Jerusalem Day 4

4 IS SU E

MONDAY, JULY 30 – TUESDAY, JULY 31 2018

AT JERUSALEM FILM FESTIVAL www.ScreenDaily.com

Editorial +44 7436 096 420

Advertising +44 7540 100 254

TODAY

SCREENINGS

» Page 15

The Rabinovich Foundation Congratulates the attendants of the 35th Jerusalem Film Festival and the participating films produced with the support of The Rabinovich Foundation ISRAELI FEATURE FILMS Redemption

Directors: Joseph Madmony Boaz Yehonatan Yacov Producers: Marek Rozenbaum Michael Rozenbaum Jonathan Rozenbaum

The Dive

Director: Yona Rozenkier Producers: Efrat Cohen, Kobi Mizrahi

Working Woman

Director: Michal Aviad Producers: Ayelet Kait, Amir Harel Moshe Edery, Leon Edery

ISRAELI DOCUMENTARY FILMS The Oslo Diaries

Directors: Mor Loushy, Daniel Sivan Producers: Hilla Medalia, Ina Fichman

ISRAELI SHORT FILM COMPETITION Girl With a Fork in a World of Soup Director: Yotam Knispel Producers: Beit Berl College

SPECIAL SCREENING Voice Over

Directors: Avraham Heffner, Nir Bergman Eitan Anner, Tom Shoval, Sigalit Liphshitz Maya Kenig, Orit Fouks Rotem Producers: Gal Greenspan, Roi Kurland Renen Schorr

The Jehoshua Rabinovich Tel-Aviv Foundation for the Arts In association with the Leon Recanati Foundation and the support of Israel Ministry of Culture & Sport The Israel Film Council

The Rabinovich Foundation 90 Ha'Hashmonaim St. Tel Aviv 6120301, Israel Tel: 972-3-5255020, Fax: 972-3-5255130 | www.cinemaproject.org.il

IS SU E

4

MONDAY, JULY 30 — TUESDAY, JULY 31 2018

AT JERUSALEM FILM FESTIVAL www.ScreenDaily.com

Editorial +44 7436 096 420

Advertising +44 7540 100 254

Pitch Point projects get French polish

Sand Storm, Agassi teams gear up for Israel In A Day

BY TOM GRATER

BY TOM GRATER

Four projects from JFF’s Pitch Point showcase have been facing the music here in Jerusalem as they take part in an event with six French composers. The 3rd Character initiative is run by Aubagne International Film Festival with SACEM, the Society of Authors, Composers and Publishers of Music.

The event has been running for 10 years, in Aubagne and elsewhere, and this is its first trip to Jerusalem. Prior to the festival, each composer was connected with two directors and given a month to create a musical proposal for their films. On Sunday (July 29), the four projects — As If You Were Never Here by Eti Tsicko, produced by Lama Films; Children Of The Railway by Tawfik Abu Wael, produced by United Channels Movies; Earthquake by Idan Haguel, produced by Black Sheep Productions; and The Swimmer by Adam Kalderon, produced by Ingenue Productions — met with the musicians to discuss potential collaboration.

“The idea behind 3rd Character is to make the work of the composer a part of the foundation of the film,” commented Aubagne’s Laurence Ripoll, who moderated the event in Jerusalem. She noted that it can be tricky for directors and composers to meet, because the latter are rarely invited to film festivals.

Israel is set to get its own Life In A Day instalment, with Tel Aviv production house 2-Team Productions (Sand Storm) teaming up with Jonathan Agassi Saved My Life documentary duo Tomer and Barak Heymann on the project.

Overseen by Ridley Scott’s Scott Free Productions, the format sees filmmakers compile homemade footage submitted by thousands of individuals, subsequently editing the material into a feature. The original 2011 instalment Life In A Day was directed by Kevin Macdonald and Loressa Clisby and featured scenes selected from 4,500

hours of footage, 80,000 submissions and 192 nations. Since then, single-country versions have been produced in Japan, Italy, Spain, Canada and India.

An Israeli Life In A Day was first announced in 2014 but after a hiatus, the filmmakers are aiming to open the door to submissions on a singular date in April or May 2019, with an attached broadcaster to be named at a later date. The Heymann brothers’ most recent film Jonathan Agassi Saved My Life premieres at JFF on Tuesday (July 31).

Haim Mecklberg and Estee YacovMecklberg are producing for their banner 2-Team Productions.

United King Films has already acquired theatrical rights in Israel and is also a co-producer on the project.

“Israel In A Day will be different than the other instalments because we have been given permission [from Scott Free] to go beyond the project bible, which says you have to do it within a single territory,” commented producer Haim Mecklberg. “We want to make it about the Israeli experience, not the state of Israel, and will take it beyond the territory to backpackers in South America, the Chabad houses all over the world, the Israeli art community in Berlin, etc.”

Chen Wagshall

PRIZE GUY Ukrainian director Sergei Loznitsa is in town with two of his latest films, social drama Donbass, for which he won Cannes’ Un Certain Regard directing prize in May, and Victory Day, a documentary that played the Berlinale’s Forum strand in February.

Tel Aviv Uni’s Gaudeamus celebrates prize-winning Jerusalem debut

BY MELANIE GOODFELLOW

Tel Aviv University’s fledgling company Gaudeamus Productions is enjoying a high-profile JFF debut.

The production outfit will premiere its first feature-length work, Yona Rozenkier’s sibling drama The Dive, in the Feature Competition on Wednesday (August 1), before the film heads to Locarno Film Festival later in August.

Gaudeamus is also celebrating a win for Moshe Rosenthal’s upcoming production Karaoke in JFF’s Pitch Point industry meeting over the weekend. The feature won the Wouter Barendrecht-Lia van Leer Award of $4,600 (¤4,000).

Producer Efrat Cohen, who heads up Gaudeamus, explains the company was set up as part of a revamp of Tel Aviv University’s

respected film and TV department — whose alumni include Eran Riklis and Ari Folman — following a $10m donation from US producer Steve Tisch in 2016. Renamed the Steve Tisch School of Film and Television, the department used some of the investment to create Gaudeamus as a practical way to support alumni on their first films.

“The idea is to remain connected

to our students,” says Cohen. “We have the capacity to produce one feature a year.”

In a related initiative, the school also launched the Steve Tisch Foundation for First Features, an annual $100,000 production grant aimed at debut features by former students. The first recipient was The Dive, with Pitch Point winner Karaoke picking up the grant this year.

TODAY

Red Cow, page 13

FEATURE Jerusalem Film & TV Fund The decade-old fund wants actions to speak louder than words » Page 6

The big shorts Rounding up this year’s festival short-film programme » Page 8

REVIEW Red Cow A confident debut about one Jewish Orthodox teen’s sexual awakening » Page 13

Yad Vashem archive eyes online platform The growing Visual Center of Yad Vashem, The World Holocaust Remembrance Center, hopes to one day offer an online platform for films in its extensive library to be viewed globally.

Liat Benhabib, director of the Visual Center, told Screen International: “I really believe in creating a platform to watch films online. We are still debating internally about how, when and where we will get the budget. We don’t have immediate plans but I believe in it.”

The centre adds about 600 to 800 films per year to its library, currently totalling around 12,000 videos, most of which can be viewed free at the Visual Center on site at Yad Vashem’s museum complex in Jerusalem. For now, Yad Vashem’s film database, the most comprehensive database of Holocaust-related cinema in the world, offers information — but not film streaming — online (db.yadvashem.org/films/).

Yad Vashem also invests in creating Hebrew-subtitled versions of significant films for the local audience One such title is Ferenc Török’s Hungarian film 1945, an award winner at JFF that was not being traditionally distributed in Israel. It is also working with seven cinematheques in Israel — including Jerusalem — to preserve the films of the late Claude Lanzmann.

Wendy Mitchell

Aya Bouzaglo

NEWS

Marcello Fonte at JFF

Dogman Fonte takes his lead

BY TOM GRATER

This year’s Cannes Film Festival best actor winner Marcello Fonte is in Jerusalem to accompany Matteo Garrone’s Dogman, in which he plays a dog groomer who is driven to the edge by a local thug.

The film screens again on Friday (August 3). Garrone discovered the actor by chance while talentspotting at a social centre for former prison inmates, where Fonte was the caretaker.

He puts his casting down to “a lot of luck”, but Garrone has gone on to describe him as a “modernday Buster Keaton”. New acting offers have come in since Dogman’s premiere but Fonte is more preoccupied with the renewed interest in his 2015 feature Donkey Flies (Asino Vola), which he directed, wrote and acted in. The film, which was produced by Carlo Cresto-Dina (here in Jerusalem with Alice Rohrwacher’s Happy As Lazzaro), premiered at Locarno but never received a full theatrical run. Fonte reveals it will finally be receiving that release this year, off the back of his Dogman success, with a planned rollout in Italy and other potential international deals in the offing through sales agent The Match Factory.

Abecassis set to lock mother of all tales

BY MELANIE GOODFELLOW

Israeli actress and filmmaker Yael Abecassis has revealed she is close to finishing a documentary exploring her relationship with her mother, the Morocco-born Israeli singing star Raymonde Abecassis.

“My mother is a big singer who is well-known in Morocco and here but this is a very personal, intimate work about the relationship between a mother and daughter. I’ve been working on it for two years and it’s now in post-production,” Abecassis told Screen International. “One of my priorities this year is to complete the film.”

Abecassis, who produces under

the banner of her Tel Aviv-based Cassis Films, has provisionally titled the documentary Mother Queen (Ma Mere Est Une Reine).

