Katalog Liffe 2016

Uvodnik Foreword

Videti, ne gledati Seeing, Not Looking Simon Popek V desetih letih vodenja Liffa sem se nau~il marsi~esa, predvsem pa "branja", "tipanja", "opazovanja" in "poslu{anja". Zakaj navednice? [tiri vrline so z vsakdanjim ~love{kim zaznavanjem povezane samo toliko, kolikor izpolnjujejo vlogo senzori~nih dražljajev. Med pripravami na vsakoletni festivalski dogodek namre~ sku{am brati ob~instvo in njegova pri~akovanja, za~utiti utrip sodobnih estetskih smernic, izostriti ~ut za približevanje ezoterike {ir{emu ob~instvu. Skratka, {iriti filmsko kulturo v ~asu, ko nekateri film povezujejo s pogrebom. Kar se v kulturnem okolju ne dogaja prvi~; smrt so filmu razgla{ali `e v za~etku petdesetih let ob dvigu televizije, pa v sedemdesetih ob prvih odlo~nih korakih videa in tako naprej, vse do digitalne dobe s preloma tiso~letja. Kot bi nekdo hotel re~i, da je bilo sto let filma povsem dovolj, zdaj naj se dostojanstveno umakne. Kam? In predvsem komu? Malemu ekranu, tabli~nim ra~unalnikom in zaslonom mobilnih naprav?

Ti nosilci avdiovizualnih vsebin so gotovo u~inkoviti za instantno potro{njo, vsi jih uporabljamo, ampak užitki ob sprejemanju so {e vedno najbolj siloviti, ko imamo opravka z "arhai~nimi" mediji.

Ki se vra~ajo, morda ne skozi glavna vrata, a dovolj zaznavno, da pridejo do ljudi, ki ho~ejo uživati. Ste že sli{ali za galerijo ali muzej, ki bi ju zaprli, ker da so olja na platnu poskenirana in digitalno dostopna prek spleta? Zgodba o ponovnem uveljavljanju vinilnih plo{~ in tiskanih knjig v razmerju do digitalnih nosilcev je že nekaj ~asa znana. Pri filmu je zadeva malce druga~na, saj ob digitalnem snemanju ne moremo ve~ govoriti o nepravem odnosu do "digi" vsebin. Film je v 21. stoletju digitalen in tak{en bo pove~ini verjetno ostal. Kar ni problemati~no; v tem zapisu ne malikujem 35mm filmskega traku, pa~ pa kinematografsko izku{njo oziroma – ~e se oprem na komercialno logiko get your money's worth – pravico potro{nika, "da dobi tisto, za kar je pla~al". Govorim o pravici odjemalca, da polno dojame/užije vsebino, ki si jo je ustvarjalec zamislil. Kar se lahko zgodi le pred kinematografskim platnom. Logika je potemtakem preprosta: ni dovolj gledati, treba je videti.

2

Over the past ten years, my first decade of performing the role of the Festival Director, I've learnt many things, including how to 'read', 'feel', 'observe' and 'listen.' Why the quotation marks?

The four qualities are associated with ordinary human perception only as far as performing the role of a sensory stimulus. In programming each annual festival I seek to read the minds of cinemagoers and envision their expectations, feel the pulse of contemporary aesthetic trends, make every endeavour to promote public appreciation of the esoteric subjects. In short, foster film culture at a time when cinema is regarded by some as a dying breed. Which is nothing new; film was pronounced dead already in the early 1950s with the advent of television, and then in the 1970s with the emergence of the video spot, and so forth, all until the turn of the millennium and the digital area. As if someone wanted to say that one centennial is quite enough, now cinema should step aside with dignity. To where? And to be replaced by what? The small screen, tablets and mobile devices?

These audiovisual content carriers have doubtlessly proven relevant to instant consumption, we all use them, however, the experience is all the more pleasurable and intense when provided by the 'archaic' media. And these have been making a comeback; although not dramatically so they are still sought by appreciative audiences. Is there such a thing as a gallery or a museum that has been closed and the oil paintings scanned and now digitally available online? The reaffirmation of vinyl records and printed books with reference to digital carriers has been happening for a while now. The matter is different when it comes to film: at a time of digital cinematography one can no longer talk about an improper treatment of the digital content.

Filmmaking has become digital in the twenty-first century and it will remain such, with some minor exceptions. Which is not problematic; I do not wish to worship the 35mm film but the cinematographic experience, or – quoting the "get your money's worth" commercial logic –, the consumers' right "to get what they've paid for." I am talking about the customer’s right to fully experience the content created by the artist. Which can only happen in a movie theatre. Accordingly, the logic is simple: it requires seeing, not merely looking.

@irije, nagrade Juries, Awards

Nagrada vodomec (sklop Perspektive) – mednarodna `irija Kingfisher Award (the Perspectives section) – International Jury Jelka Stergel Bila je pobudnica mednarodnega filmskega festivala Liffe in do 2006 njegova direktorica, leta 1998 je ustanovila tudi Festival dokumentarnega filma. V preteklosti je bila med drugim tudi predsednica nadzornega sveta Filmskega sklada RS, direktorica 10. Festivala slovenskega filma in ~lanica `irij na {tevilnih filmskih festivalih. Trenutno je zaposlena na Slovenskem filmskem centru, je programska direktorica Festivala evropskega in mediteranskega filma v Piranu in predstavnica Slovenije v upravnem odboru Eurimages.

Jelka Stergel The initiator of the Ljubljana International Film Festival and then its director until 2006. In 1998 she also founded the Documentary Film Festival. She was the President of the Supervisory Board of the Slovenian Film Fund, the director of the 10th Festival of Slovenian Film, and a jury-member at several other film festivals. She is working for the Slovenian Film Centre, also as the Programme Director at the Festival of European and Mediterranean Film in Piran. She is also the Slovenian representative in the Management Board of Eurimages.

Mariola Wiktor Poljska filmska novinarka, festivalska selektorica in umetni{ka svetovalka je ~lanica Evropske filmske akademije in zdru`enja FIPRESCI. Diplomirala je iz poljske filologije in kulturnih {tudijev na Univerzi v Lod`u. Sodeluje s filmskimi revijami, kot so Kino, Kamera, Film & TV, Magazyn Filmowy SFP, in mese~niki Pani, Twoj Styl, Zwierciadlo, Harper's Bazaar. Prejela je {tipendijo za {tudij na kolid`u Wolfson v britanskem Cambridgeu in je avtorica kulturne televizijske oddaje Kram z Muzami. Zadnjih sedem let deluje kot programska in umetni{ka direktorica Foruma evropskega filma Cinergia v Lod`u.

Mariola Wiktor Film journalist, festival programmer and artistic consultant from Poland is a member of European Film Academy and FIPRESCI. She graduated from Polish Philology and Cultural Studies at the University of Lodz. Cooperates with film magazines Kino, Kamera, Film & TV, Magazyn Filmowy SFP and monthly magazines Pani, Twoj Styl, Zwierciadlo, Harper's Bazaar. She is a holder of a journalism scholarship at the Wolfson College in Cambridge UK and the author of the cultural TV programme Kram z Muzami (A Stall with Muses). Last seven years she had held the position of the Programme and Artistic Director of the Forum of European Cinema Cinergia in Lodz.

Pjer @alica Rojen leta 1964 v Sarajevu, Bosna in Hercegovina. Na sarajevski Akademiji scenskih umetnosti je diplomiral iz re`ije. Med obleganjem Sarajeva je ostal v mestu in tam posnel dokumentarni film MGM Sarajevo: ~lovek, Bog, Monstrum (1994), pozneje pa {e druge filme na temo vojne v Bosni. Je dobitnik {tevilnih mednarodnih nagrad, najbolj znan je po igranih filmih Gori!

(2003) in Pri stricu Idrizu (2004) ter po glasbenem dokumentarcu Orkester (2011).

Nagrada FIPRESCI mednarodna `irija FIPRESCI Prize International Jury

4

Pjer @alica Born in 1964 in Sarajevo, Bosnia and Herzegovina. He graduated from the Sarajevo Academy of Performing Arts in film directing.

During the siege of Sarajevo he stayed in the city and made a documentary film, MGM Sarajevo: Man, God, Monster (1994), to be followed by other films addressing the Bosnian war. He is the recipient of several international awards, and has gained widespread renown with his narrative feature films, including Fuse (2003) and Days and Hours (2004), and the musical documentary Orchestra (2011).

Zmaj – nagrada ob~instva Dragon – Audience Award

@irije, nagrade Juries, Awards

Nagrada za najbolj{i kratki film – mednarodna `irija Best Short Film Award – International Jury Ur{ka Djuki} Deluje kot re`iserka in monta`erka. [tudirala je medijsko umetnost na Visoki {oli za umetnost Univerze v Novi Gorici. Njen diplomski film Prvi dan v slu`bi (2011) je bil povabljen na Bienale mladih ustvarjalcev Evrope in Sredozemlja. Z eksperimentalnim filmom Rabbit Hole je leta 2012 zastopala Slovenijo na World Event Young Artists v Nottinghamu. Njen magistrski igrano-animirani film z naslovom Mulci (2014) je na evropski filmski tr`nici v Clermont Ferrandu kupila ameri{ka televizija Eurochannel. Leta 2016 je posnela kratki igrani film Dober tek, `ivljenje!, ki prepleta fikcijo z animiranimi komentarji, in zanj prejela nagrado vesna za najbolj{i kratki film na 19. Festivalu slovenskega filma.

Hans Christian Leitich Odra{~al na Dunaju obkro`en z zgodbami o starih ~asih filma, zaradi ~esar je razvil vse`ivljenjski zanos za filmsko zgodovino.

Kot najstnik je prejel prve izku{nje kot kritik in kurator, {tudiral zgodovino umetnosti in arhitekturo. Med letoma 2000 in 2013 je bil kulturni urednik derStandard.at, mdr. pi{e tudi ~lanke za orf.at in ray-magazin.at. Sodeloval je pri razli~nih katalogih.

Dolgoletni sodelavec avstrijskih filmskih festivalov Diagonale in Crossing Europe.

Vladimir Seput Filmski kritik in prevajalec iz Zagreba. Magistriral je iz ~e{kega in francoskega jezika ter knji`evnosti na Fakulteti za humanisti~ne in dru`bene {tudije v Zagrebu ter doktoriral iz filmske teorije na Univerzi Pariz 8. Prevaja iz franco{~ine in je avtor {tevilnih esejev o filmu.

Ur{ka Djuki} Film director and editor. Studied Media Art at the School of Arts, University of Nova Gorica. Her graduation film, Prvi dan v slu`bi (First Day at Work, 2011), entered the Biennale of Young Artists from Europe and the Mediterranean. Her experimental film, Rabbit Hole, represented Slovenia at the 2012 World Event Young Artists in Nottingham. The narrative animated film Mulci (Kids, 2014), made to obtain MA degree, was purchased

by Eurochannel at the European film marketplace in ClermontFerrand. In 2016, her short film Dober tek, `ivljenje! (Bon Appétit, La Vie) won the Vesna Award at the 19th Slovenian Film Festival.

Hans Christian Leitich Grew up in Vienna surrounded by tales of the old cinema business, resulting in a lifelong interest in film history. First experiences in criticism and curating as a teenager, studies in history of art and architecture. 2000–2013 cultural editor at derStandard.at, over the years articles also for orf.at and raymagazin.at, among others. Various catalogue works. Long-time collaboration with the Austrian film festivals Diagonale and Crossing Europe.

Vladimir Seput Film critic and translator from Zagreb, Croatia. He holds an MA in Czech and French Language and Literature from the Faculty of Humanities and Social Sciences in Zagreb and has completed a research doctorate in film theory at the University Paris 8. He is a translator from French to Croatian as well as an author of numerous essays on cinema studies.

Mladinska žirija Kinotrip Kinotrip Youth Jury

5

6

Perspektive Perspectives

24 Wochen 24 Weeks 24 tednov Nem~ija Germany 2016

Anne Zohra Berrached re`ija/directed by Anne Zohra Berrached scenarij/screenplay Anne Zohra Berrached, Carl Gerber fotografija/cinematography Friede Clausz glasba/music Jasmin Reuter monta`a/editing Denys Darahan igrajo/cast Julia Jentsch (Astrid), Bjarne Mädel (Markus), Johanna Gastdorf (Beate), Emilia Pieske (Nele), Maria Dragus (Kati) producenti/producers Melanie Berke, Tobias Büchner, Thomas Kufus produkcija/production zero one film Lehrter Str. 57 10557 Berlin, Germany E office�zeroone.de & ZDF & Filmakademie Baden-Württemberg format/format DCP, barvni/colour dol`ina/running time 102' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2016

prodaja/world sales Beta Cinema Gruenwalder Weg 28d 82041 Oberhaching, Germany E beta�betacinema.com distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Dru`beno provokativen, a hkrati intimen portret sodobne `enske, ujete v dilemo odlo~itve o `ivljenju ali smrti {e nerojenega bitja.

Socially provocative yet intimately penetrating portrait of a modern woman facing the tough decision about the life or death of her unborn child.

Astrid je uspe{na komedijantka, ki prek TV-zaslonov zabava milijone gledalcev. Zasebno `ivljenje zadovoljno deli s producentom in mo`em Markusom ter devetletno h~erko, zato ji nova nose~nost ne povzro~a preglavic. Z novico, da se lahko njun drugi otrok rodi z resno okvaro, se mladi par spoprime pogumno in optimisti~no, a z vsakim tednom se poraja ve~ vpra{anj. Bosta kos otrokovim posebnim potrebam? Kako bo to vplivalo na njeno uspe{no pot? Po napornih pogovorih in iskrenem soo~enju z vsemi strahovi Astrid spozna, da mora odlo~itev, ki bo usodno zaznamovala `ivljenje nje in njenih najdra`jih, sprejeti sama.

Astrid is a comedian who makes people laugh for a living; her husband Markus is her manager and the two of them work well together. They have a nine-year-old daughter and are expecting their second child. When they learn that it will not be born healthy, they are at first optimistic that they will be able to meet this challenge. But the closer it gets to the due date, the more Astrid begins to worry about the future of her unborn child as well as that of her career. After many discussions and arguments Astrid realises that the decision that will affect all their lives must be made by her alone.

"@enske pred nami so se trdo borile za pravico do odlo~anja o svojem telesu. Velika dobrina. Vendar poleg novega medicinskega napredka ta razvoj lahko prinese tudi nepredvidljive odlo~itve.

Zagotoviti moramo, da se ne zgodi samo tisto tehni~no mogo~e, temve~ tudi kar si resni~no `elimo." (Anne Zohra Berrached)

"The women before us have fought hard for their right to decide over their own bodies. A great value. But along with the new medical advances this progress can also confront us with unforeseeable decisions. We need to make sure that what happens is not only what is technically possible, but what we really want." (Anne Zohra Berrached)

Anne Zohra Berrached

filmografija/filmography

Rojena leta 1982 v Erfurtu v nekdanji Nem{ki demokrati~ni republiki. Po {tudiju socialne pedagogike je v Londonu delala kot u~iteljica igre. Med {tudijem na filmski akademiji Baden-Württemberg je re`irala odmeven kratki dokumentarni film Heilige & Hure, drama 24 tednov pa je njen prvi film.

2010 2012 2012 2012 2013 2013 2016

Born in Erfurt, GDR, in 1982. After studying social pedagogy she worked as a drama teacher in London. During her studies at the Baden-Württemberg Film Academy she directed Saint & Whore which screened at festivals worldwide. 24 Weeks is her feature-length debut.

10

Der Pausenclown (kratki/short) Mars Venus Venus Mars Hunde wie wir (kratki/short) Heilige & Hure (Saint & Whore) (kratki dok./doc. short) Zwei Mütter (Two Mothers) Rechte Hand (The Right Hand) (kratki/short) 24 Wochen (24 Weeks/24 tednov)

Perspektive Perspectives

Aquarius Aquarius Aquarius Brazilija, Francija Brazil, France 2016

Kleber Mendonça Filho

Psiholo{ka vojna za stanovanje med nepremi~ninskim podjetjem in osamelo vdovo v izvrstni upodobitvi brazilske filmske dive Sonie Braga.

Psychological war for a flat waged between a real estate company and a lonesome widow brilliantly portrayed by the diva of Brazilian cinema, Sonia Braga.

65-letna vdova Clara, upokojena glasbena kriti~arka, je vedno `ivela lagodno. Zdaj je zadnja stanovalka Aquariusa, dvonadstropne stavbe v presti`ni obmorski soseski v Recifeju, zgrajeni v {tiridesetih letih. Vsa sosednja stanovanja je `e pokupilo podjetje, ki ima z ozemljem, na katerem stojijo, druge na~rte.

Clara ne namerava zapustiti stanovanja – zanj se je pripravljena boriti do konca. Pogajanja s podjetjem Claro spravljajo ob `ivce, a v njeno dnevno rutino vna{ajo tudi nekaj malega vznemirljive napetosti. Obenem jo dogajanje prisili k razmi{ljanju o njenih bli`njih ter o preteklosti in prihodnosti.

Clara, a 65-year-old widow and retired music critic, has always lived a life of leisure. She is the last resident of the Aquarius, an original two-story building, built in the 1940s, in the upperclass, seaside neighbourhood in Recife. All the neighbouring apartments have already been acquired by a company which has other plans for that plot. Clara has pledged to only leave her place upon her death, and will engage in a cold war of sorts with the company. This tension both disturbs Clara and gives her that edge on her daily routine. It also gets her thinking about her loved ones, her past and her future.

"Spominjam se, kako sem spremljal usodo hi{e in njenih lastnikov.

Ko so se prebivalci izselili, se je nekega dne pojavila tabla, ki je oznanjala gradnjo nove stavbe. Nekaj mesecev pozneje sem ob prihodu domov zagledal buldo`er, kako naklada ostanke hi{e, ki je tam stala ve~ desetletij. Ru{enje je trajalo samo nekaj ur. Ta proces rad uporabim pri svojih filmih, pri~anje o spremembi skozi stali{~e posameznika. V filmu Aquarius Clara postopoma ugotovi, kaj se dogaja z njenim prostorom in osebnim okoljem."

(Kleber Mendonça Filho)

"I recall observing the evolving destiny of a house and its owners.

Having seen the occupants move out, I saw a sign go up one day, announcing the construction of a new building. A few months later, I got home to find a bulldozer clearing the land where that house had stood for decades. It had taken barely a few hours to demolish it. I like to apply this process to my films, testifying to change through a viewpoint linked to an individual life. And so, in Aquarius, little by little, Clara grasps what is happening to her space and her personal environment." (Kleber Mendonça Filho)

Kleber Mendonça Filho

filmografija/filmography

Rojen leta 1968 v Recifeju, Brazilija, kjer `ivi {e danes. Po diplomi je delal kot novinar razli~nih brazilskih ~asopisov. V devetdesetih letih je posnel ve~ dokumentarcev in kratkih eksperimentalnih filmov, 2012 pa {e igrani celov~erec [umi soseske. Z naslednjim filmom Aquarius se je leta 2016 uvrstil v tekmovalni program canskega festivala.

1997 2002 2004 2005 2007 2008 2009 2012 2015

Born in 1968 in Recife, Brazil, Kleber Mendonça Filho continues to live in his hometown. After graduating from college, Mendonça Filho worked as a journalist for various Brazilian newspapers. In the 1990s, he made several documentaries and experimental shorts, and in 2012 directed his debut feature, Neighboring Sounds. Aquarius screened in competition at the 2016 Cannes Film Festival.

re`ija/directed by Kleber Mendonça Filho scenarij/screenplay Kleber Mendonça Filho fotografija/cinematography Pedro Sotero, Fabricio Tadeu monta`a/editing Eduardo Serrano igrajo/cast Sonia Braga (Clara), Maeve Jinkings (Ana Paula), Irandhir Santos (Roberval), Humberto Carrão (Diego), Zoraide Coleto (Ladjane), Fernando Teixeira (Geraldo), Buda Lira (Antonio), Paula De Renor (Fátima), Bárbara Colen (Clara leta 1980/Clara in 1980), Daniel Porpino (Adalberto & Rodrigo), Pedro Queiroz (Tomás), Carla Ribas (Cleide), Germano Melo (Martin) producenti/producers Émilie Lesclaux, Saïd Ben Saïd, Michel Merkt produkcija/production SBS Films 29 Rue Danielle Casanova 75001 Paris, France E contact�sbs-productions.com & CinemaScópio Produções (Brazil) format/format DCP, barvni/colour dol`ina/running time 142' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016, Sydney 2016, München/Munich 2016

prodaja/world sales SBS International 29, rue Danielle Casanova 75001 Paris, France E s.borchjacobsen�sbs-productions. com

Enjaulado (kratki/short) A Menina do Algodão (kratki/short) Vinil Verde (kratki/short) Eletrodoméstica (kratki/short) Friday Night Saturday Morning (kratki/short) Critico (dokumentarni/documentary) Recife Frio (kratki/short) O Som ao Redor (Neighboring Sounds/[umi soseske) A Copa do Mundo no Recife (dokumentarna TV-serija/documentary TV series) 2016 Aquarius

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

11

Perspektive Perspectives

Dobra `ena A Good Wife Dobra `ena Mirjana Karanovi}

Srbija, Bosna in Hercegovina, Hrva{ka Serbia, Bosnia and Herzegovina, Croatia 2016

re`ija/directed by Mirjana Karanovi} scenarij/screenplay Mirjana Karanovi}, Stevan Filipovi}, Darko Lungulov fotografija/cinematography Erol Zub~evi} glasba/music Dejan Pejovi} monta`a/editing Lazar Predojev igrajo/cast Bojan Navojec (Dejan), Mirjana Karanovi} (Milena), Hristina Popovi} (Nata{a), Jasna Djuri~i} (Suzana), Ksenija Marinkovi} (Zlata), Boris Isakovi} (Vlada) producentka/producer Sne`ana Penov produkcija/production This and That Productions Kneza Danila 12 Belgrade, Serbia E snezana�thisandthat.rs format/format DCP, barvni/colour dol`ina/running time 90' festivali/festivals Sundance 2016, Crossing Europe 2016, Göteborg/Gothenburg 2016

prodaja/world sales Films Boutique Köpenicker Straße 184 10997 Berlin, Germany E info�filmsboutique.com

Celove~erni prvenec priznane srbske igralke Mirjane Karanovi}, dognan psiholo{ki portret `enske, ki nepri~akovano odkrije resnico o preteklosti svojega navidez popolnega mo`a.

The full-length feature debut by acknowledged Serbian actress Mirjana Karanovi} is a subtle psychological portrayal of a woman who accidentally discovers the truth about her seemingly perfect husband's past.

Milena je petdesetletna `ena in mati, z udobnim `ivljenjem v enem presti`nej{ih predmestij Beograda. Neguje svoj videz, se videva s prijateljicami ter predano skrbi za svojega mo`a in dru`ino. A po~asi se v njeno urejeno `ivljenje pritihotapi neprijetna resnica: nekega dne med pospravljanjem stanovanja naleti na videoposnetek, ki pri~a o grozovitih zlo~inih njenega mo`a med nedavno vojno v Bosni in Hercegovini.

Milena is a fifty-year-old wife and mother ensconced comfortably behind a gate in an upscale suburb of Belgrade. She quietly tends to her looks, dutifully cooks and entertains, and meets her friends. But unsettling realities are beginning to seep into Milena's consciousness and disrupt her ordered world. One day while cleaning, she happens upon a videotape that incriminates her husband in horrific war crimes.

"Razmi{ljala sem o `enski, ki je v resnici ljubljena `ena enega od vpletenih v vojne operacije v Bosni. Posku{ala sem jo razumeti, ugotoviti, kaj se plete v njeni glavi, saj sem bila vsa vojna leta popolnoma druga~ne oseba od nje. Bila sem dejavna, dajala sem intervjuje, bila sem protivojna aktivistka s {tevilnimi govori.

Zato gre za zgodbo o povpre~ni `enski srednjih let, ki nikoli ni podvomila o svojem `ivljenju, nikoli globlje razmi{ljala o ozadju njenega lagodnega `ivljenja." (Mirjana Karanovi})

"I started thinking about the woman who actually is the beloved wife of one of the people involved in the war operations in Bosnia. I tried to understand that person, tried to figure out what’s going on in her head, because all through the years of the conflict I was completely different from her. I was active, I gave interviews, I was an anti-war activist, I made a lot of speeches.

That’s why it's the story about an average middle-aged woman who never questioned her life, and never had strong thoughts about what was behind her well-being." (Mirjana Karanovi})

Mirjana Karanovi}

filmografija/filmography

Rojena leta 1959 v Beogradu. Je ena najvidnej{ih srbskih igralk, ki je v svoji karieri odigrala {tevilne pomembne vloge v filmih Balkana, mednarodni sloves pa ji je prinesla glavna vloga v filmu Grbavica Jasmile @bani}. Film Dobra `ena je njen re`ijski prvenec, ki je bil premierno predvajan na festivalu Sundance.

2016 Dobra `ena (A Good Wife/Dobra `ena)

Born in 1959 in Belgrade, Karanovi} is a Serbian actress known for many important roles in Balkan films. She has gained international recognition for her role in Jasmila @bani}'s Grbavica: The Land of My Dreams. A Good Wife, her directorial debut, premiered at the 2016 Sundance Film Festival.

12

Perspektive Perspectives

Ne gledaj mi u pijat Quit Staring at My Plate Ne glej mi v kro`nik Hrva{ka, Danska Croatia, Denmark 2016

Hana Ju{i}

V siloviti hrva{ki drami re`iserske debitantke Hane Ju{i} mlado dekle po dru`inski tragediji prevzame krmilo dru`inske celice.

The attention-grabbing Croatian drama, feature-film debut by Hana Ju{i}, spotlights a young girl taking charge as the head of her family.

Marijanino `ivljenje se vrti okrog njene dru`ine, pa naj ji bo to v{e~ ali ne. Vsi `ivijo skupaj, stisnjeni v majhnem stanovanju, in gredo eden drugemu na `ivce. Nekega dne pa o~e do`ivi infarkt in ostane priklenjen na posteljo, zato mora Marijana prevzeti polo`aj dru`inskega vodje. Da bi stvari delovale, mora zdaj opravljati dve slu`bi, medtem ko ji njena mati in invaliden brat nista posebej v pomo~. Ko se Marijana znajde na robu `iv~nega zloma, poi{~e uteho v spolnih odnosih z neznanci, a ji to zgolj vzbudi `eljo po novih izkustvih. Odlo~itev, kaj bo storila z vso to novo svobodo, se izka`e za sila te`ko preizku{njo.

Marijana's life revolves around her family, whether she likes it or not. They live on top of one another in a tiny apartment, driving one another crazy. Then her controlling father has a stroke and is left completely bedridden, and Marijana takes his place as head of the clan. Soon, she is working two jobs to keep everything afloat, while her mother and disabled brother do their best to scupper the ship. Driven to the edge, Marijana finds comfort in seedy sex with random strangers; and this taste of freedom leaves her wanting more. But now that she has finally found freedom, what’s she meant to do with it?

"Slog filma se giblje med rabelaisovsko grotesko in psiholo{kim realizmom – moji liki so animalisti~ni in svojstveni, vendar s ~ustveno globino in pravimi te`avami. Po eni strani sem se sku{ala izogniti pastem zna~ilne dru`bene melodrame; zgodba je polna ~rnega humorja in malce izkrivljena, vendar moji liki niso enodimenzionalne karikature in ne `elim, da bi se gledalec ~ustveno odtujil od Marijane niti da bi dru`inski ~lani spominjali na {ablonske negativce." (Hana Ju{i})

"The style of the film hovers between Rabelaisian grotesque and psychological realism – my characters are animalistic and quirky, but with emotional depth and real conflicts. On the one hand I have tried to avoid the pitfalls of a typical social melodrama; the story has a lot of dark humour and it is slightly twisted, but my characters are not flat caricatures, and I do not want the viewer to be emotionally detached from Marijana, nor for her family to resemble cartoon villains." (Hana Ju{i})

Hana Ju{i}

filmografija/filmography

Rojena leta 1983 v [ibeniku, Hrva{ka. Na Akademiji dramskih umetnosti v Zagrebu je diplomirala iz filmske in televizijske re`ije, ima pa tudi diplomo iz primerjalne knji`evnosti in angle{~ine. Posnela je ve~ kratkih filmov, ki so bili prikazani na mednarodnih filmskih festivalih. Ne glej mi v kro`nik je njen celove~erni prvenec.

2010 2011 2012 2012 2013 2016 2016

Born in 1983 in [ibenik, Croatia, Ju{i} obtained a degree in film- and TV directing at the Academy of Dramatic Arts in Zagreb. She also graduated in comparative literature and English language. She has written and directed several short films and documentaries which have screened at international festivals. Quit Staring at My Plate is her feature-film debut.

re`ija/directed by Hana Ju{i} scenarij/screenplay Hana Ju{i} fotografija/cinematography Jana Ple}a{ glasba/music Hrvoje Nik{i} monta`a/editing Jan Klemsche igrajo/cast Mia Petri~evi} (Marijana), Nik{a Butijer (Zoran), Arijana ^ulina (Vjera), Zlatko Buri} (Lazo), Karla Brbi} (An|ela) producentka/producer Ankica Juri} Tili} produkcija/production Kinorama Bogoslava [uleka 29 10000 Zagreb, Croatia E info�kinorama.hr & Beofilm (Denmark) & Hrvatska radiotelevizija (Croatia) format/format DCP, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2016 – Dnevi avtorjev/Venice Days

prodaja/world sales New Europe Film Sales Czerniakowska 73/79 2nd Floor, Room 5 00–718 Warsaw, Poland E kat�neweuropefilmsales.com

Pametnice (Smart Girls) (kratki/short) Zimica (Chill) (kratki/short) Mu{ice, krpelji, p~ele (Gnats, Ticks and Bees) (kratki/short) Terarij (Terrarium) (kratki/short) Kratki spojevi (Short Circuits) (segment) Da je ku}a dobra i vuk bi je imao (No Wolf Has a House) (kratki/short) Ne gledaj mi u pijat (Quit Staring at My Plate/Ne glej mi v kro`nik)

13

Perspektive Perspectives

Porto Porto Porto Gabe Klinger

re`ija/directed by Gabe Klinger scenarij/screenplay Gabe Klinger, Larry Gross fotografija/cinematography Wyatt Garfield glasba/music Emahoy Tsegué-Maryam Guèbrou monta`a/editing Gabe Klinger igrajo/cast Anton Yelchin (Jake Kleeman), Lucie Lucas (Mati Vargnier), Francoise Lebrun (mama/mother), Paulo Calatre (Joao Monteriro Oliveira), Florie Auclerc-Vialenc (Blanca) producenti/producers Gabe Klinger, Julie Snyder, Rodrigo Areias, Sonia Buchman, Nicolas De La Mothe, Todd Remis produkcija/production Bando a Parte Rua Padre Augusto Borges de Sá 4810-015 Guimares, Portugal E bando�bandoaparte.com & Double Play Films & Gladys Glover & Madants format/format super 8 mm, 16 mm, 35 mm, barvni/ colour dol`ina/running time 75' festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 2016

Portugalska, Francija, ZDA Portugal, France, USA 2016

No~no sre~anje mladega Ameri~ana in Francozinje sredi s strastmi razgretega portugalskega mesta. Ena zadnjih vlog tragi~no preminulega Antona Yelchina.

A life-changing one-night encounter in Porto between a young American and a French woman. One of the last roles of the tragically killed Anton Yelchin.

Mladi ameri{ki izseljenec Jake in nekaj let starej{a Francozinja Mati si delita spomine na kratko in strastno no~no sre~anje v portugalskem Portu. Skrivnostni delci spominov in z njimi prebujenih ~ustev razkrivajo globine ~love{ke zavesti in ponujajo svojevrsten pogled na dojemanje ~asa. Film inovativno vzporeja razli~ne filmske formate: super osmi~ko, 16- in 35-milimetrski filmski trak.

Young American expatriate Jake and a slightly older French woman, Mati, once experienced a brief and passionate connection in the northerly Portuguese city of Porto. A mystery remains about the moments they shared, and in searching through memories, they relive the depths of a night uninhibited by the consequences of time. Porto innovatively combines diverse film formats, the Super 8, as well as the 16 mm and 35 mm films.

"Dokumentarno proti igranemu? Ustvarjanje igranega celove~erca je druga~no, ker si mora{ stvari izmi{ljati, namesto da bi jih samo opazoval in dokumentiral. Obstaja prava meja med dokumentarno in pripovedno filmsko umetnostjo in menim, da zato zahtevata razli~ne osebnosti. Le redki se lahko lotijo obojega z uspehom.

Kon~no za~enjam razumeti, zakaj ta meja obstaja. Fant, tako velik izziv je, najprej ustvariti nekaj iz ni~ in zatem to v glavi vizualizirati, preden se mora{ spoprijeti z materialnimi omejitvami."

(Gabe Klinger)

prodaja/world sales New Europe Film Sales Czerniakowska 73/79 00–718 Warsaw, Poland E jan�neweuropefilmsales.com

Gabe Klinger

filmografija/filmography

Rojen leta 1982 v São Paulu. Pri {estih letih se je iz Brazilije preselil v ZDA, kjer se je uveljavil kot filmski ustvarjalec, kritik, kurator in predavatelj.

Pou~eval je na univerzah v Illinoisu in v Chicagu. Njegov celove~erni dokumentarni prvenec Double Play: James Benning and Richard Linklater mu je leta 2013 prinesel nagrado na bene{kem filmskem festivalu.

2013 Double Play: James Benning and Richard Linklater (dok./doc.)

2016 Porto

Born in 1982 in Sao Paulo, critic, teacher, archivist, curator, and filmmaker Klinger has lived in the US since the age of six. He has taught film studies at the University of Illinois and Columbia College in Chicago. His feature documentary, Double Play: James Benning and Richard Linklater, won the Lion Award for Best Documentary on Cinema at the Venice Film Festival.

14

"Documentary vs. fiction? Making fiction feature is so different while you have to invent things as opposed to just observing and documenting things. There's a real schism between documentary filmmaking and narrative filmmaking and I think because of that it takes different personalities. There are very few people who can do both and do both well, and I’m finally starting to understand that, why that schism exists. Man, but it's so challenging, first of all to create something from scratch and then to visualise that in your head before you have to face the material constraints of it."

(Gabe Klinger)

Perspektive Perspectives

The Transfiguration The Transfiguration Preobrazba ZDA USA 2016

Michael O'Shea

Neodvisni prvenec Michaela O'Shee je vampirski film, ki namesto na posebne u~inke stavi na realizem in shrljivo ozra~je.

Michael O'Shea's independent feature-film debut, vampire movie The Transfiguration employs realism and visceral thrills rather than special effects.

Queens, New York. [tirinajstletni Milo je izob~enec. Sirota.

So{olci ga ignorirajo, starej{i otroci ga nadlegujejo, zato zavetje najde v stanovanju, ki ga deli s starej{im bratom. Da bi ube`al osami, se zate~e v svet vampirjev. Milo nosi tema~no skrivnost, a sre~anje z novo sosedo Sophie v njem vzbudi nova ~ustva. Bo to dovolj za potla~itev njegovih tema~nih nagonov?

Queens, New York. 14-year-old Milo is an outsider. Orphaned, ignored by his school-mates and bullied by older kids, he takes refuge in the apartment he shares with his older brother. To escape his solitude, he immerses himself in the world of the vampire. Milo hides a dark secret, but a chance encounter with a new neighbour, Sophie, leads him to develop new feelings. But is this enough to quash his dark urges?

"Mislim, da `ivimo v svetu, v katerem je pop kultura nekoliko zamenjala vero. Ne `elim trditi, da religijo potrebujemo, morda izra`am mnenje, da se vsi stra{no bojimo smrti in je nekaj narobe z dejstvi, da so bili vampirji ustvarjeni za poduk ~loveku o naravnosti smrti. Menim, da se je s~asoma to spremenilo in so vampirji postali romanti~ne upodobitve dobrih stvari. Mislim, da naj bi nas vampirji nau~ili, da moramo umreti, saj druga~e postanemo po{asti. Postane{ stra{en in pije{ kri. Odvraten si in to te pou~i, da je dobro umreti." (Michael O'Shea)

re`ija/directed by Michael O'Shea scenarij/screenplay Michael O'Shea fotografija/cinematography Sung Rae Cho glasba/music Margaret Chardiet monta`a/editing Kathryn J. Schubert igrajo/cast Eric Ruffin (Milo), Chloe Levine (Sophie), Dangelo Bonneli (Kevin), Andrea Cordaro (Sophiejina prijateljica/Sophie's friend), Larry Fessenden (pijani mo{ki/drunken man), Danny Flaherty (Mike), Anna Friedman (Stacey) producenta/producers Susan Leber, Billy Mulligan produkcija/production Transfiguration Productions 332 Bleecker St. 10014 New York, USA E transfigurationfilm�gmail.com & Susie Q Productions (USA) format/format DCP, barvni/colour dol`ina/running time 97' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 – Posebni pogled/Un Certain Regard, Deauville 2016

"I do think that we live in a world where pop culture has replaced religion to some degree. While I'm not saying that we need religion, maybe I am making some kind of comment that we're all terrified of death and that there is something wrong with the facts that vampires were created to teach us that death is natural. I feel that somewhere along the line that changed and vampires became a romantic figure of a good thing. I think vampires are supposed to teach us that we should die because you become a monster if you don't die. You become horrible and drink blood. You're disgusting and that’s teaching you it's good to die." (Michael O'Shea)

Michael O'Shea

filmografija/filmography

Rojen v Brooklynu, New York (ZDA). Odra{~al je v Queensu. Film je {tudiral na Konservatoriju za gledali{ke umetnosti in film na Dr`avni univerzi v New Yorku. Njegov kratki film Milo je bil osnova za celove~erni prvenec Preobrazba, ki ga je posnel v doma~em Queensu. S tem neodvisnim in nizkoprora~unskim prvencem se je presenetljivo uvrstil na filmski festival v Cannesu.

2014 Milo (kratki/short) 2016 The Transfiguration (Preobrazba)

prodaja/world sales Protagonist Pictures 42–48 Great Portland Street London W1W 7NB, UK E vanessa�protagonistpictures.com

Born in Brooklyn, New York, O'Shea grew up in Queens where The Transfiguration is set. He studied film at the SUNY Purchase Conservatory of Theater Arts & Film. His short film, Milo, was based on the screenplay for The Transfiguration, his first feature. O'Shea’s independent and low-budget film debut screened at the Cannes Film Festival.

15

Perspektive Perspectives

La tortue rouge The Red Turtle Rde~a `elva Francija, Japonska, Belgija France, Japan, Belgium 2016

Michaël Dudok de Wit re`ija/directed by Michaël Dudok de Wit scenarij/screenplay Pascale Ferran, Michaël Dudok de Wit glasba/music Laurent Perez Del Mar monta`a/editing Céline Kélépikis producenti/producers Pascal Caucheteux, Vincent Maraval, Grégoire Sorlat, Toshio Suzuki produkcija/production Why Not Productions 3 rue Paillet 75005 Paris, France E contact�whynotproductions.fr & Wild Bunch (France) & Studio Ghibli (Japan) & CN4 Productions (France) & Arte France Cinema (France) & Belvision (Belgium) format/format DCP, barvni/colour dol`ina/running time 80' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (posebna nagrada `irije Posebni pogled/Un certain regard Special Jury Prize)

Celove~erni animirani prvenec oskarjevca Michaela Dudoka de Wita in nasploh prva mednarodna koprodukcija slovitega japonskega studia Ghibli.

The feature-length animated film debut by Academy Awardwinner Michael Dudok de Wit and notable Japanese Studio Ghibli's first-ever international co-production.

Mo{ki do`ivi brodolom in se znajde na tropskem otoku, ki ga naseljujejo `elve, raki in ptice. Sprva se posku{a vrniti v prej{nji svet s splavom iz bambusovih palic. Toda pot mu venomer prekri`a ogromna rde~a `elva, ki vsaki~, ko se odpravi na morje, uni~i njegovo plovilo. Zakaj mu `elva ne pusti oditi?

Popolnoma brezdialo{ki animirani film nas skozi kombinacijo risanih in digitalnih tehnik animacije ter s pomo~jo bogate palete vzhodnja{kih in zahodnih slikovnih vplivov zapelje v zgodbo o prelomnih trenutkih v `ivljenju ~love{kega bitja.

A story of a man shipwrecked on a tropical island inhabited by turtles, crabs and birds. At first, the man tries to make his way back to the world he left behind, building a raft from long bamboo poles and setting out to sea – only to be obstructed by a massive red turtle nearly as big as himself, which demolishes the vessel every time he reaches a certain distance from the shore. Why doesn't the sea turtle want him to leave? By blending drawing and digital animation techniques and deriving inspiration from the rich palette of Eastern and Western painting traditions, the dialogue-free animated film recounts the milestones in the life of a human being.

"Film zgodbo pripoveduje linearno in kro`no. Uporablja ~as za podajanje njegove odsotnosti, kot glasba lahko poudari ti{ino.

Prav tako govori o resni~nosti smrti. ^lovekova te`nja je kljubovati smrti, se je bati in se ji upirati, kar je tako zdravo kot naravno.

Vendar lahko obenem intuitivno spoznamo prelepo dejstvo, da smo ~isto `ivljenje in nam smrti ni treba nasprotovati. Upam, da film izra`a to ob~utje." (Michael Dudok de Wit)

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E sales�wildbunch.eu distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Michael Dudok de Wit

filmografija/filmography

Rojen 1953 v mestu Abcoude na Nizozemskem. Leta 1978 je s filmom The Interview diplomiral na Univerzi za kreativne umetnosti v Veliki Britaniji.

S svojim najbolj znanim kratkim filmom Father and Daughter je leta 2001 osvojil oskarja za najbolj{i kratki film, nagrado BAFTA, veliko nagrado v Annecyju in vrsto drugih nagrad. De Wit tudi pi{e in ilustrira otro{ke knjige ter u~i animacijo po {olah v Angliji in v tujini.

1992 1994 2000 2006 2016

Born in 1953 in Abcoude, The Netherlands. In 1978, he graduated from the University for the Creative Arts with his first film, The Interview. In 2001, his most well-known film, Father and Daughter, won an Academy Award for Best Short Film, a BAFTA Award, the Grand Prix at Annecy, and dozens of other major awards. De Wit also writes and illustrates children's picture books and teaches animation at art colleges in England and abroad.

16

"The film tells the story in both a linear and circular manner. And it uses time to relate the absence of time, like music can enhance silence. This film also speaks of the reality of death. Man has a tendency to oppose death, to fear and fight against it, and this is both healthy and natural. Yet we can simultaneously have a beautiful and intuitive understanding that we are pure life and that we don't need to oppose death. I hope the film conveys that feeling." (Michael Dudok de Wit)

Tom Sweep (kratki/short) Le moine et le poisson (The Monk and the Fish) (kratki/short) Father and Daughter (kratki/short) The Aroma of Tea (kratki/short) La tortue rouge (The Red Turtle/Rde~a `elva)

Perspektive Perspectives

Slava Glory Slava Kristina Grozeva, Petar Val~anov

Bolgarija, Gr~ija Bulgaria, Greece 2016 re`ija/directed by Kristina Grozeva, Peter Val~anov scenarij/screenplay Kristina Grozeva, Petar Val~anov, De~o Tarale`kov fotografija/cinematography Krum Rodriguez glasba/music Hristo Namliev monta`a/editing Petar Val~anov igrajo/cast Stefan Denoljubov, Margita Go{eva producenta/producers Kristina Grozeva, Petar Val~anov produkcijaa/production Abraxas Film Zaharna fabrika bl. 21 1345 Sofia, Bulgaria E abraxasfilm�abv.bg & Graal Films format/format DCP, barvni/colour dol`ina/running time 101'

Dru`benokriti~na drama s politi~nim pridihom – intriganten, tragikomi~en portret skorumpirane in ~love{kega dostojanstva oropane Bolgarije.

Ko `elezni{ki delavec Cnako Petrov na tirih najde vre~o denarja, se odlo~i najdeno bogastvo kot po{ten dr`avljan predati policiji.

V zahvalo ga ministrstvo za promet nagradi z novo ro~no uro, ki pa kaj kmalu neha te~i. Medtem Julia Staikova, arogantna vodja slu`be za odnose z javnostmi na ministrstvu, izgubi njegovo staro uro. Na tej to~ki se Cnako iz obupa odlo~i za vsako ceno dobiti nazaj staro uro – in dostojanstvo!

