an otherworldly journey to Camões’s five-hundred-year-old epic Os Lusíada, which he composed in Macau whilst he was stationed in the colony. INTERNATIONAL PREMIERE

Portugal, 2012 | colour, DCP, 23 min, Portuguese

Versions 2012 Oliver Laric

Prod: Rodrigo Areias | Prod Comp: Fundação Cidade Guimarães | Sc: João Lopes | Cam: Jorge Quintela | Ed: Gonçalo Soares | Prod Des: Ricardo Preto | Sound Des: Pedro Marinho, Pedro Ribeiro | Music: Luis Lopes, Bernardo Sassetti, Pedro Gamboa | With: Carla Maciel | Print/Sales: Agencia – Portuguese Short Film Agency |

Since 2009, Oliver Laric has anchored his wide-ranging artistic output with a series of video works titled Versions. These act as gathering points for his theoretical, aesthetic and research concerns with bootlegs, remixes and hybrids. They bring up numerous examples of reuse and iconoclasm. Germany, 2012 | colour, DCP, 10 min, English Prod: Oliver Laric | Print/Sales: Tanya Leighton Gallery |





Spectrum Shorts

Na escama do dragão On the Dragon’s Flake Ivo M. Ferreira

Set in Macau, in graceful almost magical-realist style, Ivo M. Ferreira’s film connects East and West and the politics of the present to its echoes in the past, paralleling the sinking of a 12th-century Portuguese galley and a Chinese junk, taking in some startling contemporary architecture along the way. WORLD PREMIERE

Macau/Portugal, 2013 | colour, DCP, 23 min, English/Cantonese/Portuguese Prod: Joao Pinhao | Prod Comp: Inner Harbour Films | Sc: Ivo M. Ferreira | Cam: Susana Gomes | Ed: Sandro Aguilar | Prod Des: Marta Ferreira | Sound Des: Tiago Matos | Music: Tiago Matos | With: Marta Ferreira, Siun Chong, Rodrigo Guimaräes, Helder Beja, Margarida Vila Nova, Ricardo Pinto | Print/Sales: Ivo M. Ferreira |

Spectrum Shorts

Hauntological Futures Links between past, present and future. Juxtaposing and comparing culturally determined images. It is up to us to draw our own conclusions. Public SCREENINGS  Sat 26-1 17:00 LantarenVenster 2 Mon 28-1 17:00 LantarenVenster 2

Phantoms of a Libertine Ben Rivers


Glamorous destinations are handscrawled beside photographs. Fragments of fading figures are taped to the yellowing pages of an album. Since the departure of its occupant, an apartment has become a museum, rather than a mausoleum; a shrine to what has passed. (BR)

Filipa César


UK, 2012 | colour/b&w, 16mm, 1:1.37, 10 min, no dialogue Prod: Ben Rivers | Cam/Ed/Sound Des/Music: Ben Rivers | Print/Sales: LUX |

Taking statues that are stored today at the Cacheu fortress, one of the first establishments for the slave trade in Guinea Bissau, César’s single-shot 16mm film traces historical moments when these represented symbolic conflicts, pointedly invoking Chris Marker, Alexander Kluge and Alain Renais. INTERNATIONAL PREMIERE

Portugal/Guinea-Bissau, 2012 | colour, DCP, 10 min, English Prod: Filipa César | Sc: Filipa César | Cam: Matthias Biber | Sound Des: Nuno da Luz | With: Joana Barrios | Print/Sales: Filipa César


A Sketch of Manners (Alfred Roch’s Last Masquerade) Jumana Manna

A tableau vivant alternating with archival material brings to life an unknown history in which the Palestinian bourgeoisie, led by Jaffa’s biggest landowner Alfred Roch, attended masked balls dressed as pierrots. Shot at the American Colony Hotel, the film explores traces of the past. INTERNATIONAL PREMIERE


Norway/Palestine, 2012 | colour/b&w, DCP, 8 min, English

Gabriel Abrantes

Gabriel Abrantes’s inventive and sunsoaked transposition of Aristophanes’s 414 BC play The Birds to a mournful, present-day Haiti. Echoing the dramatic structure of a typical Aristophanes play, Abrantes furthers his unique brand of pageantry and textual conflation, enlivened by the beauty of his 16mm images. Portugal, 2012 | colour, DCP, 17 min, Greek/Haitian Creole Prod: Natxo Checa | Prod Comp: A Mutual Respect Productions | Sc: Gabriel Abrantes | Cam: Natxo Checa, Gabriel Abrantes | Ed: Gabriel Abrantes | Prod Des: Natxo Checa, Gabriel Abrantes | Sound Des: Gabriel Abrantes | Print/Sales: A Mutual Respect Productions

Prod: Jumana Manna | Sc: Jumana Manna | Cam: Daniel Kedem, Jumana Manna | Ed: Jumana Manna | Prod Des: Jumana Manna | Sound Des: Jakob Langvik | Music: Sabah | With: Hakim Bishara | Print/Sales: Jumana Manna |

Starring Sigmund Freud John Menick

After the 1950s, when pills replaced analysts’ couches, Sigmund Freud the father of psychoanalysis found a second career impersonating himself in everything from a John Huston clunker to a Star Trek episode. The video suggests that maybe in front of the camera, alongside surgically enhanced starlets and CGI chimeras, the ‘Herr Doktor’ will find his final resting place. (JM) USA/Germany/France, 2012 | colour/b&w, DCP, 28 min, English/Italian/French/German Prod: John Menick | Prod Comp: Kadist Foundation, dOCUMENTA (13) | Sc: based on an essay by John Menick | Ed: John Menick | With: Alan Arkin, Montgomery Clift, Alec Guinness, Viggo Mortensen, David Suchet, Max von Sydow | Print/ Sales: John Menick |





Spectrum Shorts

A Brief History of Collapses

Spectrum Shorts

The Invisible World Jesse McLean

Mariam Ghani

The uncanny similarity between Kassel’s Museum Fridericianum and the Darul Aman Palace in Kabul – two buildings constructed two centuries and a continent apart – is exploited to explore parallels, divergences and connections between their present and past conditions, uses, narratives and contexts. (MG) Germany/Afghanistan/USA, 2012 | colour, video, 22 min, English Prod: Christoph Platz | Prod Comp: dOCUMENTA (13) | Sc: Mariam Ghani | Cam: Mariam Ghani | Ed: Mariam Ghani | Prod Des: Mariam Ghani, Erin Ellen Kelly | Sound Des: Andrew Munsey | Music: Qasim Naqvi | With: Erin Ellen Kelly, Parwana Riazi | Print/Sales: Mariam Ghani |

Here, Today Close your eyes and leave the world behind. The films in Here, Today study, re-arrange and determine their own rules. Public SCREENINGS  Sun 27-1 14:45 LantarenVenster 2 Mon 28-1 12:30 LantarenVenster 2

The Room Called Heaven Laida Lertxundi

Media artist McLean examines the media’s influence on our actions using home movies, YouTube videos and sci-fi films which demonstrate how individuals are increasingly enticed to give up their independence in a world which revolves around raising human productivity. USA, 2012 | colour, video, 19 min, English Prod: Jesse McLean | Sc: Jesse McLean | Cam: Jesse McLean | Ed: Jesse McLean | Print/Sales: Video Data Bank (VDB) |

Dangerous Games Marina Abramovic

A game between two children’s armies, using toys, laser weapons and machine guns. As it progresses, they start imitating war scenes seen on TV, such as negotiations and death scenes. In over 20 countries, children are direct participants in war, with an estimated 250,000 child soldiers. USA/UK/Laos, 2012 | colour, DCP, 4 min, English Prod: Jacqui Davies | Cam: Alexandar Ilic, Dragan Rakicivic | Ed: Milica Zec | Sound Des: Phan Visutyothapibal | Print/Sales: Jacqui Davies

Poised Dryden Goodwin

Laida Lertxundi’s intimate composition of intrinsically cinematic human actions. The locations, sunlight and snippets of music evoke a mysterious emotion that resounds in every image during the exact length of a 16mm roll of film. INTERNATIONAL PREMIERE

Spain/USA, 2012 | colour, 16mm, 1:1.37, 11 min, no dialogue Prod: Laida Lertxundi | Cam: Laida Lertxundi | Ed: Laida Lertxundi | Sound Des: Ezra Buchla, Laida Lertxundi | Music: Laura Steenberge | With: Dan Boer, Noah D., Lindsey Hoffmann, Rebecca Limerick, Shawn Lockie | Print/Sales: Laida Lertxundi |

Poised explores the physical and emotional dynamics of a group of young female divers. Goodwin’s taut, pointed imagery and serpentine soundtrack lend the divers’ devotion and Zen-like composure an otherworldly quality that makes each sudden plunge into darkness even more poetic and poignant. EUROPEAN PREMIERE

UK, 2012 | colour, DCP, 28 min, English

Activated Memory I

Prod: Steven Bode | Prod Comp: Film and Video Umbrella | Cam: Dryden Goodwin, Imran Perretta | Ed: Dryden Goodwin, Jo Cole | Sound Des: Dryden Goodwin | Music: Dryden Goodwin | Print/Sales: Film and Video Umbrella |

Sabrina Ratté

Using video feedback, 3D animation and colour manipulation, Sabrina Ratté renders a new kind of space, a virtual world where fragments of reality live on. Natural phenomena, diamond variations and a musical accompaniment from Roger Tellier-Craig bring us to the point of serenity. WORLD PREMIERE

Canada, 2011 | colour, video, 6 min, no dialogue Prod: Sabrina Ratté | Cam: Sabrina Ratté | Ed: Sabrina Ratté | Music: Roger Tellier-Craig | Print/Sales: Sabrina Ratté |





Spectrum Shorts

It Starts with a Dot and Ends with a Bang Film as the beginning of the universe, from the smallest particle to a big bang. And, in this case, ignorance is bliss. Public SCREENINGS  Sat 26-1 14:30 LantarenVenster 3 Sun 27-1 12:00 LantarenVenster 6

Spectrum Shorts

Odboy & Erordog Suite Marcus Fjellström

Marcus Fjellström unites the three main ingredients of his childhood: cartoons, basic computer games and nightmares. Filmmaker and modern composer Fjellström wrote the story, composed the soundtrack and animated this three-part film about the adventures of a boy and his dog. WORLD PREMIERE

Swan Song Anouk De Clercq, Jerry Galle, Anton Aeki

‘Swan song’ is a metaphorical phrase for a final effort or performance given just before death or retirement. Anouk De Clercq, Jerry Galle and Anton Aeki found inspiration in the age-old belief that the swan is shrouded in silence during its life – until just before its death. A sparkling, subtle animation. WORLD PREMIERE

Belgium, 2013 | b&w, DCP, 3 min, no dialogue Prod: Marie Logie, Anton Aeki | Prod Comp: Auguste Orts, Martiens Go Home | Cam: Anouk De Clercq, Jerry Galle | Sound Des: Anton Aeki | Music: Anton Aeki | Print/Sales: Auguste Orts |

Sweden/Germany, 2013 | b&w, DCP, 22 min, no dialogue Prod: Marcus Fjellström | Prod Comp: Kafkagarden, Musikcentrum Öst, the peärls before swïne experience | Sc: Marcus Fjellström | Cam: Marcus Fjellström | Ed: Marcus Fjellström | Prod Des: Marcus Fjellström | Sound Des: Marcus Fjellström | Music: Marcus Fjellström | Print/Sales: Kafkagarden |

The Cloud of Unknowing Ho Tzu Nyen Sensory film based on a 14th-century mystical text that uses a cloud as a metaphor for the nonsensical and the spiritual. Eight figures come into contact with the cloud and share their feelings of transcendence. Originally presented as an installation at the Venice Biennale. Singapore, 2011 | colour, DCP, 28 min, no dialogue

Belle comme le jour Dominique Gonzalez-Foerster, Tristan Bera

The story of Severine before she married Pierre and became ‘Belle de jour’. Staying at the Hotel Regina next to rue de Rivoli, she goes to visit the Louvre and has a deeply disturbing conversation with a complete stranger. INTERNATIONAL PREMIERE

France, 2012 | colour, DCP, 12 min, French Prod: François Bertrand | Prod Comp: Camera Lucida Productions | Sc: Dominique Gonzalez-Foerster, Tristan Bera | Cam: Jean-Louis Vialard | Ed: Alexandre Auque | Sound Des: Bruno Ehlinger | Music: Arto Lindsay, Ari Benjamin Meyers | With: Juliette de Ferluc, Giasco Bertoli | Print/Sales: Vox Lucida Distribution |

Prod: Fran Borgia | Prod Comp: Tzulogical Films | Sc: Ho Tzu Nyen | Cam: Amandi Wong | Ed: Ho Tzu Nyen | Prod Des: James Page, Andy Lim | Sound Des: Jeffrey Yue, Yasuhiro Morinaga | Music: Zahir Sanosi, Yasuhiro Morinaga, Ho Tzu Nyen | With: Johnston Anderson Cheong, Remesh Panicker, Haslina Ismail, K Rajagopal, Andy Hillyard, Helen Chua, Zahir Sanosi, Nick Ng | Print/Sales: Tzulogical Films

Leaving Traces Three Asian stories about uncovering the truth. Three committed stories. All with their own, personal structure. Filmmakers on the world they live in. Public SCREENINGS  Fri 25-1 14:30 LantarenVenster 3 Wed 30-1 16:30 LantarenVenster 6

Pohn talay Overseas

Wichanon Somumjarn, Anocha Suwichakornpong

Hyper-realistic minidrama. An afternoon in the life of fish processing plant labourer Wawa Kai, one of the many migrants from Myanmar working in factories in Thailand. The film follows her every move, revealing what looks like a routine day, but in fact it’s a scary one for her, as she reports a crime. Thailand, 2012 | colour, DCP, 16 min, Thai/Burmese Prod: Maenum Chagasik | Prod Comp: Electric Eel Films | Sc: Anocha Suwichakornpong | Cam: Wichanon Somumjarn | Ed: Wichanon Somumjarn | Prod Des: Chulayarnnon Siriphol | Sound Des: Sorayos Prapapan | With: Wawa Ween | Print/Sales: Electric Eel Films |





Spectrum Shorts

Spectrum Shorts

Jalan Jati Teak Road

Experience in Material 52:DUBHOUSE

Lucy Davis

Suzuki Ryoji, Kei Shichiri

Trees have DNA too. So you can find out from the planks in your grandparents’ bed where the tree they came from once stood. Why? To find your way to your roots. Search for colonial history in animation carved from bed planks. Art meets science.

Mingling of two distinct visions: the architect as the instigator of darkness and the filmmaker as the bringer of light. The film has a dark part with drawings of the 11/3/2011 tsunami damage hidden in the emulsion, and a part in which the projector illuminates the darkness captured by architecture.

Singapore, 2012 | colour/b&w, video, 24 min, English/Malay Prod: Lucy Davis | Prod Comp: The Migrant Ecologies Project | Sc: Lucy Davis | Cam: Lucy Davis | Ed: Edwina Ong Zhi Yi, Yap Suzhen Michelle, Jac Min | Prod Des: Lucy Davis | Sound Des: Zai Kuning, Zai Tang | Music: Zai Kuning, Zai Tang | Print/Sales: The Migrant Ecologies Project |

A Breath from the Bottom


Japan, 2012 | colour, 35mm, 1:1.66, 16 min, no dialogue Prod: Suzuki Ryoji, Kei Shichiri | Sc: Suzuki Ryoji, Shichiri Kei | Cam: Takahashi Tetsuya, Shichiri Kei | Ed: Shichiri Kei | Prod Des: Suzuki Ryoj | Sound Des: Shichiri Kei | Music: Ikeda Takumi  | Print/Sales: Suzuki Ryoji

Chan Ching-lin


Dramatic, realistic political film. Conflict between father and son. The former is an old, bitter activist who hates the government. The son is an ambitious cop. Dynamically shot in journalistic black-and-white. During a drought, the government turns off the water. Father immerses himself in demonstrating.

‘Geological time’ is hard to compare to our everyday sense of time. However, anything is possible in a darkened cinema. Sou cuts through soil layers and rock formations, going through millions of years in seconds, making time a fluid concept in the process.



Tatsuto Kimura

Taiwan, 2012 | colour/b&w, video, 42 min, Taiwanese/Mandarin Prod: Chan Ching-lin, Lu Chia Chi | Sc: Chan Ching-Lin | Cam: Chen Chi Wen | Ed: Chan Ching-Lin | Prod Des: Chan Ching-Lin, Lu Chia Chi | Sound Des: Kiwi Inc. | Music: Dawang Yingfan Huang | With: Tsai Ming Xiu, Kao Ying Hsuan | Print/Sales: Chan Ching-lin

Japan, 2012 | colour, video, 10 min, silent Prod: Tatsuto Kimura | Print/Sales: Tatsuto Kimura

Light over Darkness

Beyond Expression Bright

Calm observations and reflections in the darkness of the cinema. Boundaries between observation and imagination.

Erin Espelie

Public SCREENINGS  Fri 25-1 17:00 LantarenVenster 2 Sat 26-1 12:30 LantarenVenster 2

Ten Minutiae Peter Miller

Our imagination is equally confounded, said the 18th-century Swiss naturalist Charles Bonnet, by the infinitely great and by the infinitely small. Confounding, too, can be the instruments and empirical mechanisms we have to gauge immensity, particularly in their seemingly insurmountable limitations. (EE) INTERNATIONAL PREMIERE

Shot on 35mm CinemaScope and entirely hand-processed, Peter Miller’s series of brief exercises in cinematographic magic creates an experience comparable to the 1925 classic Five Minutes of Pure Cinema. In Miller’s own words: ‘Minutiae are “little things”. Here are ten. These little things form a small exhibition exalting the cinema.’

USA, 2012 | colour, video, 9 min, English Prod: Erin Espelie | Cam: Erin Espelie | Sound Des: Erin Espelie | With: Carl Sagan, Kate Scholberg, Maragaret Shea, Kristine Callan, Simon Newcomb | Print/Sales: Erin Espelie |

Germany, 2012 | b&w, 35mm, 1:2.35, 5 min, silent Prod: Peter Miller | Cam: Peter Miller | Ed: Peter Miller | Print/ Sales: Light Cone Distribution |





Spectrum Shorts

Ritournelle Christopher Becks, Peter Miller

An elegant 16mm miniature that developed as a spontaneous ‘exquisite corpse’. Christopher Becks turned a single camera roll into an abstract light show without realising that fellow filmmaker Peter Miller’s hidden soundtrack was on the roll. The ghost track seems to have written the images. Germany, 2012 | b&w, 16mm, 1:1.37, 4 min, no dialogue Prod: Christopher Becks | Cam: Christopher Becks | Music: Peter Miller | Print/Sales: Light Cone Distribution

Dark Garden Nick Collins

16mm’s black can be as dark as a winter’s night. Dark Garden is akin to a black-and-white herbarium shot in the filmmaker’s garden on one such cold night. Frozen plant skeletons appear on the dark emulsion and reveal their delicacy in a silver glow.

Spectrum Shorts

Looking Glass Self Unexpected consequences of me looking at you, you looking at me, us looking at each other, us looking at ourselves. John Smith’s dad, Lewis Klahr’s astounding collage, Seamus Harahan’s Belfast streets, De Stijl, the Republic of Korea: put your hands in the air! Public SCREENINGS  Sat 26-1 16:30 LantarenVenster 6 Sun 27-1 14:15 LantarenVenster 6

Dad’s Stick John Smith

‘Dad’s Stick features three well-used objects my father showed me shortly before he died. Two of these were so steeped in history that their original forms and functions were almost completely obscured. The third object seemed instantly recognisable, but turned out to be something else entirely.’ (JS) EUROPEAN PREMIERE

UK, 2012 | colour, video, 6 min, English Prod: John Smith | Sc: John Smith | Cam: Patrick Duval | Ed: John Smith | Sound Des: John Smith | Print/Sales: LUX |

UK, 2011 | b&w, 16mm, 1:1.37, 9 min, no dialogue Prod: Nick Collins | Cam: Nick Collins | Ed: Nick Collins | Print/Sales: Nick Collins

August and After Nathaniel Dorsky

Nathaniel Dorsky is still enjoying a productive period and maintains his sublime approach to the medium of 16mm film. August and After is his way of dealing with a sombre year. ‘After a lifetime, two mutual friends, George Kuchar and Carla Liss, passed away during the same period of time.’ (ND) USA, 2012 | colour, 16mm, 19 min, silent Prod: Nathaniel Dorsky | Cam: Nathaniel Dorsky | Ed: Nathaniel Dorsky | Print/Sales: Light Cone Distribution

Temper Clay Kim Sung-Hwan

Temper Clay uses a refined, sensitive composition with recurring elements such as paper, fire and running through bare woods to look at history. Specific gestures, routines and objects elicit a magical feeling. The filmmaker’s love of structures is underlined by dogr’s music. WORLD PREMIERE

South Korea/USA, 2013 | colour/b&w, DCP, 24 min, Korean/English Prod: Kim Sung-Hwan | Sc: Sung Hwan Kim, based on William Shakespeare | Cam: Sung Hwan Kim | Ed: Sung Hwan Kim | Prod Des: Sung Hwan Kim | Sound Des: Sung Hwan Kim | Music: dogr (aka David Michael DiGregorio) | With: Misoon Huh, Daseul Song, Boram Moon, Hyoduck Hwang, Namsik Ji | Print/Sales: Kim Sung-Hwan

Kiss the Rain Lewis Klahr

When love fades, the world seems to collapse. However, feelings of love, security and hope survive the disaster. This intense cut-out animation is the first in a new series by Lewis Klahr entitled The Rain Couplets. EUROPEAN PREMIERE

USA, 2012 | colour, video, 6 min, English Prod: Lewis Klahr | Cam: Lewis Klahr | Ed: Lewis Klahr | Sound Des: Lewis Klahr | Print/Sales: Lewis Klahr





Spectrum Shorts

The Street of Everlasting Rain Lewis Klahr

In this follow-up to Kiss the Rain, the realisation of the end of a romance has finally dawned. But why did it go so wrong? Ends with Burt Bacharach’s A House is Not a Home. EUROPEAN PREMIERE

Spectrum Shorts

Motion Pictures The power of images confirmed. Motion Pictures includes films without images, with deteriorated or contaminated images and with an overdose of images. Which is the most memorable? Public SCREENINGS  Fri 25-1 14:45 LantarenVenster 2 Sun 27-1 12:30 LantarenVenster 2

USA, 2012 | colour, video, 8 min, English Prod: Lewis Klahr | Cam: Lewis Klahr | Ed: Lewis Klahr | Sound Des: Lewis Klahr | Print/Sales: Lewis Klahr

1978 the 231st Day Sara Rajaei

Spell Ansuya Blom

Using texts by Kafka and photographs of Theo van Doesburg’s house in France, artist Ansuya Blom illustrates the mood of a man trying to regain control of his life. With a sense of despair and plenty of humour, Blom reveals his doubts and the banality of daily rituals. Netherlands, 2012 | b&w, DCP, 7 min, English Prod: Ansuya Blom | Sc: Ansuya Blom, based on Franz Kafka | Cam: Ansuya Blom | Ed: Ansuya Blom | Sound Des: Mark Glynne | With: Ian Hunt | Print/ Sales: Ansuya Blom |

A dreadful incident not only causes hundreds of deaths but also marks a dramatic turn in Iran’s history. Although the story does not make a reference to any names or locations, the title of the work indirectly presents the date of the incident. WORLD PREMIERE

Netherlands, 2013 | b&w, DCP, 6 min, English Prod: Sara Rajaei | Sc: Sara Rajaei | Ed: Sara Rajaei | Prod Des: Sara Rajaei | Sound Des: Milan Gataric | Music: Milan Gataric | With: voice of Monica Blok | Print/Sales: Sara Rajaei |

Orpheus (Outtakes) Mary Helena Clark

Cold Open Seamus Harahan

Seamus Harahan’s scrutinising lens reveals the gestures, machismo and arm-punching dynamics of Northern Irish youth. Intuitively looking, shooting, recording before thought intervenes, he exposes unexpected slices of the absurd, ushering us to where ‘inner and outer realities intersect’.

Fragments of Jean Cocteau’s classic Orphée, put together in the darkroom on the optical printer, reveal the other side of cinema in this new context. ‘An impossible film project: Buster Keaton stars in the outtakes from Cocteau’s Orphée, made by me for the cutting-room floor.’ (MHC) EUROPEAN PREMIERE

USA, 2012 | b&w, 16mm, 1:1.37, 6 min, English Prod: Mary Helena Clark | Print/Sales: Mary Helena Clark


UK, 2012 | colour, video, 10 min, English Prod: Seamus Harahan | Cam: Seamus Harahan | Ed: Seamus Harahan | Sound Des: Seamus Harahan | Print/Sales: Seamus Harahan |

The Toxic Camera Jane Wilson, Louise Wilson

Reflecting on the Chernobyl disaster but revealing the material nature of film, The Toxic Camera is inspired by filmmaker Vladimir Shevchenko. Filming immediately after the Chernobyl disaster, his camera became so charged with radiation it was subsequently buried on the outskirts of Kiev. WORLD PREMIERE

UK, 2013 | colour, DCP, 21 min, English Prod: Ohna Falby | Prod Comp: Wilson Sisters Ltd | Sc: Tony White, Susan Schuppli | Cam: Martin Testar | Ed: Daniel Goddard | Sound Des: Philippe Ciompi | With: Mixail Kuznetsov, Vladimir Gnidkovsky, Mihail Morozov | Print/Sales: Forma





Spectrum Shorts

memento mori Dan Browne

Spectrum Shorts

Kizarmis tavuk Fried Chicken Serdar Yilmaz

‘A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face.’ (J.L. Borges)

In a quiet neighbourhood, women peer out of the windows hoping to catch a glimpse of a huge fried chicken. A little girl lives in her own world and sees things others can’t. Fried Chicken playfully and calmly examines rituals of contemporary Turkish society.



Canada, 2012 | colour, video, 28 min, English

Turkey, 2012 | colour, DCP, 13 min, Turkish

Prod: Dan Browne | Cam: Dan Browne | Ed: Dan Browne | Prod Des: Dan Browne | Sound Des: Dan Browne, Matt Smith | Music: Dan Browne, Dan Driscoll, Steve Richman | Print/Sales: Dan Browne |

Prod: Serdar Yilmaz | Sc: Serdar Yilmaz | Cam: Meryem Yavuz | Ed: Çiçek Kahraman | Prod Des: Nadide Argun | Sound Des: Cenker Kökten | Music: Cenker Kökten | With: Güler Okten, Selean Uçer, Burak Tamdogan, Mina Trabzon | Print/Sales: Serdar Yilmaz |

Neural Pathways

Yi jia

About the stimuli that trigger understanding, or send us in very unexpected directions.

Charlotte Lim Lay Kuen

Public SCREENINGS  Thu 24-1 20:15 LantarenVenster 3 Fri 25-1 22:30 LantarenVenster 3



Like in a fairy tale. A dreamy girl or young woman in a cottage. Cockroaches seem to be the only thing hampering her. She fights back with a coat hanger. Quite stylish, a coat hanger. Carefully made. Beautifully lit. Deftly played. Perfect poetic cinema. EUROPEAN PREMIERE

Wouter Venema

In Hole, nature is layered creating an artificial world. The sound of water splashing is overpowered by a soundtrack that creates new space. The title refers to the pinhole camera and underground landscapes. WORLD PREMIERE

Netherlands, 2013 | b&w, video, 4 min, no dialogue Prod: Wouter Venema | Sc/Cam/Ed/Prod Des/Sound Des/Music: Wouter Venema | Print/Sales: Wouter Venema |

Walk-Through Redmond Entwistle

Malaysia, 2012 | colour, video, 13 min, Mandarin Prod: Charlotte Lim Lay Kuen | Sc: Charlotte Lim Lay Kuen | Cam: Teoh Gay Hian | Ed: Kok Kai Foong | Prod Des: Charlotte Lim Lay Kuen | Sound Des: AhBot@mosound | Music: Lim Giong | With: Lai Fooi Mun, Lee Cheng Seng | Print/Sales: Charlotte Lim Lay Kuen

Na sua companhia By Your Side

Marcelo Caetano

Caetano seeks to create an intimate space where people meet and approach, with all their differences and their similarities. Where people roam who like to watch and be watched. A sincere and high-spirited film about love in a modern Brazilian city, where relationships come and go. INTERNATIONAL PREMIERE

Brazil, 2012 | colour, 35mm, 1:1.85, 21 min, Portuguese

In a combination of documentary and fictionalised reconstruction, a multifaceted analysis of contemporary art education and the particular impact of Michael Asher’s ‘post-studio class’ at the California Institute of the Arts in the 1970s.

Prod: Marcelo Caetano | Prod Comp: Desbun Filmes | Sc: Marcelo Caetano | Cam: Andrea Capella | Ed: Eva Randolph | Prod Des: Maira Mesquita | Sound Des: Guile Martins | With: Lukas Peralta Filho, Ronaldo Serruya, Marcela do Nascimento, Amaral | Print/Sales: Desbun Filmes

USA/UK, 2012 | colour/b&w, video, 18 min, English Prod: Redmond Entwistle | Sc: Redmond Entwistle | Cam: Lee Daniel | Ed: Redmond Entwistle, David Rogow | Prod Des: Andrea Huelse | Music: Christopher McIntyre | With: Sara Bahr, Nate Clark, Nate Larson, Jeremy Mascia, Rasika Mathur | Print/ Sales: LUX |





Spectrum Shorts

NL Int.

Spectrum Shorts

Nation for Two

Exceptional Dutch film and video works from the last year, which we don’t want you to miss. Public SCREENINGS  Thu 24-1 18:00 LantarenVenster 6 Sat 26-1 22:00 LantarenVenster 6

We Lived Our Ordinary Lives Daya Cahen

A young Muslim girl’s childhood memories alternate with confessions from the accused at the International Criminal Tribunal for Yugoslavia in The Hague. Personal exploration of war’s influence on human life.. Netherlands, 2012 | colour, video, 19 min, Bosnian/English Prod: Daya Cahen | Cam: Daya Cahen | Ed: Daya Cahen | Sound Des: Arnoud Traa, De Auditieve Dienst | With: Latifa Imamovic | Sales: Daya Cahen | Distr. NL: EYE Film Institute Netherlands

Hier Nu

Chaja Hertog, Nir Nadler

Desiring one another, a man and woman travel across the planet’s countless landscapes in an unorthodox manner. This powerful stop-motion animation demonstrates that love knows no nationality and no borders, and that every obstacle can be overcome. Netherlands, 2012 | colour, DCP, 15 min, no dialogue Prod: Floor Onrust | Prod Comp: Family Affair Films | Sc: Chaja Hertog, Nir Nadler | Cam: David Stragmeister | Ed: Chaja Hertog, Nir Nadler | Prod Des: Chaja Hertog, Nir Nadler | Sound Des: Giori Politi | Music: Selva de Mar | With: Chaja Hertog, Nir Nadler | Sales: Family Affair Films | Distr. NL: EYE Film Institute Netherlands |

Grandpass Michal Owsinski

Michal Owsinski’s grandparents’ daily routine consists of constant repetitions, whereby the details are of little importance. Although his grandparents live together, they never meet. There is nothing between them anymore. Beautifully shot images of a banal life. INTERNATIONAL PREMIERE

Here Now

Netherlands, 2012 | colour, video, 9 min, Polish

Barbara Meter

Prod: Michal Owsinski | Sc: Michal Owsinski | Cam: Michal Owsinski | Ed: Michal Owsinski | Print/Sales: Michal Owsinski

Brief, poetic meditation by experimental filmmaker Barbara Meter on the transience of love and everything else. Written and read by Dutch writer Remco Campert and supported by atmospheric images of man and nature.

A Killer Reunion

Netherlands, 2012 | colour/b&w, video, 4 min, Dutch Prod: Barbara Meter | Sc: Barbara Meter | Cam: Barbara Meter | Ed: Barbara Meter | Sound Des: Barbara Meter | With: voice of Remco Campert | Sales: Barbara Meter | Distr. NL: EYE Film Institute Netherlands |

Raw 1.0

Avi Krispin

A group of people in a living room keep repeating the same actions as if something terrible has just taken place. A cop comes by to see what happened. As he examines the mess and those present, it slowly becomes apparent that something else is going on. Israel/Netherlands, 2011 | colour, DCP, 8 min, no dialogue Prod: Avi Krispin | Sc: Avi Krispin | Cam: Daniella Nowitz | Ed: Avi Krispin | Prod Des: Jessica Kålbermann | With: Ori Sade, Avi Fisher, Ronit Hadad, Ronit Ziv, Adi Ben Yaccov | Print/Sales: Avi Krispin |

Frans Zwartjes

Since the end of the 1960s, Zwartjes has been known for his grainy blackand-white films often featuring extravagantly clad, heavily made-up actors trapped in sexually tinged power games. Raw 1.0 is one of these films. It is a work presumed lost that recently surfaced while working on his photo book The Holy Family. Netherlands, 2012 | b&w, video, 5 min, silent Cam: Trix Zwartjes | Ed: Frans Zwartjes | Music: Frans Zwartjes | With: Frans Zwartjes, Eefje | Distr. NL: EYE Film Institute Netherlands

Dream King Wendy Oakes

Once in a while, Ronald takes part in a created reality with fancy dinners and costume galas in castles. In Dream King, Ronald’s youthful dreams of money, power and allure briefly become real. Reality or fiction; where does one end and the other start? Netherlands, 2012 | colour, DCP, 13 min, Dutch Prod: Wendy Oakes | Sc: Wendy Oakes | Cam: Wendy Oakes, Teun Vonk, Philip Schuette | Ed: Wendy Oakes | Sound Des: Thijs Felperlaan | Sales: Wendy Oakes | Distr. NL: EYE Film Institute Netherlands





Spectrum Shorts

Persistence of Vision Unusual films with a story or commitment centering on an exceptional place, event or story and, naturally, how this has been portrayed. Public SCREENINGS  Thu 24-1 20:15 LantarenVenster 6 Fri 25-1 16:30 LantarenVenster 6

Spectrum Shorts

Snow Tapes Mich’ael Zupraner

This documentary presents various perspectives on the life of a Palestinian family with Israeli neighbours. Split screen structures this as a scene within a scene on the basis of a home movie that light-heartedly deals with an ongoing problem. Israel/Palestine, 2011 | colour, video, 14 min, Arabic


Prod: Mich’ael Zupraner | Cam: Abu Talal Al-Haddad, Diaa Al-Haddad, Mich’ael Zupraner | Ed: Mich’ael Zupraner | Sound Des: Binya Reches | Print/Sales: Mich’ael Zupraner

The Verdict Ðuro Gavran

When Croatian war hero Ante Gotovina is tried at the International Criminal Tribunal for Yugoslavia in The Hague, emotions run high among the crowd that has gathered in Zagreb’s central square. The Verdict zooms in on the faces, shows the solidarity, joy and dismay nationalist sentiments elicit. WORLD PREMIERE

Croatia, 2013 | colour, DCP, 11 min, Croatian Prod:  Ðuro Gavran | Sc:  Ðuro Gavran | Cam: Pavel Posavec, Tamara Dungadija, Nikola Sucevic, Ðuro Gavran | Ed: Iva Mrkic | Prod Des:  Ðuro Gavran | Sound Des: Danijel Pejic | Print/Sales:  Ðuro Gavran |

I Remember: A Film About Joe Brainard Matt Wolf

Brainard’s drawings, collages, assemblages and paintings, as well as his short essays and verbal-visual collaborations, were celebrated during his lifetime before he stopped making art in the mid-1980s. The film is an elliptical dialogue about friendship, nostalgia and the strange wonders of memory. INTERNATIONAL PREMIERE

Skinningrove Michael Almereyda

Nobody has ever heard of Skinningrove in North Yorkshire, England, other than through Chris Killip’s pictures. Teenagers hanging around, children on the beach and fishermen in their boats. Director Michael Almeyreda looks Killip up. Thirty years later, they both look at the black-andwhite photographs on his laptop. USA, 2012 | colour, video, 15 min, English Prod: Chris Killip | Cam: Pacho Velez | Ed: Yossera Bouchtia, Andrew Coffman | Sound Des: Jenny Lim | With: Chris Killip | Print/Sales: Michael Almereyda


USA, 2012 | colour/b&w, video, 24 min, English Prod: Matt Wolf | Ed: Matt Wolf | Sound Des: Mark Phillips | With: Joe Brainard, Ron Padgett | Print/Sales: Video Data Bank (VDB) |

Present Tense The here and now, reinforced by references to the recent or ancient past. Grotesque, raw fiction vs careful, precise documentation. Public SCREENINGS  Fri 25-1 14:15 LantarenVenster 6 Mon 28-1 16:30 LantarenVenster 3


My Life Time

Johann Lurf

Katarina Zdjelar

Johann Lurf spent several months documenting the Morris Reservoir in California, for decades a military torpedo-testing site. Now decommissioned and rife with infrastructural oddities, the oftdocumented site is here transformed through subtle movements by Lurf’s sly investment in visual perception play. (TIFF 2012)

In this fragile performance, the originally energetic and proud composition Malaika gives voice to another side of our colonial past. The precise camera work and the diverging sound and images create space for reflection.