The multi-talented Abecassis revealed she will also be hitting the set in the coming months to co-star alongside Iranian-French actress Golshifteh Farahani in Israeli-French filmmaker Michale Boganim’s feature Tel Aviv-Beirut.

The actress was at JFF with Feature Competition title Echo, codirected by Amikam Kovner and Assaf Snir, about a man who discovers his wife cheated on him and sets off to track down her lover after she dies in a car accident.

Abecassis, who plays the wife

opposite Yoram Toledano, says she was drawn to the production for its subtle and deep exploration of relationships and loss. “You don’t get that many films in Israel that delve into the dramas of everyday life. The screenplay was wonderful, with great rhythm and space for me to bring in my emotions.”

Her character permeates the feature but Abecassis reveals she was only on set for three of the 25 days of the shoot, as most of the story is told through the eyes of the husband.

“I suggested to the filmmakers they should now make a second film capturing the story through the viewpoint of the woman.”

Noam Preisman

Tikkun director Avishai Sivan (left) and producer Ronen Ben Tal (centre) receive the inaugural $23,200 (€20,000) Gorlaska Award for their project Lot’s Wife at the JFF Pitch Point awards ceremony at Anna Ticho House on Saturday night (July 28).

Described as a cross-genre horror, fantasy, freakshow work, the picture revolves around a Hasidic couple’s two-headed baby.

CineLink hosts Israel and Palestine WiPs A pair of projects from Israel and one Palestine co-production will take part in the work-in-progress strand at CineLink co-production market (August 11-16) during Sarajevo Film Festival.

The first of the two projects from Israel is Oren Gerner’s Africa, from producer Itay Akirav at Film Harbour, which follows a retired engineer who goes on a journey to reconstruct his shaken manhood. The second is Dani Rosenberg’s The Gospel According To My Father, which he produces alongside Stav Meron.

It tells the story of the director trying to make a film with his father, and is from Tel Aviv-based Pardes Films. Both Israeli features took part in JFF’s Pitch Point event, with Gerner’s debut feature winning the $17,400 (€15,000) Cinelab Award.

Director Lina Alabed’s documentary Ibrahim, a Palestine-Lebanon-QatarDenmark co-pro, tells the story of her father, a secret member of a Palestinian militant organisation, who went missing in Damascus in 1987. Rami El Nihawi is producing for SakaDo with Kirstine Barfod Film as co-producer.

A total of 10 films have been selected for CineLink’s work-inprogress showcase, and will compete for a prize pot totalling nearly $115,000 (€100,000).

Tom Grater

ONE ON ONE KEREN BEN RAFAEL, VIRGINS

KVIFF

F

ilmmaker Keren Ben Rafael is something of an anomaly. A native of Israel who studied at the prestigious La Fémis film school in Paris, she does not heed to expectations regarding the geography of her career. After directing several short films in France, she set her debut feature in the small, shabby seaside town of Kiryat Yam in northern Israel. The result is Virgins, a vibrant coming-ofage story that ties together family relations, sexual and emotional awakening and an enigmatic tale about a mermaid spotted on the town’s shore. The film, which will have its Israeli premiere at JFF on July 30, had its world premiere at Tribeca Film Festival, where its star, rising Israeli actress Joy Rieger, won the best actress award.

Keren Ben Rafael

Virgins is an Israel-France-Belgium co-production. How did it come together?

I studied at La Fémis so it was quite natural for me to start working in France. We started working with a French co-producer, and later

4 Screen International at Jerusalem July 30-31, 2018

found our Israeli and Belgian partners. I wrote the script with a friend I met at school, Elise Benroubi, and my DoP is French — Damien Dufresne — who is also my husband.

it to a more poetic place. Some of the real-life events in the film were so crazy. For example, the part about the mayor trying to sell the city’s beach on eBay. I could never make that up.

How did that affect the writing process?

When we worked on the script, we kept moving from English to Hebrew to French, which can be a bit tiring, but it also really enriches the film. You think about things differently in another language.

Evgenia Dodina plays two different roles in the film. Was this your original plan?

Actually, no. When we were writing, I had an idea for a small but important role, which we wrote for Ronit Elkabetz. We were in talks with her agent, and one day I found out she passed away. I didn’t even know she was sick. After that it was very hard to think about anyone else for the role. Then this idea to have Dodina play both characters came up, and it felt right for the film, which itself has a fantastic side.

Ben Tofach

Many elements of the film are based on real-life events. Is that an important part of your process?

Starting from a real story gives me a kind of anchor, that later enables me to be free to take

www.screendaily.com

Mini

SPOTLIGHT JERUSALEM FILM & TELEVISION FUND

Nathan Goshen and Joy Rieger in The Other Story, which shot in Jerusalem

Home town hero

Yoram Honig, director of the Jerusalem Film & Television Fund, tells Melanie Goodfellow why its support extends to much more than financing filmmakers

T

he Jerusalem Film & Television Fund may have marked its 10th year of activity in June, but its longtime director Yoram Honig is not one for breaking out the champagne. Asked whether the organisation is planning any celebrations to coincide with this year’s Jerusalem Film Festival (JFF), Honig says: “Nope, actions speak louder than words.”

Honig, who has been at the helm of the fund since its launch in June 2008, says he is more excited about the buzz surrounding the Jerusalem-set festival opener The Unorthodox — which is among a growing list of successful feature productions supported by the fund.

“What is really special is the producer, director and main actor all hail from Jerusalem,” he says. “Most of the Israeli films that come to shoot in the city are from Tel Aviv or outside. This one is truly homegrown.”

As well as supporting the feature financially, the fund also helped the production with location scouting and permissions for

6 Screen International at Jerusalem July 30-31, 2018

‘People in Jerusalem are usually pretty open about film shoots’ Yoram Honig, Jerusalem Film & Television Fund

the production, which ended up shooting around Jaffa Road.

“That’s one of the services we offer,” says Honig. “The film has a 1980s look and the area around Jaffa Road was the best match for what they needed. It’s a busy area but people in Jerusalem are usually pretty open about film shoots. They’re not as used to them as in Tel Aviv so they still get excited.”

The Unorthodox is among 80 Israeli films and TV series to have shot against the backdrop of Jerusalem and been supported by the fund. It can invest up to $274,000 (ILS1m) in local productions, which must in turn then spend $0.35 (ILS1.3) in the city for every $0.27 (ILS1) provided.

To put this into context, before the fund was created just 30 out of the 700 Israeli films made in the country since 1948 had been shot in Jerusalem.

Other recent recipients include: Amichai Greenberg’s The Testament, which premiered at Venice Film Festival last year and went on to play in arthouse cinemas worldwide; Ofir

Raul Graizer’s The Cakemaker, which debuted in Karlovy Vary last year; and local box-office hit Maktub, a recent Netflix acquisition that was released globally in July.

Jerusalem will also hit the big screen worldwide this autumn with Avi Nesher’s The Other Story (previously titled Pilgrim), exploring the tension between secular and religious Judaism in Israel through the intertwined lives of two women from either side of the divide.

The film shot on location across Jerusalem last July amid a flare-up in tension in the Old City after an attack around Temple Mount.

According to Nesher, the fund helped the production stay on track. “The fund’s people were a joy to work with and their support was far greater than just a financial one,” says the filmmaker. “We shot during a very difficult period and it’s a tribute to the cast and crew’s determination that we were able to complete the film amid the ongoing violence.” Another film backed by the fund is Flawless (YOLO) about three Jerusalemite

www.screendaily.com

teenagers who hatch a plan to sell their kidneys to pay for cosmetic surgery and gowns ahead of their high school prom. It is the latest film from directorial duo Tal Granit and Sharon Maymon following their award-winning The Farewell Party in 2014.

Gaming and animation The fund offers cash rebates of between 50%-60% for international features and series, but Honig admits it remains difficult to attract incoming shoots due to the political instability in the region.

In response to the challenge of enticing live-action productions from outside the country, the fund has stepped up its drive to develop other audiovisual-related activities in the city that do not require incoming cast or crew, led by animation and gaming. The fund is particularly keen to attract young people into games development. In the early days of the film festival, the fund hosted a 48-hour hackathon aimed at teenagers aged 16 and over, which was organised in co-operation with international gaming network Global Game Jam Next.

Honig notes the city is also taking the lead on educational programmes around gaming and animation in schools, with the subjects being offered as an option in final exams. “A lot of schools offer cinema as an option but we’re the first in Israel to offer animation and gaming,” he says.

Jerusalem’s efforts to build an animation sector in the city, which began in earnest some five years ago with the launch of a 35% cash rebate for international animation productions spending at least $1m (ILS4m) in Jerusa-

‘The fund’s support was far greater than just a financial one’ Avi Nesher, director

(Right) The Unorthodox, which opened JFF

The Testament

lem, are also gaining pace. Its biggest animation company Snowball Studios recently worked on Disney Junior’s Muppet Babies reboot. The series will bring the famous characters to a new generation of children, some 40 years after they originally hit the small screen.

The fund is also running the third edition of its annual pitching and networking workshop, The Hop, Skip & A Jump, within the framework of JFF. The workshop is designed to connect local animation companies and creatives with high-level US executives.

Among those in attendance will be Sony Pictures Animation’s senior vice president of creative Jenny Marchick and development director Arturo Hernandez.

On August 2 they will give a masterclass on how to take a television show from the development stage to the screen.

Other guests are set

to include executives from Technicolor and Nickelodeon. “Sony are also coming in to check out the Israeli studios and there is talk of doing part of the work in Jerusalem on one of their next films,” says Honig.

Projects due to be presented in a pitching session include Yossi Azizi and Sivan GalBoico’s Boogers Inc., about a boy attempting to overcome his fear of needles who is befriended by Gooie, “a slimy blob of snot”.