"U~na ura je prvi film v trilogiji, Slava drugi. Navdih sva dobila pri ~asopisnem naslovu. To je osnova; obstaja dru`bena prvina, ki jo v obeh zgodbah razvijava, in tudi v tretji bo. /…/ Vzameva povr{inske drobce zgodb, na katere naletiva. Povr{insko plast zgodbe, zapleta ali ideje iz resni~nega `ivljenja. Zatem ustvarjava, si zami{ljava, izoblikujeva podrobnosti, ne iz resni~nega prototipa, temve~ iz, kako bi se izrazila ... {tevilnih drugih stvari."

(Kristina Grozeva, Petar Val~anov)

The socially-critical drama with political undertones is an intriguing and tragicomical portrayal of Bulgarian society crippled by corruption and robbed of common human decency.

When Tsanko Petrov, a railroad worker, finds millions of lev on the train tracks, he decides to turn the entire amount over to the police. Grateful, the state rewards him with a new wristwatch... which soon stops working. Meanwhile, Julia Staikova, the head of PR for the Ministry of Transport, loses his old watch. Here starts Petrov's desperate struggle to get back not only his old watch, but his dignity.

"The Lesson is the first film of three, Glory is the second. The inspiration came from a newspaper title. That's the base of this; there is a social element that is built in both stories, and there will be one in the third one. /…/ We just take the superficial parts of the stories we find. The superficial level of the story, of the plot, or of the idea from real life. After that we create, we imagine, we make the details, not from the real prototype but, how to say,... from many other things." (Kristina Grozeva, Petar Valchanov)

Kristina Grozeva, Petar Val~anov

filmografija (izbor)/filmography (selection)

Grozeva (roj. 1976) in Val~anov (roj. 1982) sta {tudirala filmsko re`ijo na Akademiji za gledali{~e in film v Sofiji. Skupaj sta posnela nekaj kratkih filmov, za katere sta prejela {tevilne ugledne nagrade na razli~nih mednarodnih filmskih festivalih (Clermont-Ferrand, Busan, Bruselj). Film Slava je njun drugi celove~erec.

K. G.: 2004 To{ka i To{ko (kratki/short) 2006 Igra (Game) (kratki/short) 2008 Ptitzi bozhii (Birds of Heaven)(kratki/short) 2010 Avarijno katzane (kratki/short) 2014 Urok (The Lesson/U~na ura) 2016 Slava (Glory/Slava) P. V.: 2004 Vazkresenje (kratki/short) 2005 Uloveni (kratki/short) 2010 Avarijno katzane (kratki/short) 2012 Skok (Jump) (kratki/short) 2014 Urok (The Lesson/U~na ura) 2016 Slava (Glory/Slava)

Grozeva (1976) and Valchanov (1982) studied Film Directing at the NATFA Academy for Theatre and Film Arts in Sofia, Bulgaria. Their shorts have been awarded at several major international festivals, including ClermontFerrand, Bussan and Brussels. Glory is their second feature film.

festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2016

prodaja/world sales Wide Management 9, rue Bleue 75009 Paris, France E infos�widemanagement.com

17

Perspektive Perspectives

Shavua Ve Yom One Week and a Day Teden in en dan Izrael Israel 2016

Asaph Polonsky re`ija/directed by Asaph Polonsky scenarij/screenplay Asaph Polonsky fotografija/cinematography Moshe Mishali glasba/music Ran Bagno monta`a/editing Tali Helter-Shenkar igrajo/cast Sharon Alexander (Shmulik Zooler), Shai Avivi (Eyal Spivak), Evgenia Dodina (Vicky Spivak), Uri Gavriel (Refael), Carmit Mesilati Kaplan (Keren Zooler), Tomer Kapon (Zooler) producenta/producers Saar Yogev, Naomi Levari produkcija/production Black Sheep Film Productions 1 Yagia Kapayim St. Tel-Aviv 6777885, Israel E info�bsheepfilms.com format/format DCP, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 – Teden kritike/Critics' Week, Karlovi Vari/Karlovy Vary 2016, Jeruzalem/Jerusalem 2016

Zadetkarska komedija iz Izraela nas mimo dru`benih norm soo~i z vpra{anjem, kako se spoprijeti s smrtjo ljubljene osebe.

Deviating from social norms, the spaced-out Israeli comedy brings a new perspective on how to deal with grief at the loss of a loved one.

Zakonca Eyal in Vicky pravkar kon~ujeta tradicionalni sedemdnevni judovski obred `alovanja, s katerim prebolevata smrt sina Ronnieja. Vicky se nato takoj vrne na delovno mesto v osnovno {olo, medtem ko Eyal obvesti sodelavce, da se {e ne bo vrnil. Namesto tega gre v zaveti{~e, kjer je Ronnie pre`ivel zadnje dni svojega `ivljenja. Tja se sicer odpravi po pozabljeno odejo, a se vrne z vre~ko Ronnijeve preostale medicinske marihuane. Ko na poti domov sre~a mladega soseda, postane jasno, da bosta dan pre`ivela pod vplivom opojne substance, razmi{ljujo~ o tem, za kaj je {e vredno `iveti.

On the seventh and last day of the Jewish morning period of shiva, spouses Eyal and Vicky try to get back to their lives a week after the burial of their 25-year-old son, Ronnie. For Vicky, this means going back to the primary school where she teaches, while Eyal phones up work and tells them he won't be coming in just yet, instead preferring to go to the hospice where Ronnie spent his last days. He goes there to ostensibly find a blanket they left there, but instead Eyal comes back with a bag of Ronnie's leftover medicinal weed. Instead, he gets high with a young neighbour and sets out to discover that there are still things in his life worth living for.

"Eden mojih najbolj{ih prijateljev je izgubil svojo mlado punco. /.../ Sre~ala sva se ob humusu v petek /.../, nekaj dni pozneje pa me je poklical in povedal, da je umrla. Pozneje tistega dne je v hi{o njegovih star{ev pri{la skupina prijateljev, da bi bila ob njem.

V takih trenutkih nima{ prav veliko povedati, zato samo sedi{ v ti{ini. Nekdo je ti{ino prekinil in vpra{al: 'Ali {e ima{ kaj njene medicinske marihuane?' Vsi so se presene~eno obrnili k njemu in nekaj v tistem trenutku je prineslo tako zadrego, vendar tudi stvarnost, da mi je {e dolgo ostal v mislih." (Asaph Polonsky)

prodaja/world sales New Europe Film Sales Czerniakowska 73/79 2nd Floor, Room 5 00–718 Warsaw, Poland E jan�neweuropefilmsales.com

Asaph Polonsky

filmografija/filmography

Rojen leta 1983 v Washingtonu, ZDA. Odra{~al je v Izraelu, kjer je posnel kratka filma Ritch-Ratch in Bamita Be 10 Balayla. Diplomiral je na Ameri{kem filmskem in{titutu (AFI). Diplomski film Samnang je bil nominiran za {tudentskega oskarja. Njegov celove~erni prvenec Teden in en dan se je letos uvrstil v sklop Teden kritike na filmskem festivalu v Cannesu.

2008 2010 2013 2016

Born in Washington DC, in 1983. Asaph was raised in Israel where he directed two short films, Zipper and In Bed at 10 P.M. Graduate of American Film Institute AFI. His graduation film, Samnang, was nominated for a Student Academy Award. His feature film, One Week and a Day, was selected for the Semaine de la Critique in Cannes.

18

"One of my best friends lost his girlfriend at a young age. /.../ I saw my friend for hummus on a Friday /.../ and a few days later he called me up and told me she had died. Later that day a bunch of friends arrived to his parents’ house and sat with him. There’s not much to say at a moment like that so you just sit in silence.

Someone broke the silence by asking: 'Do you still have some of her medicinal marijuana?' Everyone turned to look at the asker, surprised by the question and something in that moment was so awkward and real that it stuck with me for a long time."

(Asaph Polonsky)

Ritch-Ratch (Zipper) (kratki/short) Bamita Be 10 Balayla (In Bed at 10 P.M.) (kratki/short) Samnang (kratki/short) Shavua ve Yom (One Week and a Day/Teden in en dan)

Perspektive Perspectives

Vla`nost Humidity Vla`nost Srbija, Nizozemska, Gr~ija Serbia, The Netherlands, Greece 2016

Nikola Ljuca

Kot britev oster portret novih bogata{ev sodobne Srbije, ujetih med kokain in korupcijo, urbano kulturo in tradicijo naroda.

A razor-sharp portrayal of the upstart generation in presentday Serbia, caught between cocaine abuse and corruption, urban culture and national traditions.

Peter je ambiciozen poslovne`, ~lan nove bogata{ke elite. Ko nekega dne njegova `ena Mina izgine, sklene to prikriti, saj je prepri~an, da se bo prej ali slej vrnila. Bli`a se dru`insko praznovanje, pestijo ga slu`bene dileme in pred njim je naporen vikend s sodelavci, a Peter se vede, kot da je vse v najlep{em redu. Teden dni pozneje {e vedno nih~e ne ve za skrivnostno izginotje, v Petru nakopi~ena nervoza, negotovost in prikrita agresija pa po~asi prodirajo na plano ter grozijo, da se bo njegov svet poru{il kot hi{a iz kart.

Petar is a smooth businessman, ambitious, firmly part of the nouveau rich. One day his wife Mina vanishes. He keeps her absence a secret, but behind the happy façade of preparing an upcoming family celebration, shady deals at work and weekends of excess with his colleagues, insecurity, nervousness and even aggression begin to set in. A week later, everyone still acts as if nothing has happened. In the atmosphere of pent-up frustration Petar's carefully built-up world threatens to tumble down like a house of cards.

"Koga nagovarjam s tem filmom? Mislim, da najbolj opisuje generacijo, ki je v zrelo `ivljenje vstopila po petem oktobru, vendar pa vsebuje tudi veliko vznemirljivih stvari, ~etudi nisi del te generacije in opazuje{ s strani. /…/ Vsekakor gre za Beograd danes, Srbijo danes. Ali si ti tisti, ki se identificira, ali je to neki tvoj znanec, tvoj sosed, te ljudi vidi{ s svojega okna." (Nikola Ljuca)

"Whom do I address with this film? I think it will mostly concern people coming from this generation that gained maturity after 5 October, but then again, there are also lots of exciting things when you're an outside observer and not part of this generation. /…/ Still, this is Belgrade today, Serbia today. The one who identifies is either you or somebody you know, your neighbour, you see these people out of your window." (Nikola Ljuca)

Nikola Ljuca

filmografija/filmography

Rojen leta 1985 v Beogradu, Srbija. Na beograjski Akademiji za film in televizijo je {tudiral filmsko re`ijo in posnel {tevilne kratke filme. Leta 2011 je na berlinskem festivalu v okviru Talent Campusa nastal prvi osnutek scenarija za njegov celove~erni prvenec Vla`nost.

2008 2010 2011 2012 2016

re`ija/directed by Nikola Ljuca scenarij/screenplay Sta{a Bajac, Nikola Ljuca fotografija/cinematography Maja Rado{evi} glasba/music Janja Lon~ar monta`a/editing Jelena Rosi}, Nata{a Damnjanovi}, Vladimir Vidi} igrajo/cast Milo{ Timotijevi} (Petar), Tamara Krcunovi} (Mina), Maria Kraakman (Karin), Katarina Markovi} (Bojana), Dragan Bakema (Srdjan), Milan Mari} (Djordje), Slaven Do{lo (Milan), Jasna Ornela Bery (Dragica), Fedja Stojanovi} (Dragi{a), Jelena Stupljanin (Andjela) producenti/producers Nata{a Damnjanovi}, Vladimir Vidi}, Derk-Jan Warrink, Joost de Vries, Leontine Petit, Nikos Moutselos, Ivica Vidanovi} produkcija/production Dart Film Ni{ka 6 126807 Belgrade, Serbia E office�dartfilm.com & Lemming Film & 2.35 & Cinnamon Production format/format DCP, barvni/colour dol`ina/running time 113' festivali, nagrade (izbor)/ festivals, awards (selection) Beograd/Belgrade FEST 2016 (najbolj{i film, najbolj{i re`iser, najbolj{i igralec/Best Film, Best Director, Best Actor), Berlinale 2016, Vilna/Vilnius 2016

prodaja/world sales Soul Food Distribution Majke Jevrosime 39 11000 Beograd, Serbia E tijana.visnjic�soulfoodfilms.com

Po~etak leta (The Beginning of Summer/Za~etek poletja) (kratki/short) ^etvtrak (Thursday/~etrtek) (kratki/short) Narednik (Sergeant/Narednik) (kratki/short) Scene sa `enama (Scenes with Women/Prizori z `enami) (kratki/short) Vla`nost (Humidity/Vla`nost)

Born in Belgrade, Serbia, in 1985. He studied film and TV directing at the Faculty of Dramatic Arts in Belgrade. He took part in the 2011 Berlinale Talent Campus Script Station Project Lab with the first draft of the screenplay for Humidity, his first feature film.

19

20

Predpremiere Avantpremieres

American Honey American Honey Ameri{ka ljubica Velika Britanija, ZDA Great Britain, USA 2016

Andrea Arnold re`ija/directed by Andrea Arnold scenarij/screenplay Andrea Arnold fotografija/cinematography Robbie Ryan monta`a/editing Joe Bini igrajo/cast Sasha Lane (Star), Shia LaBeouf (Jake), McCaul Lombardi (Corey), Arielle Holmes (Pagan), Crystal Ice (Katness), Veronica Ezell (QT), Chad Cox (Billy), Garry Howell (Austin), Kenneth Kory Tucker (Sean), Raymond Coalson (JJ), Isaiah Stone (Kalium), Dakota Powers (Runt), Shawna Rae Moseley (Shaunte), Chris Wright (Riley), Bruce Gregory (Mitchell), Riley Keough (Krystal) producenti/producers Thomas Benski, Lars Knudsen, Lucas Ochoa, Pouya Shahbazian, Jay Van Hoy, Alice Weinberg produkcija/production Parts & Labor 177 N 10th Street #A 11211 Brooklyn, New York, USA E julia�partslaborfilms.com & Pulse Films (UK) & Maven Pictures (USA) & Mandown (USA) & Film4 (UK) & BFI (UK) format/format DCP, barvni/colour dol`ina/running time 162' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (nagrada `irije/Jury Prize)

prodaja/world sales Protagonist Pictures 42–48 Great Portland Street London W1W 7NB, UK E info�protagonistpictures.com distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Prvi ameri{ki film britanske cineastke Andree Arnold; v njen naturalisti~ni slog se je tokrat ujel tudi igralski ekscentrik Shia LaBeouf.

The first American film by British filmmaker Andrea Arnold; this time it is the eccentric acting talent, Shia LaBeouf, who tries his hand at the director’s naturalistic style.

Star je ameri{ka najstnica, ki prihaja iz te`avne dru`ine, zato se odlo~i zbe`ati od doma. Pridru`i se skupini mladih vrstnikov, ki se preva`ajo od enega mesta do drugega in od vrat do vrat prodajajo naro~nine na revije. Star si posku{a najti prostor v novi dru`bi in odkriva druga~en `ivljenjski slog, poln divjih zabav in izmikanja dru`benim pravilom. V skupini pa vendarle najve~ ~asa pre`ivi s privla~nim, izku{enim Jakom, s katerim spozna neustavljivo mo~ najstni{ke ljubezni.

Star, a teenage girl from a troubled home, runs away with a travelling sales crew who drive across the American Midwest selling magazine subscriptions door to door. Finding her feet in this gang of teenagers, she soon gets into the group's lifestyle of hard-partying nights and law-bending days. Captivated by the attractive, experienced Jake, Star learns about the powers of young love.

"Pred nekaj leti sem v New York Timesu prebrala ~lanek o `ivljenju in svetu teh ljudi, ki od vrat do vrat prodajajo naro~nine na revije.

V ZDA v resnici {e obstaja veliko teh skupin. Ne gre za revije brezdomcev, kot je v Angliji Big Issue, ali ljudi, ki te ustavljajo, da bi ti prodali kaj v dobrodelne namene. V ZDA pravzaprav ne kupi{ revije; kupi{ osebo, ki ti revijo proda. /.../ Gre za nekak{no subkulturo, ki sem jo upodobila z dodatkom svoje domi{ljije."

(Andrea Arnold)

"A few years ago, I read an article in the New York Times that talked about the life and the world of these crews of people selling magazine subscriptions door to door. There are actually still a lot of crews about in the US. It's not like the Big Issue sellers in England or people trying to stop you and get you to buy things for charity. In the States, you're not really buying the magazine; you're buying the person who is selling you the magazine. /.../ It's a sort of sub-culture that I just added my imagination to." (Andrea Arnold)

Andrea Arnold

filmografija/filmography

Rojena 1961 v Dartfordu, Velika Britanija. Za svoj kratki film Wasp je leta 2003 prejela oskarja. Na filmskem festivalu v Cannesu je kar trikrat osvojila veliko nagrado `irije, in sicer za filme Rde~a cesta, Akvarij in Ameri{ka ljubica. Njene filme zaznamuje surov, naturalisti~en pristop k pere~i socialni problematiki dana{njega ~asa.

1998 2001 2003 2006 2009 2011 2016

Born in 1961 in Dartford, GB, Arnold received an Academy Award for her short film Wasp. She has won the Cannes Film Festival Jury Prize three times; for Red Road, Fish Tank and American Honey. Her works feature a raw, naturalistic approach to burning social issues of contemporary world.

24

Milk (kratki/short) Dog (kratki/short) Wasp (kratki/short) Red Road (Rde~a cesta) Fish Tank (Akvarij) Wuthering Heights (Viharni vrh) American Honey (Ameri{ka ljubica)

Predpremiere Avantpremieres

Mal de pierres From the Land of the Moon Breme bole~ine Francija, Belgija France, Belgium 2016

Nicole Garcia

Filmska priredba istoimenskega romana Milene Agus o mladi `enski, ki ji v petdesetih letih minulega stoletja ni bilo dovoljeno slediti resni~ni, strastni ljubezni.

Cinematic adaptation of the eponymous novel by Milena Agus about a young woman in the 1950s thwarted in her passionate dream to pursue true love.

Gabrielle prihaja iz vasice na jugu Francije in `ivi v ~asu, ko je njeno hrepenenje po resni~ni ljubezni interpretirano kot {kandalozno, celo noro. Njeni star{i jo proti njeni volji poro~ijo s Joséjem, pristnim {panskim kmetovalcem, za katerega mislijo, da bo iz nje napravil ugledno `ensko. Pozneje na zdravljenju ledvi~nih kamnov v Alpah spozna privla~nega veterana indokitajske vojne Andréa in strast, ki tli globoko v njej, ponovno privre na plan.

Gabrielle comes from a small village in the south of France, at a time when her desire for true love is considered scandalous, and even insane. Against her will, Gabrielle's parents marry her to José, an honest and loving Spanish farmer who they think will make a respectable woman of her. When she is sent away to the Alps to treat her kidney stones, André, a dashing injured veteran of the Indochina war, rekindles the passion buried inside of her.

"Menim, da usoda te `enske utele{a neko domi{ljijo, ustvarjalno silo, ki smo je sposobni vsi, ko nas na{a hotenja in ~ustva pri`enejo do skrajnih meja, da gremo onkraj sebe. Ker je bila tako mlada, je Gabrielle pre`emalo tisto silovito polteno hrepenenje, ki ga imenuje 'poglavitna stvar', tisti sladki pobeg v po`elenje in ljubezen, `ivalska sla. Ta strast, ki obvladuje vso njeno bit, je navsezadnje v brutalnem nesoglasju z mo{kim, ki jo `eli udu{iti – va{ki u~itelj, nato pa jo {e ob~e obsodi njena dru`ina in vsa dru`ba petdesetih let." (Nicole Garcia)

"To me, this woman's fate embodies a kind of imagination, a creative force of which we are all capable when our desires and feelings drive us to our own limits, to go beyond ourselves.

With Gabrielle, since she was very young, there had been that powerful carnal yearning that she calls 'the main thing', that sweet escape of desire and love, that animal ardour. This passion, encompassing her entire being, ends up being brutally at odds with the man who wants to stifle her – the village teacher – and then more widely condemned by her family and by society as a whole in the 1950s." (Nicole Garcia)

Nicole Garcia

filmografija/filmography

Rojena leta 1946 v Oranu, Francija. Na konservatoriju CNSAD v Parizu je {tudirala dramatiko, nato pa je vpisala {e {tudij prava. @e takrat je imela nekaj manj{ih igralskih vlog, do danes je nastopila v osemdesetih filmih in tv-serijah. Svoj re`ijski prvenec Un week-end sur deux je posnela leta 1990, sledilo pa mu je {e sedem avtorskih celove~ercev.

1986 1990 1994 1998 2002 2006 2007 2010 2013 2016

Born in 1946 in Oran, France. Studied drama at the CNSAD (Conservatoire National supérieur d'art dramatique Paris) and then went on to study law at university after several minor film parts. Garcia also has an acting career and has appeared in 80 films and TV series. Her 1990 directorial debut, Every Other Weekend, was followed by seven feature films.

re`ija/directed by Nicole Garcia scenarij/screenplay Nicole Garcia, Jacques Fieschi fotografija/cinematography Christophe Beaucarne glasba/music Daniel Pemberton monta`a/editing Simon Jacquet igrajo/cast Marion Cotillard (Gabrielle), Louis Garrel (André Sauvage), Alex Brendemühl (José), Brigitte Roüan (Adéle), Victoire Du Bois (Jeannine), Aloïse Sauvage (Agostine), Daniel Para (Martin), Jihwan Kim (Blaise), Victor Quilichini (Marc kot {tirinajstletnik/Marc at 14), Caroline Megglé, Inès Grunenwald producent/producer Alain Attal produkcija/production Les Productions du Trésor 12 rue Barbette 75003 Paris, France E contact�productionsdutresor.com & Lunanime (Belgium) format/format DCP, barvni/colour dol`ina/running time 120' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016

prodaja/world sales Studiocanal 1 Place du Spectacle 92863 Issy-Les-Moulineaux Cedex 9 E emilie.martel�studiocanal.com

15 août (kratki/short) Un week-end sur deux (Every Other Weekend) Le fils préféré (The Favorite Son) Place Vendôme L'adversaire (The Adversary) Selon Charlie (Charlie Says) L'Oréal: Récital Préférence (kratki/short) Un balcon sur la mer (A View of Love) Un beau dimanche (Going Away) Mal de pierres (From the Land of the Moon/Breme bole~ine)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

25

Predpremiere Avantpremieres

Ma vie de Courgette My Life as a Zucchini Bu~ko [vica, Francija Switzerland, France 2016

Claude Barras re`ija/directed by Claude Barras scenarij/screenplay Céline Sciamma, Germano Zullo, Claude Barras, Morgan Navarro fotografija/cinematography David Toutevoix glasba/music Sophie Hunger monta`a/editing Valentin Rotelli igrajo/cast Gaspard Schlatter (Courgette), Sixtine Murat (Camille), Paulin Jaccoud (Simon), Michel Vuillermoz (Raymond), Raul Ribera (Ahmed), Estelle Hennard (Alice), Elliot Sanchez (Jujube), Lou Wick (Béatrice), Brigitte Rosset (teta Ida/ aunt Ida) producenti/producers Max Karli, Pauline Gygax, Armelle Glorennec, Eric Jacquot, Marc Bonny, Michel Merkt produkcija/production Rita Productions 4 rue des marbriers 1204 Geneva, Switzerland E info�ritaproductions.com & Blue Spirit Production (France) & Gebeka Films (France) & KNM (France) format/format DCP, barvni/colour dol`ina/running time 66' festivali, nagrade (izbor)/festivals, awards (selection) Cannes 2016 – [tirinajst dni re`iserjev/Directors' Fortnight, Annecy 2016

Zgodba iz otro{kega vsakdana siroti{nice v obliki atraktivne animacije zaustavljanja gibov (stop-motion), posnete po romanu francoskega pisatelja Gillesa Parisa.

An original take on life of children in an orphanage shot using the gripping technique of stop-motion animation, and based on a novel by French author Gilles Paris.

Ko devetletnemu Bu~ku nenadoma umre mati, ima ob~utek, da je ostal sam na svetu. S fantom se spoprijatelji prijazen policist Raymond, ki ga pospremi v rejni{ki dom, kjer `ivi polno sirot njegove starosti. Tam Bu~ko spozna nove prijatelje: tu so Simon, Ahmed, Jujube, Alice, Béatrice in Camille. Vsak ima svojo zgodbo in vse so enako `alostne. A ko dopolni{ deset let, se ti razpre svet odkritij. Takrat lahko kon~no spozna{, kako je imeti tolpo prijateljev, kako je biti zaljubljen in morda celo to, kaj pomeni biti sre~en.

When 9-year-old Courgette loses his mother, he is sure he is alone in the world. He befriends a kind police officer, Raymond, who accompanies Courgette to his new foster home filled with other orphans his age. But that's before he makes his new friends in the children's home. Simon, Ahmed, Jujube, Alice and Béatrice: they all have their stories and they are equally heartbreaking and tender. But there's also a girl, Camille. When you're 10 years old, there is so much to discover – like what it's like to have a gang of friends, to fall in love, and hey, maybe even to be happy.

"Sodobni film siroti{nico klasi~no prikazuje kot kraj zlorabe, zunanji svet pa kot prostor svobode (400 udarcev, Zboristi). Film Bu~ko vzorec preobra~a: zloraba pusto{i po zunanjem svetu, v siroti{nici pa vladata umiritev in obnova. Zaradi tega je ta pripoved obenem klasi~na in sodobna." (Claude Barras)

prodaja/world sales Indie Sales 32, rue Washington 75008 Paris, France E sales�indiesales.eu distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Claude Barras

filmografija (izbor)/filmography (selection)

Rojen leta 1973 v mestu Sierre, [vica. Na {oli Emila Cohla v Lyonu je {tudiral ilustracijo, na Umetni{ki {oli v Lozani pa digitalno animacijo. Danes `ivi v @enevi, v Lozani pa dela kot neodvisni ilustrator. Re`iral je 14 kratkih filmov, njegov celove~erni prvenec Bu~ko pa se je na festivalu v Cannesu uvrstil v sklop [tirinajst dni re`iserjev.

2005 2006 2007 2009 2012 2016

Born in 1973 in Sierre (Switzerland), Barras studied illustration at the Ecole Emile Cohl in Lyon and synthetic images at Ecal (art school in Lausanne).

He lives in Geneva and works in Lausanne as a freelance illustrator. Director of 14 short films, Barras' feature debut, My Life as a Zucchini, entered the Director's Fortnight Section at Cannes.

26

"In contemporary cinema, orphanages are classically depicted as places of abuse, and the outside world as that of freedom (The 400 Blows, The Chorus). In My Life as a Courgette, the pattern has been reversed: abuse is suffered in the outside world and the orphanage is a place fostering appeasement and reconstruction.

This is what makes this narrative at once classic and modern."

(Claude Barras)

Banquise (kratki/short) Le génie de la boîte de raviolis (kratki/short) Sainte barbe (kratki/short) Au pays des têtes (Land of the Heads) (kratki/short) Chambre 69 (kratki/short) Ma vie de Courgette (My Life as a Zucchini/Bu~ko)

Predpremiere Avantpremieres

Lo and Behold: Reveries of the Connected World Lo and Behold: Reveries of the Connected World Glej in se ~udi: Sanjarjenje o povezanem svetu ZDA USA 2016

Werner Herzog

re`ija/directed by Werner Herzog scenarij/screenplay Werner Herzog fotografija/cinematography Peter Zeitlinger glasba/music Mark Degli Anotoni monta`a/editing Marco Capalbo producenta/producers Werner Herzog, Rupert Maconick nastopajo/with Kevin Mitnick, Elon Musk, Lucianne Walkowicz produkcija/production Saville Productions 489 Carroll Avenue, USAVenice, CA 90291 E info�savilleproductions.com format/format DCP, barvni/colour dol`ina/running time 98' festivali/festivals Sundance 2015

Najnovej{i dokumentarec Wernerja Herzoga nam ponuja igriv, a na trenutke tudi streznjujo~ vpogled na na{e `ivljenje, ki se z vsakim dnem bolj seli na svetovni splet.

Werner Herzog's latest documentary lends a playful yet sobering insight into our lives that are becoming public domain and examined freely by the Internet users.

Dana{nja dru`ba je `e skoraj povsem odvisna od interneta, vse premalokrat pa razmi{ljamo o ne{tetih pasteh, ki pre`ijo na nas v virtualnem svetu. Herzogov dokumentarec je pravcata zakladnica intervjujev z nenavadnimi in nemalokrat zaslepljenimi posamezniki – spoznamo razli~ne ljudi, od pionirjev interneta do `rtev brez`i~nega sevanja, katerih anekdote in razmi{ljanje stkejo celovit portret na{ega krasnega novega sveta. Herzog sicer meni, da je internet ena najve~jih revolucij, kar jih je ~love{tvo kdajkoli do`ivelo, a to navdu{enje vseeno obrzda z zgodbami `rtev spletnega nadlegovanja in internetnih zasvojencev.

While society today is becoming heavily dependent on the Internet, we rarely stop to think about the countless hidden pitfalls awaiting us in the virtual world. Herzog documents a treasure trove of interviews of strange and beguiling individuals – ranging from Internet pioneers to victims of wireless radiation, whose anecdotes and reflections weave together a complex portrait of our brave new world. Herzog describes the Internet as "one of the biggest revolutions we as humans are experiencing," and yet he tempers this enthusiasm with horror stories from victims of online harassment and Internet addiction.

"Nenavadna stvar pri tem je, da obi~ajno, v zgodovini kulture, zasnujemo nove zgodbe in pripovedi, za katere potem za~nemo razvijati orodje. Ali imamo vizije ~udovite nove arhitekture – kot sta muzej v Bilbau ali operna hi{a v Sydneyju – in tehnologija omogo~a uresni~enje teh sanj. Najprej vsebina, ki ji sledi tehnologija. V tem primeru pa imamo tehnologijo, vendar nobene jasne zamisli, kako jo zapolniti z vsebino." (Werner Herzog)

"The strange thing here is that normally, in the history of culture, we have new stories and narrations and then we start to develop a tool. Or we have visions of wondrous new architecture – like, let's say, the museum in Bilbao, or the opera house in Sydney— and technology makes it possible to fulfil these dreams. So you have the content first, and then the technology follows suit. In this case, we do have a technology, but we don't have any clear idea how to fill it with content." (Werner Herzog)

Werner Herzog

filmografija (izbor)/filmography (selection)

Rojen leta 1942 v Münchnu. Odra{~al je v odro~ni bavarski gorski vasi. [tudiral je zgodovino in nem{ko knji`evnost v Münchnu in Pittsburghu. Pri devetnajstih je posnel svoj prvi film, od takrat pa je re`iral in napisal scenarije za ve~ kot {estdeset celove~ernih in dokumentarnih filmov. Objavil je ve~ kot dvanajst knjig in re`iral prav toliko oper.

1968 Lebenszeichen (Signs of Life/Znaki `ivljenja) 1972 Aguirre, der Zorn des Gottes (Aguirre, The Wrath of God/Aguirre, srd bo`ji) 1979 Nosferatu: Phantom der Nacht (Nosferatu: Phantom of the Night/ Nosferatu, fantom no~i) 1982 Fitzcarraldo 1987 Cobra verde (Slave Coast/Zelena kobra) 2005 Grizzly Man (^lovek grizli) (dok./doc.)

2009 Bad Lieutenant: Port of Call New Orleans (Pokvarjeni poro~nik: New Orleans) 2010 Happy People, the Year in Taiga (Sre~ni ljudje v tajgi) (dok./doc.)

2011 Into the Abyss (^akanje na usmrtitev) (dok./doc.)

2015 Queen of the Desert (Pu{~avska kraljica) 2016 Lo and Behold: Reveries of the Connected World (Glej in se ~udi: Sanjarjenje o povezanem svetu) (dok./doc.)

Born in Munich in 1942, grew up in a remote valley in the Bavarian mountains. Herzog studied history and German literature in Munich and Pittsburgh and made his first film at age 19. Since then, he has written, produced, and directed over 60 feature and documentary films. He has also published more than twelve books and staged as many operas.

prodaja/world sales Magnolia Pictures 49 West 27th Street, 7th Floor New York, NY 10001, USA E international�magpictures.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

27

Predpremiere Avantpremieres

I, Daniel Blake I, Daniel Blake Jaz, Daniel Blake Velika Britanija, Francija, Belgija Great Britain, France, Belgium 2016

Ken Loach re`ija/directed by Ken Loach scenarij/screenplay Paul Laverty fotografija/cinematography Robbie Ryan glasba/music George Fenton monta`a/editing Jonathan Morris igrajo/cast Dave Johns (Daniel), Hayley Squires (Kattie), Dylan McKiernan (Dylan), Briana Shann (Daisy), Kate Rutter (Ann), Sharon Percy (Sheila), Kema Sikazwe (China), Natalie Ann Jamieson (ocenjevalka upravi~enosti do socialne pomo~i/employment support allowance assessor) producentka/producer Rebecca O'Brien produkcija/production Sixteen Films 187 Wardour Street, 2nd Floor London W1F 8ZB, UK E jack�sixteenfilms.co.uk & Why Not Productions (France) & Wild Bunch (France) & Les Films du Fleuve (Belgium) & The British Film Institute (UK) & BBC Films (UK) & France 2 Cinéma (France) & Voo (Belgium) & Be TV (Belgium) format/format DCP, barvni/colour dol`ina/running time 100'

Portret slehernika v boju proti absurdnemu sistemu podeljevanja socialnih podpor v Veliki Britaniji. Zlata palma leto{njega festivala v Cannesu.

A portrait of an everyman struggling against the absurd welfare benefit system in Great Britain. Winner of the 2016 Golden Palm Award at Cannes.

Devetinpetdesetletni Daniel Blake je vse `ivljenje delal kot tesar v Newcastlu. Potem ko do`ivi sr~ni napad in skoraj pade z gradbenega odra, prvi~ v `ivljenju potrebuje pomo~ dr`ave. A ob zaprositvi za socialno pomo~ Blake tr~i ob zid institucionalne birokracije, katere obraz so brez~utni socialni delavci. Na tej poti spozna Katie, mlado samohranilko z dvema otrokoma, ki ima podobne te`ave. Oba se znajdeta na nikogar{njem ozemlju, v prime`u socialnih institucij, ki v dana{nji Veliki Britaniji delujejo v duhu politi~ne retorike 'delavni proti lenim'.

Daniel Blake, 59, has worked as a carpenter most of his life in Newcastle. Now, after a heart attack and nearly falling from a scaffold, he needs help from the State for the first time in his life.

But when he applies for social support he comes up against the wall of institutional bureaucracy coldly dispensed by heartless social workers. He crosses paths with a single mother Katie and her two young children. Daniel and Katie find themselves in no-man's land caught on the barbed wire of welfare red tape as played out against the rhetoric of 'striver and skiver' in modern day Britain.

"Upam, da zgodba postane tehtna zaradi dejstva, da je koncept znan ve~ini izmed nas. Gre za frustracijo in ~rni humor ukvarjanja z birokracijo, ki je tako o~itno topoglava, tako otipljivo zasnovana z namenom, da te spravlja ob `ivce. ^e to lahko pove{ verodostojno in ~e si sposoben odnos med ljudmi, ki jih lo~i uradni pult ali telefonska linija, brati med vrsticami, bi to moralo razkriti vse komi~ne podtone, vso pripadajo~o krutost – in, navsezadnje, tragedijo ~love{kega polo`aja. 'Revni so sami krivi za svojo rev{~ino' – to {~iti mo~ vladajo~ega razreda." (Ken Loach)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (zlata palma/Golden Palm)

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E sales�wildbunch.eu distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Ken Loach

filmografija (izbor)/filmography (selection)

Rojen leta 1936 v mestu Nuneaton, Anglija. Filmsko pot je za~el na televiziji, danes pa velja za enega najzanimivej{ih in najplodovitej{ih re`iserjev britanske kinematografije. Znan je po naturalisti~nem slogu in trezni obravnavi dru`bene problematike. Nagradi za `ivljenjsko delo je prejel leta 1994 v Benetkah in 2014 v Berlinu, s filmoma Veter, ki trese je~men in Jaz, Daniel Blake pa je osvojil zlato palmo v Cannesu.

1969 1979 1991 1993 1994 1995 1998 2000 2002 2006 2009 2012 2013 2014 2016

Born in 1936 in Nuneaton, England. Embarking on his filmmaking career in television, Loach is considered to be one of the most compelling and prolific British directors, known for his naturalistic, social realist style and his straightforward treatment of social issues. In 1994 he was awarded the Golden Lion Award for Life Achievement at the Venice FF, whereas The Wind That Shakes the Barley and I, Daniel Blake both received the Golden Palm Award at Cannes.

28

"What I hope carries the story is that the concept is familiar to most of us. It's the frustration and the black comedy of trying to deal with a bureaucracy that is so palpably stupid, so palpably set to drive you mad. I think if you can tell that truthfully and you’re reading the subtext in the relationship between the people across a desk or over a phone line, that should reveal the comedy of it, the cruelty of it – and, in the end, the tragedy of it. 'The poor are to blame for their poverty' – this protects the power of the ruling class." (Ken Loach)

Kes Black Jack Riff-Raff (Sodrga) Raining Stones Ladybird Ladybird (Pikapolonica) Land and Freedom (De`ela in svoboda) My Name Is Joe (Moje ime je Joe) Bread and Roses (Kruh in vrtnice) Sweet Sixteen (Sladkih {estnajst) The Wind that Shakes the Barley (Veter, ki trese je~men) Looking for Eric (I{~e se Eric) The Angels' Share (Angelski dele`) The Spirit of '45 (Duh leta '45) Jimmy's Hall (Jimmyjev dom) I, Daniel Blake (Jaz, Daniel Blake)

Predpremiere Avantpremieres

L'économie du couple After Love Ko ljubezni ni ve~ Francija, Belgija France, Belgium 2016

Joachim Lafosse

Re`iser Joachim Lafosse nam ob primeru francoskega para prika`e logiko dana{njih romanti~nih zvez, v katerih materialni razlogi prevladajo nad vsemi drugimi.

Illustrating the case of a French couple, director Joachim Lafosse probes the logic of today's romantic relationships that are dominated by financial concerns.

Po petnajstih letih skupnega `ivljenja se Marie in Boris odlo~ita za lo~itev. Par skupaj s h~erama `ivi v hi{i, ki jo je kupila Marie, a jo je Boris popolnoma obnovil. Ker si Boris ne more privo{~iti novega stanovanja, si morata hi{o {e naprej deliti. Pravzaprav je resnica prej ta, da ne eden ne drugi nimata namena dvigniti rok nad trenutnimi razmerami.

After 15 years of living together, Marie and Boris decide to get a divorce. Marie had bought the house in which they live with their two daughters, but it was Boris who had completely renovated it. Since he cannot afford to find another place to live, they must continue to share it. When all is said and done, neither of the two is willing to give up.

"Paru pomeni denar enega od vzrokov za prepiranje, a ni tisti globlji vir razdora. Denar ni razlog, da se Boris in Marie ne moreta ve~ ljubiti. Je jabolko spora, vendar vedno omogo~a na~in za osebno potrditev ali njeno umanjkanje, na~in za iskanje priznanja na{ih dejanj, storjenih ali ne. /.../ Neko~ smo skupaj vztrajali zaradi moralnih razlogov, danes zaradi materialnih. To veliko pove o na{i dobi." (Joachim Lafosse)

"In a couple, money represents one of the things we can quarrel about, it's not the deep cause of the dispute. Money isn't the reason why Boris and Marie can't love each other anymore.

Money is the apple of discord, but behind that there is always the way in which one gets acknowledgement or not, the way in which one seeks recognition for what one has or has not done. /.../ We used to stay together for moral reasons; today it's for financial reasons. It says something about our era."

(Joachim Lafosse)

Joachim Lafosse

filmografija/filmography

Rojen leta 1975 v mestu Uccle, Belgija. [tudiral je na umetni{kem in{titutu IAD v Louvain-la-Neuvu. Njegov tretji film Nue Propriété je bil leta 2006 uvr{~en v tekmovalni program bene{kega festivala, naslednji, Najini otroci, 2012 v sklop Posebni pogled v Cannesu, zadnji, Ko ljubezni ni ve~, pa 2016 v canski sklop [tirinajst dni re`iserjev.

2001 2004 2006 2006 2008 2010 2012 2015 2016

Born in 1975 in Uccle, Belgium. Graduated from the IAD (Institut des arts de diffusion) in Louvain-la-Neuve. In 2006 Lafosse released his third feature, Private Property, which debuted in the competitive section of the Venice Film Festival. His next film, Our Children, competed in the Un Certain Regard section at Cannes in 2012, and his most recent film, After Love, screened in the Directors' Fortnight at the 2016 Cannes Film Festival.

re`ija/directed by Joachim Lafosse scenarij/screenplay Fanny Burdino, Joachim Lafosse, Mazarine Pingeot, Thomas van Zuylen fotografija/cinematography Jean-François Hensgens monta`a/editing Yann Dedet igrajo/cast Bérénice Bejo (Marie), Cédric Kahn (Boris), Marthe Keller (Christine), Jade Soentjens (Jade), Margaux Soentjens (Margaux), Catherine Salée (prijateljica/friend), Philippe Jeusette (Goran), Francesco Italiano (prijatelj/friend), Ariane Rousseau (prijateljica/friend), Pascal Rogard (Antoine) producenti/producers Jacques-Henri Bronckart, Olivier Bronckart, Sylvie Pialat, Benoît Quainon produkcija/production Les Films du Worso 38 Boulevard Raspail 75007 Paris, France E info�lesfilmsduworso.com & Versus Production (Belgium) format/format DCP, barvni/colour dol`ina/running time 100' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 – [tirinajst dni re`iserjev/Directors’ Fortnight, München/Munich 2016

prodaja/world sales Le Pacte 5 rue Darcet 75017 Paris, France E sales�le-pacte.com

Tribu (kratki/short) Folie privée (Private Madness) Ça rend heureux (What Makes You Happy) Nue propriété (Private Property) Élève libre (Private Lessons) Avant les mots (kratki/short) À perdre la raison (Our Children/Najini otroci) Les chevaliers blancs (The White Knights/Beli vitezi) L'économie du couple (After Love/Ko ljubezni ni ve~)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

29

Predpremiere Avantpremieres

À peine j'ouvre mes yeux As I Open my Eyes Ko odprem o~i Leyla Bouzid

re`ija/directed by Leyla Bouzid scenarij/screenplay Leyla Bouzid, Marie-Sophie Chambon fotografija/cinematography Sébastien Goepfert glasba/music Khyam Allami monta`a/editing Lilian Corbeille producenta/producers Sandra Da Fonseca, Imed Marzouk igrajo/cast Baya Medhaffer (Farah), Ghalia Benali (Hayet), Montassar Ayari (Borhène), Aymen Omrani (Ali), Lassaad Jamoussi (Mahmoud), Deena Abdelwahed (Inès), Youssef Soltana (Ska), Marwen Soltana (Sami) produkcija/production Blue Monday Productions 224 Rue St Denis 75002 Paris, France E bluemonday�bluemonday.fr format/format DCP, barvni/colour dol`ina/running time 102' festivali/festivals Benetke/Venice 2015 – Avtorski dnevi/Venice Days (nagrada Europa Cinemas Label/Europa Cinemas Label Award), Stockholm 2015, Seattle 2016

Prvenec Leyle Bouzid z zgodbo o mladem dekletu, ki sku{a z glasbo spremeniti vsakdan, v katerem `ivi, spregovori o vplivu arabske pomladi na `ivljenje mladih v glavnem mestu Tunizije.

Spotlighting a young girl who seeks to fully enjoy life by finding recourse in music, Leyla Bouzid's film debut examines the influence of the Arab Spring movement on young people in the capital of Tunisia.

Osemnajstletna Farah `ivi v Tunisu. Leta 2010, le nekaj mesecev pred jasminovo revolucijo, uspe{no maturira in njena dru`ina se `e veseli, da bo kmalu postala uspe{na zdravnica. A Farah si je `ivljenje zamislila povsem druga~e: poje v politi~no anga`irani rockovski skupini, nemalokrat popiva s prijatelji in u`iva v no~nem `ivljenju velemesta. To pa ni pogodu njeni materi Hayet, ta se {e predobro zaveda vseh nevarnosti, ki v senci prihajajo~e revolucije pre`ijo na njeno h~er.