Austria, 2012 | colour, video, 5 min, silent

Prod: Katarina Zdjelar | Cam: Katarina Zdjelar | Ed: Katarina Zdjelar | Sound Des: Maziar Afrassiabi | Music: Ghana National Symphony Ochestra | Print/Sales: Katarina Zdjelar |

Prod: Johann Lurf | Sc: Johann Lurf  | Ed: Johann Lurf  | Print/Sales: sixpackfilm |




Netherlands, 2012 | colour, video, 6 min, no dialogue



Spectrum Shorts

The Shores of an Island I Only Skirted Sander Breure, Witte van Hulzen

We see images of nature on the island of Utøya. Then a collage of images from secondary sources on the internet. Besides a complex game with reality as fiction, topical themes such as the political tensions in Europe, security and mass migration and immigration give thrust to this work. WORLD PREMIERE

Netherlands/Norway, 2013 | colour, video, 22 min, English/Polish Prod: Sander Breure, Witte van Hulzen | Sc: Sander Breure, Witte van Hulzen | Cam: Witte van Hulzen | Ed: Sander Breure, Witte van Hulzen | Sound Des: Sander Breure | Music: Sander Breure, Witte van Hulzen | Print/Sales: Sander Breure |

Crystal Pillars Constant Dullaart

Spectrum Shorts

Rotterd@m Shorts 1 Overview of the best audio-visual productions from Rotterdam from the past year: documentary, dance film, fiction and experimental work. Public SCREENINGS  Thu 31-1 19:15 LantarenVenster 1 Sat 2-2 17:30 Cinerama 5

Crops Gerco de Ruijter

Gerco de Ruijter cut thousands of circles from Google Earth and made this experimental video collage about irrigation in the United States. Sprayers rotate around a central axis and irrigate round fields of green crops and desert areas. Precursor to a larger project. WORLD PREMIERE

Netherlands, 2013 | colour, video, 4 min, no dialogue

While we see a video diary of Dullaart’s actual social encounters during the time he spent on Facebook, we are guided through personal experiences, marketing talk and disturbing perceptions of our new social world. In voice-over we hear Mark Zuckerberg, various terms of use and Dullart’s own words. WORLD PREMIERE

Prod: Gerco de Ruijter | Sc: Gerco de Ruijter | Ed: Gerco de Ruijter | Prod Des: Gerco de Ruijter | Sound Des: Michel Banabila | Music: Michel Banabila | Print/Sales: Gerco de Ruijter |

Des duivels Develish

Eelko Ferwerda, Jasper Wessels

Netherlands/Germany, 2013 | colour, video, 30 min, English Prod: Constant Dullaart | Sc: Constant Dullaart, Henna Hyvärinen | Cam: Constant Dullaart | Ed: Constant Dullaart | Music: Koudlam | With: Christopher Poole, Mark Zuckerberg, Constant Dullaart, Brandon McCartney, Henna Hyvärinen | Print/Sales: Constant Dullaart |

The Saprophage Nathaniel Mellors, Gwendoline Christie

The Saprophage was shot on an iPhone (in L.A., London and Greece) and, in places, the footage was purposely distorted and damaged. Time, place and action are examined in a maelstrom of words and images. Every now and then, Mellors is also part of this fabulous, absurd saga. Netherlands, 2012 | colour, DCP, 10 min, English Prod: Nathaniel Mellors | Sc: Nathaniel Mellors | Cam: Aaron Kovalchik, Nathaniel Mellors | Ed: Nathaniel Mellors | Prod Des: Nathaniel Mellors, Gwendoline Christie | Sound Des: Nathaniel Mellors | Music: Andy Cooke | With: Gwendoline Christie, Johnny Vivash, David Birkin, Nathaniel Mellors | Print/Sales: Nathaniel Mellors

The past is relived when two old classmates bump into each other. Nothing has been forgotten and certainly nothing forgiven. Film about power and powerlessness that rouses the senses with stunts and special effects as the starting point. ‘The greatest trick the devil ever pulled, was convincing the world he didn’t exist.’ WORLD PREMIERE

Netherlands, 2013 | colour, DCP, 9 min, English Prod: Sandra de Boer, Annemieke de Vries | Prod Comp: Hotel Rebel | Sc: Eelko Ferwerda | Cam: Floris van de Lee | Ed: Jasper Verhorevoort | Prod Des: Marijke Brinkhof | Sound Des: Ranko Paukovic | Music: Bo Koek | With: Tygo Gernandt, Juda Goslinga | Print/Sales: Jasper Wessels

Edison Bay Michiel van Bakel

View from Rotterdam’s Edison Bay on Yangtze Harbour, where large containers from China are unloaded. The mingling of two more-or-less different realities: a floating human figure and an industrial horizon. With a soundtrack of natural and electronic sounds, recorded on the spot. WORLD PREMIERE

Netherlands, 2013 | colour, DCP, 4 min, no dialogue Prod: Michiel van Bakel | Prod Comp: Zinc Garden | Cam: Michiel van Bakel | Sound Des: Michiel van Bakel | Print/Sales: Zinc Garden |





Spectrum Shorts

Soigneur Rik van der Linden

Twenty years after his accident, cycling talent Simon van Beneden returns to the scene in the French Vosges to coach three amateurs on the steepest parts of the mountain. A final attempt to return to cycling. As a soigneur. WORLD PREMIERE

Netherlands/France, 2013 | colour, DCP, 17 min, Dutch/French Prod: Rik van der Linden | Prod Comp: Firma Film | Sc: Rik van der Linden | Cam: Rik van der Linden | Ed: Rik van der Linden | Prod Des: Rik van der Linden | Sound Des:  Rik van der Linden | Music: DAAU | With: Jorrith Versteege | Print/Sales: Firma Film

Het verzameld breiwerk van Loes Veenstra The Collected Knitwork of Loes Veenstra Christien Meindertsma

Since 1955, Loes Veenstra has knitted more than 500 sweaters and kept them in her house in RotterdamZuid. Up until the day of shooting, the sweaters had never been worn. Both the flashmob, the film and the accompanying book are an ode to Loes’s work. Sweet film with roles for all of her sweaters. Netherlands, 2012 | colour, DCP, 3 min, Dutch Prod: Christien Meindertsma | Cam: Roel van Tour | Ed: Tim Roza | Music: Peter de Koning | Print/Sales: Christien Meindertsma |

Hier is Harry Merry Here is Harry Merry Joke Olthaar

Charming, respectful and amusing portrait of cult singer-songwriter Harry Merry, a Rotterdam phenomenon who plays experimental rock on his organ and always performs wearing a sailor suit. His mother supports him come what may; the department of social security doesn’t really understand though.

Spectrum Shorts

Rotterd@m Shorts 2 Two documentaries with Rotterdam subjects: the bombing during WWII and writer Bob den Uyl. Public SCREENINGS  Thu 31-1 21:45 LantarenVenster 1 Sat 2-2 15:00 Cinerama 5

Herinneringen aan vuur Memories of Fire Heddy Honigmann

Rotterdam was bombed on 14 May 1940. More than 800 people died and much of the city was destroyed. In this documentary, survivors tell their personal stories. About the day in question and about life afterwards. A valuable document for the city of Rotterdam. Netherlands, 2012 | colour, video, 52 min, Dutch Prod: Martin Lagestee | Prod Comp: Lagestee Film BV | Sc: Heddy Honigmann | Cam: Claire Pijman, Hans Bouma | Ed: Jeffrey De Vore | Sound Des: Hugo Dijkstal | Music: Florencia Di Concilio | Print/Sales: Lagestee Film BV |

Tamelijk gelukkig Fairly Happy

Peter Scholten

Rotterdam documentary larded with short fiction about the rise and fall of the travel story writer Bob den Uyl. About his struggles with writing, war memories and insane phobias. With contributions by fellow authors and guest roles for Loes Luca and Jack Wouterse, among others. WORLD PREMIERE

Netherlands, 2013 | colour, video, 53 min, Dutch Prod: Jeroen Rozendaal | Prod Comp: StudioRev | Sc: Peter Scholten, Jeroen S. Rozendaal | Cam: Harm Griekspoor | Ed: Albert Markus | Sound Des: Willem Schneider | Music: Eric Vloeimans | With: Aat Ceelen, Fred van der Hilst, Loes Luca, Eric Vloeimans, Jack Wouterse | Print/Sales: StudioRev |


Netherlands, 2013 | colour, video, 40 min, Dutch/English Prod: André Schreuders, Joke Olthaar | Prod Comp: AS Film | Sc: Joke Olthaar | Cam: Kiki Petratou | Ed: Kiki Petratou | Music: Harry Merry | Print/Sales: AS Film |





Spectrum Shorts

Short Profile: Mika Taanila Mika Taanila is an artist working fluently in the fields of documentary filmmaking and visual arts. He has created works in film, video, photography, sound and installation. Besides his most important earlier films, IFFR 2013 presents the world premiere of his latest film Six Day Run in the Tiger Awards Competition for Short Films, and two installation works at TENT. Public SCREENINGS  Thu 24-1 15:00 LantarenVenster 6 Mon 28-1 19:45 LantarenVenster 6

Spectrum Shorts

Optinen ääni Optical Sound Mika Taanila

The subtitle of this work is: ‘Symphony # 2 for Dot Matrix printers’. A rhythmic choreography of printer parts and their now classic typography is juxtaposed with observations of life in office buildings. Man versus machine. The never-ending march of technology. The score is by the Canadian composer [The User]. Finland, 2005 | colour/b&w, 35mm, 1:2.35, 6 min, no dialogue

Täydellisen pimennyksen vyöhyke The Zone of Total Eclipse Mika Taanila

The Finnish artist Mika Taanila manipulates found scientific footage – a registration of an eclipse that took place in 1945 in northern Finland – that he shows in both positive and negative. Finland, 2006 | b&w, 16mm, 1:1.37, 6 min, no dialogue Prod: Cilla Werning | Prod Comp: Kinotar Oy | Ed: Mika Taanila | Sound Des: Olli Huhtanen | Print/Sales: Light Cone Distribution |

Futuro – tulevaisuuden olotila Futuro – A New Stance for Tomorrow Mika Taanila

The 100% plastic Futuro House designed by Matti Suuronen in 1968, an egg-shaped, prefabricated portable building, is an icon of space-age design. The film traces the short history of this structure, which symbolizes ‘the dream of the future’ of the late 1960s, examining the utopian ‘Made-In-Finland’ vision, and also how the oil crisis put an abrupt end to the project in 1974. Today the Futuro House stands for a utopia that almost came true. Finland, 1998 | colour, 35mm, 1:1.85, 30 min, no dialogue Prod: Mika Taanila | Prod Comp: Kinotar Oy | Sc: Marko Home, Mika Taanila | Cam: Jussi Eerola | Ed: Mika Taanila | Prod Des: Kari Juusonen | Sound Des: Olli Huhtanen | Music: Ektroverde | Print/Sales: Kinotar Oy

Tulevaisuus ei ole entisensä

Prod: Cilla Werning, Ulla Simonen | Prod Comp: Kinotar Oy | Sc: Mika Taanila, Jussi Eerola | Cam: Jussi Eerola | Ed: Mika Taanila | Music: Emmanuel Madan, Thomas McIntosh | Print/Sales: Kinotar Oy |

Spectrum Shorts Installation The Most Electrified Town in Finland Mika Taanila Images of the gigantic structures are spread over three screens, many of them time-lapse shots on 16mm film, interspersed with scenes of everyday life in Eurajoki, whose spirit of optimism regarding ‘the plant’ seems oddly anachronistic from a contemporary perspective. The title stems directly from a slogan that the town itself is proudly promoting. Thu 24-Sat 2, 11:00-18:00, free admission, TENT Finland, 2012 | colour, video, 15 min, no dialogue Prod: Mika Taanila | Cam: Jussi Eerola | Sound Des: Olli Huhtanen  | Music: Pan Sonic | Print/Sales: Kinotar Oy

Short Stories: Bad Weeds Grow Tall Growing up in confusing times isn’t easy anywhere on the globe. Public SCREENINGS  Fri 25-1 20:15 LantarenVenster 3 Sun 27-1 12:15 LantarenVenster 3

The Future Is Not What It Used to Be

Mika Taanila

Friday Night

A portrait of Erkki Kurenniemi along with 1960s avant-garde music and film, the early history of microcomputers and questions of 21st-century science. Taanila links past to present by showing excerpts of Kurenniemi’s early experimental films alongside documentation of his current project, in which he obsessively catalogues details of his everyday life so he can be re-constructed in the future, after his death.

Gul Dharmani

Finland, 2002 | colour/b&w, 35mm, 1:1.85, 52 min, no dialogue


Prod: Lasse Saarinen, Ulla Simonen | Prod Comp: Kinotar Oy | Sc: Mika Taanila | Cam: Jussi Eerola | Sound Des: Olli Huhtanen | Print/Sales: Kinotar Oy

India, 2013 | colour, DCP, 24 min, English/Hindi



Three rich teenage girls sneak off to paint the town red. When their taxi ends up on the outskirts of town, they not only have to deal with the Indian underclasses, but also with each other. Surprising fiction by talented, young Indian filmmaker. Prod: Anay Goswamy | Sc: Gul Dharmani | Cam: Avinash Arun | Ed: Arindam Ghatak | Sound Des: Anthony Ruban | Music: Anjo John | Print/Sales: Gul Dharmani



Spectrum Shorts

Ziegenort Tomasz Popakul

Summer in the fishing village of Ziegenort. Early in the day, an introverted boy and his father go fishing. He struggles with his fears and constant rejection. He is as trapped as the fish he sees gasping for air. Polish animation about teenage angst with magical, surreal scenes. WORLD PREMIERE

Poland, 2013 | colour/b&w, video, 18 min, Polish Prod: Piotr Szczepanowicz | Prod Comp: Nolabel Sp. | Sc: Tomasz Popakul | Ed: Tomasz Popakul, Piotr Szczepanowicz | Prod Des: Tomasz Popakul | Sound Des: Michal Fojcik | Music: Stuart Dahlquist, Pawel Cieslak | With: Jakub Nosiadek, Maciej Miszczak, Daria Polasik, Natalia Brozynska, Slawomir Sulej | Print/Sales: New Europe Film Sales

Echo Lewis Arnold Walking down the street, 17-year-old Caroline gets a call that her dad has had a serious motorbike accident. Passers-by help her out, even with her life. Exceptional, impressive story about mourning, in which reality and imagination intertwine. Based on a true story. WORLD PREMIERE

Spectrum Shorts

Short Stories: Latin Treats Back again. Unique Latin shorts from Mexico, Peru, Brazil and Chile. Public SCREENINGS  Thu 24-1 22:15 LantarenVenster 3 Fri 25-1 12:15 LantarenVenster 3

Serra do Mar Sea Ridge Iris Junges

Jonas and his girlfriend live in a house in the Serra do Mar mountains that separate São Paolo from the coast. He watches the power stations on monitors. A fire breaks out. Beautiful, mysterious fiction that raises questions and was triumphant at major Brazilian festivals. INTERNATIONAL PREMIERE

Brazil, 2012 | colour, 35mm, 1:1.85, 15 min, Portuguese Prod: Ângelo Ravazi | Prod Comp: Massa Real Filmes | Sc: Iris Junges | Cam: Jasmin Tenucci | Ed: Eduardo Chatagnier | Prod Des: Flora Leite | Sound Des: Guile Martins | With: Rodrigo Bolzan, Roney Villela, Luciana Paes | Print/Sales: Massa Real Filmes

UK, 2013 | colour, video, 17 min, English Prod: Lewis Arnold | Prod Comp: National Film and Television School | Sc: James Walker | Cam: Alfie Biddle | Ed: Paulo Pandolpho | Prod Des: Stephanie Cross | Sound Des: Nikola Medic | Music: Finn McNicholas | With: Lauren Carse, Oliver Woollford, Caroline Giametta, Joel Morris, Shauna Shim | Print/Sales: National Film and Television School |

Para armar un helicóptero

To Put Together a Helicopter


Izabel Acevedo

Audrey Lam

Two non-conformist girls skate, flypost and hang around in a desolate urban landscape. They’re not from round here, don’t belong here, but at least they have each other. Loneliness and togetherness convincingly portrayed; the spirit of Linklater’s Slacker is always near. EUROPEAN PREMIERE

Australia, 2012 | colour, DCP, 10 min, English Prod: Audrey Lam | Sc/ Ed: Audrey Lam | Cam: Charlie Hillhouse | Sound Des: Joel Stern | Music: Primitive Motion | With: Tachika Yokota, Xiao Deng | Print/Sales: Audrey Lam |

Ugly Night

17-year-old Oliverio lives in an apartment in Mexico City with rural immigrants. Together they make ends meet. When heavy rain makes their electricity cut out, Oliverio comes up with a solution. Original, authentic fiction about inventiveness and the will to survive. WORLD PREMIERE

Mexico, 2013 | colour, video, 35 min, Spanish Prod: Ana Valentina Hernandez Delgado | Prod Comp: Centro de Capacitación Cinematográfica | Sc: Izabel Acevedo | Cam: José Stempa Steinberg | Ed: León Felipe González | Prod Des: Marcos Vargas | Sound Des: León Felipe González | Music: Galo Durán | With: Roberto Pichardo, Tomihuatzi Xelhua, Angeles Cruz, Melissa Guzmán, Gerardo Taracena | Print/Sales: Centro de Capacitación Cinematográfica

Won Kang

Dongchul tries to save face by carrying out an important assignment. It’s the middle of the night and the two leads journey further and further into the dark. Things get darker with every scene. This raw story grabs you by the throat and drags you in. WORLD PREMIERE

South Korea, 2013 | colour, DCP, 22 min, Korean Prod: Won Kang | Sc/Ed: Won Kang | Cam: Ja Sung Choi | Prod Des: Sung Hyub Lim | Sound Des: Tak Whan Lee | Music: Jin Ho Jung | With: Kim Chang Hwan, Kang Bong Sung, Hyung Young Sun, Park Sung Tak | Print/Sales: Won Kang





Spectrum Shorts

Spectrum Shorts

El acompañante

Przed minieciem

Alvaro Delgado-Aparicio

Bianca Lucas

In the slums of Lima a young male prostitute takes care of his silent, invalid father who used to paint woodwork in the traditional manner. It’s hard work and he tries to break free, but his father is too dependent on him. Unique, intimate fiction from Peru.

Deep in Poland’s countryside, the brisk winter air thickens with tension. It is the day before ‘Lunar Passing’ – a phenomenon that will change life on earth forever. Little Maria seeks out the company of 90-year-old Jerzy, the local ‘lunatic’ living in isolation. Subtle, enigmatic fairy tale in black-and-white.



Peru, 2012 | colour, DCP, 22 min, Spanish

Poland, 2013 | b&w, video, 15 min, Polish

Prod: Alvaro Delgado-Aparicio | Prod Comp: SIRI Producciones | Sc: Alvaro Delgado-Aparicio | Cam: Mario Bassino | Ed: Brian Jacobs | Prod Des: Eduardo Camino | Sound Des: Omar Pareja | With: Ivan Lozano, Carlos Cubas | Print/Sales: SIRI Producciones

Prod: Bianca Lucas, Mathilde-Zoe Schmidt | Sc: Bianca Lucas | Cam: Wojciech Rytel | Ed: Wojciech Janas | Prod Des: Małgorzata Dabrowska | Sound Des: Szymon Orfin | With: Natalia Powada, Sylwana Skarzynska-Rutledge, Zbigniew Swat, Boleslaw Cisielski, Ewa Kania, Barbara Sadurska | Print/Sales: Bianca Lucas

The Companion

Before Passing

No hay pan No Bread

Macarena Monrós

The older owner of a corner shop gets in trouble when he can no longer buy in bread. He’s also losing customers to the local supermarket. Lovingly made fiction about an important, global economic issue. INTERNATIONAL PREMIERE

Chile, 2012 | colour, DCP, 20 min, Spanish Prod: Iván Nakouzi | Sc: Pamela Muñoz | Cam: Mauricio Palacios | Ed: Jasmín Valdés | Prod Des: Patricia Muñoz | Sound Des: Patricia Muñoz | Music: Eduardo Ortíz Mora | With: Raúl Palma, Pelusa Troncoso, Marta Méndez | Print/Sales: Iván Nakouzi |

Short Stories: Lunar Eclipses Short, sometimes dreamy fictions which leave some riddles unsolved. Public SCREENINGS  Thu 24-1 17:45 LantarenVenster 3 Sat 26-1 12:00 LantarenVenster 6

La maison vide Cover Us

Mathieu Hippeau

The unhappy son of a locksmith helps out with a job for the lady of the manor. Her house contains a history that is of vital importance to him. Hippeau catalogues the subtle tensions of human interaction focusing on the search for security.

Het zwijgen van Helena Helena’s Silence Pieter Dumoulin

Helena, her brother and her mother are holidaying in the usual seaside town when the latter becomes very ill. Helena doesn’t know what to do and retreats into herself, leaving her brother to solve matters. Convincing, strongly cinematic graduation film (KASK, Ghent) about isolation and close brother-sister ties. INTERNATIONAL PREMIERE

Belgium, 2012 | colour, DCP, 27 min, no dialogue Prod: Pieter Dumoulin | Sc: Pieter Dumoulin | Cam: Ruben Desiere | Ed: Pieter Dumoulin | Sound Des: Pieter Dumoulin | Music: Seppe Gebruers | With: Hans Mortelmans, Eva Binon | Print/ Sales: Pieter Dumoulin |

Light Plate Josh Gibson

Situated between tradition and modernity, dawn and night, pasta is made in Italian light. A handmade celluloid essay, conjuring up vistas of the Italian countryside. Time is invoked by window-framed intersections of near and far. Impressive cinematography with a nostalgic undertone and a traditional soundtrack. EUROPEAN PREMIERE

Italy/USA, 2012 | b&w, 35mm, 1:2.35, 10 min, no dialogue Prod: Josh Gibson | Cam: Josh Gibson | Ed: Josh Gibson | Sound Des: Josh Gibson | Music: Gianni Brucshi | Print/Sales: Josh Gibson


France, 2013 | colour, DCP, 19 min, French Prod: Cécile Vacheret | Prod Comp: Sedna Films | Sc: Mathieu Hippeau | Cam: Nicolas Mesdom | Ed: Loïc Lallemand | Sound Des: Arnaud Ledoux, François Bailly, Johann Nallet | With: Franck Falise, Mireille Perrier, Pablo Alarson and Philippe Fauconnier | Print/Sales: Sedna Films





Spectrum Shorts

Spectrum Shorts

Luz da manhã

Dom tsah

Cláudia Varejão

Ruslan Magomadov

Last part of a trilogy about family meetings. How paths cross – or sometimes fail to – by an inch. After a day of swimming at the lake, family ties are inexplicably disturbed. Morning Light makes the generation gap tangible between mother, daughter and granddaughter.

Beautiful, contained, documentary-style drama in Chechnya. An old man tries to stay alive in his home that is engulfed by war. Until he gets the chance to leave. Well-acted, sober fiction about the strong primal urge to survive. Based on a true story.

Portugal, 2012 | colour, video, 18 min, Portuguese

Russia, 2012 | colour, DCP, 26 min, Russian

Prod: Maria João Mayer | Prod Comp: Filmes do Tejo II | Sc: Cláudia Varejão, Joana Cunha Ferreira | Cam: Rui Xavier | Ed: Cláudia Varejão, Mariana Gaivão | Prod Des: Lula Pena, Maria Manuel Ferreira | Sound Des: Olivier Blanc | With: Beatriz Batarda, Elisa Lisboa, Matilde Colaço | Print/Sales: Filmes do Tejo II

Prod: Ruslan Magomadov | Sc: Ruslan Magomadov | Cam: Evgeniy Savenkov, Ruslan Magomadov | Ed: Ruslan Magomadov | With: Evgeniy Martinov | Print/Sales: Ruslan Magomadov

Morning Light

Short Stories: Pull Together



Odete Clarissa Campolina, Ivo Lopes Araújo, Luiz Pretti

Humans get by, under any conditions. Public SCREENINGS  Sun 27-1 22:15 LantarenVenster 3 Mon 28-1 14:30 LantarenVenster 6

Daimi Marie Grahtø Sørensen

Strong, much-lauded debut by Danish filmmaker about a young girl on her own at home over Christmas. Fantasy and reality mingle; is there a piglet running around, or is it a baby? Where is her mother? Sober, haunting, extremely affecting fiction thanks to the young lead’s fabulous acting. INTERNATIONAL PREMIERE

Denmark, 2012 | colour, video, 19 min, Danish Prod: Maria Gry Henriksen, Emil Dinsen | Prod Comp: Darlings & Muscles | Sc: Eini Carina Grønvold, Marie Grahtø Sørensen | Cam: Jonas Berlin | Ed: Meeto Grevsen | Sound Des: Mathias Dehn | With: Bebiane Ivalo Kreutzmann, Tina Fritz Christiansen, Wilma Vujic | Print/Sales: Darlings & Muscles

Buenos días resistencia Good Morning Resistance Adrián Orr

Early morning. Almost in real time, we witness the daily ritual of a father waking his three young children and taking them to school. It’s quite a chore and seems to have been born from necessity. ‘We are a team and we all have our own responsibilities, okay?’ INTERNATIONAL PREMIERE

Spain, 2012 | colour, DCP, 20 min, Spanish Prod: Fernando Franco | Prod Comp: New Folder Studio & Ferdydurke | Sc: Adrián Orr | Cam: Adrián Orr | Ed: Ana Pfaff | Prod Des: Fernado Franco, Hugo Herrera | Sound Des: Eduardo Gonzalez | With: David Ransanz, Luna Ransanz, Mia Ransanz, Oro Ransanz | Print/Sales: New Folder Studio & Ferdydurke



An adult daughter goes to visit her aging mother who has just died. Before doing so, she wrote a moving letter to her offspring about their true relationship. Together the silence, emptiness and minimal movement as well as the repetitions on the soundtrack work like a mantra. Beautifully shot in Fortaleza, Brazil. Brazil, 2012 | colour, DCP, 16 min, Portuguese Prod: Caroline Lousie | Prod Comp: Alumbramento Produções Cinematográficas Ltda | Sc: Clarissa Campolina, Ivo Lopes Araújo, Luiz Pretti | Cam: Ivo Lopes Araújo | Ed: Clarissa Campolina, Luiz Pretti | Prod Des: Thais de Campos | Sound Des: O Grivo | Music: O Grivo | With: Verônica de Sousa Cavalcanti | Print/Sales: Alumbramento Produções Cinematográficas Ltda 

Short Stories: When the Going Gets Tough A glimmer of hope can be found in the strangest places. Public SCREENINGS  Sat 26-1 22:30 LantarenVenster 3 Mon 28-1 19:30 LantarenVenster 3

Un dimanche matin A Sunday Morning Damien Manivel

Where are a man and his dog going so early in the morning? The dawn chorus hasn’t even started. The man is the first person outside. He peeks over a fence and sits down. If only every Sunday were like this. A quiet film in which dawn slowly awakens the world. France, 2012 | colour, DCP, 18 min, no dialogue Prod: Marie-Anne Campos | Prod Comp: LE GREC | Sc: Damien Manivel | Cam: Julien Guillery | Ed: Suzana Pedro | Sound Des: Jérôme Petit  | With: Ivan Borin, Stiki | Print/Sales: Agence du court-métrage



Spectrum Shorts

Good Bye Sweet Pop’s Bérangère Allaux

Spectrum Shorts

María Mary

Mónica Lairana

A young woman rushes to drop the children off. When she arrives at the theatre where she works, she proves to be totally distraught and incapable of rehearsing. In costume, she wanders outside and picks up her child, who immediately notices her odd behaviour. Moving fiction about despair with Sophie Quinton, from 38 Witnesses.

A tiny room, a young woman and her clients. The males put their weight on her battered body. Multi-talented Lairana once again has a good eye for the details of women’s lives, as she did in the award-winning Rosa, that was also screened at IFFR. Mary is a fabulous, very compassionate portrait.



France, 2013 | colour, 35mm, 1:1.85, 12 min, French

Argentina, 2012 | colour, DCP, 13 min, no dialogue

Prod: Emmanuel Chaumet | Prod Comp: Ecce Films | Sc: Bérangère Allaux | Cam: Laurent Brunet | Ed: Nicolas Boucher | Sound Des: Xavier Dreyfuss | Music: Vincent Segal | With: Sophie Quinton | Print/Sales: Ecce Films

Prod: Paulo Pécora | Prod Comp: Rioabajo | Sc: Mónica Lairana | Cam: Flavio Dragoset | Ed: Karina Kracoff | Prod Des: Micaela Tuffano | Sound Des: Germán Chiodi | With: Nadia Ayelen Gimenez | Print/Sales: Rioabajo |

Yaderni wydhody Nuclear Waste

Miroslav Slaboshpitsky

Sergiy and Sveta live in Chernobyl. He drives trucks for a company that processes radioactive waste, she works at a launderette. Their lives have a certain rhythm. Every day they meet in a room for a standard ritual. Effective, austere, yet also moving fiction. Ukraine, 2012 | colour, DCP, 23 min, no dialogue Prod: Denys Ivanov, Volodymyr Tykhyy, Igor Savychenko | Prod Comp: Arthouse Traffic, Pronto Film | Sc: Myroslav Slaboshpytskiy | Cam: Dmytro Sannykov | Ed: Kristof Hoornaert | Prod Des: Elena Slaboshpytskaya | Sound Des: Sergiy Stepanskiy | With: Svenlana Shtanko, Sergiy Gavryluk | Print/Sales: Arthouse Traffic

Ina Litovski André Turpin, Anaïs Barbeau-Lavalette

Soul Hotel A Soul Hotel is a hotel that also welcomes the dead. Rare hotels, but on the banks of the Mekong rarity is relative. Soul film. Public SCREENINGS  Fri 25-1 22:00 LantarenVenster 6 Fri 1-2 09:15 LantarenVenster 5


The Thieves Ismail Basbeth

Two thieves are captured by angry neighbours. Although the theft is insignificant (an old TV) people are no less angry, and the punishment is extreme. Basically a crime in itself. A few minutes in the dark woods and their fate is sealed forever. Brief morality play. WORLD PREMIERE

Outsider Sophie or Ina Litovski, as she prefers to be called, feels ignored by her lethargic mother with whom she lives in a small apartment. Tonight she’ll play her violin at the school concert and she decides to make this the turning point in her life. Canada, 2012 | colour, DCP, 11 min, French Prod: Stephanie Verrier | Prod Comp: Les Productions Flow | Sc: André Turpin, Anaïs Barbeau-Lavalette | Cam: André Turpin | Ed: Elric Robichon | Prod Des: David Pelletier | Sound Des: Sylvain Bellemare | With: Marine Johnson, Geneviève Alarie | Print/Sales: Travelling

Indonesia, 2013 | colour, video, 3 min, Javanese Prod: Surya Adhy Wibowo, Abraham Mudito | Prod Comp: Hide Project Indonesia | Sc: Adi Marsono, Nurul Hadi, Ismail Basbeth | Cam: Satria Kurnianto | Ed: Ismail Basbeth | Prod Des: Djarot DDS | Sound Des: Lintang Enrico, Rangga Sang Eshayoga | With: Adi Marsono, Nurul Hadi | Print/Sales: Hide Project Indonesia

Not a Soul Jet Leyco

A man hides out in the mountains after accidentally killing a priest. However, the area is far from safe. Soldiers and rebels hunt one another there. The fateful location is visualised with a mixture of oppressive, moving and still, black-and-white images. Don’t move a muscle. WORLD PREMIERE

Philippines, 2013 | colour/b&w, DCP, 13 min, no dialogue Prod: Jet Leyco | Prod Comp: Barong Tagalog Films, Dakila, Kerberus Kinorama Klassiks, Tito & Tito | Sc: Jet Leyco | Cam: Jet Leyco | Ed: Jet Leyco | Prod Des: Jet Leyco | Sound Des: Jet Leyco | Music: Jet Leyco | Print/Sales: Barong Tagalog Films





Spectrum Shorts

Spectrum Shorts

Zero Gravity

Beyond Memory

Jakrawal Nilthamrong

Abdalla Mohamed

Visually and dramatically complex story set simultaneously in the present and the past. Zero Gravity returns to where a bizarre hostage situation ended in blood over ten years ago. Almost every conflict in or on the border of Thailand seem to be dealt with.

A beautiful girl in a room, filmed in black-and-white. Alone, she misses no one. She opens her memory and lets in Omar, who disappeared. How long ago is unclear, but her broken heart still hasn’t healed. The almost empty room has a portrait of Che Guevara on the wall.



Thailand, 2012 | colour, video, 22 min, Thai

Sudan, 2012 | colour/b&w, DCP, 8 min, Arabic

Prod: Chatchai Chaiyont | Prod Comp: Mit Out Sound Films | Sc: Jakrawal Nilthamrong | Cam: Phuttiphong Aroonpheng | Ed: Jakrawal Nilthamrong | Prod Des: Apinat Tongpanchang | Sound Des: Akaritchalerm Kalayanamitra | Music: Bhanuphong Chooarun | With: Pirapat Viriyapong, Thanapuk Jongjaiprakub, Nitit Khosakul | Print/Sales: Extra Virgin Co., Ltd.

Prod: Talal Afifi | Prod Comp: Sudan Film Factory | Sc: Abdallah Mohamad | Cam: Mohammed Fawi, Ebrahim Mursal, Babkir Ismail | Ed: Hamza Alamin, Mojtaba | Prod Des: Talal Afifi | Sound Des: Abdalgader Basher | Music: Walid Abdallah | With: Heba Fared, Jsoer Sied Ahmad | Print/Sales: Sudan Film Factory

Mekong Hotel Apichatpong Weerasethakul

Few rivers have discharged more bodies than the Mekong. No wonder that the Apichatpong Hotel – with its otherworldly, filming hotelier – is not only home to living guests. They hang around on the veranda, listen to or play guitar and rehearse for a film that will no longer be made. Thailand/UK, 2012 | colour, DCP, 57 min, Thai Prod: Simon Field, Keith Griffiths, Apichatpong Weerasethakul | Prod Comp: Illuminations Films, Kick the Machine | Sc: Apichatpong Weerasethakul | Cam: Apichatpong Weerasethakul | Ed: Apichatpong Weerasethakul | Sound Des: Akritcharlerm Kalayanamitr | Music: Chai Bhatana | With: Jenjira Pongpas, Maiyatan Techaparn, Sakda Kaewbuadee | Print/Sales: The Match Factory GmbH |

Rabbaba Man Mario Mabor Dhalbny

Light-hearted documentary portrait of Mohamed ‘Haraka’. Everyone in his neighbourhood Ombadda in Omdurman knows ‘the rabbabaman’. He cycles around with his bike and his instruments, selling his rabbabas and singing traditional songs. A guardian of his culture. No wonder everyone loves him. INTERNATIONAL PREMIERE

Sudan, 2010 | colour, DCP, 17 min, Arabic Prod: Mario Mabor Dhalbny | Sc: Mario Mabor | Cam: Kasim Abid | Ed: Sogoud Elgarrai, Mohamed Subahi | Prod Des: Hassan Matar | Sound Des: Issraa Elkogali, Ayman Hussein | Music: Mohamed Siddig | Print/Sales: Mario Mabor Dhalbny

Sudan’s Swinging Film Factory Khartoum is a post-war city. Sudan is divided to the core. But then there is music. Filming is learnt hesitantly. But no one has to tell them anything about music.

Cinema Behind Bars

Public SCREENINGS  Sun 27-1 16:45 LantarenVenster 3 Thu 31-1 14:00 LantarenVenster 6

Closed cinemas. Primarily visually approached. Not spectacularly, but quietly and carefully. The symbolism of closed, derelict cinemas is strong. Their demise wasn’t for economic, but for political and religious reasons. A woman tells the story of her cinema.

In Search of Hip-Hop Issraa El-Kogali

Bahaeldin Ibrahim


Sudan, 2012 | colour, DCP, 30 min, Arabic

The title is perfect. Sudan’s political and religious climate doesn’t exactly foster counter-culture. The filmmaker really had to hunt for some and found little, but what she encountered was disarmingly original. Portrait of rappers that have yet to learn how to rap.

Prod: Talal Afifi | Prod Comp: Sudan Film Factory | Sc: Bahaeldin Ibrahim | Cam: Mojahid Mohamed Adam | Ed: Ahmed Mohamed Jaknon | Music: Hessam Mohamed Abdelsalam | With: Lossy Indrawss | Print/Sales: Sudan Film Factory


Sudan, 2012 | colour/b&w, DCP, 11 min, English/Arabic Prod: Talal Afifi | Prod Comp: Sudan Film Factory | Cam: Issraa El-Kogali | Ed: Christoph Lumpe | Prod Des: Issraa El-Kogali | Sound Des: Issraa El-Kogali | Music: MoJo, MCMO, DZA and L.U.A.L | Print/Sales: Sudan Film Factory |





Spectrum Shorts

Spectrum Shorts

Nemra 12

Señal de humo

Mosaab Fadul

Sebastian Diaz Morales

A portrait of a man famous in Khartoum for being a professional football supporter. He doesn’t egg on the players, but whips the crowd into a frenzy to rhythmically support the team. Truly the 12th member of the team.

This work needs a closer reading. As if aiming to ‘get the picture’, we hear sounds of pages turning, wanting to get from one image to the next. In the cumulative process of reading the images, a situation gradually starts to be disclosed. The tension rises, the images want to take their own voice. Also see Insight in Tiger Awards Competition for Short Films.

Number 12

Smoke Signal


Sudan, 2011 | colour, DCP, 9 min, Arabic Prod: Talal Afifi | Prod Comp: Sudan Film Factory | Sc: Tawhida Soliman | Cam: Tilal Alnayer, Mosaab Fadul | Ed: Mosaab Fadul, Osama Hassan, Huzeifa Azhary  | Prod Des: Talal Afifi | Sound Des: Mosaab Fadul, Tilal Alnayer | Music: Mosaab Fadul | Print/Sales: Sudan Film Factory

Nomads Mohamed Hanafi

Nomads is set in a messy, but busy car workshop in Khartoum. The mechanics all love music. Actually, you could call them professional musicians whose hobby is working on cars. Rhythmic documentary with a good sense of mechanical parts. INTERNATIONAL PREMIERE

Sudan, 2012 | colour, DCP, 36 min, Arabic Prod: Talal Afifi | Prod Comp: Sudan Film Factory | Sc: Mohamad Hanfi | Cam: Mohamad Subahi | Ed: Emad Mabrouk | Prod Des: Talal Afifi | Sound Des: Emad Mabrouk | Music: Nomads Musical Group | With: Salah, Wahba, Bahaa, Badr | Print/Sales: Sudan Film Factory

Survival Strategies We invited 14 distributors of experimental film and video art (DINAMO) to each submit a title for this survival strategiesthemed programme. Public SCREENING  Sun 27-1 19:45 LantarenVenster 2

80 Million Mohamed Zayan, Eslam Zeen El Abedeen

Return power to the people! The makers have shaped a dream of the future as a breathtaking metaphor. A mirage of percussion instruments overwhelms to such an extent, seems so real, that it can only be a matter of time before 80 million Egyptians regain power.


Netherlands, 2013 | colour, DCP, 7 min, no dialogue Prod: Sebastian Diaz Morales | Sc: Sebastian Diaz Morales | Cam: Sebastian Diaz Morales | Ed: Sebastian Diaz Morales | Prod Des: Sebastian Diaz Morales | Sound Des: Sebastian Diaz Morales | Print/Sales: LIMA 

Our Protection Ayelen Liberona, Joseph Johnson-Cami

‘You hit bodies, while we hit streets.’ This accusation by vocalist Rosina Kazi is central to this richly animated video. How free is a Western country, if dancing in the streets is punished with tear gas and imprisonment in the name of our safety? WORLD PREMIERE

Canada, 2013 | colour, DCP, 4 min, English Prod: Ayelen Liberona | Sc: Ayelen Liberona, Joseph Johnson-Cami | Cam: Ayelen Liberona, Joseph Johnson-Cami | Ed: Ayelen Liberona, Joseph JohnsonCami | Prod Des: Ayelen Liberona, Joseph Johnson-Cami | Music: LAL | Print/ Sales: Canadian Filmmakers Distribution Centre (CFMDC) |

The Folded Edges Across the Rim John Forget

The banality of a summer promenade buffet, where waitress Marlene (artist Heather Wise) works, is transcended by a musical mantra and an electrified outfit with moving colours. Filling bowls of fortune cookies can be inspiring. WORLD PREMIERE

Canada, 2013 | colour, video, 5 min, English Prod: John Forget | Sc: John Forget | Cam: John Forget | Ed: John Forget | Prod Des: John Forget | Sound Des: John Forget | With: Heather Wise | Print/Sales: V tape |

Egypt, 2009 | colour, DCP, 5 min, no dialogue Prod: Mohamed Zayan, Eslam Zeen El Abedeen | Sc: Eslam Zeen El Abedeen, Mohamed Zayan | Cam: Eslam Zeen El Abedeen, Mohamed Zayan | Ed: Eslam Zeen El Abedeen, Mohamed Zayan | Prod Des: Eslam Zeen El Abedeen, Mohamed Zayan | Sound Des: Eslam Zeen El Abedeen, Mohamed Zayan | With: Eslam Zeen El Abedeen, Mohamed Zayan | Print: Arsenal – Institut für Film und Videokunst e.V. | Sales: Eslam Zeen El Abedeen |





Spectrum Shorts

NabelFabel NavelFable

Spectrum Shorts

Mademoiselle Emilie Jouvet

Mara Mattuschka

Slowly revealing her face, which is covered in various materials, Mattuschka emerges like a butterfly from a cocoon. Her face laid bare for a moment, she emancipates. Or does she? A brush is used to re-transform her appearance. Beautiful 16mm print from 1984. Austria, 1984 | b&w, 16mm, 1:1.37, 3 min, no dialogue Prod: Mara Mattuschka | Sc: Mara Mattuschka | Cam: Mara Mattuschka | Ed: Mara Mattuschka | Sound Des: Mara Mattuschka | Print/Sales: sixpackfilm |

A Forest Within a Forest AUJIK

In this ode to artificiality, Mother Nature is linked to technology in three ways, celebrating the holiness of synthetics. Mira Calix’s music consists of computer-processed sounds, the voice-over is vocodered and the image looks like woodland, but the trees are no ordinary trees. Japan, 2010 | colour, DCP, 5 min, Japanese Prod: AUJIK | Sc: AUJIK | Cam: AUJIK | Ed: AUJIK | Prod Des: AUJIK | Sound Des: Mira Calix | Music: Mira Calix | With: Nashi KK | Print: Filmform | Sales: AUJIK |

A woman has found a way of getting the verbal harassment of men out of her system. She transforms their aggressive formulations into a wordless, glissando lament, which gradually becomes hilarious and creates an opening in the fraught situation. France, 2004 | colour, DCP, 4 min, French Prod: Emilie Jouvet | Sc: Emilie Jouvet | Cam: Emilie Jouvet | With: Estelle Germain | Print/Sales: Collectif Jeune Cinéma (CJC) |

Two Islands Jan Ijäs

Out of the mist, an island gradually appears, low in the water. The camera floats towards a unique spot and perhaps the future’s most valuable archaeological find: a public cemetery for the lonely, homeless, nameless, poor inhabitants of New York. Finland, 2012 | b&w, video, 5 min, English Prod: Jan Ijäs | Sc: Jan Ijäs | Cam: Cristian Manzutto, Jan Ijäs | Ed: Okku Nuutilainen | Sound Des: Svante Colérus | Music: Vilunki 3000 | With: Voice of Morgan Devereaux | Print/Sales: AV-arkki |

Cantaert Hunter 890602

Ice/Fire Paul Kos

Ria Pacquée


Where are these women heading? Towards one another or each to her own goal? Ceaselessly walking, the corn’s leaves sometimes hit them hard. Every step leads to the next strike, but stopping doesn’t seem an option. A beautiful image of indomitable perseverance.