It is co-produced by Estee Yacov-Mecklberg and Haim Mecklberg of 2-Teams Productions in a rare foray into the animation world after the award-winning feature Sand Storm.

Additionally, Uri Lotan and Amit Gicelter will present Knight&Ray, about two musicians who use their love for music to maintain peace and harmony in their home. It is a collaboration between animator Lotan, who has worked for Disney, Pixar and Sony Pictures, and director Gicelter.

Animation teacher Yoni Salmon, an alumnus of Jerusalem’s Bezalel Academy of Art and Design whose past credits include work on Waltz With Bashir, is presenting Dreamons, about the adventure of a young girl and three demons who inhabit her dreams, a joint s project with Alon Rothem. ■

MAKTUB THE LOCAL COMEDY THAT WENT GLOBAL An unexpected success story for the Jerusalem Film & Television Fund has been Oded Raz’s comedy Maktub, which it supported with its maximum award of $274,000 of the film s dget.

(ILS m com rising some side from rea ing recent o office records in Israel, where it garnered more than 650,000 admissions, the film has also had a s ccessf l r n on the festi al circuit worldwide, winning audience awards in Palm Springs as well as Monte Carlo Comedy Film Festival, efore eing ac ired y Net i , which released it globally in July.

“We thought it would do well locally but we had no idea it would be such a hit and then go down so well internationally,” says Honig. he film feat res well nown sraeli stars y Amir and Hanan Savyon as two small-time racketeers who decide to redeploy their extortion talents to doing good after they narrowly escape death in a terror attack.

Maktub was shot entirely in Jerusalem and included

www.screendaily.com

the iconic Western Wall and Mahane Yehuda Market.

“It presents a different image of the city than is normally seen on the news. Rather than the troubles — Maktub captures the life of the city,” says Honig.

Producer Adar Shafran of Tel Aviv-based Firma Films e lains the film de loyed g errilla style filmma ing tactics to shoot at the estern all d e to diffic lty gaining permits for the sensitive religious site. It even triggered a security alert at one point when a character approached the women’s section of the wall in drag for a ey scene in the film.

“We left after that,” says Shafran. He adds that, o erall, shooting in er salem was a leas re. y and Hanan are stars in Israel so people were usually excited when they turned up.”

The fund was also instrumental in helping Shafran get the film off the gro nd. hey ga e s the first money for development and believed in us from the start. They were real partners and have become friends.”

Maktub

The setting of Jerusalem was also central to the film, he adds. e e s cceeded in ringing the real er salem to the screen. here s a a o r and atmos here here that yo don t find anywhere else in the world.”

July 30-31, 2018 Screen International at Jerusalem 7

IN FOCUS SHORT FILMS AT JFF

Oshri

The Men Behind The Wall

Shabbos Kallah

The short list

The three-day short-film programme starts on July 30. Ben Dalton profiles the dynamic selection

S

hort films are an essential part of the Israeli film landscape and Jerusalem Film Festival (JFF).

“Israeli filmmakers make a lot of short films,” notes Daniel Susz, the newly appointed head of Israeli competitions at JFF, who is responsible for the local dimension of the festival’s programme, notably the documentary and shorts competitions. “For up-and-coming directors, it takes a long time to get the first feature funded so short films are an important creative outlet for them, not only as a showcase for talent but also an important medium in itself.”

Susz should know. His short film The Revolution screened in the Israeli Short Film Competition at last year’s JFF. Now he works with a special committee comprising local film professionals and filmmakers to select the programme. “Once we have seen all the entries, we have an intense debate in which we choose a selection of what we believe are the most powerful, original and innovative Israeli films this year,” Susz says.

He identifies repression, especially sexual repression, as a recurring theme in this year’s line-up. The films include Aleeza Chanowitz’s Shabbos Kallah, about Elka, an immigrant in Israel who struggles to keep her mouth shut at her friend’s pre-wedding social event.

Also screening is Worth Every Penny, a product of 10 directors from the Sapir Academic College. The 14-minute animated documentary looks at posts written by consumers on online sex forums, and testimonies of women in the sex industry.

The Israeli Short Film Competition is the centrepiece of JFF’s short-film strand, which

also includes screenings of international shorts. It comprises 18 films, and all but four of them are by filmmakers from Israel’s vibrant film schools this year. Last year 13 of the 20 short films were by local film-school students. The short films span all genres and the selection includes five animations and three documentaries.

Oscar shortlist The short-film jury — Tova Ascher, director of A.K.A Nadia; Asaph Polonsky, director of One Week And A Day; and Javier Porta Fouz, director of the Buenos Aires International Festival of Independent Cinema — will present three awards: the Van Leer Award for best live-action short film; the Van Leer Award for best documentary short film; and the Jerusalem Development Authority award for best animated short film. The winner of the best narrative short will automatically be entered into consideration for next year’s Oscar shortlist.

The festival is also screening the 2018 Oscar nominees for the live-action and documentary short films as well as the films from the European Film Academy’s Short Matters! programme.

Some 220 short films were submitted for consideration in this year’s selection, which is a return to 2016 levels after a slight drop last year. Susz was impressed by the quality: “We have a really good programme but we also had to turn down other great films.”

He points out half of the 18 films were directed or co-directed by women. These include Lihi Sabag’s Oshri, about a woman attempting to get close to her one desire, and

8 Screen International at Jerusalem July 30-31, 2018

‘We’re interested in creating something diverse, both cinematically and culturally’ Daniel Susz, Jerusalem Film Festival

Mor Israeli’s animation Clapotis, set during a winter’s afternoon in a swimming pool.

Sabag won the best documentary award in the Israeli Shorts Competition last year for A Ray Of Light (Keren Or), while Clapotis is the only work in this year’s line-up to have originated from outside of Israel, as a graduate of La Poudriere in Paris.

Many of the short films are screening as world premieres at JFF, although several have already won acclaim on the international festival circuit. Ines Moldavsky’s The Men Behind The Wall won the Golden Bear for best short film at this year’s Berlinale; Oren Gerner’s Gabriel screened in Short Film Competition at Cannes; and Atara Frish’s The Love Letter received a special mention at Tribeca Film Festival in April.

Filmmaker insight As a director himself, Susz has used his experience to inform his first year in the position.

“When it comes to sensitivity around working with filmmakers, understanding what kind of process they’re going through is important,” he says. “Some of my insight on film comes from being a filmmaker, but at the end of the day it’s a subjective role.”

He is aware of the influence his choices have in wider Israeli culture. “It’s a role that comes with a lot of responsibility, in a festival with this status in an industry of this size,” he says. “We’re always looking for a broad and diverse programme. Of course, the most important thing is cinematic excellence, but we’re also interested in creating something diverse both cinematically and s culturally.” ■

www.screendaily.com

THE LINE-UP ISRAELI SHORT FILM COMPETITION 2018 PROGRAMME 1

PROGRAMME 2

PROGRAMME 3

12:00, MONDAY JULY 30 — CINEMATHEQUE 3

14:15, MONDAY JULY 30 — CINEMATHEQUE 3

16:30, MONDAY JULY 30 — CINEMATHEQUE 3

Christie Isn’t Coming Back (13mins) Dir Avner Matsliah, independent When Filipina stay-at-home nurse Christie disappears, Araleh is forced to help his brother tend to their dying father. Trying to protect himself, he begins spreading white lies, which only bring on the inevitable end they all feared.

Gabriel (12mins) Dir Oren Gerner, independent A teenager is walking through the forest with his classmates, looking for Gabriel, a kid from his boarding school who went missing. After a violent incident, he drifts away from the searching crew, deeper into the forest.

Girl With A Fork In A World Of Soup

Asa Turns 13 (26mins)

(20mins) Dir Yotam Knispel, Beit Berl College Faculty of Arts

Dir Sali Elimelech, Sapir Academic College

Dafna is a drummer with lots of love to give, but no one to give it to. The guitar sounds coming from next door will lead to a chance.

Just Passing With Dr Zussman (4mins) Dirs Yannay Matarasso, Anat Efrati, Bezalel Academy of Arts and Design, Jerusalem

Dir Yoram Ever-Hadani, independent A factory worker assembles an enigmatic machine that produces liquid drops from moonlight.

Leap (6mins) Dir Alex Klexber, Bezalel Academy of Arts and Design, Jerusalem

Oshri (15mins) Dir Lihi Sabag, The Ma’aleh School of Film and Television, Jerusalem When Sima decides to get close to the one thing that matters to her, she has no idea of the price she will have to pay.

Shabbos Kallah (15mins) Dir Aleeza Chanowitz, The Sam Spiegel Film and Television School, Jerusalem

Clapotis

Homeward Bound (24mins) Dir Tamar Goren, Minshar School for Art In a small apartment in Tel Aviv in the hot and humid days of August, 17-year-old Noga is searching for a place of her own while her parents are going through an ugly divorce.

Like Us, Lovers (16mins)

A young woman who has been carrying her grandmother on her back her whole life tries to escape a tenement, the buildings of which form a wall imprisoning its inhabitants.

An Israeli woman makes contact with men from the occupied territories via dating websites. Through phone calls and encounters, ideas of sexuality and oppression are re-examined.

Depicts a winter’s afternoon in the swimming pool.

The Love Letter (19mins) Dir Atara Frish, The Steve Tisch School of Film and Television, Tel Aviv University

Moon Drops (16mins)

The Men Behind The Wall (28mins) Dir Ines Moldavsky, Bezalel Academy of Arts and Design, Jerusalem

Clapotis (4mins) Dir Mor Israeli, La Poudriere, France

Another episode in Dr Zussman’s mysterious talk show: who will be the unlucky guest tonight?

hen Noa finds a s ecial lo e letter in her loc er, she struggles to reconcile her safe, restrained world and her urge to feel — at least for a brief moment — loved.