Tunis, summer 2010, a few months before the Revolution: Farah, 18 years old, has just graduated and her family already see her as a future doctor. But she doesn't have the same idea. She sings in a political rock band, has a passion for life, gets drunk, discovers her city by night against the wishes of her mother Hayet, who knows Tunisia and its imminent dangers all too well.

"Tisto poletje je zaznamovalo posebno ozra~je, ob~utenje slepe ulice, da bo nekaj navsezadnje eksplodiralo. Mlade je obvladoval nemir, zoperstavljali so se z glasbo, blogi, spletom in lastno eksistenco. Oni so vir energije za poznej{e dogodke, vir energije za ta film. /.../ Farah sodi med te mlade, ki `elijo `ivljenje polno zau`iti navkljub pritisku dru`ine in povsod pri~ujo~e policijske dr`ave. Kot svobodna in impulzivna pevka je glas generacije, ki vsakodnevno nasprotuje." (Leyla Bouzid)

prodaja/world sales Doc & Film International 13, rue Portefoin 75003 Paris, France E sales�docandfilm.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

"There was a special atmosphere that summer, the feeling of being in a dead end, that something would eventually explode.

Young people were in turmoil, they resisted through music, blogging, Internet and their very existence. It is they that provided the energy for what happened later, it is from them that the energy of this film has come. /.../ Farah is one of these young people who seek to live life to the full despite family pressure and an omnipresent police state. As a free and impulsive singer, she is the voice of a generation that resists daily." (Leyla Bouzid)

Leyla Bouzid

filmografija (izbor)/filmography (selection)

Rojena v Tunisu leta 1984. Leta 2003 se je preselila v Pariz, kjer je sprva na Sorboni vpisala {tudij francoske knji`evnosti, pozneje pa je na filmski {oli La Fémis {tudirala {e filmsko re`ijo. Doslej je re`irala dva kratka filma, s katerima je po`ela velik uspeh na francoskih in tudi na mednarodnih filmskih festivalih. Ko odprem o~i je njen celove~erni prvenec.

2011 Mkhobbi fi Kobba (Soubresauts) (kratki/short) 2013 Zakaria (kratki/short) 2015 À peine j'ouvre les yeux (As I Open My Eyes/Ko odprem o~i)

Born in Tunis in 1984. Moved to Paris in 2003 to study French literature at the Sorbonne University and then studied directing at La Fémis Film School.

Her two short films received a very warm welcome at festivals in France and abroad. As I Open My Eyes is her first feature film.

30

Tunizija, Francija, Belgija, Zdru`eni arabski emirati Tunisia, France, Belgium, United Arab Emirates 2015

Predpremiere Avantpremieres

Loving Loving Loving ZDA, Velika Britanija USA, Great Britain 2016

Jeff Nichols

Resni~na zgodba o rasno me{anem paru, ki je sredi minulega stoletja s tihim bojem za pravico nehote spremenil zgodovino ZDA.

A true story about an interracial couple whose quiet pursuit of justice changed the course of American history in mid twentieth century.

Richard in Mildred Loving sta obi~ajen par iz Virginije. Leta 1958 sta se poro~ila in po njeni zanositvi za~ela graditi hi{o. Dejstvo, da je on belec, ona pa Afroameri~anka, pomeni te`avo za tamkaj{nje oblasti, ki Mildred zaradi kr{enja zakonodaje postavijo za re{etke.

Zakonca sta se prisiljena preseliti v Washington, kjer pa se v urbanem okolju ne po~utita dobro, zato i{~eta na~in, kako bi se vrnila v doma~e okolje. Na pobudo neizku{enega odvetnika Bernieja Cohena spro`ita sodni postopek proti zvezni dr`avi Virginiji. Ko njun primer dose`e vrhovno sodi{~e, postaja vse bolj jasno, da ne gre ve~ samo za vpra{anje njunega bivali{~a, temve~ za pravice vseh rasno me{anih parov v ZDA.

Richard and Mildred Loving are an ordinary couple from Virginia.

They get married and start a family in 1958. Local authorities refuse to come to terms with the fact that he is white and she an African American and Mildred is arrested for violating the law. Richard and Mildred relocate with their children to the inner city of Washington, D.C., but the urban environment does not feel like home to them. Ultimately, the pull of their roots in Virginia spur Mildred to try to find a way back. On the initiative of an inexperienced lawyer, Bernie Cohen, they institute legal proceedings against the state of Virginia. Their civil rights case goes all the way to the Supreme Court, which in 1967 reaffirmed the very foundation of the right to marry interracially.

"Ko govorimo o enakosti in medrasnem zakonu, ljudje zelo hitro izpostavljajo svoje politi~ne te`nje, v ospredje stopi njihova ideologija, zate~ejo se k posplo{eni utemeljitvi, ki jo obi~ajno navajajo, kar v resnici ni zares povezano z bistveno resni~nostjo obravnavane tematike. Zakonca Loving sta resni~na. Vsak dan vstaneta za zajtrk, vsak ve~er le`eta k po~itku in posku{ata obdr`ati zvezo. /.../ Kako je sploh mogo~e argumentirati zoper to razmerje?" (Jeff Nichols)

re`ija/directed by Jeff Nichols scenarij/screenplay Jeff Nichols fotografija/cinematography Adam Stone glasba/music David Wingo monta`a/editing Julie Monroe igrajo/cast Ruth Negga (Mildred Loving), Joel Edgerton (Richard Loving), Marton Csokas ({erif/sheriff Brooks), Michael Shannon (Grey Villet), Nick Kroll (Bernie Cohen), Bill Camp (Frank Beazley), Terri Abney (Garnet Jeter), Alano Miller (Raymond Green), David Jensen (sodnik/judge Bazile), Jon Bass (Phil Hirschkop), Scott Wichmann (novinar/reporter), Christopher Mann (Theoliver Jeter) producenti/producers Ged Doherty, Colin Firth, Nancy Buirski, Sarah Green, Marc Turtletaub, Peter Saraf produkcija/production Big Beach 648 Broadway 7th Floor 10012 New York, USA E info�bigbeach.com & Raindog Films (UK) format/format DCP, barvni/colour dol`ina/running time 123' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016

"I think when you're talking about marriage equality and race, people very quickly start to get into their political corners, their ideology comes to the forefront and they get into this platform argument that they're used to making, which really doesn't have anything to do with the day-to-day basics of what is being talked about. The Lovings are the day-to-day. They're the ones that are getting up for breakfast, and going to bed at night, and trying to stay together. /.../ How could you possibly debate against that relationship?" (Jeff Nichols)

Jeff Nichols

filmografija/filmography

Rojen leta 1978 v Arkansasu, ZDA. Leta 2001 je na Umetnostni akademiji Severne Karoline diplomiral iz filma. Najprej je snemal kratke filme, leta 2007 pa je posnel neodvisni celove~erni prvenec Nasilne zgodbe. S filmom Zakloni{~e je osvojil ve~ mednarodnih nagrad, z Midnight Special pa se je prvi~ preizkusil v znanstvenofantasti~nem filmu. Njegovi filmi pogosto obravnavajo zgodbe z juga ZDA, od koder prihaja tudi sam.

2007 2011 2012 2016 2016

prodaja/world sales Insiders Films E sales�insiders-films.com

Shotgun Stories (Nasilne zgodbe) Take Shelter (Zakloni{~e) Mud Midnight Special Loving

distribucija/distribution Karantanija Cinemas Ro`na dolina, Cesta 3/18 1000 Ljubljana E info�kcs.si

Born in 1978 in Arkansas, USA. Graduated in film from the North Carolina School of the Arts in 2001. Before Shotgun Stories, his feature-film debut, he made six shorts. Take Shelter won several international awards, and Midnight Special is his first attempt at a science-fiction movie. His films are frequently set in his native southern United States.

31

Predpremiere Avantpremieres

Hunt for the Wilderpeople Hunt for the Wilderpeople Lov na divjaka Nova Zelandija New Zealand 2016

Taika Waititi re`ija/directed by Taika Waititi scenarij/screenplay Taika Waititi fotografija/cinematography Lechlan Milne glasba/music Luke Buda, Samuel Scott, Conrad Wedde monta`a/editing Luke Haigh, Tom Eagles, Yana Gorskaya igrajo/cast Sam Neill (Hec), Julian Dennison (Ricky), Rima Te Wiata (Bella), Rachel House (Paula), Tioreore Ngatai-Melbourne (Kahu), Oscar Kightley (Andy) producenti/producers Taika Waititi, Carthew Neal, Leanne Saunders, Matt Noonan produkcija/production Curious Films 26 Putiki Street, Arch Hill, Auckland, New Zealand PO Box 68881, Newton, New Zealand E production�curiousfilm.com format/format DCP, barvni/colour dol`ina/running time 102'

Duhovit in ganljiv film o nenavadnem prijateljstvu med uporni{kim najstnikom in ~emernim vdovcem, ki ju splet okoli{~in zdru`i v nevarni, a nepozabni pustolov{~ini.

festivali/festivals Sundance 2016, Tribeca 2016

Socialna delavka Paula pripelje uporni{kega najstnika Rickyja k novima rejnikoma, ki `ivita na osamljeni kmetiji na Novi Zelandiji.

Kmalu zatem prijazna rejnica Bella nenadoma umre in Ricky se znajde sam z njenim mo`em Hecom, ki pa nad tem, da bi moral za problemati~nega de~ka skrbeti sam, ni preve~ navdu{en. Ker Rickyju znova grozi, da bo padel v kremplje socialnega skrbstva, pobegne globoko v divjino. Tam se mu kmalu pridru`i tudi Hec in skupaj se podata na beg, poln izzivov in nevarnosti. A najprej se morata nau~iti sprejemati eden drugega ...

prodaja/world sales Protagonist Pictures 42–48 Great Portland Street London, W1W 7NB, UK E info�protagonistpictures.com distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continental.si

Rebellious teenage orphan Ricky is shipped off by social worker Paula to live with a foster family in the New Zealand countryside.

His caring foster mother Bella dies unexpectedly and Ricky is left alone with his reluctant caretaker, Hec. Unhappy with his new surroundings, he attempts to run away and hide in the unforgiving wilderness. Hec eventually finds him, and the unlikely duo fight for their survival in the harsh terrain while learning to gradually accept each other.

"Pri komediji se pravila vedno spreminjajo. Pravzaprav jih sploh ne poznam. Verjetno je bolje tako." (Taika Waititi)

"With comedy, the rules are always changing. I don't even know any of the rules. It's probably better to not even know the rules."

(Taika Waititi)

Taika Waititi

filmografija (izbor)/filmography (selection)

Rojen leta 1975 v Wellingtonu, Nova Zelandija. Na Univerzi Victoria v Wellingtonu je {tudiral dramsko igro. Pozornost kritike je zbudil `e s svojimi kratkimi filmi, mednarodno prepoznavnost pa mu je prinesla komi~na grozljivka Kaj po~nemo v mraku. Lov na divjaka je njegov ~etrti celove~erni film.

2004 2004 2005 2007 2010 2010 2014 2016

Born in 1975 in Wellington, New Zealand, Waititi studied drama acting at the Victoria University of Wellington. He has attracted critical attention with his shorts, and the cult vampire comedy, What We Do in the Shadows, has ensured him a legion of loyal fans in art-house cinema. Hunt for the Wilderpeople is his fourth feature film.

32

A humorous and moving film about an unusual friendship between a rebellious teenager and a morose widower pushed by life’s circumstances into a perilous yet unforgettable adventure.

Two Cars, One Night (kratki/short) Heinous Crime (kratki/short) Tama Tu (kratki/short) Eagle vs Shark Boy 24 One Dream Rush (kratki/short) What We Do in the Shadows (Kaj po~nemo v mraku) Hunt for the Wilderpeople (Lov na divjaka)

Predpremiere Avantpremieres

Ma Loute Slack Bay Mirni zaliv Francija, Nem~ija France, Germany 2016

Bruno Dumont

Barvita, skrajno karikirana burleska Bruna Dumonta, ve~ kot dostojna naslednica njegove izredno uspe{ne miniserije Mali Quinquin.

Bruno Dumont's latest offering, the colourful, utterly caricatured burlesque Slack Bay, is a worthy successor to Li'l Quinquin, his resoundingly successful miniseries.

Poletje leta 1910. Med oddihom na ~udovitih pla`ah Normandije izgine ve~ turistov. Razvpita in{pektorja Machin in Malfoy kmalu ugotovita, da mora klju~ do re{itve teh skrivnostnih dogodkov le`ati v zalivu reke Slack, kjer se ob visoki plimi reka in morje zdru`ita. Med tamkaj{njimi ribi~i `ivi dru`ina Brufort, na ~elu katere je o~e s psevdonimom Ve~ni, med otroki pa izstopa navihani najstnik Ma Loute. Visoko nad zalivom se nahaja tudi vila bogate dru`ine van Peteghem, ki se v svojem bur`oaznem `ivljenju izogiba stikov z doma~ini. Ljubezen med najstnikoma iz obeh dru`in hitro vnese nemir v ustaljena razmerja idili~ne vasice.

Summer 1910. Several tourists have vanished while relaxing on the beautiful beaches of the Channel Coast. Infamous inspectors Machin and Malfoy soon gather that the epicenter of these mysterious disappearances must be Slack Bay, a unique site where the Slack River and the sea join at high tide. Among the small community of fishermen evolves a curious family, the Brufort, led by the father nicknamed "The Eternal", who rules as best as he can on his bunch of sons, especially the impetuous teenager Ma Loute. Towering high above the bay stands the van Peteghems' mansion. Every summer, this bourgeois family stagnates in the villa. Over the course of five days, as starts a peculiar love story between the young lovers from the two families, confusion and mystification descend on the idyllic village.

"Druga~e kot pri seriji Mali Quinquin, ki sem jo pisal, ne da bi bil prepri~an, ali je humor dovolj jasen, sem sedaj vedel, kaj po~nem, zavedal sem se ob~utne komi~nosti situacij, ki sem si jih izmi{ljal.

Komedija predpostavlja dolo~en ustroj, mehanizem neposredne u~inkovitosti; je druga~na in manj zavezana obrazcem kot drama ter zato toliko zahtevnej{a pri snovanju." (Bruno Dumont)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016, Moskva/Moscow 2016, Karlovi Vari/Karlovy Vary 2016

"Unlike Li'l Quinquin, which I wrote without knowing if it would be clearly funny, I was now aware of what I was doing, of the comic power of the situations I was thinking up. Comedy supposes a machinery, a mechanism of immediate effectiveness; it is less incantatory and is different to drama, and thus more difficult to create." (Bruno Dumont)

Bruno Dumont

filmografija (izbor)/filmography (selection)

Rojen leta 1958 v mestu Bailleul na skrajnem severu Francije. Filme, ki jih pogosto ume{~a v naravno scenografijo doma~e Normandije, je za~el snemati leta 1986. Re`iral je {tevilne televizijske oglase, kratke filme in celove~erce. S filmoma ^love~nost in Flandres je v Cannesu osvojil veliko nagrado `irije, za miniserijo Mali Quinquin pa je prejel ve~ nagrad filmskih kritikov.

1997 1999 2003 2006 2009 2011 2013 2014 2016

Born in 1958 in Bailleul, far north of France, Dumont embarked on his filmmaking career in 1986. Preferring to set his films in the natural setting of his native Normandy, he has directed numerous TV commercials, shorts and feature films. Humanity and Flanders won the Grand Jury Prize at Cannes and the L'il Quinquin series several film critics' awards.

re`ija/directed by Bruno Dumont scenarij/screenplay Bruno Dumont fotografija/cinematography Guillaume Deffontaines monta`a/editing Basile Belkhiri igrajo/cast Fabrice Luchini (André Van Peteghem), Juliette Binoche (Aude Van Peteghem), Valeria Bruni Tedeschi (Isabelle Van Peteghem), Jean-Luc Vincent (Christian Van Peteghem), Brandon Lavieville (Ma Loute Brufort), Raph (Billie Van Peteghem), Didier Després (Alfred Machin), Cyril Rigaux (Malfoy) producenti/producers Jean Bréhat, Rachid Bouchareb, Muriel Merlin produkcija/production 3B Productions 10 passage des Taillandiers 75011 Paris, France E contact�3b-productions.com & Twenty Twenty Vision (Germany) & Arte France Cinéma (France) & Pallas Film (Germany) format/format DCP, barvni/colour dol`ina/running time 122'

prodaja/world sales Memento Films 9 cité Paradis 75010 Paris, France E sales�memento-films.com

La vie de Jésus (The Life of Jesus/Jezusovo `ivljenje) L'humanité (Humanity/^love~nost) Twentynine Palms Flandres (Flanders) Hadewijch Hors Satan (Outside Satan) Camille Claudel 1915 (Camille Claudel) P'tit Quenqin (L'il Quinquin/Mali Quinquin) (TV-serija/TV series) Ma Loute (Slack Bay/Mirni zaliv)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

33

Predpremiere Avantpremieres

Moj narobe svet My World Is Upside Down Moj narobe svet – Je`ek Slovenija, Makedonija, Hrva{ka Slovenia, Republic of Macedonia, Croatia 2016

Petra Seli{kar re`ija/directed by Petra Seli{kar scenarij/screenplay Petra Seli{kar fotografija/cinematography Brand Ferro glasba/music Toma` Pengov, Willard Grant Conspiracy, Cesare Basile, Hugo Race, Bernays Propaganda, Toni Kitanovski & Cherkezi Orchestra, Chris Eckman, Teresa Salgueiro, Josipa Lisac, John Parish monta`a/editing Dorijan Milovanovi}, Vladimir Gojun producenta/producers Brand Ferro, Petra Seli{kar produkcija/production Petra Pan Film Dunajska 195 1000 Ljubljana, Slovenia E petra�petrapan.com & PPFP (Macedonia) & Restart (Croatia) format/format DCP, barvni, ~b/colour, b&w dol`ina/running time 74'

Glasbeni dokumentarec slike iz Je`kovega bogatega osebnega arhiva prepleta s posnetki nastopov priznanih alternativnih glasbenikov z vsega sveta, ki Je`kove pesmi po svoje predstavijo. Projekcija na Liffu bo pospremljena s koncertom!

festivali, nagrade/festivals, awards Makedox 2016, FSF Portoro` 2016

[e vedno `ivimo v narobe svetu in spoznavali ga bomo na glasbenem popotovanju, na katerem bomo sre~ali razli~ne glasbenike, od klasi~nega kitarskega solista do {estdeset~lanskega orkestra ob izvajanju Je`kovih pesmi. Film gledalca navdaja z ob~utkom nekonvencionalne lepote, ki ga osvobaja ute~enih vzorcev. Zadiha{ s polnimi plju~i in se po~uti{ kot v gledali{~u, na razstavi ali uli~ni predstavi pod vodstvom Franeta Mil~inskega Je`ka.

prodaja/world sales Petra Pan Film Dunajska 195 1000 Ljubljana, Slovenia E petra�petrapan.com

Our world is still upside down; join us on this exciting journey across musical landscapes, ranging from a solo classical guitar to sixty-member orchestra. The unique interpretations of Je`ek's songs create a sense of unconventional beauty, free from predictable patterns. Inhale the sweet scent of the music and enter our theatre, showcase or street performance featuring Frane Mil~inski Je`ek.

"Je`ek je pri meni vedno imel poseben prostor. Vesela sem, da nam je uspelo narediti ta film. V dolgih osmih letih produkcije filma sem doumela njegovo delo in ideje, ki pa so {e vedno zelo `ive. Njegova preprostost je prevedljiva v vse jezike, njegov ~as pa je tukaj in zdaj. Gre za velikega umetnika, ki sem se ga `elela spomniti skupaj z umetniki z vsega sveta." (Petra Seli{kar)

"Je`ek has always occupied a special place in my heart. I am pleased that we succeeded in making this film. Within the lengthy period of production I gained a profound insight into his work and his ideas that remain of continued relevance. His simplicity is translatable into any language, and his time is here and now. This is a tribute to a great artist I've wanted to make together with the world’s finest musicians." (Petra Seli{kar)

Petra Seli{kar

filmografija/filmography

Rojena leta 1978 v Ljubljani. Z gledali{kih odrov se je preselila v Amsterdam na Akademijo za film in televizijo, kjer se je spopadla z re`ijo in nizozem{~ino.

Fakulteto je nekje na polovici zamenjala za Northern Media School v angle{kem Sheffieldu, kjer je diplomirala iz re`ije in magistrirala iz produkcije.

Leta 2003 je ustanovila produkcijsko hi{o Petra Pan Film Production, specializirano predvsem za dokumentarne filme.

1999 2001 2002 2002 2003 2005 2006 2012 2016

Born in 1978 in Ljubljana, Petra's first childhood passion was the theatre.

After finishing high school, she went to the Netherlands to study directing at the Academy of Film and Television. She later pursued undergraduate studies in directing and postgraduate studies in production at the Northern Media School in Sheffield, England. In 2003 she founded the Petra Pan Film Production, which primarily produces and distributes documentary films.

34

The music documentary blends footage from the vast personal archive of the legendary Slovenian artist Frane Mil~inski Je`ek and live performances of the world's leading musicians who covered his songs in their own, unique interpretations. Film screening will be accompanied by a concert.

Illusion (kratki/short) Con-Fusion Chefs and DJ (dok./doc.)

Iz prahu son~nih `arkov (kratki/short) Okno (kratki/short) Balkans – Blood and Honey (dok./doc.)

Tur{ki ~aj (Turkish Tea) Babice revolucije (The Grandmothers of Revolution) (dok./doc.)

Mama Evropa (Mother Europe) (dok./doc.)

Moj narobe svet – Je`ek (My World Is Upside Down)

Predpremiere Avantpremieres

The Neon Demon The Neon Demon Neonski demon Nicolas Winding Refn

Danska, ZDA, Francija Denmark, USA, France 2016

Nicolas Winding Refn nas z zgodbo o nadarjeni {estnajstletni manekenki popelje v tema~en svet losangele{ke modne industrije.

Foregrounding a talented sixteen-year-old model, Nicolas Winding Refn delves into the dark recessed of Los Angeles fashion industry.

Najstnica Jesse `eli postati manekenka in se v ta namen preseli v Los Angeles. Na prvi fotografski seansi spozna viza`istko Ruby, ki jo na zabavi predstavi drugim dekletom, med katerimi sta tudi Sarah in Gigi. Jesse podpi{e pogodbo z ugledno modno agencijo, ta pa jo takoj po{lje na snemanje z vrhunskim fotografom, ki `e po prvem stiku zahteva individualno seanso z njo. Tak{en prednostni tretma ni pov{e~i preostalim dekletom, saj se `e dlje ~asa trudijo uspeti v modni industriji. Tekmovalnost med dekleti nara{~a z vsakim dnem in Jesse kmalu uvidi, da se je spustila v vse prej kot nedol`en poklic ...

A young and aspiring model Jesse has just moved to Los Angeles. At her first photo shoot, she meets makeup artist Ruby who introduces her to fellow models Sarah and Gigi at a party.

Jesse gets signed by an important modelling agency and is sent to a test shoot with a notable photographer, who calls for a completely closed set after he sees her. This arouses jealousy in other girls who have been trying to make it in the fashion industry for years. The dial on competitiveness turns up high and Jesse soon realises she will have to take on women who will use every possible means to get what she has.

"@e ve~ let me je mikalo posneti film o lepoti, ker sem v `ivljenju z njo obkro`en. Pri~a sem `enskam, ki jih lepota opolnomo~i.

Vrednost lepote se neprestano dviga in nikoli ne pade. Z na{im razvojem `ivljenjska doba lepote postaja vse bolj omejena, obsedenost z njo pa vedno bolj skrajna. Ta obsedenost lahko pogosto vodi v edinstveno vrsto blaznosti." (Nicolas Winding Refn)

"For a number of years, I've had this interest in making a film about beauty, because, in my life, I'm surrounded by it. And I see a lot of female empowerment with beauty. The currency of beauty continues to rise and never falls. And, as we evolve the lifespan of beauty becomes more limited, while our obsession with it becomes more and more extreme. This obsession can often lead to a unique kind of madness." (Nicolas Winding Refn)

Nicolas Winding Refn

filmografija/filmography

Rojen leta 1970 v Københavnu, Danska. Pri {tiriindvajsetih letih je posnel film Diler, ki je kmalu postal kulten. Po neuspehu prvega angle{ko govore~ega filma Strah X je bil zaradi finan~nih te`av prisiljen posneti {e drugi in tretji del Dilerja. S filmom Bronson se je dokon~no uveljavil kot eden vodilnih evropskih re`iserjev, z Vozi! pa je zaslovel tudi v ZDA.

1996 1999 2003 2004 2005 2008 2009 2011 2012 2016

Born in Copenhagen, Denmark, in 1970. At only 24, Winding Refn had written and directed Pusher that became a cult phenomenon. His first foray into English language films, Fear X, was a financial failure. Determined to reignite his career, he directed Pusher II and Pusher III. Bronson, an ultraviolent, surreal, escapist film, earned him the acclaim of one of the foremost European directors. Drive was his American breakthrough.

re`ija/directed by Nicolas Winding Refn scenarij/screenplay Nicolas Winding Refn, Mary Laws, Polly Stenham fotografija/cinematography Natasha Braier glasba/music Cliff Martinez monta`a/editing Matthew Newman igrajo/cast Elle Fanning (Jesse), Karl Glusman (Dean), Jena Malone (Ruby), Bella Heathcote (Gigi), Abbey Lee (Sarah), Desmond Harrington (Jack), Christina Hendricks (Roberta Hoffmann), Keanu Reeves (Hank), Charles Baker (Mikey), Jamie Clayton (direktorica kastinga/casting director), Stacey Danger (asistentka kastinga/casting assistant), Rebecca Dayan (garderoberka/dresser) producenti/producers Lene Børglum, Sidonie Dumas, Vincent Maraval produkcija/production Space Rocket Nation Kvæsthusgade 5C, 3.

DK–1251 Copenhagen, Denmark E lene�spacerocketnation.com & Vendian Entertainment (USA) & Bold Films (USA) & Gaumont (France) & Wild Bunch (France format/format DCP, barvni/colour dol`ina/running time 117' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E sales�wildbunch.eu

Pusher (Diler) Bleeder Fear X (Strah X) With Blood on My Hands: Pusher II (Diler 2: S krvavimi rokami) I'm the Angel of Death: Pusher III (Diler 3) Bronson Valhalla Rising (Bo`ji bojevnik) Drive (Vozi!)

Only God Forgives (Samo bog odpu{~a) The Neon Demon (Neonski demon)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

35

Predpremiere Avantpremieres

Neruda Neruda Neruda ^ile, Francija, [panija, Argentina Chile, France, Spain, Argentina 20164

Pablo Larraín re`ija/directed by Pablo Larraín scenarij/screenplay Guillermo Calderón fotografija/cinematography Sergio Armstrong glasba/music Federico Jusid monta`a/editing Hervé Schneid igrajo/cast Luis Gnecco (Pablo Neruda), Gael García Bernal (Óscar Peluchonneau), Mercedes Morán (Delia del Carril), Diego Muñoz (Martínez), Pablo Derqui(Víctor Pey), Michael Silva (Álvaro Jara), Jaime Vadell (Jorge Alessandri), Alfredo Castro (Gabriel González Videla), Marcelo Alonso (Pepe Rodríguez), Francisco Reyes (Bianchi), Alejandro Goic (Jorge Bellet), Emilio Gutiérrez Caba (Pablo Picasso) producent/producer Juan de Dios Larraín produkcija/production Fabula Holanda 3017, Ñuñoa 7770057 Santiago, Chile E info�fabula.cl & Funny Balloons (France) & Setembro Cine (Spain) & AZ Films (Argentina) format/format DCP, barvni/colour dol`ina/running time 108' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 – [tirinajst dni re`iserjev/Directors' Fortnight, München/Munich 2016

Portret ~ilskega poeta Pabla Nerude se v izvedbi re`iserja Pabla Larraína osredoto~a na eno najbolj burnih obdobij njegovega `ivljenja.

Pablo Larraín's portrayal of Chilean poet Pablo Neruda centres on some of this Nobel Prize laureate's most tumultuous years.

Pi{e se leto 1948, ko hladna vojna dose`e ^ile. Senator Pablo Neruda v kongresu tamkaj{njo vlado okrivi izdaje komunisti~ne partije, za kar si prislu`i obto`nico predsednika Gonzaleza Videle.

Policijskega predstojnika Oscarja Peluchonneauja po{ljejo aretirat poeta. Neruda posku{a skupaj z `eno, slikarko Delio del Carril, pobegniti iz dr`ave, vendar sta se ube`nika prisiljena skriti.

Navdahnjen s temi dogodki Neruda napi{e Veliki spev. Medtem se v Evropi raz{iri glas o poetu, ki ga lovi policija, zato se za~nejo umetniki na ~elu s Pablom Picassom zavzemati za njegovo svobodo. Neruda v tem boju prepozna prilo`nost za novo rojstvo.

It's 1948 and the Cold War has reached Chile. In congress, Senator Pablo Neruda accuses the government of betraying the Communist Party and is swiftly impeached by President Gonzalez Videla. Police Prefect Oscar Peluchonneau is assigned to arrest the poet. Neruda tries to flee the country with his wife, the painter Delia del Carril, but they are forced into hiding. Inspired by the dramatic events of his new life as a fugitive, Neruda writes his epic collection of poems, Canto General. Meanwhile, in Europe, the legend of the poet hounded by the policeman grows, and artists led by Pablo Picasso clamour for Neruda's freedom.

Neruda, however, sees this struggle as an opportunity to reinvent himself.

"Film Neruda nam pomeni la`no biografijo. Je filmska biografija, ki to ni, ker nismo resno jemali naloge ustvarjanja pesnikovega portreta. Preprosto, ker je to nemogo~e. Zato smo se odlo~ili zasnovati film iz izmi{ljenih in igrivih prvin. Tako smo ob~instvu omogo~ili, da deli pesnikov zanos v njegovih pesmih, njegovem spominu in komunisti~ni ideologiji hladne vojne." (Pablo Larraín)

prodaja/world sales Funny Balloons 4 bis rue Saint Sauveur 75002 Paris, France E contact�funny-balloons.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Pablo Larraín

filmografija/filmography

Rojen leta 1976 v Santiagu, ^ile. Po {tudiju filmske re`ije je ustanovil produkcijsko hi{o Fabula. Njegov tretji celove~erec Post Mortem je bil leta 2010 prikazan v glavnem programu bene{kega festivala, s filmom Ne! se je dve leti pozneje potegoval za oskarja v kategoriji tujejezi~nih filmov, naslednji film Klub pa je na Berlinalu leta 2015 osvojil veliko nagrado `irije.

2006 2008 2010 2011 2012 2015 2016

Born in 1976 in Santiago, Chile. Graduating in film direction, Larraín founded a production company, Fabula. Post Mortem, his third feature film, screened in 2010 Cannes Film Festival's main selection, and No was nominated for a Best Foreign Language Film Academy Award. His next film, The Club, won the Grand Jury Prize at the 2015 Berlin Film Festival.

36

"For us, Neruda is a false biopic. It’s a biopic that isn't really a biopic because we don't really take the task of making a portrait of the poet that seriously. Simply because that's impossible. So we decided to put together a film from elements of invention and playfulness. In that manner, the audience can soar alongside him in his poetry, his memory, and his Cold War communist ideology."

(Pablo Larraín)

Fuga Tony Manero Post Mortem Prófugos (TV-serija/TV series) No (Ne!) El Club (The Club/Klub) Neruda

Predpremiere Avantpremieres

La fille inconnue The Unknown Girl Neznanka Belgija, Francija Belgium, France 2016

Jean-Pierre Dardenne, Luc Dardenne

Brata Dardenne element suspenza v `anru kriminalne drame znova uporabita kot sredstvo za izpostavljanje pomembne socialne tematike v dana{nji Evropi.

The genre of suspense-ridden crime drama again serves brothers Dardenne as the perfect vehicle for addressing Europe's critical social issues.

Mlada zdravnica Jenny nekega ve~era `e kon~a svoj delavnik, ko zasli{i zvonec pri vratih. Ignorira ga. Naslednji dan jo policija obvesti, da so v bli`ini na{li truplo neidentificirane mlade `enske.

Gre za afri{ko priseljenko in izka`e se, da je prav ona prej{nji ve~er obupano trkala na vrata. Jenny preplavi ob~utek krivde.

Dejstvo, da bodo `ensko pokopali kot neznano osebo, ji ne da miru, zato se sama odpravi raziskovat ozadje njene smrti. Spusti se v temo mestnega podzemlja, a {e toliko bolj v svet skromnih domovanj lokalnih prebivalcev, med katerimi so tudi njeni pacienti.

One evening, after closing her practice for the day, Jenny, a young doctor, hears the doorbell ring but doesn't answer it. The next day, the police inform her that an unidentified young woman has been found dead close by. The woman in question is an African immigrant, captured banging desperately one evening on the front door of Davin's surgery in Liège. Haunted by guilt, and distraught at the idea of her being buried without a name, Jenny embarks on an insistent amateur investigation of her own. It's one that leads her to skim the surface of Liège's underworld, but more often into the modest homes of local residents – her own patients among them.

"Like zaznamujejo psihosomatske reakcije, kot so vrtoglavica, bole~ine v `elodcu, epilepti~ni napadi ... Telo se vedno prvo odzove; 'govori' in izra`a stvari, ki jih ne znamo vedno ubesediti.

Jenny so~ustvuje s svojimi bolniki, posku{a jih zdraviti med raziskovanjem identitete neznanega dekleta. /.../ Ti liki spadajo v dana{nji svet. Spadajo v tisti del dru`be, ki je brutalno izklju~ena.

Vendar si nikoli nismo `eleli, da bi postali 'dru`beni primeri'. Ko Jenny sprejema svoje paciente, jih obravnava kot edinstvene posameznike, ne kot ‘primere'. Tako kot midva." (Luc Dardenne)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016

"The characters have a lot of psychosomatic reactions, including dizzy spells, stomach aches, epileptic seizures… The body always responds first; it 'speaks' and expresses things we cannot always put into words. Jenny cares about her patients' suffering and tries to heal them while investigating who the unknown girl was. /.../ These characters belong to today's world. They belong to that part of society that has been brutally excluded. However, we never meant for them to be 'social cases'. When Jenny sees her patients, she regards them as unique individuals, not as 'cases'. So do we." (Luc Dardenne)

Jean-Pierre, Luc Dardenne

filmografija (izbor)/filmography (selection)

Belgijski re`iserski duo, brata Jean Pierre (rojen 1951) in Luc (rojen 1954), sta najprej ustanovila produkcijsko hi{o Dérives, leta 1981 pa Films Dérives Production. Skupaj sta ustvarila ve~ kot petdeset TV-dokumentarcev.

Jean-Pierre je zaposlen na avdiovizualnem oddelku Univerze v Liègu, Luc pa predava na Svobodni univerzi v Bruslju. Za filma Rosetta in Otrok sta na festivalu v Cannesu `e dvakrat prejela zlato palmo.

1978 1981 1986 1992 1997 1999 1999 2002 2005 2008 2011 2014 2016

Brothers Jean-Pierre (born in 1951) and Luc (born in 1954) are an acclaimed Belgian filmmaking duo. In 1975, they established the Dérives production company, and in 1981 the Films Dérives Production. Together, they have produced over fifty TV-documentaries. Jean-Pierre works at the Audio Visual Department of the Liège University, and Luc teaches at the Free University of Brussels. Rosetta and The Child both won the Palme d'Or Award at Cannes.

re`ija/directed by Jean-Pierre Dardenne, Luc Dardenne scenarij/screenplay Jean-Pierre Dardenne, Luc Dardenne fotografija/cinematography Alain Marcoen monta`a/editing Marie-Hélène Dozo igrajo/cast Adèle Haenel (Jenny Davin), Olivier Bonnaud (Julien), Jérémie Renier (Bryanov o~e/Bryan's father), Louka Minnella (Bryan), Christelle Cornil (Bryanova mati/Bryan's mother), Nadège Ouedraogo (blagajni~arka v spletni kavarni/cashier at the cybercafé), Olivier Gourmet (mladi Lambert/Lambert Junior) producenti/producers Jean-Pierre Dardenne, Luc Dardenne, Denis Freyd produkcija/production Les Films du Fleuve Quai de Gaulle, 13 4020 Liège, Belgium E desk�lesfilmsdufleuve.be & Archipel 35 (France) & Savage Film (Belgium) & France 2 Cinéma (France) & VOO & Be TV (Belgium) & RTBF (Belgium) format/format DCP, barvni/colour dol`ina/running time 113'

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E sales�wildbunch.eu

Le chant du Rossignol (dokumentarni/documentary) R … ne répond pas (dokumentarni/documentary) Falsch Je pense à vous Gigi, Monica … et Bianca (dokumentarni/documentary) La promesse (The Promise/Obljuba) Rosetta Le Fils (The Son/Sin) L'enfant (The Child/Otrok) Le silence de Lorna (Lorna's Silence/Lornina ti{ina) Le gamin au vélo (The Kid With a Bike/Fant s kolesom) Deux jours, une nuit (Two Days, One Night/Dva dneva, ena no~) La fille inconnue (The Unknown Girl/Neznanka)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

37

Predpremiere Avantpremieres

Nocturnal Animals Nocturnal Animals No~ne ptice ZDA USA 2016

Tom Ford re`ija/directed by Tom Ford scenarij/screenplay Tom Ford, Austin Wright (roman/ novel) fotografija/cinematography Seamus McGarvey glasba/music Abel Korzeniowski monta`a/editing Joan Sobel igrajo/cast Amy Adams (Susan Morrow), Jake Gyllenhaal (Tony Hastings, Edward Sheffield), Michael Shannon (Bobby Andes), Aaron Taylor-Johnson (Ray Marcus), Isla Fisher (Laura Hastings), Ellie Bamber (India Hastings), Armie Hammer (Hutton Morrow), Karl Glusman (Lou), Robert Aramayo (Turk), Laura Linney (Anne Sutton), Andrea Riseborough (Alessia), Michael Sheen (Carlos) producenta/producers Tom Ford, Robert Salerno produkcija/production Focus Features 1540 2nd St #200 Santa Monica, CA 90401, USA & Fade To Black (USA) & Universal Pictures (USA) format/format DCP, barvni/colour dol`ina/running time 115'

Amy Adams in Jake Gyllenhaal v trilerju o ameri{ki kulturni eliti odkrivata neprijetno resnico o sebi ter stopata po tanki liniji med ljubeznijo in krutostjo.

Susan Morrow z mo`em Huttonom `ivi privilegirano, a neizpolnjujo~e. Ko se Hutton neki konec tedna odpravi na eno od prepogostih slu`benih potovanj, Susan v nabiralniku najde paket. V njem je knjiga z naslovom No~ne ptice, ki jo je napisal njen nekdanji mo` Edward Sheffield, s katerim `e dolga leta nima stikov. V prilo`enem sporo~ilu ji Edward naro~i, naj prebere knjigo in ga poi{~e, ko bo spet na obisku v mestu. Ko za~ne Susan pono~i v postelji brati roman, presene~ena odkrije, da je knjiga posve~ena njej. Tema~na, nasilja polna zgodba jo prisili k razmisleku o njenem `ivljenju in odlo~itvah, ki jih je sprejela v preteklosti.

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2016 (velika nagrada `irije/Grand Jury Prize), Toronto 2016, London 2016

"No~ne ptice je svarilna zgodba o sprijaznjenju z odlo~itvami, ki smo jih sprejeli v `ivljenju, in posledicami, ki jih lahko imajo.

V dru`bi, v kateri je vse vedno bolj mogo~e zavre~i, vklju~no z na{imi razmerji, je to zgodba o zvestobi, predanosti in ljubezni.

Zgodba o osamljenosti, ki jo vsi ob~utimo, in o pomenu cenjenja osebnih zvez v `ivljenju, ki nas napajajo." (Tom Ford)

prodaja/world sales Filmnation 150 West 22nd St 9th Floor 10011 New York, USA E ssaldana�filmnation.com distribucija/distribution Karantanija Cinemas Ro`na dolina, Cesta 3/18 1000 Ljubljana E info�kcs.si

Susan Morrow lives a privileged yet unfulfilled life with her husband Hutton. One weekend, as Hutton departs on one of his too-frequent business trips, Susan receives a package that has been left in her mailbox. It is a novel, Nocturnal Animals, written by her ex-husband Edward Sheffield, with whom she has had no contact for years. Edward's accompanying note encourages Susan to read the work and then to contact him during his visit to the city. Alone at night, in bed, Susan begins reading. The novel is dedicated to her... ...but its content is violent and devastating.

Susan cannot help but interpret the book as a tale that forces her to re-evaluate the choices she has made.

"Nocturnal Animals is a cautionary tale about coming to terms with the choices that we make as we move though life and of the consequences that our decisions may have. In an increasingly disposable culture where everything including our relationships can be so easily tossed away, this is a story of loyalty, dedication and of love. It is a story of the isolation that we all feel, and of the importance of valuing the personal connections in life that sustain us." (Tom Ford)

Tom Ford

filmografija/filmography

Rojen leta 1961 v Austinu (Teksas, ZDA). V New Yorku je {tudiral umetnostno zgodovino in arhitekturo. S~asoma se je uveljavil kot modni oblikovalec; ustvarjal je za znamke, kot sta Gucci in Yves Saint Laurent.

Lastno modno znamko je ustanovil leta 2005, istega leta pa tudi svoje filmsko produkcijsko podjetje Fade to Black, pri katerem je 2009 posnel svoj celove~erni prvenec Samski mo{ki.

2009 A Single Man (Samski mo{ki) 2016 Nocturnal Animals (No~ne ptice)

Born in Austin, Texas, in 1961, Ford attended courses in art history and architecture in New York City. He is also one of the most esteemed fashion designers of his generation, known for his iconic work with fashion houses Gucci, Yves Saint Laurent, and his eponymous brand Tom Ford, which was founded in 2005. He formed his film production company Fade To Black in 2005, which produced his first feature film, A Single Man, in 2009.

38

In this haunting thriller about American cultural celebrity elite actors Amy Adams and Jake Gyllenhaal learn the dark truths about each other and themselves, and walk the fine line between love and cruelty.

Predpremiere Avantpremieres

Nocturama Nocturama No~ni razgledi Bertrand Bonello

Francija, Nem~ija, Belgija France, Germany, Belgium 2016

Dru`beno aktualen in kontroverzno-provokativen prikaz radikalne skupine mladih, ki sredi francoske prestolnice izvedejo teroristi~ni napad.

A socially relevant and controversial investigation into a group of young radicals whose terrorist attacks on Paris lead to a massive manhunt.

Sredi Pariza skupina mladih ljudi na~rtuje niz teroristi~nih napadov.

Skupino sestavlja pet oseb razli~nih ras iz Evrope, Azije in Bli`njega vzhoda, preprosto naveli~anih dru`be, v kateri `ivijo. Kot se za njihovo generacijo spodobi, njihova komunikacija in izvedba na~rta temeljita na uporabi mobilnih telefonov. V nadaljevanju filma iste osebe spremljamo ujete v praznem nakupovalnem centru, skrite pred policijo in vojsko ...

A group of young French men and women, tired of the society they're living in, plan and execute a series of attacks on multiple targets in Paris. The group is multiracial, a cross section of contemporary French society: European, African, Middle Eastern.

Cellphones provide the primary mode of communication as the various groups efficiently carry out their objectives. On the run from the army and police, the terrorists hide out in a huge, vacated department store.

"Ko se loti{ iskanja igralcev, pri katerem `eli{ najti deset ljudi, ve~inoma natur{~ikov, si mora{ vzeti veliko ~asa. Meni je vzelo osem ali devet mesecev. ^e si vzame{ ~as, jih najde{. Scenarij je bil kon~an, vendar likov nisem do potankosti opisoval, `elel sem, da bi igralci vnesli vse, ~esar nisem opisal, naj bo na~in govora ali hoje; da bi filmu prispevali svojo osebnost." (Bertrand Bonello)

festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 2016, Toronto 2016 (nagrada SIGNIS/SIGNIS Award)

"When you do this kind of casting, where you have ten people to find, mostly unprofessional, you have to give yourself a lot of time, so it took me eight or nine months to do the casting. If you take the time, you find the people. The script was finished, but I didn't describe a lot of the characters in the script, so I wanted the actors I'd find to bring everything I didn't write, be it the way they talk or walk; that they bring also to the film who they are."