USA, 2004 | colour, DCP, 5 min, English

Belgium, 2003 | colour, video, 3 min, no dialogue

Prod: Paul Kos | Sc: Paul Kos | Cam: Paul Kos | Ed: Paul Kos | Prod Des: Paul Kos | Sound Des: Paul Kos | Print/Sales: Video Data Bank (VDB) |

Prod: Ria Pacquée | Sc: Ria Pacquée | Cam: Ria Pacquée | Ed: Ria Pacquée | Prod Des: Ria Pacquée | Sound Des: Ria Pacquée | Print/ Sales: Argos Centre for Art and Media |

Short but fascinating ode to human inventiveness. Paul Kos translates a well-known instruction from a survival manual into video: If there is no magnifying glass around to light kindling, try making fire with ice.

Austerity Measures Guillaume Cailleau, Ben Russell

At the Acropolis, a flat hand rises from the earth. Underneath, a marble base covered in flyers. Fists fill heads. Reminiscent of Eisenstein when the city steps herald the end: graffiti vanitas stares back from the walls. Greece, 2012 | colour, 16mm, 1:1.37, 8 min, silent Prod: Guillaume Cailleau | Sc: Guillaume Cailleau, Ben Russell | Cam: Guillaume Cailleau, Ben Russell | Ed: Guillaume Cailleau, Ben Russell | Prod Des: Guillaume Cailleau, Ben Russell | Sound Des: Guillaume Cailleau, Ben Russell | Print: Light Cone Distribution | Sales: Guillaume Cailleau |



Whiplash Warren Sonbert

In spite of disease-ravaged vision and motor skills, Sonbert summoned his strength for his last ode to life. His comrade, Ascension Serrano, collected images on the basis of meticulous instructions. Former student Jeff Scher completed the film after the filmmaker’s death. USA, 1995 | colour, 16mm, 1:1.37, 8 min, no dialogue Prod: Jon A. Gartenberg | Prod Comp: Gartenberg Media Enterprises, Inc | Sc: Warren Sonbert | Cam: Warren Sonbert | Ed: Warren Sonbert | Prod Des: Warren Sonbert | Print: Light Cone Distribution | Sales: Gartenberg Media Enterprises, Inc |



Spectrum Shorts

Time and Fortune Vietnam Newsreel Jonas Mekas, Adolfas Mekas

Spectrum Shorts

Manhã de Santo António

Morning of Saint Anthony’s Day João Pedro Rodrigues

How can we deal with war better? In this subversive, fake news item Adolfas Mekas, as Minister of War, gives us practical tips. He advises us to leave war to the experts and sees a prime role for the mafia. USA, 1968 | colour, 16mm, 1:1.37, 4 min, English Prod: Jonas Mekas | Sc: Jonas Mekas, Adolfas Mekas | Cam: Jonas Mekas | Ed: Jonas Mekas, Adolfas Mekas | Prod Des: Jonas Mekas, Adolfas Mekas | Sound Des: Shirley Clarke | With: Adolfas Mekas | Print/Sales: Re:Voir |

Love-smitten people wander the streets in the waking hours of a day when Lisbon parties in commemoration of its patron saint. Informed by Fernando Pessoa, Rodrigues’s film also deftly recalls the melancholic humour, geometric choreographies and rampant absurdity of Buster Keaton and Jacques Tati. Portugal/France, 2012 | colour, video, 25 min, Portuguese Prod: Joao Figueiras | Prod Comp: Blackmaria, Le Fresnoy | Sc: João Pedro Rodrigues | Cam: Rui Poças | Ed: Mariana Gaivão | Sound Des: Nuno Carvalho | With: Alexander David, Mariana Sampaio, Miguel Nunes, Lydie Bárbara, Maria Leite | Print/Sales: Agencia – Portuguese Short Film Agency

Orde van dienst Order of Service Henk Otte

Stoned Cho Seoungho

Order of Service is part of a larger project about the Reformed Church in the Netherlands. Together with a book of photographs and organograms, the artist seeks the core of the beliefs of this very austere church. The power of repetition plays an important role. Netherlands, 2012 | colour, DCP, 7 min, Dutch Prod: Henk Otte | Sc: Henk Otte | Ed: Henk Otte | Sound Des: Henk Otte | Print: EYE Film Institute Netherlands | Sales: Henk Otte |

The poetic meditations of Korean artist Seoungho Cho often focus on isolation and alienation in relation to culture and landscape. With Stoned, Cho continues his meticulous manipulation of the moving image by making the ancient temple walls of Angkor Wat dance before our eyes. WORLD PREMIERE

USA/Cambodia, 2013 | colour, DCP, 12 min, no dialogue Prod: Cho Seoungho | Prod Comp: Studio 90125 | Ed: Seoungho Cho | Prod Des: Seoungho Cho | Sound Des: Seoungho Cho | Music: Seoungho Cho, Robert Fripp | Print/Sales: LIMA

Take Off It’s not about how you look, it’s about what you see. And what you think you see. Films that lift you to another reality – sometimes close by, sometimes far away. Public SCREENINGS  Thu 24-1 17:30 LantarenVenster 2 Fri 25-1 12:00 LantarenVenster 6

Lay Bare Paul Bush

Marian Ilmestys The Annunciation Eija-Liisa Ahtila

Classic religious depictions of the Annunciation become humane and ironic by having them re-enacted by a cast of unassuming yet wholly engaged women. Different layers of meaning and sensuality are constructed and narrated in an unpretentious and disarmingly witty way. What is the nature of a miracle? Finland, 2011 | colour, DCP, 38 min, Finnish

Over 500 people of different ages and nationalities modelled for this sample book of the human body. The surface is exposed in a manner generally reserved for the intimacy of family or lovers. The result is erotic, funny, beautiful and vulnerable.

Prod: Ilppo Pohjola | Prod Comp: Crystal Eye Ltd | Sc: Eija-Liisa Ahtila | Cam: Arto Kaivanto | Ed: Heikki Kotsalo | Sound Des: Peter Nordström | With: Satu Mäkinen, Elise Laaksonen, Taru Ollila, Elina Hurme, Anastasia Ilvonen | Print/Sales: Crystal Eye Ltd |

UK, 2012 | colour, video, 6 min, no dialogue Prod: Paul Bush | Prod Comp: Ancient Mariner Productions Ltd | Cam: Paul Bush | Ed: Paul Bush | Sound Des: Andy Cowton | Music: Andy Cowton | Print/ Sales: Ancient Mariner Productions Ltd |





Spectrum Shorts

Spectrum Shorts

Terra Incognita

Wondering Alien Directors

Members of a subculture lead us to unfamiliar terrain and an undefined era. Where did our current civilization go?

No country cultivates genres like this. No country satirises them like this either. In a word: Japan.

Public SCREENINGS  Sun 27-1 14:30 LantarenVenster 3 Mon 28-1 20:00 LantarenVenster 2

Public SCREENINGS  Mon 28-1 12:15 LantarenVenster 6 Thu 31-1 17:00 LantarenVenster 6

Doll Parts

Wandering Alien Detective Robin

Muzi Quawson

Lisa Takeba

Quawson examines the lives of people situated at the fringes of the mainstream. She is drawn to individuals who tend to assert their identity via a blending of references informed by cinema, music and the history of popular culture. Doll Parts functions as a quiet study on the nature of identity.

There are creepy films with hideous aliens and films that satirise the latter. There are also satires of hard-boiled detectives and basically every other genre. Young advertising director Takeba satirises them all, but in a romantic, endearing way. She really loves that ugly alien.



USA, 2013 | colour, DCP, 10 min, no dialogue

Japan/USA, 2013 | colour/b&w, video, 19 min, Japanese/English

Prod: Muzi Quawson | Sc: Muzi Quawson | Ed: Muzi Quawson | Sound Des: Jason Boles, Muzi Quawson | Music: Jason Boles, Jon Soucy | Print/Sales: Annet Gelink Gallery

Prod: Lisa Takeba | Sc: Lisa Takeba | Cam: Kazuya Hayashi, Lisa Takeba, Jun Fukumoto | Ed: Lisa Takeba | Prod Des: Lisa Takeba | Sound Des: Fumito Hirama | Music: Hideki Tanaka | With: Masanori Mimoto, Takuro Kodama, Lisa Geran, Kinuwo Yamada, Arata Yamanaka | Print/Sales: Lisa Takeba

21 Chitrakoot Shambhavi Kaul

21 Chitrakoot shows us a kitschy, utopian world in which nostalgic, mythical and spectacular images have been destroyed. Low-fi techniques give the story a new, abstract twist. The abrupt end contributes to the highly alienating nature of this composed world. EUROPEAN PREMIERE

India, 2012 | colour, video, 9 min, no dialogue Prod: Shambhavi Kaul | Ed: Shambhavi Kaul | Print/Sales: Shambhavi Kaul

Circle in the Sand Michael Robinson

Akibahara Akiba-Field

Devi Kobayashi

In Japan, games, comics and genre films are taken more seriously than anywhere else on the planet. As a result, the satire on that pop culture is a class apart. An empty street signals the apocalypse. A sword, noble martial arts. Small film, big grin. INTERNATIONAL PREMIERE

Japan, 2012 | colour, video, 15 min, Japanese Prod: Devi Kobayashi, Katakura Waki | Sc: Devi Kobayashi | Cam: Hiroki Matsui | Ed: Devi Kobayashi | Prod Des: Devi Kobayashi | Sound Des: Devi Kobayashi | Music: Devi Kobayashi | With: Waki Katakura, Nao Muranaga, Devi Kobayashi | Print/Sales: Devi Kobayashi

Columbos Kawai + Okamura

A band of ragged souls conjures up an unstable magic, fuelled by apathy and the poisonous histories imbedded in the junk they unearth. ‘Suspicion, boredom, garbage and glamour conspire in the languid pageantry of ruin. Feel the breeze in your hair, and the world crumbling through your fingers.’ (MR) INTERNATIONAL PREMIERE

USA, 2012 | colour, video, 47 min, English Prod: Michael Robinson | Cam: Michael Robinson | Ed: Michael Robinson, Mike Olenick | Prod Des: Michael Robinson, Dana Carter | Sound Des: Michael Robinson | With: Julia Austin, Rachel Bernstein, Hajera Ghori, Douglas Martin, James McHugh | Print/Sales: Video Data Bank (VDB) |



Legendary TV detective Columbo brought back to life. In his new life he vivaciously, contemplatively plays a stop-motion detective. A virtuoso scene, perfect down to the last detail, where every shadow has its place. The atmosphere is almost more classic than in Columbo. Sherlock Holmes next perhaps? WORLD PREMIERE

Japan, 2013 | colour, DCP, 9 min, English Prod: Kawai + Okamura | Sc: Kawai + Okamura | Cam: Kawai + Okamura | Ed: Kawai + Okamura | Sound Des: Hara Marihiko | Music: Hara Marihiko | Print/Sales: CaRTe bLaNChe |



Spectrum Shorts

Shibata to Nagao

Spectrum Shorts


Shibata and Ngao

Phillip Barker

Yang Ik-June

This short, just like 2·11 by Tatsusi Omori, was made for Cinema Impact, a 14-day workshop for young filmmakers, producers and actors led by an experienced filmmaker; in this case, Korean Tiger winner Yang Ik-June (Breathless), who makes fun of workshops. EUROPEAN PREMIERE

Japan, 2012 | colour, video, 18 min, Japanese Prod: Masashi Yamamoto | Prod Comp: Cinema Impact Inc. | Sc: Yang Ik-June | Cam: Takayuki Shida | Ed: Ryo Hayano | Sound Des: Mikisuke Shimazu | Music: Jeong Sang-Hoon | With: Chihiro Shibata, Takuma Nagao | Print/Sales: Cinema Impact Inc.


Set inside a roadside diner, where a sick woman meets herself as a little girl in a reflection in a mirror. The diner is built within a large wooden wheel and is literally rolled through a studio. As the world turns upside down, the changing gravitational pull creates chaos and sets off a fateful chain of events. Screened before Krivina. Canada, 2011 | colour, video, 12 min, English Prod: Amanda Gordon | Sc: Phillip Barker | Cam: Kris Belchevski | Ed: Roland Schlimme | Prod Des: Rob Hepburn | Sound Des: Tom Third | Music: Tom Third | With: Alex PaxtonBeasley, Thomas Hauff, Ashleigh Warren | Print/Sales: Phillip Barker | Public SCREENINGS Thu 24-1 15:002 LantarenVenster 3 Mon 28-1 22:002 Cinerama 3

Tue Thu

29-1 14:152 Cinerama 3 31-1 17:002 Cinerama 5

Ao Lobo da Madragoa

Omori Tatsushi

To The Wolf of Madragoa

Like Shibata & Nagao by Yang Ik-June, this film was made at a Cinema Impact workshop. Yang poked fun at the improv acting workshop, but Omori shows the realistic strength of improvisation. A group of actors drive each other to distraction in an empty office building. Fullblown anarchy.

Pedro Bastos


A poet, known to be of ‘turbulent character’, António Lobo de Carvalho was a 18th-century inhabitant of Guimarães. He wrote satirical poems filled with carcasses and sex, which led to him having to flee town later. Pedro Bastos presents him here with glorious lashings of colour, organ music and worship personified in female form. Screened before Towers & Comets.

Japan, 2012 | colour, video, 29 min, Japanese


Prod: Masashi Yamamoto | Prod Comp: Cinema Impact Inc. | Sc: Tatsushi Omori | Cam: Nobuhiko Fukaya | Ed: Ryo Hayano | Prod Des: Toshihiro Isomi | Sound Des: Mikisuke Shimazu | Music: Nozomu Toda | With: Takuma Nagao, Yoi Kojima, Shoichiro Suzuki | Print/Sales: Cinema Impact Inc. |

Prod: Rodrigo Areias | Prod Comp: Bando à Parte | Sc: Pedro Bastos | Cam: Jorge Quintela | Ed: Rodrigo Areias, Pedro Bastos | Prod Des: Ricardo Freitas | Sound Des: Pedro Marinho | Music: António Rafael, Adolfo Lúxuria Canibal | With: Tânia Diniz | Print/Sales: Bando à Parte


Public SCREENINGS Wed 30-1 17:152 Cinerama 4 Fri 1-2 16:452 LantarenVenster 6

Short films screened before feature films at the festival. A collection of one-offs.

Lie ren yu ku lou guai The Hunter and the Skeleton Bai Bin

A colorful version of an Eastern Tibetan folk tale in a wonderful combination of flash with thangka (the traditional Tibetan paintings with embroidery), with a score that links native Tibetan music with modern influences. A hunter on his way up hunting in the mountains, meets a fearsome skeleton monster: are they friends or enemies? Screened before Emperor Visits the Hell. China, 2012 | colour/b&w, video, 26 min, Tibetan Prod: Bai Bin | Sc/Ed/Prod Des/Sound Des: Gentsu Gyatso | Music: Gentsu Gyatso, Wuhe Gyatso | With: Gentsu Gyatso, Dawa Gyatso, Gengar, Sonam Phuntsok | Print/Sales: Bai Bin Public SCREENINGS Mon 28-1 17:002 Cinerama 3 Tue 29-1 17:002 LantarenVenster 2


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Portugal, 2012 | colour, DCP, 8 min, Portuguese


2-2 11:002 Cinerama 4

How to Raise a Smart & Happy Child from Age Zero to Five Khavn De La Cruz Diabolically funny. Tricks from before cinema. A naked boy emerges from a barrel. And then another, and another. You keep laughing. You hang a little boy from a tree in a bag. Is there another in there? Videos to draw attention to child abuse, etc., are often too goody-goody to watch. That’s not the case here. Screened before Misericordia: The Last Mystery of Kristo Vampiro. WORLD PREMIERE

Philippines, 2013 | colour, DCP, 5 min, Filipino Prod: Khavn De La Cruz | Prod Comp: Kamias Road, Ltd | Sc: Khavn De La Cruz, Achinette Villamor | Cam: Albert Banzon | Ed: Lawrence S. Ang | Prod Des: Rod Buaron, Kristine Kintana, Dodo Dayao | Sound Des: Lawrence S. Ang | Music: Juliet Teodoro | With: Sheila Mae Mingote, Angel Ungaya, Juliet Teodoro, Sandra Cisneros, Felix Opena | Print/Sales: Kamias Road, Ltd | Public SCREENINGS Thu 24-1 12:302 LantarenVenster 3 Mon 28-1 19:002 Cinerama 4

Tue 29-1 22:002 LantarenVenster 5 Wed 30-1 11:002 Pathé 3



Spectrum Shorts

Spectrum Shorts

The Flaneurs #3

Men of the Earth

Aryo Danusiri

Andrew Kavanagh

Jostling. A frightening mass, members of the new Islamic movement Maulid in Indonesia, that targets young people and is led by descendants of the ArabHadrami, older emigrants from what is now Yemen. The film is part of Sufi Bikers and Arab Saints, a multisensory project. Screened before One Day When the Rain Falls. WORLD PREMIERE

Strong fiction with unique perspective on an everyday situation: road works and a construction crew. However, this time their work is a little different. In an unexpected twist, the clothes of one of them are changed. Surprising short in long takes about the power of rituals, even or perhaps precisely in these times. Screened before Sleepless Night.

Indonesia/USA, 2013 | colour, video, 4 min, Arabic


Prod: Aryo Danusiri | Sc/Cam/Ed/Prod Des/Sound Des/Music: Aryo Danusiri | With: Aryo Danusiri | Print/Sales: Aryo Danusiri Public SCREENINGS Thu 24-1 12:302 Tue 29-1 18:302 Wed 30-1 14:152 Thu 31-1 19:302

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Night of the Foxes Tom Haines

Prod: Ramona Telecican | Cam: Kai Smythe | Ed: Andrew Kavanagh | Prod Des: Dominic Kavanagh | Sound Des: Andrew Kavanagh | Music: Andrew Kavanagh, Dominic Kavanagh | With: Paul Bennett, Doug Morrisson | Print/Sales: Ramona Telecican | Public SCREENINGS Thu 24-1 15:002 LantarenVenster 3 Wed 30-1 13:452 LantarenVenster 1

Thu Fri

31-1 10:152 Pathé 3 1-2 19:002 Pathé 4

Living Still Life Bertrand Mandico

A sultry summer mood in which not very much seems to happen is disrupted by an incident in the orchard. The exhausted fruit grower goes back to his wife. In the house, his daughter is preparing for a flirt. That night, the foxes take over. Good fiction that manages to surprise. Screened before The Tears. EUROPEAN PREMIERE

UK, 2012 | colour, video, 14 min, English Prod: Tamsin Glasson | Prod Comp: Colonel Blimp | Sc: Luke Norris, Tom Haines | Cam: Benjamin Todd | Ed: Ed Cheeseman, Julian Eguiguren | Prod Des: Richard Hudson | Sound Des: Lee Grainge | Music: Mike Lindsay | With: Grant Masters, Sam Gittins, Helen Watkins, Charmanae Amber | Print/Sales: Colonel Blimp | Public SCREENINGS Thu 24-1 12:302 LantarenVenster 3 Thu 31-1 09:452 Pathé 4

Eclectic director Mandico involves graphic, photographic and written elements in his films. Fièvre, an enigmatic woman, collects dead animals. She brings them to life through animated films. One day, a man comes to see Fièvre: his wife is dead... Screened before Consequence. France/Belgium/Germany, 2012 | colour, DCP, 15 min, French Prod: Philippe Bober | Prod Comp: Coproduction Office | Sc: Bertrand Mandico | Cam: Pascale Granel | Ed: George Cragg, Laure St. Marc | Sound Des: Laure St. Marc | Music: Tazartes | With: Elina Löwensohn, Jean-Marc Montmont | Print/Sales: Coproduction Office | www. Public SCREENINGS Thu 24-1 15:002 LantarenVenster 3 Thu 24-1 22:002 LantarenVenster 5

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Tunnel Maryam Kashkoolinia

Call it a political film, even though a tunnel could be anywhere. In desperate Gaza, not a country but a strip, people dig tunnels because the borders are too well guarded. Not even a sheep may cross the border. So a shepherd who has run out of ideas takes his sheep along with him into the tunnel. Desperate, absurd and yet comic. Sombre and monochrome. Animation as if modelled with soil. Screened before 111 Girls. Iran, 2012 | colour, video, 7 min, Arabic Prod: Mohammad Habbibi | Prod Comp: Honarhaye Tajassomi | Sc/Cam/Ed: Maryam Kashkoolinia | Sound Des: Hossein Mafi | Music: Hossein Mafi | Print/Sales: Maryam Kashkoolinia Public SCREENINGS Thu 24-1 12:302 LantarenVenster 3 Sat 26-1 11:452 Cinerama 1 Mon 28-1 10:002 Pathé 4


Australia, 2011 | colour, video, 10 min, English


Christos Nikou

Beautifully obtuse; unlocks a universe that takes all of ten minutes to spring to life and run its full course. Emotional distance smashed to smithereens; we’re placed in the driver’s seat of a relationship between a man and a woman, played by Aris Servetalis (Alps & L) and Evi Saoulidou. Screened before Boy Eating the Bird's Food. INTERNATIONAL PREMIERE

Greece, 2012 | colour, DCP, 10 min, Greek Prod: Vicky Miha | Prod Comp: Boo Productions | Sc: Christos Nikou | Cam: Thimios Bakatakis | Ed: Yiannis Chalkiadakis | Prod Des: Giorgos Georgiou | Sound Des: Leandros Ntounis | With: Aris Servetalis, Evi Saoulidou | Print/Sales: Boo Productions Public SCREENINGS Thu 24-1 15:002 LantarenVenster 3 Sun 27-1 18:002 Cinerama 4

Tue Fri

29-1 09:302 Pathé 7 1-2 22:152 LantarenVenster 1



Spectrum Shorts

Dizem que os cães veem coisas

Lonely Bones Rosto

Dogs Are Said to See Things Guto Parente

A subtle exploration of morality during an exuberant poolside party. Suddenly disaster seems to strike the carefree gathering. Based on a short story by Moreira Campos. Screened before Avanti popolo. Brazil, 2012 | colour, DCP, 12 min, Portuguese Prod: Caroline Louise, Guto Parente, Ticiana Augusto Lima | Prod Comp: Alumbramento Produções Cinematográficas Ltda | Sc: Guto Parente, based on the short story by Moreira Campos | Cam: Victor de Melo | Ed: Luiz Pretti, Ricardo Pretti | Prod Des: Lia Damasceno, Themis Memória | Sound Des: Pedro Diogenes | With: Marco Goulart, Karla Karenina, Guilherme Moreira, Cristina Francescutti, Miguel Filho | Print/Sales: KurzFilmAgentur Hamburg e.V. Public SCREENINGS Thu 24-1 15:002 Sun 27-1 19:152 Tue 29-1 16:302 Wed 30-1 17:002 Thu 31-1 15:452

Rosto, one of the most extravagant and famous animators from the Netherlands, had to finance this film in France. Lonely Bones is a hallucinogenic film about dreams and making sacrifices. ‘Hail! To all the souls-Oh. Hiding on rotting floors. Little did they know that they would make today.’ (Rosto) Screened before Frankenstein's Army. WORLD PREMIERE

France/Netherlands, 2013 | colour, DCP, 10 min, English Prod: Nicolas Schmerkin, Claudius Gebele, Rosto A.D | Prod Comp: Autour de Minuit, STUDIO ROSTO A.D. | Sc/Cam/Ed: Rosto | Music: The Wreckers | Print/Sales: Autour de Minuit | Public SCREENINGS Thu 24-1 12:302 LantarenVenster 3 Mon 28-1 22:152 Cinerama 1

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Förår Fores

Axel und Peter

John Skoog

Rosa von Praunheim

Nervously nibbling on a sausage and equipped with a red plastic rose, German director and actor Axel Ranisch waits for his Austrian counterpart, Peter Kern, at the airport in Berlin. The account of their very first meeting turns into a self-ironical, bitchy satire on the ‘rhythm of fat’ and gay desire. Screened before Kern. Germany/France, 2012 | colour, DCP, 41 min, German Prod: Rosa von Praunheim | Sc: Rosa von Praunheim | Cam: Dennis Pauls | Ed/Prod Des: Rosa von Praunheim | Sound Des: Markus Tiarks, Oliver Sechting | Music: Andreas Wolter | With: Axel Ranisch, Peter Kern | Print/Sales: m-appeal | Public SCREENINGS Tue 29-1 17:002 Cinerama 2 Fri 1-2 21:302 Cinerama 4

Loosely based on a news story about an 11-year-old girl who stole her father’s hunting rifle and paraded with it down Main Street in the small town where she lives. The memory of the day is captured, but it’s hard to remember exactly what was the right order, how you got from one place to another, what someone said. Screened before Roland Hassel. WORLD PREMIERE

Sweden, 2013 | colour, DCP, 18 min, Swedish Prod: Erik Hemmendorff, Yasmine Perkins | Prod Comp: Plattform Produktion | Sc: John Skoog, Kettil Segergren | Cam: Ita Zbroniec-Zajt | Ed: Ireneusz Grzyb | Sound Des: David Gülich | With: Samantha Modén, Tony Martinsen, Ingrid Åkerhjelm, Alfred Göransson | Print/Sales: Plattform Produktion Public SCREENINGS Thu 24-1 12:302 Sat 26-1 13:302 Wed 30-1 20:152 Sat 2-2 22:302

Voice Over

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Sessiz/Bé deng

Martín Rosete

The voice of an old Frenchman guides us through three extreme situations under very different, yet basically the same conditions. Dead or alive? What is he trying to tell us? In the end, everything is clarified. Beautifully made, layered fiction about fate, coincidence and courage. Screened before Ginger and Rosa. Spain, 2012 | colour, DCP, 9 min, French Prod: Koldo Zuazua | Prod Comp: Kowalski Films | Sc: Luiso Berdejo | Cam: Jose Martin Rosete | Ed: Fernando Franco | Prod Des: Koldo Zuazua | Sound Des: Peter Memmer, Alvaro Lopez | Music: Jose Villalobos | With: Jonathan D. Mellor, Féodor Atkine, Javier Cidoncha, Luna Montignier Peiro | Print/Sales: Kowalski Films | Public SCREENINGS Thu 24-1 15:002 LantarenVenster 3 Fri 25-1 13:002 Pathé 5 Tue 29-1 22:302 Pathé 1


Spectrum Shorts

Fri Sat

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Rezan Yesilbas

1984, Kurdish Zeynep visits her husband in prison where she may only speak Turkish; a language she does not know. She wants to give him shoes, but no outside items are allowed in. They nevertheless find a way to communicate. Subtle, moving fiction, the recipient of many awards. Screened before Eden. Turkey, 2012 | colour, 35mm, 1:1.66, 14 min, Turkish/Kurdish Prod: Rezan Yesilbas | Sc: Rezan Yesilbas | Cam: Türksoy Gölebeyi | Ed: Bugra Dedeoglu, Rezan Yesilbas | Prod Des: Tuba Ataç | Sound Des: Furkan Atli | With: Belçim Bilgin, Cem Bender | Print/Sales: Rezan Yesilbas | Public SCREENINGS Thu 24-1 12:302 LantarenVenster 3 Fri 25-1 21:302 Pathé 2 Fri 1-2 11:452 LantarenVenster 5




Mind the Gap Nights IFFR and Gonzo (circus) magazine came together thanks to their shared dedication to innovative, experimental, adventurous audio-visual  culture. The result: a five-day late night programme, from 24 to 28 January, combining sound and images in all different disciplines and genres. Freejazz with animation, ‘folkdrones’ with 16mm projections, krautrockjazz with live glitch visuals. Many of these performances will be world or Dutch premieres during the festival. The whole shebang will be musically accompanied by the Gonzo (circus) DJs.

Mind the Gap: Thu 24

Floris Vanhoof, who works exclusively with analogue equipment, finds an accompaniment for his candy-coloured world in a folkdrone soundscape by Felicia Atkinson, and together with Tiger Shorts winner Makino Takashi will fill WORM with an eruption of images and sound. The music of Prairie could be seen as a soundtrack for a postapocalyptic thriller. The sense of impending doom is heightened by modified Super-8 images by Khristine Gillard. Using dictaphones, a plethora of effects pedals, unorthodox guitar playing and above all shedloads of attitude, gut feeling and musical intelligence, the super group Dans Dans create the most fantastic mixes from numbers by the greats who have inspired them. Visual stimulation is provided by Wim Lots and his digital pencil. Mika Taanila will add a dash of arctic hysteria. Thu 24, 22:00 till late, WORM

Mind the Gap: Fri 25

Gert-Jan Prins and Mariska de Groot bring the electric space to the attention of our ears, eyes and other senses with their performance Quadtone Extended. The layered compositions, full of the dark drones and muffled, stretched orchestral sounds of Kreng, fuse with acoustic improvisations by cellist Okkyung Lee, who is inspired by jazz, audio art, noise and classic Koreans music. Armed with drums, guitar, Casio and a huge arsenal of analogue electronics, genre-busting duo Knalpot play a hybrid mix of dub, rock, noise, ambient and jazz, accompanied by glitchy/defective video images by artist Rosa Menkman. Fri 25, 22:00 till late, WORM




Mind the Gap: Sat 26

Marcus Fjellström, a major exponent of the new sound of Scandinavia, makes dark compositions in the minor keys, combining classical elements with mysterious drones and ‘musique concrète’. Felix Kubin’s music sounds like acid from a wall socket. The master of electro-pop has previously made music for the hand-made stop-motion animations by Martha Colburn, which are crammed with violence, sex, megalomania and religious symbolism. Their performance is simply ‘aussergewöhnlich’! Seldom have an artist and geography been so close: Deadbeat, the perfect headliner for Mind the Gap, is a dubtech hero and is the embodiment of the sound of emptiness and waning wealth – and fits perfectly with the oversized activity of the docks. Sat 26, 22:00 till late, WORM

Mind the Gap: Sun 27

During the screening of Habitat (Robert Todd, 2012), Eldorado (excerpt) (Romain Kronenberg & Benjamin Graindorge, 2013) and Maas Observation (Greg Pope & Karel Doing, 1997), composer Romain Kronenberg will fill the space with sound, using an electric guitar and various electronic devices. His live music will enter into dialogue with the images shown. Hyperbang unites filmmaker Gaëlle Rouard and her 16mm projectors with visual artist Christophe Cardoen, who mixes images and stroboscopic light, and musician David Chiesa, who expertly tortures his bass. This ‘kino-sonore’ performance has the physical and emotional dimensions of a real show. Splitsecond is saxophonist Christine Sehnaoui Abdelnour’s new project. Combining sharp, loud sounds; dense, continuous frequencies that change subtly over time. Add Stefano Canapa’s specially prepared 16mm projectors and you have reel audio-visual art. Sun 27, 22:00 till late, WORM

Mind the Gap: Mon 28

Welcome to the wonderful world of Harry Merry! During his performances this blessed Rotterdam multi-instrumentalist constantly hovers between genius and madness. After the world première of Joke Olthaar’s Here Is Harry Merry (2013), the man himself will play a set. Before this, the winners of the three Canon Tiger Awards for Short Films 2013 will be announced in a short but sweet ceremony. Besides the award, the three winners receive a camera and € 3,000, presented by the jury: Joost Rekveld, Phil Collins and Solange Farkas. Mon 28, 21:00 till late, WORM



DINAMO P&I Screenings

Arsenal – Institut für Film und Videokunst e.V.

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. IFFR presents four Press & Industry programme slots in which 11 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.

Disquieting Nature

DINAMO P&I Screenings 1

Fri 25, 10:00, LV2 V tape

Prod: Francisca Duran Print/Sales: CFMDC

Where She Stood in the First Place Lindsay McIntyre

Algonquin Travis Shilling

Canada, 2011 | b&w, video, 5 min, English Prod: Travis Shilling Print/Sales: V tape

Exercises in Faith: Bird Julieta Maria

Canada, 2010 | colour, video, 2 min, n.d. Prod: Julieta Maria Print/Sales: V tape

A Minimal Difference Jean-Paul Kelly

Canada, 2012 | colour/b&w, video, 5 min, n.d. Prod: Jean-Paul Kelly Print/Sales: V tape

Roman Spring Leakage Andrew James Paterson

Canada, 2011 | colour, video, 8 min, n.d. Prod: Andrew James Paterson Print/Sales: V tape

Sight Thirza Cuthand

Canada, 2013 | colour, video, 3 min, English Prod: Thirza Cuthand Print/Sales: V tape

Canadian Filmmakers Distribution Centre (CFMDC) I Was Here

Canada, 2010 | b&w, 16mm, 10 min, n.d. Prod: Lindsay McIntyre Print/Sales: CFMDC

EYE Film Institute Netherlands La madre, il figlio e l’architetto Petra Noordkamp

Netherlands, 2012 | colour, DCP, 16 min, English Prod: Petra Noordkamp Print/Sales: EYE Film Institute Netherlands

DINAMO P&I Screenings 2

Cécile Fontaine

France, 2012 | colour/b&w, DCP, 6 min, n.d. Prod: Cécile Fontaine Print/Sales: Light Cone Distribution

Look Inside the Ghost Machine Péter Lichter

Hungary, 2012 | b&w, DCP, 4 min, n.d. Prod: Péter Lichter Print/Sales: Light Cone Distribution


Polaroïd Versus Roman Photo Yves-Marie Mahé

Canada, 2012 | colour/b&w, 16mm, 5 min, English Prod: Heidi Phillips Print/Sales: CFMDC

France, 2012 | colour, DCP, 3 min, n.d. Prod: Yves-Marie Mahé Print/Sales: Light Cone Distribution

Even If My Hands Were Full of Truths

Paulo Abreu



Asleep Portugal, 2012 | colour/b&w, DCP, 12 min, English Prod: Paulo Abreu Print/Sales: Light Cone Distribution


Edith Stauber

Austria, 2012 | colour, video, 11 min, n.d. Prod: Edith Stauber Print/Sales: sixpackfilm

Tic Tac Josephine Ahnelt

Austria, 2011 | b&w, 35 mm, 3 min, n.d. Prod: Josephine Ahnelt Print/Sales: sixpackfilm

DINAMO P&I Screenings 4

The Big Scene

Mon 28, 10:00, LV2

Tova Mozard


Sweden, 2012 | colour, DCP, 31 min, Swedish Prod: Lars Jönsson Print/Sales: Filmform

AV-arkki Suddenly, Last Summer Juha Mäki-Jussila

Finland, 2013 | colour, video, 5 min, English Prod: Juha Mäki-Jussila Print/Sales: AV-arkki

In Memoriam Niina Suominen

Butterfly’s Effect

Star Light n°5 bis


Canada, 2013 | colour, video, 7 min, English

Sun 27, 10:00, LV6

Light Cone Distribution

France, 2012 | colour, 16mm, 5 min, n.d. Prod: Rose Lowder Print/Sales: Light Cone Distribution

Francisca Duran

DINAMO P&I Screenings 3

Sat 26, 10:00, LV2

Canada, 2012 | b&w, 16mm, 10 min, n.d. Prod: Phillippe Léonard Print/Sales: CFMDC Heidi Phillips

Germany, USA, 2012 | b&w, DCP, 28 min, English Prod: Christine Meisner Print/Sales: Arsenal

Finland, 2013 | colour, video, 7 min, Finnish Prod: Niina Suominen Print/Sales: AV-arkki

Rose Lowder

Phillippe Léonard

Christine Meisner


Anssi Kasitonni

Finland, 2013 | colour, video, 9 min, n.d. Prod: Anssi Kasitonni Print/Sales: AV-arkki


Postface à la brochure de 1942 Stanislav Dorochenkov

France, Russia, 2013 | colour, DCP, 27 min, Russian Prod: Pip Chodorov Print/Sales: Re:Voir

Video Data Bank (VDB) Dead World Order Dana Levy

France, 2012 | colour, video, 7 min, n.d. Prod: Dana Levy Print/Sales: VDB

Walt Disney’s ‘Taxi Driver’ Bryan Boyce

USA, 2012 | colour, video, 4 min, English Prod: Bryan Boyce Print/Sales: VDB

County Down Episode 1 Laura Parnes

USA, 2012 | colour, video, 9 min, English Prod: Laura Parnes Print/Sales: VDB

Plastic Rap with Frieda

Sini Pelkki

Finland, 2013 | colour, video, 7 min, n.d. Prod: Sini Pelkki Print/Sales: AV-arkki

Tom Rubnitz

USA, 2012 | colour, video, 4 min, English Prod: Tom Rubnitz Print/Sales: VDB

Argos Centre for Art and Media

Small Heroes Tommi Matikka

Senegal, 2013 | colour, video, 2 min, n.d. Prod: Tommi Matikka Print/Sales: AV-arkki

sixpackfilm Jackson/Marker 4am Ruth Beckermann

Austria, 2012 | colour, video, 4 min, n.d. Prod: Ruth Beckermann Print/Sales: sixpackfilm

Hotel Room Bernd Oppl

Austria, 2011 | colour, video, 6 min, n.d. Prod: Bernd Oppl Print/Sales: sixpackfilm

A Day for Cake and Accidents Steve Reinke

Canada, 2013 | colour, DCP, 4 min, English Prod: Steve Reinke Print/Sales: Argos

nocturne #2 Pieter Geenen

Belgium, 2012 | colour, DCP, 12 min, n.d. Prod: Pieter Geenen, Samme Raeymaekers Print/Sales: Argos

Der Doppelgänger Bernard Gigounon

Belgium, 2013 | colour, DCP, 6 min, n.d. Prod: Bernard Gigounon Print/Sales: Argos













C O - P R O D U C E D







Liefde voor film

SIgnAlS dominik graf

Signals: Dominik Graf

Dominik Graf

The Savage Heart Olaf Möller & Christoph Huber

For many FRG filmmakers and critics, Dominik Graf is one of the nation’s three or four major contemporary auteurs. Who the other two or three are remains open to discussion in a culture so divided and at odds with itself. Many are the schools, philosophies, production strata – few are the zones of convergence. None of these groups would consider Graf one of their own – for each of them, he’s a key point of reference; revered, one-of-a-kind, a bit of an ideal, something of a hero with a sexy bad-boy edge. And no wonder: Graf’s films look like absolutely nothing else made in the FRG, and certainly like nothing ever made in the Berlin Republic. A distinction of vital importance to Graf: Bonn Republic vs Berlin Republic; the Old FRG vs the New; the contradiction-riddled Nazi Successor State vs its expanded version, Cold War Winner 2.0. Graf remains resolutely Bonn Republic in his manners and opinions: his Deutschland 09 – 13 Filme zur Lage der Nation contribution Episode 6: Der Weg, den wir nicht zusammen gehen (2009) fittingly comes off as a curse – here, and only here, the post-1989 FRG is referred to as a dictatorship. And this was no isolated incident or slip of the tongue. To give one more example: in his preface to a posthumously published collection of stories by TV auteur Oliver Storz – the subject of his extraordinary essay-documentary Lawinen der Erinnerung (2012) – Graf decries the FRG Now as the ‘allerdümmsten Zeiten, die unser Land seit dem Weltkrieg erlebt hat’ (most stupid times our country has seen since WWII). Of course, The Powers That Be prefer to ignore this and feel mighty magnanimously liberal for doing so – social democratic2 even. As Melba, the image consultant, has it in Die Sieger (1994) – arguably the bleakest film ever made on the early years of the Berlin Republic: ‘Wenn Wahlen wirklich etwas bewirken könnten, wären sie in diesem Land verboten’ (If elections could really change anything, they’d be outlawed in this country.) The same can be said of art: if a film could change anything, production would immediately be stopped. But isn’t this exactly what happened – at least twice – to Graf? Why did The Powers That Be feel the need to censor the screenplay of Die Sieger, and why was, in the mid-2000s, the Christoph Fromm-scripted project Die Macht des Geldes, a biopic à clef about Alfred Herrhausen, i.e. an epic about the Bonn Republic, suddenly red-lighted after years of preparation?