Gabriel

Asa lives with his father in a small Israeli town. The day before his bar mitzvah, Asa must deal with his father’s expectations and social pressures — two factors that lead him to chart his path in life.

Dir Dotan Moreno, independent In an Israeli suburb, two fathers meet after their kids get into an accident. One is insecure and unhappily married; the other divorced and unemployed. They slowly become involved in each other’s life.

Moon Drops

Shore Stories (25mins) Dir Uri Smoly, The Sam Spiegel Film and Television School, Jerusalem From building towers out of bottles, to marriage ro osals and fishing, Shore Stories introduces us to characters on the shores of the Kinneret.

The Silhouette Of Braids (15mins) Dir Rotem Dimand, The Sam Spiegel Film and Television School, Jerusalem

Worth Every Penny (14mins)

For 50 years, a family archive was left in the dark, until Rotem persuaded her mother, Varda, to watch her childhood anew. he mm films shed light on past memories mixed with the present; of motherdaughter relationships.

Dirs Ilona Yudin, Paz Bernstein, Muli Asido, Erika Cumpton, Adam Magrala, Lara Buyom, Sarai Abergel, Yael Solomonovich, Guy Livna, Noy Friman, Sapir Academic College

Tom (16mins) Dir Rotem Katz, The Steve Tisch School of Film and Television, Tel Aviv University

An animated documentary based on posts written by users of online sex forums, and by testimonies of women in the sex industry.

Iris goes on an agonising journey in the middle of the night, which, for the first time, may gi e her some peace of mind.

Elka is a new immigrant to Israel who is not good at keeping her mouth shut. During the Shabbos Kallah for her best friend, she tries to prove her value — especially as a sex expert.

(Right) Christie isn’t Coming Back

www.screendaily.com

Worth Every Penny

Tom

July 30-31, 2018 Screen International at Jerusalem 9

REVIEWS Reviews edited by Fionnuala Halligan finn.halligan@screendaily.com

BlacKkKlansman Reviewed by Tim Grierson

Wildlife Reviewed by Tim Grierson In Wildlife, a sensitive teen tries to maintain his equilibrium within a dysfunctional family. That setup could not be more familiar, but Paul Dano’s confident directorial debut sports the same qualities that he always brings to his own performances: it is intelligent, understated and guardedly emotional. Based on Richard Ford’s novel, the film is a wonderful showcase for Carey Mulligan as a fed-up mother, but it also provides rising star Ed Oxenbould with a chance to play a young man who says little but observes intensely.

After premiering at Sundance before a global festival rollout, Dano’s film has picked up good notices for Mulligan’s star turn, alongside Jake Gyllenhaal in a supporting role. Set in 1960s Montana, Wildlife concerns Joe (Oxenbould), who has come to town with his long-suffering mother Jeanette (Mulligan) and restless father Jerry (Gyllenhaal), who keeps moving the family in search of job opportunities. But after he is fired from his gig at a golf course, Jerry reluctantly accepts risky work on a fire-fighting crew battling a blaze in nearby forests, keeping him away from home for weeks.

Dano, who co-wrote the adaptation, quickly focuses his attention on the relationship Joe has with his mother, who treats him like a co-conspirator. With Jerry gone, she starts talking candidly to Joe about her worries over her husband’s infidelity. Suddenly, Jeanette reveals a more assertive, liberated personality that is a by-product of both her anger at Jerry for abandoning the family and her rising suspicion that she is trapped in a bad marriage.

As the passive Joe, Oxenbould displays an impressive ability to seem tranquil while hinting at the underlying anxiety of having to grow up fast and serve as an unofficial referee between his parents. While Oxenbould is muted, Mulligan is electric. As a 34-year-old feeling regret about a thankless life of domesticity, the Oscar-nominated actress captures desperation and pent-up sexual desire.

Aided by Diego Garcia’s crisp, clean cinematography, Dano grounds this emotionally tricky story in measured tones. As a director, Dano prefers static camera setups and uncluttered frames, emphasising the mundane nature of the drama, which only allows the increasing darkness of this tale to become more upsetting.

10 Screen International at Jerusalem July 30-31, 2018

GALA US. 2018. 104mins Director Paul Dano Production companies Magic Child, Sight Unseen Pictures, Nine Stories Productions International sales FilmNation, nyoffice@ filmnation.com Producers Alex Saks, Paul Dano, Oren Moverman, Ann Ruark, Jake Gyllenhaal, Riva Marker Screenplay Paul Dano and Zoe Kazan, based on the book by Richard Ford Production design Akin McKenzie Editing Matthew Hannam, Louise Ford Cinematography Diego Garcia Music David Lang Main cast Carey Mulligan, Ed Oxenbould, Jake Gyllenhaal, Bill Camp

A movie of raw anger and sadness, BlacKkKlansman uses a 1970s case in which a black detective infiltrated the Ku Klux Klan to shine an ugly light on the racism still roiling America. It is no surprise that director Spike Lee prefers a hammer to a scalpel for this real-life drama, but his righteous fury is supplemented with a mature thoughtfulness that gives the proceedings the grim weight of history. Led by strong performances from John David Washington and Adam Driver, BlacKkKlansman is sobering, darkly funny, uneven and impossible to ignore.

Based on the memoir of longtime policeman Ron Stallworth, the film stars Washington as Ron, who joins the Colorado police force where he quickly volunteers for a daring operation. He wants to infiltrate the local Ku Klux Klan, which would seem impossible since he is black. But Ron has a bold notion: he will talk to the Klan members by phone, and then have his more experienced white partner Flip (Driver) meet them in person.

Race relations have often been at the core of Lee’s best work, and in a sense BlacKkKlansman is a continuation of the debate started in Do The Right Thing. In both films, Lee asks what is the best way for black people to confront intolerance: through peaceful resistance within the system or through violent revolution from without? What is moving about BlacKkKlansman is how this struggle is manifested within Ron, who is the one black cop on the force and believes he is making a difference, despite the fiery rhetoric of a Black Power advocate (Laura Harrier), with whom he is smitten, who argues that he is merely a pawn who has sold out.

Lee focuses on the parallels between then and now, particularly in Topher Grace’s convincingly slimy performance as KKK Grand Dragon David Duke, who was a rising figure at the time and remains inspirational for his racist followers. Even if Lee hits too hard on the connections between his film’s milieu and America’s current racial woes, the lack of subtlety can feel like a tonic.

Working with his regular composer Terence Blanchard, who drapes the film in melancholy tones and majestic swirls, BlacKkKlansman sees Lee outraged by but also grieving for his nation, whose cultural richness is undercut by such deep-rooted racial disharmony.

GALA, THE JEWISH EXPERIENCE US. 2018. 128mins Director Spike Lee Production companies Focus Features, Legendary Pictures, Perfect World Pictures, QC Entertainment, Blumhouse, Monkeypaw, 40 Acres And A Mule Filmworks International sales Focus Features, melody. holmes@nbcuni.com Producers Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, Spike Lee, Shaun Redick Screenplay Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee, based on the book Black Klansman by Ron Stallworth Production design Curt Beech Editing Barry Alexander Brown Cinematography Chayse Irvin Music Terence Blanchard Main cast John David Washington, Adam Driver, Topher Grace, Corey Hawkins, Laura Harrier, Ryan Eggold, Jasper Pääkkönen, Paul Walter Hauser, Ashlie Atkinson, Alec Baldwin, Harry Belafonte

www.screendaily.com

» Wildlife p10 » BlacKkKlansman p10 » Season Of The Devil p11

» Juliet, Naked p11 » Red Cow p13 » To The Ends Of The World p12 » Let The Corpses Tan p13 » Virgins p12

Juliet, Naked Reviewed by Tim Grierson

Season Of The Devil Reviewed by Jonathan Romney Music, dreams and the fantastic have featured before in the work of prolific Filipino auteur Lav Diaz, but he pushes these elements to new limits in Season Of The Devil. It is almost entirely sung, with Diaz’s own a capella compositions giving a melancholic, haunting, somewhat Brechtian register to a drama rooted in the violent abuses of the Marcos regime.

A female voiceover establishes that the action takes place in 1979 and is based on real events. The background is the creation, under president Ferdinand Marcos, of the Civilian Home Defense Force, paramilitary units designed to quell insurgency among the population. At the start, two leaders of such a unit — a crophaired female soldier (Hazel Orencio) and a man with a scarred face (Joel Saracho) — vow to use myth and superstition to exercise their reign of terror.

Much of the film follows their brutal actions in a remote village called Ginto, where an idealistic young woman, Lorena Haniway (Shaina Magdayao), goes to set up a village clinic. She leaves behind her poet husband Hugo (Piolo Pascual) who falls to pieces in her absence and hits the bottle, kept company throughout the narrative by another woman (Bituin Escalante), named in the credits as ‘Kwentista’ — storyteller in Tagalog — who functions as a sort of Greek chorus figure.

Eventually, Hugo rouses himself to travel to Ginto, where the paramilitary is terrorising the village under the ostensible command of a monstrous puppet leader, Chairman Narciso (Noel Sto Domingo), who delivers unsubtitled harangues in a Hitlerian shriek, and has a second face at the back of his head, a la Voldemort.

Working up to a series of violent climaxes, the film is described by Diaz as a ‘rock opera’, although ‘folk opera’ might be closer to the mark. The songs are rueful and lyrical, and recur throughout with variation. They are also hypnotically incantatory.