(Bertrand Bonello)

Bertrand Bonello

filmografija/filmography

Rojen leta 1968 v Nici, Francija. Preden se je posvetil filmu, se je po zaslugi klasi~ne glasbene izobrazbe pre`ivljal kot glasbenik. [e danes pi{e glasbo za svoje filme in pou~uje na francoski dr`avni filmski {oli La Fémis. Kot re`iser in scenarist se je uveljavil s filmi Le pornographe, L'Apollonide in Saint Laurent. Pri{tevamo ga med predstavnike novega francoskega ekstremizma.

1998 2001 2003 2005 2008 2011 2012 2014 2016

Born in 1968 in Nice, France. Before venturing into film, Bonello worked as a classically-trained musician. He writes his own film music and teaches at the French national film school La Fémis. He has asserted himself as a director and writer with The Pornographer, House of Tolerance and Saint Laurent. He belongs to the movement called the New French Extremity.

re`ija/directed by Bertrand Bonello scenarij/screenplay Bertrand Bonello fotografija/cinematography Léo Hinstin glasba/music Bertrand Bonello monta`a/editing Fabrice Rouaud igrajo/cast Finnegan Oldfield (David), Vincent Rottiers (Greg), Hamza Meziani (Yacine), Manal Issa (Sabrina), Martin Petit-Guyot (André), Jamil McCraven (Mika), Rabah Nait Oufella (Omar), Laure Valentinelli (Sarah), Ilias Le Doré (Samir), Robin Goldbronn (Fred), Luis Rego (Jean-Claude), Hermine Karagheuz (Patricia) producenta/producers Edouard Weil, Alice Girard produkcija/production Rectangle Productions 26 Rue Danielle Casanova 75002 Paris, France E info�rectangleproductions.com & Wild Bunch & Pandora Film Production & Arte France Cinema & Arte Deutschland/WDR format/format DCP, barvni/colour dol`ina/running time 130'

prodaja/world sales Wild Bunch Distribution 65 rue de Dunkerque 75009 Paris, France E distribution�wildbunch.eu

Quelque chose d'organique (Something Organic) Le pornographe (The Pornographer) Tiresia Cindy, the Doll Is Mine (kratki/short) De la guerre (On War) L'Apollonide – Souvenirs de la maison close (House of Tolerance) Ingrid Caven, musique et voix (Ingrid Cave: Music & Voice) Saint Laurent Nocturama (No~ni razgledi)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

39

Predpremiere Avantpremieres

No~no `ivljenje Nightlife No~no `ivljenje

re`ija/directed by Damjan Kozole scenarij/screenplay Damjan Kozole, Ognjen Svili~i}, Ur{a Menart fotografija/cinematography Miladin ^olakovi} glasba/music Kostov, Silence monta`a/editing Jurij Mo{kon, Ivo Trajkov igrajo/cast Pia Zemlji~ (Lea Potokar), Jernej [ugman (Milan Potokar), Marko Mandi} (Bojan Kenda), Peter Musevski (Rozman), Petre Arsovski (dr. Nikolovski, MD), Jana Zupan~i~ (Tanja), Dejan Spasi} (dr. Tomi}, MD), Mojca Partlji~ (Vesna), Matija Vastl (dr. Dolenc, MD), Andrej Murenc (policist/policeman) producent/producer Danijel Ho~evar produkcija/production Vertigo Kersnikova 4 1000 Ljubljana, Slovenia E info�vertigo.si & Sisters and Brother Mitevski (Macedonia) & SCCA pro.ba (Bosnia and Herzegovina) format/format DCP, barvni/colour dol`ina/running time 85'

Damjan Kozole

Slovenija, Makedonija, Bosna in Hercegovina Slovenia, Macedonia, Bosnia and Herzegovina 2016

Damjan Kozole nadaljuje svoj niz mednarodno uspe{nih filmov s trilerjem o tema~ni strani slovenske dru`be. Nagrada za najbolj{o re`ijo na filmskem festivalu v Karlovih Varih.

Damjan Kozole continues his string of internationally acknowledged films with a thriller about the dark side of Slovenian society. Best Director Award at the 2016 Karlovy Vary Film festival.

Pono~i ob ljubljanski vpadnici najdejo znanega odvetnika – napol zavesten le`i na plo~niku, po telesu ima {tevilne pasje ugrize.

Zdravniki se v Klini~nem centru borijo za njegovo `ivljenje, njegova `ena pa se soo~i s {okom in s svojimi najglobjimi strahovi. V eni no~i prekr{i vse moralne vrednote, ki jih zagovarja v `ivljenju.

festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2016 (najbolj{a re`ija/Best Director)

"No~no `ivljenje govori o osnovnih vpra{anjih sodobne evropske dru`be, kot so zaupanje, etika, dvoli~nost, korupcija. To je film o dru`bi, v kateri je gonilna sila strah. Ne ponuja preprostih re{itev, govori o tem, kako je na{e `ivljenje krhko in kako je vse povezano. Govori o tem, da `ivimo v dru`bi, v kateri se nikoli ni~ ne razjasni. Govori tudi o tem, da nekaterih ran ni mogo~e zaceliti.

Ker ljudje grizemo huje kot psi.« (Damjan Kozole)

prodaja/world sales Vertigo Kersnikova 4 1000 Ljubljana, Slovenia E info�vertigo.si

"Nightlife deals with basic issues of contemporary European society, including trust, ethics, hypocrisy, corruption. This is a film about a society driven by fear. It doesn't provide any simple solutions, but deals with how fragile our lives are and how everything is connected. It also deals with the fact that some wounds never heal. Because people are more vicious than dogs."

(Damjan Kozole)

Damjan Kozole

filmografija (izbor)/filmography (selection)

Rojen leta 1964 v Bre`icah. Pri 22 letih je posnel svoj prvi celove~erni film, nizkoprora~unski Usodni telefon, enega prvih neodvisnih filmov v takratni Jugoslaviji. Njegovi celove~erni filmi so bili prikazani na ve~ kot stotih mednarodnih festivalih, prejeli so ve~ kot trideset nagrad in priznanj. Je ~lan Evropske filmske akademije in dobitnik @upan~i~eve nagrade, ki jo mesto Ljubljana podeljuje za izjemne dose`ke v umetnosti in kulturi.

1987 1988 1997 2000 2003 2004 2004 2008 2009 2012 2013 2016

Born in 1964, Bre`ice, Slovenia. At the age of 22 Kozole made his debut with a low-budget film, The Fatal Telephone, one of the first independent films in former Yugoslavia. His features have screened at over a hundred international festivals and garnered over thirty awards and prizes. He is member of the European Film Academy and recipient of the @upan~i~ Award presented by the City of Ljubljana for Outstanding Achievements in Arts and Culture.

40

One night, a high-profile attorney is found on the pavement along a main road in Ljubljana. He is barely conscious, lying in a pool of blood, and covered in dog bites. Doctors at the medical centre struggle to keep him alive while his wife, in shock, confronts her deepest fears. During the course of this night she will break every moral standard she has stood up for in her life.

Usodni telefon (The Fatal Telephone) Remington Stereotip (Stereotype) Porno film (Porn Film) Rezervni deli (Spare Parts) Visions of Europe (Vizije Evrope) (segment Europa/Evropa) Delo osvobaja (Labour Equals Freedom) (TV) Za vedno (Forever) Slovenka (A Call Girl) Dolge po~itnice (The Long Vacation) (dok./doc.)

Projekt: rak (Project Cancer) No~no `ivljenje (Nightlife)

Predpremiere Avantpremieres

Elle Elle Ona Paul Verhoeven

Francija, Nem~ija, Belgija France, Germany, Belgium 2016

Velika vrnitev nizozemskega re`iserja Paula Verhoevena, ki se tudi tokrat ne izogne kontroverzni tematiki.

In his big comeback Dutch director Paul Verhoeven again taps into a controversial issue.

Michele je sodobna, mo~na poslovna `enska z neuni~ljivim zna~ajem. Uspe{na direktorica podjetja za razvoj ra~unalni{kih iger je neprizanesljiva tako v poslovnem kot zasebnem `ivljenju.

Neko~ pa jo v njenem lastnem domu napade neznani vlomilec in njeno `ivljenje se za vedno spremeni. Namesto da bi se po pomo~ zatekla k organom pregona, se odlo~i napadalca izslediti sama. Ko mu kon~no stopi na prste, se z njim spusti v nenavadno in vznemirljivo igro, ki lahko vsak trenutek uide izpod nadzora.

A modern, tough businesswoman, Michèle seems indestructible.

Head of a leading video game company, she brings the same ruthless attitude to her love life as to business. Being attacked in her home by an unknown assailant changes Michèle's life forever. When she resolutely tracks the man down, they are both drawn into a curious and thrilling game – a game that may, at any moment, spiral out of control.

"Ko si je film ogledala Isabelle Huppert, mi je med drugim dejala: 'Najbolj zanimiv vidik je vseprisotna negotovost.' Prav ima, vedno je negotovo. Te`ko je dokon~no doumeti to `ensko. Vse je spremenljivo, niti se prepletajo ... Tak{no zasnovo sem `e uporabil v drugih delih, zlasti filmu Popolni spomin – v popolnoma druga~nem `anru – s spajanjem sanj in resni~nosti. Na koncu ne ve{, kaj bi si mislil. Nejasno je. Rad pu{~am odprte mo`nosti.

Podobno kot v resni~nem `ivljenju nikoli ne ve{, kaj se skriva za smehljajem. Ali ne." (Paul Verhoeven)

"When Isabelle Huppert saw the movie, this was one of the things she said to me: 'The most interesting aspect is the perpetual ambiguity'. She's right, it's always ambiguous. It’s hard to completely grasp this woman. Everything is fluctuating, strands intertwine... I had already done that in other movies, particularly Total Recall – in a totally different genre – by combining dream and reality. At the end, you're not sure what to think. It's unclear. I like keeping options open. Just like in life, you never know what's hiding behind a smile. Or not."

(Paul Verhoeven)

Paul Verhoeven

filmografija (izbor)/filmography (selection)

Rojen leta 1938 v Amsterdamu, Nizozemska. Diplomiral je iz matematike in fizike, nato pa se je pridru`il Kraljevi mornarici, kjer je za~el snemati dokumentarne filme. Njegovo prvo delo je bila TV-serija Floris, svoj prvi film Zapiski prostitutke pa je posnel 1971. V osemdesetih letih se je preselil v ZDA, kjer se je s filmi Robocop, Popolni spomin in Prvinski nagon prebil med najvidnej{e re`iserje na svetu.

1969 1971 1973 1985 1987 1990 1992 1995 1997 2000 2006 2016

Born in 1938 in Amsterdam, Verhoeven graduated in math and physics and then entered the Royal Netherlands Navy, where he began his film career by making documentaries. In 1969, he directed the popular TV series, Floris. Verhoeven's first feature, Diary of a Hooker, was released in 1971.

Verhoeven moved to the US in the eighties, where Robocop, Total Recall and Basic Instinct earned him worldwide acclaim.

re`ija/directed by Paul Verhoeven scenarij/screenplay Philippe Djian (roman/novel), David Birke fotografija/cinematography Stéphane Fontaine glasba/music Anne Dudley monta`a/editing Job ter Burg igrajo/cast Isabelle Huppert (Michèle Leblanc), Laurent Lafitte (Patrick), Anne Consigny (Anna), Charles Berling (Richard Leblanc), Virginie Efira (Rebecca), Judith Magre (Irène Leblanc), Christian Berkel (Robert), Jonas Bloquet (Vincent), Alice Isaaz (Josie), Vimala Pons (Hélène), Raphaël Lenglet (Ralf), Arthur Mazet (Kevin), Lucas Prisor (Kurt), Hugo Conzelmann (Philipp Kwan) producenta/producers Saïd Ben Saïd, Michel Merkt produkcija/production SBS Films 29 Rue Danielle Casanova 75001 Paris, France E contact�sbs-productions.com & Twenty Twenty Vision (Germany) & France 2 Cinéma (France) & Entre Chien et Loup (France) format/format DCP, barvni/colour dol`ina/running time 130' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016

prodaja/world sales SBS International 29, rue Danielle Casanova 75001 Paris, France E contact�sbs-distribution.fr

Floris (TV-serija/TV series) Wat zien ik (Diary of a Hooker/Zapiski prostitutke) Turks fruit (Turkish Delight) Flesh+Blood (Meso in kri) Robocop Total Recall (Popolni spomin) Basic Instinct (Prvinski nagon) Showgirls (Sla~ipunce) Starship Troopers (Vesoljski bojevniki) Hollow Man (Mo` brez telesa) Zwartboek (Black Book/^rna knjiga) Elle (Ona)

distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

41

Predpremiere Avantpremieres

Paterson Paterson Paterson ZDA USA 2016

Jim Jarmusch re`ija/directed by Jim Jarmusch scenarij/screenplay Jim Jarmusch fotografija/cinematography Frederick Elmes glasba/music SQÜRL monta`a/editing Affonso Gonçalves igrajo/cast Adam Driver (Paterson), Golshifteh Farahani (Laura), Helen-Jean Arthur (starej{a `enska/older woman), Owen Asztalos (otrok/kid), Kacey Cockett (`enska v rde~em/woman in red), Luis Da Silva Jr., Jared Gilman, Kara Hayward, Chasten Harmon (Marie), William Jackson Harper (Everett), Frank Harts (Luis), Barry Shabaka Henley (Doc) producenta/producers Joshua Astrachan, Carter Logan produkcija/production Exoskeleton Inc. 217 Centre Street #112 10013 New York, USA E exocarter�gmail.com format/format DCP, barvni/colour dol`ina/running time 113'

Z meditativno, poeti~no odo iskanju umetni{ke veli~ine v najbolj neznatnih trenutkih na{ega `ivljenja Jim Jarmusch {e naprej vztraja v povsem samosvojem filmskem svetu.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016, Sydney 2016, Karlovi Vari/Karlovy Vary 2016

Paterson je voznik avtobusa v istoimenskem mestecu New Jerseyja. Vsak dan sledi isti rutini. Med vo`njo opazuje mesto, ki polzi mimo njega, in srka drobce pogovorov med potniki. Med malico v bele`ko zapisuje svojo poezijo. Po slu`bi gre na sprehod s psom. Med sprehodom se ustavi v baru in spije natanko eno pivo. Ko opravi vse to, gre domov k `eni Lauri. Za razliko od njegove ustaljene rutine se njeno `ivljenje nenehno spreminja; Laura svojega mo`a vsak dan preseneti z novimi sanjami. A on ljubi njo in ona njega. On podpira njene ambicije, ona njegov dar za poezijo. Film tako potihoma opazuje majhne zmage in poraze vsakdanjega `ivljenja, s tem pa tudi poezijo, ki se skriva v najmanj{ih detajlih vsakdanjika.

"Paterson slavi poezijo podrobnosti, vsakodnevnih variacij in premen. Je protiute` tema~nosti ter te`i dram in akcijskih filmov.

Tak{en film bi moral gledalec pustiti, da mu lebdi pred o~mi, kot podobe skozi okna avtobusa, ki pluje kot gondola po ulicah majhnega pozabljenega mesta." (Jim Jarmusch)

prodaja/world sales K5 International Konradinstrasse 5 81543 München, Germany E carl�k5mediagroup.com distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Paterson is a bus driver in the eponymous city of Paterson, New Jersey. Every day, Paterson adheres to a simple routine: he drives his daily route, observing the city as it drifts across his windshield and overhearing fragments of conversation swirling around him; he writes poetry into a notebook; he walks his dog; he stops in a bar and drinks exactly one beer; he goes home to his wife, Laura. By contrast, Laura's world is ever changing. New dreams come to her almost daily. Paterson loves Laura and she loves him. He supports her newfound ambitions; she champions his gift for poetry. The film quietly observes the triumphs and defeats of daily life, along with the poetry evident in its smallest details.

"Paterson pays homage to the poetry of details, to daily variations and changes. The film is an antidote to the dark and heavy drama and action films. It is a film that the viewer should let float under his eyes, like images seen through the window of a bus that glides, like a gondola, through the streets of a small forgotten town." (Jim Jarmusch)

Jim Jarmusch

filmografija (izbor)/filmography (selection)

Rojen leta 1953 v Akronu, Ohio, ZDA. Diplomiral je iz angle{ke in ameri{ke knji`evnosti, filmsko izobrazbo pa si je pridobil z gledanjem filmov v Francoski kinoteki in s {tudijem na filmski {oli v New Yorku. Svoj prvi film Neskon~ne po~itnice je leta 1980 posnel za petnajst tiso~ dolarjev. S filmom Bolj ~udno kot raj, nagrajenim v Cannesu, je postal ena od ikon ameri{kega neodvisnega filma in ta status ohranja {e danes.

1980 1984 1986 1989 1991 1995 1999 2003 2005 2009 2013 2016 2016

Born in 1953 in Akron (Ohio, USA), Jarmusch graduated in English and American literature. He obtained his cinematic education by watching films at the Cinémathèque Française in Paris and later studying at the New York University's Tisch School of the Arts. He made his first film, Permanent Vacation, in 1980 for roughly $15,000. Stranger than Paradise went on to win the Camera D'Or at the Cannes Film Festival and establish its maker as one of the icons of American independent cinema.

42

The meditative, poetic ode to human quest for artistic glory found in some of life's most insignificant moments establishes Jim Jarmusch as one of the most idiosyncratic filmmakers today.

Permanent Vacation (Neskon~ne po~itnice) Stranger Than Paradise (Bolj ~udno kot raj) Down By Law (Pod udarom zakona) Mystery Train (Vlak skrivnosti) Night on Earth (No~ na Zemlji) Dead Man (Mrtvec) Ghost Dog: The Way of the Samurai (Duh psa: samurajeva pot) Coffee and Cigarettes (Kava in cigarete) Broken Flowers (Strti cvetovi) The Limits of Control (Meje razuma) Only Lovers Left Alive (Ve~na ljubimca) Gimme Danger Paterson

Predpremiere Avantpremieres

Voyage of Time: Life's Journey Voyage of Time: Life's Journey Potovanje ~asa Francija, Nem~ija, ZDA France, Germany, USA 2016

Terrence Malick

Terrence Malick nas s pomo~jo hipnoti~nega glasu Cate Blanchett ponese v ~as nastanka na{ega planeta, da bi doumel ~lovekov prostor v njegovi prihodnosti.

Featuring Cate Blanchett's intoxicating voiceover, Voyage of Time is an exploration into our planetary past and a search for humanity's place in the future.

Kaj po vsem tem ~asu pomeni biti mi – tukaj, zdaj? Silovita geologija zgodnjega planeta. Prve celice, ki rastejo, se delijo, raziskujejo vsak dosegljivi habitat. Za~etek rib, gozdov, dinozavrov in ne nazadnje na{e ~love{ke vrste. V filmskem do`ivetju za ~ute, um in du{o se vesolje, od rojstva zvezd do eksplozije `ivljenja na Zemlji, v uri in pol razvije pred na{imi o~mi. Potovanje ~asa je himna naravi, `ivljenju in vesolju, ki jo je Malick ustvaril s pomo~jo ekipe znanstvenih svetovalcev, s ~imer nam vrsto naravnih pojavov – tako tistih vesoljskih kot tistih mikroskopskih – prika`e povsem na novo.

What does it mean, after all those eons, to be us, here, now?

The fierce geology of the early planet. The first cells, growing, dividing, exploring every niche open to them. The coming of fish, forests, dinosaurs and our own species with its need to reckon with everything – all this transforms into a hymn to nature, life and the universe. The unfolding of the universe takes place before your eyes, in this experience for the senses, mind and soul. Working with a team of scientific advisors the film shows an array of never-witnessed natural phenomena – celestial and terrestrial, macroscopic and microscopic – in a variety of new ways.

"Najbolj{e pri tem delu je, da nima nobene zveze s prirodoslovnimi filmi, kot jih poznamo – s filmom, v katerem se prirodoslovec srednjih let v bermuda hla~ah sprehaja po savani in nam pripoveduje o mravlji{~ih. To delo obstaja na popolnoma druga~ni ravni in Terry preprosto zanemari vse prej{nje konvencije. Ne samo da je ta pristop uspe{en, menim tudi, da se je moral pojaviti veliki filmski ustvarjalec in povedati, da je zgodba o `ivljenju najbolj osupljiva zgodba vseh ~asov – ki upravi~eno pripada vsem nam." (dr. Andrew Knoll, znanstveni svetovalec)

festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2016, Toronto 2016

"What's great about this film is that it has nothing in common with the natural history film as you know it – the film where there's a middle-aged naturalist in Bermuda shorts walking around the savannah telling us about anthills. This is on a completely different plane and Terry just does away with all prior conventions. There is not only room for this approach but I think there has really been a need for a great filmmaker to step back and say the story of life is the most amazing story you can tell – and it's a story that rightfully belongs to all of us." (dr. Andrew Knoll, scientific adviser)

Terrence Malick

filmografija/filmography

Rojen leta 1943 v Ottawi (Illinois, ZDA). Na Harvardu je diplomiral iz filozofije.

Sprva je delal kot novinar za Newsweek, Life in The New Yorker. Obenem je u~il filozofijo in prevajal, nato pa se je vpisal na Ameri{ki filmski in{titut.

S prvimi filmi Surova balada, Bo`anski dnevi in Tanka rde~a ~rta se je vpisal med najve~je ameri{ke re`iserje.

1969 1973 1978 1998 2005 2011 2012 2015 2016 2016

Born in 1943 in Ottawa (Illinois, the USA), Malick graduated in philosophy from Harvard. He initially worked for Newsweek, Life and The New Yorker, and taught philosophy before attending the American Film Institute. With his first films, Badlands, Days of Heaven and The Thin Red Line, Malick has asserted himself as one of the preeminent American filmmakers.

re`ija/directed by Terrence Malick scenarij/screenplay Terrence Malick fotografija/cinematography Paul Atkins glasba/music Simon Franglen, Hanan Townshend monta`a/editing Rehman Nizar Ali, Keith Fraase igrajo/cast Cate Blanchett (pripovedovalka/ narrator), Jamal Cavil, Maisha Diatta, Yagazie Emezi, Daryl James Harris II, Sebastian Jackson, Abraham Kosgei, Runa Lucienne, Theo Bongani Ndyalvane, Jejuan Plair, Gabi Rojas, Shaun Ross, Mechelle Tunstall, Sanetra Stewart, Blane E. Warrior II (zgodnji ljudje/early humans) producenti/producers Dede Gardner, Nicolas Gonda, Sarah Green, Grant Hill, Brad Pitt, Bill Pohlad, Sophokles Tasioulis produkcija/production Sophisticated Films Königin-Luise-Str. 35 14195 Berlin, Germany & Wild Bunch (France) & Plan B Entertainment (USA) format/format DCP, barvni/colour dol`ina/running time 90'

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E cbaraton�wildbunch.eu

Lanton Mills (kratki/short) Badlands (Surova balada) Days of Heaven (Bo`anski dnevi) The Thin Red Line (Tanka rde~a ~rta) The New World (Novi svet) The Tree of Life (Drevo `ivljenja) To the Wonder (^ude`u naproti) Knight of Cups (Vitez ~a{) Voyage of Time: The IMAX Experience Voyage of Time: Life's Journey (Potovanje ~asa)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

43

Predpremiere Avantpremieres

The Beatles: Eight Days a Week – The Touring Years The Beatles: Eight Days a Week – The Touring Years The Beatles: Osem dni na teden Velika Britanija, ZDA Great Britain, USA 2016

Ron Howard re`ija/directed by Ron Howard scenarij/screenplay Mark Monroe, P.G. Morgan fotografija/cinematography Michael Wood glasba/music Ric Markmann, Dan Pinnella, Chris Wagner monta`a/editing Paul Crowder nastopajo/with Paul McCartney, Ringo Starr, John Lennon, George Harrison, Larry Kane, Whoopi Goldberg, Elvis Costello, Eddie Izzard, Sigourney Weaver, Neil Aspinall, Richard Lester, Kitty Oliver, Howard Goodall, Jon Savage, Debbie Gendler producenti/producers Brian Grazer, Ron Howard, Paul McCartney, Scott Pascucci, Nigel Sinclair produkcija/production Apple Corps Ltd 27 Ovington Square London SW3 1LJ, UK E post�applecorpsltd.com & Imagine Entertainment (USA) & OVOW Productions (UK) & Universal Music Group International (UK) & White Horse Pictures (USA) format/format DCP, barvni/colour dol`ina/running time 137'

Osupljiva kompilacija koncertnih posnetkov skupine The Beatles med letoma 1960 in 1966, ki izku{njo njihove glasbe v `ivo predstavi s povsem nove perspektive.

A stunning compilation of live concert footage taken between 1960 and 1966, Eight Days a Week takes an interesting new angle on the story of The Beatles.

Re`iser Ron Howard v filmu razi{~e zgodovino skupine The Beatles od njihovih prvih nastopov v majhnih klubih v Liverpoolu in Hamburgu do rekordnih svetovnih turnej po stadionih v New Yorku, Melbournu, Tokiu in drugod. Film je sestavljen iz redkih in nikoli predvajanih arhivskih posnetkov in novih intervjujev s Paulom McCartneyjem, Ringom Starrom ter njihovimi {tevilnimi opazovalci in sopotniki. Howardov film ori{e vso evforijo neverjetnega vzpona Beatlov, a tudi posledice, ki so jih zaradi tega utrpeli ~lani skupine, zaradi ~esar so avgusta leta 1966 prenehali igrati na koncertih in svojo ~ude`no glasbeno energijo raje posvetili snemanju prelomnih studijskih albumov, po katerih jih najbolje poznamo danes.

Director Ron Howard explores the history of The Beatles through the lens of the group’s concert performances, from their early days playing small clubs in Liverpool and Hamburg to their unprecedented world tours in packed stadiums around the globe from New York to Melbourne to Tokyo. The film features rare and never-before-seen archival footage of shows and interviews, plus new interviews with Paul McCartney, Ringo Starr and numerous prominent observers. The film captures the exhilaration of The Beatles phenomenal rise to fame as well as the toll it eventually took on the band members, prompting them to stop touring altogether in August 1966 and devote their prodigious musical energy to the series of ground-breaking studio recordings for which they are best known today.

"Mislim, da so mladi danes petkrat bolj izpopolnjeni, vendar pri pojavu The Beatles obstaja dolo~ena dru`bena, intelektualna – celo filozofska – prvina v zvezi s tem, kdo so bili in kaj so predstavljali. Njihove skladbe so bile eno: zabavne, navdu{ujo~e, omamne; vendar pa je pod tem skorajda vedno {e nekaj ve~, nekaj neotipljivega." (Ron Howard)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Ron Howard

filmografija (izbor)/filmography (selection)

Rojen leta 1954 v mestu Duncan v Oklahomi, ZDA. @e kot otrok je za~el igrati v TV-serijah, najbolj odmevni pa so bili njegovi nastopi v The Andy Griffith Show in Happy Days. V sedemdesetih je za~el re`irati celove~erne filme; do danes se je podpisal pod 23 odmevnih zvezdni{kih hollywoodskih filmov. Za film ^udoviti um je leta 2002 osvojil dva oskarja.

1977 1985 1995 2000 2001 2005 2006 2008 2009 2013 2015 2016

Born in 1954 in Duncan, Oklahoma, the USA, Howard is best known for playing principal roles in television sitcoms in his childhood, most notably The Andy Griffith Show and Happy Days. He started making feature films in the 1970s; to date he has released 23 successful Hollywood films with highprofile celebrity actors. A Beautiful Mind won two Academy Awards in 2002.

44

"I think young people today are five times as sophisticated but there's kind of a social, intellectual – even philosophical – component to who The Beatles are and what they stood for.

Their songs would be one thing: fun, driving, addictive; but underneath there's almost always a little more there than meets the eye." (Ron Howard)

Grand Theft Auto (Velika kraja avtomobilov) Cocoon (Kokon) Apollo 13 How the Grinch Stole Christmas A Beautiful Mind (^udoviti um) Cinderella Man (Cinderella man: Legenda o boksarju) The Da Vinci Code (Da Vincijeva {ifra) Frost/Nixon Angels & Demons (Angeli in demoni) Rush (Dirka `ivljenja) In the Heart of the Sea (V srcu morja) The Beatles: Eight Days a Week – The Touring Years (The Beatles: Osem dni na teden)

Predpremiere Avantpremieres

Toni Erdmann Toni Erdmann Toni Erdmann Nem~ija, Avstrija, [vica, Romunija Germany, Austria, Switzerland, Romania 2016

Maren Ade

S ~love{ko toplino in drznim humorjem pre`eta pripoved o obujanju ljubezni med o~etom in h~erjo, ki je navdu{ila kritike na leto{njem festivalu v Cannesu.

A warm story full of edgy humour about love rediscovered between father and daughter, Toni Erdmann attracted lavish critical praise at the 2016 Cannes FF.

Zgodba o odnosu med ambiciozno tridesetletnico Ines, vodjo poslovnega sektorja v pomembnem finan~nem podjetju, in njenim o~etom Winfriedom, postaranim, nikoli zares odraslim hipijem, ki rad stresa neslane {ale in ljudi okrog sebe spravlja v zadrego. Ker Winfried ob nenapovedanem obisku svojo h~er dojame kot izgubljeno ter podrejeno slu`bi in skrajno formalnim sre~anjem na najvi{ji poslovni ravni, se prelevi v "Tonyja Erdmanna", alter ego z groteskno lasuljo in ~rvivimi zobmi, nakar se kot la`en poslovne` nenapovedano pojavlja v h~erkinem slu`benem in dru`abnem okolju ...

A story about a relationship between ambitious thirty-something Ines, business sector manager in a high-profile financial company, and her father Winfried, elderly hippy who has never really grown up, a practical joker who loves to annoy people with corny pranks. Surprising his daughter with a visit, Winfried decides to change her corporate lifestyle he considers superficial. Enters flashy 'Toni Erdmann', Winfried’s smooth-talking alter ego.

Disguised in a tacky suit, weird wig and even weirder fake teeth, Toni barges into his daughter’s professional and social lives.

"Toni Erdmann se rodi iz obupa. Humor je pogosto na~in za obvladovanje te`av in kot tak vedno plod bole~ine. Winfriedu se h~eri ne uspe pribli`ati na noben drug na~in. /.../ Humor je njegovo edino oro`je, za~ne ga uporabljati z vso silo. To pomeni, da je igra veliko bolj nepopustljiva, in ker tudi Ines ni do muh, nenadoma govori jezik, ki ga h~i razume." (Maren Ade)

"Toni Erdmann is born out of desperation. Humour is often a way of coping with things, and as such it is always also a product of pain. Winfried is unable to get through to his daughter any other way. /.../ Humour is his only weapon, and he starts using it to the hilt. That means playing a much tougher game, and since Ines is a tough cookie herself, he's suddenly speaking a language she understands." (Maren Ade)

Maren Ade

filmografija/filmography

Rojena leta 1967 v Karlsruheju, Nem~ija. Na Akademiji za film in televizijo v Münchnu je {tudirala produkcijo in medijsko ekonomijo, diplomirala pa je iz filmske in televizijske re`ije. Njen film Vsi drugi je na Berlinalu leta 2003 osvojil veliko nagrado `irije, Toni Erdmann pa se je leta 2016 uvrstil v tekmovalni program festivala v Cannesu.

2000 2001 2002 2003 2009 2016

re`ija/directed by Maren Ade scenarij/screenplay Maren Ade fotografija/cinematography Patrick Orth monta`a/editing Heike Parplies igrajo/cast Peter Simonischek (Winfried Conradi, Toni Erdmann), Sandra Hüller (Ines Conradi), Michael Wittenborn (Henneberg), Thomas Loibl (Gerald), Trystan Pütter (Tim), Hadewych Minis (Tatjana), Lucy Russell (Steph), Ingrid Bisu (Anca), Vlad Ivanov (Illiescu), Victoria Cocias (Flavia), Radu Banzaru (Bogdan) producenti/producers Maren Ade, Jonas Dornbach, Janine Jackowski, Michel Merkt produkcija/production Komplizen Film Hagelberger Str. 57 10965 Berlin, Germany E info�komplizenfilm.de & Coop99 Filmproduktion (Austria) & KNM (Switzerland) & Missing Link Films (Germany) & Südwestrundfunk (SWR) (Germany) & Westdeutscher Rundfunk (WDR) (Germany) & Arte (Germany) & HiFilm (Romania) format/format DCP, barvni/colour dol`ina/running time 162' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (nagrada FIPRESCI/ FIPRESCI Prize), Sydney 2016, Bruselj/Brussels 2016 (najbolj{i film/ Best Film), München/Munich 2016, Karlovi Vari/Karlovy Vary 2016

prodaja/world sales The Match Factory GmbH Balthasarstraße 79–81 50670 Cologne, Germany E thania. dimitrakopoulou�matchfactory.de

Ebene 9 (kratki/short) Vegas (kratki/short) Karma Cowboy Der Wald vor lauter Bäumen (The Forest for the Trees/Osamljena) Alle Anderen (Everyone Else/Vsi drugi) Toni Erdmann

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in Karlsruhe, Germany, in 1976. She studied production and media economics at the Munich University of Television and Film, before graduating in film and television directing. Everyone Else won the Grand Jury Prize at the 2003 Berlin Film festival, and Toni Erdmann entered the competitive section of the 2016 Cannes Film Festival.

45

Predpremiere Avantpremieres

Forushande The Salesman Trgovski potnik Francija, Iran France, Iran 2016

Asghar Farhadi re`ija/directed by Asghar Farhadi scenarij/screenplay Asghar Farhadi fotografija/cinematography Hossein Jafarian glasba/music Sattar Oraki monta`a/editing Hayedeh Safiyari igrajo/cast Shahab Hosseini (Emad), Taraneh Alidoosti (Rana), Babak Karimi (Babak), Mina Sadati (Sanam), Farid Sajjadihosseini (mo{ki/the man), Maral Bani Adam (Kati), Mehdi Kooshki (Siavash), Emad Emami (Ali), Shirin Aghakashi (Esmat), Mojtaba Pirzadeh (Majid), Sahra Asadollahe (Mojgan) producenta/producers Alexandre Mallet-Guy, Asghar Farhadi produkcija/production Memento Films Production 9 cité Paradis 75010 Paris, France E production�memento-films.com & Asghar Farhadi Production (Iran) format/format DCP, barvni/colour dol`ina/running time 125' festivali, nagrade (izbor)/festivals, awards (selection) Cannes 2016 (najbolj{i scenarij, najbolj{i igralec/Best Screenplay, Best Actor), München/Munich 2016

prodaja/world sales Memento Films 9 cité Paradis 75010 Paris, France E sales�memento-films.com distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Svobodna priredba gledali{ke igre Smrt trgovskega potnika Arthurja Millerja, s katero iranski re`iser Asghar Farhadi mojstrsko ori{e stanje duha v dr`avi. Najve~krat nagrajeni film leto{njega Cannesa.

Iranian director Asghar Farhadi's loose adaptation of Death of a Salesman, a play by Arthur Miller, masterly captures the current climate in his native land. Winner of several awards at the 2016 Cannes Film Festival.

Rana in Emad sta sre~en srednjerazredni par v Teheranu. On je u~itelj, ona ostaja doma, razmi{ljata tudi o potomstvu. Oba sta ~lana polprofesionalne gledali{ke skupine, ki na oder postavlja klasi~no igro Smrt trgovskega potnika Arhurja Millerja, v kateri Emad igra vlogo neuspe{nega trgovca, Rana pa vlogo njegove `ene. Ravno ko predstava do`ivlja prve izvedbe, mora par zapustiti svoje stanovanje, saj se celotna zgradba zaradi gradbenih napak ru{i pod svojo te`o. Ko sta se prisiljena preseliti v novo stanovanje, incident s prej{njo podnajemnico grozi, da jima bo trajno spremenil `ivljenje.

A story about a happy middle-class couple in Tehran: Rana and Emad. He is a teacher and she stays at home, and there are some thoughts about starting a family. But more than this, they are talented members of a semi-professional theatre group, and putting on a production of Arthur Miller's Death of a Salesman, with Emad playing the failed salesman and Rana playing his wife. Just as the run starts, they are forced to move out of their apartment because the whole building appears to be collapsing due to construction faults. Forced to move into a new apartment, the couple's life will dramatically change in an incident linked to the previous tenant.

"Smrt trgovskega potnika /.../ je zelo kompleksna igra, ki ponuja {tevilne mo`nosti branja. Najpomembnej{a razse`nost je dru`bena kritika zgodovinskega obdobja, ko je nenadno preoblikovanje urbane Amerike povzro~ilo razpad dolo~enega dru`benega razreda. Cela kategorija ljudi, ki se niso bili sposobni prilagoditi tej strmi modernizaciji, je bila strta. V tem smislu igra mo~no odzvanja v trenutnem polo`aju moje dr`ave. Stvari se spreminjajo z vrtoglavo hitrostjo, ali se prilagodi{ ali pa podle`e{.

Dru`bena kritika v osr~ju igre je v na{i dr`avi danes {e vedno tehtna." (Asghar Farhadi)

"Death of a Salesman /.../ is a very rich play, offering multiple possible readings. The most important dimension is the social critique of a period in history when the sudden transformation of urban America caused the ruin of a certain social class. A category of people who couldn't adapt to this rapid modernisation got crushed. In that sense, the play resonates strongly with the current situation in my country. Things are changing at a breathtaking pace and it's adapt or die. The social critique at the heart of the play is still valid in our country today." (Asghar Farhadi)

Asghar Farhadi

filmografija/filmography

Rojen leta 1972 v Isfahanu, Iran. Na teheranski univerzi je magistriral iz odrske re`ije. Nase je opozoril `e s celove~ernim prvencem Dancing in the Dust, ki je takoj osvojil nekaj mednarodnih nagrad. Njegov peti film Lo~itev je postal mednarodno najuspe{nej{i iranski film vseh ~asov; med drugim je prejel oskarja za najbolj{i tujejezi~ni film in zlatega medveda na berlinskem festivalu.

2003 2004 2006 2009 2011 2013 2016

Born in 1972 in Isfahan, Iran, Farhadi graduated from the University of Tehran with a Masters in stage direction. Soon afterwards he asserted himself with his first feature film, Dancing in the Dust, which went on to win several international festival awards. Unprecedented for any Iranian film, A Separation, his fifth feature film, was an international success that won the Golden Bear for Best Film at the Berlin Film Festival and the Academy Award for Best Foreign Language Film.

46

Raghs dar ghobar (Dancing in the Dust) Shah-re ziba (Beautiful City) Chaharshanbe-soori (Fireworks Wednesday) Darbareye Elly (About Elly) Jodaeiye Nader az Simin (A Separation/Lo~itev) Le passé (The Past/Preteklost) Forushande (The Salesman/Trgovski potnik)

Predpremiere Avantpremieres

Hell or High Water Hell or High Water Za vsako ceno ZDA USA 2016

David Mackenzie

Divja vo`nja po kriminalnem svetu ameri{kega juga – klasi~ni `anrski spopad med teksa{kim rangerjem in ban~nima roparjema, nadgrajen z izvrstno glasbeno podlago Nicka Cava in Warrena Ellisa.

A wild ride across the criminal world of the American South – heading for the showdown between a Texas Ranger and a bank robber in the classical vein of the genre, and featuring astonishing soundtrack by Nick Cave and Warren Ellis.

Brata Toby in Tanner iz Teksasa po letih lo~enega `ivljenja spet zdru`ita mo~i, saj njuni dru`ini grozi, da bo ostala brez posestva.

V svojem ma{~evanju se lotita ropanja ban~nih podru`nic, s ~imer bi dru`ini vrnila ukradeno prihodnost. Njuni podvigi potekajo povsem po na~rtu, vse dokler njuna dejanja ne pritegnejo pozornosti teksa{kega rangerja Marcusa, ki i{~e svoj zadnji izziv pred upokojitvijo. Ko brata `e skorajda v celoti uresni~ita svoj na~rt, se z rangerji za petami lotita {e zadnjega obra~una, v katerem tr~ijo vrednote starega in novega Zahoda.

Texan brothers Toby and Tanner come together after several years apart to rob branches of the bank threatening to foreclose on their family land. The hold-ups are just part of a last-ditch scheme to take back a future that seemed to have been stolen from under them. Vengeance seems to be theirs, until they find themselves on the radar of a Texas Ranger, Marcus, looking for one last grand pursuit on the eve of his retirement. As the brothers plot a final bank heist, and with the Rangers on their heels, a showdown looms at the crossroads where the values of the Old and New West collide.

"Kot filmskega ustvarjalca me vedno privla~ijo zgodbe, ki niso ~rno-bele glede svojih moralnih odtenkov ... tako me je kot ena od prvin pri tem filmu zanimala tako imenovana 'povra~ilna kriminalnost', ko dobri ljudje po~nejo slabe stvari iz dobrih razlogov. Mislim, da ima to ravnovesje neko zelo zanimivo razse`nost, zelo privla~no zame kot re`iserja, {e zlasti pri tem filmu." (David Mackenzie)

festivali, nagrade (izbor)/festivals, awards (selection) Cannes 2016 – Posebni pogled/Un Certain Regard

"As a filmmaker I'm always drawn to stories which are not black and white in terms of their moral shades ... so one of the elements of this film I was interested in was this thing that I call 'redemptive criminality' where good people do bad things for good reasons. I think there's something really interesting about that balance, and that is definitely an area of attraction for me as a filmmaker, and in particular in this film." (David Mackenzie)

David Mackenzie

filmografija/filmography

Rojen leta 1966 v Corbridgeu, Velika Britanija, danes deluje v Glasgowu. Po diplomi na filmski {oli Univerze v Westminstru je posnel celove~erni prvenec Mladi Adam po predlogi kultnega romana Alexandra Trocchija.

S filmom Hallam Foe je v Berlinu osvojil srebrnega medveda, za svoje filme pa je prejel tudi vrsto {kotskih nagrad BAFTA. Za vsako ceno je njegov deseti celove~erec.

1994 2002 2003 2005 2007 2009 2011 2011 2013 2016

Born in 1966 in Corbridge, GB, Mackenzie is based in Glasgow. After graduating from film school at the University of Westminster, he directed an adaptation of Alexander Trocchi's cult novel, Young Adam. Hallam Foe won a Silver Bear Award in Berlin 2007. His subsequent works garnered multiple BAFTA Scotland Awards. Hell or High Water marks his tenth feature film.

re`ija/directed by David Mackenzie scenarij/screenplay Taylor Sheridan fotografija/cinematography Giles Nuttgens glasba/music Nick Cave, Warren Ellis monta`a/editing Jake Roberts igrajo/cast Chris Pine (Toby), Ben Foster (Tanner), Katy Mixon (Jenny Ann), Jeff Bridges (Marcus), Dale Dickey (Elsie), Lora Martinez-Cunningham (soseda/neighbour), Marin Ireland (Debbie), Melanie Papalia (Emily), Kevin Rankin (Billy Rayburn), Amber Midthunder (Natalie Martinez), Gil Birmingham (Alberto Parker), Buck Taylor (starec/old man), Alma Sisneros (uslu`benka/clerk) producenti/producers Sidney Kimmel, Peter Berg, Carla Hacken, Julie Yorn produkcija/production Sidney Kimmel Entertainment 9460 Wilshire Boulevard, 5th Floor Beverly Hills, CA 90212, USA E reception�skefilms.com & Oddlot Entertainment (USA) & LBI Entertainment (USA) format/format DCP, barvni/colour dol`ina/running time 102'

prodaja/world sales Sierra/Affinity 9378 Wilshire Blvd., Suite 210 Beverly Hills, CA 90212, USA E joey�sierra-affinity.com

Dirty Diamonds The Last Great Wilderness (Poslednja velika divjina) Young Adam (Mladi Adam) Asylum (Zaveti{~e) Hallam Foe Spread (@enskar) Perfect Sense (^utila ljubezni) Tonight You're Mine Starred Up Hell or High Water (Za vsako ceno)

distribucija/distribution Karantanija Cinemas Ro`na dolina, Cesta 3/18 1000 Ljubljana E info�kcs.si

47

48

Kralji in kraljice Kings and Queens

11 minut 11 Minutes 11 minut Jerzy Skolimowski

Poljska, Irska Poland, Ireland 2015

re`ija/directed by Jerzy Skolimowski scenarij/screenplay Jerzy Skolimowski fotografija/cinematography Mikołaj Łebkowski glasba/music Pawel Mykietin monta`a/editing Agnieszka Glinska igrajo/cast Paulina Chapko (Anna Hellman), Wojciech Mecwaldowski (Anin mo`/ Anna's husband), Dawid Ogrodnik (kurir/courier), Andrzej Chyra (prodajalec vro~ih hrenovk/hot-dog vendor) produkcija/production Skopia Film & Element Pictures format/format DCP, barvni/colour dol`ina/running time 81'

Sve`a, dinami~na in igriva filmska sestavljanka, zbirka {tevilnih usod iz sodobne Var{ave, ki se po enajstih minutah realnega ~asa zdru`ijo v spektakularnem sklepnem dogodku.