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Signals: Dominik Graf

Exploding TV

So, if Graf is so important to FRG film culture, and if his work has such a politically explosive dimension, how come he’s almost unknown beyond the borders of his native Germany? The biggest problem might be this: of Graf’s more than 60 works so far, only about one-sixth were made for cinema – the rest is television. With the exception of Die Katze (1987), Graf is mainly remembered for his small-screen works: his episodes for Der Fahnder, a cop show that completely redefined FRG crime TV; the coming-of-age drama Treffer (1983), which became a veritable text for a generation; his loose trilogy of prime-time melodramas Bittere Unschuld (1998), Deine besten Jahre (1998) and Kalter Frühling (2004), designed to confuse the shit out of their Marie Louise Fischer-conditioned audiences; the Zolaesque mini-series Im Angesicht des Verbrechens (2010). On the cinema hand, we have: the masterpiece manqué Die Sieger, which became synonymous with the idea of auteurial excess due to a production gone way over budget; both Spieler (1990) and Der Felsen (2002) were castigated as formalist experiments leading nowhere (which is, needless to say, utter bullshit). Finally, there’s Graf’s disastrous A-list festival competition track record: Spieler was given the cold shoulder in Venice 1990 and Der Felsen kicked up a scandal at the Berlinale 2002. All of which adds up to this: for most people, Graf is a TV director with occasional forays into theatrical feature-making, rather than an auteur who works wherever he finds some space. Heady Sensitivity

With his attitude of ‘smuggle your stuff through any which way you can’, Graf is the product of a very particular moment in FRG cinema history: the mid-1970s. Graf belongs to an early batch at the Hochschule für Film und Fernsehen (HFF) in Munich, namely the 6th, called the F-Kurs (= F year), to be exact. The A and B Kurse had defined something of a house aesthetic: the Münchner Sensibilismus (Munich Sensitivity), which was a very heady mix

Eine Stadt wird erpresst


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Signals: Dominik Graf

Signals: Dominik Graf

Die Freunde der Freunde

Das Gelübde

of Warhol-Garrelian avant-garde strategies and a passion for pop culture, rock music as well as genre cinema – imagine the finest balance between Lesley Selander and Michael Snow, and you’re almost there. Graf et al rebelled against this: their ideal was the craftsman able to turn every assignment into something special, content to leave just traces and marks on his work. What they shared with the Münchner Sensibilisten was a fascination with the purity of genre, with its rules; what separated them from them were their respective visions of cinema: the Sensibilisten were happy with the hardcore few who’d go on a trip with them, while Graf or the Gies brothers wanted to reach the widest possible audience, to tunnel the mainstream. All that said: things weren’t as full-frontal as they sound, for it was two Münchner Sensibilisten, Michael Hild and Bernd Schwamm, who after finishing their studies went on to work for the Bavaria Film and Television Studios, where they created the kind of spaces Graf and his kind needed.

Das Wispern im Berg der Dinge (1997): this is the first time Graf says ‘I’. This is also the moment he begins to cultivate an aesthetic of fragmentation – maybe the true self always proves divided?

Arts and Craft

In his heart of hearts, Graf still thinks of himself as the craftsman he was (or at least played very well) in the 1980s. But he’s also acutely aware that by the mid-1990s he’d outgrown that idea, after the last three Fahnder episodes, Die Sieger and Tatort – Frau Bu lacht (1995). He had done everything the genre offered – especially with his construction set of choice, the flic flick – reaching the point where he couldn’t do anything new, only the same stuff with more furore, panache – Corbucci instead of Karlson. Tellingly, only one of his series efforts since, Polizeiruf 110 – Der scharlachrote Engel (2004), is a balls-out achievement, a mind-boggler by any standard – and this is a reworking of an earlier milestone, his final Fahnder: Nachtwache (1993), by way of a melodramatic mode he’d started to use in the late 1990s. The turning point of his career, the moment he accepted that he’d become an artist, a singular voice with a unique vision, is marked by his first foray into documentary filmmaking, his autobiographical essay Denk ich an Deutschland –

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Graf says that he’s less interested in a work’s overall construction than in its characters, their lines – he follows them wherever they go and whatever they do; and as human beings tend more towards the idiosyncratic than the logical, they also defy the pithy rules of plot development. His characters are searchers for a love supreme and therefore impossible – romantics against all odds, who know that the only thing waiting for them is another round of hurt. Graf’s cinema has a savage heart which makes for unruly works in which past, present and future, reality and dream and desire can suddenly collapse into one another; sometimes it’s difficult to say what we saw: was it a memory, or a vision, and if so, whose? Which makes each work, well-rounded and finely tuned as it invariably is, feel like a piece of a puzzle that changes as it grows. And then there are all these abysses, gazing back into us. And here, a few lines resound across the years, from the 1954 epilogue to Günther Eich’s 1951 audioplay Träume: ‘Wachet auf, denn eure Träume sind schlecht! Bleibt wach, weil das Entsetzliche näher kommt.’ (‘Awaken, for your dreams are bad! Remain awake, for the abominable approaches’.)


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Signals: Dominik Graf

Germany, 2012 | colour/b&w, video, 89 min, German Prod Comp: megaherz, WDR | Sc: Dominik Graf | Cam: Martin Farkas | Ed: Rolf Wilhelm | Music: Sven Rossenbach, Florian Van Volxem | With: Eva Kruijssen, Oliver Storz | Print: Deutsches Historisches Museum | Sales: WDR Public SCREENINGS  Tue 29-1 14:15 LV5 Fri 1-2 14:15 CI3

Signals: Dominik Graf

Lawinen der Erinnerung

Das unsichtbare Mädchen

Dominik Graf

Dominik Graf

Dominik Graf originally contacted writer-director Oliver Storz because he planned to make a film of his semiautobiographical novel Die Freibadclique (2008). But it didn’t work out that way: the two TV auteurs, roughly a generation apart, immediately liked each other, and when the older turned out to be terminally ill, the younger quickly raised money for an essay documentary about: one man’s journey from the ruins of the Third Reich into the era of post-war reconstruction; the beginnings of a new art in a new nation; opportunities rarely taken and too often forfeited; the many hopes crushed and the very few dreams actually realised. But Lawinen der Erinnerung is more than a testimony-rooted memoir: It’s a forlorn look back in rage and tenderness; a meditation on a culture and aesthetic of self-doubt and civil scepticism lost; and a scathing indictment of how we betrayed the best and most useful of what this generation created.

When cop Niklas Tanner arrives in the (fictional) Franconian border town of Eisenstein, he finds a community divided. About a decade ago, a child was murdered – her body never found. A simple soul confessed – case closed. The lead investigator back then, Josef Altendorf, was retired soon after raising doubts about the conviction. His successor, Wilhelm Michel, ensures the case stays closed; he knows only too well what worms would crawl out if that particular can were opened again... An off-beat mix of police procedural, Heimatfilm and revenge flick whose most memorable character is a smart young sister in the blue brotherhood, Evelin Fink, played with cleverness, fresh sexiness and a fury all her own by the exquisite Anja Schiffel. Das unsichtbare Mädchen is already worth seeing for the scene in which she suddenly explodes in Tanner’s face and a verbal bitch-slapping contest turns into a martial arts duel almost to the death. Quite stunning.

Germany, 2011 | colour, video, 105 min, German Prod Comp: ZDF / ARTE, Cinecentrum Berlin | Sc: Friedrich Ani, Ina Jung | Cam: Michael Wiesweg | Ed: Claudia Wolscht | Prod Des: Claus-Jürgen Pfeiffer | Sound Des: Gunnar Voigt | Music: Sven Rossenback, Florian van Volxem | With: Elmar Wepper, Ulrich Noethen, Ronald Zehrfeld, Silke Bodenbender, Anja Schiffel, Tim Bergmann, Lisa Kreuzer | Print/Sales: Zweites Deutsches Fernsehen (ZDF) Public SCREENINGS  Sun 27-1 22:15 CI7 Fri 1-2 09:30 LV2

Dreileben: Komm mir nicht nach

Das Gelübde The Vow Dominik Graf

Dreileben: Don’t Follow Me Around Dominik Graf

Germany, 2011 | colour, video, 88 min, German Prod Comp: Bayerischer Rundfunk | Sc: Markus Busch, Dominik Graf | Cam: Michael Wiesweg | Ed: Claudia Wolscht | Prod Des: Claus-Jürgen Pfeiffer | Sound Des: Gunnar Voigt | Music: Sven Rossenbach, Florian van Volxem | With: Jeanette Hain, Susanne Wolff, Misel Maticevic, Malou Hein, Lisa Kreuzer, Rüdiger Vogler, Stefan Kurt | Print/Sales: Global Screen GmbH Public SCREENINGS  Thu 31-1 15:30 PA2 Fri 1-2 22:15 LV2


Police psychologist Jo is sent to the small Thuringian city of Dreileben to assist in the hunt for escaped sex offender Frank Molesch. The real driving force behind the story, however, is Jo’s meeting with an old friend from her university days, Vera, who has moved to Dreileben with her husband, Bruno, a writer of undemanding fiction. Jo discovers that she and Vera were once in love (and in bed) with the same guy – and he’s still on both their minds... Dreileben was an experiment in ‘fence-free filmmaking’, as Christian Petzold called it. He, Christoph Hochhäusler and Graf each made a film set in Dreileben and constructed around Molesch’s escape, sharing some of the actors and allowing their respective stories to intermittently intersect. Yet, each of the three films is a stand-alone work. Graf’s turned out to be the most intriguing of the triptych: a woman’s picture in crime garb about times lost and regained, love consumed yet undigested, ancient lust glowing like embers – and life never fully adding up.


Germany, 2007 | colour, 35mm, 92 min, German Prod Comp: Colonia Media Filmproduktions GmbH, WDR | Sc: Markus Busch, Dominik Graf | Cam: Michael Wiesweg | Ed: Claudia Wolscht | Prod Des: Claus-Jürgen Pfeiffer | Sound Des: Guido Zettier | Music: Sven Rossenbach, Florian van Volxem | With: Misel Maticevic, Tanja Schleiff, Arved Birnbaum, Anke Sevenich, Waldemar Kobus, Michael Abendroth, Philipp Quest | Print: Colonia Media Filmproduktions GmbH | Sales: Global Screen GmbH Public SCREENINGS  Mon 28-1 20:00 CI7 Wed 30-1 22:30 CI2

In 1818, writer Clemens Brentano went to Dülmen in Prussian-ruled Westphalia to chronicle the visions of stigmatized nun Anna Katherina Emmerick. Brentano stayed there for six years, until her death, producing tomes in which documentation becomes pensée, file fiction, observational tract. Times were heady – a nation called Germany was in the making, the scent of revolution filled the air. But: what kind of revolution, and to create what kind of Germany? Prussian enlightenment in its protestant dourness clashes with a down-to-earth, flesh-and-bones catholic radicalism over the shape and soul of a nation that shall prove to be never whole, never at ease and peace with itself. Which means that Das Gelübde is not only the story of a most unusual meeting, but also a brooding conspiracy thriller whose subtext – about the use and abuse of religion in politics – is only too timely. One of Graf’s most outstanding works.



Signals: Dominik Graf

Signals: Dominik Graf

Eine Stadt wird erpresst

Kalter Frühling Dominik Graf

Dominik Graf

Germany, 2006 | colour, video, 90 min, German Prod Comp: ZDF / ARTE | Sc: Rolf Basedow, Dominik Graf | Cam: Alexander Fischerkoesen | Ed: Hana Müllner | Prod Des: ClausJürgen Pfeiffer | Sound Des: Rainer Haase, Olaf Kutscher | Music: Sven Rossenbach, Florian van Volxem | With: Uwe Kockisch, Misel Maticevic, Julia Blankenburg, Thomas Neumann, Hubertus Hartmann, Arved Birnbaum, Lutz Teschner | Print: Deutsches Historisches Museum | Sales: Zweites Deutsches Fernsehen (ZDF) Public SCREENINGS  Thu 31-1 11:45 CI3 Sat 2-2 09:15 LV5

Georg Kalinke has been with the Leipzig Police Department since the 1970s. For many of his younger (oftentimes Bonn Republic-born and bred) colleagues, he’s but a relic from a bygone era. When the biggest case in a long time – Leipzig will be bombed to rubble if it doesn’t cough up 20 million in diamonds – lands in this lone wolf’s lap, folks get nervous. If things go wrong, some of them will have some serious questions to ask. Kalinke also has problems of his own. All the leads point towards Gralwitz, a (fictional) village he knows only too well from a case that went sour back in the Honecker days. Landscape after the battle. Possibly the best piece of genre filmmaking about the economic – as well as psychological – toll ‘unification’ has taken on the people of the ‘Five New States of the Federation’. A bleak, pissed-off look at a nation still divided.

Germany, 2004 | colour, video, 89 min, German Prod Comp: ZDF / ARTE, Colonia Media Filmproduktions GmbH | Sc: Markus Busch | Cam: Hanno Lentz | Ed: Christel Suckow | Prod Des: Claus-Jürgen Pfeiffer | Sound Des: Wolfgang Schukrafft | Music: Dieter Schleip | With: Jessica Schwarz, Angela Roy, Friedrich von Thun, Misel Maticevic, Matthias Schweighöfer, Tanja Gutmann, Markus Boysen | Print: Deutsches Historisches Museum | Sales: Global Screen GmbH Public SCREENINGS  Wed 30-1 11:45 LV5 Fri 1-2 09:45 CI7

Polizeiruf 110: Der scharlachrote Engel

Sylvia Berger, heir apparent to a major family business based in the FRG’s former capital Bonn, first makes a mess of her studies and then catches a disease from a rent boy she fucked to win a bet. Disowned by her parents, she falls in love with one Casper Milquetoast, who soon enough gets hooked on drugs; pretty soon, Sylvia is selling her fine body for small change. But when some sinister relatives plot a takeover of ‘her’ company, Sylvia gets creative – with quite a bit of help from all the men who, in one way or another, had something to do with her downfall. The last part of a loose trilogy of pulp melodramas Graf made around the turn of the millennium, this is the most abstract and obviously subversive of the three. Imagine Douglas Sirk and Alfred Vohrer joining forces to help Jean-Marie Straub adapt a particularly outrageous Rosamunde Pilcher rip-off, and you get some idea of the sheer weirdness you’re in for.

Hotte im Paradies Dominik Graf

Dominik Graf

Germany, 2005 | colour, video, 90 min, German Sc: Günter Schütter | Cam: Alexander Fischerkoesen | Ed: Ulla Möllinger | Prod Des: Claus-Jürgen Pfeiffer | Sound Des: Quirin Böhm | Music: Sven Rossenbach, Florian von Volxem | With: Michaela May, Edgar Selge, Nina Kunzendorf, Tayfun Bademsoy, Martin Feifel, Ursula Gottwald, Claudia Messner | Print: Deutsches Historisches Museum | Sales: Global Screen GmbH Public SCREENINGS  Tue 29-1 21:452 CI5 Sat 2-2 11:002 CI3


Graf quietly remade several of his own works – second chances to finally get it right, he’d probably say. Polizeiruf 110: Der scharlachrote Engel is arguably the richest of these variations. The basic set-up here is somewhat similar to that of Der Fahnder: Nachtwache (augmented by elements from Der Fahnder: Verhör am Sonntag), only this time a woman living out her exhibitionist desires is under attack by a messianic sex psycho who’s out to deliver her... Florentine Engelhard (nickname Flo, internet porno handle Angel, embodied by Nina Kunzendorf) is one of Graf’s most touching creations: pale, slender, with short curly hair and round, curious eyes, she remains unapologetic about her passions, whatever spiritual devastation they leave in their wake. She’s confident, composed, smart, sexy and almost impossible to faze. In the film’s most stunning scene, she meets some net clients in court – the ‘hello’ with which she greets them is in itself reason enough to fall in love with her. Screened together with Der Fahnder: Nachtwache.


Germany, 2003 | colour, video, 118 min, German Prod Comp: WDR, Bayerischer Rundfunk | Sc: Rolf Basedow | Cam: Hanno Lentz | Ed: Hana Müllner | Prod Des: Claus-Jürgen Pfeiffer | Sound Des: Friedrich Hertzberg | Music: Sven Rossenbach, Florian van Volxem | With: Misel Maticevic, Nadeshda Brennicke, Birge Schade, Isabell Gerschke, Stefanie Stappenbeck, Oliver Stritzel, Mark Zak | Print: Deutsches Historisches Museum | Sales: Global Screen GmbH Public SCREENINGS  Wed 30-1 17:00 CI7 Thu 31-1 22:00 LV5

‘If you want, you can have a different piece of pussy every day. That’s the true life. The other is false.’ Yep, that’s Hotte for you; he’s actually a very sweet, mildmannered pimp who’s finally striking the medium-big time with a handful of feisty hookers, one cuter than the next; all charismatic and clever in a way society usually doesn’t know how to deal with. Hotte knows: ‘Easy life is hard work.’ And, as he finds out, there’s no falseness in true love, but a lot of true love in falseness. Digital video-verité goes neo-Zilleesque naturalism in a world of bordellos, gambling dens and fitness studios, tacky interiors and skimpy dresses, false smiles and real asses. After all the macho banter is done, every pill and bottle has been downed, what lingers are memories of a carefree afternoon by a lake and first thoughts about old age, beer bellies and sagging tits. But, as the wise old pimp says, ‘You know, life changes so that things don’t get boring.’



Signals: Dominik Graf

Signals: Dominik Graf

München – Geheimnisse einer Stadt

Der Felsen

A Map of the Heart Dominik Graf

Germany, 2002 | colour, 35mm, 1:1.85, 122 min, German/ English/French/Swedish Prod Comp: Bavaria Film International | Sc: Markus Busch, Dominik Graf | Cam: Benedict Neuenfels | Ed: Hana Müllner | Prod Des: Claus-Jürgen Pfeiffer | Sound Des: Tom Weber | Music: Dieter Schleip | With: Karoline Eichhorn, Antonio Wannek, Sebastian Urzendowsky, Ralph Herforth, Peter Lowmeyer, Caroline Schreiber, Ulrich Gebauer | Print/ Sales: Global Screen GmbH Public SCREENINGS  Sun 27-1 21:45 CI2 Fri 1-2 14:15 LV5

Katrin has reached a point in life that spells n.o. r.e.t.u.r.n. – at least, that’s how it feels to her: neither young nor old, still close to teenhood but not so far from retirement. A middle-aged wasteland. She’s in Calvi, not alone, but lonely; drifting all day through this city of strangers, tourists like her, sans papiers, soldiers (the 2 Régiment Etranger de Parachutistes is based here). Katrin meets Malte, a kid who got himself into trouble and is now doing time in a juvenile correctional facility. Katrin does what she shouldn’t... One of Graf’s most extraordinary works, this late modernist portrait, with its disjunctive editing and DV images that look like they’ve been drawn in sand, perfectly expresses the lonely searcher’s state of mind. Katrin is on the brink of taking the plunge and dragging Malte down with her. But he’ll resurface, and grow through all this useless, fantastic pain.

Germany, 2000 | colour/b&w, 35mm, 1:1.66, 120 min, German Prod Comp: Bayerischer Rundfunk | Sc: Dominik Graf, Michael Althen | Cam: Martin Farkas | Ed: Rolf Wilhelm | Prod Des: Renate Schmaderer | Sound Des: Gunnar Voigt, Max Vornehm | With: Arthur Althen, Teresa Althen, Simon Baum, Jojo Beck, Tim Bergmann, Rolf Boysen, Frantisek Dockal | Print/ Sales: Global Screen GmbH Public SCREENINGS  Mon 28-1 09:15 LV5 Sat 2-2 15:00 LV3

Die Freunde der Freunde

Die Sieger The Invincibles Dominik Graf

Dominik Graf

Germany, 2002 | colour, video, 89 min, German Prod Comp: WDR | Sc: Markus Busch, Dominik Graf | Cam: Hanno Lentz | Ed: Christel Suckow | Prod Des: ClausJürgen Pfeiffer | Sound Des: Rupert Medele  | Music: Sven Rossenbach, Florian van Volxem | With: Matthias Schweighöfer, Sabine Timoteo, Florian Stetter, Jessica Schwarz, Tanja Schleiff, Tabea Heynig, Peter Benedict | Print: Deutsches Historisches Museum | Sales: Global Screen GmbH Public SCREENINGS  Mon 28-1 14:45 CI3 Thu 31-1 19:15 LV6


Adaptation of Henry James’s 1896 novella The way it came in a contemporary setting: a boys’ boarding school. Gregor is a bit of a wimp, or a dreamer, while his mate Arthur is quite the lady’s man. At a party, Gregor meets an enigmatic waif called Billie, while Arthur fools around with a carefree lass named Pia. Billie and Arthur have one thing in common: both witnessed a phenomenon called ‘death projection’: seeing images of people at the moment of their demise, miles away. These apparitions are brief, the dying look very real and most alive; call it life’s afterglow. Destiny has it that something will happen when two people who have faced death this way meet... Less an exercise in intellectually refined Gothic horror than a melancholic coming-of-age tale with supernatural elements, Graf’s use of DV makes this world look like the beyond, or a neverscape – haunted and hard to see.


Munich: Secrets of a City Dominik Graf This film is not about Munich – even if it does teach us more about the Bavarian capital than we ever felt the need to know. Munich – according to Graf and Althen – doesn’t exist. Munich is but a dream projected onto the surface, the skin of a settlement that has grown over the centuries into a city. It could just as easily be New York, Rotterdam or Djakarta. The details may be different, but the questions and reveries remain the same. The blind narrator could find the buildings and bodies for his stories anywhere. The lovers of the future live in an ‘Erewhon’ all of their own anyway. Diana Zgubic embodies the girl we see but never chat up in every café, concert hall or football stadium. But who is Diana Zgubic? And do dwellings dream of inhabitants made from bricks? A Markerian exercise in documentary daydreaming, with Bitomskyian twists and Šubian flourishes. And a key to Graf’s filmmaking.

Germany, 1994 | colour, 35mm, 1:1.66, 130 min, German/French/Italian Prod Comp: Bavaria Film International | Sc: Norbert Ehry | Cam: Diethard Prengel | Ed: Christel Suckow | Prod Des: Götz Weidner | Sound Des: Rolf W. Hapke | Music: Dominik Graf, Helmut Spanner, Loy Wesselburg | With: Herbert Knaup, Katja Flint, Hans Czypionka, Thomas Schücke, Heinz Hoenig, Hannes Jaenicke | Print/ Sales: Global Screen GmbH Public SCREENINGS  Mon 28-1 16:45 CI2 Wed 30-1 09:15 CI7

During an operation that’s going wrong, SWAT team member Karl Simon sees his former colleague Heinz Schaefer – who is dead. Simon discovers what he saw is not a ghost, nor a hallucination: Schaefer is alive, working undercover in a gray operation that is turning black... Graf’s masterpiece manqué: the original screenplay, which tackled links between the political establishment, the secret services and state-supported terrorism, was rejected by the funding bodies, who said they’d only support the project if it wasn’t about terrorism. Graf and scenarist Schütter obliged (and hate themselves for it to this day). While Graf was shooting the film, the mystery-riddled Bad Kleinen incident occurred, leaving an RAF member and a GSG-9 police officer dead... The most politically significant film made in the FRG during the Berlin Republic’s first decade. Ramming home that – particularly in the light of recent events (the neo-Nazi ‘Zwickau cell’) – certain zones here remain opaque.



Signals: Dominik Graf


The Gamblers Dominik Graf

Germany, 1990 | colour, 35mm, 105 min, German Prod Comp: Bavaria Film International | Sc: Christoph Fromm | Cam: Klaus Eichhammer | Ed: Christel Suckow | Prod Des: Sherry Hormann | Sound Des: Günther Stadelmann | Music: Andreas Köbner | With: Peter Lohmeyer, Anica Dobra, Hansa Czypionka, Joachim Kemmer, Claus Dieter Reents, Anthony Dawson | Print/Sales: Global Screen GmbH Public SCREENINGS  Wed 30-1 20:00 CI2 Fri 1-2 12:00 LV2

Jojo and Tom are gamblers – adrenaline junkies who make the best of their perennial losing streak. That said, if they won, where would the rush come from? Accompanied by Jojo’s cousin Kathrin, they embark on a trip towards the big time they’ll never see. Thank God there’s a benign narrator up in the clouds who sees to it that the glass always looks half-full. The craziest of Graf’s creations and his sole attempt at comedy that really works, Spieler doesn’t exactly offer nonstop laughs – it’s more like a serene, 111-minute state of suspension and wonder. At its best, Spieler plays like Nouvelle Vague Relaunched – it has the goofiness of Chabrol circa Marie-Chantal contre le Docteur Kha (1965); the perplexing lightness of the Swiss’ Une femme est une femme (1961) and the sardonic aspects of Rohmer around the time of Le signe du lion (1959). Woaaaaaa! Does this explain the histrionics-prone acting, shrill dialogues and generally campy look? You bet! (And yes, Spieler is also corny.)

Die Katze The Cat Dominik Graf

West Germany, 1988 | colour, 35mm, 1:1.85, 118 min, German Prod Comp: Bavaria Film International | Sc: Christoph Fromm, based on the novel Das Leben einer Katze by Uwe Erichsen | Cam: Martin Schäfer | Ed: Christel Suckow | Prod Des: Matthias Kammermeier | Sound Des: Günther Stadelmann | Music: Andreas Köbner | With: Götz George, Gudrun Landgrebe, Joachim Kemmer, Heinz Hoenig, Ralf Richter, Ulrich Gebauer, Sabine Kaack | Print/ Sales: Global Screen GmbH Public SCREENINGS  Sun 27-1 19:15 CI2 Fri 1-2 20:00 CI7

‘In two hours there will be war down there’, says Probek to his lover/ accomplice Jutta Ehser after the last good fuck of their lives. ‘Down there’ is the bank where Jutta’s unloved hubby works. Down there, Probek’s front men Junghein and Britz will see to it that a robbery goes wrong and escalates into a full-blown hostage crisis – stiff ransom included. Probek will stay where he is now, in a hotel, looking down onto the theatre of combat like a Field Marshal; from down there, seasoned cop Voss will reply to every single one of his moves. Graf’s first masterpiece is, a quartercentury after its release, arguably still the very best crime action film ever made in whichever Germany. Imagine a mystic union of Jean-Pierre Melville and John Guillermin, both at their toughest, iciest, most symmetryobsessed materialistic, and you will get an idea of what you’re in for.

Signals: Dominik Graf

Combined Programme Public SCREENINGS Tue 29-1 12:302 LantarenVenster 5 Sat 2-2 11:452 LantarenVenster 5

Denk ich an Deutschland – Das Wispern im Berg der Dinge Dominik Graf When Dominik Graf started shooting this portrait of his father, actor Robert Graf, he was already older than him – an eerie notion familiar to many children born shortly after a war. This is the starting point of this existentialist essay on 1950s FRG culture, its zero hour-Kahlschlag-minimalism of pregnant pauses and anguished silences – its severe beauty and ethics. Germany, 1997 | colour/b&w, video, 59 min, German Prod Comp: megaherz, WDR, Bayerischer Rundfunk | Sc: Michael Alten, Dominik Graf | Cam: Martin Gressman | Ed: Rolf Wilhelm | Sound Des: Stefan Ravasz | Music: Dominik Graf, Helmut Spanner | With: Robert Graf, Selma Urfer, August Everding, Ruth Vesper, Joachim Kaiser, Ruth Leuwerik, Franz Peter Wirth | Print: Deutsches Historisches Museum | Sales: Global Screen GmbH

Deutschland 09 – Der Weg, den wir nicht zusammen gehen Dominik Graf Ruinscapes. Urban wastelands. Houses from the 1950s and 1960s destined for destruction. Façades of Brave New Berlin Republic steel-and-glass monstrosities. Dominik Graf talks to these sights about: the threatened memory of postwar history; architectural and linguistic despotism; the odours, smells and scents of a rapidly vanishing torn civilisation. Germany, 2009 | colour, video, 15 min, German Prod Comp: Herbstfilm Produktion | Sc: Dominik Graf | Cam: Martin Gressman | Ed: Katja Dringenberg | Sound Des: Ansgar Frerich | With: Dominik Graf, Jeanette Hain, Florian KrügerShantin, Reynold Reynolds, Klaus Sakelarides | Print/Sales: The Match Factory GmbH

Prelude Der Fahnder: Nachtwache Dominik Graf A stylish lady in white waits in a white room for her killers to arrive. She’s a prosecution witness in a major case. Only one man stands between her and them: Faber, the shaggy dog of FRG TV crime. A deliriously vulgar modernist journey to the end of the night. Screened together with Polizeiruf 110: Der scharlachrote Engel. West Germany, 1984 | colour, video, 50 min, German Prod Comp: WDR | Sc: Günter Schütter | Cam: Diethard Prengel | Ed: Romy Schumann | Prod Des: Renate Schmaderer | Music: Dominik Graf, Helmut Spanner | With: Klaus Wennemann, Dietrich Mattausch, Hans-Jürgen Schatz, Maja Maranow, Henry van Lyck, Thomas Kollhoff, Norbert Steinke  | Print: Deutsches Historisches Museum | Sales: Global Screen GmbH Public SCREENINGS 




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SIgnAlS Kira muratova

Signals: Kira Muratova

Signals: Kira Muratova

Kira Muratova

Anarchy and Reckoning Zara Abdullaeva & Evgeny Gusyatinskiy In the documentary Kira , Muratova says her dream is ‘to disappear, and that only the films remain, which some will like, but the majority won’t.’ Muratova, Russian by blood, grew up in Romania. She studied at the Literature Faculty of Moscow State University but soon transferred to VGIK, the All-Union (now AllRussian) State Institute of Cinematography, where she studied under S.A. Gerasimov. After she graduated, she was sent to work in Odessa. She ended up staying and still lives there.

She made her first two films, On the Steep Cliff and Our Honest Bread, together with her husband, director Alexander Muratov. These are typical Soviet films. The real, dramatic and unabashed career of Muratova begins in 1967 with her debut film Brief Encounters (1967, released in 1987). Between 1968 and 1986 Muratova only made four films, of which Brief Encounters and Getting to Know the Big Wide World were the only ones to enjoy a limited release. Long Farewells remained shelved until Perestroika. The film Among Grey Stones had been so ruthlessly censored that Muratova didn’t want to release this disfigured version under her own name and used the colourless pseudonym ‘Ivan Sidorov’ instead. Muratova never sought to mythologize her life. She never complained about the fate of ‘the unfortunate artist’ who was kept from making films by the Soviet authorities. Wallowing in the role of martyr was something she detested. At the end of the 1980s, in the years before the revolution, Muratova was rediscovered. Her old films were shown and she acquired a cult status, even though she had never been a dissident. With the Soviet authorities she had only had ‘stylistic disagreements’, in the words of the outstanding Russian scholar Andrey Sinyavsky, who emigrated to France after spending years in a Soviet prison camp. The discovering of Muratova – and this ought to be stressed above all – revolved around the fact that she preferred the grandeur of illusion to the dominant tradition. This singularity had condemned her very divergent films – to some extent also determined by the audience – to public isolation. In contrast to the prophetic pathos of the best Russian directors, such as Tarkovsky, Muratova offered brilliant play, as well as a peculiar capriciousness in persisting in an art that is ultra-realistic and visionary at the same time. This is a quality of a director with the imaginative power of a Fellini. However, Muratova may live by the sea, but it’s not the Mediterranean. Living and working in isolation in Odessa, not in Moscow or St Petersburg, helped Muratova stay true to her aesthetic principle of distance as a director. Language

The dissenting opinion holds that Muratova is a formalist. But Muratova is not only great as a formalist, she has transformed all existing views on the cinematographic illusion. She questions illusion as such. This informs Muratova’s analytic art, which causes all duality to melt, intensifies the force of contrasts, forges imaginative connections between exaltation and despondency, tragedy and farce and creates a twilight zone all its own. The great directors of the twentieth century who shaped the

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language of film have managed to change our image of the relationship between God and humanity, the individual and society, realist and surrealist conceptions of reality. But no director in the history of cinema, especially Russian cinema, has operated as freely as Muratova: averse to posing as the victim of circumstances or being misunderstood, averse to cultural stereotypes and to received ideas; free in her observations. Muratova’s freedom is severe and demanding on her public, however, and definitely not whimsical. Looking at avant-gardist art demands great commitment, and during this process it is, in the words of Boris Groys, ‘no longer the viewer who judges the artwork, but the work itself that judges the audience, and often condemns it.’ Muratova’s work seems to allow itself to be divided into lyrical films (Brief Encounters, Long Farewells, Getting to Know the Big Wide World) and tragic ones (Change of Fortune, The Asthenic Syndrome). From the early 1990s onward, however, she films in ever-new poetics. She creates an absurd fairy tale (The Sentimental Policeman) and a tragic farce (Passions). She plays with genres, giving a new twist to the laws of the crime drama, the eccentric thriller, the detective and the Christmas story (Three Stories; Second Class Citizens; The Tuner and Melody for a Street Organ, respectively). In her latest film, Eternal Homecoming, her capricious and many-sided muse elegantly treats – with the aid of film material supposedly shot by an unknown and dead director – the problem of the manysidedness of the one-sidedness (and vice versa) of people, their relationships and the situations in which they find themselves. Muratova’s twenty films feature civil servants, the petty bourgeoisie, murderers, workers, teachers, children, poets, lunatics, clowns, nurses, dancers, acrobats, inhabitants of Odessa, old intellectuals, new Ukrainians, twins, gravediggers, swindlers, couples in sham marriages, geologists and artists, as well as collective farmers (the heroes of her early film Our Honest Bread). An enormous, overloaded world. In black-and-white and in colour. A poetical, grotesque, complex universe in which every character has his or her own maniacal passions, hopes, slights, claims and unchangeable tics. At the end of the 1980s, Muratova confessed that she doesn’t feel time – its pressure and course – and doesn’t divide time up into decades. At the end of the 1990s she said that ‘in this new time many different times are revived’. She examines and distorts those times in her curious, funny, light-footed, playful and philosophical films.


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Signals: Kira Muratova

On the Steep Cliff


Defiance – against any form of certainty or conventional reception – as well as playfulness: these are the two sides of her talent that Muratova uses by turns in her desperate, farcical and challenging films. The romantic Brief Encounters was criticized for being banally realistic. The nervous but ideologically innocuous and rhythmically flawless Long Farewells was qualified as alien to the Soviet public. In the film Among Grey Stones, she illustrates the social conflict between rich and poor, but also her love of farce and Grand Guignol. In Getting to Know the Big Wide World, she makes short shrift of the laws of the production film and creates an avant-gardist utopia of the ‘house of the film’ from the chaos of the Soviet state. In The Asthenic Syndrome, a magnificent fresco of time stopped short and a universe devoid of life, she is the first to speak about the protection which apathy can offer against everyday terror. In Change of Fortune, several scenes of which were shot in Tajikistan, she investigates the type of the demonic woman and exotic nature. In Chekhov’s Motifs, she sets in the present the wedding of characters from a different age, so that the audience is made to feel uncomfortable watching this traditional ceremony, and the concept of perception, or the concept of reality show, is itself put into question. Muratova’s work is replete with contradictions and tends towards the grotesque. And the grotesque, says Meyerhold, who is probably the most important theatrical innovator of the 20th century, ‘rides roughshod over all details and thus creates (in the “conditional improbability”, of course) the fullness of life’. It is often said of the actors in Muratova’s films that they play ‘badly’. But that is the director’s intention. The way in which Muratova orchestrates and combines ensembles is not without significance. She finds stimulation in the field of tension between amateurs and professionals. Eccentrics interest her. She keeps analysing the human tendency to dissimulate, to play a part. Just as matter can become spirit in her films and man finds himself turning into an animal, a character can transform into an artist. These baroque transformations of people probably form the central, expressive and innovative motifs of the filmmaker Muratova. She makes films where a strong passion for the exceptional, buffo, the body language and the expressiveness of the Über-Marionette, as well as unexpected notes in the distributed score, determine the interpretations of the characters. Just as the prison guard in Change of Fortune finds out that white people

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Signals: Kira Muratova

have something exotic in their appearance, there is something disturbing in Muratova’s characters. And vice versa. On the one hand, Muratova places the multifacetedness of the material of which her film is composed under a magnifying lens. On the other hand, she creates distance from the richness of the material in the intermezzi and divertissements. The image is intersected by rhythmical and expressive fragments, foregrounds and backgrounds. This assembled totality comes together in the pupil of the eye and is shown in a new perspective on our retina. For that reason, the clarté of the director is sometimes regarded as deformation, the artistic norm as the absurdity of life, the organicity of the acting as artificial, the refrains as the ‘height of pretence’ and not as the passionate love for rhythm that forms the cement of her atonal compositions. The refrains of the very concrete and wayward director Muratova reveal unsuspected possibilities of film imagery and the mechanism with which illusions (the resemblances of reality) are created by mixed images as well as by new forms. But at the same time, these refrains repudiate the automatism of repetitions and sound like an appeasement ritual, like the fragments of an aria in an opera, and multiply the number of subjects and objects in Muratova’s visible world. Artistic Irritation

Muratova is an artist with a ‘double centre’ herself, and she selects actors who at least also possess such a double centre. That’s why the title Two in One has a deeper meaning for the director. In Muratova’s universe – and this distinguishes her from the classic romantic artists – the doubling of characters (repartees, mise-enscène) reinforces their personalities, and the multiplication in copies destroys the illusion of the repetition, the imitation of life in the conditional world of art. It is not without reason, therefore, that the director invariably answers questions about the artificiality of her film world by saying that ‘the root of the word artificial is art’. But the mechanism of the refrains is just as ambiguous as the tendency of characters towards multiplication and imitation is unlimited. Moreover, the refrains in the non-illusionary poetics of Muratova form the illusion of the natural speech of the exalted residents of Odessa. The ‘copies without original’ disconcert the viewer and in a certain sense treat the viewer condescendingly with the puzzle of meanings, the overwhelming southern coloring of the actors or the representation of a nightmare. But what is of importance is that all those repetitions are an attack on conventionalities of any kind. And it should be mentioned too that the unpredictable logic of Muratova’s repetitions also provokes the unexpected. Muratova the conceptualist, the genius of intuitive insights, has in practice shown herself to be a master of artistic irritation. Her epic (in the Brechtian sense of the term) constructions unexpectedly bring the viewer from one state into a totally different one. Elements distinct from one another form the building blocks of the structural regularity and rhythm in her films, with which the string of beads of poetry and farce, drama and burlesque, dynamic and rest is threaded together. With her clear vision Muratova has made the boundaries between the art forms transparent. In this way she has not only, as Roland Barthes would call it, ruptured the boundaries of the language of film, she has ruptured the boundaries of cinematographic awareness and thought. Even if she has thereby unwittingly hindered the reception of her own films.


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Signals: Kira Muratova

Signals: Kira Muratova

Vecnoe vozvrascenie

Dva v odnom

On screen, images of a casting with various actors. The viewer doesn’t immediately realise this. Towards the finale, Muratova employs a trick. The black-and-white images are broken off and the film continues in colour. In the screening room, the producer and a potential investor, a sugar magnate, discuss the material of the uncompleted film. The director has died and there is no money to finish the movie. Muratova asked big stars of Russian cinema and stage as well as amateurs who played in her previous films to collaborate on this movie. In her filming of a casting, she once again uses her cherished device of refrains: the repetition of the same scene over and over, with the same replies in the same interior, with a number of actors playing the same part, acquiring non-trivial significance, becoming ironic and philosophical. Muratova is fascinated by the multisidedness of one-sidedness and vice versa. And by possibilities of aesthetic transformations between the world of the past and the one we perceive now.