Devil’s ostensibly realistic narrative occasionally yields to the realm of nightmare, as with the number ‘Talampunay Blues’ (referring to a plant with narcotic properties) during which Lorena is drugged and raped.

The black-and-white photography by Diaz regular Larry Manda is magnificent as ever.

www.screendaily.com

INTERNATIONAL COMPETITION Phil. 2017. 234mins Director/screenplay/ editing/music Lav Diaz Production companies Globe Studios, Epicmedia Productions Inc, Sine Olivia Pilipinas International sales Films Boutique, contact@ filmsbouti ue.com Producers Bianca Balbuena, Bradley Liew Production design Popo Diaz Cinematography Larry Manda Main cast Piolo Pascual, Shaina Magdayao, Pinky Amador, Bituin Escalante, Hazel Orencio, Noel Sto Domingo

GALA

A woman finds herself torn between two immature men in Juliet, Naked, a likeable comedy that consistently inches away from the more thoughtful, resonant film it could be.

Rose Byrne is appealing as a sympathetic, patient person finally sensing she deserves more from her life. But for a film that critiques men’s inability to let go of childish things, this cutesy adaptation of the Nick Hornby novel feels a bit like a fantasy version of how adulthood really is.

Byrne plays Annie, who has long been involved with Duncan (Chris O’Dowd), a huge fan of niche singer/songwriter Tucker Crowe (Ethan Hawke) who has long disappeared from public view. When a never-before-heard demo of Tucker’s old work surfaces, Duncan is ecstatic, but Annie writes a dismissive review, prompting the reclusive Tucker to email her to say he agrees with her assessment.

Soon an unlikely pen-pal correspondence develops between Annie and Tucker, who find themselves sharing things with one another they cannot tell anyone in their regular lives. The irony, of course, is that Annie soon becomes closer to her boyfriend’s idol than he has ever been. And for a while, the film has a little fun showing how these mismatched individuals form a bond, Annie becoming interested in this songwriter while Duncan starts to drift away, unaware of her connection to Tucker.

But while each of the three leads is engaging, there is an unreality about Juliet, Naked that director Jesse Peretz (Our Idiot Brother) never reconciles satisfyingly. The most glaring problem in this regard is the film’s conception of Tucker. Though not unfathomable, the fact no one has been able to track down the musician for decades seems like a stretch — especially considering, as we will learn, he has been busy having children with different women, which would presumably bring more attention his way.

Additionally, the movie’s examination of fandom lacks insight or inventiveness. Hornby’s novel High Fidelity brilliantly X-rayed a certain kind of (male) obsessive pop-culture adoration that is merely glanced over glibly here. And as for the budding feelings between Annie and Tucker, the back-and-forth correspondence that takes place while she is in the UK and he is in the US is sweet and playful but does not establish enough of a rapport to justify what is to come.

UK. 2018. 97mins Director Jesse Peretz Production companies Los Angeles Media Fund, Bona Fide, Apatow Productions International sales Rocket Science, os@rocket-science.net Producers Albert Berger, Ron Yerxa, Barry Mendel, Judd Apatow, Jeffrey Soros Screenplay Tamara Jenkins, Jim Taylor, Phil Alden Robinson, Evgenia Peret . Based on the novel

by Nick Hornby Production design Sarah Finlay Editing Sabine Hoffman, Robert Nassau Cinematography Remi Adefarasin Music Nathan Larson Main cast Rose Byrne, Ethan Hawke, Chris O’Dowd

July 30-31, 2018 Screen International at Jerusalem 11

REVIEWS

Virgins Reviewed by Wendy Ide

To The Ends Of The World Reviewed by Lisa Nesselson Love, longing, cruelty, revenge, grief and mercy are exquisitely evoked in To The Ends Of The World (Les Confins Du Monde), a ravishingly shot depiction of the bottomless insanity of war, set in Indochina in 1945. And the description “couldn’t be better” applies to Gaspard Ulliel’s portrayal of conflicted French soldier Robert Tassen, as it does to Gérard Depardieu’s turn as a French writer in exile.

Shot on 35mm anamorphic Scope, this powerfully draining film by Guillaume Nicloux (Valley Of Love) is stunning to look at and hard to shake. The political foundations of the harsh time depicted — colonial rule, Japanese designs on the territory, the independence movement led by Ho Chi Minh — are complex, but historical knowledge is not vital to grasp the motivations of various characters.

Having survived the massacre by the Japanese against the French that left 7,000 dead in March 1945, taciturn Tassen (Ulliel) is nursed back to health in wild terrain where beheadings and dismembering of enemies are not uncommon. He stumbles back to town and identifies himself as a soldier wishing to serve France. But what Tassen is really after is a crack at killing a bloodthirsty man named Vo Binh, who — we learn — he has excellent reason to hate.

In a bar, Tassen meets Saintonge (Depardieu), an enigmatic writer. Depardieu, in his third collaboration with Nicloux, establishes his character’s literal and figurative heft with just a few words of dialogue. Tassen is convinced that the only way to fight the enemy is to “turn” local prisoners who know the terrain. He pushes his commanders to let him have a unit made up of starving “gooks”. This may or may not be a good idea.

Tassen enjoys an at-first adversarial but later strong relationship with fellow soldier Cavagna (Guillaume Gouix). The staples of Europeans abroad in an exotic setting — smoking opium, for example — are visible, but Nicloux makes them feel both inevitable and fresh.

This knack also applies to the most disruptive aspect of Tassen’s existence, when he falls for the beautiful prostitute Mai (Lang-Khe Tran). Tassen cannot seem to fit both romance and revenge into his life and embarks on an odyssey rife with peril. Bursts of oft-dissonant music are highly effective at sustaining the ambient unease.

12 Screen International at Jerusalem July 30-31, 2018

MASTERS Fr-China-Bel. 2018.

103mins Director Guillaume Nicloux Production companies Les Films du Worso, Les Armateurs, Orange Studio, Scope Pictures, Rectangle Productions, Arena Films, Arches Films International sales Orange Studio, contact.orangestudio@ orange.com Producers Sylvie Pialat, Benoit Quainon Screenplay Guillaume Nicloux, Jérome Beaujour Production design Olivier Radot Editing Guy Lecorne Cinematography David Ungaro Music Shannon Wright Main cast Gaspard Ulliel, Guillaume Gouix, LangKhe Tran, Gérard Depardieu

The small Israeli seaside town of Kiryat Yam is, for teenagers like Lana (Joy Rieger), a stagnant backwater. A driftwood community that has washed up in the town remains there because there is nowhere else to go. Lana, however, has plans. Tel Aviv, with its throbbing nightlife and possibilities, is calling her. But when, in her boredom, Lana weaves a story to an itinerant reporter about a mermaid sighting, Kiryat Yam unexpectedly becomes the place to be.

Director Keren Ben Rafael captures the itchy restlessness of coming of age in a town where there is nothing to do, no trouble to get into. Despite a strong central performance and the mermaid plot wildcard, the inertia of life in Kiryat Yam makes for a slow-burning mood piece rather than a propulsive drama. This is the latest of a number of unconnected films that take the mermaid myth as a jumping-off point to explore female sexuality: Agnieszka Smoczynska’s The Lure and Lisa Brühlmann’s Blue My Mind are other notable recent examples.

The film’s title refers to 16-year-old Lana who, despite her swagger and precocious boasting, is impatient to lose her virginity. It also references the mermaid — the direct translation of the Hebrew word for mermaid is ‘virgin of the sea’. And finally, the title refers to the innocence required to believe the story in the first place, shared by Lana’s pre-teen cousin Tamar and by the elderly man whose mother claimed to have seen a mermaid from the boat that brought her to Israel.

In addition to the fish woman, there is another visitor to the town who is causing almost as much disruption.

Handsome charmer Tchipi (Michael Aloni) is a selfdescribed poet and free spirit, who quotes Dovlatov and scrapes a living by reporting on human-interest stories for a local newspaper. It is his article, taken from Lana’s mischievous tall tale, that triggers mermaid fever. Lana eyes him with interest, crushing the hopes of the local boy who pines for her from the sidelines. The opportunistic mayor, also the lover of Lana’s mother Irena, offers a $1m prize for conclusive proof.

Damien Dufresne’s striking cinematography casts an unforgiving eye over the disappointed seafront where Irena and her deserted cafe are slowly going bankrupt.

But it is when the lens turns to Lana, scowl breaking over her face like a wave, that the picture comes to life.

FEATURE COMPETITION Fr-Is-Bel. 2018. 90mins Director Keren Ben Rafael Production company Avenue B International sales Pyramide International, avalentin@pyramidefilms. com Producer Caroline Bonmarchand Screenplay Keren Ben Rafael, Elise Benroubi Editing Danielle Avizur, Frédéric Baillehaiche Cinematography Damien Dufresne Music Renaud Mayeur Main cast Joy Rieger, Evgenia Dodina, Michael Aloni, Manuel Elkaslassy Vardi, Rami Heuberger

www.screendaily.com

Let The Corpses Tan Reviewed by Allan Hunter

Red Cow Reviewed by Sarah Ward An Israeli orthodox Jewish settlement provides the setting for a teenager’s sexual awakening and ideological unravelling in Red Cow, a sensitive and assured first feature from Tsivia Barkai Yacov. The writer/director steps confidently into a community rarely explored on screen and relates the difficulties of being a young woman in a devout patriarchal system, while also relaying the complexity of burgeoning female desire and spinning a complicated queer romance.