Film razgrinja enajst minut, ki se so~asno dogajajo razli~nim likom.

Sledimo privla~ni igralki, arogantnemu hollywoodskemu re`iserju, staremu slikarju, prodajalcu vro~ih hrenovk, promiskuitetnemu kurirju, mlademu bobnarju, ljubosumnemu mo`u, klepetavim nunam, delavcu na vise~em odru itn. Nekateri so prikazani v ~asu sprejemanja pomembnih odlo~itev, drugi pa mimogrede, ujeti v vsakodnevno rutino. Skupna sta jim skrivnostno znamenje te`ko opredeljive temne lise, ki se pojavi na nebu, in tragikomi~na veriga dogodkov, ki zapi{ejo njihovo usodo.

"Pri zadnjem filmu 11 minut sem se dr`al omejitev, ki jih narekuje zelo specifi~na ~asovna premica zgodbe. Kot je videti skozi o~i razli~nih likov, se ves film dogaja istih enajst minut, kar zahteva zelo natan~no koreografijo. Te omejitve sem si zadal sam, ker me je tradicionalni narativ utrujal, prikazati pa sem `elel ve~plastno zgodbo." (Jerzy Skolimowski)

prodaja/world sales The Festival Agency 44 rue de Cléry 75002 Paris, France E info�festivalagency.com

The film follows the same eleven minutes in the lives of several different characters representing aspects of modern society: a sexy actress, a Hollywood film director, an old painter, a hot-dog vendor, a promiscuous courier, a jealous husband, etc. Some characters are shown just as they are about to make life-changing decisions, others are idly passing time, caught in the midst of their day-to-day routines. What they all have in common is an enigmatic sighting of the elusive dark spot, seen in the sky earlier that day, and the tragic chain of events that will seal their fate.

"In the case of my last film, 11 Minutes, the constraints result from the very specific timeline of the story. The entire film takes place within the same eleven minutes, as seen through the eyes of several different characters, which required a very precise choreography. I placed those constraints upon myself because I felt tired with traditional narrative drive and wanted to tell a multithread story." (Jerzy Skolimowski)

Jerzy Skolimowski

filmografija (izbor)/filmography (selection)

Rojen leta 1938 v Lod`u, Poljska. [e pred {olanjem na presti`ni filmski {oli v Lod`u je sodeloval z A. Wajdo in R. Polanskim, s katerim sta napisala scenarij za No` v vodi (1962). Mednarodni uspeh mu je prinesel v Berlinu nagrajeni film [tart. V sedemdesetih in osemdesetih letih se je umaknil pred doma~im represivnim ozra~jem. Na Zahodu je najve~ji uspeh dosegel s filmoma Krik in Ladja-svetilnik.

1964 Rysopis (Identification Marks: None/Posebna znamenja: nobeno) 1965 Walkower (Lahka zmaga) 1966 Bariera (Barrier/Bariera) 1967 Le départ (The Departure/[tart) 1967/81 Rece do góry (Hands Up!/Roke kvi{ku!)

1970 Deep End (Globina) 1971 King, Queen, Knave (Kralj, dama, fant) 1978 The Shout (Krik) 1982 Moonlighting (Delo na ~rno) 1985 The Lightship (Ladja-svetilnik) 2008 Cztery noce z Anna (Four Nights with Anna/[tiri no~i z Anno) 2010 Essential Killing (Nujno ubijanje) 2015 11 minut (11 Minutes/11 minut)

Born in 1938 in Lodz, Poland. Before graduating from the prestigious Film Academy in Lodz he worked with A. Wajda and R. Polanski, with the latter co-writing the script for Knife in the Water (1962). Has achieved international renown with The Departure that won the Golden Bear at Berlin.

He withdrew from filmmaking in the 1970s and the 1980s on account of repressive climate in Poland. His two greatest successes in the West were The Shout and The Lightship.

52

A fresh, dynamic and playful jigsaw puzzle interlocking the lives of people in present-day Warsaw, 11 Minutes culminates in a spectacular conclusion after eleven minutes of real-time footage.

Kralji in kraljice Kings and Queens

El Clan The Clan Klan Argentina, [panija Argentina, Spain 2015

Pablo Trapero

"Los desaparecidos" oziroma "izginuli" je evfemizem, ki {e danes mo~no odmeva v Argentini. Pablo Trapero je po resni~ni zgodbi posnel film o na videz obi~ajni argentinski dru`ini, katere ~lani so v osemdesetih letih prej{njega stoletja ugrabljali ljudi.

'Los desaparecidos' or the 'disappeared' is a euphemism that continues to resonate heavily across Argentina. Pablo Trapero based his film on a true story about a seemingly ordinary Argentinian family in the eighties involved in a series of abductions.

Na prvi pogled se zdijo Puccii povsem obi~ajna argentinska dru`ina: z o~etom Arquimedesom na ~elu se vsak ve~er zberejo za mizo in ob ve~erji premlevajo dnevne dogodke. Najstarej{i sin Alejandro je celo zvezda argentinske ragbi reprezentance.

A za to krinko se skriva nekaj povsem drugega. Arquimedes je hladnokrven zlo~inec, ki skrbno na~rtuje ugrabitve {tevilnih ljudi, pri tem pa mu pomaga Alejandro, s katerim si tudi razdelita odkupnine.

On the surface the Puccios look like most other families. Steelyeyed patriarch Arquimedes presides over a household where his wife, sons, and daughters gather for evening meals and discuss their days. Alejandro, the eldest son, is a famed rugby player on Argentina's national team. But under the surface Arquimedes is a cold-blooded criminal, who plans his kidnaps with meticulous precision. Alejandro starts to collaborate with his father and the two split the ransom money between them.

"In bolj kot sem bral, bolj sem ugotavljal, da je v sr~iki zgodbe odnos med o~etom in sinom, Arquimedesom in Alejandrom.

Vedel sem, da bo portret razmerja med o~etom in sinom preglasil kriminalni primer, zgodovinsko obdobje, ki sem ga osvetljeval. Ta je pogonska sila filma." (Pablo Trapero)

"And the more I read I found that at the heart of the story was this father-son relationship between Alejandro and Arquimedes.

You know, over the criminal case, over the historical period I'd be tackling, above all, I knew there was going to be a portrait of the relationship between a father and a son. That’s the motivating engine of the film." (Pablo Trapero)

Pablo Trapero

filmografija (izbor)/filmography (selection)

Rojen leta 1971 v Buenos Airesu. Je eden od soustanoviteljev produkcijske hi{e Matanza Cine, trenutno ene vodilnih produkcijskih hi{ v Argentini.

Je scenarist in re`iser, za svoje filme, ki se redno uvr{~ajo na programe vseh najpomembnej{ih svetovnih filmskih festivalov, je prejel tudi {tevilne nagrade.

1993 1999 2002 2006 2008 2010 2012 2015

Born in 1971 in Buenos Aires, Trapero is one of the co-founders of the Matanza Cine, a leading Argentinian production house. A screenwriter and director, Trapero's award-winning films are regularly screened at major film festival across the world.

re`ija/directed by Pablo Trapero scenarij/screenplay Pablo Trapero fotografija/cinematography Julian Apezteguía glasba/music Sebastián Escofet monta`a/editing Pablo Trapero, Alejandro Carrillo Penovi igrajo/cast Guillermo Francella (Arquímedes Puccio), Peter Lanzani (Alejandro Puccio), Lili Popovich (Epifanía Puccio), Gastón Cocchiarale (Maguila Puccio), Giselle Motta (Silvia Puccio), Franco Massini (Guillermo Puccio), Antonia Bengoechea Antonia (Adriana Puccio), Stefanía Koessl (Mónica) producenti/producers Hugo Sigman, Matias Mosteirin, Agustin Almodóvar, Pedro Almodóvar, Esther García, Pablo Trapero produkcija/production Matanza Cine Av. Medrano 1314 (C1179AAZ) Buenos Aires, Argentina E agustina�matanzacine.com.ar format/format DCP, barvni/colour dol`ina/running time 108' festivali/festivals Benetke/Venice 2015 (najbolj{i re`iser/Best Director), nagrada goya za najbolj{i ibero-ameri{ki film/Goya Award for Best Iberoamerican Film, Toronto 2015

prodaja/world sales Film Factory Entertainment C/Lincoln 11, 2' 4' 08006 Barcelona, Spain E info�filmfactory.es

Mocoso malcriado (kratki/short) Mundo grúa (Crane World/Svet `erjavov) El bonaerense Nacido y criado (Born and Bred/Rojen in vzgojen) Leonera (Lion's Den) Carancho (Zavarovalni{ka prevara) Elefante Blanco (White Elephant) El Clan (The Clan/Klan)

53

Kralji in kraljice Kings and Queens

Love & Friendship Love & Friendship Ljubezen in prijateljstvo Whit Stillman

re`ija/directed by Whit Stillman scenarij/screenplay Whit Stillman, Jane Austen (roman/ novel) fotografija/cinematography Richard Van Oosterhout glasba/music Benjamin Esdraffo, Mark Suozzo monta`a/editing Sophie Corra igrajo/cast Kate Beckinsale (Lady Susan Vernon), Chloë Sevigny (Alicia Johnson), Xavier Samuel (Reginald DeCourcy), Emma Greenwell (Catherine DeCourcy Vernon), Tom Bennett (Sir James Martin) producenti/producers Katie Holly, Whit Stillman, Lauranne Bourrachot produkcija/production Blinder Films First Floor 71 Dame Street, Dublin 2, Ireland E info�blinderfilms.com format/format DCP, barvni/colour dol`ina/running time 92' festivali (izbor)/festivals (selection) Sundance 2016, Rotterdam 2016, Sydney 2016, Sarajevo 2016

Irska, Francija, Nizozemska Ireland, France, The Netherlands 2016

Whit Stillman v filmski priredbi enega zgodnej{ih romanov Lady Susan Jane Austen s pomo~jo inteligentnega humorja in iskrivih dialogov mojstrsko poustvari ozra~je aristokratskih krogov poznega 18. stoletja.

In his screen adaptation of Lady Susan, one of Jane Austen's early novels, Whit Stillman brilliantly captures the aristocratic eighteenth-century English society by employing intelligent humour and sparkling dialogues.

Da bi pobegnila pred opravljivimi govoricami, ki se v visokih krogih {irijo o njej, se lepa vdova Lady Susan Vernon zate~e k sorodnikom svojega pokojnega mo`a. Med bivanjem na njihovem posestvu se inteligentna in spogledljiva vdova odlo~i, da bo sebi in svoji h~eri Frederici poiskala snubca. Stvari pa se za~nejo zapletati, ko posestvo obi{~eta ~edni Reginald DeCourcy in izjemno bogati, a ne preve~ bistri sir James Martin.

While waiting for social chatter about a personal indiscretion to pass, widow Lady Susan Vernon takes up temporary residence at her in-laws' estate. While there, the intelligent, flirtatious, and amusingly egotistical Lady Vernon is determined to be a matchmaker for her daughter Frederica – and herself too, naturally. However, two suitors complicate her orchestrations, the handsome Reginald DeCourcy, and the fabulously rich though somewhat slow-witted Sir James Martin.

"Nedvomno so na svetu oportunisti – ljudje, ki i{~ejo bogastvo ter se poro~ijo zaradi denarja in takih re~i – vendar mislim, da to lahko opravi{ dobro ali slabo /.../. Osredoto~al sem se na koncept, ko se o{kodovanju doda {e `alitev: ne samo da ljudje {kodujejo drugim, izmislijo si tudi popolnoma neresni~no zgodbo, da bi svoje dejanje upravi~ili ..." (Whit Stillman)

"There are, I suppose, opportunists in the world – there are people who might search for fortunes and marry for money and that kind of thing – but I think it can be done well or badly /.../.

One thing I've been focusing on is this whole idea of insult being added to injury: not only, then, do people injure others, but they make up a totally fabricated story to justify it..." (Whit Stillman)

prodaja/world sales Cinetic Media 555 W. 25th Street, 4th Floor New York, NY 10001, USA E office�cineticmedia.com

Whit Stillman

filmografija (izbor)/filmography (selection)

Rojen leta 1952 v Washingtonu, ZDA. Je scenarist, producent in re`iser. Po diplomi na Univerzi Harvard je sprva delal v zalo`ni{tvu, leta 1990 pa mu je re`ijski prvenec Metropolitan prinesel mednarodni sloves in celo nominacijo za oskarja za najbolj{i scenarij. Odtlej je posnel {e {tiri celove~erne filme.

distribucija/distribution Karantanija Cinemas Ro`na dolina, Cesta 3/18 1000 Ljubljana E info�kcs.si

1990 1994 1998 2011 2016

Born in 1952 in Washington, USA, Stillman is a writer, producer, and director.

Graduating from the Harvard University, he first worked in publishing. His 1990 feature-film debut, the highly acclaimed Metropolitan, was nominated for Best Original Screenplay at the Academy Awards. Love & Friendship is his fifth feature-length film.

54

Metropolitan Barcelona The Last Days of Disco (Zadnji dnevi diska) Damsels in Distress (Gospodi~ne v stiski) Love & Friendship (Ljubezen in prijateljstvo)

Kralji in kraljice Kings and Queens

Manchester by the Sea Manchester by the Sea Manchester by the Sea ZDA USA 2016

Kenneth Lonergan

Film dvakratnega oskarjevskega nominiranca Kennetha Lonergana o dru`inski tragediji v obmorskem mestecu poskrbi za vlogo uspe{ne poti Caseyja Afflecka.

Academy Award-nominee Kenneth Lonergan's affecting drama about a family tragedy in a small town by the sea, and Casey Affleck's role of a lifetime.

Lee Chandler dela kot hi{nik v majhnem stanovanjskem naselju v predmestju Bostona. Dni pre`ivlja ob majhnih popravilih, ve~ere pa povsem sam v svojem stanovanju ali ob pivu v gostilni, kjer se spusti v pretep z vsakim, ki si ga drzne pogledati. Nekega dne Leeju zaradi sr~ne odpovedi umre starej{i brat Joe, s tem pa mu je dodeljeno skrbni{tvo nad njegovim najstni{kim sinom Patrickom. Lee se mora zdaj vrniti v doma~i Manchester ob morju, na katerega ga ve`ejo tako lepi kot bole~i spomini.

Nenavaden par se mora na hitro spoprijateljiti in sproti re{evati vsakdanje te`ave.

Lee Chandler is the resident handyman for a small apartment complex in a Boston suburb. He spends his days doing odd jobs, and his evenings either alone in his basement apartment or nursing a beer at his local bar, where he'll pick a fight with anyone who throws a glance his way. When he receives the news that his older brother Joe has died of a congenital heart condition and that he's been appointed legal guardian of Joe's teenage son, Patrick, Lee returns to his nearby seaside hometown, a place of both cherished and painful memories. This mismatched pair has to stumble through the complex details of mundane reality and the awkward strain of adolescence.

"Film ljudi zaznamuje. Lonerganovi liki so tako poglobljeno in bogato zasnovani, tako podrobno, da verjame{ vanje. [tevilni filmski liki so samo skice. /.../ S tako dobrimi igralci in scenarijem ter Kennyjevo re`ijo je film preprosto nepozaben." (Matt Damon, producent)

re`ija/directed by Kenneth Lonergan scenarij/screenplay Kenneth Lonergan fotografija/cinematography Jody Lee Lipes glasba/music Lesley Barber monta`a/editing Jennifer Lame igrajo/cast Casey Affleck (Lee Chandler), Michelle Williams (Randi), Kyle Chandler (Joe Chandler), Lucas Hedges (Patrick), Liam McNeill (Josh), C.J. Wilson (George), Heather Burns (Jill), Tate Donovan (hokejski trener/hockey coach), Josh Hamilton, Matthew Broderick (Rodney), Gretchen Mol (Elise), Tom Kemp (Stan Chandler), Ben O'Brien (mladi/young Patrick), Mary Mallen (Sharon) producenti/producers Matt Damon, Kimberly Steward, Lauren Beck, Kevin Walsh, Chris Moore produkcija/production Pearl Street Films 517 N. Robertson, Ste. 200 West Hollywood, CA 90048, USA & The Media Farm (USA) & K Period Media (USA) & The Affleck/Middleton Project (USA) & B Story (USA) format/format DCP, barvni/colour dol`ina/running time 135' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2016, Telluride 2016, Toronto 2016, New York 2016, Vancouver 2016, London 2016

"This is a movie that will stay with people. Lonergan's characters are so deeply and richly drawn, with such great detail, that you believe in them. A lot of movie characters are pencil sketches. /.../ With actors and writing of this calibre and Kenny's direction, the movie is unforgettable." (Matt Damon, producer)

Kenneth Lonergan

filmografija/filmography

Rojen leta 1962 v Bronxu, New York, ZDA. Nase je opozoril kot scenarist filma Analiza pa taka (1999), nakar je leto zatem posnel svoj prvenec You Can Count on Me, nominiran za dva oskarja. Drugo oskarjevsko nominacijo si je prislu`il s scenarijem za Scorsesejeve Tolpe New Yorka (2003). Manchester by the Sea je njegov tretji celove~erec.

2000 You Can Count on Me 2011 Margaret 2016 Manchester by the Sea

distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

Born in 1962 in the Bronx, New York City. His screenwriting credits include Analyze This (1999), and The Gangs of New York (2003, nominated for the Academy Award for Best Original Screenplay). His feature debut, You Can Count on Me (2000), was nominated for two Academy Awards. Manchester by the Sea marks his third feature film.

55

Kralji in kraljice Kings and Queens

Ma' Rosa Ma' Rosa Ma' Rosa Filipini The Philippines 2016

Brillante Mendoza re`ija/directed by Brillante Mendoza scenarij/screenplay Troy Espiritu fotografija/cinematography Odyssey Flores glasba/music Teresa Barrozo monta`a/editing Diego Marx Dobles igrajo/cast Jaclyn Jose (Rosa), Julio Diaz (Nestor), Baron Geisler (Sumpay), Jomari Angeles (Erwin), Neil Ryan Sese (Olivarez), Mercedes Cabral (Linda), Andi Eigenmann (Raquel), Mark Anthony Fernandez (Castor), Felix Roco (Jackson), Mon Confiado (Sanchez), Maria Isabel Lopez (Tilde), John Paul Duray producent/producer Larry Castillo produkcija/production Center Stage Productions 947 Busilak Street, Bangka Drive Mandaluyong City 1550, Philippines E brillante_ma�yahoo.com format/format DCP, barvni/colour dol`ina/running time 110' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (najbolj{a igralka/ Best Actress), Karlovi Vari/Karlovy Vary 2016

Vpogled v koruptivno logiko filipinskih institucij izpod rok mojstra filmskega realizma Brillanteja Mendoze. Nagrada za najbolj{o igralko na leto{njem filmskem festivalu v Cannesu.

The master of cinematic verismo, Filipino Brillante Mendoza, tackles the subject of his country's ubiquitous corruption.

Cannes 2016 Best Actress Award.

Ma' Rosa je mati {tirih otrok, ki upravlja majhno trgovinico v revnem predelu Manile, kjer jo imajo vsi radi. Da bi zaslu`ila za pre`ivetje, Rosa in njen mo` Nestor prodajata tudi majhne koli~ine narkotikov. Nekega dne ju aretirajo in odpeljejo na policijsko postajo, kjer padeta v nemilost razpu{~enih, podkupljivih in izsiljevalskih policistov. Rosini otroci so kljub temu pripravljeni storiti vse, da bi svoja star{a re{ili iz krempljev skorumpirane policije.

Ma' Rosa has four children. She owns a small convenience store in a poor neighbourhood of Manila where everybody likes her.

To make ends meet, Rosa and her husband, Nestor, resell small amounts of narcotics on the side. One day, they get arrested, defenceless against the unruly policemen extorting a payout.

Rosa's children are ready to do anything to buy their parents' freedom from the corrupt police.

"Zamisel za film se mi je porodila pred {tirimi leti, ko sem bil neposredno vpleten v omenjeni incident. Vzbudil mi je zanimanje za upodobitev te zgodbe, ker opozarja na edinstveno, vendar tudi vznemirjajo~o lastnost sodobne filipinske dru`ine. Ko je ~lan tvoje dru`ine postavljen ob zid zaradi storjenih prestopkov, ali si pripravljen storiti vse, da bi dru`ino obvaroval pred te`avami, ~etudi to pomeni kr{enje osnovnih vrednot? V dru`bi, v kateri je pre`ivetje mo~nej{ega dejstvo, s katerim moramo vsi `iveti, dru`ina postane amoralna." (Brillante Mendoza)

prodaja/world sales Films Distribution 5 rue Nicolas Flamel 75004 Paris, France E camille�filmsdistribution.com

Brillante Mendoza

filmografija (izbor)/filmography (selection)

Rojen leta 1960 v San Fernandu na Filipinih. Na Univerzi sv. Toma`a v Manili je {tudiral ogla{evanje in diplomiral iz lepih umetnosti. Sprva je delal kot scenograf v filmu in televiziji, gledali{~u in televizijskem ogla{evanju. `e za svoj celove~erni prvenec je prejel zlatega leoparda na festivalu v Locarnu, najve~ji uspeh pa je do`ivel s filmom Klavnica, s katerim je prejel nagrado za najbolj{ega re`iserja festivala v Cannesu.

2005 2006 2007 2007 2008 2009 2009 2012 2013 2015 2016

Born in 1960 in San Fernando, the Philippines. A fine arts major, he studied advertising at the University of Santo Tomas in Manila. He started his career as a production designer in feature films, television, theatre and eventually in television advertising. His first feature film won a Golden Leopard Award at the Locarno Film Festival, and The Execution of P, which won the award for Best Director at the 2009 Cannes Film Festival, earned him widespread acclaim.

56

"The idea of this film came up four years ago when I became indirectly involved with the said incident. It captured my interest to tell this story because it showed a unique but also disturbing characteristic of a common Filipino family. When a member of your family is backed against the wall for the wrongdoings that he or she has made, will you be ready to do anything to keep your family out of trouble, even if it means violating basic virtues? In a society in which survival of the fittest is a fact that we have to live with, family becomes amoral." (Brillante Mendoza)

Masahista (The Masseur) Kaleldo (Summer Heat) Foster Child (Posvojenec) Tirador (Slingshot) Serbis (Service/Stre`ba) Kinatay (The Execution of P/Klavnica) Lola (Grandmother/Babica) Captive Sapi (Possessed) Taklub (Trap) Ma' Rosa

Kralji in kraljice Kings and Queens

Mi gran noche My Big Night Moja divja no~ [panija Spain 2015

Álex de la Iglesia

Najnovej{a mojstrovina kultnega {panskega re`iserja Álexa de la Iglesie je divja kronika zgod in nezgod ter zarot in zakulisnih iger, ki spremljajo snemanje silvestrske televizijske oddaje.

The latest masterpiece by iconic Spanish filmmaker Álex de la Iglesia, My Big Night is a vivid account of the haps and mishaps, intrigues and underhand dealings associated with the making of a New Year's Eve TV show.

Joseja, ki `e leta ne najde slu`be in `ivi le od socialne pomo~i, agencija za zaposlovanje avgusta kot statista po{lje na snemanje silvestrske televizijske oddaje. Skupaj s {tevilnimi podobnimi nesre~niki se tako sredi vro~e madridske jeseni znajde na snemanju, kjer se morajo vsi trapasto pretvarjati, da pri~akujejo novo leto. Seveda pa, kot je v tovrstnih okoli{~inah obi~ajno, zraven spada {e zvrhana mera spletk, romanc in iger mo~i.

Living on unemployment benefit, Jose is sent to a job placement agency to work on the taping of a New Year's Eve TV special.

Hundreds of people like him spend a week and a half cooped up on set, day and night, sweating horribly one hot autumn in Madrid as they pretend to laugh and stupidly celebrate the fake coming of the new year over and over again. As is common for such TV specials, there are intrigues, romances and power games galore.

"V vsakdanjem `ivljenju vsak misli, da je zvezda lastne zgodbe, vendar to ni res; ve~ino ~asa smo samo statisti v zgodbah drugih ljudi /.../. Lik statista se mi zdi zelo pomemben, saj simbolizira `ivljenje in zato vedno izpostavljam vlogo statista, saj je vsak del glavne zgodbe, vendar vsak ne more biti glavni junak."

(Alex de la Iglesia)

"In everyday life, everyone thinks that they are the star of their own story, but it is not true; most of the time we are just extras in the stories of other people /.../. For me, the character of the extra is very important, for it is the symbol of life, and that is why I always emphasise the role of the extra because everybody is a part of the main story and not everybody can be the main character." (Alex de la Iglesia)

Álex de la Iglesia

filmografija (izbor)/filmography (selection)

Rojen leta 1965 v Bilbau, [panija. Prvi je njegov dar odkril re`iser Pedro Almodóvar, ki je bil tudi producent njegovega prvega celove~ernega filma Akcija Mutant. Njegova filmografija {teje ve~ kot dvajset filmskih naslovov, za svoje delo pa je prejel {tevilne presti`ne filmske nagrade.

1993 1995 1999 2000 2002 2004 2008 2010 2011 2013 2014 2015

Born in Bilbao, Spain, in 1965. His talents were discovered by Pedro Almodóvar, who produced his first feature film, Mutant Action. His filmography ranges across a gamut of twenty award-winning films.

re`ija/directed by Álex de la Iglesia scenarij/screenplay Jorge Guerricaechevarría, Álex de la Iglesia fotografija/cinematography Angel Martinez Amoros glasba/music Joan Valent monta`a/editing Domingo Gonzalez igrajo/cast Raphael (Alfonso), Mario Casas (Adanne), Pepón Nieto (Jose), Blanca Suarez (Paloma), Santiago Segura (Benítez), Carlos Areces (Yuri), Jaime Ordoñez (Óscar), Terele Pavez (Dolores) producent/producer Enrique Cerezo produkcija/production Enrique Cerezo, P.C. C/ Ana Mariscal 7 Ciudad de la Imagen 28223 Pozuelo de Alarcón, Madrid, Spain E bluemonday�bluemonday.fr format/format DCP, barvni/colour dol`ina/running time 97' festivali/festivals Toronto 2015, San Sebastian 2015

prodaja/world sales Film Factory Entertainment C/Lincoln 11, 2' 4' 08006 Barcelona, Spain E info�filmfactory.es

Acción mutante (Mutant Action/Akcija mutant) Perdita Durango (Dance with the Devil) Muertos de risa (Dying of Laughter) La comunidad (Common Wealth) 8000 balas (8000 Bullets) El crimen perfecto (The Perfect Crime) The Oxford Murders (Umori na Oxfordu) Balada triste de trompeta (The Last Circus/@alostna balada za trobento) La chispa de la vida (As Luck Would Have It) Las brujas de Zugarramurdi (Witching and Bitching) Messi (dokumentarni/documentary) Mi gran noche (My Big Night/Moja divja no~)

57

Kralji in kraljice Kings and Queens

Personal Shopper Personal Shopper Osebna stilistka Olivier Assayas

re`ija/directed by Olivier Assayas scenarij/screenplay Olivier Assayas fotografija/cinematography Yorick Le Saux monta`a/editing Marion Monnier igrajo/cast Kristen Stewart (Maureen), Lars Eidinger (Ingo), Sigrid Bouaziz (Lara), Anders Danielsen Lie (Erwin), Ty Olwin (Gary), Hammou Graïa (policist/police officer), Nora von Waldstätten (Kyra), Benjamin Biolay (Victor Hugo), Audrey Bonnet (Cassandre), Pascal Rambert (Jérôme), Aurélia Petit (novinarski ata{e/press attache), Olivia Ross (novinarski ata{e/press attache) producent/producer Charles Gillibert produkcija/production CG Cinéma 54, rue du Faubourg Saint-Honoré 75008 Paris, France E production�cgcinema.eu & Vortex Sutra (France) & Sirena Film (Czechia) & Detail Films (Germany) & Arte France Cinéma (France) & Arte Deutschland/WDR (Germany) format/format DCP, barvni/colour dol`ina/running time 105' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (najbolj{a re`ija/Best Director), Sydney 2016, Melbourne 2016, Toronto 2016, New York 2016, London 2016

prodaja/world sales mk2 Films 55, rue Traversière 75012 Paris, France E juliette.schrameck�mk2.com

Francija, ^e{ka, Nem~ija France, Czech Republic, Germany 2016

Popotovanje po pari{kem modnem svetu z `anrsko izmuzljivo zgodbo o duhovih. Nagrada za najbolj{o re`ijo na festivalu v Cannesu.

A look at the Parisian fashion world and an investigation into psychic phenomena, Personal Shopper defies genre classification. Best Director Award at Cannes 2016.

Maureen je mlada Ameri~anka, ki v Parizu dela kot osebna nakupovalka in stilistka za zvezdnike. Dekletu se nenadoma za~nejo dogajati nenavadne stvari; po mobilnem telefonu dobiva sporo~ila iz neznanega vira. Bolj kot se trudi priti zadevi do dna, bolj ka`e, da sporo~ila resni~no prihajajo iz sveta duhov in so povezana z nedavno smrtjo njenega brata. Zmedena in vse bolj neu~akana Maureen mora raz~istiti, ali ima res sposobnosti sporazumevanja z duhovi ali pa se je zaradi dru`inske tragedije za~el majati njen stik z resni~nostjo.

Maureen is a young American woman in Paris making her living as a personal shopper for celebrities. She soon starts receiving ambiguous messages coming from an unknown source. Also, Maureen may have the psychic ability to communicate with spirits, just like her twin brother, Lewis, who recently passed away. The confused and impatient Maureen wishes to ascertain whether she really has psychic powers or, rather, is losing touch with reality due to a family tragedy.

"Zanima me neskladje med na{im notranjim in zunanjim `ivljenjem. Menim, da slu`ba osebnega stilista za zvezdnika najbolj opredeljuje materialisti~ni vidik sodobne dru`be. @elel sem vpogled v nekoga, ki se posku{a svojega dela lotiti kar najbolje, obenem pa je vpleten v nekaj drugega, ki ga presega in to je obmo~je njegovih sanj." (Olivier Assayas)

"I am interested in the tension between our inner and outer lives.

I thought that doing personal shopping for a celebrity, there is not a job that could more define what it means to be involved in the materialistic aspect of modern society. I wanted to see someone who was trying to deal with her job as well as she could, but simultaneously being involved in something else that is bigger than her and that is where her dreams are." (Olivier Assayas)

Olivier Assayas

filmografija (izbor)/filmography (selection)

Rojen leta 1955 v Parizu kot sin znanega scenarista in re`iserja Jacquesa Rémyja. Potem ko je posnel nekaj kratkih filmov, je v za~etku osemdesetih let deloval kot ~lan uredni{tva revije Cahiers du cinéma. Leta 1986 je posnel svoj celove~erni prvenec Disorder. Je tudi avtor {tevilnih knjig o filmu, med njimi Conversations avec Bergman in Hong Kong cinéma.

1986 1989 1991 1994 1996 1998

Born in 1955 in Paris, son of the famous screenwriter and director Jacques Rémy. After shooting a couple of short films, he worked as member of the editing board of Cahiers du cinéma in the beginning of the 1980s. In 1986 he filmed his first feature, Disorder. He is also the author of many books about film, including Conversations avec Bergman and Hong Kong cinéma.

58

2000 2004 2007 2012 2014 2016

Désordre (Disorder) L'enfant de l’hiver (Winter's Child) Paris s'éveille (Paris Awakens/Pariz se prebuja) L'eau froide (Cold Water/Mrzla voda) Irma Vep (Irma Vep) Fin août, début septembre (Late August, Early September/ Konec avgusta, za~etek septembra) Les destinées sentimentales (Sentimental Destinies) Clean (^ista) Boarding Gate (Surova ljubezen) Après mai (Something in the Air/Nekaj je v zraku) Sils Maria (Clouds of Sils Maria/Sils Maria) Personal Shopper (Osebna stilistka)

Kralji in kraljice Kings and Queens

Rester vertical Staying Vertical Ostati pokon~en Francija France 2016

Alain Guiraudie

re`ija/directed by Alain Guiraudie scenarij/screenplay Alain Guiraudie fotografija/cinematography Claire Mathon monta`a/editing Jean-Christophe Hym igrajo/cast Damien Bonnard (Léo), India Hair (Marie), Raphaël Thierry (JeanLouis), Christian Bouillette (Marcel), Basile Meilleurat (Yoann), Laure Calamy (Mirande), Sébastien Novac (producent/producer) producenta/producers Sylvie Pialat, Benoît Quainon produkcija/production Les Films du Worso 38 Boulevard Raspail 75007 Paris, France E info�lesfilmsduworso.com format/format DCP, barvni/colour dol`ina/running time 100'

Zastavono{a francoskega LGBT filma Alain Guiraudie nam po izvrstnem Tujcu z jezera tokrat postre`e z zelo druga~nim, izrazito antifeministi~nim pogledom na star{evstvo.

Torchbearer of the French LGBT cinema who has gripped audiences with his brilliant Stranger by the Lake, Alain Guiraudie's latest picture is an alternative, expressly antifeminist take on parenthood.

Filmski re`iser Leo na jugu Francije i{~e volka za svoj naslednji film. Med enim izmed ogledov se zaplete v razmerje s pastirko Marie, ki mu devet mesecev pozneje rodi otroka. Marie nato trpi za poporodno depresijo in izgubi vero v Lea, ki nenehno odhaja in prihaja, zato nenadoma zapusti mo`a in otroka. Leo se znajde povsem sam z otrokom, za katerega mora zdaj skrbeti brez `enske pomo~i. Ni mu lahko, a globoko v sebi so mu razmere povsem pogodu. Po zaporedju nepri~akovanih in nenavadnih sre~anj, v katerih i{~e navdih za svoj naslednji film, Leo stori vse, kar je treba, da se obdr`i na nogah.

Filmmaker Leo is searching for a wolf in the south of France.

During a scouting excursion he is seduced by Marie, a freespirited shepherdess. Nine months later she gives birth to their child. Suffering from post-natal depression and with no faith in Leo, who comes and goes without warning, Marie abandons both of them. Leo finds himself alone, with a baby to care for.

It's not easy, but deep down, he loves it. Through a series of unexpected and unusual encounters, struggling to find inspiration for his next film, Leo will do whatever it takes to stay standing.

"Mo{ki in `enske. Pravzaprav nikoli nisem snemal ni~esar drugega; zgodbe o ljudeh, ki so skupaj sami. Hotel sem preobrniti podobo 'samohranilca', prikazati, da obstajajo mo{ki, ki sami vzgajajo otroka, morda ker si tega `elijo, prav tako kot `enske, ki nikogar ve~ ne osupnejo z odlo~itvijo, da bodo imele otroka same. Ali navsezadnje ni to cilj filmskega junaka? Vzgajati otroka brez te`av, ki jih prina{ajo matere? /.../ Vedno pravijo 'vse zgodbe so `e povedane', vendar se ne strinjam: vsaj Ostati pokon~en je zna~ilen primer zgodbe, ki je v kinu nikoli ne vidite."

(Alain Guiraudie)

"Men and women. I've never really filmed anything else; the stories of people who are alone together. And I wanted to invert the image of the 'single parent', to show that there are cases where men raise a baby on their own – maybe because they want to – exactly like a woman, who no longer shocks anyone by having a baby on her own. In the final count, is that not what the film's hero was after? To have the child without the hassle of the mother? /.../ They always say 'all the stories have been told,' but I disagree: Staying Vertical, at least, is typical of the kind of story you never see in cinema." (Alain Guiraudie)

Alain Guiraudie

filmografija/filmography

Rojen leta 1964 v mestu Villefranche-de-Rouergue, Francija. Prvi ve~ji uspeh je dosegel z drugim celove~ercem Ce vieux rêve qui bouge, za katerega je leta 2001 prejel nagrado Jeana Vigoja in na festivalu v Cannesu po`el veliko pozornosti. Tudi z naslednjimi filmi se je predstavil v Cannesu, najve~jo prepoznavnost pa mu je prinesel film Tujec z jezera.

1990 1994 1998 2000 2001 2003 2005 2008 2009 2013 2016

Born in 1964 in Villefranche-de-Rouergue, Guiraudie asserted himself with his second feature film, That Old Dream That Moves, winner of the 2001 Jean Vigo Prize and presented to great success at the Directors' Fortnight in Cannes. While his subsequent works have all been screened at Cannes, Guiraudie gained unprecedented reputation with Stranger by the Lake.

festivali, nagrade (izbor) /festivals, awards (selection) Cannes 2016, Moskva/Moscow 2016

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E sales�wildbunch.eu

Les héros sont immortels (Heroes Never Die) (kratki/short) Tout droit jusqu'au matin (kratki/short) La force des choses (kratki/short) Du soleil pour les gueux (Sunshine for the Poor) Ce vieux rêve qui bouge (That Old Dream That Moves) Pas de repos pour les brave (No Rest for the Brave) Voici venu le temps (Time Has Come) On m'a volé mon adolescence Le roi de l'évasion (The King of Escape) L'inconnu du lac (Stranger by the Lake/Tujec z jezera) Rester vertical (Staying Vertical/Ostati pokon~en)

59

Kralji in kraljice Kings and Queens

Sunset Song Sunset Song Pesem somraka Terence Davies

re`ija/directed by Terence Davies scenarij/screenplay Terence Davies fotografija/cinematography Michael McDonough glasba/music Gast Waltzing monta`a/editing David Charap igrajo/cast Agyness Deyn (Chris Guthrie), Peter Mullan (John Guthrie), Kevin Guthrie (Ewan Tawendale), Mark Bonnar (pre~astiti/reverend Gibbon), Ron Donachie (stric/uncle Tom) producenti/producers Roy Boulter, Sol Papadopoulos, Nicolas Steil produkcija/production Hurricane Films 13 Hope Street L1 9BQ Liverpool, England E info�hurricanefilms.net & Iris Productions & Selloutpictures format/format DCP, barvni/colour dol`ina/running time 135' festivali, nagrade (izbor)/festivals, awards (selection) San Sebastian 2015, Toronto 2015, Miami 2016

Velika Britanija, Luksemburg Great Britain, Luxembourg 2015

Vizualno impresivna pripoved epskih razse`nosti, ki prek ~lovekove povezanosti z naravo osvetljuje te`ak polo`aj `ensk v prvi polovici prej{njega stoletja.

The visually stunning drama of epic proportions centres on human dependence on nature and the repressive role of women in early twentieth century.

Chris se kljub prelepi naravi, ki jo ponuja {kotski Aberdeen, ne po~uti dobro. @ivljenje na de`eli je trdo in neizprosno, njen o~e pa pravi tiran brez posluha za kaj drugega kot kmetovanje, {e posebej za njeno skrito `eljo, da bi zapustila doma~ijo in postala u~iteljica. Chris spozna Ewana, se z njim poro~i in se odre~e svojim sanjam. A ko njen mo` ob za~etku prve svetovne vojne oble~e uniformo in odide, ji ne preostane drugega, kot da se doma z vsem mo~mi bori za samostojnost ... Filmska priredba prvega dela trilogije A Scots Quair Lewisa Grassica Gibbona.

The landscape of Aberdeen is as beautiful as the work in the fields is hard. Young woman Chris suffers under her tyrant of a father. She really wants to leave the family farm behind to become a teacher. But then she marries Ewan and decides to stay. WW I looms, Ewan has to join the Army. Chris stays behind on the farm, fighting for her independence. A cinematic adaptation of the first part of A Scots Quair trilogy by Lewis Grassic Gibbon.

"@elim, da moj gledalec verjame, da sem posku{al povedati resnico. To bo morda dolgo~asna resnica, saj vsem nisem po volji, zame je treba imeti izbran okus. /.../ Film sem posnel iz srca.

Vse, kar prosim, je, da ga gledate s svojim, in ~e vam ne bo v{e~, morate to izraziti." (Terence Davies)

prodaja/world sales Fortissimo Films Van Diemenstraat 100 1013 CN Amsterdam The Netherlands E info�fortissimo.nl distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

Terence Davies

filmografija/filmography

Rojen v Liverpoolu leta 1945. Na filmski zemljevid se je vpisal kot eden najizvirnej{ih britanskih re`iserjev poznega 20. stoletja s Trilogijo, tremi filmskimi upodobitvami svoje mladosti v delavski ~etrti Liverpoola, ki sta jo travmati~no zaznamovala nasilen in nepredvidljiv o~e ter avtorjeva homoseksualnost. Njegovi prvi filmi so nosili mo~an avtobiografski pe~at, v zadnjem ~asu pa se bolj posve~a literarnim priredbam.

1976 1980 1983 1988 1992 1995 2000 2008 2011 2015 2016

Born in Liverpool in 1945. Put on the cinematic map as one of the most original British film-makers of the late 20th century by The Trilogy, three cinematic reconstructions of his youth in a working-class district of Liverpool, traumatised by his violent and unpredictable father, and his homosexuality.

Initially tending towards autobiographical subjects, Davies has recently favoured adaptations of literary works.

60

"I want my viewer to believe that I've tried to tell the truth. That may be a boring truth, because I am not everybody's cup of tea, I'm an acquired taste. /.../ I made my film with my heart. All I ask is that someone watches it with theirs, and if they don't like it, then they must say it." (Terence Davies)

The Trilogy: Children (Trilogija: Otroci) The Trilogy: Madonna and Child (Trilogija: Devica in otrok) The Trilogy: Death and Transfiguration (Trilogija: Smrt in preobrazba) Distant Voices, Still Lives (Oddaljeni glasovi, tiho`itja) The Long Day Closes (Konec dolgega dne) The Neon Bible (Neonska biblija) The House of Mirth (Hi{a radosti) Of Time and the City (O ~asu in mestu) (dok./doc.)

The Deep Blue Sea (V vrtincu strasti) Sunset Song (Pesem somraka) A Quie Passion

Kralji in kraljice Kings and Queens

Umi yori mo mada fukaku After the Storm Po nevihti Japonska Japan 2016

Hirokazu Kore-eda

Japonski re`iser Hirokazu Kore-eda v zna~ilnem, lahkotno komi~nem slogu obravnava odnos med star{i in otroki kot klju~ do trajne sre~e v ~lovekovem `ivljenju.

Ryota nostalgi~no podo`ivlja minule dni, ko je u`ival sloves spo{tovanega in nagrajenega avtorja. Danes je le {e senca samega sebe; ve~ino denarja, ki ga zaslu`i kot zasebni detektiv, zapravi za igre na sre~o in komajda {e lahko pla~uje pre`ivnino za sina. Ko mu umre o~e, ka`e, da je njegovim bli`njim, za razliko od njega, uspelo pustiti preteklost za sabo. Kljub za~etnemu nelagodju nave`e stike z dru`ino, zdaj pa se mora {e potruditi, da ponovno prevzame vajeti nad svojim `ivljenjem. Prvi korak je obnovitev stika s sinom; neka nevihtna poletna no~ jima ponudi prilo`nost za resni~no zbli`anje.

In his signature, effortlessly comical style Japanese director Hirokazu Kore-eda identifies the relationship between parents and children as the key to achieving lasting human happiness.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 – Poseben pogled/Un Certain Regard

Dwelling on his past glory as a prize-winning author, Ryota wastes the money he makes as a private detective on gambling and can barely pay child support. After the death of his father, his loved ones seem to be moving on with their lives. Renewing contact with his initially distrusting family, Ryota struggles to take back control of his existence and to find a lasting place in the life of his young son – until a stormy summer night offers them a chance to truly bond again.

"Po o~etovi smrti je mati sama `ivela v stanovanjskem naselju.

Ko sem jo obiskal med novoletnimi prazniki, sem pomislil, da bi nekega dne rad posnel film o tem naselju. /.../ Film zajema spremembe v moji du{evnosti po smrti star{ev, in je najbolj zaznamovan z mojo resni~no notranjostjo. Po moji smrti, ~e bi se zna{el pred Bogom ali razsodnikom posmrtnega `ivljenja, ki bi me vpra{al: 'Kaj si po~el spodaj na zemlji?', bi mu najprej pokazal film Po nevihti." (Hirokazu Kore-eda)

"After my father died, my mother started living by herself in a housing estate. When I went back home to see her during the New Year's holiday, I thought that someday I'd like to shoot a story about this estate. /.../ Incorporating the changes that occurred within me after my mother and father died, it's the film that is most coloured by who I am. After I die, if I'm taken in front of God or the Judge of the Afterlife and asked: 'What did you do down on earth?' I think I would first show them After the Storm."