One of Muratova’s strangest films. Two stories capriciously represent and contradict each other. Nowhere else does Muratova so urgently ask for the collaboration of the viewer, whom she makes a co-author. The film is seen by some as contemporary art. The first part is filmed as a play on stage, the second as a carnivalesque spectacle. First, the viewers are the audience of a play being staged at a theatre in the province. Later, they see the fireworks heralding the new year. The first act is like a Shakespearean tragedy with themes from Hamlet, played by amateurs. The second act is like a Shakespearean comedy, in which famous actors shine and ham it up. In the first act, Muratova chooses improvisation. The second act is presented as a show, full of intermezzos and burlesque. When the curtain rises, the actors either play grotesquely or pseudo-psychologically. As such, Muratova confuses the viewers, who don’t know if they are watching theatre or a ‘real’ film. Here she not only explodes genres, but also art forms.

Eternal Homecoming Kira Muratova

Ukraine, 2012 | colour/b&w, DCP, 114 min, Russian Prod: Oleg Kokhan | Prod Comp: Sota Cinema Group | Sc: Kira Muratova | Cam: Vladimir Pankov | Ed: Valentina Oleynik | Prod Des: Evgeny Golubenko, Oleg Khvastov | Sound Des: Alexander Schepotin | Music: Valentin Silvestrov | With: Oleg Tabakov, Alla Demidova, Renata Litvinova, Sergei Makovetsky, Georgy Deliev | Print/ Sales: Sota Cinema Group Public SCREENINGS  Sun 27-1 14:00 CI6 Mon 28-1 14:15 LV5 Sat 2-2 21:15 PA6

Two in One Kira Muratova

Ukraine, 2007 | colour, 35mm, 1:1.66, 130 min, Russian Prod: Oleg Kokhan, Ruben Dishdishyan | Prod Comp: Sota Cinema Group, Central Partnership Sales House | Sc: Evgeny Golubenko, Renata Litvinova | Cam: Vladimir Pankov | Ed: Tamara Denisova  | Prod Des: Evgeny Golubenko | Music: Valentin Silvestrov  | With: Bogdan Stupka, Alexander Bashirov, Sergei Bekhterev, Natalya Buzko, Renata Litvinova | Print: Oleksandr Dovzhenko National Centre | Sales: Sota Cinema Group Public SCREENINGS  Sat 26-1 22:00 CI2 Tue 29-1 22:00 CI2

Melodiya dlya sharmanki

Nastroyshchik The Tuner Kira Muratova

Melody for a Street Organ Kira Muratova

Ukraine, 2009 | colour, 35mm, 1:1.66, 153 min, Russian Prod: Oleg Kokhan | Prod Comp: Sota Cinema Group | Sc: Kira Muratova, Volodymyr Zuyev | Cam: Vladimir Pankov | Ed: Tamara Denisova | Prod Des: Evgeny Golubenko | Sound Des: Alexander Schepotin | Music: Valentin Silvestrov | With: Lena Kostyuk, Roma Burlaka, Natalya Buzko, Zhan Daniel, Georgiy Deliev, Renata Litvinova, Nina Ruslanova, Oleg Tabakov | Print: Oleksandr Dovzhenko National Centre | Sales: Sota Cinema Group Public SCREENINGS  Fri 25-1 19:00 CI2 Sat 2-2 15:30 PA4


Two kids – brother and sister – escape from the orphanage and try to find their long-lost father. They don’t know what he looks like and have no information about him except his address. This epic journey takes them from one social milieu to another: they meet people who live on the very edge and those who travel only by limousines. It also happens to be Christmas and everybody is waiting for miracles to come, even those who don’t believe in them. While Muratova does not believe in miracles either, this extremely tragic and bitter film looks like a Christmas fairytale or a classic coming-of-age story (in the style of Dickens). But both genres are reversed and deconstructed. Melody for a Street Organ is in the same vein as Among Grey Stones (1983), another of Muratova’s portraits of sensitive and sensible children who behave like adults, and reckless adults who behave like spoiled children.


Russia/Ukraine, 2004 | b&w, 35mm, 1:1.66, 154 min, Russian Prod: Sergey Chliyants, Aleksandr Bokovikov | Prod Comp: Pygmalion Production Film Co., Ministry of Culture and Arts of Ukraine | Sc: Kira Muratova, Evgeny Golubenko, Sergei Chetvertkov | Cam: Gennady Karyuk | Ed: Valentina Oleynik | Prod Des: Evgeny Golubenko | Sound Des: Yefim Turetsky, Alexei Shulga | Music: Valentin Silvestrov | With: Renata Litvinova, Georgy Deliev, Nina Ruslanova, Alla Demidova, Alexei Pavlovsky | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Sun 27-1 16:452 CI7 Fri 1-2 16:302 CI7

The story of a couple of swindlers – a poor musician, Andrei, and his ambitious girlfriend, Lina – and their victims, two elderly women. Anna Sergeevna, a rich aristocratic widow, lives alone in a luxurious apartment and spends a lot of time with her best friend, Luba. Andrei and Lina plan to steal the widow’s savings. But first Andrei has to gain her confidence by posing as a piano tuner... Muratova transforms her satirical crime drama into an existential one about human relations, totally controlled and fatally damaged by social and economic conventions. Every character virtuously exploits the feelings of the others, and none doubt for a moment that love, devotion and friendship do cost money. As usual, Muratova contrasts different cinematic and artistic techniques. The diversity and interplay of her methods give rise to a very particular aesthetic. Highly explosive, yet perfectly balanced.



Signals: Kira Muratova

Signals: Kira Muratova

Chekhovskie motivy

Tri istorii

Constructed according to the two-in-one principle: by combining Chekhov’s story Difficult People and his humorous play Tatiana Repina, Muratova enforces a way of looking that is unusual even in modern art. Chekhov disregarded theatrical conventions. Muratova breaks with cinematic conventions that determine what you can show. In Chekhov’s Motifs, a family drama and a wedding between two strangers form a counterpoint in an unusual cinematographic time-frame. Muratova treats the phenomenon of the spectacle/show by filming a Russian Orthodox wedding ceremony in the present. She films the sacred ritual as a documentary, as a reality show, thereby desecrating the spectacle but not the sacred mystery. By connecting images, rhythms from different ages and leitmotifs of her own, Muratova makes time the protagonist of the film. The metaphysics of time erupt from the cracks of everyday life and manifest themselves in prose and poetry, in beauty and ugliness: charade and ritual at the same time. Muratova is at the mercy of her own independence. Maybe that’s why her art is said to be impracticable.

Three novellas about murder, violence and death. But mainly about males and females, infants and old people. About paradoxes of human nature and human behaviour. A dark comedy; so dark that its humour makes you shiver and feel scared of your own laughter. ‘I don’t like men. I don’t like women. I don’t like children. I’m not fond of people. I would give this planet a zero mark.’ This famous statement by Ofa (Renata Litvinova), the femme fatale and serial killer from the second novella, is wrongly considered by some critics to be a ‘message’ of the film and even Muratova’s personal motto. As a result she has been accused of misanthropy. But that’s just a common misconception of the highly provocative nature of Three Stories. In fact, this film is a brilliant example of Muratova’s ‘dangerous method’, which unmasks and undermines common morals in a very playful way, without any fear or sentimentality.

Chekhov’s Motifs Kira Muratova

Russia/Ukraine, 2002 | b&w, 35mm, 1:1.37, 120 min, Russian Prod: Igor Kalyonov | Prod Comp: Intercinema Agency, Nikola Film, Ministry of Culture and Arts of Ukraine | Sc: Evgeny Golubenko, Kira Muratova | Cam: Valeri Makhnev | Ed: Valentina Oleynik | Music: Valentin Silvestrov | With: Sergei Bekhterev, Nina Ruslanova, Natalya Buzko, Philip Panov, Zhan Daniel | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Thu 24-1 22:00 CI3 Wed 30-1 12:00 CI2

Three Stories Kira Muratova

Russia/Ukraine, 1997 | colour, 35mm, 1:1.85, 105 min, Russian Prod: Aleksandr Bokovikov, Igor Tolstunov | Prod Comp: Odessa Film Studio, Ministry of Culture and Arts of Ukraine, PROFIT | Sc: Sergei Chetvertkov, Renata Litvinova, Vera Storozheva | Cam: Gennady Karyuk | Ed: Valentina Oleynik | Prod Des: Evgeny Golubenko | Sound Des: Emmanuil Segal | With: Sergei Makovetsky, Leonid Kushnir, Zhan Daniel, Renata Litvinova, Ivan Okhlobystin, Oleg Tabakov, Liliya Murlykina | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Tue 29-1 14:30 CI2 Thu 31-1 22:15 PA3

Vtorostepennye lyudi


A young woman gets into big trouble and embarks on an adventure while trying to get rid of the dead body of her husband. She is assisted by a strange guy who has just escaped from the local mental hospital. Both of these heroes are walking disasters and manage to make things even worse than they really are. Probably the most bizarre and eclectic of Muratova’s films, it switches from one mood of the characters (and the viewer) to another, takes us from drama to absurd comedy, moves from satire to burlesque and even Grand Guignol. Mourning is followed by celebration, howls of despair transform into songs of joy. Doctors accidentally kill their patients, the insane happen to be the only normal and humane people, life suddenly turns into death and vice versa. And all this happens in leaps and bounds. A hilarious topsyturvy experience that makes you feel happy, mad and melancholy at once.

A town by the sea. An hippodrome inhabited by peculiar characters. Horse races and male duels, love triangles and extravagant monologues written and performed by charismatic Renata Litvinova, a professional scriptwriter who was discovered by Muratova and immediately became a member of her on-screen ‘family’, as well as a cult star of the new Russian cinema. Their collaboration started with this film and continues to be fruitful. Passions is a turning point in Muratova’s filmography, marking the final transition from more or less ‘narrative’ films to ones where the plot is not as important as the form, which is always free and innovative. While she can be compared to Federico Fellini, this the only film in which she fully reveals and at the same time undermines the ‘Fellinian’ nature of her cinema.

Second Class Citizens Kira Muratova

Ukraine, 2001 | colour, 35mm, 1:1.37, 105 min, Russian Prod: Aleksandr Bokovikov, Anna Chmil, Sergey Grinevsky | Prod Comp: Odessa Film Studio, Ministry of Culture and Arts of Ukraine | Sc: Sergei Chetvertkov, Kira Muratova | Cam: Gennady Karyuk | Ed: Leonid Pavlovsky | Prod Des: Evgeny Golubenko | Sound Des: Yefim Turetsky | With: Natalya Buzko, Sergei Chetvertkov, Nikolai Sadnev, Zhan Daniel, Philip Panov | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Wed 30-1 21:302 CI7 Thu 31-1 13:452 CI7



Passions Kira Muratova

Russia, 1994 | colour, 35mm, 1:1.37, 112 min, Russian Prod: Igor Kalyonov | Prod Comp: Nikola Film | Sc: Kira Muratova, Evgeny Golubenko | Cam: Gennady Karyuk | With: Svetlana Kolenda, Renata Litvinova, Sergei Popov, Albina Skarga | Print: Gosfilmofond | Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Thu 31-1 22:15 CI2 Sat 2-2 09:45 CI7



Signals: Kira Muratova

Signals: Kira Muratova

Cuvstvitelnyy milicioner

Ukraine/France, 1992 | colour, 35mm, 1:1.85, 115 min, Russian Prod: Aleksandr Andreev, Hugues Borgia, Yuri Kovalenko | Prod Comp: Parimedia, Primodessa Film | Sc: Evgeny Golubenko, Kira Muratova | Cam: Gennady Karyuk | Ed: Valentina Oleynik | Prod Des: Alexei Bokatov, Evgeny Golubenko | Sound Des: Sergei Dubkov, Rem Sobinov | With: Nikolai Shatokhin, Irina Kovalenko, Natalya Ralleva, Dasha Koval, Yuri Shlykov, Vladimir Karasyov | Print: Gosfilmofond | Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Sat 26-1 17:15 CI7 Sat 2-2 17:00 CI7

USSR, 1989 | colour/b&w, 35mm, 1:1.37, 153 min, Russian Prod: Micha Lampert | Prod Comp: Goskino, Odessa Film Studio | Sc: Alexander Chernykh, Kira Muratova, Sergei Popov | Cam: Vladimir Pankov | Ed: Valentina Oleynik | Prod Des: Oleg Ivanov | Sound Des: Elena Demidova | With: Sergei Popov, Olga Antonova, Galina Zakhurdayeva, Natalya Buzko, Alexandra Svenskaya, Pavel Polishchuk, Natalya Ralleva, Galina Kasperovich  | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Sat 26-1 14:00 CI2 Sat 2-2 12:00 PA3


The Sentimental Policeman Kira Muratova A policeman finds a girl in a vegetable patch and dreams of adopting her. The child functions as a trigger for natural, social and biological urges and human traumas. After The Asthenic Syndrome’s exhausted intellectual, Muratova now switches to a complete character: a simple man with a sentimental philosophical mask. The title is an oxymoron. Muratova doesn’t allocate power to the policeman, but to miserable, hypocritical post-Soviet citizens. The interplay of situation and fate is the key to the intrigue in The Sentimental Policeman. It is reminiscent of the cruel developments in the stories of Daniil Kharms. The film is built up of transitions between anecdote and Grand Guignol, farce and melodrama, pantomime and court sessions. The director’s daring is circumscribed by cunning, as she rewards the ‘naive savage’ with love and philosophical questions. Incidentally, a poster of Malevich’s Black Square hangs on a wall in his apartment. The most under-appreciated of Muratova’s films.

Peremena uchaste Change of Fortune Kira Muratova

USSR, 1987 | colour, 35mm, 109 min, Russian Prod Comp: Odessa Film Studio | Sc: Kira Muratova, based on a story by W. Somerset Maugham | Cam: Valeri Myulgaut | Prod Des: Oleg Ivanov, Umirzak Shmanov | Sound Des: Igor Skinder | With: Natalya Leble, Yuri Shlykov, Vladimir Karasyov, Leonid Kudryashov, Umirzak Shmanov, Oksana Shlapak | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Fri 25-1 22:15 CI2 Tue 29-1 17:00 CI7

Maria has a fit of rage and fires six shots at the lover who deceived her. She ends up in prison. The plot of Somerset Maugham’s The Letter served as guideline for this little tragedy. After the romantic, noble Soviet woman, Muratova now turns to the ‘wild white woman’. With her eruptions, determination, tenderness, composure and fears, she is a woman par excellence. The well-bred lady harbouring diabolical passions. The desire to create an unimaginably exotic setting for the action. Muratova doesn’t romanticize her heroine, a horrifying and magnificent flower of evil. She analyses the shadow side of the perfect form (of a woman, of things, of concepts). What’s most important here is the infernal power of the unusual actress Natalya Leble. Uncompromising in her role, coquettish and weak, and dangerous as a pent-up force of nature. ‘It’s impossible to alter your fate,’ the director says, ‘One prison will change the other… Maria…becomes a prisoner in her own prison, the prison of her daydreaming.’

Astenicheskiy sindrom

Sredi serykh kamney

The Asthenic Syndrome Kira Muratova

Among Grey Stones Kira Muratova

This has been called ‘a magnificent fresco’, an ‘apocalypse’ (Silver Bear, Berlin 1990). But it proved to be a diagnosis of an era. Muratova captured the state of Russia and Eastern Europe in images that are typical of an era on the eve of revolution, full of aggression and apathy. The Asthenic Syndrome is constructed like The Well-Tempered Clavier, full of polyphonous elements. The first part is in black-and-white and is a film within a film, nervously shot like Muratova’s first films. The second part is in colour and tells the story of the life of an insignificant author and literature teacher who suffocates in the dull routine of his mindless environment. Muratova’s realism is full of contrasts, irony and rage and shows every character from different sides. She presents a complete picture of personal syndromes and collective apathy, meanwhile stunning the viewer with shock therapy and destroying every illusion.

Based on a short story called In Bad Company by the Russian writer Vladimir Korolenko. A judge mourns the death of his wife, unable to come to terms with the dreadful reality. Meanwhile, his son befriends a couple of street urchins. Muratova delicately explores ‘respectable’ society and its ‘underground’ as two opposing worlds that have nothing in common except for feelings of alienation, hopelessness and doom. This was the first time she worked with children, portraying them in a totally unconventional way, and the result is astonishing. Among Grey Stones was heavily censored by the Soviet officials. In response, Muratova withdrew her name from the credits and took a pseudonym: Ivan Sidorov, which, being one of the most common of Russian male names, reads as ‘Mr Average’.


USSR, 1983 | colour, 35mm, 88 min, Russian Prod Comp: Odessa Film Studio | Sc: Vladimir Korolenko | Cam: Alexei Rodionov | Prod Des: Valentin Gidulyanov | Sound Des: Vladimir Bogdanovsky, Igor Skinder | With: Igor Sharapov, Oksana Shlapak, Stanislav Govorukhin, Roman Levchenko, Sergei Popov, Viktor Aristov | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Fri 25-1 14:30 CI3 Thu 31-1 20:00 CI7



Signals: Kira Muratova

Signals: Kira Muratova

Poznavaya belyy svet

Korotkie vstrechi

The chef d’oeuvre of the young Muratova. The story of the construction of a tractor factory filmed in a way that was inconceivable at the time. Muratova uses a poetic cinematographic idiom to give shape to the shapeless space, the unfinished building and the unstable relationships of the characters. She makes a tender movie about the shabby and at the same time exalted completion of the building. In this lyrical film, picturesque images merge with lifelike scenes, larded with intermezzos in folksy and Socialist settings. Muratova chose a scenario about construction and the fantasy of love that ‘isn’t produced in factories’. She rewrote it, added images, lyrics, expressive caesuras and primitivistic collages, thus making a sophisticated patchwork. Just as the strength of the common people in Fellini’s experimental art reinforces the lyrical backdrop of his talent, the unbridled emotionality in this film democratises Muratova’s sophisticated art.

Valentina is a young woman who has everything in life: husband, a good job, high social status. But this does not fill the void around her. Her husband – a geologist (Russian cult singer-songwriter Vladimir Vysotsky) – is always away, her work in public administration tedious, her apartment empty. When a young girl (Nina Ruslanova) arrives in town and falls in love with her husband, Valentina observes this with a mix of curiosity, compassion and detachment. Muratova considers this film the real start of her turbulent artistic career. It indeed distinguishes her unique voice and vision. Both are based on paradoxes: the romanticism comes together with the disillusionment, the passionate tone turns into aloofness, and vice versa. When the lead actress dropped out at the last minute, Muratova was forced to play the part of Valentina herself. She gave an impressive performance, but has never acted in films again.

Getting to Know the Big Wide World Kira Muratova

USSR, 1979 | colour, 35mm, 75 min, Russian Prod Comp: Lenfilm Studios | Sc: Grigori Baklanov, Kira Muratova | Cam: Yuri Klimenko | Prod Des: Alexei Rudakov | Sound Des: G. Belenki | With: Nina Ruslanova, Sergei Popov, Alexei Zharkov, Lyudmila Gurchenko, Natalya Leble | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Sun 27-1 19:45 CI3 Thu 31-1 12:00 CI2

USSR, 1971 | b&w, 35mm, 97 min, Russian/English Prod Comp: Odessa Film Studio | Sc: Natalya Ryazantseva | Cam: Gennady Karyuk | Ed: Valentina Oleynik | Prod Des: Enrique Rodríguez | Sound Des: Igor Skinder | Music: Oleg Karavaychuk | With: Zinaida Sharko, Oleg Vladimirsky, Tatyana Mychko, Yuri Kayurov, Svetlana Kabanova, Lidiya Dranovskaya, Lidiya Brazilskaya | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Fri 25-1 12:15 CI7 Mon 28-1 22:30 CI2


Brief Encounters Kira Muratova

USSR, 1967 | b&w, 35mm, 96 min, Russian Prod Comp: Odessa Film Studio | Sc: Kira Muratova, Leonid Zhukhovistky | Cam: Gennady Karyuk | Ed: Olga Charkova | Prod Des: Alexandra Konardova, Oleg Peredery | Sound Des: Igor Skinder | Music: Oleg Karavaychuk | With: Nina Ruslanova, Vladimir Vyotsky, Kira Muratova, Elena Bazilskaya, Olga Vikland, Alexei Glazyrin  | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENINGS  Thu 24-1 20:00 CI2 Wed 30-1 14:45 CI2

Dolgie provody

Nash chestnyy khleb

Long Farewells Kira Muratova

Our Honest Bread Kira Muratova, Alexander Muratov

Evgenia is a single mother and is very devoted to her only son. When she lets him spend the vacation with his father, he comes back a changed person and tells his mother that he does not want to live with her any more. Long Farewells came after Brief Encounters and was banned for almost twenty years. The two films are in fact a diptych. Both are shot in beautiful, poetic black-and-white. Both are about the nature of romance, even if it’s a romance between mother and son, which Muratova sees as a metaphor for any male-female relationship. Finally, both are astonishing portraits of women – and of longing, loneliness and unrequited love. Muratova has always been keen to discover new talents, especially actors. The star and discovery of this film is Zinaida Sharko, who plays the mother. Impulsive and fragile, she turns Long Farewells into a profound exploration of femininity and motherhood.

Muratova’s black-and-white debut is wholly in keeping with the tradition of Soviet cinema. The honest chairman of a collective farm cannot accept the doctored harvest yields his son has reported to the State. For his noble action the old man is sent into retirement. Outside the main story line, the directors use two highlights, a funeral and a wedding, to portray daily life in the village. In the background, a funeral procession is moving along. Shadows of people with lots of bicycles. We see wheels and spokes, parts of the whole. Perhaps a metaphor for the circle of life. The black silhouettes of the workers on the kolkhoz look like ghosts. The funeral of the old woman, played by the young Muratova, is connected to the wedding of the young heroes. A crowd dances itself into a frenzy. A lengthy song is sung. An old man and his wife leave for another village. After this film Muratova parted with her co-director and embarked on her own incomparable career as a director.


USSR, 1964 | b&w, 35mm, 100 min, Russian Prod Comp: Odessa Film Studio | Sc: Ivan Bondin | Cam: Alexander Rybin, Yuri Romanovsky | Ed: Olga Kharkova | Prod Des: Mikhail Zayats | Sound Des: Igor Skinder | Music: Leonid Bakalov, Boris Karamyshev | With: Dmitriy Milutenko, Oleg Fandera, Lubov Kalujnaya, Petr Lubeshkin | Print/Sales: Oleksandr Dovzhenko National Centre Public SCREENING  Mon 28-1 20:00 CI2



Signals: Kira Muratova

Signals: Kira Muratova

Combined Programme


Pismo v Ameriku


Kira Muratova

Kira Muratova

Two friends from Odessa try to compose a video message to their pals, emigrants to the United States. One of them rents his apartment to a tricky girl who invents various excuses not to pay the rent. An exceptional story about people on the verge of despair who nonetheless manage to enjoy life, even if these joys are beyond good and evil. Screened together with On the Steep Cliff.

The title is slang for counterfeit money. On a boulevard in Odessa a street artist receives a counterfeit banknote. Muratova presents several variations on the theme. Characters have the same name. Grotesque situations develop around mistaken identities and deception, and the storyline about trust is imbued with sarcasm. The intrigue is based on the response of plain folk and pseudo-swindlers. The resulting confusion is equal to that of Gogol. Screened before Second Class Citizens.

Letter to America

Ukraine, 1999 | colour, 35mm, 1:1.37, 20 min, Russian Prod Comp: Odessa Film Studio | Sc: Sergey Chetvertkov | Cam: Gennady Karyuk | Ed: Valentina Oleynik | Prod Des: Evgeny Golubenko | Sound Des: Yefim Turetsky | With: Sergey Chetvertkov, Uta Kilter, Pavel Makarov, Nikolai Sadnev | Print: Oleksandr Dovzhenko National Centre | Sales: Ministry of Culture and Arts of Ukraine Public SCREENING Fri 1-2 12:002 Cinerama 7


Ukraine/Russia, 2005 | colour, video, 32 min, Russian Prod: Oleg Kokhan | Prod Comp: Sota Cinema Group | Sc: Sergei Chetvertkov, Evgeny Golubenko | Cam: Volodymyr Pankov | Prod Des: Evgeny Golubenko | Sound Des: Yefim Turetsky | With: Natalya Buzko, Alexandra Svenskaya, Iakov Kucherevsky, Leonid Kushnir, Yuri Nevhamonny, Anatoly Trukhin | Print: Oleksandr Dovzhenko National Centre | Sales: Sota Cinema Group Public SCREENINGS Wed 30-1 21:302 Cinerama 7 Thu 31-1 13:452 Cinerama 7

U krutogo yara On the Steep Cliff

Kira Muratova, Alexander Muratov Setting: a village. Protagonist: a bird catcher and hunter. Scenery: idyllic. The bold, ominous score by Oleg Karavaychuk, with whom Muratova will work more often, is full of melancholy and sadness. This graduation film as yet bears no mark of the ‘dangerous’ Muratova, the ‘scandal seeker’ and ‘anarchist’. It is the director’s prenatal period, although an important theme can already be glimpsed: the relationship between people and animals. But for now this is harmonious. Screened together with Letter to America.


The Certificate Kira Muratova A very worried man comes to a hospital and asks the staff to issue a death certificate for his mother, who he claims is dead. This lovely short is made of footage that was not included in the final cut of The Tuner and features one of its leading characters (nurse Luba). A perfect prologue to Muratova’s epic tale about tricks and tricksters. Screened before The Tuner.

USSR, 1961 | b&w, 35mm, 50 min, Russian

Russia, 2005 | b&w, video, 10 min, Russian

Prod Comp: Gorky Film Studio, Kiev Film Studio | Sc: Kira Muratova | Cam: A. Maslennikov | Sound Des: Sergei Yurtsev | Music: Oleg Karavaychuk | With: Valeri Isakov, Marchella Chebotarenko, Viktor Markin, Georgi Svetlani, Pyotr Lyubeshkin | Print/Sales: Oleksandr Dovzhenko National Centre

Prod: Sergey Chliyants, Aleksandr Bokovikov | Prod Comp: Pygmalion Production Film Co. | Sc: Boris Hersonski | Cam: Gennady Karyuk | Ed: Tamara Denisova | Prod Des: Evgeny Golubenko | Sound Des: Yefim Turetsky | With: Inga Doronina, Yuri Nevgamonny, Nina Ruslanova, Bella Saydakovskaya | Print: Gosfilmofond | Sales: Oleksandr Dovzhenko National Centre

Public SCREENING Fri 1-2 12:002 Cinerama 7

Public SCREENINGS Sun 27-1 16:452 Cinerama 7 Fri 1-2 16:302 Cinerama 7





SIgnAlS Inside Iran

tHis is reality not fiction Hivos supports independent filmmakers across tHe world main partner of iffr

Signals: Inside Iran

Signals: Inside Iran

Inside Iran

On ‘Elephant in Darkness’ and Other Telling Images Bianca Taal & Gertjan Zuilhof

Over the years, we have welcomed very many Iranian filmmakers to Rotterdam, including those who make their films abroad and directors who let their cameras roll in Iran itself, in great secrecy. Our conversations with them only served to make us more curious. From their stories about the hidden artistic life of filmmakers and artists, we gathered that, although public and official life in Iran may be difficult, a great deal is still possible behind closed doors. That encouraged us to visit Iran to find out what is possible and what isn’t in this country with its ancient and opulent culture. It was a very new and different experience for both of us. Southwards with Panahi

Gertjan Zuihof: ‘In the lead-up to IFFR 2010, I gave a presentation to the festival staff about a project with African filmmakers whom I had taken to a workshop in China. Afterwards, a staff member who was a native of Iran came up to me and asked why I didn’t do something like this for Iranian filmmakers. At first I was surprised. After all, Iranian filmmakers are among the very best in the world, and surely I don’t need to take them to a workshop? But she was interested in the fact that religious and political developments had been making the position of Iranian filmmakers increasingly difficult. She wanted to focus attention on this. I promised to think about it. It made me alert in my further encounters with Iranians in the film world. There is a diaspora of professional Iranian filmmakers throughout the world, so I met them on my travels through Southeast Asia and South Africa, but also in Sweden and the Netherlands. I have listened to many colourful stories that Iranian filmmakers tell about their country when they were still able to live and work there.

‘I went to Iran for this project. It was my first visit. I wrote to all my contacts in the diaspora and asked them for their film connections in Iran and then I asked those new contacts for more contacts. As a result I knew who to call as soon as I left the airport. Some contacts proved to be more useful than others. I have known my oldest Iranian friend, Alireza Khatemi (who happens to be very young), ever since he studied in Malaysia. He has an exceptional network in artistic as well as social circles. He understood what and who I was looking for. He also encouraged me not to get stuck in Tehran’s affluent northern side, but to get out and visit the real people in the southern part. In the end I was driven to the south by no one less than Jafar Panahi. I could tell Alireza that I had seen the city he is no longer allowed to see.’ Unwanted Vacation

Bianca Taal: ‘A generous invitation from the film festival of Isfahan took me to Iran. It seemed a wonderful opportunity, also to work on researching our programme. It was a strange experience. I had never previously been to a film festival where films could not be seen. Without any information, I was driven around every day in tourist buses with other international invitees. Whenever I tried asking questions (“Can I go to a film?” “Will there be any directors there?” “Is it possible to go back to Tehran earlier?”), the answer was always “We’ll look into it for you”. Travelling back to the capital under my own steam was out of the question – the hotel “looked after” my passport until the end of the festival. Even the really simple question of “Where is the tour taking us today?” evoked no more response than “Sit down in the bus and then we’ll tell you more”. Imprisoned in an unwanted vacation.’ ‘What did I experience? Several official excursions to impressive parks, palaces and mosques, and an enormous PR machine. About three times a day there was a camera crew that wanted to make another interview with the same queries: Whether I thought the people in Iran were friendly and hospitable and whether I could describe how beautiful the country was. Call it getting to know the official side of the country. The side where you are hospitably received but also the side that continually leaves you ignorant.’ ‘And sometimes you don’t have to go to Iran to meet Iranian filmmakers. The festival in Dubai this year was one of the primary locations where I met many of the filmmakers from our programme – filmmakers from various generations, working inside or outside Iran.’ From realistic to strangely symbolic

These encounters and discoveries in Iran (and elsewhere) were not all that formed the motivation for this programme. At least as important is the question of what has happened to the Iranian new-wave cinema of Kiarostami, Makhmalbaf, Jalili and others. After all, about 15 years ago, Iranian cinema was among the best in the world. For some time now, Kiarostami and Makhmalbaf have made their work outside the borders of Iran. Kiarostami

111 Girls

230 12



13 231

Signals: Inside Iran

Signals: Inside Iran

Outside Inside Iran

Dreams of the City

made his latest film in Japan, while Makhmalbaf made his latest in Israel, an unlikely spot for an Iranian. But several of these filmmakers stayed in the country. Evidence that Iranian cinema is still alive and well in Iran is given by a vital new film featured in the programme, Darvag by Abolfazl Jalili, in which he shows in a realistic and satirical way how difficult it can be to survive economically in today’s Iran. We also soon came into contact with an intriguing new generation of cineastes. They make very different work from the older generation of ‘realistic new-wave’ filmmakers. Their films can be strangely symbolic, absurd and surrealistic. Mohammad Shirvani is such a talent, as is Majid Barzegar, whose very powerful Parviz is being screened in the programme. But also keep an eye out for Vahid Vakilifar, who provides the first Iranian sci-fi.

The programme consists of new and topical films – a conscious choice. They are high-quality films which certainly belong in the festival and so recent that they often have not yet had their world premiere. In fact, they are films that could easily be screened in competition – which is why three Inside Iran films are also being screened outside the Inside Iran programme. It may not be a coincidence that these are powerful examples of certain elements within the programme. For instance, Kayan by young Maryam Najafi, a filmmaker of Iranian extraction, is a beautiful example of films made in the Iranian diaspora. The film is set in Canada, even though this is scarcely evident in the film itself. The main location is a Lebanese restaurant, and the camera follows its female owner closely. The film expresses a great sense of melancholy for the culture of the Middle East – the food, social life, music, basically everything. A Middle East that may no longer exist – certainly not in Iran, with the bad situation there, but living on in the nostalgic memories of those who live in exile. Ziba by the above-mentioned Bani Khoshnoudi may be a good example of what is just barely possible in Iran. Khoshnoudi now lives in Mexico, but this powerful and almost stern film about the inability of a married woman to break out of her role was shot in Iran, and is one of the most important films in the programme. Fat Shaker by Mohammad Shirvani, included in the Hivos Tiger Awards Competition, may be the real find of the programme: a film with its very own expressive quality that is rooted in both imagination and reality. It proves that it is still possible to make surprising and idiosyncratic cinema in Iran. It proves that there are artistic reasons to leave realism for what it is. And finally, it proves that Iranian films can also be hopeful at this moment in time.

Gallery Life

Tehran has a lively circuit of galleries. Their primary role is to show the latest work by local artists. But they have another important function. They are meeting places for filmmakers and artists. Amirali Ghasemi is a young artist and curator from Tehran who organises exhibitions and video screenings in his underground art centre, Parking Gallery. For IFFR, he has made a compilation of the latest work from the young art and film scene in his city. And precisely because so much happens in the galleries in Tehran, we have set up a mini-gallery during the festival. This is the place to see work by the Iranian talent in the festival while drinking tea or smoking a water pipe. Tiger candidate Mohammed Shirvani built his installation Elephant in Darkness especially for Rotterdam and director Bani Koshnoudi is presenting her film Ziba and the video installation Scaffolds. The protagonist from her film, Neda Razavipour, is not an actress by profession but a successful multimedia artist. Her varied portfolio includes photography, stage design, video art and installations. Among her works that we are presenting is the brand-new Tehran Through the Window.

232 14


Ziba, Kayan, Fat Shaker


15 233

Signals: Inside Iran


Iran/Mexico, 2013 | colour, 21 min, no dialogue

Signals: Inside Iran   INSTALLATION

Iran, 2012 | colour, video

Signals: Inside Iran   INSTALLATION


Signals: Inside Iran


Find the Lost One

Bani Khoshnoudi

Neda Razavipour

A reflection by a sensitive artist and filmmaker on her experiences of a city (Tehran) permanently subject to construction and reconstruction. Strangely enough, she also sees this process at the cemetery in Tehran, where there is constant renewal and digging for the never-ending stream of dead. It also pays homage to all migrant workers, above all from Afghanistan and Kurdistan, who do all the heavy manual labour. Working by the roadside in the city and digging graves in the cemetery are presented side-by-side, as a result of which the various images fraternise to form one continuous process. It’s a dichotomy in the form of an installation for which this medium is intended: image and time blend. This blending is amplified by a mysterious soundtrack. Bani Khoshnoudi works successfully in two different media; she is a productive video artist, but also a talented filmmaker, as her film Ziba (see Bright Future) reveals. Thu 24-Sat 2, 10:00-21:00, free admission & tea, Tea House/Gallery Inside Iran de Doelen

Tehran Through the Window was a film with two parallel images from the time when the artist still dared to film in the street. The latest installation by Neda Razavipour is the result of almost candid-camera filming, because recently you can’t be seen in the street with a camera anymore – a secondary effect of combating enemy espionage. This hostility of course also affects the local population. The two images are the same; at least that’s the impression. But the instruction ‘find the differences,’ as puzzles ask in popular magazines, suggests that someone is missing on one image. In a country like Iran, a person can suddenly disappear one day. That’s also the power of this work. Without explicit, political references, it looks at the horror of disappearances. The artist says that looking for the erased person is basically a sick game in a cynical society. A courageous work by a courageous artist. Thu 24-Sat 2, 10:00-21:00, free admission & tea, Tea House/Gallery Inside Iran de Doelen

Iran, 2009 | b&w, video, no dialogue

Signals: Inside Iran   INSTALLATION

Dialogue with Open Eyes

Elephant in Darkness

Neda Razavipour

Mohammad Shirvani is a busy as well as versatile filmmaker and video artist. His Tiger-Award candidate Fat Shaker, one of the most remarkable films at this festival, was screened at Sundance and before that he made his installation for the Tea House/Gallery Inside Iran. Now he has made a sort of sculpture, an analogue interactive artwork. Inspired by a short story by Iranian poet Rumi, its basis is a wooden cube, wrapped as a package sent by post from Iran. The box has various holes, so that one can feel its contents. Inside a variety of objects with different textures. It’s a kind of box of horrors – or a box of pleasures, more erotic than scary. Shirvani does not explain the meaning of the box, but it looks obvious that he wants to say something about the situation in his country in a metaphorical way. His films are filled with images like this, making him one of today’s most original Iranian filmmakers. Also see Fat Shaker in Hivos Tiger Awards Competition. Thu 24-Sat 2, 10:00-21:00, free admission & tea, Tea House/Gallery Inside Iran de Doelen

The artist Neda Razavipour is present in various guises at the festival. Not only does she play the lead in the film Ziba; several of her works can also be seen and experienced in the Tea House/ Gallery Inside Iran. Razavipour exhibits internationally with her installations Dialogue with Open Eyes and Find the Lost One. Her works are a personal approach to Iranian society, captured in moving images. This work emerges from an artistic commission on the theme of ‘dialogue’. Razavipour thought about it for a long time and also actually wrote a dialogue, but decided at the last moment that silence would be more eloquent. Dialogue with Open Eyes is an intimate experience. A conversation without words with Razavipour herself on a small monitor. A work about the urge for communication, but the inability to speak. An unbearable silence. In its theme, the work fits in seamlessly with the film Ziba. Thu 24-Sat 2, 10:00-21:00, free admission & tea, Tea House/Gallery Inside Iran de Doelen


Mohammad Shirvani

Iran/Netherlands, 2013

Signals: Inside Iran   INSTALLATION



Signals: Inside Iran

Signals: Inside Iran

Tehran Through the Window

Rhino Season Bahman Ghobadi

Neda Razavipour


Iran, 2013 | colour, video, no dialogue Ed: Kambiz Safari

Signals: Inside Iran   INSTALLATION

It’s difficult to record public life in Tehran. Most films in the Signals programme Inside Iran were shot indoors. The stories are often set in a private world, in the house or in the car. Or the films were made abroad. In Tehran Through the Window, we get to know the other side of the metropolis – we look from the inside out. With a secretly-placed camera, Razavipour films a bus journey that crosses Tehran. Through the window of the bus, we see the city move past us. On the second screen of the installation, we see how life in the city progresses from a fixed point: a table at the window in a bar, where people walk past at random. Uncensored and unedited life in the city. Neda Razavipour is an Iranian multimedia artist and also plays the lead in the film Ziba (Bani Koshnoudi), which can be seen in the Bright Future section of the festival.

Kurdistan/Turkey, 2012 | colour, DCP, 90 min, Farsi/ English/Turkish Prod: Bahman Ghobadi | Prod Comp: Mij Film, BKM film | Sc: Bahman Ghobadi | Cam: Touraj Aslani | Ed: Valerie Loiseleux | Prod Des: Bahman Ghobadi | Sound Des: Thomas Robert | Music: Kayhan Kalhor | With: Behrouz Vossoughi, Monica Bellucci, Yilmaz Erdogan | Sales: Wild Bunch | Distr NL: Amstelfilm | Public SCREENINGS  Fri 25-1 17:00 SGZ Sat 26-1 13:00 PA5 Tue 29-1 10:00 PA4 Fri 1-2 14:30 CI2 Press & Industry SCREENING  Wed 30-1 10:30 LV3


Iran, 2012 | colour, DCP, 107 min, Farsi Prod: Saeed Armand | Sc: Hamed Rajabi, Bardia Yadegari, Majid Barzegar | Cam: Amin Jafari | Ed: Javad Emami | Prod Des: Leila Naghdi Pari | Sound Des: Mehran Malakouti | With: Levon Haftvan, Homeira Nonahali, Mahmoud Behrouzian | Print/Sales: DreamLab Films | Public SCREENINGS  Fri 25-1 15:45 PA5 Sun 27-1 21:30 PA7 Wed 30-1 09:15 CI1


The Iranian-Kurdish poet Sahel and his wife Mina were wrongly arrested during the Islamic Revolution in Iran. Sahel spent 30 years in prison, while Mina, convinced that her husband was dead, fled to Turkey with her two children. Two lovers driven in part by a political injustice and a personal vendetta. The Iranian-Kurdish filmmaker Bahman Ghobadi, who won the IFFR audience award in 2005 with Turtles Can Fly, based Rhino Season on the diaries of his friend, the Kurdish poet Sadeh Kamangar. His earlier work was characterised by an almost documentary approach. In the meantime, Ghobadi has developed into a poetic and lyrical storyteller, and the non-actors from his earlier films have made way for an impressive cast, including Monica Belucci and Iranian star Behrooz Vossoughi. Ghobadi no longer makes films in Iran. Rhino Season is the first film he made abroad; the film was shot entirely in Turkey.