The outsider status of 17-year-old Benny (Avigayil Koevary) is cemented from the outset, her androgynous name and blazing red hair standing out in her settlement home of Silwan in Palestinian east Jerusalem. Thanks to introductory intertitles that explain the significance of the feature’s title and its links to the Torah, audiences are attuned to the importance of her task caring for a newborn pure-red calf, and able to spot the parallels between the girl and the animal in her care. Although Benny and her extremist father Yehoshua (Gal Toren) might not realise it at first, both are beacons of change.

According to his beliefs, Yehoshua is convinced that salvation is now imminent. When Benny searches for her own faith beyond the community’s strict religious instructional classes and generally assisting her father, she finds it in a yearning for newcomer Yael (Moran Rosenblatt).

A fast friendship soon turns to nervous clandestine flirting, and then to passionate secret trysts. And yet, the intensity of Benny’s feelings surprises even her. “My body is on fire,” she tells Yael before things get physical.

It is with naturalism and nuance that Yacov, herself a native of an orthodox Jewish settlement, conveys the teen’s emotional state — a tempest of deeply felt urges that threaten to overtake her life, while also clashing with the teachings she is beginning to abandon and placing her in a precarious position should the affair be discovered. Benny’s growing distance from Yehoshua and what he represents is also handled with subtlety. It is a relationship fracturing with each passing moment, but with slow and ragged rather than sharp and definitive cuts.

In a savvy stroke of casting, standout debutante Koevary gives a performance first of internalised turmoil, then of uncontainable longing. Her chemistry with Toren is palpable, their glances, be it shared, searching or unrequited, saying everything their characters cannot.

www.screendaily.com

FEATURE COMPETITION, THE JEWISH EXPERIENCE Is. 2018. 90mins Director/screenplay Tsivia Barkai Yacov Production company Laila Films International sales Alma Cinema, sales@almacinema.com Producer Itai Tamir Production design Ehud Gutterman Editing Haim Tabakman Cinematographer Boaz Yehonatan Yacov Music Karni Postel Main cast Avigayil Koevary, Gal Toren, Moran Rosenblatt, Dana Sorin, Uri Hochman

PANORAMA

The combination of bullet-ridden corpses, stolen gold bullion and an intensely marketable title means that Let The Corpses Tan is halfway to the bank before it even begins. The film itself is not quite so commercial, as Belgian duo Hélene Cattet and Bruno Forzani follow up Amer (2009) and The Strange Colour Of Your Body’s Tears (2013) with another meticulously executed, obsessively stylised exercise in genre worship that quickly becomes overpowering.

The novel Let The Corpses Tan (Laissez Bronzer Les Cadavres) by Jean-Patrick Manchette and Jean-Pierre Bastid was first published in 1971, and the film pulls out all the stops to make it look and feel as if it belongs to that era.

Set over a sweltering July day in the Mediterranean, the plot revolves around Rhino (Stéphane Ferrara) and a ruthless gang who have stolen 250 kilos of gold bullion.

Their plan is to hide out in a ruined island retreat that belongs to world-weary painter Luce (Elina Löwensohn), and their presence is a balm to soothe her permanent state of boredom. The plan is complicated, however, by further unexpected arrivals, including two police officers.

A running gun battle ensues where bullets rip through clothes and flesh, loyalties shift constantly and only the wiliest are likely to survive.

The craftsmanship on display in Let The Corpses Tan is flawless. The editing is rapid fire, and there is a fondness for rotting flesh and the grotesque. The sound design allows you to hear every creak of a leather jacket and sizzle of a roasting pig. The screen is drenched in colour as a cigarette lighter explodes into action, or bullets shoot a dramatic rainbow of colours onto one of Luce’s canvases.

When someone is gunned down we often see ripped clothes, clouds of gold dust or showers of colour rather than flesh-and-blood wounds.

The edgy vibe is further enhanced by frequently stuttering back a brief moment in time to regard the same sequence from a different viewpoint. It really does have style to burn, a film of almost delirious excess.

Does it matter, then, that we don’t especially care for anyone? Maybe not. There is an intoxicating aspect of watching a team so single-minded and in control of their filmmaking technique. After a while, though, it does start to ring hollow.

Bel-Fr. 2017. 92mins Directors Hélene Cattet, Bruno Forzani Production companies Anonymes Films, Tobina Film International sales Bac Films, sales@bacfilms.fr Producers Eve Commenge, Francois Cognard Screenplay Hélene Cattet, Bruno Forzani based on the novel by Jean-Patrick Manchette, Jean-Pierre Bastid Editing Bernard Beets Cinematography Manuel Dacosse Main cast Elina Löwensohn, Stéphane Ferrara, Bernie Bonvoisin

July 30-31, 2018 Screen International at Jerusalem 13

World of locations MAY - OCTOBER 2018

World of locations

Showcasing the world’s f ilm, TV & commercial locations

Brought to you by

KFTV

KEMPS FILM TV VIDEO

Screen International, Broadcast, shots and KFTV

worldoflocations.com Find your latest location inspiration hello@canaryislandsfilm.com

World of locations

canaryislandsfilm.com

SCREENINGS Edited by Paul Lindsell

» Screening times and venues are correct at the time of going to press but subject to alteration.

paullindsell@gmail.com

MONDAY JULY 30 10:00 FLAVOR OF GREEN TEA OVER RICE

(Japan) Shochiku Co. 115mins. Dir: Yasujiro Ozu. Japanese (English and Hebrew subtitles).

In 1950s Tokyo, a sophisticated woman grows tired of her arranged marriage to a man focused on his work. A restored version of Yasujiro Ozu’s tender and insightful portrait of marriage.

JFF Classics Cinematheque 1

THE RAPE OF RECY TAYLOR

(US) Wide House.

91mins. Dir: Nancy Buirski. English (Hebrew subtitles).

Recy Taylor, a 24-yearold black mother and sharecropper, was gang raped by six white boys in 1944 Alabama. Common in Jim Crow South, few women spoke up in fear for their lives. Not Recy Taylor, who bravely identified her rapists.

This documentary tells her story.

In the Spirit of Freedom Cinematheque 3

10:30 AMBIGUOUS PLACES

(Japan) 93mins.

Dir: Akira Ikeda.

Japanese (English and Hebrew subtitles).

Konoko wakes up on a beach with an insect stuck to her head and sets off to find a barber who will remove it. What appears to be a quiet town turns into a surreal fantasy.

A bewildering Japanese comedy where Kafka meets Kaurismaki not too far from Kyoto.

Intersections Cinematheque 2

11:00 FERRANTE FEVER

(Italy) The Match Factory.

74mins. Dir: Giacomo Durzi. Italian (English and Hebrew subtitles).

Author Elena Ferrante has captivated millions of fervent fans since the www.screendaily.com

MONDAY JULY 30 12:30 REDEMPTION

(Israel) 104mins.

Dir: Joseph Madmony, Boaz Yehonatan Yacov.

Hebrew (English subtitles).

Menachem, a former frontman for a rock band,

is now religious. When his daughter is diagnosed with cancer, he must find a creative solution to fund the treatments.

Menachem reunites his band for one last tour.

African-American police officer notices an ad for the Ku Klux Klan and contacts the advertisers.

What starts out as a joke becomes an infiltration operation into the racist organisation.

Israeli Cinema Cinematheque 2

Gala Yes Planet 8

14:15

beginning of her career in the 1990s. But her true identity remains a mystery.

This documentary explores Ferrante’s oeuvre and attempts to identify what led to her success.

Panorama Lev Smadar

12:00 IL SHORTS I

90mins.

The annual Israeli Short Films Competition.

Israeli Cinema Cinematheque 3

12:15

but Qiao remains loyal.

IL SHORTS II

International Competition Cinematheque 1

101mins.

12:30 LETO

(Russia, France) Charades. 126mins.

Dir: Kirill Serebrennikov.

Russian, English (English and Hebrew subtitles).

A musical drama that traces Soviet musician Viktor Tsoy’s attempts to make it to the top while facing cultural and personal challenges.

Panorama Lev Smadar

ASH IS PUREST WHITE

(China, France) mk2.

150mins. Dir: Jia ZhangKe. Mandarin (English and Hebrew subtitles).

Qiao leaves home to try her luck in the big city. She falls in love with mafioso Bin. Their relationship is tempestuous

REDEMPTION See box, above

14:00

Israeli Cinema Cinematheque 3

14:45 HERE AND NOW

(Israel) 87mins.

Dir: Roman Shumunov.

Russian, Hebrew (Hebrew and English subtitles).

Andrey, a young immigrant, forms a hiphop band with his three best friends. When his family suffers a crisis, he must struggle to care for his sister, work and the band rehearsals.

Israeli Cinema Cinematheque 2

15:00

BLACKKKLANSMAN

SKATE KITCHEN

(US) Universal. 128mins.

Dir: Spike Lee. English (Hebrew subtitles).

In the early 1970s, an

(US) Charades. 106mins.

Dir: Crystal Moselle.

English (English and Hebrew subtitles).

Shy Camille joins Skate Kitchen — a New York posse of girl skateboarders.

For the first time she feels like she belongs, makes friends and has new and exciting experiences.

she suggested herself as a subject and it was accepted.

This is the result.

Debuts Lev Smadar

102mins.

TO THE ENDS OF THE WORLD

(France, China, Belgium) Orange. 103mins.

Dir: Guillaume Nicloux.

French (English and Hebrew subtitles).

1945, Indochina: French soldier Robert Tassen survives a massacre where his brother is killed. But his plans for revenge are swayed when he meets a local girl.

Masters Cinematheque 1

16:30 CHANTAL AKERMAN BY CHANTAL AKERMAN

(France) 64mins.

Dir: Chantal Akerman.

French (English subtitles).