(Hirokazu Kore-eda)

Hirokazu Kore-eda

filmografija (izbor)/filmography (selection)

Rojen leta 1962 v Tokiu, Japonska. Po diplomi je pri neodvisni hi{i TV Man Union posnel vrsto nagrajenih dokumentarcev. Leta 1995 je zre`iral celove~erni igrani prvenec Maboroshi no hikari in z njim nastopil v tekmovalnem programu bene{kega festivala. Mednarodno prepoznavnost mu je prinesel drugi film Po `ivljenju. Njegovi filmi rahlo~utno obravnavajo klju~na `ivljenjska vpra{anja, pogosto z otroki v osrednjih vlogah.

1995 1998 2001 2004 2006 2008 2009 2011 2013 2015 2016

Born 1962 in Tokyo, Japan. After graduating Kore-eda joined the TV Man Union where he directed several prize-winning documentaries. In 1995, his directorial debut, Maborosi, entered the Venice International Film Festival's competition programme. His second film, After Life, brought him international acclaim. The director's works sensitively treat crucial human issues, often featuring children in leading roles.

re`ija/directed by Hirokazu Kore-eda scenarij/screenplay Hirokazu Kore-eda fotografija/cinematography Yutaka Yamazaki glasba/music Hanaregumi monta`a/editing Hirokazu Kore-eda igrajo/cast Hiroshi Abe (Shinoda Ryota), Yôko Maki (Shiraishi Kyoko), Taiyô Yoshizawa (Shiraishi Shingo), Kirin Kiki (Shinoda Yoshiko), Rirî Furankî, Isao Hashizume, Shôno Hayama, Sôsuke Ikematsu, Satomi Kobayashi producenti/producers Takashi Ishihara, Kazumi Kawashiro, Tsugihiko Fujiwara, Tom Yoda produkcija/production Fuji Television Network Inc 2-4-8 Daiba Minato-ku 137-8088 Tokyo, Japan E kaoru.matsuzaki�fujitv.co.jp & Gaga Corporation (Japan) format/format DCP, barvni/colour dol`ina/running time 117'

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E sales�wildbunch.eu

Maboroshi no hikari (Maborosi) Wandafuru raifu (After Life/Po `ivljenju) Distance Dare mo shiranai (Nobody Knows/Nih~e ne ve) Hana yori mo naho (Hana) Aruitemo aruitemo (Still Walking/[e vedno zdru`eni) Kuki ningyo (Air Doll) Kiseki (I Wish/@elim si) Soshite chichi ni naru (Like Father, Like Son/Kakr{en o~e, tak{en sin) Umimachi Diary (Our Little Sister/Sestrica) Umi yori mo mada fukaku (After the Storm/Po nevihti)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

61

Kralji in kraljice Kings and Queens

L'avenir Things to Come Prihodnost Francija, Nem~ija France, Germany 2016

Mia Hansen-Løve re`ija/directed by Mia Hansen-Løve scenarij/screenplay Mia Hansen-Løve fotografija/cinematography Denis Lenoir monta`a/editing Marion Monnier igrajo/cast Isabelle Huppert (Nathalie Chazeaux), André Marcon (Heinz), Roman Kolinka (Fabien), Edith Scob (Yvette), Sarah Le Picard (Chloé), Solal Forte (Johann), Elise Lhomeau (Elsa), Lionel Dray (Hugo), Grégoire Montana (Simon), Lina Benzerti (Antonia), Guy-Patrick Sainderichin (urednik/editor) producent/producer Charles Gillibert produkcija/production CG Cinéma 9, cité Paradis 75010 Paris, France E charles.gillibertasst�cgcinema.eu & Detail Film (Germany) & Arte France Cinéma (France) & Rhône-Alpes Cinéma (France) format/format DCP, barvni/colour dol`ina/running time 102' festivali, nagrade (izbor)/festivals, awards (selection) Berlinale 2016 (najbolj{a re`ija/Best Director), Istanbul 2016, Bukare{ta/ Bucharest 2016 (najbolj{a re`ija/Best Director), IndieLisboa 2016, Pulj/Pula 2016, Melbourne 2016, Sarajevo 2016, Toronto 2016, New York 2016

Mia Hansen-Løve se oddalji od svoje najljub{e mladostne tematike in s pomo~jo izvrstne Isabelle Huppert izri{e portret `enske, ki mora v zrelih letih za`iveti na novo. Srebrni berlinski medved za najbolj{o re`ijo.

Departing from her favourite topic of youth, Mia Hansen-Løve has cast the brilliant Isabelle Huppert to portray a woman forced to reinvent herself in her autumn years. Silver Bear Award for Best Director at Berlin FF.

Nathalie u~i filozofijo na srednji {oli v Parizu. Svoje delo strastno opravlja, {e posebej u`iva, ko se z u~enci predaja razmi{ljanju.

Nekega dne ji mo` sporo~i, da jo zapu{~a zaradi druge `enske.

Nathalie se mora zdaj postaviti povsem na novo. V raziskovanju nove svobode se sku{a dokopati do spoznanja, kaj pomeni biti sre~en, film pa se v spremljanju njenih poti spra{uje tudi, kako je mogo~e filozofijo uporabiti v vsadanjem `ivljenju.

Nathalie teaches philosophy at a high school in Paris. She is passionate about her job and particularly enjoys passing on the pleasure of thinking. One day, Nathalie's husband announces he is leaving her for another woman. With freedom thrust upon her, Nathalie must take charge of her life. The film revolves around questions of happiness, depicting not only one individual's search for new avenues, it also asks if – and to what extent – philosophy can be applied to our everyday life.

"Mojo `eljo posneti film o u~iteljici filozofije, ki se svojemu delu posve~a z obsedenostjo, je okrepilo pomanjkanje filmske svobode glede upodobitve intelektualcev in spremenljivega razvoja idej.

Le v redkih filmih izvemo, katere ~asopise berejo liki, s katerimi idejami se povezujejo in katera politi~na vpra{anja jih vznemirjajo. /.../ Ganjena sem, ko sli{im imena krajev, skozi katera gredo liki.

Prav tako ko izvem za imena revij, ki jih berejo, ali zasedb, ki jih poslu{ajo. /.../ Povezano je z na{o potrebo po spominu, krhkostjo `ivljenja in `eljo nositi njegove sledi.« (Mia Hansen-Løve)

prodaja/world sales Les Films du Losange 22, avenue Pierre Ier de Serbie 75116 Paris, France E b.vincent�filmsdulosange.fr

Mia Hansen-Løve

filmografija/filmography

Rojena 1981 v Parizu. Preden je leta 2001 za~ela {tudirati na pari{kem Konservatoriju dramskih umetnosti, je pri sedemnajstih igrala v dveh filmih Oliviera Assayasa, s katerim je danes poro~ena. Med letoma 2003 in 2005 je pisala za revijo Cahiers du Cinéma ter za~ela re`irati kratke filme. Od leta 2007 je posnela pet igranih celove~ercev.

2004 2007 2009 2011 2014 2016

Born in 1981 in Paris. She was cast by Olivier Assayas (whom she subsequently married) in two of his films before she began formal training at the Paris Conservatoire d'Art Dramatique in 2001. Between 2003 and 2005, Mia wrote for the Cahiers du Cinéma and directed several short films. She has made five feature films since 2007.

62

"What reinforced my desire to film a philosophy teacher who is possessed by her job is the cinema's lack of liberty in terms of the representation of intellectuals and of the seesaw elaboration of ideas. There are few films where you know which newspapers the characters read, which ideas they are attached to and which political issues agitate them. /.../ I am touched when I hear the names of the places the characters pass through. Likewise, the names of magazines they read or bands they listen to. /.../ It's linked to our need for memory, the fragility of life and the desire to bear its marks." (Mia Hansen-Løve)

Après mûre réflexion (kratki/short) Tout est pardonné (All Is Forgiven/Vse je opro{~eno) Le père de mes enfants (Father of My Children/O~e mojih otrok) Un amour de jeunesse (Goodbye First Love/Zbogom, prva ljubezen) Eden L'avenir (Things to Come/Prihodnost)

Kralji in kraljice Kings and Queens

Ah-ga-ssi The Handmaiden Slu`kinja Ju`na Koreja South Korea 2016

Park Chan-wook

Princ korejskega filma Park Chan-wook se vra~a v domovino s priredbo romana Sarah Waters in eno svojih najbolj ambicioznih kostumskih produkcij do sedaj.

With The Handmaiden, inspired by Sarah Waters' crime novel, Park returns to Korea for one of his most ambitious period productions yet.

Koreja v tridesetih letih minulega stoletja, obdobje japonske okupacije. Japonska dedinja Hideko `ivi odmaknjeno v velikem pode`elskem poslopju s svojim dominantnim stricem. Za hi{no pomo~nico s stricem najameta novo dekle Sookee, ki pa ima skrivnost. V resnici gre za `eparko v slu`bi sleparja, ki se pretvarja, da je japonski grof. Ta posku{a lady zapeljati v poroko, nato pa jo oropati in zapreti v nori{nico. Dogodki potekajo v skladu z njegovim pretkanim na~rtom, vse dokler Sookee in Hideko ne odkrijeta, da imata tudi med seboj nekaj nepri~akovanih ~ustev.

1930s Korea, in the period of Japanese occupation, Sookee is hired as a handmaiden to a Japanese heiress Hideko who lives a secluded life on a large countryside estate with her domineering uncle. But the maid has a secret. She is a pickpocket recruited by a swindler posing as a Japanese Count to help him seduce the Lady to elope with him, rob her of her fortune, and lock her up in a madhouse. Everything seems to proceed according to plan until Sookee and Hideko discover some unexpected emotions.

"Hi{a je pomemben prostor. Kim Hae-sook (butler) na za~etku pove: 'Niti na Japonskem ne najde{ doma, ki bi spajal zahodnja{ki in japonski slog. Odra`a ob~udovanje Japonske in Anglije strica Kouzukija.' /.../ Osebnost doma je pomembna prvina. Hidekina soba le`i v krilu zahodnega sloga, zato spi v postelji in `ivi kot zahodnja{ka lady. Nasprotno je soba pomo~nice v japonskem slogu, kjer Sookee prebiva v o{ireju, nekak{ni vzidani omari za shranjevanje posteljnine." (Park Chan-wook)

"The house is an important space. Kim Hae-sook says in the beginning: 'Not even in Japan can you find a home that combines Western and Japanese styles. It reflects Master Kouzuki's admiration for Japan and England.' /.../ The personality of the home is an important element. Hideko's room is located in a Western-style wing, so she sleeps in a bed and lives the life of a Western lady. In contrast, the maid’s room next door is in the Japanese style, where Sookee lives in an oshiire, a kind of a closet for storing bedclothes." (Park Chan-wook)

Park Chan-wook

filmografija/filmography

Rojen leta 1963 v Seulu, Ju`na Koreja. Sprva se je kot gore~ cinefil izmenoma loteval filmske kritike in re`ije, preboj pa je do`ivel s filmom Joint Security Area, ki je v Koreji podiral rekorde gledanosti. Z drugim filmom Naklonjenost gospodi~ni Ma{~evanje je ustvaril edinstven filmski slog. S canskima nagradama za filma Stari in @eja je postal osrednje ime korejske filmske renesanse.

1992 1997 2000 2002 2003 2005

Born in 1963 in Seoul, South Korea. An ardent cinephile, Park juggled film directing and criticism in the 1990s before his commercial breakthrough, Joint Security Area, which broke local box-office records. However, it was his follow-up, Sympathy for Mr. Vengeance, that formulated Park's intense, signature cinematic style. Winner of the Cannes Grand Prix for Oldboy and the Jury Prize for Thirst, Park-Chan Wook stands at the forefront of Korean cinema renaissance.

2006 2009 2013 2016

re`ija/directed by Park Chan-wook scenarij/screenplay Chung Seo-kyung, Park Chan-wook, Sarah Waters (roman/novel) fotografija/cinematography Chung Chung-hoon glasba/music Jo Yeong-wook monta`a/editing Kim Jae-bum, Kim Sang-beom igrajo/cast Kim Min-hee (lady Hideko), Ha Jung-woo (Fujiwara), Kim Tae-ri (Sook-Hee), Jo Jin-woong (stric/ uncle Kouzuki), Moon So-ri (teta plemi{ke lady/aunt of noble lady), Kim Hae-suk (butler) producenta/producers Park Chan-wook, Syd Lim produkcija/production Moho Film 3002, SK M City 869 Janghang-dong Ilsandong-gu 410-839 Goyang-si Gyeonggi-do, South Korea E wonjo�moho.co.kr & Yong Film (South Korea) format/format DCP, barvni/colour dol`ina/running time 144' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016

prodaja/world sales CJ Entertainment 66, Sangamsan-ro Mapo-gu, Seoul 121–904 South Korea E hawon.kim�cj.net

Daleun... haega kkuneun kkum (The Moon Is... The Sun's Dream) Saminjo Gongdong gyeongbi guyeok JSA (J.S.A.: Joint Security Area) Boksuneun naui geot (Sympathy for Mr. Vengeance) Oldeuboi (Oldboy/Stari) Chinjeolhan geumjassi (Lady Vengeance/Naklonjenost gospodi~ni Ma{~evanje) Ssa-i-bo-geu-ji-man-gwen-chan-a (I’m a Cyborg, But That's OK) Bakjwi (Thirst/`eja) Stoker (Krvne skrivnosti) Ah-ga-ssi (The Handmaiden/Slu`kinja)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

63

Kralji in kraljice Kings and Queens

U~itelka The Teacher U~iteljica Jan Hrebejk ˇ

re`ija/directed by ˇ Jan Hrebejk scenarij/screenplay Petr Jarchovský fotografija/cinematography Martin @iaran glasba/music Michal Novinski monta`a/editing Vladimír Barák igrajo/cast Zuzana Mauréry (Marie Drazdechová), Csongor Kassai (Marek Ku~era), Peter Bebjak (Václav Littmann), Martin Havelka (Jaroslav Binder), Éva Bandor (Hana Binderová), Zuzana Kone~ná (Iveta Ku~erová), Tamara Fischer (Danka Ku~erová) producenti/producers Tibor Búza, Zuzana Mistríková, Lubica Orechovská, Ondrej Zima, Jan Pru{inovský produkcija/production PubRes Grosslingova 63 811 09 Bratislava, Slovak Republic E pubres�pubres.sk & Rozhlas a televízia Slovenska & Offside Men & ^eská televize format/format DCP, barvni/colour dol`ina/running time 102' festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2016 (najbolj{a igralka/Best Actress)

prodaja/world sales LevelK Gl. Kongevej 137 B 1850 Frederiksberg, Denmark E tine�levelk.dk

Komedija z moralnim naukom razkriva, kako lahko posameznik brez zadr`kov zlorabi {olski oziroma dru`beni sistem v lastno korist.

A comedy conveying a moral message, The Teacher draws attention to the fact that an unscrupulous individual can manipulate the social system to one’s own advantage.

Na ^e{kem v za~etku osemdesetih. Ravnateljica osnovne {ole skli~e roditeljski sestanek, na katerem `eli razjasniti obto`be na ra~un priljubljene in privla~ne u~iteljice gospe Drazde~ove.

Svoje u~ence naj bi izrabljala in manipulirala njihove star{e za zagotavljanje razli~nih uslug: od pomo~i pri manj{ih hi{nih opravilih do dodatnih materialnih ugodnosti in celo ljubezenskih razmerij. A poraja se vpra{anje, kdo od vpletenih star{ev bi to priznal in se upal zoperstaviti brezvestni u~iteljici …

The early 1980s, Czechoslovakia. The principal of an elementary school calls a special parents meeting. Allegations have been made against a seemingly empathetic, kind, and amiable-looking teacher named Ms Drazdechová, claiming that she uses her students to manipulate their parents into providing her with minor handyman assistance, unearned material comforts, and even a love affair. Will any of the families oppose the unscrupulous teacher or will her unwritten system continue to hold sway?

"^eprav je zgodba filma U~iteljica ume{~ena v ~as komunizma, nismo nameravali preprosto rekonstruirati duha preteklosti.

Tematika filma sta strah in posledi~na pripravljenost posameznika vdati se korupciji – dejstvo, da nekateri ljudje slu`ijo tistim, ki imajo mo~ nad njimi, ter imajo zato koristi zase in svoje najbli`je.

Vendar se te koristi lahko dolgoro~no obrnejo zoper njih. Zato film ni zgodovinska ponazoritev. Pripoveduje zgodbo o splo{nem ~love{kem vedenju, o dogodkih, ki se zgodijo ne glede na ˇ ~asovno obdobje." (Jan Hrebejk)

"Although the story of The Teacher is set during the communist era, we didn't mean to simply reconstruct the atmosphere of the past. The theme of the film is fear and the subsequent willingness of an individual to succumb to corruption – the fact that some people serve those who have power over them and, hence, get advantages for themselves and their closest ones.

Nevertheless, these advantages can turn against them in the long run. The film, therefore, isn't a historical illustration. It tells a story about general human behaviour, of situations that happen ˇ regardless of the time period." (Jan Hrebejk)

ˇ Jan Hrebejk

filmografija (izbor)/filmography (selection)

Rojen leta 1967 v Pragi. Je eden najbolj vsestranskih ~e{kih filmskih re`iserjev, znan tudi po uprizarjanju gledali{kih del. Njegov prvenec Sakalí léta je leta 1993 prejel najvi{jo ~e{ko filmsko nagrado (~e{ki lev), ta uspeh pa je pozneje ponovil {e s filmoma Musíme si pomáhat in Horem padem. Pred tremi leti je s trilerjem Líbánky slavil v Karlovih Varih kot najbolj{i re`iser.

1993 1999 2000 2003 2004 2006 2009 2011 2013 2016

ˇ Born in 1967 in Prague, Hrebejk is one of the Czech Republic's most versatile film directors. He has also directed for the stage. He won his first Czech Lion Award with Big Beat (1993), his feature debut, and the succeeding two Lions with Up and Down and Divided We Fall. In 2013, Honeymoon was in the main competition at Karlovy Vary and received the Best Director Award.

64

Slova{ka, ^e{ka Slovak Republic, Czech Republic 2016

Sakalí léta (Big Beat) Pelísky (Cosy Dens) Musíme si pomáhat (Divided We Fall) Pupendo Horem padem (Up and Down) Kráska v nesnázích (Beauty in Trouble) Kawasakiho ruze (Kawasaki’s Rose) Nevinnost (Innocence) Líbánky (Honeymoon) U~itelka (The Teacher/U~iteljica)

Kralji in kraljice Kings and Queens

Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da Right Now, Wrong Then Zdaj prav, potem narobe Ju`na Koreja South Korea 2015

Hong Sang-soo

re`ija/directed by Hong Sang-soo scenarij/screenplay Hong Sang-soo fotografija/cinematography Park Hongyeol glasba/music Yongjin Jeong monta`a/editing Hahm Sungwon igrata/cast Jeong Jae-yeong (Ham Cheon-soo), Kim Min-hee (Yoon Hee-jeong) producent/producer Kim Kyounghee produkcija/production Jeonwonsa Film Co 208, Art and Design Bldg.

Konkuk University, 1 Hwayang-dong, Gwangjin-gu Seoul 143-701, South Korea E autumnwork�naver.com format/format DCP, barvni/colour dol`ina/running time 121'

Variaciji naklju~nega sre~anja med priznanim filmskim re`iserjem in mlado slikarko poka`eta, da je usoda med~love{kih odnosov odvisna le od drobnih gest in navidez nepomembnih besed.

Two variations on a chance meeting between an acclaimed filmmaker and a young painter, suggesting that interpersonal relations are shaped primarily by subtle gestures and seemingly meaningless words.

Filmski re`iser Ham Cheon-soo pride v mesto Suvon predstavit svoj najnovej{i film. Ker prispe dan prezgodaj, odide na ogled tamkaj{njih znamenitosti in tako spozna lepo mlado slikarko Yoon Hee-jeong. Hitro se zapleteta v spro{~en pogovor, po skupni kavi obi{~eta slikarkin atelje, ve~erjata, nato pa se odpravita na zabavo slikarkinega prijatelja. V dveh razli~icah istega dogodka pa le nekaj drobnih razlik spremeni razplet zgodbe med glavnima protagonistoma.

Ham Cheon-soo is a director visiting Suwon for a screening and speaking engagement. Having arrived a day early, Cheon-soo heads out sightseeing and, while visiting an old palace, meets Yoon Hee-jeong, a pretty local painter. Conversation flows easily between the two, and before they know it a coffee date leads to a visit to Hee-jeong's studio, which leads to sushi, which leads to an uncomfortable visit to a party, which leads to... well, what transpires at this get-together makes all the difference with regards to whether Cheon-soo and Hee-jeong’s brief encounter becomes something bitter or sweet.

"V moji naravi je, da se posve~am temam, ki jih poznam, zatem pa najdem nove. Tako je re`iser samo eden od teh pomembnih, preprostih prvin, ki jih zelo dobro poznam. Ne `elim sodelovati s pilotom ali o njem posneti filma. ^e bi ga posku{al opisati, bi to verjetno storil stereotipno." (Hong Sang-soo)

"My temperament is to work with the things I know already, and then find new things. So a filmmaker is just one of these important, simple elements that I know very well. I don't want to work with or make films about a plane pilot. If I try to describe him maybe I will be very stereotypical." (Hong Sang-soo)

Hong Sang-soo

filmografija (izbor)/filmography (selection)

Rojen leta 1960 v Seulu, Ju`na Koreja. Sprva je {tudiral filmsko re`ijo na Univerzi v Chungangu, nato pa je {tudij nadaljeval na Visoki {oli za umetnost in obrt v Kaliforniji, ZDA. Po vrnitvi v Korejo je najprej delal za televizijo, pozneje pa se je posvetil filmski re`iji. Predaval je tudi na korejski Akademiji za umetnost.

1996 1998 2000 2004 2005 2006 2009 2010 2011 2012 2013 2014 2015

Born in 1960 in Seoul, South Korea. He first studied filmmaking at the Chungang University before going to the US to receive a BFA from the California College of Arts and Crafts. After coming back to Korea he first got a job at a broadcast company, SBS, and then devoted himself fully to filmmaking. He also taught at the Korea National University of Arts.

festivali/festivals Locarno 2015 (zlati leopard/Golden Leopard, najbolj{i igralec/Best Actor), Toronto 2015

prodaja/world sales Finecut Patio House #102 22–14 Bongeunsa-ro 26-gil Gangnam-gu Seoul, Korea E cineinfo�finecut.co.kr

Daijiga umule pajinnal (The Day a Pig Fell Into the Well) Kangwon-do ui him (The Power of Kangwon Province) Oh! Soo-jung (Virgin Stripped Bare by Her Bachelors) Yeojaneun namjaui miraeda (Woman Is the Future of Man) Geuk jang jeon (Tale of Cinema) Haebyeonui yeoin (Woman on the Beach) Jal aljido mothamyeonseo (Like You Know It All) Hahaha Book chon bang hyang (The Day He Arrives/Vrnitev v Seul) Da-reun na-ra-e-seo (In Another Country/V drugi de`eli) U ri Sunhi (Our Sunhi) Ja-yu-eui eon-deok (Hill of Freedom) Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (Right Now, Wrong Then/ Zdaj prav, potem narobe)

65

66

Panorama svetovnega filma Panorama of World Cinema

Baden Baden Baden Baden Baden Baden Rachel Lang

re`ija/directed by Rachel Lang scenarij/screenplay Rachel Lang fotografija/cinematography Fiona Braillon monta`a/editing Sophie Vercruysse igrajo/cast Salomé Richard (Ana), Claude Gensac (babica/grandmother), Lazare Gousseau (Grégoire), Swann Arlaud (Simon), Olivier Chantreau (Boris), Jorijn Vriesendorp (Mira), Noémie Rosset (Meriem), Zabou Breitman (Anina mama/Ana's mother) producenti/producers Joseph Rouschop, Jérémy Forni, Arlette Zylberberg produkcija/production Tarantula Belgique 99, rue Auguste Donnay 4000 Liège, Belgium E info�tarantua.be & ChevalDeuxTrois & RTBF format/format DCP, barvni/colour dol`ina/running time 95' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2016

Duhovit, nepretenciozen portret mlade `enske, ki posku{a v nekem nenavadnem poletju okrepiti vez s sabo in z ljudmi okoli sebe.

A humorous, unpretentious portrayal of a young woman striving to reconnect with her inner self and other people over the course of one bizarre summer.

Ana nekega dne ugotovi, da ji morda ni treba ve~ prena{ati {efovega kri~anja. V sposojenem {portnem avtomobilu se odpravi novim dogodiv{~inam naproti. V Strasbourgu obi{~e babico in se prepusti poletju. Loti se prenove kopalnice in obnovi zvezo s svojim biv{im. Kratke kavbojke, oprijeta maj~ka in {portni copati – v stilu svoje generacije se po~uti povsem osvobojeno. Naslednji tedni postopno oblikujejo mlado dekle, ki je v resnici `e odrasla `enska, a odgovor na vpra{anje, kaj bi `elela postati in kaj bi lahko bila, se zdi {e vedno varno oddaljen ...

One day Ana realises she doesn't need to put up with her boss's fury any more. She rents a sports car and simply sets off into her own world. She drives to her grandmother's, to Strasbourg. She renovates her bathroom and reignites the old spark with her ex.

She wears the uniform of her generation – short jeans, tight tops, trainers, and feels liberated. Over the course of the summer, the few visible insignia of her identity come together to form the personality of a young woman who is already an adult, but is intent on continuing the search – for who she'd like to be, for who she could be.

"Prizadevala sem si svojemu liku odvzeti kakr{en koli vidik spola: `elela sem govoriti o ne~em univerzalnem, in ne o dekletu ali fantu. /.../ Odvzela sem vse kode `enske spolne privla~nosti. Bolj kot vpra{anje spola se mi je zdela pomembna metafizika stvari.

Kaj pomenijo odra{~anje, pomembna sre~anja, ki te klju~no oblikujejo, izku{nja stvari, ki te vzradostijo." (Rachel Lang)

prodaja/world sales Jour2Fête 9 rue Ambroise Thomas 75009 Paris, France E sales�jour2fete.com

"My goal was to take every gender aspect out of my character: I wanted to talk about something universal and not about a girl or a boy. /.../ I took out all the codes of female sexual attractiveness.

For me, it was a not so much a question of gender as it was about the metaphysics of things. What does it mean to grow up, to have important encounters that build who you are, to experience things that give you joy." (Rachel Lang)

Rachel Lang

filmografija/filmography

Rojena v Strasbourgu, Francija. Preden se je posvetila {tudiju filma, je dve leti {tudirala filozofijo in dramske umetnosti. S kratkim diplomskim filmom Pour toi je ferai bataille si je leta 2010 prislu`ila srebrnega leoparda na festivalu v Locarnu. Baden Baden je njen igrani prvenec in hkrati sklepni del trilogije, ki jo dopolnjujeta njena predhodna kratka filma.

2010 Pour toi je ferai bataille (For You I Will Fight) (kratki/short) 2011 Les navets blancs empêchent de dormir (White Turnips Make it Hard to Sleep) (kratki/short) 2013 Zino (dok./doc.)

2016 Baden Baden

Born in Strasbourg, France. She spent two years studying philosophy as well as dramatic arts before studying film. Her short graduation film, For You I Will Fight, won the Silver Leopard Award at the 2010 Locarno Film Festival.

Baden Baden is Rachel Lang's first feature film, and is the final part of a trilogy following two short films.

70

Belgija, Francija Belgium, France 2016

Panorama svetovnega filma Panorama of World Cinema

Les chevaliers blancs The White Knights Beli vitezi Belgija, Francija Belgium, France 2015

Joachim Lafosse

Filmska uprizoritev odmevne afere iz leta 2007, ko so pripadniki francoske dobrodelne organizacije posku{ali pretihotapiti ve~je {tevilo otrok iz ^ada v Francijo.

Jacques Arnault, vodja nevladne organizacije Sud Secours, na~rtuje velikopotezno operacijo: skupaj s sodelavci naj bi v Francijo pretihotapil tristo afri{kih otrok, osirotelih v ~adski dr`avljanski vojni, in jim tako omogo~il posvojitev v francoske dru`ine. Novinarko Françoise Dubois povabijo, da se jim pridru`i in poskrbi za medijsko pokritost tega drznega podviga. Ko ekipa med operacijo spozna krut vsakdan dr`ave v vojni, se sodelavci soo~ijo z omejitvami humanitarnih posredovanj, njihova prepri~anja pa se mo~no zamajejo.

The cinematic adaptation of a controversy that made headlines in 2007, the attempt of a French charity organisation to smuggle a large number of children out of Chad into France.

Jacques Arnault, head of Sud Secours NGO, is planning a high impact operation: he and his team are going to exfiltrate 300 orphan victims of Chadian civil war and bring them to French adoption applicants. Françoise Dubois, a journalist, is invited to come along with them and handle the media coverage for this operation. Completely immersed in the brutal reality of a country at war, the NGO members start losing their convictions and are faced with the limits of humanitarian intervention.

"Vedno sem menil, da se o demokraciji najprej za~ne{ u~iti doma.

Dom in razmerja med dru`inskimi ~lani te naredijo za demokrata ali diktatorja. Ta zgodba pripoveduje o ljudeh, ki si jemljejo pravico do dru`ine. Like obseda njihova pravica do otroka in ne otrokove pravice. In to je za~etek diktatorske dru`ine." (Joachim Lafosse)

"I've always thought that the first place you learn about democracy is at home. It's at home and a person's relationship to their family that makes them a democrat or a dictator. Here, the story is about people giving themselves the right to a family. The characters are preoccupied with their right to a child, as opposed to the rights of the child. And that’s the start of a dictatorial family." (Joachim Lafosse)

Joachim Lafosse

filmografija/filmography

Rojen leta 1975 v mestu Uccle, Belgija. [tudiral je na umetni{kem in{titutu IAD v Louvain-la-Neuvu. Njegov tretji film Nue Propriété je bil leta 2006 uvr{~en v tekmovalni program bene{kega festivala, naslednji, Najini otroci, 2012 v sklop Posebni pogled v Cannesu, zadnji, Ko ljubezni ni ve~, pa 2016 v canski sklop [tirinajst dni re`iserjev.

2001 2004 2006 2006 2008 2010 2012 2015 2016

Born in 1975 in Uccle, Belgium. Graduated from the IAD (Institut des arts de diffusion) in Louvain-la-Neuve. In 2006 Lafosse released his third feature, Private Property, which debuted in the competitive section of the Venice Film Festival. His next film, Our Children, competed in the Un Certain Regard section at Cannes in 2012, and his most recent film, After Love, screened in the Directors’ Fortnight at the 2016 Cannes Film Festival.

re`ija/directed by Joachim Lafosse scenarij/screenplay Joachim Lafosse, Bulle Decarpentries, Thomas Van Zuylen fotografija/cinematography Jean-François Hensgens glasba/music Christophe Giovanonni, Ingrid Simon, Valérie Le Docte, Thomas Gauder monta`a/editing Sophie Vercruysse igrajo/cast Vincent Lindon (Jacques Arnault), Louise Bourgoin (Laura Turine), Valérie Donzelli (Françoise Dubois), Reda Kateb (Xavier Libert), Stéphane Bissot (Marie Latour), Raphaëlle Lubansu (Nathalie Joris), Jean-Henri Compère (Roland Duchâteau), Philippe Rebbot (Luc Debroux), Yannick Renier (Chris Laurent), Tatiana Rojo (Christine Momboza), Catherine Salée (Sophie Tinlot) producenti/producers Jacques-Henri Bronckart, Olivier Bronckart, Sylvie Pialat produkcija/production Versus Production 17, Mont Saint-Martin 4000 Liège, Belgium E info�versusproduction.be & Les Films du Worso (France) format/format DCP, barvni/colour dol`ina/running time 112' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2015, San Sebastian 2015 (najbolj{i re`iser/Best Director), Philadelphia 2015, Rotterdam 2016, Göteborg 2016, Hongkong/Hong Kong 2016, San Francisco 2016, München/Munich 2016

prodaja/world sales Indie Sales 32, rue Washington 75008 Paris, France E sales�indiesales.eu

Tribu (kratki/short) Folie privée (Private Madness) Ça rend heureux (What Makes You Happy) Nue propriété (Private Property) Élève libre (Private Lessons) Avant les mots (kratki/short) À perdre la raison (Our Children/Najini otroci) Les chevaliers blancs (The White Knights/Beli vitezi) L'économie du couple (After Love/Ko ljubezni ni ve~)

71

Panorama svetovnega filma Panorama of World Cinema

Boris sans Béatrice Boris without Beatrice Boris brez Beatrice Kanada Canada 2016

Denis Côté re`ija/directed by Denis Côté scenarij/screenplay Denis Côté fotografija/cinematography Jessica Lee Gagné glasba/music Ghislain Poirier monta`a/editing Nicolas Roy igrajo/cast James Hyndman (Boris Malinovsky), Simone-Élise Girard (Béatrice Malinovsky), Denis Lavant (Neznanec/Stranger), Isolda Dychauk (Klara), Dounia Sichov (Helga), Laetitia Isambert-Denis (Justine Malinovsky), Bruce La Bruce (kanadski premier/Canadian Prime Minister), Louise Laprade (Pauline Malinovsky) producenta/producers Sylvain Corbeil, Nancy Grant produkcija/production Metafilms 1703, rue Sanguinet H2X 3G5 Montreal, Canada E info�metafilms.ca format/format DCP, barvni/colour dol`ina/running time 93'

Samosvoj, s satiri~nim podtonom pod~rtan psiholo{ki triler, ki se giblje na meji med realnim in domi{ljenim, daje univerzalni zgodbi o pritiskih sodobnega sveta poseben pe~at.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2016

Boris Malinovsky se je v poslovnem svetu dana{njega Quebeca uveljavil z neusmiljeno aroganco. A ko njegova prav tako uspe{na `ena, ministrica v kanadski vladi, zapade v resno klini~no depresijo in je bolj ali manj priklenjena na posteljo, se za~ne njegov navidez popolni svet po~asi ru{iti. V osamljeni po~itni{ki hi{ici, kjer za `eno skrbi mlada pomo~nica, prejme skrivnostni klic in kmalu zatem se sredi no~i znajde v gozdu iz o~i v o~i z neznancem, ki ga neprizanesljivo soo~i z delom preteklosti, na katerega ni najbolj ponosen ...

"Navsezadnje, navkljub dru`benemu razredu, ki ga film prikazuje, resni~no menim, da je Borisovo `ivljenje univerzalno. Film je preprost, govori o ~loveku, ki ga obhajajo dvomi. Z likom sem moral so~ustvovati, raje kot bi ustvaril nov film, v katerem bur`uja popolnoma strem. Ostajam na tej ~love{ki ravni, z ravno pravo mero humorja in ironije posku{am razumeti njegovo prizadevanje, njegov boj. Sem na njegovi strani, namesto da bi se {el igro cinizma. Boris ni umirajo~a `u`elka, ki jo opazujemo v steklenem kozarcu. Je eden od nas, ~e nam je to v{e~ ali ne." (Denis Côté)

prodaja/world sales Films Boutique Köpenicker Str. 184 10997 Berlin, Germany E contact�filmsboutique.com

Somewhere in present-day Québec, Boris Malinovsky is going through life with ruthless arrogance. But then his world begins to falter when his equally successful wife, a minister in the Canadian government, is confined to her bed with depression and is cared for in their remote holiday home. There, Boris receives phone calls from a stranger who asks him to meet in the forest in the middle of the night. The mysterious man confronts Boris with the kind of questions he would rather not have to think about.

Will Boris be able to rid himself of his unbidden demons?

"In the end, despite the social class in which the film takes place, I genuinely think Boris' character is living something universal.

The film is simple, it's about a person being visited by doubt. I had to sympathise with him instead of making another film where a bourgeois character has to be crushed to pieces. I'm staying at his human level, trying to understand his quest or his battle with the right amount of fun and irony. I'm with him instead of playing a cynical game. Boris is not a dying insect we watch in a glass jar.

He's one of us, like it or not." (Denis Côté)

Denis Côté

filmografija (izbor)/filmography (selection)

Rojen leta 1973 v New-Brunswicku, Kanada. Re`iser in producent {teje za enega od predstavnikov sodobnega kanadskega neodvisnega filma.

Kot novinar in filmski kritik je deloval do leta 2005, ko je posnel svoj prvi celove~erec Les états nordiques, nagrajen z zlatim leopardom v Locarnu, kjer je pet let pozneje prejel tudi nagrado za najbolj{ega re`iserja za film Curling.

2005 2007 2008 2009 2010 2010 2012 2013

Born in 1973 in New-Brunswick, Canada. Director and producer, Côté is considered one of the proponents of contemporary Canadian independent film. He worked as a journalist and film critic until his 2005 debut feature, Drifting States, which received the Golden Leopard Award at the Locarno IFF. Five years later, at this same festival, Côté's Curling won the Best Director Award.

72

Blending reality with fantasy, the idiosyncratic psychological thriller is a unique take on the universal story about the pressures of contemporary world told with satirical precision.

Les états nordiques (Drifting States) Nos vies privées (Our Private Lives) Elle veut le chaos (All that She Wants) Carcasses (dokumentarni/documentary) Les lignes ennemies (The Enemy Lines) Curling Bestiaire (dokumentarni/documentary) Vic + Flo ont vu un ours (Vic + Flo Saw a Bear/Vic in Flo sta zagledali medveda) 2014 Que ta joie demeure (Joy of Man's Desiring) (dokumentarni/ documentary) 2016 Boris sans Béatrice (Boris Without Beatrice/Boris brez Beatrice)

Panorama svetovnega filma Panorama of World Cinema

Ernelláék Farkaséknál It's Not the Time of My Life ^as za pozabo Mad`arska Hungary 2016

Szabolcs Hajdu

Intimni {tudiji dveh mladih dru`in, ki sta prisiljeni sobivati v skupnem stanovanju, daje poseben pe~at prispevek trinajstih razli~nih direktorjev fotografije. Zmagovalec Karlovih Varov 2016.

For his intimate examination of the workings of two families compelled to live together in a single household, Hajdu employed no fewer than 13 cinematographers. Best Film Award at Karlovy Vary 2016.

Pred letom dni so Ernella, Albert in njuna desetletna h~i zapustili pode`elje in se odpravili na [kotsko v `elji po bolj{em `ivljenju.

A njihova pri~akovanja se niso izpolnila in neke no~i skesano potrkajo na vrata stanovanja, v katerem prebiva Ernellina sestra z mo`em in petletnim sinom. Srednje prostorno me{~ansko stanovanje, v katerem so prisiljeni za~asno sobivati, kaj kmalu postane poligon za medsebojne obra~une odraslih. Vse bolj o~itno je, da Ernella svoji sestri ne zavida le bolj{ega finan~nega polo`aja in da imata dru`ini bolj malo skupnega ...

A year ago Ernella, Albert and their 10-year-old daughter Laura left the country for a better life. Having their ambitions frustrated, they come back from Scotland. In the middle of the night they turn up at Eszter's, Enella's sister. Eszter, her husband Farkas and their 5-year-old son Bruno live in better circumstances than Ernella's family who struggle with serious financial problems.

Never in real harmony with each other, the family members confront each other, and the uneasy family-time brings longhidden tensions to the surface.

"Hajdujev zadnji film, posnet po njegovi lastni drami, je znana dru`inska drama, ki se dogaja izklju~no v notranjosti malome{~anskega stanovanja in v svojih najbolj{ih trenutkih prikli~e intimna dela neodvisnih ustvarjalcev, kot sta Bergman in Cassavetes. /.../ Navkljub izvoru in enemu samemu prizori{~u pa gradivo nikoli ne daje vtisa omejenosti, fluidna fotografija neprestano ostaja osredoto~ena tesno na like. Tudi slogovna podoba filma je presenetljivo celovita, {e zlasti ob dejstvu, da ga je posnelo kar trinajst ne zelo izku{enih direktorjev fotografije, Hajdujevih {tudentov filma, vsak od njih eno sekvenco."

(Boyd van Hoeij, Hollywood Reporter)

"Hajdu's latest, adapted from his own play, is a frequently familiar family drama that unfolds entirely within a single bourgeois apartment and that, in its best moments, recalls the intimate works of independent filmmakers such as Bergman and Cassavetes. /.../ Despite its origins and single set, the material never feels stage-bound, with the fluid cinematography always staying close to the characters. The look is also surprisingly coherent, especially when considering that it was shot by no less than 13 not very experienced cinematographers, reportedly all film-school students of Hajdu's who each got assigned a sequence." (Boyd van Hoeij, The Hollywood Reporter)

Szabolcs Hajdu

filmografija/filmography

Rojen leta 1972 v Debrecenu na Mad`arskem. Do{tudiral je na Univerzi za film in dramsko igro v Budimpe{ti. Deluje kot filmski in gledali{ki re`iser, scenarist in igralec ter ob~asno pou~uje na mednarodnih filmskih delavnicah.

1997 2000 2004 2006 2007 2010 2014 2015 2016

Born in 1972 in Debrecen, Hungary. Graduated from the University of Drama and Film in Budapest. A film and stage director, screenwriter and actor, Hajdu has been teaching acting and film direction at university workshops in a number of countries.

re`ija/directed by Szabolcs Hajdu scenarij/screenplay Szabolcs Hajdu fotografija/cinematography Csaba Bántó, Flóra Chilton, Dávid Gajdics, Betti Hejüsz, Márton Kisteleki, Ákos K. Kovács, Péter Miskolczi, Péter Pásztor, Tamás Simon, Márk Szalai, Gábor Szilágyi, Gergely Tímár, Levente Tóth monta`a/editing Szilvia Papp igrajo/cast Erika Tankó (Ernella), Orsolya Török-Illyés (Eszter), Szabolcs Hajdu (Farkas), Domokos Szabó (Albert), Lujza Hajdu (Laura), Zsigmond Hajdu (Bruno), Imre Gelányi (Sanyi), Ágota Szilágyi (Imola) producenti/producers Dániel Herner, András Muhi, Ferenczy Gábor, Zsófia Muhi produkcija/production Filmworks Ltd. Veres Pálné utca 12 1053 Budapest, Hungary E ceo�filmworks.hu & FoxusFox Studio & Látókép Ensemble format/format DCP, barvni/colour dol`ina/running time 81' festivali, nagrade (izbor)/ festivals, awards (selection) Karlovi Vari/Karlovy Vary 2016 (najbolj{i film, najbolj{i igralec/Best Film, Best Actor)

prodaja/world sales Filmworks Ltd. Veres Pálné utca 12 1053 Budapest, Hungary E ceo�filmworks.hu

Necropolis (kratki/short) Macerás ügyek (Sticky Matters) Tamara Fehér tenyér (White Palms/Bele dlani) Off Hollywood (TV) Bibliothèque Pascal Délibáb (Mirage) The Gambler Ernelláék Farkaséknál (It’s Not the Time of My Life/^as za pozabo)

73

Panorama svetovnega filma Panorama of World Cinema

L'effet aquatique The Aquatic Effect Dotik vode Islandija, Francija Iceland, France 2016

Sólveig Anspach re`ija/directed by Sólveig Anspach scenarij/screenplay Sólveig Anspach, Jean-Luc Gaget fotografija/cinematography Isabelle Razavet glasba/music Martin Wheeler monta`a/editing Anne Riegel igrajo/cast Samir Guesmi (Samir), Florence Loiret Caille (Agathe), Philippe Rebbot (Reboute), Estéban (Daniel), Didda Jónsdóttir (Anna), Olivia Côte (Corinne), Frosti Runólfsson (Frosti), Johanna Nizard (Sofia), Ingvar Eggert Sigurðsson (Siggi) producenti/producers Jean-Luc Gaget, Skuli Fr. Malmquist, Patrick Sobelman produkcija/production Ex Nihilo 52 rue Jean-Pierre Timbaud 75011 Paris, France E julie�agatfilms.com & Zik Zak Filmworks (Iceland) format/format DCP, barvni/colour dol`ina/running time 80' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 – [tirinajst dni re`iserjev/Directors' Fortnight, Cabourg 2016

prodaja/world sales Le Pacte 5 rue Darcet 75017 Paris, France E c.neel�le-pacte.com distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Sólveig Anspach je v zadnjem filmu pred prezgodnjo smrtjo ponudila navihano me{anico burleske in romanti~ne komedije, v kateri se zrcali njeno ameri{ko-islandsko poreklo.