111 dokhtar

Majid Barzegar

111 Girls Nahid Ghobadi, Bijan Zamanpira

Parviz is 50 and does not fit in with social norms. Unmarried and unemployed, he has lived his whole life in his father’s house. Parviz has a comfortable life in the calm and respectable suburb at the heart of turbulent Tehran. He does the housekeeping and odd jobs for local inhabitants. When his father decides to remarry, he throws Parviz out overnight. The same neighbours for whom Parviz had taken the children to school for years now look down on him. Then Parviz starts to realise that respect and acceptance do not have to emerge from a social position and there are other ways to make people accept you. After his successful debut Rainy Seasons, in his second feature Majid Barzegar presents a sharp and powerful portrait of a man who does not comply with the norm, sketching the suppressed intolerance of an apparently harmonious community. With a beautiful role by Levon Haftvan as Parviz.

Evoking memories of classic Iranian road movies, this film takes us to Iranian Kurdistan. Donyadid, an official envoy, is on his way to a remote and partly depopulated area. He has taken little Shirkou with him as a guide and interpreter. His striking admission has an urgent deadline. Namely, 111 Kurdish girls have written a letter to the president in which they describe a very major problem. There are hardly any men left in the area, so they have to go through life unmarried. All are threatening to commit suicide collectively in four days’ time by jumping into a ravine. Their travelling companions and the people they meet on the way illustrate the plethora of ethnic groups and religions. It gives a picture of the specific region, but also a cross-section of Iranian society. Nahid Ghobadi, herself Kurdish, tells an ambitious and committed story, but does so lightly and occasionally even comically.



Iran, 2012 | colour, video, 79 min, Farsi/Kurdish Prod: Abbas Ghazali, Bahman Ghobadi | Prod Comp: Mij Film | Sc: Bahman Ghobadi | Cam: Hamid Ghavmi | Ed: Nemtollah Narenji, Bahman Ghobadi | Prod Des: Nahid Ghobadi | Sound Des: Butan Oghlou | Music: Niki Mirza | With: Reza Behboudi, Mehdi Sali, Amin Sadeghi | Print/Sales: Mij Film | Public SCREENINGS  Sat 26-1 11:452 CI1 Mon 28-1 10:002 PA4 Thu 31-1 13:15 PA3 Press & Industry SCREENING  Tue 29-1 09:15 DJZ



Signals: Inside Iran

Signals: Inside Iran

Paziraie sadeh


Modest Reception Mani Haghighi

Iran, 2012 | colour, DCP, 100 min, Farsi Prod: Jalal Shamsian | Sc: Mani Haghighi, Amir-Reza Koohestani | Cam: Hooman Behmanesh | Ed: Haydeh Safi-Yari | Prod Des: AmirHossein Ghodsi, Negar Nemati | Sound Des: Amir-Hossein Ghassemi | Music: Jeremy Strachan, David Weinkauf | With: Taraneh Alidoostai, Mani Haghighi, Saied Changizian, Esmail Khalaj, Saber Abar, Mohammad Aghebati | Print/ Sales: Iranian Independents Public SCREENINGS  Thu 24-1 21:15 PA6 Wed 30-1 17:00 CI1 Sat 2-2 15:45 PA5

An urban man and woman, a large car with a trunk stuffed with big bags of money: they are an unusual apparition in the grim frontier area, to put it mildly. The man and the woman hand out bags of money to the needy they meet on their way. To get rid of the money, they first have to enter into bizarre negotiations. But while their car ploughs on through the terrible landscape, their ‘charity’ acquires an increasingly painful and sadistic character. Director Mani Haghigi is also an actor. Here, he plays the lead, alongside Taraneh Alidoosti. He is also a scriptwriter, and has written screenplays for Oscar-winner Asgar Farhadi and the Iranian master Dariush Mehrjui, among others. As in so many Iranian films, Haghigi’s work is charged with social criticism. But he does not translate this criticism into realistic drama. Modest Reception is an absurd and bitingly cynical road movie with a touch of Beckett.

Abolfazl Jalili


Iran, 2013 | colour, video, 100 min, Farsi Prod: Abolfazl Jalili | Prod Comp: First Film Milad | Sc: Abolfazl Jalili | Cam: Abolfazl Jalili | Ed: Milad Jalili | Prod Des: Abolfazl Jalili | Sound Des: Mehrdad Dadgari  | Music: Mohamadreza Shajarian | With: Masoud Naji, Afshin Abdolahi, Mohamad Ahmadi, Atefe Sade | Print/Sales: Small Talk Inc. Public SCREENINGS  Sat 26-1 18:30 PA2 Sun 27-1 10:00 PA4 Tue 29-1 11:15 LV1 Press & Industry SCREENING  Fri 25-1 09:00 CI3

Man Negahdar Jamali, western misazam


The Gardener Mohsen Makhmalbaf

My Name Is Negahdar Jamali and I Make Westerns Kamran Heydari


Iran, 2012 | colour, video, 65 min, Farsi Prod: Mehrdad Monavarian | Prod Comp: Monavarian | Sc: Kamran Heydari | Cam: Kamran Heydari | Ed: Bahman Kiarostami | Prod Des: Tahereh Alavizadeh | Sound Des: Sasan Kaveh, Kamyar Behbahani, Farshid Zarmehr | Music: Ennio Morricone, Hamid Saeed | Print/Sales: Monavarian | Public SCREENINGS  Sun 27-1 14:30 CI3 Mon 28-1 20:30 CI5 Fri 1-2 12:15 LV1 Press & Industry SCREENING  Tue 29-1 20:45 PA2


The most American of all film genres is the Western. They also made them in Italy, but a Western from Iran? In the old city of Shiraz, a certain Negahdar Jamali has been making Westerns for 35 years. They are purely amateur, to be sure. Jamali is also an eccentric – in the most positive sense of the word. He’s a man with an unbridled enthusiasm for his hobby who also manages to get all his relatives and friends in front of the camera as Indians or bounty hunters. Thirty-five years ago, his film activities must have been regarded as strange, but since the revolutionary changes in his country and the growing hatred of everything American, it is becoming increasingly unusual. The cowboy filmmaker from Shiraz. Once upon a time, famous wine was made in Shiraz, until the country fell prey to prohibition. Fortunately, they still make Westerns.


Yousef Saeedi is the hero of the film. Or rather, the anti-hero. He looks pretty goofy, but appearances can be deceptive. Yousef is not stupid; he’s a former student at university and also someone who doesn’t give up easily. The film is set against the background of the turbulent and allegedly fraudulent elections in 2009 in Iran. Many students were arrested or stopped their studies. Yousef also had to go looking for work. He chose the risky profession of ‘loan shark’, and we follow him during his enervating and also comic adventures. Abolfazl Jalili, who was Filmmaker in Focus in 1999 in Rotterdam, is a representative of the Iranian ‘new wave’ and he has remained faithful to this realistic school. As a documentary maker – always wielding the camera himself – he follows characters who are true to life. ‘Darvag’ is the name of a small green frog that lives at the top of a tree waiting for rain, with which the filmmaker wants to say: one day it’s going to rain again.


Iran, 2012 | colour/b&w, DCP, 87 min, English/Farsi Prod: Mohsen Makhmalbaf | Prod Comp: Makhmalbaf Film House | Sc: Mohsen Makhmalbaf | Cam: Maysam Makhmalbaf | Ed: Maysam Makhmalbaf | Sound Des: Asad Rezai | Music: Paul Collier, Salar Samadi | With: Maysam Makhmalbaf, Mohsen Makhmalbaf | Print/Sales: M-Line distribution Public SCREENINGS  Sun 27-1 15:15 PA6 Mon 28-1 14:30 CI2 Tue 29-1 15:00 LV3 Press & Industry SCREENING  Fri 25-1 09:30 CI6

Mohsen Makhmalbaf makes unusual films, and this may be his most unusual of all: an Iranian who makes a film in Israel – even those who don’t follow the news will realise how usual that is. Makhmalbaf went with his son, cameraman Maysam, to Israel in order to tell a very unusual story of the Bahá’í faith, an extraordinary religion that started 170 years ago in Iran and now has 7 million followers. In Iran, the faith was banned, after which it found a new home in the Israeli city of Haifa. Gardens play a prominent position in the religion. The creation and maintenance of these beautiful gardens is part of the spiritual ritual. All holy places are surrounded by these gardens, and they are the main location for the film. This is indirectly a story about the history of Iran, where an innocent ‘gardener’s faith’ could not remain, and where Makhmalbaf, once a proponent of the Islamic Revolution, is also no longer able to make his films.



Signals: Inside Iran

My Stolen Revolution Nahid Persson Sarvestani


Sweden, 2013 | colour/b&w, video, 75 min, Farsi Prod: Nahid Persson Sarvestani | Prod Comp: RealReel doc AB | Sc: Nahid Persson Sarvestani | Cam: Nicklas Karpaty, M-Ebrahimi | Ed: Emil Engerdahl | Prod Des: Nahid Persson Sarvestani | Print/Sales: Illumina Films Public SCREENINGS  Sat 26-1 20:00 CI5 Sun 27-1 16:45 LV5 Tue 29-1 09:45 CI7 Press & Industry SCREENING  Thu 24-1 12:00 CI3

This is supposed to be a ‘personal’ documentary, but a more powerful word is needed because the filmmaker tells her highly personal story with such dedication. Nahid Sarvestani was a young left-wing student when the Iranian revolution broke out in 1979. The winners are well-known, and the left-wing political movement was among the losers. Many of her fellow students vanished into jail and never came out again. Her brother met his end that way too. Nahid fled to Sweden, was given Swedish nationality and became an internationally renowned documentary maker. Thirty years after the revolution, protest reawakened in Iran. The motivation: a presidential election. Old, suppressed memories came back to life for Nahid. She decided to make a film about her days as a student activist in Iran and looked up the few of her comrades who survived. As you can imagine, the reunion was very emotional.

Signals: Inside Iran

Far Away Films about fleeing from Iran and films made outside of Iran. This programme isn’t just about physical distance. Even two people in a single room or car can be far removed from one another. Public SCREENINGS  Fri 25-1 19:45 Cinerama 3 Sat 26-1 16:15 Pathé 3 Sun 27-1 22:00 LantarenVenster 5

Mist Parisa Yousef Doust In a beautifully stylised work, Dutch-Iranian filmmaker Parisa Yousef Doust sketches the tormented spirit of an Iranian refugee, who tries to replace her horrific memories of war and revolution with beautiful and peaceful dreams of her country of birth. Entangled in a web of images and sounds from her past, the refugee starts to lose touch with reality. WORLD PREMIERE

Iran/Netherlands, 2013 | colour, video, 33 min, Farsi Prod: Patrick Thompson | Prod Comp: Stichting FilmTent | Sc: Parisa Yousef Doust | Cam: Ben Gerearts | Ed: Jonathan Smit, Patrick Thompson | Prod Des: Marijke Brinkhof | Sound Des: Parisa Yousef Doust | Music: Andrew Liles, Parisa Yousef Doust | With: Bahareh Borzuee, Roham Fayazi | Print/Sales: Stichting FilmTent

Chand kilometr dortar

Taboor Vahid Vakilifar

Iran, 2012 | colour, video, 84 min, Farsi Prod: Vahid Vakilifar | Sc: Vahid Vakilifar | Cam: MohammadReza Jahanpanah | Ed: Vahid Vakilifar | Prod Des: Saeid Assadi | Sound Des: Hossein Mahdavi | Music: Keyhan Kalhor | With: Mohammad Rabbanipour | Print/Sales: DreamLab Films | Public SCREENINGS  Mon 28-1 13:452 LV1 Tue 29-1 14:152 CI1 Fri 1-2 10:00 PA2


No overwhelming traffic and turmoil, but a futuristic and deserted Tehran – a labyrinth of dark and empty roads, corridors, stairways and tunnels. This is the Lynchian world Vahid Vakilifar takes us to in his experimental science-fiction film Taboor. A lonely man, dressed in an aluminium suit and living in a trailer covered with aluminium, tries to arm himself against the daily rise in temperature. Only in the evening does he go outside to kill cockroaches for his clients. It’s the future. A future in which people are isolated and lonely, where cockroaches are the only bond with nature and in which light seems to be the only way out. Vakilifar was previously a guest at IFFR in 2011 with his debut film Gesher. In Taboor, he breaks with the semi-documentary approach of his earlier film but remains faithful to his fascination with alienation from a world created by mankind.


A Few Kilometers Away Ebrahim Irajzad

The car, a small private world in itself, is regularly used in Iranian cinema as a primary location. This is also the case in A Few Kilometres Away. A 40-year-old woman gives a pregnant hitchhiker a lift. She has to draw a painful conclusion. Cleverly constructed confrontation. WORLD PREMIERE

Iran, 2013 | colour, DCP, 17 min, Farsi Prod: Ebrahim Irajzad | Sc: Ebrahim Irajzad | Cam: Mehdi Aslani | Ed: Saeid Ghazi | Prod Des: Ebrahim Irajzad | Sound Des: Ebrahim Irajzad | With: Sohaila Golestani, Raya Nasiri | Print/Sales: Setak Film Sanandaj

Az Tehran Be London From Tehran to London Mania Akbari Ava is imprisoned in an unhappy marriage with Ashkan. When the housekeeper disappears – Maryam was Ava’s help in everything – the marital crisis gets worse. Akbari had reached this point in the story when several directors were arrested in Iran. She left Iran, also leaving behind her original vision of the film. She completed it in the United Kingdom, re-titling it From Tehran to London. INTERNATIONAL PREMIERE

Iran/UK, 2012 | colour, video, 45 min, Farsi Prod: Mania Akbari | Sc: Mania Akbari | Cam: Ali Mohammad Ghasemi | Ed: Mastaneh Mohajer, Saeed Bires | Prod Des: Mania Akbari | Sound Des: Ali Reza Alavian | Music: Ali Reza Alavian | With: Neda Amiri, Elahe Hesari, Bijan Danashmand, Mania Akbari | Print/Sales: Mania Akbari |



Signals: Inside Iran

Invisible Present Tense A special collection of art and underground videos, fresh from Tehran. Curated by Amirali Ghasemi, programmer and artist, who is a spider in the web of informal filmmaking in Iran and whose Parking Gallery is the place to be for young artists. Ghasemi will be present to introduce his programme. Public SCREENINGS  Fri 25-1 22:00 LantarenVenster 5 Sun 27-1 12:15 Cinerama 7 Tue 29-1 14:30 Cinerama 7

Signals: Inside Iran

Acrophobia 0.1. Anahita Hekmat How can we remember the passing time? A lost memory, even recorded but taken out of its context, can just belong to the past, a time defined by its disappearance. Acrophobia attempts to deconstruct and reconstruct a moment, a breath infinitely repeating in an empty space, virtually endless. WORLD PREMIERE

France/Iran, 2013 | colour/b&w, DCP, 9 min, no dialogue Prod: Anahita Hekmat | Ed: Anahita Hekmat | Sound Des: Anahita Hekmat | Print/Sales: Anahita Hekmat

Raining Ashes Nassrin Nasser

Zibai ye Bazgasht Napazir Irreversible Beauty

Raining Ashes is a symbolic illustration of an illusory relationship between a prisoner in solitary confinement and an activist. The prisoner imagines the activist is writing to her out of vigilance and sympathy. Finally, the illusion turns out to belong more to the writer than the prisoner. Iran/UK, 2011 | colour, DCP, 8 min, Farsi Prod: Nassrin Nasser | Sc: Nassrin Nasser | Cam: Kaveh Shahmohamadlou | Ed: Nassrin Nasser | Sound Des: Gavin Moon | Print/Sales: Nassrin Nasser

Ayeneh haye posht rikhteh

Shahrzad Malekian Video documentation of the latest experimental performance by Shahrzad Malekian. A self-healing/self-destructing process which takes place in front of the camera as a witness, for unknown reasons. WORLD PREMIERE

Iran, 2013 | colour, DCP, 16 min, Farsi Prod: Shahrzad Malekian | Sc: Shahrzad Malekian | Cam: Saba Moghadami | Ed: Kamyar Minoukadeh | Prod Des: Amirali Ghasemi | Sound Des: Kamyar Minoukadeh | With: Shahrzad Malekian | Print/Sales: Shahrzad Malekian

Worn Out Mirrors

My Glorious Childhood

Amir Bastan

Golrokh Nafisi The series Worn Out Mirrors is a response to the question: To what extent can a meaning be elaborated or expanded? It explores the definitions of reality, art and the artist’s personal mental disorder, for which he was undergoing treatment. In this series, the artist investigates his inner self, hidden under delusions and mixed feelings about his being. Iran, 2012 | colour, DCP, 3 min, no dialogue Prod: Amir Bastan | Sc: Amir Bastan | Cam: Amir Bastan | Ed: Amir Bastan | Prod Des: Amir Bastan | Sound Des: Amir Bastan | With: Amir Bastan | Print/Sales: Amir Bastan

The Memories of Others Bahar Samadi

About trying to find a perfect balance between past and present. The performance visualises the invisible effects of the past, which we carry into our present and which shape our new relationships with places and people. It includes Nafisi’s body walking in public space with a doll that represents her childhood, and interaction with people who come close or keep a distance. Iran, 2010 | colour, DCP, 6 min, no dialogue Prod: Golrokh Nafisi | Sc: Golrokh Nafisi | Cam: Dorel Gillerman | Ed: Golrokh Nafisi | Prod Des: Golrokh Nafisi | Sound Des: Golrokh Nafisi | With: Golrokh Nafisi | Print/Sales: Golrokh Nafisi

Perpendicular to the Path Mahan Moalemi

Memories and lost moments on found photos. Photos that no longer have an owner. The faces of the people portrayed are often difficult to identify, time has left its traces. By combining these found images again, the story emerges about death. WORLD PREMIERE

Iran, 2013 | colour/b&w, DCP, 8 min, no dialogue Prod: Bahar Samadi | Sc: Bahar Samadi | Cam: Bahar Samadi | Ed: Bahar Samadi | Sound Des: Bahar Samadi | Print/Sales: Bahar Samadi

There is a need for a spot to be occupied, for a moment to be owned, a moment in the scheduled course of the day. The successive manner, the simplified repetitive action, continues to grow, to block the path, to create a path of its own. The public and quite scenic manifestation finally transforms into self-driven therapeutics. Iran, 2011 | colour, DCP, 10 min, no dialogue Prod: Mahan Moalemi | Cam: Hooman Najafi | Ed: Zeinab Shahidi | With: Mahan Moalemi | Print/ Sales: Mahan Moalemi





Signals: Inside Iran

Signals: Inside Iran

Damn Garbage

Make Art, Not War

Hamed Safaee

Sasan Sadeghpour, Saman Sadeghpour

In a residential complex in Tehran, a woman is stuck outside of her house and can’t get in. She seeks a way to enter.

ICY and SOT are the stage names of the Sadeghpour brothers, Iranian graffiti artists who make street art both in Iran and beyond. Make Art, Not War! is a stop-motion animation about war – a recurring theme in the work of the brothers. A tank rolls into a cardboard city. Not to destroy the surroundings, but precisely to beautify them with pictures of love and peace.

Iran, 2011 | colour, DCP, 7 min, no dialogue Prod: Hamed Safaee | Sc: Hamed Safaee | Cam: Hamed Safaee | Ed: Hamed Safaee | Prod Des: Hamed Safaee | Sound Des: Hamed Safaee | With: Golzar Hassanzadeh, Maryam Shams, Hossein Shams | Print/Sales: Hamed Safaee


The Harmonica


Iran, 2012 | colour, video, 4 min, no dialogue Prod: Saman Sadeghpour, Sasan Sadeghpour | Prod Comp: ICY and SOT | Ed:/Sound Des: ICY and SOT | Print/Sales: Neverheard Inc |

Shadi Noyani This film borrows its name and starting point from Amir Naderi’s The Harmonica (1974). The film, which includes found footage from Noyani’s family archive, narrates the story of a boy called Amirou who is fascinated by this instrument owned by another boy, and how he is willing to do anything for that boy in order to play it. The harmonica is a symbol for colonialism in third world countries. Iran, 2011 | colour, DCP, 4 min, Farsi Prod: Shadi Noyani | Sc: Shadi Noyani | Cam: Ali Noyani, Alireza Zarrin Dast | Ed: Shadi Noyani | Prod Des: Shadi Noyani | Sound Des: Shadi Noyani | With: Masoud Goudarzi, Mehdi Javadi, Shadi Noyani | Print/Sales: Shadi Noyani

Fath-e Behesht

Conquest of Paradise Hadi Fallahpisheh A single-channel video split into two frames about the American dream. One frame shows a wooden board with a basketball net, with white and red lines in the background. The other is a low-angle shot of a building and a white sky, in which blue and white balls fall like shooting stars. The two frames portray an illusion of how the ball scores a goal and the dream of going to heaven comes true. EUROPEAN PREMIERE

Iran, 2012 | colour, DCP, 3 min, no dialogue Prod: Hadi Fallahpisheh | Sc: Hadi Fallahpisheh | Cam: Hadi Fallahpisheh | Ed: Hadi Fallahpisheh | Prod Des: Hadi Fallahpisheh | Sound Des: Hadi Fallahpisheh | Music: Vangelis | Print/Sales: Hadi Fallahpisheh

In yek Bastani Nist!

Red Thing Ramin Rahimi Ramin Rahimi calls himself a narrative artist. He writes, draws, illustrates and makes animations – like Red Thing. While a woman talks obliviously on the telephone, a gigantic, red, Godzilla-like being lands in the city. The creature does everything in its power to attract her attention. Iran, 2010 | colour, DCP, 1 min, no dialogue Prod: Ramin Rahimi | Sc: Ramin Rahimi | Cam: Shayan Khalil Beigy | Sound Des: Armin Rahimi | Print/Sales: Ramin Rahimi |

Immersed Mohamedreza Heydary Varesh Darvish is a filmmaker, dancer and performer; her husband Heydary also makes films. They made Immersed together, a work in which she – pregnant and dressed in black – dances and moves as if in slow-motion. She is shown in fragments as a rhythmic soundtrack plays. WORLD PREMIERE

Sweden/Iran, 2013 | b&w, DCP, 6 min, no dialogue Prod: Varesh Darvish | Cam/Ed: Mohammadreza Heydary | Prod Des: Varesh Darvish | Sound Des/Music: Mohammadreza Heydary | With: Varesh Darvish | Print/Sales: Varesh Darvish |

Roozhaye khoobe koodaki Good Childhood Days

This Is Not an Ice Cream

Aliyar Rasti, Siavash Naghshbandi

Niloofar Zolfaghari

Through a nostalgic journey, the viewer is transported to the childhood of Aliyar Rasti and Siavash Naghshbandi in the 1980s. The music was composed by Iranian rock band Bomrani and is based on a famous Iranian kindergarten song from that period.

Juxtaposes footage of recent scenes of combat led by the United States with an image of a girl who is cold-heartedly enjoying every bite of her ice cream. Iran, 2011 | colour, DCP, 5 min, no dialogue Prod: Niloofar Zolfaghari | Sc: Niloofar Zolfaghari | Cam: Niloofar Zolfaghari | Ed: Niloofar Zolfaghari | Sound Des: Niloofar Zolfaghari | With: Niloofar Zolfaghari | Print/Sales: Niloofar Zolfaghari




Iran, 2013 | colour, DCP, 5 min, Farsi Prod: Aliyar Rasti, Siavash Naghshbandi | Cam: Aliyar Rasti | Ed: Siavash Naghshbandi | Prod Des: Aliyar Rasti, Siavash Naghshbandi | Sound Des: Bomrani Band | Music: Bomarni Band | Print/Sales: Aliyar Rasti |



Signals: Inside Iran

Odd Couples Three Iranian films about unusual relationships. A man and his yet-to-be-found wife. An Iranian director and American comedian Jerry Lewis. And the flirt a man dreams up for his own wife. Public SCREENINGS  Sun 27-1 09:45 Cinerama 7 Tue 29-1 19:30 Cinerama 5 Wed 30-1 11:15 LantarenVenster 1

Mory zan mikhad Mory Wants a Wife Abtin Baktash A semi-documentary about Mory, a religious man without a wife. His work does not pay enough to find an apartment of his own. That’s why his first two wives left him. But Morteza is only human. His yearning gets in the way so much that, in conflict with his faith, he sees no other alternative than self-gratification. So: Mory wants a wife. A comic look at a side of Iranian society not often seen. WORLD PREMIERE

Iran, 2013 | colour, video, 42 min, Prod: Abbas Sabbaghi | Sc: Baktash Abtin | Cam: Ebrahim Ghafoori | Ed: Baktash Abtin, Esmaeil Monsef | Prod Des: Baktash Abtin | Sound Des: Behrooz Shahamat | Music: Amir Vajed Samiee | Print/Sales: PicArt Film Distribution Co.

Aman, aman

Keep Us, Keep Us Ehsan Amani In cosmopolitan Tehran, people spend a lot of time in the car. Keep Us, Keep Us is accordingly filmed entirely from the dashboard. In one shot, we follow the journey of a married couple and a good friend. The mood is spontaneous and humorous. After an inappropriate practical joke with a mobile phone, the inside of the car changes from a relaxed private space into a nervewracking cookie tin stuck in traffic. WORLD PREMIERE

Iran, 2013 | colour, DCP, 21 min, Prod: Ehsan Amani | Sc: Ehsan Amani | Cam: Mehdi Jaafari | Ed: Kambiz Safari | Sound Des: Mehdi Salehkermani | Music: Christoph Rezaee | With: Negar Javaherian, Hassan Maajooni, Saeed Changizian | Print/Sales: Ehsan Amani

Jerry & Me Mehrnaz Saeedvafa At one time, you could see a different American film in Tehran every night. Mehrnaz Saeedvafa, who grew up there, became a great fan of crazy American comic Jerry Lewis. She left Iran at an early age, becoming a filmmaker and Film & Video Professor in Chicago. In this ingenious film, she looks back on her childhood through images of her beloved Jerry. USA, 2012 | colour/b&w, video, 38 min, English Prod: Mehrnaz Saeedvafa | Sc: Mehrnaz Saeedvafa | Cam: Mehrnaz Saeedvafa, Robert Buchar | Ed: Mehrnaz Saeedvafa, John Cavallino | Prod Des: Mehrnaz Saeedvafa | Sound Des/Music: Diego Trejo | With: Jerry Lewis, John Wayne, Mehrnaz Saeedvafa | Print/Sales: Mehrnaz Saeedvafa



Signals: Inside Iran

Preludes Tunnel Maryam Kashkoolinia Call it a political film, even though a tunnel could be anywhere. In desperate Gaza -not a country but a strip- people dig tunnels because the borders are too well-guarded. Not even a sheep may cross the border. So a shepherd who has run out of ideas takes his sheep along with him into the tunnel. Desperate, absurd and yet comic. Sombre and monochrome. Animation as if modelled with soil. Screened before 111 Girls. Iran, 2012 | colour, video, 7 min, Arabic Prod: Mohammad Habbibi | Prod Comp: Honarhaye Tajassomi | Sc/Cam/Ed: Maryam Kashkoolinia | Sound Des: Hossein Mafi | Music: Hossein Mafi | Print/Sales: Maryam Kashkoolinia Public SCREENINGS Thu 24-1 12:302 LantarenVenster 3 Sat 26-1 11:452 Cinerama 1 Mon 28-1 10:002 Pathé 4

When the Curtain Falls Alireza Khatami A delicate play. A woman behind glass, like a model for a painter. A suggestion of nudity. The painter doesn’t paint. He writes. In calligraphy. Beautifully, swiftly and with a modern marker pen. On the glass, a poem appears by Omar Khayyam, the most famous of the Persian poets. As the poem progresses, it conceals the woman like a veil. Screened before Ziba. USA/Iran, 2011 | colour, DCP, 5 min, silent Prod: Alireza Khatami, Afshin Farhad | Sc: Alireza Khatami | Cam: Marcel Morschhauser | Ed/ Prod Des: Alireza Khatami | With: Afshin Farhad, Chantel Louise Tattoli | Print/Sales: Alireza Khatami Public SCREENINGS Mon 28-1 11:452 Cinerama 1 Fri 1-2 17:002 LantarenVenster 5

Magnificent Life of the Prince Mahsa Shoja Araghi An animation film by a student who was obviously paying attention in stop-motion class. Not only is it technically impressive; her film is metaphorical and tells a complex and humorous story concisely. Science fiction with a snake and a fox that even manage to pluck a floating television from the universe. The maker is coming to the festival, so she can explain what a television travelling in space means to Iran. Screened before Taboor. INTERNATIONAL PREMIERE

Iran, 2011 | colour, video, 14 min, no dialogue Prod: Ehsan Kafash, Mahsa Shoja Araghi | Sc: Mahsa Shoja Eraghi, Ehsan Kafash | Cam: Ehsan Kafash | Ed: Masih Noroozi | Pd: Mehdi Aghajaani | Sound: Rahime Shojaei, Amir Pooyan Bashti | Music: Yashar Amini | Print/Sales: Mahsa Shoja Araghi Public SCREENINGS Mon 28-1 13:452 LantarenVenster 1 Tue 29-1 14:152 Cinerama 1 42ND INTERNATIONAL FILM FESTIVAL ROTTERDAM


eye International Your Dutch Film Connection





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Signals: Changing Channels

Signals: Changing Channels

Changing Channels

To Be Continued... Inge de Leeuw This is the heyday of the series – on television and on the Internet. With the development of television drama and internet series, breeding grounds for innovation have emerged in the field of storytelling. More and more film talent is being brought in. In the programme Changing Channels, IFFR is presenting television series by independent film directors from all over the world and is looking at a typically American phenomenon: the web series.

Cross fertilization between film and television is not a new phenomenon. Filmmakers were (and still are) regularly called on to direct a single episode of a completely scripted show. In former times, however, few leading filmmakers worked successfully in both media. Often the step to television was motivated by financial needs and they had relatively little input in the creative process. Since the late 1990s, television, and above all cable television, has grown to become a more innovative medium that offers space for productions with complex, deep character development and narrative lines. There is a movement in the opposite direction at the major American film studios: less and less interest in original scripts and idiosyncratic drama. It was high-quality drama such as The Sopranos and The Wire, both commissioned by the pay-TV channel HBO, that heralded the present golden age of television. The opportunities to experiment with an expansive story had already awoken the interests of famous directors such as David Lynch (Twin Peaks), but the new status of the pay TV channels and series by Martin Scorsese, Gus Van Sant and Lena Dunham brought a new wave of film talents who worked for both film and television. These days, the small screen is unthinkable without film directors. With increasing regularity, they are developing original series for television and the internet, either commissioned by a channel or entirely independently.

Going Home

Window to the World

The production of quality series is not only restricted to the United States, however. Productions where well-known directors are given carte blanche, are made all over the world, often produced by payTV channels. In the past, European public broadcasting companies regularly commissioned well-known filmmakers to make a TV series, such as Heimat by Edgar Reitz, Berlin Alexanderplatz by Rainer Werner Fassbinder and The Kingdom by Lars von Trier. These days, public broadcasting companies have less and less money and space in their programming. In Europe, but also often in Latin America and Asia, a large part of the higher quality series is therefore produced by pay-TV channels such as Canal+ and the local branches of HBO. HBO has greatly encouraged the production of original, local series in Latin America and Eastern Europe – for example, Prófugos by the Chilean director Pablo Larraín and Burning Bush by the Polish director Agnieszka Holland. Also in Japan and France, TV channels are interested in working with established names from the film industry, in Japan with Kore-eda Hirokazu (Going Home) and in France with Fabrice Gobert (Les revenants). All these series within Changing Channels reflect the characteristic styles of the various filmmakers clearly, despite the fact that they are often industrial works. For instance, Going Home focuses on Kore-eda’s well-known theme of family relationships, and Prófugos is filled with Larraín’s typical marginal characters, who bear the recent history of Chile within them. The traditional demarcation line in television between writer and director does not exist in the case of these series. Generally speaking, the writer holds the creative strings, but here the responsibility for both the idea and the completion is in the hands of the filmmaker. Not only in the style, but also in production, this approach increasingly resembles that of a feature film. Technological Developments

The introduction of new and increasingly large and sharp digital televisions with surround sound, together with the relevant supply of quality television shows, has ensured that the cinema experience can almost be duplicated at home. With ‘smart’ televisions, it is increasingly easy using broadband internet to watch available online content on a quality screen. These technological developments

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Signals: Changing Channels

have also contributed to the greater production of series and a greater variety of productions. While the opportunities for production and distribution of a series were previously primarily with the broadcasting companies and networks, these days it’s even possible to make a series yourself and distribute it via the web. This has in recent years stimulated the making of all kinds of more experimental and avant-garde series, which are occasionally bought by (small) broadcasting companies but more often acquire a large number of followers on the web. Web Series

In the United States, there has been a flourishing web-series industry for several years now. Thanks to the small scale of these series, novice filmmakers can acquire a lot of experience in a lowthreshold way. Partly because of the format, most web series are comic in nature and often innovative in both form and substance. The large measure of freedom, the relatively simple production process and the low costs also appeal to experienced directors. In web series, they can easily experiment with new ideas. For instance, Ry Russo-Young made her first comedy with the web series Muscle Top. She directed this between the production of several successful features. Another interesting aspect is that many web series offer a counterbalance to the stereotypes of minorities in mainstream media. The Misadventures of Awkward Black Girl, about a young, black woman, and The Slope, about the life of two lesbians, are striking examples of this. The rise of the web series is primarily linked to technological progress. From 2006 on, streaming became increasingly easy thanks to improvements in broadband internet. Joe Swanberg, an American independent filmmaker, experimented in 2006 with this new medium in his long-running web series Young American Bodies. The improved opportunities for video-on-demand also ensured that the position of American online broadcasters, such as Netflix and Hulu, has become increasingly powerful. They now form serious competition for television networks, which also keep a close eye on the web in the hope of discovering new talent. The above-mentioned Misadventures of Awkward Black Girl was for instance recently picked up by the American network ABC. Not long ago, we entered a new phase in the web series: not only online broadcasters, but also the traditional television networks have started producing original programmes especially for the web. AMC (well-known from Mad Men) made her first web series with The Trivial Pursuits of Arthur Banks, while Sebastián Silva directed the web series The Boring Life of Jacqueline for HBO Digitals. In this way, the networks are trying to maintain their position, not only on television but also on the web. These days, web series have a regular place in the oeuvre of young American filmmakers and we are also slowly seeing growth of web series in the rest of the world, for instance the Mexican Los micro burgueses by Sebastián Hoffman (director of Halley, 2012). Also in Europe, sixty YouTube channels offering original online content. The web series is a breeding ground for (film) talent and this is surely only set to increase in the future. With thanks to my colleagues Gerwin Tamsma and Erik Tijman for the additional research and to Scott Macaulay and Alicia Van Couvering (Filmmaker Magazine) for the use of the title ‘Changing Channels’.

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Claun (Parte 1: Os dias aventurosos de Ayana) Claun (Part 1: Ayana’s Week of Adventures) Felipe Bragança


Brazil, 2013 | colour, DCP, 69 min, Portuguese Prod: Felipe Bragança | Prod Comp: Duas Mariola Filmes, Bananeira Filmes | Sc: Felipe Bragança | Cam: Andrea Capella, Flora Dias | Ed: Marina Meliande | Prod Des: Manuela Custiss, Patrícia Ramos, Lana Martires, Raquel Araújo, Patrícia Araújo, Isabella Barcelos | Sound Des: Fernando Henna | Music: Lucas Marcier | With: Jennifer Melo, Márco Vito, Junior Moura, Remo Trajano, Eduardo Speroni, André Souza, Carolina Lavigne, Sil Esteves, Isabela Flach, Begê Muniz, Sandro Matos, Marina D`Elia | Print/Sales: Duas Mariola Filmes Public SCREENINGS  Fri 25-1 18:30 PA2 Sat 26-1 14:15 CI1 Sat 2-2 19:45 CI1 Press & Industry SCREENING  Thu 31-1 11:15 CI5

The mysterious world of masked clowns in Rio de Janeiro forms the basis for this pilot episode of Bragança’s multimedia project that he wants to develop further. Dream and reality mingle smoothly in Part 1: Ayana`s Week of Adventures. Ayana’s father, a gang leader in the suburbs of Rio, is murdered during a carnival evening. The 13-year-old girl, looking for the culprits, soon finds herself in the strange, chaotic and dangerous world of the ‘bate-bolas’: masked clowns that traditionally populate the streets during carnival. With this imaginative fable, Bragança does justice to the history of this frightening yet artistic clown figure from his country. The maker is planning to augment his Claun project with six ‘webisodes’ in which Ayana grows to adulthood among the clowns, a graphic novel and a site filled with documentation and interviews about the origins of masked carnival clowns in Brazil – and their existence today.

Les revenants

Rebound Fabrice Gobert, Frédéric Mermoud

France, 2012 | colour, video, 200 min, French Prod: Caroline Benjo, Jimmy Desmarais | Prod Comp: Haut et Court TV | Sc: Fabrice Gobert | Cam: Patrick Blossier | Ed: Peggy Koretzky, Bertrand Nail, Mike Fromentin, Laurence Bawedin | Prod Des: Frédérique Lapierre, Frédéric Lapierre | Sound Des: Alexandre Widmer | Music: Mogwai | With: Anne Consigny, Frédéric Pierrot, Clotilde Hesme, Céline Sallette, Samir Guesmi, Grégory Gadebois, Guillaume Gouix, Pierre Perrier, Jean- François Sivadier, Alix Poisson, Yara Pilartz, Jenna Thiam, Swann Nambotin, Ana Girardot | Print/Sales: Zodiak Rights | Public SCREENINGS  Sat 26-1 19:45 CI1 Fri 1-2 19:45 CI3

In a mountain village, dead people suddenly appear on the doorstep of their relatives’ homes, precisely as old as on the day they died. They hope to pick up their lives again, as if nothing terrible had happened to them. At the same time, a serial killer is roaming the provincial town and his modus operandi is frighteningly familiar to the villagers. In this eight-part French series, that can measure up to Twin Peaks in its gruesomeness, each episode focuses on one person. For instance, we meet the teenager Camille who died in a bus accident, little Victor who was killed by burglars and the suicide case Simon. Slowly but surely, all the mysterious cases are unravelled. Creator of the series, co-writer and co-director Fabrice Gobert (Lights Out) based this stylish work for Canal+ on the film by Robin Campillo from 2004. Gobert interchanged directing with colleague Frédéric Mermoud. The dark, seamlessly apt soundtrack comes from the Scottish band Mogwai. Episode 1, 2, 3 and 4 screen in this programme.


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Signals: Changing Channels

Horící ker


Czechoslovakia, 1969: in the middle of Prague, Jan Palach sets fire to himself. It is Palach’s alarming protest against the Soviet occupation of his country. In his farewell letter, the student who would soon be famous, promises that other young people will follow his action if the occupation does not quickly. While unrest soon stirs within the student community, the government tries to suggest Palach’s deed was an accident. Palach’s mourning mother refuses to accept that and involves the committed lawyer Dagmar Burešová to clear her son’s name. This three-part series for HBO focuses on that important moment in the history of the country and on events surrounding the Prague Spring. Together with cameraman Martin Štrba, Holland presents a visually attractive and cinematographic series with universal themes such as the fight for freedom, self -sacrifice and justice. The production design of this story based on true events is perfect right down to the last detail.