When Chantal Akerman was invited to participate in a series on filmmakers portrayed by other filmmakers, all the directors she chose had already been picked by others. Jokingly

Chantal Akerman — Farewell Cinematheque 2

IL SHORTS III Israeli Cinema Cinematheque 3

PITY

(Greece, Poland) New Europe Film Sales.

99mins. Dir: Babis Makridis. Greek (English and Hebrew subtitles).

A lawyer is consoled as his wife lays unconscious.

But when her condition improves, he slowly deteriorates.

Panorama Yes Planet 8

17:15 SWEET COUNTRY

(Australia) Memento Films International.

113mins. Dir: Warwick Thornton. English, Arrernte (English and Hebrew subtitles).

In 1920s Australia, an Aboriginal farmhand kills a rancher in self-defence and escapes. The pursuit is a lesson for both sides in law and justice.

In the Spirit of Freedom Lev Smadar

July 30-31, 2018 Screen International at Jerusalem 15

»

SCREENINGS

race track taking care of an ageing horse named Lean On Pete. When he learns Pete is bound for slaughter, the two embark on an odyssey in search of a place to call home.

International Competition Lev Smadar

VIRGINS

(Israel, France, Belgium) Pyramide International.

90mins. Dir: Keren Ben Rafael. Hebrew (Hebrew and English subtitles).

The rumour of a mermaid sighting brings unexpected attention to the gloomy town of Kiryat Yam. A rebellious adolescent, her moody mother and her dreamy cousin will do anything to grasp at this opportunity.

MONDAY JULY 30 18:45 MY WAR HERO UNCLE

(Israel) 52mins.

Dir: Shaked Goren.

Hebrew (English subtitles).

Ami was killed in the 1967 War. Fifty years later, Shaked, the film’s

TOUCH ME NOT

(Romania, Germany, Czech Republic, Bulgaria, France) Doc & Film.

125mins. Dir: Adina Pintilie. English, German (English and Hebrew subtitles).

A therapeutic investigation of human sexuality.

International Competition Cinematheque 1

18:00 THE REAL ESTATE

(Sweden, UK) The Match Factory. 88mins.

Dir: Mans Mansson, Axel Petersen. Swedish (English and Hebrew subtitles).

After years of revelry, 68-year old Nojet returns to Stockholm where she has inherited an apartment building.

Discovering that blackmarket crooks have taken over the seventh floor, she wages war against them Panorama Cinematheque 2

18:30

director and Ami’s nephew, comes upon a family secret. In between visits to his grandma, Shaked seeks to uncover the truth behind Ami’s life and death.

Israeli Cinema Cinematheque 3

175mins. Dir: Abdellatif Kechiche. French, English (English and Hebrew subtitles).

A screenwriter spends the summer in his hometown.

He moves between beaches and bars, facing raw emotions and passions.

Masters Yes Planet 8

18:45 MY WAR HERO UNCLE See box, above

19:45 RED COW

(Israel) Alma Cinema.

91mins. Dir: Tsivia Barkai-Yacov. Hebrew (Hebrew and English subtitles).

As 17-year-old Benny’s extremist father becomes more and more obsessed with a red heifer that he believes will bring the redemption, she drifts further away and into the arms of Yael, a new young woman in her life.

Israeli Cinema Cinematheque 1

MEKTOUB, MY LOVE: CANTO UNO

WHAT WILL PEOPLE SAY

(France, Italy) Pathé.

(Norway, Germany,

16 Screen International at Jerusalem July 30-31, 2018

Sweden) Beta Cinema.

106mins. Dir: Iram Haq. Norwegian, Urdu (English and Hebrew subtitles).

Nisha tries to obey her Pakistani-emigre parents while leading the life of a normal teenager. When her father discovers her with a boyfriend, the two worlds collide and Nisha is sent to live in Pakistan.

In the Spirit of Freedom Lev Smadar

20:15

22:00 CLIMAX

(France) Wild Bunch.

96mins. Dir: Gaspar Noé.

French (English and Hebrew subtitles).

A group of dancers meets to rehearse for three days. On the last night they throw a wild party.

When things spiral out of control, the dance floor becomes a hell on Earth.

Masters Yes Planet 8

A POLAR YEAR

(France) Kinology.

94mins. Dir: Samuel Collardey. Inuktitut, Danish (English and Hebrew subtitles).

A Danish school teacher takes a position in a rural village in Greenland. He will need to learn the language to communicate with his students, while getting used to life in subzero temperatures.

LEAN ON PETE

(UK) 121mins. Dir: Andrew Haigh. English (Hebrew subtitles).

Charlie, 15, gets a job at a

Israeli Cinema Cinematheque 1

22:15 GIRL

(Belgium) The Match Factory. 105mins. Dir: Lukas Dhont. French, Flemish (English and Hebrew subtitles).

Fifteen-year-old Lara dreams of becoming a professional ballerina.

But the frustrations of adolescence intensify as she faces the challenges ballet imposes upon the body of one born male.

Debuts Cinematheque 3

LOVE ME NOT See box, below

TUESDAY JULY 31 10:00 GRASS

(South Korea) Finecut.

66mins. Dir: Hong Sangsoo. Korean (English and Hebrew subtitles).

In a remote alley in Seoul lies a cafe where guests sit and chat. As the hours pass, they mingle and get to know each other. A lone woman observes the others and records her thoughts.

Masters Cinematheque 1

ON HER SHOULDERS

(US) Cinephil. 94mins.

Dir: Alexandria Bombach. English, Kurdish, Arabic (English and Hebrew subtitles).

Nadia Murad leads a harrowing but vital crusade: to speak out on behalf of the Yazidi community who face mass extermination by Isis militants. Nadia is forced to revisit these realities, for without her testimony the genocide might go completely unnoticed.

In the Spirit of Freedom Cinematheque 2

10:15 EX-SHAMAN

(Brazil) Upside. 80mins.

Dir: Luiz Bolognesi.

Portuguese, Tupi (English and Hebrew subtitles).

An isolated tribe from Amazonia has been encroached by modernity

Panorama Cinematheque 2

AND BREATHE NORMALLY

(Iceland, Sweden, Belgium) The Match Factory. 102mins.

Dir: Isold Uggadottir.

Icelandic (English and Hebrew subtitles).

An encounter between Lara, a passport security officer, and Adja, a refugee from Guinea-Bissau, leads to a unique relationship that crosses cultural boundaries.

Debuts Cinematheque 3

MONDAY JULY 30 22:15 LOVE ME NOT

(Greece, France) Elle Driver. 99mins.

Dir: Alexandros Avranas. Greek (English and Hebrew subtitles).

A bourgeois couple accommodates their

carefree surrogate. The days pass in silence despite the wife’s attempts to befriend her. One night the husband takes a phone call and the horror begins.

Panorama Cinematheque 2

www.screendaily.com

Barkai-Yacov. Hebrew (Hebrew and English subtitles).

As 17-year-old Benny’s extremist father becomes more and more obsessed with a red heifer that he believes will bring the redemption, she drifts further away and into the arms of Yael, a new young woman in her life.

Israeli Cinema Cinematheque 2

15:30 THE REAL ESTATE

TUESDAY JULY 31 13:30 MADEMOISELLE PARADIS

(Austria, Germany) Playtime. 97mins.

Dir: Barbara Albert.

German, French (English and Hebrew subtitles).

Period drama inspired

by the life story of Maria Theresia von Paradis, a blind pianist in late 18th century Vienna. Treated by a ‘miracle’ healer, Maria soon discovers all is not what it appears to be.

Masters Lev Smadar

The rumour of a mermaid sighting brings unexpected attention to the gloomy town of Kiryat Yam. A rebellious adolescent, her moody mother and her dreamy cousin will do anything to grasp at this opportunity.

13:30 AMIN

since 1969. In the midst of this new world, an ex-shaman who was forced into Christianity struggles to cure the suffering people of his village, and faces the wrath of the forest spirits.

Panorama Cinematheque 3

11:00 MARY SHELLEY

(UK, Luxembourg, US) Hanway. 120mins. Dir: Haifaa Al-Mansour.

English (Hebrew subtitles).

Passionate and rebellious Mary Wollstonecraft finds a kindred spirit in poet Percy Shelley.

When tragedy strikes and the couple lose their baby daughter, Mary strikes back, finding the courage to transform her pain into the world’s first science-fiction novel, ‘Frankenstein’.

Dir: Santiago Caicedo.

Spanish (English and Hebrew subtitles).

Through the eyes of the youngest daughter in an unusual family from Quito, the ups and downs of two sisters’ adolescence unfolds.

Debuts Cinematheque 1

12:00 THE MISEDUCATION OF CAMERON POST

(US) Elle Driver. 90mins.

Dir: Desiree Akhavan.

English (Hebrew subtitles).

In 1993, a teenage girl is sent to a Christian boarding school to ‘treat’ her homosexuality. There, she forges a path through pseudo-psychological clichés.

(France) Pyramide.

91mins. Dir: Philippe Faucon. French, Wolof (English and Hebrew subtitles).

Amin leaves Senegal to work in France and sends money home to keep his family afloat.

On the job, he meets Gabrielle, a good-natured divorcee and the two develop a warm and loving relationship.

(Israel) Alma Cinema.

91mins. Dir: Tsivia

Masters Yes Planet 8

16:00 AUTOUR DE JEANNE DIELMAN

(France) 70mins.

Dir: Sami Frey. French (English subtitles).

A rare peek into the ‘making of ’ process of a most audacious film.

Chantal Akerman — Farewell Cinematheque 4

THEATRE OF WAR THE WILD PEAR TREE

(Turkey, France, Germany, Bulgaria, Macedonia, Bosnia & Herzegovina, Sweden) Memento Films International. 188mins.

Dir: Nuri Bilge Ceylan.