The prematurely deceased Sólveig Anspach's last film is a playful blend of burlesque and romantic comedy, reflecting the director's American-Icelandic origins.

Samir je visok, suhljat upravitelj `erjava v {tiridesetih letih, ki se do u{es zaljubi v Agathe. Ko odkrije, da njegova simpatija dela kot plavalna u~iteljica v mestnem bazenu, se odlo~i in se vpi{e na te~aj plavanja, pa ~etudi so njegove plavalne sposobnosti povsem dobre. Njegova la` vzdr`i le tri treninge. Resnica priplava na dan. Agathe sovra`i la`nivce, zato postane besna. Konec? Ne povsem! Da bi u{la, se odpravi na poslovno pot na Islandijo, med nesojenima ljubimcema pa zazeva ocean. Toda niti to ne ustavi Samirjevih ~ustev in {e posebej ne njegove trme ...

Samir, a tall, lanky, 40-something crane operator falls head over heels in love with Agathe. He discovers she is a swimming instructor at the local swimming pool, and, for lack of a better plan, he decides to enlist as her student although he can swim perfectly well. But his lie only lasts for three lessons, and Agathe hates liars. The truth surfaces. Agathe is furious. The end? Not quite! Agathe goes to Iceland on a business trip, putting an ocean between her and Samir. But it is without reckoning with his feelings and his stubbornness.

"Libidinozna vla`nost, predirna mokrota, spolzka tla, neizrekljiva otrplost, nespremenljivi rituali – plavalni bazeni na dolo~ene ljudi vplivajo nenavadno. Tja hodimo prete`no plavat, ta pogled je splo{no uveljavljen, vendar se nekateri na bazene odpravijo tudi z namerami, ki vanje te`je sodijo. Plavalni bazen je izredno demokrati~en prostor, ker znaki pripadnosti, naj bo dru`bene ali verske, izginejo pod tesno prilagajo~imi se kopalkami. Poleg tega v njem bitke za oblast potekajo odkrito in v njem sli{imo odzvene sodobnega sveta." (Sólveig Anspach)

"Libidinal moistness, penetrating humidity, slippery floors, unspeakable torpor, unchanging rituals – swimming pools have a strange effect on certain people. We come there mainly to swim, a widely spread idea, but we also bump into intentions less easier to admit there. A swimming pool is a highly democratic space because the signs of belonging, whether they are social or religious, have disappeared beneath the skin-tight swimsuits.

It's nonetheless a space in which battles for power are led openly, and in which one can hear the echo of the modern world."

(Sólveig Anspach)

Sólveig Anspach

filmografija (izbor)/filmography (selection)

Rojena leta 1960 na otoku Heimaey ob ju`ni obali Islandije. Kljub ameri{koislandskemu poreklu je ve~ino `ivljenja pre`ivela v Franciji. Po diplomi na filmski {oli La Femis je snemala dokumentarne filme, leta 1998 pa je posnela svoj igrani prvenec Haut les cœurs!, za katerega je prejela ve~ mednarodnih nagrad. Med monta`o zadnjega filma Dotik vode je leta 2015 umrla po dolgotrajnem boju z rakom.

1999 2001 2003 2008 2009 2012 2013 2016

Born in 1960 on Westman Islands, Iceland, to an American father and an Icelandic mother, Anspach spent most of her life living and working in France. After graduating from LA FEMIS, she directed many documentaries.

In 1998, she shot her first feature film, Haut Les Coeurs!, awarded in many international festivals. She had managed to edit two-thirds of her last film, The Aquatic Effect, when she passed away.

74

Haut les cœurs! (Battle Cries) Made in the USA (dokumentarni/documentary) Stormy Weather Skrapp út (Back Soon) Louise Michel, la rebelle (The Rebel, Louise Michel) Queen of Montreuil Lulu femme nue (Lulu in the Nude) L'effet aquatique (The Aquatic Effect/Dotik vode)

Panorama svetovnega filma Panorama of World Cinema

Bil Halal Halal Love (and Sex) Dovoljena ljubezen (in spolnost) Assad Fouladkar

Libanon, Nem~ija, Zdru`eni arabski emirati Lebanon, Germany, United Arab Emirates 2015

Prisr~na in pronicljiva romanti~na komedija, ki se s humorjem loteva zapletenega razmerja med ljubeznijo, spolnostjo in vero v islamskem svetu.

A heart-warming and incisive romantic comedy, Halal Love is a humorous take on the complex relation between love/sex and religion in the Muslim world.

Mladoporo~enca Batoul in Mokhtar imata velik problem: ljubosumje. Sosed Salim je prepri~an, da je v postelji mogo~e zgladiti vsa nesoglasja, a ta teorija v doma~i spalnici o~itno ne deluje. Njegova soproga Awatef se, iz~rpana od zakonskih obveznosti, loti iskanja dodatne `ene, ki bi morda re{ila njune te`ave. Pred tem se mora spoprijeti {e z zadrego z odra{~ajo~ima h~erkama, ki ju zelo zanima, kaj po~no odrasli, da pridejo na svet otroci. Lo~ena Loubna pa {e vedno ni obupala nad svojo prvo ljubeznijo, ~eprav je njen Abu Ahmad `e poro~en ...

Newlyweds Batoul and Mokhtar play with fire as they continually threaten divorce over Mokhtar's possessive jealousy. Their neighbour, Salim, thinks "a bit of nooky fixes everything."

However, Salim's exhausted wife, Awatef, starts grooming a potential second wife to help deal with his nooky demands, and their precocious daughters come up with their own wild theory about the birds and the bees. Meanwhile Loubna, a divorcée and up-and-coming clothing designer, hopes for a second chance with her first love, Abu Ahmad, through a potentially scandalous secret marriage.

"Moj film se mi zdi resni~en, saj `ivim v kraju z resni~nimi te`avami, resni~nimi problemi, in tako se v tem kraju izra`amo. Na za~etku je bilo te`ko dokon~ati scenarij. Bil sem tako svoboden, preprosto sem pisal, potem pa ko sem dojel, da naj bi tole posnel, da je to resni~en film, tedaj sem dobil ob~utek, vau, veste, lahko bi bil malce druga~en. In nekateri prizori bi bili v~asih lahko razumljeni druga~e. V~asih si za`elim posneti dramo, ki jo je veliko veliko la`je ustvariti kot komedijo. {e zlasti o tej vrsti vpra{anja."

(Assad Fouladkar)

re`ija/directed by Assad Fouladkar scenarij/screenplay Assad Fouladkar fotografija/cinematography Lutz Reitemeier glasba/music Amine Bouhafa monta`a/editing Nadia Ben Rachid igrajo/cast Darine Hamze (Loubna), Rodrigue Sleiman (Abou Ahmad), Zeinab Khadra (Batoul), Hussein Mokaddem (Mokhtar), Mirna Moukarzel (Awatef), Ali Sammoury (Salim) producenti/producers Roman Paul, Gerhard Meixner, Sadek Sabbah produkcija/production Razor Film Produktion Oranienburger Str. 50 10117 Berlin, Germany E info�razor-film.de & Sabbah Media Corporation & ZDF/Das kleine Fernsehspiel & ARTE format/format DCP, barvni/colour dol`ina/running time 94' festivali, nagrade (izbor)/festivals, awards (selection) Edinburgh 2016, Rotterdam 2016, Sundance 2016

"I feel my film is real, because I’m living in a place with real difficulties, real problems, and this is how we express ourselves in that place. It was a very tough script at the beginning. I was so free, I was just writing, and then when I started to realise that I'm going to direct this, and this is going to be a real film, this is when I felt, wow, you know, it could be a bit different. And sometimes some scenes could be understood differently. Sometimes I wish I did drama, which is much, much easier than making comedies.

Especially about this kind of issue." (Assad Fouladkar)

Assad Fouladkar

filmografija/filmography

Libanonski televizijski re`iser iranskega porekla. Po {tudiju filma v Bostonu se je preselil v Avstralijo, kjer je kot pomo~nik re`iserja sodeloval pri {tevilnih komi~nih serijah. Po vrnitvi v Libanon pou~uje na univerzi in deluje kot filmski kritik. Njegov igrani prvenec Lama Hekiet Mariam je prejel {tevilne nagrade in je bil 2001 predlagan kot libanonski kandidat za tujejezi~nega oskarja.

2001 Lamma hikyit Maryam (When Maryam Spoke Out) 2007–2016 Ragel W Sitt Sittat (A Man and six Women) 2015 Bil Halal (Halal Love (and Sex)/Dovoljena ljubezen (in spolnost))

prodaja/world sales Films Distribution 20, rue Saint-Augustin 75002 Paris, France E info�filmsdistribution.com

A Lebanese television director of Iranian descent, Fouladkar graduated in film direction from the Boston University. He moved to Australia to work as assistant director in a number of sit-coms. Assad then returned to Lebanon, now working as a film critic and university teacher. His feature-film debut, When Maryam Spoke Out, won a number of awards, including the nomination for the Best Foreign Language Film Academy Award.

75

Panorama svetovnega filma Panorama of World Cinema

Já, Olga Hepnarová I, Olga Hepnarova Jaz, Olga Hepnarova ^e{ka, Poljska, Slova{ka, Francija Czech Republic, Poland, Slovakia, France 2016

Tomá{ Weinreb, Petr Kazda re`ija/directed by Tomá{ Weinreb, Petr Kazda scenarij/screenplay Tomá{ Weinreb, Petr Kazda fotografija/cinematography Adam Sikora monta`a/editing Vojtech Fri~ igrajo/cast Michalina Olszanska (Olga), Martin Pechlat (Miroslav), Klara Meli{kova (Olgina mama/Olga's mother), Marika [oposka (Jitka), Juraj Nvota (odvetnik/lawyer Kovár), Marta Mazurek (Alena) producenti/producers Tomá{ Weinreb, Petr Kazda, Vojtech Fri~, Sylwester Banaszkiewicz, Marcin Kurek, Marian Urban produkcija/production Black Balance Lohniského 901/7 15200 Prague, Czech Republic E blackbalancefilm�gmail.com & love.FRAME & Media Brigade & Alef Film & Arizona Productions format/format DCP, ~rno-beli/black&white dol`ina/running time 106' festivali, nagrade (izbor)/ festivals, awards (selection) Sofija/Sofia 2016 (najbolj{i re`iser/ Best Director), Hongkong/Hong Kong 2016, Guadalajar 2016, Berlinale 2016

prodaja/world sales Pascale Ramonda 91 rue de Ménilmontant 75020 Paris E pascale�pascaleramonda.com

Zami{ljeno poeti~en portret zadnje javno usmr~ene `enske na ^e{koslova{kem. Neprilagojena Olga je protest proti dru`bi, ki jo je odrinila na rob, leta 1973 izrazila z radikalnim dejanjem.

A contemplative and poetic portrait of the last publicly executed woman in the Czech Republic, a misfit who expressed her protest against the society that had outcast her with a radical act in 1973.

Olga je samosvoje dekle, ki i{~e svoj prostor pod soncem in se spopada z nerazumevanjem v dru`ini. S svojim videzom in dejanji na vsakem koraku uporni{ko kljubuje dru`benim normam. Njeno fantovsko vedenje pooseblja navdu{enje nad avtomobili. Kljub {tevilnim seksualnim avanturam z dekleti ne zmore ustvariti intimne zveze. Pogreza se v osamljenost, ki se odra`a v vse bolj ~uda{kem vedenju. Nekega dne namerno povzro~i tragi~no dejanje.

Olga is a complex young woman desperate to break free from her unfeeling family and social conventions. With her tomboyish looks she appears to find her niche as a truck driver. Although she has female lovers she does not form a bond with any of them; instead she clashes, time and again, venting herself in wordless emotional outbursts and other behavioural extremes. One day she intentionally commits an act of violence.

"Posku{ala sva pridobiti ~im ve~ informacij. Ve~inoma sva zajemala iz knjige Romana Cílka, ki je kakovostna, na dejstva se opirajo~a pripoved, dostop sva imela tudi do sodnih zapisov.

Sestala sva se tako z ljudmi, ki so Olgo poznali dalj ~asa, kot je njen prijatelj Miroslav, kot tudi s tistimi, ki so bili z njo v stiku samo nekajkrat. Zanimivo je, kako jih tragedija prizadeva tudi po vseh teh letih. Ko smo se sestali, niso toliko podajali specifi~nih informacij kot izra`ali mo~na ~ustva." (Tomas Weinreb)

"We tried to get as much information as we could. We drew mostly from the book by Roman Cílek, which is a very highquality factual account, and we also had access to the court transcripts. We met both with people who knew Olga over longer periods, such as her friend Miroslav, as well as those who interacted with Olga only a few times. It was interesting how much the tragedy continues to affect them even after so many years. When we met they often didn’t communicate specific information as much as they expressed strong emotions."

(Tomas Weinreb)

Tomá{ Weinreb, Petr Kazda

skupna filmografija/joint filmography

Tomá{ Weinreb (rojen leta 1982) in Petr Kazda (rojen leta 1978) sta ~e{ki kreativni dvojec in stalna sodelavca. [tudirala sta na sloviti pra{ki akademiji FAMU, kjer se je Kazda ukvarjal predvsem s scenaristiko, Weinreb pa z dokumentarnim filmom. Posnela sta vrsto kratkih filmov, Jaz, Olga Hepnarova pa je njun celove~erni prvenec.

2003 2005 2006 2007 2009 2009 2009 2011 2016

The Czech creative duo consisting of Tomá{ Weinreb (b. 1982) and Petr Kazda (b. 1978). Both studied at Prague's FAMU: Kazda focused on screenwriting, while Weinreb did his studies in documentary film. Together, they have shot several short films. I, Olga Hepnarová is their feature debut.

76

Antero (kratki/short) Story of An Unborn Child (kratki/short) Eclipse (kratki/short) Jan 007 (kratki/short) Many Men and Many Women (kratki/short) I&Me (kratki/short) Everything is Crap (kratki/short) Playoff (kratki/short) Já, Olga Hepnarová (I, Olga Hepnarova/Jaz, Olga Hepnarova)

Panorama svetovnega filma Panorama of World Cinema

Califórnia California Kalifornija Brazilija Brasil 2015

Marina Person

re`ija/directed by Marina Person scenarij/screenplay Marina Person, Mariana Veríssimo, Francisco Guarnieri fotografija/cinematography Flora Dias monta`a/editing Bernardo Barcellos igrajo/cast Clara Gallo (Estela), Caio Horowicz (JM), Caio Blat (Carlos), Giovanni Gallo (Xande), Letícia Fagnani (Joana), Livia Gijon (Alessandra), Virginia Cavendish (Cris), Paulo Miklos (Beto) producenti/producers Gustavo Rosa de Moura, Carmem Maia, Giulia Setembrino, Marina Person produkcija/production Mira Filmes Rua Itápolis 1651 São Paulo, Brasil E contato�mirafilmes.net format/format DCP, barvni/colour dol`ina/running time 85'

S popkulturo osemdesetih prepojena zgodba o odra{~ajo~em dekletu, razpetem med ni~ kaj ble{~e~o realnostjo São Paula in sanjami o obljubljeni de`eli.

Containing a hefty dose of 1980s pop culture, California foregrounds the sobering experience of a teen girl torn between the bitter reality of São Paulo and dreams of the Promised Land.

Leto 1984. Estela je sredi burnega najstni{kega obdobja.

Spolnost, ljubezen in prijateljstvo se ji zdijo preve~ zapleteni.

Delno uteho najde v sanjarjenju, da bo nekega dne obiskala son~no Kalifornijo in strica Carlosa, ki v njenih o~eh velja za heroja. A ko se Carlos nepri~akovano vrne domov, slaboten in bolan, se sanje razblinijo in Estela se mora na pragu polnoletnosti soo~iti s svojimi ob~utki in svetom, ki jo obdaja – tak{nim, kakr{en pa~ je.

It's 1984. Estela is going through the convoluted stage of adolescence. Sex, love, friendship; everything seems so complicated. Her uncle, Carlos, is her hero, and the trip to California to visit him, her biggest dream. But everything falls apart when he comes back to Brazil looking skinny, weak and sick. Between crisis and discoveries, Estela has to face a reality that will change forever her way of seeing the world.

"@elela sem posneti film o svoji generaciji, prvih izku{njah ljubezni in spolnosti, ko se je pojavil aids. V Braziliji je nastal tudi poseben politi~ni trenutek ob koncu dveh desetletij voja{ke diktature. Vendar film ne govori o politiki ali aidsu: njegova glavna tema je dekle, ki postaja `enska. @elela sem raziskati ta ~asovni drobec med dekletovim prvim mese~nim perilom in prvo spolno izku{njo." (Marina Person)

"I wanted to make a film about my generation, how we had our first love and sexual experiences when AIDS was discovered. We also had a special political moment in Brazil with the end of 20 years of military dictatorship. But the film is not about politics or AIDS: It is essentially about a girl becoming a woman. I wanted to explore this bit of time between a girl's first period and her first sexual experience." (Marina Person)

Marina Person

filmografija/filmography

Rojena leta 1969 v Braziliji. Po kon~anem {tudiju filma na Univerzi v São Paulu se je pre`ivljala kot igralka in televizijska voditeljica. Leta 2007 se je prvi~ preizkusila kot re`iserka in posnela film Person, dokumentarec o svojem o~etu, direktorju fotografije in re`iserju. Kalifornija je njen celove~erni igrani prvenec.

2007 Person (dok./doc.)

2015 Califórnia (California/Kalifornija)

festivali, nagrade (izbor)/ festivals, awards (selection) Rotterdam 2016, Rio de Janeiro 2015 (najbolj{a stranska vloga/Best Supporting Actor), São Paulo 2015 (mladinska nagrada za najbolj{i brazilski film/Best Brazilian Film Youth Award)

prodaja/world sales Films Boutique Köpenicker Str. 184 10997 Berlin, Germany E giorgia�filmsboutique.com

Born in 1969 in Brazil. After graduating in Film Studies from the University of São Paulo she started working as an actress and television presenter.

In 2007 her directorial debut Person was released, a documentary about her father, cinematographer and director. Califórnia (2015) is her first fiction feature.

77

Panorama svetovnega filma Panorama of World Cinema

La ciénaga – entre el mar y la tierra Between Sea and Land Med morjem in zemljo Kolumbija Colombia 2016

Carlos del Castillo, Manolo Cruz re`ija/directed by Carlos del Castillo, Manolo Cruz scenarij/screenplay Manolo Cruz fotografija/cinematography Robespierre Rodriguez glasba/music David Murillo R. monta`a/editing Felipe Doncel Huertas, German Duarte igrajo/cast Manolo Cruz (Alberto), Vicky Hernández (Rosa), Viviana Serna (Giselle), Jorge Cao, Mile Vergara producent/producer Manolo Cruz produkcija/production Mago Films (Colombia) & Photogroup Films (Colombia) & Scarlett Cinema (Colombia) format/format DCP, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Sundance 2016 (nagradi ob~instva in `irije/Audience and Jury Awards), Seattle 2016 (najbolj{a igralka/Best Actress), München/Munich 2016, Pulj/Pula 2016

prodaja/world sales Global Screen GmbH Sonnenstraße 21 D–80331 München, Germany E julia.weber�globalscreen.de

Izjemna fizi~na preobrazba igralca in sore`iserja Manola Cruza v portretu hudo bolnega mo{kega na obrobju kolumbijske dru`be. Nagradi ob~instva in `irije na festivalu Sundance.

Actor and co-director Manolo Cruz undergoes a startling physical transformation to portray a gravely ill man on the margins of Colombian society. Audience and Jury Awards at Sundance 2016.

Na kolumbijski obali karibskega oceana skupnost ribi~ev in delavcev `ivi v hi{ah na vodi, ker si zaradi rev{~ine ne morejo privo{~iti domovanja na kopnem. Osemindvajsetletni Alberto, ki trpi za mi{i~no distrofijo, v eni tak{nih hi{k prebiva z materjo Roso, ki mu `e skorajda na meji obsedenosti posve~a vso svojo pozornost. Njegova edina obiskovalka je Giselle, prijateljica iz otro{tva, ki kljub Rosinemu nasprotovanju pride na nenapovedan obisk. Albertovo bolno telo je s tem pred vpra{anjem, ali je zmo`no znova okusiti slo po `ivljenju.

On Colombia's Caribbean coast, a community of fishermen and day laborers who are too poor to afford housing on land live on rowboat-born houses on the water. 28-year-old Alberto, who suffers from muscular dystrophy, lives in one of these floating homes with his mother Rosa, who dotes on him to the point of suffocation. His only visitor is childhood friend Giselle, a beautiful young woman who drops by unannounced to see him despite Rosa's disapproval. Is Alberto's sickly body capable of experiencing a healthy desire?

"Film kolumbijskega zvezdnika Manola Cruza je o~itno stvaritev zanesenjaka. Napisal je scenarij za ta portret mladega mo{kega, ujetega v telo, ki ga razkraja mi{i~na bolezen, ga sore`iral, produciral, delno financiral in odigral glavno vlogo. Izgubil je dvajset kilogramov za prepri~ljiv prikaz slab{anja mi{i~ne mo~i Alberta, ki je obsojen na posteljo v kolibi na kolih v mo~virju La Cienega Grande ob robu Atlantskega oceana." (Wendy Ide, Screen Daily)

"Clearly a labour of love for Colombian star Manolo Cruz. He wrote, co-directed, produced, partially funded and stars in this portrait of a young man imprisoned by a degenerative muscular disease. He lost twenty kilos to convincingly convey the muscle wastage suffered by Alberto, who spends his life confined to bed in a stilted shack in the swamplands of La Cienega Grande, on the edge of the Atlantic ocean." (Wendy Ide, Screen Daily)

Carlos del Castillo, Manolo Cruz

filmografija/filmography

C. C.: Na filmski akademiji v New Yorku je {tudiral dramatiko. V Ju`ni Ameriki je re`iral ve~ kot 25 odrskih predstav. Med morjem in zemljo je njegov celove~erni filmski prvenec.

Studied drama at New York Film Academy. He has directed over 25 stage productions in South America. Between Sea and Land is his feature film debut.

2016 La ciénaga – entre el mar y la tierra (Between Sea and Land/Med morjem in zemljo)

M. C.: Rojen leta 1982. Od {estega leta dela kot igralec, nezadovoljstvo s ponujenimi projekti pa ga je naposled privedlo k soustvarjanju filma s Castillom.

Born in 1982, Cruz has been an actor since the age of six. His feeling trapped in an unrewarding profession led to the plot of Between Sea and Land.

78

Panorama svetovnega filma Panorama of World Cinema

Piuma Feather Mladost – norost Italija Italy 2016

Roan Johnson

Igriva komedija o najstni{kem paru, ki se ob vseh izzivih sodobnega sveta spopada {e s prezgodnjo nose~nostjo. `lahten primerek drve~e in obe{enja{ke komedije po italijansko.

A playful comedy about a teen couple coping with an unexpected pregnancy and a world that is starting to move in the wrong direction. A superb example of the fast-paced and wry commedia all'italiana.

Ferro in Cate sta povsem obi~ajna najstnika, ki odra{~ata v zelo razli~nih dru`inah, a imata vseeno enake te`ave. Tu so ve~ne te`ave v dru`ini, pa s {olo, razvpitim zaklju~nim izpitom in prijatelji, ki so prezaposleni z na~rtovanjem svojih po~itnic. Mladi par v svetu, v katerem se vse vrti v napa~no smer, naenkrat izve {e za nepri~akovano nose~nost. Med oklevanjem in `arki upanja, med sprejetjem odgovornosti in brezglavo neumnostjo bosta protagonista pre`ivela devet najbolj vznemirljivih in zapletenih mesecev svojega `ivljenja.

Ferro and Cate come from different families but deal with similar problems. Two teenagers like so many others who, however, are grappling with an unplanned pregnancy and a confusing world: family, school and the infamous final exam, friends busy organising their vacations, jobs that are impossible to get. Between hesitation and leaps of faith, acceptance of responsibility and reckless foolishness, the two protagonists will spend the nine most exciting and complicated months of their lives, doing what they can to avoid losing the purity and poetic outlook that make them so special.

"Scenarij sem za~el pisati s soscenaristi Ottaviom, Davidom in Carlotto, ker si z ve~ino na{e generacije delimo veliko bojazen: imeti otroka. Kar bi morala biti najbolj naravna stvar na svetu, je paradoksalno postalo nemogo~e zapleteno. /.../ ^e je problem postati star{ pri petintridesetih, predstavljajte si, kako je, ko si star osemnajst in ti vsi govorijo, da dela{ najve~jo neumnost `ivljenja.

Vendar je mo`nost, da nikoli ne bo{ imel otroka, enako nesre~na, kot ga imeti pri osemnajstih." (Roan Johnson)

re`ija/directed by Roan Johnson scenarij/screenplay Ottavia Madeddu, Carlotta Massimi, Davide Lantieri, Roan Johnson fotografija/cinematography Davide Manca glasba/music Lorenzo Tomio monta`a/editing Paolo Landolfi, Davide Vizzini igrajo/cast Luigi Fedele (Ferro), Blu Yoshimi (Cate), Michela Cescon (Carla Pardini), Sergio Pierattini (Franco Pardini), Francesco Colella (Alfredo), Francesca Antonelli (Rita), Brando Pacitto (Patema), Clara Alonso (Pilar), Bruno Squeglia (Lindo), Francesca Turrini (Stella), Massimo Reale (ginekolog/gynecologist) producenta/producers Carlo Degli Esposti, Nicola Serra produkcija/production Palomar Via Guglielmo Imperiali di Francavilla, 4 00135 Rome, Italy E palomar�palomaronline.com & Sky Cinema (Italy) format/format DCP, barvni/colour dol`ina/running time 98' festivali, nagrade (izbor)/ festivals, awards (selection) Benetke/Venice 2016

"I started to script this story together with my co-writers Ottavio, Davide and Carlotta because we share a great fear with the major part of our generation: Having a child. What should be the most natural thing in the world has paradoxically become an impossible complication. /.../ If becoming a parent at 35 can be a problem, imagine what that feels like when you are 18 and everybody keeps telling you that you are about to commit the greatest idiocy of your life. But just as it is a misfortune to have a child at 18, so is the possibility of never having one." (Roan Johnson)

Roan Johnson

filmografija/filmography

Rojen 1974 v Londonu. Odra{~al je v italijanski Pisi, kjer je tudi diplomiral. Od leta 2002 u~i na tamkaj{nji univerzi. Sprva je delal le kot scenarist, pozneje pa se je preizkusil tudi kot filmski re`iser in pisatelj. Mladost – norost je njegov tretji celove~erni film.

2011 I primi della lista (The First on the List) 2014 Fino a qui tutto bene (So Far So Good) 2016 Piuma (Feather/Mladost-norost)

prodaja/world sales True Colours Via Caposile, 2 00195 Rome, Italy E catia�truecolours.it

Born in London in 1974, Johnson grew up and graduated in Pisa. Since 2002, he has been teaching at Pisa University. He has written for films and TV series, and is also an accomplished author. In 2005, he debuted as director. Feather is his third feature film.

79

Panorama svetovnega filma Panorama of World Cinema

Mænd & høns Men & Chicken Mo`je in koko{i Danska, Nem~ija Denmark, Germany 2015

Anders Thomas Jensen re`ija/directed by Anders Thomas Jensen scenarij/screenplay Anders Thomas Jensen fotografija/cinematography Sebastian Blenkov glasba/music Frans Bak, Jeppe Kaas monta`a/editing Anders Villadsen igrajo/cast David Dencik (Gabriel), Mads Mikkelsen (Elias), Nikolaj Lie Kaas (Gregor), Søren Malling (Franz), Nicolas Bro (Josef) producenta/producers Kim Magnusson, Tivi Magnusson produkcija/production M&M Productions Refshalevej 213 A 1432 Copenhagen, Denmark E mail�mmproductions.dk & Studio Babelsberg Motion Pictures & DCM Productions format/format DCP, barvni/colour dol`ina/running time 104' festivali, nagrade (izbor)/ festivals, awards (selection) Sarasota 2016 (nagrada `irije/ Jury Prize), Copenhagen Robert Festival 2016 (najbolj{a stranska vloga, maska, scenografija/Best Supporting Actor, Best Make-up, Best Production Design), Austin Fantastic Fest 2015 (najbolj{a re`ija/ Best Director), Neuchâtel 2015 (najbolj{i evropski fantazijski film/ Best European Fantastic Feature), Toronto 2015

Z zna~ilnim skandinavskim humorjem pre`eta dru`inska prilika, v kateri ~uda{ka brata spoznata tragikomi~no resnico o sebi in svojih koreninah.

Using typical Scandinavian humour, Men & Chicken is a tragicomical parable of two eccentric brothers who learn the truth about themselves and their origins.

Brata Gabriel in Elias si ne bi mogla biti bolj razli~na. Prvi je zadrt univerzitetni profesor, drugega zanimajo le `enske in nezapletene re~i. Po o~etovi smrti brata presene~ena ugotovita, da mo{ki, s katerim sta odra{~ala, ni bil njun biolo{ki o~e. Odlo~ita se poiskati svojega pravega o~eta. Najdeta ga na samotnem otoku Ork, a prvo sre~anje z njuno novo dru`ino ni tak{no, kot sta si ga predstavljala. Nasploh so tamkaj{nji prebivalci – med njimi tudi `upanova h~i Ellen, nevroti~na `enska, ki je jezna na vse – precej ~udni. Skoraj tako kot onadva.

Gabriel and Elias are two very different brothers. Gabriel is a worn down university professor and Elias is a man whose only concern is women and trivial knowledge. Things take a turn when the brothers learn through a videotape recorded by their now late father that he in fact wasn't their biological parent. Gabriel and Elias discover that their natural father lives on the island of Ork. The brothers' first meeting with their real family doesn't go as expected. Stranded on the island, Gabriel and Elias meet the mayor and his daughter Ellen, a neurotic woman who hates herself, not to mention the world. Surrounded by most peculiar people, Gabriel and Elias confront their own abnormalities.

"Obi~ajno snemam filme, v katerih zajamem vse zvrsti. Vsaki~ se moram prepri~ati, ali bom lahko spajal burka{ki humor z grozljivko, dramo in komedijo. Najti pravo ravnovesje je klju~nega pomena.

Paradoksno je, da sem ideje filma Mo`je in koko{i prevzel od svojih otrok, ko sem jih opazoval pri igri, in ugotovil, kako krhka je na{a civilizacija. Kot dru`ina, kot dru`ba na splo{no moramo delovati na {tevilnih ravneh, da vse pravilno poteka. Nekega dne sem pomislil, kak{ne bi bile posledice, ~e bi otrokom dovolil, da za pribli`no deset let odidejo `ivet na samotni otok popolnoma sami? Od tu je pri{la izvirna iskrica zgodbe."

(Anders Thomas Jensen)

prodaja/world sales LevelK ApS Gl. Kongevej 137 B 1850 Frederiksberg C, Denmark E derek�levelk.dk

Anders Thomas Jensen

filmografija/filmography

Rojen leta 1972 v Frederiksværku na Danskem. Pri {tiriindvajsetih je za~el pisati scenarije in snemati filme. Leta 1999 je prejel oskarja za kratki film Valgaften. Kot scenarist je podpisan pod skandinavske uspe{nice Mifune, Wilbur se ho~e ubiti, Brata in Bolj{i svet. Leta 2000 je posnel re`ijski prvenec Blinkende lygter in trenutno velja za enega najbolj iskanih danskih filmskih ustvarjalcev.

1996 1997 1999 2000 2003 2005 2015

Born in 1972 in Frederiksværk, Denmark. At the age of 24 he started writing and making films. In 1999 Jensen won the Academy Award for Best Short Film with Election Night. He wrote the screenplay for several successful Scandinavian films, including Mifune, Wilbur Wants to Kill Himself, Brothers and In a Better World. By now already an established name on the Danish movie scene, Jensen’s 2000 directorial debut was Flickering Lights.

80

"I usually want to make films in which I embrace all genres.

I need to check if I can mix slapstick with horror, drama and comedy, every time. Finding the right balance is the key. The ideas behind Men & Chicken came paradoxically from my children as I watched them play, realising how fragile our civilisation is. As a family, as society in general, we have to work on so many levels to make all of this work properly. One day, I just thought about what would the consequences be if I let my children go live on some remote island all by themselves for 10 years or so? That’s where the original spark for the story came from." (Anders Thomas Jensen) Ernst & lyset (kratki/short) Wolfgang (kratki/short) Valgaften (Election Night) (kratki/short) Blinkende lygter (Flickering Lights) De grønne slagtere (The Green Butchers) Adams æbler (Adam's Apples/Adamova jabolka) Mænd & høns (Men & Chicken/Mo`je in koko{i)

Panorama svetovnega filma Panorama of World Cinema

Hymyilevä mies The Happiest Day in the Life of Olli Mäki Najsre~nej{i dan Ollija Mäkija Juho Kuosmanen

Finska, Nem~ija, [vedska Finland, Germany, Sweden 2016

Ne`no melanholi~en prvenec temelji na resni~ni zgodbi mladega finskega boksarja, ki se je leta 1962 potegoval za naziv svetovnega prvaka.

A tenderly melancholic film debut, The Happiest Day is based on a true story about a young Finnish boxer who aspired after world championship title in 1962.

Olli je neverjetno nadarjen in nadvse iskren fant iz majhnega finskega mesta, ki dobi `ivljenjsko prilo`nost: na svetovnem boksarskem prvenstvu se poteguje za naziv svetovnega prvaka v peresnolahki kategoriji! Preprost mladeni~ postane narodni ponos in naenkrat so vse o~i uprte vanj. Vse, kar mora storiti, je pridno trenirati, izgubiti nekaj kilogramov in se osredoto~iti na boj. A kaj ko je Olli nesmrtno zaljubljen ...

An incredibly talented and sincere small-town boy, Olli gets a once-in-a-lifetime opportunity: he has a shot at the world championship title in featherweight boxing. From the Finnish countryside to the bright lights of Helsinki, everything has been prepared for his fame and fortune. All Olli has to do is lose weight and concentrate. But there is a problem – he has fallen in love with Raija.

"Ogledal sem si ogromno boksarskih filmov, zaradi nekaterih sem skorajda zamenjal temo. Vendar so bili med njimi tudi dobri.

Z direktorjem fotografije sva si ogledala klasi~ne filme cinéma vérité iz {estdesetih let in ti so ve~inoma postali najina vizualna referenca. Ogledala sva si tudi dokumentarec o tem boksarskem dogodku in si sposodila iz njega nekatere trenutke v najinem filmu. Resnica je v~asih lahko zelo zabavna." (Juho Kuosmanen)

"I watched a huge number of boxing films, and some of them almost made me want to change the subject. But there were good ones too. With my cameraman we watched cinéma vérité classics from 60s and those pretty much became our visual reference. We also watched the documentary that was made about this boxing event and there are some moments in our movie that we copied from that documentary. Truth can be very funny sometimes." (Juho Kuosmanen)

Juho Kuosmanen

filmografija/filmography

Rojen leta 1979 v Kokkoli na Finskem. Diplomiral je na umetnostni akademiji Aalto v Helsinkih. Njegov {tudijski film Taulukauppiaat je bil nominiran za pet nagrad finske filmske akademije, nagrade v Cannesu in Locarnu pa so po`eli tudi njegovi kratki filmi. Nastopal in re`iral je v gledali{~u ter sodeloval z operno hi{o West Coast Kokkola. Najsre~nej{i dan Ollija Mäkija je njegov celove~erni igrani prvenec.

2007 2008 2010 2012 2013 2016

re`ija/directed by Juho Kuosmanen scenarij/screenplay Mikko Myllylahti, Juho Kuosmanen fotografija/cinematography J-P Passi glasba/music Miika Snare monta`a/editing Jussi Rautaniemi igrajo/cast Jarkko Lahti (Olli Mäki), Oona Airola (Raija Jänkä), Eero Milonoff (Elis Ask), Joonas Saartamo (boksar/ boxer), Joanna Haartti (Laila Ask) producent/producer Jussi Rantamäki produkcija/production Aamu Filmcompany Ltd. Hiihtomäentie 34 00800 Helsinki, Finland info�aamufilmcompany.fi & One Two Films & Tre Vänner Produktioner & Film Väst format/format DCP, barvni/colour dol`ina/running time 92' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (nagrada sklopa Posebni pogled/Un Certain Regard Award), München 2016

prodaja/world sales Les Films Du Losange Avenue Pierre Ier de Serbie 22 75116 Paris, France E info�filmsdulosange.fr

Kestomerkitsijät (Roadmarkers) (kratki/short) Kaupunkilaisia (Citizens) (kratki/short) Taulukauppiaat (The Painting Sellers) (srednjemetra`ni/mid-length) Romu-Mattila ja kaunis nainen (kratki/short) Hevoshullu (kratki/short) Hymyilevä Mies (The Happiest Day in the Life of Olli Mäki/ Najsre~nej{i dan Ollija Mäkija)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Born in 1979 in Kokkola, Finland. He graduated from the Aalto University for Art, Design and Architecture in Helsinki. His study film, The Painting Sellers, was nominated for five Finnish Film Academy Awards. His short films won numerous prizes, including at Cannes and Locarno. He has also acted and directed for the stage, working with the Avantgarde Ensemble West Coast Kokkola Opera. The Happiest Day in the Life of Olli Mäki is his first feature film.

81

Panorama svetovnega filma Panorama of World Cinema

Little Men Little Men Najstnika ZDA USA 2016

Ira Sachs re`ija/directed by Ira Sachs scenarij/screenplay Mauricio Zacharias, Ira Sachs fotografija/cinematography Óscar Durán glasba/music Dickon Hinchliffe monta`a/editing Mollie Goldstein, Affonso Gonçalves igrajo/cast Greg Kinnear (Brian Jardine) Jennifer Ehle (Kathy Jardine), Paulina Garcia (Leonor), Theo Taplitz (Jake Jardine), Michael Barbieri (Tony Calvelli) producenti/producers Lucas Joaquin, Ira Sachs, Christos V. Konstantakopoulos, Jim Landé, L. A. Teodosio produkcija/production Buffalo 8 9247 Alden Dr Beverly Hills, CA 90210, USA E info�buffalo8.com format/format DCP, barvni/colour dol`ina/running time 85' festivali/festivals Sundance 2016, Berlinale 2016, Edinburg/Edinburgh 2016

prodaja/world sales Mongrel International 1352 Dundas Street West Toronto, ON, M6J 1Y2, Canada E chantal�mongrelmedia.com

Zgodba o prijateljstvu med trinajstletnikoma, ki ga ogrozi spor med njunimi star{i, pa tudi kriti~en filmski pogled na problem razvoja brooklynskih ~etrti.

A story about friendship between two thirteen-year-olds, jeopardised by the dispute between their families, and a critical examination of the gentrification of Brooklyn.

Jake Jardine je tih in ob~utljiv trinajstletnik, ki sanja, da bo neko~ postal umetnik. Na dedkovem pogrebu spozna prijaznega in navihanega vrstnika Tonyja, sina najemnice butika z obla~ili v stanovanjski hi{i, ki je v lasti Jakove dru`ine. Fanta se hitro spoprijateljita, a njuno prijateljstvo kmalu postavi na preizku{njo spor med Tonyjevo mamo Leonor in Jakovim o~etom, ki ho~e povi{ati najemnino za Leonorin butik.

Jake is a quiet, sensitive middle schooler with dreams of being an artist. At his grandfather's funeral, Jake meets the affably brash Tony, whose mother has leased retail space in Jake's parent's building, and the unlikely pair soon hit it off. The budding friendship is put at risk, however, when a rent dispute between Jake's father, and Tony’s mother, Leonor, threatens to become contentious.

"Neko~ sem prebral, da knjige Jane Austen lahko ozna~imo za dela o dveh tematikah: ljubezni in denarju. Ob~utek imam, da se s tem lahko identificiram, ne ker bi bili moji filmi zelo austenovski, temve~ ker v povezavi s tema vpra{anjema lahko veliko izve{ o likih in tudi o neki kulturi. Sam vidim ogromno drame v dejstvu, da se liki ukvarjajo s svojo dru`ino in medsebojnimi odnosi ter se zatem poglabljajo v vpra{anja finan~nih ali osnovnih ~love{kih potreb." (Ira Sachs)

"I once read that the books of Jane Austen could be described as being about two subjects: love and money. And I feel like I connect to that, not because my films are very Austen-esque but because I think these are two places where you can learn a lot about characters and about a culture as well. For me there is so much drama in having people to do with family and relationships and then wrap themselves around issues of financial needs, basic human needs." (Ira Sachs)

Ira Sachs

filmografija/filmography

Rojen leta 1965 v Memphisu, ZDA. Diplomiral je iz literature in filma na Univerzi Yale ter u~i film na Univerzi Kolumbija v New Yorku. Njegovi filmi ve~inoma obravnavajo gejevsko problematiko, zato velja za enega klju~nih ustvarjalcev newyor{ke gejevske skupnosti.

1992 1993 1996 1996 2002 2005 2007 2010 2012 2014 2016

Born in 1965 in Memphis, USA, Sachs graduated in literature and film theory from Yale University. He teaches at the Columbia University School of Film.

As his movies generally treat gay topics, Sachs is one of the seminal figures of New York’s artistic queer community.

82

Vaudeville (kratki/short) Lady (kratki/short) The Delta Boy-Girl, Girl-Boy Underground Zero (omnibus) Forty Shades of Blue Married Life Last Address (kratki dok./doc. short) Keep the Lights On Love is Strange (Ljubezen je ~udna re~) Little Men (Najstnika)

Panorama svetovnega filma Panorama of World Cinema

Mot naturen Out of Nature Nenaravno Ole Giæver, Marte Vold

Norve{ka Norway 2015 re`ija/directed by Ole Giæver, Marte Vold scenarij/screenplay Ole Giæver fotografija/cinematography Øystein Mamen glasba/music Ola Fløttum monta`a/editing Frida Eggum Michaelsen igrajo/cast Ole Giæver (Martin), Marte Magnusdotter Solem (Sigrid), Sivert Giæver Solem (Karsten), Rebekka Nystabakk (Helle), Ellen Birgitte Winther (Kjersti), Per Kjerstad (Raymond) producenta/producers Maria Ekerhovd, Øistein Refseth produkcija/production Mer Film Parkgata 27/29 9008 Tromsø, Norway E maria�merfilm.no format/format DCP, barvni/colour dol`ina/running time 80'

Razoro`ujo~e dobrodu{na in edinstvena zabavna pustolov{~ina rahlo ekscentri~nega tridesetletnika, ki se odlo~i ube`ati pisarni{ki enoli~nosti in okusiti prvinski stik z naravo.

An overwhelmingly heart-warming and uniquely entertaining adventure sought by a mildly eccentric 30-something resolved to break the office routine and commune with pristine nature.

Martin ni edini, ki neu~akano pri~akuje konec delovnega tedna v majhnem norve{kem mestecu. Ob premlevanju o svojem `ivljenju se dokoplje do spoznanja, da potrebuje vikend v popolni osami. Z `eninim dovoljenjem se poslovi od sinka, si oprta nahrbtnik in se odpravi na bli`nje gorovje. Naklju~no sre~anje z lovcem, neprostovoljno kopanje v ledenem jezeru in kopica drugih nenavadnih prigod mu pomagajo, da se – osvobojen tudi obla~il – soo~i z lastnimi strahovi, sanjami, nevrozami in spolnim po`elenjem.

In a small Norwegian town the working week comes to an end.

Thirty-something Martin has doubts about his life. Embarking on a journey inside his head, he feels the need to be alone in nature.

After asking his son about his day and discussing his resolution with his wife, he packs a rucksack and jogs into the mountains.

Whether it is an unexpected confrontation with a hunter or an involuntary dip in an icy lake: Martin's expedition constantly provides him with new ways to confront – in his birthday suit, no less – his anxieties, dreams, neuroses and sexual desires.

"Ko sem za~el z enim samim mo{kim v gorah, je bil moj namen prikazati, kaj lahko narava stori nam, ljudem, in kako se na{e misli lahko razvijajo v osami, zunaj v naravi. Kot nasprotje sem Martina moral umestiti v dru`beni kontekst, prikazati, da od nekod prihaja in se tja ob~asno lahko vrne v mislih. Glavna tema filma je diskurz med tem, kako samega sebe najdemo v naravi in v dru`benem `ivljenju. Govori tudi o razli~nih na~inih za spoznavanje dolo~ene osebe: v nekaterih odlomkih filma smo muha na zidu, sledimo nekomu, ki se ne zaveda, da je opazovan. V drugih prizorih vstopamo v njegov um, prislu{kujemo njegovim intimnim mislim."