Four girls see how their friend Emili is taken away by a man, after which she is found murdered. Emili’s mother Asako blames the children for the fact that they couldn’t tell the police the identity of the murderer and forces them to do penance. As far as the vindictive mother is concerned, the rest of their lives will be dominated by crime and punishment. Fifteen years later, when the girls have grown up, that is indeed the case. In five episodes, we follow them one by one as they wrestle with their traumatic past. What does their penance look like and what role does Asako play? And who killed poor Emili? Kurosawa Kiyoshi (Tokyo Sonata) made the transition to television with this psychological thriller series. He adapted Minato Kanae’s bestseller Shokuzai (2009) into a series, where he takes plenty of time for character development. He manages to build up the tension to great heights using a mixture of remarkable absurdity and exciting scenes.

Burning Bush Agnieszka Holland


Czech Republic, 2013 | colour, DCP, 240 min, Czech Prod: Tereza Polachová | Prod Comp: HBO Czech Republic | Sc:  Štepán Hulík | Cam: Martin Štrba | Ed: Pavel Hrdlicka | Prod Des: Milan Bycek | Sound Des: Petr Cechák | Music: Antoni Komasa-Lazarkiewicz | With: Tatiana Pauhofová, Ivan Trojan, Martin Huba, Vojtech Kotek, Jaroslava Pokorná | Print/ Sales: HBO Czech Republic Public SCREENINGS  Wed 30-1 11:45 CI1 Sat 2-2 09:45 CI5


Japan, 2012 | colour, video, 225/270 min, Japanese Prod: Kumagai Kiichi, Yôko Toyofuku | Prod Comp: TV Man Union, Inc. | Sc: Kore-eda Hirokazu | Ed: Kore-eda Hirokazu | Music: Matsumura Titi, Mikami Gonzalez | With: Abe Hiroshi, You, Yamaguchi Tomoko, Miyazaki Aoi, Yasuda Ken, Arai Hirofumi | Print/Sales: TV Man Union, Inc. Public SCREENINGS (Part 1-5) Sat 26-1 14:30 CI3 Sun 27-1 10:00 CI5 Sat 2-2 15:30 CI3 Public SCREENINGS (Part 6-11) Sun 27-1 14:30 CI5 Sat 2-2 19:45 CI3


Penance Kurosawa Kiyoshi

Japan, 2012 | colour, DCP, 270 min, Japanese Prod: Tomomi Takashima, Yumi Arakawa, Nobuhiro Iizuka | Prod Comp: WOWOW, Inc., Nikkatsu Corporation, Django Film, Inc. | Sc: Kurosawa Kiyoshi, based on a novel by Minato Kanae | Cam: Ashizawa Akiko  | Prod Des: Matsumoto Chie | With: Koizumi Kyoko, Kagawa Teruyuki, Aoi Yu, Koike Eiko, Ando Sakura, Ikewaki Chizuru | Sales: Free Stone Productions | Distr NL: Lumière Public SCREENING  Sun 27-1 11:45 CI1

Goingu mai hoomu


(Part 1-5 ) & (Part 6-11 ) Going Home Kore-eda Hirokazu

Pablo Larraín

Kore-eda Hirokazu, well-known from highly regarded films such as Maborosi and Still Walking, is making his first television series. Just like in his films, it focuses on family relationships and he works with his favourite actors, Abe Hiroshi and You. Tsuboi Ryota is an advertising man with a happy family life. His wife, a famous food stylist, his wayward daughter and colleagues make life difficult for him. This changes when his father ends up in hospital after an accident and Ryota receives a visit from an unknown woman. Curious as to her identity, he ends up in the village where his father was born, where stories about the mythical Kuna awake his interest. He obsessively continues his father’s quest to find this Kuna and slowly his own life starts to merge with life there. With the calm tempo, the many details that are apparently unimportant for the story and his typical visual style, Kore-eda seems to have chosen a primarily cinematographic approach in Going Home.



Chile, 2011 | colour, video, 120 min, Spanish Prod: Juan de Dios Larraín, Rodrigo Flores, Cristián de la Fuente | Prod Comp: Efe3 Chile, Fabula Producciones, HBO Latin America Group | Sc: Pablo Illanes, Josefina Fernández, Mateo Iribarren, Enrique Videla, Pablo Larraín | Cam: Sergio Armstrong | Prod Des: Polin Garbisu | Sound Des: Maricio López | Music: Camila Moreno | With: Néstor Cantillana, Francisco Reyes, Benjamín Vicuña, Luis Gnecco, Marcelo Alonso | Print/Sales: HBO Latin America Group Public SCREENINGS  Thu 24-1 21:30 PA2 Tue 29-1 09:15 CI1 Thu 31-1 22:00 CI1 Press & Industry SCREENING  Wed 30-1 21:00 CI5

In Prófugos, we follow four Chilean men who have to smuggle a batch of cocaine from Bolivia to Chile for a considerable reward. However, this operation goes completely wrong and the four men have to flee from both the law and the Mafia. The Chilean Pablo Larraín (No) sketches a complex web of ambitions, interests and corruption, where nothing is what it seems and no one can be trusted. From the second episode onwards, the emphasis is increasingly on Larraín’s favourite theme: marginal, complex characters who personify the past and the present situation in Chile. Packaged as a typical action series, Prófugos shows a grim reality, often shot on location, that not only maps the social geography, but also provides a picture of the country’s actual geography. The first two episodes can be seen as one long pilot. This is Larraín’s first television series, which he made for the Latin-American branch of the HBO network. Also see No in Spectrum.



Signals: Changing Channels

The Boring Life of Jacqueline Sebastián Silva


USA, 2012 | colour, video, 143 min, English Prod: Sebastián Silva, Mike White, David Bernad, Scott Zimmerman | Prod Comp: Rip Cord Productions | Sc: Sebastián Silva | Cam: Bradford Young | Ed: Gregory Costa | Music: Roddy Bottum | With: Jaclyn Jonet, Abraham Amkpa, Kasia Pilewicz | Print/Sales: HBO Public SCREENINGS  Thu 31-1 14:15 CI3 Sat 2-2 19:30 CI5

Jacqueline is an unemployed actress in bustling New York. Her life is however far from exciting; usually she sits in her apartment and she is continuously looking for significant relationships in real life and on the internet. This doesn’t really work out for her. Her day is filled with her dreams, obsessive twittering, a voicemail relationship with her friend and her crush on Abraham, the doorman of her building. Her search for friendship, love and success often puts Jacqueline in fairly embarrassing yet humorous situations. In order to get closer to Abraham, she pretends she wants to learn French and on the internet she meets all kinds of other people, including the actor Michael Cera, who has a cameo role in the series. The Boring Life of Jacqueline provides a glimpse into the head and life of this neurotic young woman who is looking for the meaning of life – sometimes humorously, sometimes painfully, but always recognisably. It provides a fresh look at modern life. Made for HBO Digitals. Sebastián Silva broke through in the USA with his film La nana.

Signals: Changing Channels

TV Night: Girls, Girls and Boys Anything is possible in New York City. Meet the young hipsters in search of dates, success or just themselves? New York has everything – but it’s all in Brooklyn. Public SCREENINGS  Thu 24-1 19:15 Cinerama 4 Sun 27-1 22:15 Cinerama 5

I Hate Being Single Rob Michael Hugel, Dan Opsal A comic glimpse into the life of a single twenty-something in Brooklyn. Rob is obviously a nice guy; he’s just pretty naive in how he lives his life. Fortunately he has several good friends who support him in his often clumsy search for real love. Comedian and brain behind the series, Rob Michael Hugel, created a very sympathetic character, for whom the American audience has fallen en masse. Episodes 1 and 2 screen in this programme. USA, 2012 | colour, DCP, 11 min, English Prod: Rob Michael Hugel | Sc/ Ed: Rob Michael Hugel | Cam: Giga Shane | Sound Des: Matt Cook | Music: Jake Zavracky | With: Rob Michael Hugel, Shannon Coffey, Dom Manzolillo, Jennifer Leigh Schwerer, Kelly Hudson, Emily Strachan | Print/Sales: Rob Michael Hugel |

Muscle Top Ry Russo-Young

Changing Channels Web Lounge

Signals: changing channels web lounge


The Changing Channels Web Lounge in Cinerama is the place where visitors can submerge themselves in the world of web series. All day long, you can zap between a variety of American web series. For instance, Young American Bodies (2006-2009) by Joe Swanberg, one of the first independent filmmakers to experiment with this medium. Or the web hits The Misadventures of Awkward Black Girl (2011-2012) by Issa Rae, and Broad City by Abbi Jacobson and Ilana Glazer. The Slope (2012), by filmmakers Ingrid Jungermann and Desiree Akhavan, is about the ups and downs of a lesbian couple, while I Hate Being Single (2012) by Rob Michael Hugel shows the vicissitudes of the bachelor Rob. Visual artists have also experimented with the format, as in County Down (2012) by Laura Parnes and the exciting and comic series Nights in UltraViolet (2012) by The Cheap Thriller and the artists’ collective Goddamn Cobras – ‘Twin Peaks meets Seinfeld’. Thu 24-Sat 2, 09:00-closing time Cinerama, free admission, foyer Cinerama


Muscle Top was made for the American Paper Magazine. The show follows Clara Latham and Seth Garrison as they set up a gay band. Instead of integrating the homosexual characters in a heterosexual world, as in the series Glee, Russo-Young enters into a dialogue with gay culture by opting for stereotypical characters. Expect small dogs, Tracy Chapman and Susan Sontag. A comedy filled with song and dance, with two whole seasons still being made. Episodes 1, 2 and 3 screen in this programme. USA, 2011 | colour, DCP, 11 min, English Prod: Ry Russo-Young | Prod Comp: Helavanna Productions | Sc: Clara Latham, Seth Garrison, Ry Russo-Young | Cam: Sam Fleischner | Ed: Ry Russo-Young, Clara Latham | Sound Des: Clara Latham, Seth Garrison | Music: Clara Latham, Seth Garrison | With: Clara Latham, Seth Garrison, Ry Russo-Young | Print/Sales: Helavanna Productions |

Girls Lena Dunham Girls is a comedy drama series that provides an occasionally painful, often humorous but always realistic picture of the life of a group of close female friends. Dunham, not only director but also protagonist, bases much of the series on her own experiences. She attracted the attention of the HBO network with her film Tiny Furniture (2010) and was allowed to make a pilot for Girls. Episodes 1 and 2 from the second season screen in this programme. USA, 2013 | colour, DCP, 60 min, English Prod: Lena Dunham, Judd Apatow | Prod Comp: Apatow Productions | Sc: Lena Dunham, Jenni Konner | Cam: Tim Ives | Ed: Shawn Paper | Prod Des: Kelley Burney | With: Lena Dunham, Allison Williams, Jemima Kirke, Zosia Mamet, Adam Driver | Sales: HBO Films New York | Distr. NL: HBO Nederland



Signals: Changing Channels

TV Night: Showtime Nothing is too crazy for these series in TV Night: Showtime. The makers were inspired by Jackass, sleazy 1970s shows and A Clockwork Orange. Funny, sometimes extreme and really enthusiastic. It’s showtime! Public SCREENINGS  Mon 28-1 17:30 Cinerama 7 Fri 1-2 14:30 Cinerama 5

Signals: Changing Channels

TV Night: So You Think You Can Act It isn’t so much a matter of whether the people in this cinematic web series can act or not: it’s more whether they can do anything. Direct? Write? Date? The life of a creative is no bed of roses. Public SCREENINGS  Tue 29-1 19:45 Cinerama 7 Wed 30-1 19:45 Cinerama 3

The Eric Andre Show Andrew Barchilon, Kitao Sakurai The Eric Andre Show may well be the most manic and unorthodox late-night talk show ever made. In a technical sense, the show really is a talk-show – including interviews with real and fake celebrities and planned comedy sketches – but the host Eric Andre and his sidekick Hannibal Buress (30 Rock) go berserk and create a surrealistic and apocalyptic world. The makers Sakurai and Barchilon, both with their roots in independent film, directed this series ‘in character’ as inexperienced producers. Episodes 1 and 9 screen in this programme. INTERNATIONAL PREMIERE

USA, 2012 | colour, video, 22 min, English Prod: Andrew Barchilon, Kitao Sakurai | Prod Comp: Abso Lutely Productions | Sc: Eric André | Ed: Doug Lussenhop, Luke Lynch, Eric Notarnicola | Prod Des: Katie Byron, Rosie Sanders | With: Eric André, Hannibal Buress, David Haskin, Dolph Lundgren, Huynh Quang, Beverly Swanson, Evangelos Themelis, Eden Wood, Gary Anthony Williams | Print/Sales: Cartoon Network |

Los micro burgueses Sebastián Hofmann Sebastián Hoffman (Halley) is the brain behind and actor in this comedy miniseries. He worked on this social satire together with a group of friends, without any budget, and the enthusiasm explodes from the screen. Three boys from Tecamachalco, a suburb of Mexico City, blow up the pretensions of the affluent bourgeoisie to the extreme. Nothing is too crazy: kidnappings with a severed ear and colourful collages, full of references to cinema. Episodes 1, 2 and 5 screen in this programme. Also see Halley in Hivos Tiger Awards Competition. INTERNATIONAL PREMIERE

Mexico, 2012 | colour, DCP, 45 min, Spanish Prod: Sebastián Hofmann | Sc: Sebastián Hofmann | Cam: Danielo Huergo Von Damm | Ed: Sebastián Hofmann | Prod Des: Jorge Borja | Sound Des: Rafael Parez | With: Sebastián Hofmann, Rafael Couto, Jorge Aboytes, Alberto Trujillo | Print/Sales: Sebastián Hofmann |



In the Production Office Tricia Vessey In the Production Office is a comedy web series about two girlfriends, Coco and Myra, who want to start a film production company, without experience or any knowledge of the craft. With their unconventional approach, they make more enemies than friends; for instance Coco’s mother, in whose house they establish the production office, or the acting coach from whom Coco and Myra take acting lessons. The dry humour lies primarily in the sharp dialogues and often selfish actions of the unusual twosome. Episodes 3 and 5 screen in this programme. USA, 2011-2012 | colour, video, 22 min, English Prod: Tricia Vessey | Sc: Tricia Vessey, Jen George | Cam: Sam Tuthill | Ed: Tricia Vessey | Music: Ariel Pink’s Haunted Graffiti | With: Tricia Vessey, Jen George, Kevin Breznahan, Hermann Vessey | Print/Sales: Tricia Vessey |

The Trivial Pursuits of Arthur Banks Peter Glanz Arthur Banks is a married theatre-maker who keeps seducing other women before the première of a new play. He discusses his disastrous life and loves with his therapist and his best friend. Told in a style reminiscent of Woody Allen, this ‘web noir’ is a visual feast. It is AMC’s (Mad Men, Breaking Bad) first series especially for the web and fits in entirely with AMC’s unique and intelligent programming. USA, 2011 | b&w, video, 45 min, English Prod: Neda Armian, Peter Glanz | Prod Comp: Armian Pictures | Sc: Peter Glanz, Juan Iglesias | Cam: Eric Koretz | Ed: Peter Glanz | Prod Des: Ashley Fenton | Music: Jay Israelson | With: Adam Goldberg, Jeffrey Tambor, Pete Chekvala, Wendy Glenn, Laura Clery, Fabianne Therese | Print/Sales: AMC Networks |




High Definition

Ook in 2013 vertoont Pathé naast films weer schitterende live registraties van wereldwijd beroemde voorstellingen.

SIgnAlS Sound Stages



















Signals: Sound Stages

Sound Stages

All Together Now Edwin Carels This year, IFFR is focussing special attention on cinema as an ‘event’; as a one-off in which the acoustic experience amplifies its unique character. Film theatres are increasingly becoming concert halls. Not only has the trend of putting new scores to silent films brought live music back into the dark auditorium, top operas are also occasionally broadcast to a selection of film theatres all over the world. Occasionally, a concert film itself is screened in a whole series of auditoria at exactly the same time. The cinema as a democratic alternative for the concert experience?

With the programme Sound Stages, IFFR is plumbing the underlying tendencies of such promotional stunts and upgrades. What makes the film experience so closely related to live music these days, certainly within the context of a festival? Which ways are still left to experience this pleasant paradox: the quest in the dark for a collective and simultaneously unique experience? The cinema screen will never completely be able to replace the concert stage, although it does take advantage of the same kind of desires. We no longer go to the cinema in order to isolate ourselves in the dark and each experience an individual dream. Thanks to the increasing supply of DVDs, internet channels and other digital formats, we no longer really need to leave home. The same

Signals: Sound Stages

has applied for some time to the experience of music: despite the countless possibilities for listening to music, music festivals are doing better than ever. Watching films is increasingly a group event, a social happening that is concentrated in place and time. Sound Stages does not focus on film or pop stars, but more on the collective experience that makes both film and music unique – sound and visuals as the mobilising power that brings people together. The only constant in this programme is that virtually every presentation, every constellation, becomes a unique snapshot, an experience which you either miss or share with friends and chance participants alike. In the context of film history, the term ‘sound stage’ refers to the first film studios that were suitable for recording both film and sound. Sound Stages deliberately doesn’t focus on one genre, one scene or one trendsetter. The eclectic mix of Sound Stages is that of the age-old jukebox. At one time, that device had something to offer all tastes: you could impose your mood in a bar by keying in a simple combination of numbers and letters. In the 1960s there was even the ‘scopitone’, which also showed a short film on a screen above the jukebox to accompany each of the singles – the direct precursor to the music video. In the meantime, this multiplechoice possibility has been extended infinitely and YouTube now fulfils the role of a contemporary scopitone, but then for the living room, the individual user. At the same time, the boom in social media indicates just how important we still think it is to share our enthusiasm, to experience something together, to move as one. The ambition of Sound Stages is to have each component of the programme bring together different audiences around a separate configuration of visuals and sound.


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Signals: Sound Stages

Signals: Sound Stages

2 Film Concerts – Ibragimova & Rudy

Hit Parade Christof Migone

Brothers Quay

UK, 2012 | colour, no dialogue Prod: Brothers Quay | Cam: Brothers Quay | Ed: Brothers Quay | Print/Sales: Brothers Quay


The Brothers Quay have always allowed music to guide their inspiration. Now they also allow themselves to be inspired by the specific talent and personality of a musician. Both filmic choreographies were conceived as commissions and are only to be screened during a live performance by Ibragimova and Rudy respectively. However, the Quays’ images do follow their own course, independent of the music, so that we start to ‘see’ the music and ‘hear’ the images. While Ibragimova performs Bartok on her 1775 Anselmo Bellosio violin, the exploration of Bartok’s mindset leads to a mesmerising meditation on life’s evanescence in a hallucinating play of light. At Rudy’s invitation, the Quays finally confront themselves with the metaphysical angst of Kafka’s Metamorphosis. They take their obsessive insistence on detail into new territories, with a grotesque pantomime, animated as a digital collage. Sat 26, 21:00-23:00, Arminiuskerk

Canada | 30 min


(Pop, Terror, Critique) Remix

As a Canadian thinker, artist, musician and writer, Christof Migone is interested in simple, open-ended concepts that we can test out together and that expand on ideas of language, voice, bodies, performance, space, intimacy, complicity and endurance. Working since the mid-1980s, Migone weaves together a multitude of media, from radio to telephones to digital objects, to form a stunning and highly dynamic practice. His latest book, Sonic Somatic (Errant Bodies Press, Berlin, 2012), is a radical auditory study that includes the complexity of silence and mutism, identity and abjecthood, and language and its utterances. Hit Parade is a typical example of his DIY and body-oriented approach. Earlier versions of this performance took place in Montreal, New York, Porto, Quebec, Seoul, Toronto and Winnipeg. Mon 28, 17:00, free admission, Schouwburgplein

Your Eyes Are Dead Alexis Milne

Tony Cokes

USA, 2012 | colour/b&w, 240 min, no dialogue Prod: Tony Cokes | Sc: Tony Cokes | Ed: Scott Pagano, Stephen Crocker  | Sound Des: Scott Pagano, Stephen Crocker  | Print/Sales: Tony Cokes



This installation is a reworking of Retro (Pop, Terror, Critique), Tony Cokes’s first solo exhibition (REDCAT, Los Angeles, 2012). The repurposing of existing works to this end furthers the repetition of images, sounds and texts that has been characteristic of the artist’s work since his acclaimed Black Celebration (1988), which pairs newsreel footage of uprisings by urban blacks in the 1960s with textual commentary and popular music references from the 1980s. For many years, Cokes has been developing several strands of work: ‘Pop Manifestos’ (1997-present), ‘The Evil Series’ (2001-present) and ‘Art Critique Series’ (2008-present). Like sophisticated music videos, they seductively appropriate popular music and contemporary imagery. In the spirit of Barbara Kruger and her graphic manipulations, Cokes creates an altered visual and sonic dialogue that questions dominant capitalist modes of operation. Thu 24-Sat 2, 19:00-23:00, free admission, foyer Rotterdamse Schouwburg


UK, 2012 | colour, video, 25 min, English Prod: Alexis Milne | Sc: Alexis Milne, Tex Royale | Cam: Alexis Milne | Ed: Alexis Milne | Prod Des: Robert ‘Sphinx of Cement and Aluminum’ Moses | Sound Des: Minor Nasal Groove | Music: Major Nasal Groove | With: The Cult of Rammellzee: Ramilnezee, Tex Royale, Luke The Fox Moses, Jezza Ramm Ho Zee, Emily Grooveland | Print/Sales: Alexis Milne


An immersive media project utilizing sampled and cut-up moving images to examine the roots of autonomous subculture uprisings, and in particular the origins of Hip Hop. The performance begins by focusing on Robert Moses, the architect of the Cross Bronx Expressway, which was partly responsible for isolating areas of the South Bronx (widely acknowledged as one of the centres of Hip Hop’s development in New York) and contributed to the policy of neglect that led to the the area’s subsequent decay. This dilapidation is reconfigured in a video collage that samples footage from Wolfen, a 1982 cult political horror video situated in the South Bronx, about a killing spree by shapeshifting Native American Indians. The seminal Hip Hop record Beat Bop-Rammellzee vs K-Rob (1983) is another important reference. Thu 24-Sun 3, 12:00-18:00, Fri 25, Opening Installation, doors open 17:00, performance 18:00, free admission, Joey Ramone Gallery



Signals: Sound Stages

Signals: Sound Stages


Stimulus Progression (Rotterdam)

Aura Satz

Mika Taanila

UK, 2012 | colour, video, no dialogue Prod: Aura Satz | Sc: Aura Satz | Cam: Aura Satz | Ed: Aura Satz | Music: Lydia Kavina, Aleks Kolkowski, Daphne Oram, Steven Severin | With: Lydia Kavina, (voice of) Aleks Kolkowski, Daphne Oram, Jennifer Walshe | Print/Sales: Aura Satz


UK, 2011 | b&w, 2 min, silent Prod: Matt Stokes | Prod Comp: Animate Projects Limited | Print/Sales: Animate Projects Limited



Spiral Sound Coil (2010) is an immersive psychoacoustic installation. Automamusic (2008) looks at selfplaying instruments such as the pianola, wind-up music boxes and organs, filmed at the Museum of Music Automatons in Switzerland. Theremin (2010) is part of a series of videos characterised by their unusual sculptural relation to their performer. Sound Seam (2010) uses microscopic close-ups of gramophone grooves and the anatomy of the ear, while the accompanying music includes wax cylinder recordings and otoacoustic sounds emitted by the ear. Oramics (2011) is a homage to Daphne Oram, pioneer of British Electronic Music and creator of hand-wrought, drawn sound. Vocal Flame (2012) is a sound sculpture made using a Ruben’s Tube, an acoustic device that visualises sound as a standing wave of small flames, with music by Steven Severin (of Siouxsie and the Banshees). Thu 24-Sat 2, 12:0018:00, free admission, Blaak10 Gallery

Finland, 2005 | colour, video, 4 min, no dialogue Prod: Lasse Saarinen | Cam: Jussi Eerola | Print/Sales: Kinotar Oy


With his documentary Thank You for the Music (1997), Taanila already expressed his fascination for a musical phenomenon often disregarded as ‘elevator music’. For Taanila, however, music is not just something to fill silent moments, but a very important part of the way he makes films. Some documentary makers shun the use of music, but for him it is just the opposite. In Thank You for the Music there was music playing practically all the time. Observing a society filled with technology is the sustaining theme throughout Taanila’s work. Stimulus Progression (Rotterdam) consists of contemporary muzak ‘field recordings’ at department stores, indoor car parks, IKEA, etc. Taanila likes to consider his ‘city symphony’ as the urban equivalent of the influential historical etnographical music projects that Alan Lomax did for Folkways Records, capturing fragile beauty and tradition before it is all gone. Also see Short Profile: Mika Taanila and Mind the Gap: Thu 24 in Spectrum Shorts. Thu 24-Sat 2, 11:00-18:00, free admission, TENT

Dance Swine Dance

School of Sound

Matt Stokes

Larry Sider

Stokes often collaborates with people or groups who are part of subcultures. ‘My interest in music comes from looking at the communities that surround certain music scenes,’ he explains. ‘I feel there is something really important in the way that music subcultures, particularly those away from the mainstream, shape people’s lives, beliefs and outlooks.’ Often a work focuses on their interests, knowledge or skills, sometimes bringing these together in combination with outwardly conflicting groups, to create outcomes that reframe or invert perceptions about specific ‘scenes’. Stokes designed a graphic character and also provided the animator with video clips of each dance style. The animated character energetically goes through a cycle of moves, subtly highlighting threads between each one. The film is silent, which highlights the dancer’s shifts in movement and enjoyment of his own actions. Thu 24Sat 2, 17:00-18:00, free admission, Kleine Zaal Rotterdamse Schouwburg

Since 1998, THE SCHOOL OF SOUND has presented a provocative series of master classes by professional practitioners, artists and academics exploring the creative use of sound. The central guest of this IFFR is Manfred Eicher, the legendary founder of the ECM record label, and a custodian of recent Godard soundtracks. Mon 28, 11:00-15:00, free admission, Van Capelle Zaal de Doelen





Signals: Sound Stages

Signals: Sound Stages

Vinylmania – When Life Runs at 33 Revolutions per Minute

The Secret Disco Revolution Jamie Kastner

Paolo Campana

Italy/France/Germany, 2011 | colour, video, 76 min, English/ Italian/French/Japanese/Czech Prod: Elena Filippini | Prod Comp: Stefilm International srl | Sc: Paolo Campana | Cam: Paolo Campana | Ed: Andrea Pierri | Sound Des: Marco Torrisi | Music: Fa Ventilato | Print/Sales: Deckert Distribution GmbH | art-music-culture/vinylmania/ Public SCREENING Sat 26-1 18:15 SKZ

Music mediums are changing relentlessly (iPods, downloading and now the SoundCloud), and thus tapes and CDs have fallen from grace without much regret. But paradoxically, one format appears to be on its way back: the vinyl record is coveted more than ever by an increasing number of collectors and professionals. Vinylmania – When Life Runs at 33 Revolutions Per Minute demonstrates how global this phenomenon is, with testimonies by recognized artists including Philippe Cohen Solal (Gotan Project), Winston Smith (Dead Kennedys, Green Day record sleeve artist), Peter Saville (Joy Division, New Order record sleeve artist) and DJ Kentaro (2002 DMC World DJ Champion). Each vinyl-fanatic has his or her own arguments. Some verge dangerously close to the brink of a pathological collector’s drive, but at the end of this documentary many will empathise with them.

Canada, 2012 | colour, video, 84 min, English Prod: Jamie Kastner | Prod Comp: Cave 7 Productions Inc. | Sc: Jamie Kastner | Cam: Derek Rogers | Ed: Greg West | Sound Des: Mike Duncan | Music: David Wall, Jamie Shields, Adam White | With: voice of Peter Keleghan | Print/Sales: Entertainment One Films International Public SCREENING  Sun 27-1 18:15 SKZ

Let Fury Have the Hour

Why won’t disco die? Through interviews with Gloria Gaynor, The Village People, Kool and the Gang and others, along with a goldmine of vintage clips, Jamie Kastner presents a comic-ironic investigation into disco and its mysterious longevity. One of the main protagonists is the academic Alice Echols, whose book Hot Stuff: Disco and the Remaking of American Culture refers to Donna Summer’s 20-minute Love to Love you Baby as a statement within a ‘musical critique for the feminist crusade against three-minute sex’. Director Kastner counterweighs Echols’ revisionist, politically-correct arguments with a campy trio of ‘Disco Masterminds’; conspirators from outer space who manipulate music and culture at large. Finding its home in dark nightclubs where class, gender, race and sexual boundaries disappeared completely, early disco was indeed a genre that brought people together, almost like a virus.

Kinshasa Superband Pierre Laffargue

Antonino D’Ambrosio

USA, 2012 | colour, video, 87 min, English Prod: Antonino D’Ambrosio, James Reid | Prod Comp: Cavu Pictures | Sc: Antonino D’Ambrosio | Cam: Karim Lopez, James Reid, Antonino D’Ambrosio | Ed: Karim Lopez | Sound Des: Tom Paul | Music: Wayne Kramer | Print/Sales: Cavu Pictures | Public SCREENING  Wed 30-1 18:15 SKZ


This attempt at documenting a broad social history behind a wide range of popular music from the 1980s till now consists of an exuberant mixedmedia collage incorporating art, music, animation and performance. The film brings together 50 writers, playwrights, painters, poets, skateboarders, dancers, musicians and rights advocates, each revealing that we can re-imagine the world we live in and take an active role in making that vision a reality. When D’Ambrosio first wrote a book under the same title, he mostly focussed on The Clash’s Joe Strummer. Now his canvas is so broad, he seems a bit all-over-the-place. And while clearly preaching to the converted, individual soundbites like, ‘It’s about being for something, not against it’ or ‘We are all born citizens of the world’ of course keep their relevance, even when coming from a ‘leftist hobbyist’.



France/Belgium, 2013 | colour, video, 100 min, Lingala/English/French Prod: Pierre Laffargue | Prod Comp: Le Spectre | Sc: Pierre Laffargue | Cam: Jean-Paul Vallorani | Ed: Pierre Laffargue | Sound Des: Jean-Luc Audy | With: Deerhoof, Kasaï Allstars, Konono N°1, Wildbirds and Peacedrums, Matt Mehlan, Vincent Kenis, Juana Molina | Print/Sales: Le Spectre | Public SCREENING  Thu 31-1 18:15 SKZ

The eclectic record label of Marc Hollander had already brought out a Congotronics series with ‘tradi-modern’ Congolese bands with an urban sound. In 2010, that led to the double album Congotronics vs Rockers, with 26 songs on which Western bands set about making music with these contemporary African sounds. Because the sale of CDs barely earns any money, the label also decided to try organising live concerts. A session band with the same name as the double album was put together. This included 19 musicians who had never played together before: Konono No. 1 & Kasai All Stars, Deerhoof, Wildbirds & Peacedrums, Juana Molina and Skeletons. This fusion of six bands and just as many cultures brought the necessary headaches (visas, transport, rehearsals, etc.), but the documentary focuses exclusively on the musical interaction, which takes us on tour from Brussels via Metz, Paris and London to the Japanese Fuji Rock Festival.



Signals: Sound Stages

Signals: Sound Stages


Sample: Not For Sale

Marcelo Machado

Mike Redman

Brazil, 2012 | colour/b&w, video, 87 min, Portuguese Prod: Paula Cosenza, Denise Gomes | Prod Comp: Bossa Nova Films | Sc: Di Moretti, Marcelo Machado | Ed: Oswaldo Santana | Prod Des: Ricardo Fernandes | Music: Alexandre Kassin | Print/Sales: Wide House Public SCREENING Mon 28-1 18:15 SKZ

Tropicália was a short-lived artistic movement that exploded out of Brazil in the late 1960s, with Caetano Veloso and Gilberto Gil as its chief instigators, and Glauber Rocha as their counterpart in cinema. It was a reaction to the country’s turbulent socio-political history of the 1960s and 1970s. Like the Brazilian Modernists before them, the Tropicalistas believed in ingesting aspects of the European and American vanguard as well as traditional Afro-Brazilian and indigenous cultures, with the aim of creating a contemporary music that was uniquely hybrid. The influence of the music, with its heretic use of elements ranging from ‘imported’ electric guitars of The Beatles to traditional pífanos (flutes) played by folk musicians, had in return a long lasting effect with contemporary musicians. Beck and David Byrne, Nelly Furtado and Sonic Youth are some of its most well-known acolytes.

Netherlands/USA/UK, 2012 | colour, video, 120 min, English Prod: Mike Redman | Prod Comp: Redrum Flix | Sc: Mike Redman | Cam: Mike Redman | Ed: Mike Redman | Prod Des: Mike Redman | Sound Des: Kloaq | Print/Sales: Redrum Flix Public SCREENING Fri 1-2 18:15 SKZ

Le chant des ondes

La région centrale

Wavemakers Caroline Martel


Canada, 2011 | colour/b&w, video, 96 min, English/French Prod: Caroline Martel, Colette Loumède | Prod Comp: Artifact Productions | Sc: Caroline Martel | Cam: Geoffroy Beauchemin | Ed: Annie Jean | Sound Des: Clovis Gouaillier | Music: Suzanne BinetAudet | Print/Sales: National Film Board of Canada | www. Public SCREENINGS  Mon 28-1 19:15 LV1 Fri 1-2 21:45 LV6


Hearing unusual interferences coming from radio vacuum tubes one night during World War I, French musician and educator Maurice Martenot (1898-1980) dreamed of an instrument that would turn the new element of the times, electricity, into music. From early French films and Hollywood classics such as Lawrence of Arabia to the romance of Amélie Poulain or the epic There Will Be Blood, the sound of the Ondes Martenot has infiltrated the soundtracks of our time. Shot in Canada, France, the UK, the US and Japan, Wavemakers features reckless engineers, rockstars and repairmen: an ensemble of fascinating characters in their quest to revive a sophisticated instrument that is anything but obsolete. Mixing direct cinema, musical moments and neverbefore-seen archival material, this film journey uncovers the Martenot as a missing link in the cultural history of the 20th century, a fantastic – if a little cursed – legacy.


Recycling within literature, architecture, the internet and art is all the rage. But that doesn’t make it any less delicate an issue. On one hand, creatives prefer to keep the sources of their samples secret because they don’t want to be imitated, while on the other hand there’s always the threat of a court case for violation of copyright. Documentary maker Mike Redman himself has very loose criteria and repeatedly lards his films with knowing video and audio winks. He managed to get pioneers like Afrika Bambaata, Public Enemy, DJ Premier, DJ Shadow, Jazzy Jeff, Madlib and many others in front of his camera in an unorthodox way. They converse with jazz and funk greats such as Maceo Parker, Bootsy Collins, George Clinton, Larry Graham and Idris Muhammad. The film primarily focuses on the creative aspect, bridging the gap between different musical generations, and is already a valuable document for the future.

Michael Snow

Canada, 1971 | colour, 16mm, 1:1.37, 180 min, no dialogue Prod: Michael Snow | Ed: Michael Snow | Prod Des: Michael Snow, Pierre Abbeloos | Sound Des: Michael Snow | Print/Sales: Canadian Filmmakers Distribution Centre (CFMDC) Public SCREENING Fri 25-1 13:30 UN

Made over the course of five days, a robotized camera captured moving images that heretofore could not possibly be observed by the human eye. The vertical and horizontal alignment as well as the tracking speed of Snow’s equipment was determined by a machine designed and built by Pierre Abaloos. The camera lens could pass within inches of the ground and zoom into the infinity of the sky. Initially, the camera pans through 360° and then it begins to provide progressively stranger views (on its side, upside down) through circular and back-and-forth motions. The last hour culminates in unbelievably highspeed twisting and swirling motions, rendering dynamic colour and line abstractions. The weird soundtrack was constructed from the electronic sounds of the programmed controls. Arguably the most spectacular experimental film made anywhere in the world. Also see Single Frame Snow in Signals: Regained.



Signals: Sound Stages

Berberian Sound Studio Peter Strickland

UK, 2012 | colour, DCP, 92 min, Italian/English Prod: Keith Griffiths, Mary Burke | Prod Comp: Illuminations Films, Warp X | Sc: Peter Strickland | Cam: Nic Knowland | Ed: Chris Dickens | Prod Des: Jennifer Kernke | Sound Des: Joakim Sundström | Music: Broadcast | With: Toby Jones, Cosimo Fusco, Antonio Mancino, Fatma Mohamed, Salvatore Li Causi, Chiara D’Anna, Tonia Sotiropoulou | Sales: The Match Factory GmbH | Distr NL: EYE Film Institute Netherlands Public SCREENINGS  Fri 25-1 16:15 PA1 Sun 27-1 17:30 CI1 Tue 29-1 20:15 LV3 Thu 31-1 12:30 PA7


Angola/USA, 2012 | colour, video, 83 min, Portuguese Prod: Jeremy Xido, Joseph Castelo, David Gallagher | Prod Comp: Coalition Films | Cam: Johan LeGraie, Jeremy Xido | Ed: Todd Holmes | Sound Des: Timothy Bright | Music: Christian Frederickson | With: Sónia Ferreira, Wilker Flores, Yuri Almeida, Alberto Jongolo, Queirós Ladino Cumpanhe, Jayro Cardoso, Wilson Pipas | Print/Sales: Coalition Films | Public SCREENINGS  Mon 28-1 22:30 CI5 Tue 29-1 18:15 SKZ


Not since Brian De Palma’s Blow Out has the role of a humble sound engineer been foregrounded to this point. However, Strickland’s second feature is just as much indebted to David Lynch’s Eraserhead and, even more explicitly, to Mulholland Drive. A musician himself, the director first planned to make a movie about the real-life avant-garde composers and performers who paid the bills moonlighting on giallo soundtracks; the title alludes to avant-garde singer Cathy Berberian. Instead of emulating the gore and sleaze of this 1970s horror genre, Strickland cunningly leaves it to our imagination. With an extremely limited number of claustrophobic locations, our ears perceive more than our eyes. The visual focus is almost entirely on vintage sound recording equipment and a cornucopia of mashed and dismembered vegetables. Additional music comes from the bands Broadcast and Nurse with Wound.

Signals: Sound Stages

Reverberations Two live performances by Michael Snow as a sound artist and musician. Reverberlin (2006) is his own visual intepretation of a concert by his pioneering New Music trio, CCMC. Snow in Vienna (2012) is a brand new documentation of Snow’s solo performances by Laurie Kwasnik. Public SCREENINGS  Thu 24-1 22:15 LantarenVenster 2 Fri 25-1 17:15 Cinerama 7

Snow in Vienna Laurie Kwasnik In 2012, Canadian pianist Michael Snow gave a rare solo performance at the Wiener Konzerthaus (Vienna). An internationally acclaimed visual artist and experimental filmmaker for over 40 years, Snow shows his remarkable musical sensitivity and artistry throughout this 32-minute set. Documented by filmmaker Laurie Kwasnik for her upcoming film Fields of Snow. INTERNATIONAL PREMIERE

Canada/Austria, 2012 | colour, video, 32 min, English Prod: Laurie Kwasnik | Prod Comp: ChromaSonic Pictures Inc | Cam: Henry Jesionka, Hanz Kraxner | Ed: Laurie Kwasnik | Music: Michael Snow | Print/Sales: ChromaSonic Pictures Inc

Death Metal Angola


Jeremy Xido

Michael Snow

After a fourteen-year struggle for independence followed by more than a quarter-century of civil war, Angola is a country sunk in devastation. Hardcore death metal, thrash metal and melodic death-core: this is the music of a generation of people growing up with the failed promises of the post-war world in Angola. They consider themselves on the brink of a new history, but are disappointed by failed attempts to reconstruct their country after the war. Through music and the truth it expresses, they are picking up the fragments and starting to tell a compelling new story. Huambo was one of the hardest-hit cities in the war, and is where the orphanage is situated, and so there is great symbolic importance in having this concert here. Far from the nihilist connotations we attach to death metal, in this context it is very much a lifeaffirming event.