Turkish (English and Hebrew subtitles).

Sinan returns home to raise money for the publication of his first

See box, below

16:15 WILD KIDS

(Israel) 52mins. Dir: Tal Pesses. English, Russian, German (Hebrew and English subtitles).

Tucked away in an abandoned shelter, ‘Wild Kids’ creates surreal and fantastic characters. For these children of Russian

13:45 OBLIVION VERSES

VIRUS TROPICAL

Israeli Cinema Cinematheque 2

Debuts Yes Planet 8

www.screendaily.com

RED COW

IN MY ROOM

(Germany, Italy) The Match Factory. 119mins.

Dir: Ulrich Köhler.

German, English (English and Hebrew subtitles).

A rowdy 40-year-old Berlin photographer feels empty, until he awakens to discover that he is the only human being in the world.

See box, above

(Colombia, Ecuador) Stray Dogs. 97mins.

11:30

Masters Cinematheque 3

Panorama Lev Smadar

15:45

MADEMOISELLE PARADIS

(Israel, France, Belgium) Pyramide International.

90mins. Dir: Keren Ben Rafael. Hebrew (Hebrew and English subtitles).

Panorama Lev Smadar

VIRGINS

DONBASS

(Germany, Ukraine, France, Netherlands, Romania) Pyramide.

121mins. Dir: Sergei Loznitsa. Ukrainian, Russian (English and Hebrew subtitles).

Taking advantage of the raging war in Ukraine’s Donbass region, gangs perpetuate crime and the propaganda machine works incessantly.

International Competition Cinematheque 1

In the Spirit of Freedom Cinematheque 1

(France, Germany, Netherlands, Chile) Urban Distribution International. 92mins.

Dir: Alireza Khatami.

Spanish (English and Hebrew subtitles).

When a cemetery caretaker discovers the body of a young woman, he embarks on a surreal journey in search of the circumstances of her death.

International Competition Cinematheque 3

14:00

(Sweden, UK) The Match Factory. 88mins.

Dir: Mans Mansson, Axel Petersen. Swedish.

(English and Hebrew subtitles).

After years of revelry, 68-year old Nojet returns to Stockholm where she has inherited an apartment building.

Discovering that blackmarket crooks have taken over the seventh floor, she wages war against them

novel. But his parents’ relationship is on the rocks and his flamboyant father is deep in debt.

TUESDAY JULY 31 16:00 THEATRE OF WAR

(Argentina, Spain, Germany) Pascale Ramonda. 73mins. Dir: Lola Arias.

Spanish, English (English and Hebrew subtitles).

In 1982, Argentina and the UK fought over the Falkland Islands. Thirty-five years later, Lola Arias brings together six veterans, three from each side.

In the Spirit of Freedom Cinematheque 2

»

July 30-31, 2018 Screen International at Jerusalem 17

SCREENINGS

21:30 JONATHAN AGASSI SAVED MY LIFE

(Israel, Germany) 104mins. Dir: Tomer Heymann. Hebrew, English (English subtitles).

Jonathan Agassi is one of the world’s most successful gay porn stars. An intimate look at the world of porn and escorting, as well as a unique mother-and-son relationship.

Israeli Cinema Cinematheque 3

SHORT MATTERS I

96mins. Various languages (English subtitles).

International Shorts Cinematheque 4

21:45

TUESDAY JULY 31 immigrant artists, radical animation films are a refuge from a hostile world.

Israeli Cinema Cinematheque 3

17:30 INFINITE FOOTBALL

(Romania) mk2. 70mins.

Dir: Corneliu Porumboiu.

Romanian (English and Hebrew subtitles).

Follows a man whose life is dedicated to developing an alternative version of soccer.

In the Spirit of Freedom Cinematheque 2

SHORT MATTERS III

90mins. Various languages (English subtitles).

Short films nominated to the European Film Academy.

International Shorts Cinematheque 4

17:45 THE CRANES ARE FLYING

(Soviet Union) Mosfilm.

95mins. Dir: Mikhail Kalatozov. Russian (English and Hebrew subtitles).

With her fiancé on the battlefront, Veronika must go on with her routine and wait for a sign of life as the Second World War rages on.

JFF Classics Cinematheque 3

JOHN MCENROE: IN THE REALM OF PERFECTION

(France) Film

Constellation. 95mins.

Dir: Julien Faraut.

French, English (English and Hebrew subtitles).

Explores the parallels between tennis and cinema.

Panorama Lev Smadar

18:15

22:15 PIERCING

(US) Memento Films International. 81mins.

Dir: Nicolas Pesce.

English (Hebrew subtitles).

A father embarks on

LIFE ACCORDING TO AGFA

a fake business trip to purge his darkest desires. When he meets the call girl he plans on murdering, he finds a kindred creative sadist.

Panorama Yes Planet 8

NICO, 1988

(Italy, Belgium) Celluloid Dreams. 95mins. Dir: Susanna Nicchiarelli.

English (English and Hebrew subtitles).

Chronicle of the last year in the life of legendary rock star Nico.

Panorama Yes Planet 8

19:00 L’ANIMALE

(Austria) Films Boutique.

100mins. Dir: Katharina Mueckstein. German (English and Hebrew subtitles).

Mati hangs out with a reckless motorbike gang.

When she gets close to one of their victims, she faces a dilemma. At the same time, problems at home come to a head.

Debuts Cinematheque 2

19:15 WORKING WOMAN

(Israel) 93mins. Dir: Michal Aviad. Hebrew (Hebrew and English subtitles).

Orna, an ambitious young mother, aspires to succeed at her new job without

18 Screen International at Jerusalem July 30-31, 2018

paying the price that her boss demands.

Israeli Cinema Cinematheque 1

19:30 SHORT MATTERS II

94mins. Various languages (English subtitles).

International Shorts Cinematheque 4

19:45 AGA

(Bulgaria, Germany, France) Beta Cinema.

96mins. Dir: Milko Lazarov. Yakut. (English and Hebrew subtitles).

In icy northern Siberia, Nanook and Sedna struggle to maintain their traditional ways.

While Nanook refuses to acknowledge their estranged daughter, Aga, Sedna misses her desperately.

International Competition Lev Smadar

20:00 DIARY OF MY MIND

(Switzerland) 70mins.

Dir: Ursula Meier.

French (English and Hebrew subtitles).

A teacher asks her students to document their daily lives. One boy’s account references a crime that ends with his parents’ deaths.

Masters Cinematheque 3

20:15 JULIET, NAKED

(UK, US) 97mins.

Dir: Jesse Peretz. English (Hebrew subtitles).

The unlikely relationship between a British woman and the American rock star her boyfriend admires.

Gala Yes Planet 8

21:00 JAMILIA

(Israel) 100mins. Dir: Assi Dayan. Hebrew (English subtitles).

Over the course of a night, mythological characters in Israeli society gather in a small Tel Aviv pub.

JFF Classics Cinematheque 1

21:45 THELMA

(Norway, France, Denmark, Sweden) Memento Films International. 116mins.

Dir: Joachim Trier.

Norwegian, Swedish (English and Hebrew subtitles).

An introverted student from a religious background faces her burgeoning sexuality and the telekinetic superpowers it entails.

Masters Lev Smadar

22:15 PIERCING See box, above

22:45

(Kyrgyzstan) 84mins.

Dir: Aminatou Echard.

Kirghiz, Uzbek, Russian, English, French (English and Hebrew subtitles).

‘Jamilia’, the Soviet-Kyrgyz novel from 1958, became a Soviet classic even though the main character broke all the rules. This film takes us to Kyrgyzstan to meet women who talk about their lives and desires.

(France, Mexico) Kinology.

100mins. Dir: Yann Gonzalez. French (English and Hebrew subtitles).

In late 1970s Paris, Anne, a gay porn producer, sets out to make her most ambitious film, but when the lead actor is murdered, her life takes an overwhelming turn.

Panorama Cinematheque 2

Panorama Cinematheque 2

KNIFE+HEART

Jerusalem Cinematheque, 11 Hebron Road, 91083 Editorial Editor Matt Mueller, matt. mueller@screendaily.com, +44 7880 526 547 Reporters Melanie Goodfellow, melanie.goodfellow@ btinternet.com, +44 7460 470 434 Tom Grater, tom.grater@ screendaily.com, +44 7436 096 420 Reviews editor and chief film critic Fionnuala Halligan, finn. halligan@screendaily.com Features editor Louise Tutt, tuttlouise@ gmail.com Group head of production and art Mark Mowbray, mark. mowbray@screendaily.com Group art director Peter Gingell Sub editors Willemijn Barker-Benfield, Paul Lindsell, Tim Mawdsley Advertising Publishing director Nadia Romdhani, nadia.romdhani@ screendaily.com Commercial director Scott Benfold, scott. benfold@screendaily.com International sales consultants Gunter Zerbich, gunter. zerbich@screendaily.com, +44 7540 100 254 Hettie Halden, hettie. halden@screendaily.com Ingrid Hammond, ingridhammond@mac. com President, North America Nigel Daly, nigeldalymail@ gmail.com Sales and business development executive, North America Nikki Tilmouth, nikki. screeninternational@ gmail.com Production manager Jonathon Cooke, jonathon. cooke@mb-insight.com, +44 7584 333 148 Chief executive, MBI Conor Dignam Published by Media Business Insight Ltd (MBI) Zetland House, 5-25 Scrutton Street, London, EC2A 4HJ United Kingdom Subscriptions help@subscribe. screendaily.com

www.screendaily.com

BOOK YOUR ADVERTISING NOW Contact Gunter Zerbich

+44 7540 100254

gunter.zerbich@screendaily.com