Using concert footage of the freeimprovisation ensemble he co-founded in 1974, Snow digitally weaves together images and sounds from performances that have taken place across the globe. ‘I desired an equivalence of seeing and hearing so that one could actually listen, pay attention to the music, as well as follow the picture development,’ writes Snow. Only the music remains unedited, unmodified. Also see Single Frame Snow in Signals: Regained. Canada, 2006 | colour, DCP, 55 min, no dialogue Prod: Michael Snow | Ed: Michael Snow | Sound Des: Michael Snow | Music: CCMC | With: John Oswald, Paul Dutton, Michael Snow | Print/ Sales: Canadian Filmmakers Distribution Centre (CFMDC)



Signals: Sound Stages

Space Harmonics Two literally far-reaching film projects that purposefully employ music to relate human knowledge to the structures that prevail in our universe. Public SCREENINGS  Fri 25-1 18:15 Schouwburg Kleine Zaal Sat 26-1 14:45 Cinerama 7 Tue 29-1 16:45 LantarenVenster 5

Just Ancient Loops Bill Morrison Using archival footage, chemical processes and animation, Bill Morrison presents a unique view of the heavens inspired by the traditional notion of ‘music of the spheres’. The cello becomes an ‘Über-instrument’, laying down drones, building rhythmical grooves on top of each other, singing melismatic melodies, and reaching up to the stratosphere as the music evolves and builds into a massive, exhilarating climax. WORLD PREMIERE

USA, 2013 | colour/b&w, video, 25 min, no dialogue Prod: Bill Morrison, Steve Acunto | Prod Comp: Hypnotic Pictures, Capolavori Proudctions | Music: Michael Harrison | Print/Sales: Hypnotic Pictures |

The International Space Orchestra Nelly Ben Hayoun Music, like the science of space, is a universal language written in the stars. The participants believe that understanding the crucial and elemental necessity of embracing both music and science will enable us to endure and thrive on our journey into space. The orchestra plays original music by Damon Albarn, the Penguin Café Orchestra and Bobby Womack. WORLD PREMIERE

USA, 2013 | colour, video, 57 min, English Prod: Nelly Ben Hayoun, Michelle Kasprzak, Jan Boelen, Jaime Austin | Prod Comp: Nelly Ben Hayoun Studio, V2_ Instituut voor Instabiele Media, Z33 House for Contemporary Arts, ZERO 1 Biennial | Sc: Nelly Ben Hayoun | Cam: Nelly Ben Hayoun | Ed: Alice Powell | Prod Des: Nelly Ben Hayoun | Sound Des: Alice Powell | Music: Evan Price, Damon Albarn | Print/Sales: Nelly Ben Hayoun Studio |



SIgnAlS regained

Signals: Regained

Signals: Regained

USA, 2009 | colour/b&w, video, 90 min, English Prod: Tony Conrad | Cam: Sophie Hamacher, Liz Flyntz | Ed: Tony Conrad, Joe Gibbons | Print/ Sales: Tony Conrad Public SCREENING  Sun 27-1 22:00 LV4


USA, 2013 | colour, video, no dialogue Prod: Andrew Lampert | Ed: Andrew Lampert | Print/Sales: Anthology Film Archives |



The Endless Tedium of Capitalism

Festschrift for an Archive

Tony Conrad

Jason Simon

Tony Conrad, creator of the original music for Jack Smith’s notorious underground film Flaming Creatures (1962), has been revisiting this experience throughout his career. After having put out two CDs, he is now planning a vinyl release of an improvised rant by the flamboyant Smith, as recorded on January 20th, 1963. The visuals for this unique audiopreview stem from Conrad’s fourand-a-half hour musical performance ‘Impacted Crustacean Jack Smithian Delirium’, which was his contribution to the ‘LIVE FILM! JACK SMITH! Five Flaming Days in a Rented World’ event in Berlin in 2009. Conrad has a talent for turning film refuse into art. In recent years, he has also presented five 16mm loops created between 1963 and 2009, showcasing out-takes from the original Flaming Creatures, edited at the time by Smith in Conrad’s apartment.

The largest and most active of its kind, MoMA’s Film Still Archive was closed down when the museum embarked on a $650 million expansion and renovation. Even the protests of Martin Scorsese, the New York Film Critics’ Circle, and university film departments could not prevent this immense resource from being put in cold storage in rural Pennsylvania. Mary Corliss, the associate curator who managed the archive for 34 years, was laid off in the wake of her leadership role in the MoMA strike of 2000. She took her case to court. In a Farockian manner, Simon’s institutional critique appeals to our sense of history and offers us the opportunity to judge for ourselves. This archiving of an archive is both a book and an exhibition, including an interview with Corliss, legal texts and vintage film stills depicting people at work, uniting labour and cinema. Thu 24-Sun 3, 12:00-18:00, free admission, PrintRoom

USA, 2013


All Magic Sands

Piece by Piece

Andrew Lampert

Maarten Visser

Like Ken Jacobs did before him with Perfect Film (1986), Lampert adopted a set of found film reels as his own, completed work, without any altering of the images. Only in the combination of the individual reels and unedited shots is there the hand of the artist. For the installation version, Lampert presents a double projection of cycles broken down into approximately three-minute sections. These sections reflect the original nature of the 16mm production footage, which consists of around 20 uncut camera rolls. The idea is that the two screens are not in a fixed relationship, meaning that the footage is randomized and not always juxtaposed in the same way, so there is a chance element as to which images are being projected at the same time. As the original film All Magic Sands was left unfinished, Lampert’s version leaves the piece incomplete and permanently in flux. Thu 24-Sun 3, 12:00-17:00, free admission, Sub Urban Video Lounge

Thanks to recent restorations at EYE, there is increasing appreciation of the work of the late Maarten Visser (1929-2009). In his spare time, this teacher spent years working on moving abstract compositions, which became increasingly refined in image and movement, but which he did not want to show in public. Visser primarily allowed himself to be inspired by the art of the early 20th century – for instance the work of Paul Klee and the ‘visual music’ of Norman McLaren and Bauhaus filmmakers like Oskar Fischinger. In the case of Visser, the projection surface is always made up of horizontal, vertical and diagonal lines. He plays with the mosaic structure like a chessboard; by making motifs partly in line and partly in colour, the artist combines two visual components together in counterpoint. Often his works are also variations on the same motif, choosing a visual counterpoint of line and colour, thematic variations, mirror images and inversions, metamorphoses and the play with motif versus background. Thu 24-Sat 2, 17:45-18:15, free admission, foyer Rotterdamse Schouwburg


Netherlands | colour, no dialogue Prod: Maarten Visser




Signals: Regained

Signals: Regained

Single Frame Snow

Empire of the Sun

An ultra-rare opportunity to discover one of the least-known aspects of the work of this Canadian avant-garde artist. All three projects date from a period when Snow focussed on the theatrical presentation of still images. Snow will operate the slide carousel himself. Also see La région centrale and Reverberlin in Signals: Sound Stages.

A post-cinema work/installation combined with an essay on visual technologies from the pre-cinema era. A contemporary study of the passage of time on earth followed by a historic documentation of the orbit of the planet Venus.

Public SCREENING Sat 26-1 14:00 LantarenVenster 4

Slidelength Michael Snow

Public SCREENINGS  Sun 27-1 14:45 Cinerama 7 Thu 31-1 11:30 LantarenVenster 6

Empire Philip Solomon

Consisting of traditional 35mm slides, arranged like a filmic sequence, this photographic slide installation is usually shown as a looped projection in a gallery. Here seen in a theatre, it appears closely related to Wavelength (1967), Snow’s landmark exploration of a room with a photograph on a wall.

Considerably shorter than the 1964 Andy Warhol film on which it is based, this remake from high atop the isle of Manhattan still challenges our perceptive alertness. We see the ‘Rotterdam Tower’, or what is more recognizable as the Empire State Building, in captivating HD, replete with troubling details.

Canada, 1971 | colour, 20 min, no dialogue


Prod: Michael Snow | Print/Sales: Canadian Filmmakers Distribution Centre (CFMDC)

USA, 2012 | colour, video, 48 min, no dialogue Prod: Philip Solomon | Cam: Philip Solomon | Ed: Philip Solomon | Sound Des: Philip Solomon | Print/Sales: Philip Solomon |

Side Seat Paintings Slides Sound Film Michael Snow

Black Drop Simon Starling

Starting with ‘raw’ material which he has already formed on some other occasions for some other purposes is a recurring strategy in Snow’s work. The film consists of the projecting, and Snow’s verbal identification of, slides of paintings in various media made by him from 1955 to 1965. The recycling leads to a renewal in perception. Canada, 1970 | colour, 16mm, 1:1.37, 20 min, no dialogue Prod: Michael Snow | Cam: Michael Snow | Ed: Michael Snow | Prod Des: Michael Snow | Sound Des: Michael Snow | Print/Sales: Canadian Filmmakers Distribution Centre (CFMDC)

In 2012, Venus’s last transit of the sun was recorded on celluloid (the next will occur in 2117). Black Drop tracks the development of a device designed to counter human error in timing the crucial moments of Venus’s contact, which inspired Janssen’s photographic revolver, Marey’s chronophotographic gun and the Lumière brothers’ cinematograph. Germany/UK/Denmark, 2012 | b&w, video, 28 min, English Prod: Annette Ueberlein | Prod Comp: Ueber Productions | Sc: Simon Starling | Cam: Christoph Manz | Ed: Christovao A. Dos Reis | Sound Des: Jochen Jezussek | Print/Sales: Simon Starling

A Casing Shelved Michael Snow ‘Slides have a particularly frozen quality if you look at them for a while, that little bit of instability. Being a movie would be entirely another matter because it would introduce motion… no matter what you’d do you’d have the flicker and you’d have the things that happened in the projector.’ (MS) Canada, 1970 | colour, 16mm, 1:1.37, 45 min, no dialogue Prod: Michael Snow | Print/Sales: Canadian Filmmakers Distribution Centre (CFMDC)





Signals: Regained

Ghost Tracks In this compilation programme, each artist transcends the deconstruction of a classic feature film, shifting the focus onto our contemporary understanding of the world. Public SCREENINGS  Fri 25-1 14:45 Cinerama 7 Sat 26-1 16:45 LantarenVenster 3

Zabriskie Point Redacted Stephen Connolly Juxtaposing Antonioni’s original notes with commentary from a contemporary cultural researcher, Connolly reflects and refracts original scenes and background materials. This essay investigates both unexpected changes in people’s behaviour, such as riots, and in cultural creation over the centuries. WORLD PREMIERE

UK, 2013 | colour/b&w, video, 27 min, English Prod: Stephen Connolly | Cam: Stephen Connolly | Ed: Stephen Connolly | Sound Des: Stephen Connolly | Music: Ed Lucas | With: Pat Dade, Francesca Pinto | Print/Sales: Stephen Connolly |

The Wife Jelena Vanoverbeek By zooming in on the details of both subtitles and images, Jelena Vanoverbeek gives a radical, subjective interpretation of Nicole Kidman’s famous monologue from Kubrick’s Eyes Wide Shut. She examines the scene in an abstract manner that is almost perverse, rooting around for the underlying structures of the audio-visual image. WORLD PREMIERE

Belgium, 2013 | colour, video, 3 min, English Prod: Jelena Vanoverbeek | Sc/Ed/Prod Des/Sound Des: Jelena Vanoverbeek | Print/Sales: Jelena Vanoverbeek

Beyond Sunset and Sunrise Persijn Broersen, Margit Lukács Scripts and characters from movies such as Sunset Boulevard, Badlands, Wild at Heart and All About Eve are connected in such a way that the characters form one community. The fictional world of the film merges with the reality behind the actors, the ‘authentic’ cinematic universe in which these persons are situated.

Signals: Regained

The Mirror Jelena Vanoverbeek The verbal poetry which accompanies an inner struggle is transformed into audio-visual lyricism. A woman steps into her own shadow: the structure of a narrative film is disrupted by a technologically compelled multiplication of meanings that leaves viewers hypnotised. WORLD PREMIERE

Belgium, 2013 | colour, video, 2 min, no dialogue Prod: Jelena Vanoverbeek | Sc/Ed/Prod Des/Sound Des: Jelena Vanoverbeek | Print/Sales: Jelena Vanoverbeek

To Become, Shift, Transfer, Copy and Erase JANET LEIGH Jeroen Offerman The famous shower scene from Hitchcock’s Psycho serves as the starting point for examining whether an actor and the character they play can be separated, by making several variations. And can the bare bones of a scene be revealed by removing the actor entirely? The set was previously exhibited as an autonomous sculpture. WORLD PREMIERE

Netherlands, 2013 | colour/b&w, video, 19 min, no dialogue Prod: Jeroen Offerman | Cam: Maarten van Loosbroek | Ed: Maarten van Loosbroek | Prod Des: Laurent Malherbe, Jeroen Offerman | Sound Des: Maarten van Loosbroek, Jeroen Offerman | Music: Franz Schubert, Bernard Hermann | With: Anouk Bax, Jeroen Offerman, Laurent Malherbe, Kristel Boekhorst | Print/Sales: Jeroen Offerman |

The Mother Jelena Vanoverbeek For The Mirror (1975) Tarkovski cast actress Margarita Terechova in a double role. The setting and photography added even more depth to her character. Vanoverbeek digitally adds a ghostly dimension. An image encountering itself, incorporating complexity in a single glance. WORLD PREMIERE

Belgium, 2012 | colour, video, 1 min, no dialogue Prod: Jelena Vanoverbeek | Sc/Ed/Prod Des/Sound Des: Jelena Vanoverbeek | Print/Sales: Jelena Vanoverbeek


Netherlands/USA, 2013 | colour, video, 27 min, English Prod: Persijn Broersen, Margit Lukács | Prod Comp: Broersen & Lukács | Sc: Persijn Broersen, Margit Lukács | Cam: Persijn Broersen, Margit Lukács | Ed: Persijn Broersen, Margit Lukács | Prod Des: Persijn Broersen, Margit Lukács | Print/Sales: Broersen & Lukács |





Signals: Regained

Signals: Regained

Hanoun, à revoir

Losing Dwoskin

A homage, and regrettably also a farewell, to small scale, fine-tuned cinematographic craftmanship, as only Marcel Hanoun for many decades managed to maintain within the French film industry.

A double farewell to one of the most remarkable figures from the golden days of avant-garde cinema; and for many years a familiar face at IFFR.

Public SCREENINGS  Fri 25-1 16:45 LantarenVenster 3 Sat 26-1 12:00 Cinerama 7

L’entrefilm Francesca Solari From 2000 onwards, Francesca Solari was involved in the films of French director Marcel Hanoun (1929-2012). Solari shot L’entrefilm whilst Hanoun made his final film, Cello. We see behind-the-scenes shots and contemplative interviews about cinema and life. Hanoun: ‘To film the real is to film dreams.’

Public SCREENINGS  Thu 24-1 19:45 LantarenVenster 2 Fri 1-2 14:30 LantarenVenster 6

Cinexpérimentaux Stephen Dwoskin Michel Amarger, Frédérique Devaux


In 2006, filmmaker Stephen Dwoskin (1939-2012), a fixture at International Film Festival Rotterdam, hosted two French admirers for a week and candidly told them about his experimental films, his cameras, life with a handicap (he contracted polio as a child) and his main themes: desire and loneliness. Interlarded with images from his films.

France, 2012 | colour, video, 54 min, French

France, 2012 | colour, video, 59 min, English

Prod: Francesca Solari | Prod Comp: Filmcare | Sc: Francesca Solari | Cam: Maurice Ferlet, David Grinberg | Ed: Rossalinda Scalzone | Sound Des: Sarah Lelu, Edouard Morin | With: Marcel Hanoun, Francesca Solari, Lucienne Deschamps, Stéphanie Serre | Print/Sales: Filmcare

Prod: Michel Amarger, Frédérique Devaux | Prod Comp: Productions EDA | Cam: Frédéric Tabet | Ed: Frédérique Devaux | Print/Sales: Productions EDA

Lost Dreams


Stephen Dwoskin

Marcel Hanoun French filmmaker Marcel Hanoun’s swansong. Hanoun, who died in September 2012, made the film in his own home, where he had two actresses sit behind a table and read texts from a music stand, replete with references to Dante and James Joyce, among others. ‘Cello’ was Hanoun’s nickname: (Mar)cello. France, 2012 | colour, video, 61 min, French Prod: Francesca Solari | Prod Comp: Filmcare | Sc: Marcel Hanoun | Cam: David Grinberg | Ed: Agnès Mouchel, Boris du Boullay | Sound Des: Frédéric Acquaviva | With: Lucienne Deschamps, Stéphanie Serre, Marcel Hanoun | Print/Sales: Filmcare



Often implicating the viewer in a voyeuristic situation, Dwoskin uses the camera as an extension of the eye – looking and capturing spontaneously as it relates, responds, feels about the other (the model), the eyes being the extension of the ‘mind’. In this film, these staged meetings take place in retrospect. UK, 2003 | colour, video, 20 min, no dialogue Prod: Stephen Dwoskin | Cam: Stephen Dwoskin | Ed: Stephen Dwoskin | Sound Des: Stephen Dwoskin | Print/Sales: LUX



Signals: Regained

Signals: Regained

Mirror Mirror

Quote Unquote

This programme unites two very different studies in reflexivity. A documentary self-portrait is mirrored by a highly stylized re-use of old, anonymous footage.

Key images and concepts of classic films undergo a process of alchemy, and deliver us their surprising, yet often hermetic meanings.

Public SCREENINGS  Sun 27-1 20:00 Cinerama 5 Mon 28-1 22:30 Cinerama 7

Public SCREENINGS  Fri 25-1 22:00 LantarenVenster 2 Sun 27-1 11:00 LantarenVenster 2

Iza ogledala

It’s All About Light and Death (to Joseph Plateau)

Behind the Looking Glass Jagoda Kaloper For years, Croatian actress and artist Jagoda Kaloper filmed her reflection in mirrors or windows or puddles. Behind the Looking Glass alternates these shots with archival footage from the Yugoslav films she was in between 1965 and 2010. An actress who has always played roles in search of herself. Croatia, 2011 | colour/b&w, video, 47 min, Croatian Prod: Nenad Puhovski | Prod Comp: Factum Documentary | Sc: Jagoda Kaloper | Cam: Jagoda Kaloper | Ed: Martin Semencic, Miran Mio ic | Prod Des: Nenad Puhovski | Print/Sales: Factum Documentary

All This Can Happen Siobhan Davies, David Hinton

Anna Franceschini Shot in a taxidermy workshop, the work investigates the boundary between life and death. It also deals with the perception of living beings, now transfixed into an eternal representation of life. This is what cinema does: repeating a dead photographic pose 24 times per second, giving the illusion of a perpetual movement. Italy/Netherlands, 2011 | colour, 16mm, 1:1.37, 2 min, no dialogue Prod: Anna Franceschini | Cam: Pierluigi Laffi | Prod Des: Anna Franceschini | Print/Sales: Vistamare

Audition Karen Yasinsky

Consists entirely of found footage from the early days of cinema. These exquisitely processed images (using split screens and freeze frames) serve to ‘illustrate’ an exciting cinematic version of the short story The Walk (1917) by Swiss modernist Robert Walser.

Radiating with deep melancholy, the alternation of a woman prancing across a strip club stage in bright colours with a black-and-white sequence of a hand leafing through an old photo book remains utterly enigmatic. Questioning our perceptual habits, both the visuals and the soundtrack oppose distortion with clarity.



UK, 2012 | colour/b&w, DCP, 50 min, English Prod: Franck Bordese | Prod Comp: Siobhan Davies Dance | Ed: Danny McGuire | Sound Des: Chu-Li Shewring | Print/Sales: Siobhan Davies Dance |

USA, 2012 | colour/b&w, video, 4 min, no dialogue Prod: Karen Yasinsky | Cam: Karen Yasinsky | Ed: Karen Yasinsky | Prod Des: Karen Yasinsky | Sound Des: Karen Yasinsky | Music: Bo Harwood | Print/Sales: Karen Yasinsky |

and yes I said yes I will Yes. Angel Vergara Borrowed from the closing line of James Joyce’s novel Ulysses, the title also serves as a pretext to proclaim, over and over again, a feeling of jubilation with regard to painting. A video compilation like a celebrity casting is used as a canvas for an emancipated approach to painting. INTERNATIONAL PREMIERE

Belgium, 2012 | colour, video, 15 min, no dialogue Prod: Angel Vergara | Ed: Angel Vergara, Laurence Vaes | Prod Des: Angel Vergara | Sound Des: Angel Vergara, Stephane Dunkelman | Music: Stephane Dunkelman | Print/Sales: Angel Vergara





Signals: Regained

Life Is an Opinion, Fire a Fact Karen Yasinsky Radically deconstructive in its interpretation of a famous Tarkovskysequence, Yaskinksy reverses the original order of the sequence and blends it with white noise and hand-drawn sequences. She also ties her act of appropriation in with a suicide scene from Bresson and other, more serene images and sounds.

Signals: Regained

Unveiling Avery Willard A recent portrait and a series of vintage homo-erotic films by a forgotten pioneer from the 1960s; a Broadway photographer with a string of hidden talents: physique artist, gay activist, experimental filmmaker, leatherman, pornographer, founder of NY’s first gay newspaper. Public SCREENINGS  Sat 26-1 22:00 LantarenVenster 2 Sun 27-1 22:15 LantarenVenster 2


USA, 2013 | colour/b&w, video, 10 min, no dialogue Prod: Karen Yasinsky | Cam: Karen Yasinsky | Ed: Karen Yasinsky | Prod Des: Karen Yasinsky | Sound Des: Karen Yasinsky | Music: Robert Turner, Don Maxwell | Print/Sales: Karen Yasinsky

Dream Boy

Quod Erat Demonstrandum

A play with the porn standard of a minimum of narrative in order to stage a series of ritualised stripteases. Stored in a cardboard box in New York Public Library’s Manuscripts and Archives Division, the Avery Willard Collection contained several gems so wonderfully strange and enchanting that they suggested a fascinating life behind them.

Fabrice Aragno A collaborator since 2002 (Notre Musique), Aragno did not want to make a documentary ‘on’ but ‘with’ Godard. The latter decided on a mathematical approach. The TV station asked for 26 minutes, and so Godard suggested they make 26 one-minute sequences, and have 4 shots in each sequence, all recycled from his work. Switzerland, 2012 | colour/b&w, DCP, 26 min, French Prod: Gaspard Lamunière | Prod Comp: RTS Swiss Television | Sc: Jean-Luc Godard | Print/Sales: RTS Swiss Television

Avery Willard

USA, 1966 | colour, DCP, 15 min, no dialogue Prod: Avery Willard | With: Paul Ritchards | Print/Sales: New York Public Library

In Search of Avery Willard Cary Kehayan

Crystal World Pia Borg Pia Borg uses stop-motion film and liveaction choreography to evoke modern and historical visions of the future. A viral crystal transforms trees, animals and humans into jewels, suspended forever in the present. The crystallisation is visualised by mirrors, prisms, models and time-lapse photography. WORLD PREMIERE

UK/Australia, 2013 | colour/b&w, video, 11 min, no dialogue Prod: Edward Lawrenson | Prod Comp: Marker | Sc: Pia Borg | Cam: Pia Borg | Ed: Pia Borg | Prod Des: Pia Borg | Sound Des: Joel Stern | Music: Joel Stern | Print/Sales: Marker

During the production of the feature film Keep the Lights On, Ira Sachs and Cary Kehayan heard about Willard through singer Antony Hegarty of Antony and the Johnsons. Through unique documents and rare interviews with collaborators, friends and preeminent film historians, they trace Willard’s provocative career. USA, 2012 | colour, video, 23 min, English Prod: Cary Kehayan, Amanda Hammett | Prod Comp: Charlie Guidance Productions | Cam: David Barreda | Ed: Cary Kehayan | Music: Daniel Quinn | Print/Sales: Charlie Guidance Productions

Reflections Avery Willard Double exposure was a recurring technique in Willard’s film work. As the camera moves elegantly across Paul Ritchards’ body, abstract, superimposed images of New York City drift in and out of frame. The urban landscape begins to align with the landscape of the male physique. USA, 1966 | colour, DCP, 7 min, no dialogue Prod: Avery Willard | With: Paul Ritchards | Print/Sales: New York Public Library





Signals: Regained

Signals: Regained

Easy Rider

Salome: The Dance of the Seven Veils

James Benning

Avery Willard The story of Salome, who danced for the head of John the Baptist, has long been a source of fascination to scholars and artists. The film remained in Arango’s possession, unwatched until many, many years later when drag historian and NYU professor Joe Jeffreys made it public. USA, 1965 | colour, DCP, 10 min, English Prod: Avery Willard | Cam: Avery Willard | With: Adrian | Print/Sales: Joe E. Jeffreys

Leather Narcissus

USA, 2012 | colour, video, 95 min, no dialogue Prod: James Benning | Cam: James Benning | Ed: James Benning | Sound Des: James Benning | Print/Sales: James Benning Public SCREENINGS  Thu 31-1 22:30 CI7 Fri 1-2 14:00 CI7

Avery Willard Filmed in and around New York City, the film tells the fascinating story, in modern fantasy, of the Narcissus myth. The only protagonist in the film is Fernando, at the time a well-known personality at the bars and gay restaurants in New York. His ‘outing’ is shot in a straight-forward, yet lyrical way. USA, 1967 | colour, DCP, 28 min, English Prod: Avery Willard | With: Fernando, Dean Peters, Rand Brooks | Print/Sales: Hull Distribution, LLC


Faces James Benning

La pionnière The Pioneer Daniela Abke A compilation of images from the remaining films of Alice Guy (1873-1968), the almost forgotten first female director in film history. She worked originally in France for Gaumont and set up a production company in 1910 in the United States together with her husband. On the soundtrack, we hear Guy looking back on her work. Screened before The Dancing Soul of the Walking People. INTERNATIONAL PREMIERE

Germany, 2012 | b&w, 35mm, 1:1.85, 13 min, French Prod: Daniela Abke | Sc: Daniela Abke | Ed: Daniela Abke | Sound Des: Markus Stemler, Helene Seidl | Music: Christopher Bowen | Print/Sales: Daniela Abke

Public SCREENINGS Sun 27-1 19:302 LantarenVenster 5 Wed 30-1 15:002 LantarenVenster 3 Fri 1-2 09:152 Cinerama 3



Filmmaker James Benning visited the locations for the classic road movie Easy Rider (1969). In his characteristic long takes, he for instance shows a litup vacancy sign while the soundtrack treats us to a line from Easy Rider: ‘You’ve got a room?’ Sometimes the images are more abstract, like the 10-minute shot of a flowing brook. But there is always a connection with Easy Rider. For example, Benning ‘copies’ its association between a real horse and a gleaming motorcycle: both have their strength expressed in horse power. An image Benning returns to five times is that of a camp fire so that viewers can think back to the scene in which Jack Nicholson expresses one of the film’s themes to Billy (Dennis Hopper) saying: ‘What you represent to them is freedom.’ With songs by Sadie Benning, Chan Marshall, Suzy Soundz and The Sibleys – the music Benning listened to on the road.

USA, 2011 | b&w, DCP, 135 min, no dialogue Prod: James Benning | Ed: James Benning | Print/Sales: James Benning Public SCREENINGS  Tue 29-1 21:45 CI7 Wed 30-1 14:00 CI4

Experimental filmmaker James Benning created a radical, dialogue-free remake of John Cassavetes’ marriage crisis film Faces (1968). He based his eponymous ‘reconstruction’ on three rules: 1) Only close-ups of the faces of the actors in Faces, who included Gena Rowlands, Seymour Cassel and John Marley. 2) Every actor should be on screen the same length of time that they were in the original. 3) Every scene should last as long as it did in Cassavetes’ film. So if the original features Gena Rowlands for 15 minutes in a 30-minute scene, then Benning will have her on screen for 15 minutes in his version. To this end, Benning sometimes had to really slow down shots, giving free reign to the human fascination with faces. Unhampered by story or dialogue, viewers can concentrate fully on the faces and study and clarify the various expressions at their leisure.



Signals: Regained

USA, 2003 | colour/b&w, video, 62 min, English Prod: Tony Conrad | Cam: Tony Conrad, Chris Hill | Ed: Tony Conrad, Joe Gibbons, Zeljko McMullen, Ragnheidur Gestsdottir | Sound Des: Rhys Chatham, Daniel Conrad | With: Frances Francine, Jim Burton, Phill Corner | Print/Sales: Tony Conrad Public SCREENINGS  Sat 26-1 12:00 LV5 Tue 29-1 14:00 LV6

UK/Ireland, 2012 | colour/b&w, DCP, 136 min, English Prod: Katie Holly, Martin Rosenbaum | Prod Comp: P Guide Ltd, Blinder Films Ltd | Sc: Slavoj Žižek | Cam: Remko Schnorr | Ed: Ethel Sheperd | Prod Des: Lucy Van Lonkhuyzen | Sound Des: Steve Fanagan | Music: Magnus Fiennes | With: Slavoj Žižek | Print/Sales: Doc & Film International | www. Public SCREENINGS  Sat 26-1 12:30 PA6 Sun 27-1 19:00 LV1 Thu 31-1 12:15 PA6


Signals: Regained

Bouncing off the Walls

The Dancing Soul of the Walking People

Tony Conrad

Paula Gladstone

Waterworks (1972-2012, 18’) is a documentation of a community celebration of the equinox, organized by Tony and Beverly Conrad in the middle of Times Square for their neighbourhood. Palace of Error (1982-2011, 8’55”) is a theoretical discourse involving three participants, enacted in silhouette. The Space of Writing is the Surface of the Skin (Super-8 to video, ca. 1986- 2011, 2’24”) is a Conrad performance at Tikal, Guatemala. I’ve Never Been… (2003-2011, 3’20”) consists of an original song with guitar and special effects. Landscape Is a Wish for Motion (2003-2011, 4’05”) is a spoken piece with film projections. In Santa Fe with Tony Conrad and Steina Vasulka (2004-2011, 4’03”) shows a bowed string performance with video image processing. A Handful of Earth and a Box (2008-2011, 7’50”) documents a visit to the graves of composers in the Vienna Central Cemetery. Indirect Measurement (2004-2011, 7’45”) consists of images of a vibrating mirror. Weak Bodies and Strong Wills (1986, 5’) is a political lament for a dying economy.

‘Under the Boardwalk’ sing The Drifters on the soundtrack, literally summarising the film. Between 1974 and 1976, artist Paula Gladstone filmed life under the boardwalk at Coney Island, the place where she was born. The moody black-and-white images of this Super-8 film concentrate on the play of light caused by the gaps in the planking above. Now and then, people walk under the boardwalk to the beach and briefly look into the camera. Two boys throw sand that causes beautiful reflections in the sunlight. The soundtrack, which puts viewers in a trance-like state, consists of the hoof beats of horses and music by Duke Ellington, Alice Coltrane and Anthony Braxton – (experimental) jazz, among other things. Gladstone also reads a couple of her erotic poems. Gladstone originally screened her film in 1980, but only recently did it become technically possible to restore and conserve it. Also see The Pioneer.


USA, 2012 | colour/b&w, DCP, 63 min, English Prod: Paula Gladstone | Sc: Paula Gladstone | Cam: Paula Gladstone | Ed: Paula Gladstone | Prod Des: Paula Gladstone | Sound Des: Paula Gladstone | Music: Paula Gladstone | Print/Sales: Paula Gladstone Public SCREENINGS  Sun 27-1 19:302 LV5 Wed 30-1 15:002 LV3 Fri 1-2 09:152 CI3 Press & Industry SCREENING  Sat 26-1 10:15 LV6

The Pervert’s Guide to Ideology

All Magic Sands/ Chappaqua

Sophie Fiennes

Andrew Lampert

Fidel Castro is a huge fan of Steven Spielberg’s Jaws (1975). To him, the shark symbolises the ruthless capitalism that threatens ordinary Americans. This is an example of the ideologically-charged interpretation that the Slovenian philosopher Slavoj Žižek refers to in The Pervert’s Guide to Ideology, the follow-up to The Pervert’s Guide to Cinema, which was screened to great success at IFFR in 2006. Using highly detailed sets re-created from such films as The Sound of Music and Taxi Driver, Žižek analyses famous and lesser-known film scenes. Psychoanalytical terms are used to review many ideologies: capitalism, fascism, communism, religion. Alongside the ‘revealing’ analyses of film scenes, Žižek also scrutinises Coca Cola, the Kinder Eggs, Starbucks and Beethoven’s ‘Ode to Joy’ (the finale of his Ninth Symphony). Žižek demonstrates that ideological perspectives genuinely affect everything.

June 15-17, 1965. Ornette Coleman’s trio record 80 minutes of new music for Conrad Rooks’ in-progress feature film Chappaqua, which will remain unused as the soundtrack. July 1965. Nashville TV bigwig Al Gannaway produces a 16mm Christian children’s adventure movie with the working title All Magic Sands. The story centres on an orphaned quartet (boy, two girls, a baby) washed ashore on a desert island in what just might be the Bahamas. There, they encounter a pile of branches that transforms into a dubious Jesus-esque bearded man, as well as a doppelganger family of naked black children. A failed epic that is equal parts semiprofessional production and curiously cruel home movie, the original footage was left sitting untouched for many decades in a lab that went out of business. Made, conceived and executed at the same time, an unfinished film and a rejected soundtrack finally form a perfect match.



USA, 2013 | colour, video, 80 min, no dialogue Prod: Andrew Lampert | Ed: Andrew Lampert | Sound Des: Ornette Coleman | Music: Ornette Coleman | Print/Sales: Anthology Film Archives | Public SCREENING  Mon 28-1 16:30 LV5



Signals: Regained


Japan/Vietnam, 2013 | colour, video, 97 min, Japanese/ English/Vietnamese Prod: Isomura Kenji | Prod Comp: Presario Corp. | Sc: Osada Norio  | Cam: Shiizuka Akira  | Ed: Ohashi Nobuyo | Sound Des: Kikuchi Shinpei | Music: Tsuhima Toshiaki  | With: Kawazu Yusuke, Lan Tanh, Isomura Kenji, Kikuchi Eiichi | Print/Sales: Presario Corp. Public SCREENINGS  Thu 24-1 16:45 LV5 Sat 26-1 09:15 CI1 Sat 2-2 19:30 LV5 Press & Industry SCREENING  Fri 25-1 09:00 LV5

Signals: Regained

Number 10 Blues/ Goodbye Saigon

Stom Sogo: Ultimately

Osada Norio

Stom Sogo

To escape from Vietnam, a businessman decides to head north on a military road under battle conditions with his lover Lanh and Taro, who is the halfblood son of an ex-Japanese soldier and a Vietnamese woman. On the road towards liberation or total catastrophe? As a scriptwriter working with Fukasaku Kinji in the 1970s and 1980s, Norio chose a Vietnamese production company for his feature debut. The film was shot on locations all over Vietnam under real combat conditions during the final stage of the Vietnam war, between December 1974 and April 1975. Intiated as a cheap B-class action film, a lack of financial resources and the bankruptcy of the production company prevented it from being finished and shown to the public. Many years later, the film was rediscovered at the National Film Center of Japan. After overcoming several difficulties, the film was completed in the Autumn of 2012.

‘[A] movie’s reality should be as nasty and fucked up as possible, so we want to get the fuck out of the theater and hope for something better in life…. I try not to have a message or even word in my movie. But I usually have some sick stories behind each of the movies. Those are just mental eye candy that it tastes sweet first, seizure second.’ (SS) A dynamo whose thunderous potential was cut short by his premature death in July, 2012, Japanese moving-image artist Stom Sogo was a romantic rebel if ever there was one. For over two decades he created a hair-raising, retina-burning body of distinctive and aggressively beautiful films and videos. His psychically charged work revels in optic and aural attacks just as much as it attempts a sincere connection with the viewer. (Andrew Lampert)

Japan, 2012 | colour/b&w, video, 90 min, no dialogue Prod: Stom Sogo | Print/ Sales: Anthology Film Archives Public SCREENINGS  Sun 27-1 14:30 LV4 Wed 30-1 22:00 LV5

Final Cut – Hölgyeim és uraim

Celluloid Man Shivendra Singh Dungarpur

Final Cut: Ladies and Gentlemen György Pálfi

Hungary, 2012 | colour/b&w, DCP, 85 min, English/ Hungarian/Russian/ Cantonese/Italian/French Prod: Béla Tarr, Viktor Dénes Huszár, Gábor Téni, György Pálfi, Peter Miskolczi, Gábor Váradi | Prod Comp: T.T. Filmmühely, HvD Productions, Eurofilm Studio Budapest, Filmax International | Sc: György Pálfi, Zsófia Ruttkay | Ed: Judit Czakó, Károly Szalai, Nóra Richter, Réka Lemhényi | Sound Des: Tamás Zányi, Gábor Balázs, Barna Balázs | Print/Sales: Wild Bunch | Public SCREENINGS  Tue 29-1 16:30 CI6 Thu 31-1 16:45 LV1 Fri 1-2 09:00 CI6


When the Hungarian film subsidy system collapsed and there was no more money for director Pálfi to make his own film, he decided to do things differently. The result is a playful, dizzying film comprised of approximately 500 clips from other films, from Avatar to The Wizard of Oz. In a superbly fluid edit, Pálfi recycled this material into a new film containing the essence of cinema: boy meets girl – looking and being looked at. He referred to it as ‘the ultimate film about the ultimate man and woman’. The ultimate couple consists of dozens of actors and actresses who effortlessly transform into one another. When Rita Hayworth sings ‘Put the Blame on Mame’ from Gilda, we not only see her perform, but also other seductresses such as Marilyn Monroe, Liza Minnelli and Marlene Dietrich. Final Cut: Ladies and Gentlemen is a film quiz that simultaneously joyously analyses cinema’s basic ingredients.


India, 2012 | colour/b&w, DCP, 164 min, English/ Hindi/Bengali/Kannada Prod: Shivendra Singh Dungarpur | Prod Comp: Dungarpur Films | Cam: Santosh Thundiyil, K.U. Mohanan, Avik Mukhopadhyay, P.S. Vinod, H.M. Ramachandra, R.V. Ramani, Vikas Sivaraman, Mahesh Aney, Kiran Deohans, Ranjan Palit, V.Gopinath | Ed: Irene Dhar Malik | Sound Des: Mohandas | Music: Ram Sampath | With: P.K. Nair, Krzysztof Zanussi, Lester James Peries, Vidhu Vinod Chopra, Saeed Akhtar Mirza, Gulzar, U.R. Ananthamurthy, Kumar Shahani, Naseeruddin Shah, Adoor Gopalakrishnan, Mrinal Sen, Santosh Sivan, Shabana Azmi, Girish Kasaravalli, Ketan Mehta | Print/Sales: Dungarpur Films | Public SCREENINGS  Mon 28-1 21:00 CI4 Thu 31-1 09:45 CI7

The idea that you should actively conserve films and the history of cinema only took hold in the 1930s. In the 1940s and 1950s, almost every country set up a national film archive aimed at conserving films made in that country for posterity and restoring these where necessary. Celluloid Man is about P.K. Nair, who set up the Indian National Film Archive in 1964 and worked to collect as many Indian films as possible. Almost all the 1,700 silent films made in India were lost, but Nair did manage to save a few. He is also an indefatigable promoter of cinema, which, to him, is the same as life itself. He screened not only Indian films, but also foreign ones and influenced many budding directors this way. In Celluloid Man, he talks about his life and his obsession for film. Others are interviewed about Nair’s importance to the conservation of Indian film heritage.





Sample modern European cuisine at this urban and contemporary bar and restaurant situated in the city centre of Rotterdam. Stadshal is conveniently located opposite the Old Luxor theatre and alongside the vibrant Coolsingel. The restaurant has been designed to cover 140 seats, but evokes a friendly and intimate atmosphere through its various seating areas for breakfast, lunch and dinner. The menu offers a wide selection of brasserie-style European dishes, with a distinct and contemporary twist, at a friendly price and allows guests to enjoy a full meal or a less voluminous dish for a small appetite. The bar fu