(Ole Giæver)

"When starting out with one man in the mountains, the idea was to show what nature can do to us humans, and how our thoughts may develop when we are on our own, out in nature. As a contrast I needed to put Martin in a social context, to show that he came from somewhere where his thoughts can occasionally return to. The main theme of the film is the discourse between finding oneself in nature and in social life. It's also about various ways of getting to know a person: in parts of the film we are a fly on the wall, following someone who's unaware of being observed. In other sequences we enter his mind, listening in on his private thoughts." (Ole Giæver)

Ole Giæver, Marte Vold

filmografija (izbor)/filmography (selection)

O. G.: Rojen leta 1977 v mestu Tromsø na Norve{kem. [tudiral na {oli za umetnost in film v Kabelvågu in na Akademiji za umetnost, obrt in oblikovanje Konstfack v Stockholmu. Med letoma 2002 in 2007 sta z Marte Vold posnela ve~ kot 260 kratkih filmov.

Born in 1977 in Tromsø, Norway, Giæver studied at the Nordland College of Art and Film in Kabelvåg and at the Konstfack University College of Arts, Crafts and Design in Stockholm. Between 2002 and 2007 he made over 260 shorts with Marte Vold.

M. V.: Rojena leta 1978 v mestu Tromsø na Norve{kem. [tudirala je na {oli za umetnost in film v Kabelvågu, na filmski akademiji v Oslu in na Norve{ki filmski {oli v Lillehammerju.

Born in 1978 in Tromsø, Norway, Vold studied at the Nordland College of Art and Film in Kabelvåg, the Oslo Film Academy and the Norwegian Film School in Lillehammer.

O. G.: 2007 Tommy (kratki/short) 2008 Sommerhuset (kratki/short) 2012 Fjellet (The Mountain) 2014 Mot naturen (Out of Nature/Nenaravno)

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2015, Edinburg/Edinburgh 2015, Trondheim 2015 (najbolj{a mo{ka glavna vloga, najbolj{i producent/Best Male Actor in a Leading Role, Best Producer), nagrade amanda/Amanda Awards 2015 (najbolj{i film, najbolj{i scenarij/ Best Film, Best Screenplay)

prodaja/world sales NDM International Sales 13, rue Henner 75009 Paris, France E fm�mantarraya.com

M. V.: 2012 Små episoder (Small Episodes) 2015 Totem (kratki/short) 2014 Mot Naturen (Out of Nature/Nenaravno)

83

Panorama svetovnega filma Panorama of World Cinema

Mãe só há uma Don't Call Me Son Nisem tvoj sin Brazilija Brasil 2016

Anna Muylaert re`ija/directed by Anna Muylaert scenarij/screenplay Anna Muylaert fotografija/cinematography Barbara Alvarez glasba/music Berna Ceppas monta`a/editing Helio Vilela igrajo/cast Naomi Nero (Pierre/Felipe), Daniel Botelho (Joca), Dani Nefusi (Aracy/ Glória), Matheus Nachtergaele (Matheus), Lais Dias (Jaqueline), Luciana Paes (Tia Yara), Helena Albergaria (Sueli), Luciano Bortoluzzi (Marcelo), June Dantas (Walmissa), Renan Tenca (René) producenti/producers Sara Silveira, Maria Ionescu, Anna Muylaert produkcija/production Dezenove Som e Imagens R. Heitor Penteado 56 05438-000 São Paulo, Brasil E sara�dezenove.net & Africa Filmes format/format DCP, barvni/colour dol`ina/running time 82'

Ganljiva brazilska drama z razoro`ujo~o toplino raziskuje pomen spola in biolo{ke dru`ine v ~lovekovem `ivljenju.

Sedemnajstletni Pierre je sredi pubertete. Igra v glasbeni skupini, na zabavah seksa z dekleti, doma pa se skrivaj obla~i v `enska obla~ila in pred ogledalom ob~uduje svoj nali~eni obraz. Z mamo in mlaj{o sestro `ivi lagodno, dokler se mu vse ne postavi na glavo, ko nekega dne odkrije, da je bil ob rojstvu ukraden iz porodni{nice. Mamo zaprejo in Pierre spozna svoja biolo{ka star{a, ki sta ga vsa ta leta obupano iskala, zdaj pa se na vse pretege trudita nadoknaditi zamujeno. A Pierre, sedaj Felipe, se v novi dru`ini ne znajde najbolje. [e ve~, ob~utek ima, da so ga `e drugi~ "ukradli" ...

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2016

"Filmski svet je ko~ljiv za vsakogar. Mo{ke, `enske, Brazilce, Ameri~ane. Je ena najbolj nevarnih industrij sveta, saj je umetnost in posel obenem. /.../ Kompleksen je za vse. Moj nasvet: ustvarjaj, poka`i svoje delo drugim, zastavljaj vpra{anja.

Navsezadnje je rezultat tisto, kar {teje, s kulturo ma~izma ali brez nje." (Anna Muylaert)

prodaja/world sales Loco Films 16 rue Claude Tillier 75012 Paris, France E laurent.danielou�loco-films.com

Pierre is seventeen and in the middle of puberty. He plays in a band, has sex at parties and secretly tries on women’s clothing and lipstick in front of a mirror. His mother has spoiled both him and his younger sister. But when he discovers that she stole him from a hospital when he was a newborn baby, Pierre's world falls apart. His mother is arrested and his biological parents are now desperate to make up for the lost years and spend time with their eldest son, whom they call Felipe. Pierre/Felipe moves in with his well-heeled new family, but feels he has been 'stolen' for the second time.

"Cinema is tricky for anyone. Men, women, Brazilians, Americans.

It is one of the most dangerous industries in the world because while it is art, it is also business. /…/ It is complex for everyone.

My advice: work, show your work to other people, raise questions. At the end of the day, with or without the machismo culture, what counts is the result." (Anna Muylaert)

Anna Muylaert

filmografija (izbor)/filmography (selection)

Rojena leta 1964 v São Paolu. Na tamkaj{nji univerzi je {tudirala umetnost in komunikologijo. Je priznana scenaristka, re`iserka in glasna zagovornica enakosti v prete`no mo{kem filmskem svetu. Sprva se je pre`ivljala kot filmska kriti~arka in z delom na brazilski televiziji, po uspehu njenih prvih kratkih filmov pa se je posvetila snemanju igranih filmov.

1995 A origem dos bebés segundo Kiki Cavalcanti (The Origin of Babies) (kratki/short) 2002 Durval Discos (Durval Records) 2009 É proibido fumar (Smoke Gets in Your Eyes) 2010 Para aceitá-la, continue na linha (TV) 2012 E além de tudo me deixou mudo o violão (While My Guitar Gently Weeps) (TV) 2012 Chamada a cobrar (Collect Call) 2013 As Canalhas (TV-serija/TV series) 2015 Que horas ela volta? (The Second Mother/Druga mama) 2016 Mãe só há uma (Don't Call Me Son/Nisem tvoj sin)

Born in São Paulo in 1964, Muylaert studied art and communication at the University of São Paulo. She is a renowned screenwriter and director, and an active advocate of female rights in the male-dominated world of cinema.

She first worked as a film critic and for the Brazilian television. After several successful shorts, she turned to directing feature films.

84

Radiating genuine human warmth, the moving Brazilian drama explores the significant roles gender and biological family play in one's life.

Panorama svetovnega filma Panorama of World Cinema

Eshtebak Clash Spopad Mohamed Diab

Film, ki je bil zami{ljen kot prikaz vzpona egiptovske revolucije, je po {tirih letih burnih dogodkov postal dokument njenega padca.

Kairo poleti 2013, dve leti po revoluciji. Po odstavitvi predsednika Mursija se policijski kombi, poln aretiranih demonstrantov razli~nih politi~nih in verskih prepri~anj, prebija skozi nasilne uli~ne demonstracije. To vozilo je slika Egipta v malem, de`ele, v kateri si pripadniki Muslimanske bratov{~ine delijo prostor s promilitantnimi podporniki in aktivisti – mo{kimi, `enskami, otroki.

Vsi skupaj tvorijo mozaik novega, kaoti~nega Egipta, ki je kot sod smodnika. Bo ujetnikom vseeno uspelo prese~i razlike in zdru`iti mo~i v bitki za pre`ivetje?

Egipt, Francija, Nem~ija, Zdru`eni arabski emirati Egypt, France, Germany, United Arab Emirates 2016 re`ija/directed by Mohamed Diab scenarij/screenplay Khaled Diab, Mohamed Diab fotografija/cinematography Ahmed Gabr glasba/music Khaled Dagher monta`a/editing Ahmed Hafez igrajo/cast Nelly Karim (Nagwa), Hany Adel (Adam), Tarek Abdel Aziz (Hossam), Ahmed Malek (Mans), Ahmed Dash (Fares), Husni Sheta (Fisho), Aly Eltayeb (Huzaifa), Amr El Kady (M. Hashem), Mohamed Abd El Azim (Radwan), Gameel Barsoum (Salah) producenti/producers Mohamed Hefzy, Eric Lagesse, M. W. Zackie produkcija/production Film Clinic 141 A Corniche El Nile El Maadi, Floor 9 Cairo, Egypt E info�film-clinic.com & Sampek Productions (France) & Emc Pictures (United Arab Emirates) & Arte France Cinéma (France) & Niko Films (Germany) format/format DCP, barvni/colour dol`ina/running time 97'

Initially a film about the rise of the Egyptian revolution, Clash ended up being a record of its fall.

Cairo, summer of 2013 – two years after the Egyptian revolution.

In the wake of the ouster of Islamist president Morsi, a police van full of detained demonstrators of divergent political and religious backgrounds roams through violent protests. There, in the small enclosed quarters of the police van, Diab offers a microcosm of modern Egypt, with Muslim Brotherhood members sharing space with pro-military supporters and activists; men, women and children. All part of a new and chaotic Egypt, a caldron waiting to boil. Can the detainees overcome their differences to stand a chance of survival?

"Film prikazuje dogodke po odstavitvi predsednika Mursija, demonstracije, zaradi katerih je Kairo vzbrstel v plamenih, in posledi~ne smrtne `rtve. Vendar je besede treba skrbno izbirati, saj je danes polo`aj v Egiptu resni~no ~rno-bel. Na primer, ~e za opis Mursijeve odstavitve s polo`aja uporabite besedo 'dr`avni prevrat', va{a izbira nakazuje, da ste na strani Muslimanske bratov{~ine; ~e jo opi{ete kot 'revolucijo', bi vas izraz ozna~il za prista{a vojske. @elim, da ljudje moj film gledajo brez nenehnega spra{evanja, na kateri strani sem. Ne gre za politi~ni film, govori bolj o ~love{kem kot o politi~nem vidiku." (Mohamed Diab)

"The film shows what happened after Morsi's deposition, the demonstrations that set Cairo on fire and the casualties that followed. But one should choose one's words carefully, because Egypt is really black-and-white right now. For instance, if you use the word 'coup' to describe Morsi’s removal from office, your choice of word deems you are on the Muslim Brotherhood side; likewise if you refer to it as a 'revolution', that word would deem you to be on the military side. I would like people to watch my film without wondering all the time which side I am on. It isn't a film about politics, it is a film about the human rather than the political aspect of things." (Mohamed Diab)

Mohamed Diab

filmografija/filmography

Rojen v Ismailiji v Egiptu. Njegovi filmi govorijo o pomembnih temah sodobne egiptovske dru`be. Filmski svet ga je spoznal ob izidu celove~ernega prvenca 678, filma o `enskem boju proti mo{kemu {ovinizmu v Kairu, ki je iz{el mesec dni pred egiptovsko revolucijo. Doma je znan tudi po sodelovanju v revolucionarnih vrenjih. Njegov drugi film Spopad je bil leta 2016 prikazan na canskem festivalu.

2010 678 2016 Eshtebak (Clash/Spopad)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 – Poseben pogled/Un Certain Regard, München/Munich 2016

prodaja/world sales Pyramide International 5, rue du Chevalier de Saint George 75008 Paris, France E distribution�pyramidefilms.com

Born in Ismailia, Egypt, Diab's work is often centred on pressing issues concerning Egyptian society. He is known for his directorial debut, Cairo 678, which was released a month before the Egyptian revolution, a drama about three women who unite to fight against the plague of male chauvinism in Cairo. Aside from filmmaking, Diab is known for his involvement in the 2011 Egyptian revolution. Clash, his second feature film, was selected for the 2016 Cannes Film Festival.

85

Panorama svetovnega filma Panorama of World Cinema

Kaze ni nureta onna Wet Woman in the Wind Vla`na punca v vetru Japonska Japan 2016

Akihiko Shiota re`ija/directed by Akihiko Shiota scenarij/screenplay Akihiko Shiota fotografija/cinematography Hidetoshi Shinomiya glasba/music Shunsuke Kida monta`a/editing Takashi Sato igrajo/cast Yuki Mamiya, Tasuku Nagaoka, Ryushin Tei, Michiko Suzuki, Hitomi Nakatani, Takahiro Kato producenti/producers Naoko Komuro, Shinichiro Masuda, Masahiko Takahashi produkcija/production Nikkatsu Corporation 3-28-12 Hongo, Bunkyo-ku, 113-0033 Tokyo, Japan E international�nikkatsu.co.jp & SKY Perfect JSAT Corporation format/format DCP, barvni/colour dol`ina/running time 77' festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2016

prodaja/world sales Nikkatsu Corporation 3-28-12 Hongo, Bunkyo-ku, 113-0033 Tokyo, Japan E international�nikkatsu.co.jp

V obliko "porno romana" ujeta seksi komedija "po japonsko", v kateri s spolnostjo obsedeno dekle sre~a zadr`anega umetnika.

In Wet Woman in the Wind, a revival of the Japanese "romantic porno" format, a sex-crazed girl meets a reticent artist.

[iori, privla~no mlado dekle z zelo `ivahnim spolnim `ivljenjem, dela v kavarni. Nekega popoldneva s kolesom prekri`a pot mo{kemu, ki vle~e voz. Izka`e se, da je mo{ki znani dramatik Kosuke, ki `ivi v ko~i sredi gora. Kot ji pojasni, se je iz civilizacije umaknil z `eljo, da pobegne pred preteklostjo. A po naklju~nem sre~anju je Kosukejeve samote konec, saj se znajde v {iorijini mre`i seksualnih fantazij ...

One afternoon, Shiori, an attractive and promiscuous young woman working in a café, is riding her bicycle. She cuts off Kosuke who is pulling a two-wheeled cart. Once a recognised playwright, Kosuke now leads a quiet life in a mountain hut, far away from the city, in the hope of escaping his past. But after their first encounter, he will soon be caught in Shiori's web of sexual desires.

"Za svobodno ustvarjanje mora{ velikokrat snemati z nizkim prora~unom. Zato se pogosto posku{am domisliti zasnov, ki vsebujejo samo lik ali dva. Drug razlog je, ko upodablja{ med~love{ke odnose, se lahko tega loti{ s ~ustvenega vidika, in v~asih, ko vklju~i{ igre mo~i v razmerjih, je eden od njiju avtoritarna figura, nekako manipulativna ... nekak{no sadomazohisti~no razmerje. Po eni strani so to osebne in intimne zgodbe med dvema, po drugi pa lahko skozi ta mikrokozmos raz{irijo perspektivo in vpletejo dru`bena vpra{anja. Tako nenadoma drobna zgodba postane nekaj, kar govori o celotni dru`bi in njenem delovanju." (Akihiko Shiota)

"To shoot with freedom, it often means you have to make works at a low budget. For that to take place I often try and come up with ideas that only involve one or two characters. Another reason is that when you're depicting human relationships you can go the emotional route, and at times when you do put into play sort of power relationships, one is an authoritative figure that's in some way manipulative ... things like S&M sort of relationships.

These on the one hand are sort of personal and intimate stories between two people, but on the other hand they can sort of broaden the perspective through this microcosm to bring in societal issues. And suddenly a small story becomes something that speaks of an entire society and how it functions."

(Akihiko Shiota)

Akihiko Shiota

filmografija/filmography

Rojen v Kjotu na Japonskem. Med {tudijem na univerzi Rikkyo je s Kiyoshijem Kurosawo in Kunitoshijem Mando snemal filme z 8-milimetrsko kamero. Nato je {tudiral scenaristiko pod mentorstvom Atsushija Yamatoye.

Konec devetdesetih je z uvrstitvijo filmov Dokomademo ikô in Gekkô no sasayaki na mednarodne festivale pritegnil pozornost {ir{e filmske javnosti.

1999 1999 2000 2001 2002 2004 2005 2007 2014 2016

Born in Kyoto, Japan, Shiota Akihiko began making 8-mm films with Kiyoshi Kurosawa and Kunitoshi Manda while studying at the Rikkyo University.

He then studied screenwriting under Atsushi Yamatoya and directed two features in 1999: Moonlight Whispers and Don't Look Back that screened at major international festivals and earned their maker international recognition.

86

Dokomademo ikô (Don't Look Back) Gekkô no sasayaki (Moonlight Whispers) Gipusu (Gips) Gaichû (Harmful Insect) Yomigaeri (Resurrection) Kanaria (Canary) Kono mune ippai no ai wo (A Heartful of Love) Dororo Dakishimetai: Shinjitsu no monogatari (I Just Wanna Hug You) Kaze ni nureta onna (Wet Woman in the Wind/Vla`na punca v vetru)

Panorama svetovnega filma Panorama of World Cinema

S one strane On the Other Side Z druge strani Hrva{ka, Srbija Croatia, Serbia 2016

Zrinko Ogresta

Napeta, ~ustveno zapletena psiholo{ka drama se spra{uje, kje so meje odpu{~anja in ali je sploh kdaj mogo~e resni~no ube`ati lastni preteklosti. Sedem zlatih aren na festivalu v Pulju.

The suspense-ridden, emotionally charged psychological drama addresses the concerns of unconditional forgiveness and the haunting demons of the past. Seven Golden Arena Awards at the Pula Film Festival.

Patrona`na sestra Vesna `ivi z odraslima otrokoma sredi Zagreba.

Sin je poro~en in pri~akuje drugega otroka, h~erka je zaro~ena in videti je, da je vse v najlep{em redu. Razen preteklosti, povezane z njihovimi imeni. Ko je Vesna pred dvajsetimi leti pri{la v Zagreb, je za seboj pustila mra~ne spomine na vojno v Bosni, v kateri je klju~no vlogo odigral tudi njen mo` @arko. A nekega dne po telefonu presene~ena zasli{i @arkov glas. Ob tem ponovno privrejo na plano potla~eno sovra{tvo, ljubezen, upanje in gnus.

Lahko ponovno zaupa ~loveku, ki je njej in {tevilnim drugim prizadel toliko gorja?

Vesna, a nurse, lives with her two grown-up children in Zagreb.

Vesna's son is married and his wife is expecting their second child; her daughter is engaged, and all seems well in the world.

But their name poses an obstacle to all of them. When Vesna came to Zagreb twenty years ago she intended to put behind her memories of the war in Bosnia in which her husband @arko played an active role. But one day the phone rings out of the blue and Vesna hears @arko's voice on the line. This unleashes in Vesna a mixture of hatred, love, hope and disgust. Should she trust a man who once caused her and others such unbearable suffering?

"Srhljiva drama Z druge strani si zastavlja vpra{anje, ali je ljubezen, ki je onemogo~ena zaradi dolo~ene ovire ter sta partnerja lo~ena in odnos prekinjen, obsojena na umiranje ali vendarle 'ljubezenski virus' ostane trajno v nas in ga neki dolo~en trenutek vnovi~ spro`i. Stvarnost, v kateri `ivimo, omogo~i, da lahko to umestim v aktualno zgodbo, ki odslikava na{o sedanjost in zrcali nedavno preteklost. @elel sem ustvariti film, ki ga gledamo s srcem. ^e ga posku{amo racionalizirati, smo na napa~ni poti." (Zrinko Ogresta)

festivali, nagrade (izbor)/ festivals, awards (selection) Pulj/Pula 2016 (najbolj{i film, najbolj{i re`iser, najbolj{i scenarij, najbolj{a glavna `enska vloga, najbolj{a glavna mo{ka vloga, najbolj{a monta`a, najbolj{e oblikovanje zvoka/Best Film, Best Director, Best Screenplay, Best Actress in a Leading Role, Best Actor in a Leading Role, Best Editing, Best Sound Design), Berlinale 2016 (Label Europa Cinemas – posebna omemba/Special Mention), FEST Beograd/Belgrade 2016 (nagrada Neboj{a \ukeli}, najbolj{i film in najbolj{i re`iser v sklopu manj{injskih koprodukcij/ Neboj{a \ukeli} Award, Best Film and Best Director in the minority co-productions competition)

"On the Other Side is a thriller drama that explores the question whether love, thwarted because of some obstacle that’s separated the partners and prevented any kind of relationship, destined to fade out or, nevertheless, we carry within us 'the love virus' that gets triggered at some point in time. The reality we live in has enabled me to include all of this into a story that’s relevant and that depicts our present and reflects our past. I aimed to make a film to be seen with the heart. When you try to rationalise it, you're taking the wrong direction." (Zrinko Ogresta)

Zrinko Ogresta

filmografija (izbor)/filmography (selection)

Rojen v Virovitici na Hrva{kem leta 1958. [tudiral je na Akademiji dramskih umetnosti v Zagrebu, kjer danes predava re`ijo. Je ~lan berlinske Evropske filmske akademije, njegovi filmi pa so bili prikazani na {tevilnih mednarodnih festivalih. S filmom Z druge strani je letos na festivalu v Pulju osvojil kar sedem glavnih nagrad.

1984 1985 1986 1991 1995 1999 2003 2008 2013 2016

Born in Virovitica, Croatia in 1958, Ogresta studied at the Academy of Dramatic Art in Zagreb, where he is now professor of directing. He is a director and screenwriter whose films have won awards at festivals around the world, and member of the European Film Academy in Berlin. On the Other Side won as many as seven main awards at the 2016 Pula Film Festival.

re`ija/directed by Zrinko Ogresta scenarij/screenplay Mate Mati{i}, Zrinko Ogresta fotografija/cinematography Branko Linta glasba/music Mate Mati{i}, [imun Mati{i} monta`a/editing Tomislav Pavlic igrajo/cast Ksenija Marinkovi} (Vesna), Lazar Ristovski (@arko), Tihana Lazovi} (Jadranka), Robert Budak (Vladimir), Toni [estan (Bo`o), Vinko Kraljevi} (Peri}), Alen Liveri} (Vuleti}), Marija Tadi} (Vladimirjeva ljubica/Vladimir's lover), Ivan Brki} (Mato), Tena Jei} Gajski (Nives) producenta/producers Ivan Malo~a, Lazar Ristovski produkcija/production Interfilm Nova ves 45 10000 Zagreb, Croatia E interfilm�interfilm.hr format/format DCP, barvni/colour dol`ina/running time 85'

prodaja/world sales Cercamon Majara 1 #903 113 222 Dubai, United Arab Emirates E sebastien�cercamon.biz

Vra}am se odmah (I'll be Back Soon) (kratki/short) Zabranjena igra~ka (The Forbidden Toy) (kratki/short) Konzerva (Can) (kratki/short) Krhotine (Fragments) Isprani (Washed Out) Crvena pra{ina (Red Dust) Tu (Here) Iza stakla (Behind the Glass) Projekcije (Projections) S one strane (On the Other Side/Z druge strani)

87

Panorama svetovnega filma Panorama of World Cinema

Winwin Winwin Zmagovita kombinacija Avstrija Austria 2016

Daniel Hoesl re`ija/directed by Daniel Hoesl fotografija/cinematography Gerald Kerkletz glasba/music Op:l Bastards, Hanns Eisler, Moderat, Bad Kingdom monta`a/editing Natalie Schwager igrajo/cast Nahoko Fort-Nishigami (Winwin) Alexander Tschernek (Anton Tanner), Jürgen Weishäupl (Claus Sander), Johanna Orsini-Rosenberg (ministrica/Minister Rolles) producenti/producers Daniel Hoesl, Gerald Kerkletz, Julia Nieman, Katharina Posch produkcija/production A European Film Conspiracy Gumpendorfer Straße 10–12/23 1060 Vienna, Austria E mail�europeanfilmconspiracy.com format/format DCP, barvni/colour dol`ina/running time 84' festivali/festivals Rotterdam 2016, Diagonale 2016 (najbolj{a fotografija v kategoriji celove~ercev/Best Cinematography of a Feature Film)

prodaja/world sales A European Film Conspiracy Gumpendorfer Straße 10–12/23 1060 Vienna, Austria E mail�europeanfilmconspiracy.com

Ostra satira sodobnega kapitalizma in njegovih zna~ilnih predstavnikov, ki pa so prav tako sterilni in zamenljivi kot denar, ki mu zaupajo bolj kot ~emur koli drugemu na svetu.

A biting satire on present-day capitalist society and its typical representatives, just as sterile and replaceable as the money they trust more than anything else in the world.

[tirje na videz izjemno profesionalni investitorji – mo{ka in `enski – v zasebnem letalu potujejo po svetu in i{~ejo podjetja, da bi jih odkupili za nizko, pogosto le simboli~no ceno. In presenetljivo: najde se marsikak{en poslovne`, ki jim je svoje uspe{no podjetje pripravljen prodati za ceno zgolj enega evra. Kako je to sploh mogo~e? Se ti volkovi v ov~jih ko`ah le zabavajo in nor~ujejo ali pa so resni~no izgubili vsakr{en ob~utek za resni~nost?

Four 'investors', looking very professional and always impeccably dressed – two men and two women – travel the globe in a private jet in search of companies to buy out for almost nothing.

Surprisingly, many businessmen are willing to sell them their profitable business, even for a single euro. How is this possible?

Are these wolves in sheep's clothing merely poking fun or have they really lost their moral compasses?

"Trenutno se na svetu bijejo {tevilne vojne. Vojna po definiciji vedno ustvarja pora`ence. V filmu so vsi zmagovalci, tako je v satiri. Poleg vseh teh vojn – Islamske dr`ave, vojne v Ukrajini ali te`av z begunci – nad vsem obstaja metavojna – finan~na vojna, ki jo bijejo plutokrati zoper vse nas. Izkori{~ajo politiko in sindikate ter si nas vse podrejajo. Te`ko mi je govoriti o zmagovalcih in pora`encih. Zagotovo smo vsi pora`enci, tudi milijonarji, ki se najbolj bojijo in garajo za svoje domnevno bogastvo."

(Daniel Hoesl)

"Currently many wars are being fought in this world. War inherently always creates losers. In the movie, everyone is a winner, that's how it is in satire. Alongside all those wars – led by the Islamic state, fought inside Ukraine or the problems with refugees – is the meta-war, above all – the financial war, which is waged by the plutocrats against all of us. They exploit politics and unions and subjugate us all. It is difficult for me to talk about winners and losers. We are definitely all losers, even the millionaires who fear for their alleged wealth the most, as well as toil for it." (Daniel Hoesl)

Daniel Hoesl

filmografija/filmography

Rojen leta 1982 v kraju St. Pölten, Avstrija. Po {tudiju ve~medijskih umetnosti je za~el kot asistent re`ije sodelovati z Ulrichom Seidlom.

Sodeloval je pri {tevilnih umetni{kih projektih in kolektivnih filmskih zarotah.

Zmagovita kombinacija je njegov drugi celove~erec, ena osrednjih tematik njegovih filmov pa je cena z vrednostjo denarja.

2005 2005 2006 2008 2011 2013 2016

Born in 1982, St. Pölten, Austria, Hoesl studied multimedia arts before working as assistant director for Ulrich Seidl. He has been involved in a number of art projects and collective film conspiracies. His works tend to explore the price and value of money. Winwin is his second feature film.

88

Lektion in Einheit (Lecture in Unity) (kratki/short) Lektion in Tango (kratki/short) Lektion von alltäglichem Pathos (kratki/short) The Truth (kratki/short) The Madness of the Day (kratki/short) Soldate Jeannette (Soldier Jane/Vojakinja Jeannette) Winwin (Zmagovita kombinacija)

Ekstravaganca Extravaganza

The Love Witch The Love Witch Ljubezenska ~arovnica ZDA USA 2016

Anna Biller

re`ija/directed by Anna Biller scenarij/screenplay Anna Biller fotografija/cinematography M. David Mullen glasba/music Anna Biller monta`a/editing Anna Biller producentka/producer Anna Biller igrajo/cast Samantha Robinson (Elaine), Gian Keys (Griff), Laura Waddell (Trish), Jeffrey Vincent Parise (Wayne), Jared Sanford (Gahan), Robert Seeley (Richard), Jennifer Ingrum (Barbara), Stephen Wozniak (Jerry) produkcija/production Anna Biller Productions 2216 Nella Vista Ave Los Angeles, California 90027-1330, USA format/format DCP, barvni/colour dol`ina/running time 120'

Novodobna ~arovnica si s pomo~jo ~ude`nih napojev in urokov neusmiljeno podreja mo{ke, dekor v slogu {estdesetih in pestra barvna paleta pa pri~arata ozra~je melodram, posnetih v Technicolorju.

Featuring a modern-day witch who ruthlessly holds sway over men by concocting love potions and casting spells, The Love Witch's 1960s décor and the vibrant colour spectrum create an atmosphere of Technicolor melodramas.

Lepa mlada ~arovnica Elaine se odlo~i poiskati mo{kega, ki si resni~no zaslu`i njeno ljubezen. V svojem stanovanju, opremljenem v gotsko-viktorijanskem slogu, pripravlja ~ude`ne napoje, s pomo~jo katerih nato zapelje mo{ke. Ve~ina "`rtev" podle`e njenim ~arom in urokom – postanejo krotki in ob~utljivi, prav to pa so lastnosti, ki jih Elaine pri mo{kih najbolj prezira.

A prav zaradi njenega obupanega hlepenja po ljubezni ji stvari uidejo z vajeti in nenadoma se znajde v vrtincu stra{ljivih in nepredvidenih dogodkov.

Elaine, a beautiful young witch, is determined to find a man to love her. In her gothic Victorian apartment she makes spells and potions, and then picks up men and seduces them. However her spells work too well, and she ends up with a string of meek and sensible victims, possessing qualities that she finds most abhorrent in men. When she finally meets the man of her dreams, her desperation to be loved will drive her to the brink of insanity and murder.

"Vedno me zanima raziskovanje `enskih fantazij, in seksi ~arovnica je preoblo`en arhetip, ki obenem zajema mo{ke strahove in fantazije o `enskah ter `enska ~ustva opolnomo~enja in samouveljavitve. Glede na to, da smo vajeni seksi ~arovnico ali usodno `ensko gledati od zunaj, sem jo `elela raziskati od znotraj.

Glavni lik Elaine je spoj med mano – umetnica, ki je od nekdaj hrepenela po ljubezni – in dolo~enimi patolo{ko narcisti~nimi `enskami, ki jih poznam. Hotela sem tudi ustvariti film o strtem srcu, dobesedno upodobiti to ~ustvo na platnu." (Anna Biller)

"I'm always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men's fears and fantasies about women, and women's feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside. The main character, Elaine, is a cross between myself – an artist who has always craved love – and certain pathologically narcissistic women I've known. I also wanted to make a film about heartbreak, to literally put that feeling on the screen." (Anna Biller)

Anna Biller

filmografija/filmography

Vsestranska umetnica in re`iserka `ivi in ustvarja v Los Angelesu. Poleg {tevilnih kratkih filmov njen opus obsega tudi nekaj muzikalov. V svojih filmih najpogosteje prevpra{uje vlogo `enske v sodobni dru`bi in eksperimentira z razli~nimi filmskimi `anri, poseben pe~at pa jim dajejo tudi humor, burleska in stilizirani kostumi, ki jih oblikuje sama. Film Ljubezenska ~arovnica je njen drugi celove~erec.

1994 Three Examples of Myself as a Queen (kratki short) 1998 Fairy Ballet (kratki/short) 2001 The Hypnotist (kratki/short) 2001 A Visit from the Incubus (kratki/short) 2007 Viva 2016 The Love Witch (Ljubezenska ~arovnica)

festivali/festivals Rotterdam 2016

prodaja/world sales Oscilloscope Laboratories 140 Havemeyer Street, Brooklyn NY 11211, USA E kate�oscilloscope.net

An artist and filmmaker based in Los Angeles. Besides a number of short films, she has completed several full-length stage musicals. Biller is known for her use of various film genres, humour, burlesque, the role of women and her colourful, stylised sets and costumes, which she creates herself.

The Love Witch is her second feature film.

91

Ekstravaganca Extravaganza

Schneider vs. Bax Schneider vs. Bax Schneider in Bax Nizozemska The Netherlands 2015

Alex van Warmerdam re`ija/directed by Alex van Warmerdam scenarij/screenplay Alex van Warmerdam fotografija/cinematography Tom Erisman glasba/music Alex van Warmerdam monta`a/editing Job ter Burg igrajo/cast Tom Dewispelaere (Schneider), Alex van Warmerdam (Ramon Bax), Maria Kraakman (Francisca), Gene Bervoets (Mertens), Annet Malherbe (Gina), Pierre Bokma (Bolek), Henri Garcin (Gerard), Loes Haverkort (Lucy) producenti/producers Marc van Warmerdam, Eurydice Gysel, Koen Mortier produkcija/production Graniet film P.O. Box 57121 1040 BA Amsterdam The Netherlands E graniet�orkater.nl & Czar & Mollywood format/format DCP, barvni/colour dol`ina/running time 96'

Nova ekstravaganca re`iserja kultnega Borgmana je ujeta v formo ~rne komedije, v kateri se ~udni liki znajdejo v {e bolj ~udnih okoli{~inah.

Poklicni morilec Schneider prejme novo naro~ilo. Na~eloma bi ne bilo ni~ narobe, ~e ne bi klica prejel prav na svoj rojstni dan.

S pojasnilom, da mora `eni pomagati pri pripravi rojstnodnevne zabave, naro~nika sprva zavrne, a ta vztraja s pojasnilom, da gre za zelo pomembno in ni~ kaj zahtevno opravilo, ki ga Schneider z lahkoto opravi do kosila. Tar~a je namre~ pisatelj Ramon Bax, ki `ivi sam na samotnem kraju. Schneider se pusti prepri~ati in delo sprejme, a naloga se izka`e za vse prej kot preprosto ...

festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2015, Chicago 2015, Vancouver 2015, Toronto 2015

"Projekt vedno za~nem s sinopsisom in vodili, ki jim sku{am slediti. Tokrat sam si samo zapisal nekaj idej in za~el oblikovati scenarij, zato je bila zgodba nekaj abstraktnega in se je razvijala ob pisanju. @elel sem ustvariti preprosto vajo v slogu. Bolj sem se osredoto~il na dosego dolo~enega sloga in sledenje specifi~nemu pripovednemu ritmu. Kar pa zadeva moj ~rni smisel za humor – moj mlaj{i brat meni, da se je vse za~elo, ko sva kot otroka prebrala eno prvih zbirk kratkih zgodb Iana McEwana. Ena pripoveduje o dekletu, ki se utopi v kanalu. V tistem trenutku se je v mojem umu nekaj spro`ilo, sedaj pa se odra`a v mojem delu."

(Alex van Warmerdam)

prodaja/world sales Fortissimo Films Van Diemenstraat 100 1013 CN Amsterdam, The Netherlands E info�fortissimo.nl distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

Schneider, a hit man, gets a call on the morning of his birthday.

It's about a rush job but he refuses it, because it is his birthday and he has promised his wife to help her with the preparations for the dinner party. The caller insists that it is an important matter. Schneider is told that the target is Ramon Bax, a writer.

He lives alone in a secluded place. "It's an easy job. With a little luck you're back home before noon." Schneider accepts the assignment. What seems to be a simple job turns out to be more than he's bargained for.

"I almost always begin a project by writing up a synopsis and guidelines that I try to follow. This time I just wrote down a few ideas and started to build the script, so the story was something abstract that developed as I was writing it. I wanted to create a simple exercise in style. I focused more on achieving a certain style and following a specific narrative rhythm. And about my dark sense of humour – my little brother believes that it all started when we read one of Ian McEwan's first books of short stories as children. One of them is about a girl who drowns in a canal. It was at that moment that something was triggered in my mind, and now it is reflected in my work." (Alex van Warmerdam)

Alex van Warmerdam

filmografija/filmography

Rojen v Haarlemu na Nizozemskem. Po kon~ani grafi~ni {oli in akademiji Gerrit Rietveld je za~el ustvarjati kot pisec, igralec, oblikovalec ter gledali{ki in filmski re`iser. Prejel je ve~ nacionalnih in mednarodnih filmskih nagrad.

S filmom Borgman se je leta 2013 uvrstil v tekmovalni program canskega festivala. Njegove filme zaznamujejo ~rni humor, natan~na struktura, jedki dialogi in absurdni zapleti.

1984 1986 1992 1996 1998 2003 2006 2009 2013 2015

Born in Haarlem, the Netherlands. He attended the Graphical School and the Gerrit Rietveld Academy and then worked as a writer, actor, designer and director for both theatre and film. He has won several national and international awards and entered the competitive section of the 2013 Cannes Film Festival with Borgman. His movies are marked by his signature dark humour, wry dialogue, absurd plot and meticulous design.

92

Another extravagance by director of iconic Borgman, this ink-black comedy features pretty bizarre characters whose oddness is matched only by the situations they find themselves in.

De Stedeling (kratki/short) Abel (Voyeur) De Noorderlingen (The Northerners) De jurk (The Dress) Kleine Teun (Little Tony) Grimm Ober (Waiter) De laatste dagen van Emma Blank (The Last Days of Emma Blank) Borgman Schneider vs. Bax (Schneider in Bax)

Ekstravaganca Extravaganza

Kurîpî: Itsuwari no rinjin Creepy Srhljivo Japonska Japan 2016

Kiyoshi Kurosawa

Priredba nagrajenega detektivskega romana Yutake Maekawe, ki v skladu s pisateljevim slovesom mojstra suspenza postre`e z obilo presene~enj in obratov.

In{pektor Takakura za las uide smrti, zato se odlo~i zapustiti policijo in se zaposli kot univerzitetni predavatelj kriminalne psihologije. Njegovo hrepenenje po razre{itvi motivov kriminalcev pa mu vendarle ne da miru, zato za~ne spet sodelovati z nekdanjim kolegom Nogamijem pri vnovi~nem odprtju starega primera. Pred {estimi leti je namre~ neka dru`ina izginila v skrivnostnih okoli{~inah, do danes pa niso odkrili nobenega trupla.

Ko se Takakura potopi v stare dosjeje, se na drugi strani njegova `ena seznanja z novimi sosedi. Nekega dne sosedova h~erka detektiva soo~i s {okantno izjavo. Preteklost in sedanjost se naenkrat prepleteta, njuno razvozlavanje pa postane `ivljenjsko nevarna naloga.

"Izjemno zabaven film Srhljivo blesti v svojem `anru, zaradi ~esar bo ta priredba romana eden mednarodno najuspe{nej{ih japonskih filmov zadnjih let." (Jonathan Romney, Screen Daily)

Full of surprising twists and turns, the screen adaptation of the award-winning mystery novel by Yutaka Maekawa lives up to the Japanese writer's reputation as a master of suspense.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2016, Hongkong/Hong Kong 2016, Fantasia 2016 (najbolj{a re`ija/Best Director), London 2016, New York 2016

After having narrowly escaped an attempt on his life at the hands of a psychopath, detective inspector Takakura quits active service and takes up a position as a university lecturer in criminal psychology. But his desire to get to the bottom of criminals' motives remains, and he does not hesitate long when former colleague Nogami asks him to reopen an old case. Six years ago, a family disappeared under mysterious circumstances and to this day no body has been found. While Takakura immerses himself in the old files, his wife introduces herself to their new next door neighbours. One day a neighbour's daughter appears at the door and confronts Takakura with a shocking claim. Past and present suddenly become entangled and unravelling them becomes a lifethreatening task for Takakura.

"Hugely entertaining, Creepy's genre pleasures should make this novel adaptation one of the more exportable Japanese films of recent years." (Jonathan Romney, Screen Daily)

Kiyoshi Kurosawa

filmografija (izbor)/filmography (selection)

Rojen leta 1955 v pokrajini Hjogo na Japonskem. Sprva je delal kot asistent re`ije, leta 1983 pa je posnel svoj prvenec Kandagawa inran sensô. Leta 2001 je s filmom Utrip groze osvojil nagrado kritikov FIPRESCI na festivalu v Cannesu, kjer je pozneje za film Tokijska sonata prejel {e nagrado `irije, za film Kishibe no tabi pa nagrado za najbolj{o re`ijo v sklopu Posebni pogled.

1983 1997 1998 1999 1999 2001 2002 2008 2012 2015 2016 2016

Born in Hyogo Prefecture, Japan, in 1955, Kurosawa worked as an assistant director before making his directing debut with Kandagawa Wars in 1983.

Pulse won the FIPRESCI Prize at Cannes in 2001. At the same festival, Tokyo Sonata 2008 won the Jury Prize and Journey to the Shore the Best Director Award (Un Certain Regard).

re`ija/directed by Kiyoshi Kurosawa scenarij/screenplay Chihiro Ikeda, Kiyoshi Kurosawa, Yutaka Maekawa (roman/ novel) fotografija/cinematography Akiko Ashizawa glasba/music Yuri Habuka monta`a/editing Koichi Takahashi igrajo/cast Hidetoshi Nishijima (Takakura), Yûko Takeuchi (Yasuko), Teruyuki Kagawa (Nishino), Haruna Kawaguchi (Saki), Masahiro Higashide (Nogami), Toru Baba, Ryôko Fujino, Misaki Saisho, Takashi Sasano, Masahiro Toda producenti/producers Hiroshi Fukasawa, Setsuko Sumida, Satoshi Akagi, Satoko Ishida produkcija/production Shochiku Co., Ltd. 4-1-1 Togeki Bldg Tsukiji, Chuo-ku Tokyo, 104–8422, Japan E ibd�shochiku.co.jp & Asmik Ace Entertainment (Japan) format/format DCP, barvni/colour dol`ina/running time 130'

prodaja/world sales Shochiku Co., Ltd. 4-1-1 Togeki Bldg Tsukiji, Chuo-ku Tokyo, 104–8422, Japan E ibd�shochiku.co.jp

Kandagawa inran sensô (Kandagawa Wars) Cure (The Cure/Zdravilo) Ningen gôkaku (Licence to Live) Karisuma (Charisma) Ôinaru gen'ei (Barren Illusions) Kairo (Pulse/Utrip groze) Akarui mirai (Bright Future) Tokyo Sonata (Tokijska sonata) Penance (TV-serija/TV series) Kishibe no tabi (Journey to the Shore) Le secret de la chambre noire (Daguerrotype) Kurîpî: Itsuwari no rinjin (Creepy/Srhljivo)

93

Ekstravaganca Extravaganza

Grave Raw Surovo Julia Ducournau

re`ija/directed by Julia Ducournau scenarij/screenplay Julia Ducournau fotografija/cinematography Ruben Impens glasba/music Jim Williams monta`a/editing Jean-Christophe Bouzy igrajo/cast Garance Marillier (Justine), Joanna Preiss (mama/mother), Laurent Lucas (o~e/father), Ella Rumpf (Alexia), Rabah Nait Oufella (Adrien) producenti/producers Jean des Forets, Julie Gayet, Nadia Turincev produkcija/production Petit Film 8 boulevard de Bonne Nouvelle 75010 Paris, France & Rouge International & Frakas Productions format/format DCP, barvni/colour dol`ina/running time 98'

Nenavadna preobrazba mlade vegetarijanke je me{anica komedije o odra{~anju in grozljivke, skozi katero re`iserka gledalcu pribli`a lik, ki se na prvi pogled zdi po{asten.

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (nagrada FIPRESCI/ FIPRESCI Prize)

Plaha, a nadvse bistra Justine je {tudentka prvega letnika veterine. Kot vsak bruc mora prestati tradicionalni uvodni ritual, a niz divjih in sadisti~nih preizku{enj, kot sta umivanje v `ivalski krvi in zau`itje surovih jeter, spro`i v nedol`ni vegetarijanki usodno preobrazbo. Justine nenadoma za~uti neustavljivo slo po (ne samo `ivalskem) mesu ...

"Od filma Junior sem se ukvarjala s primarno fizi~no preobrazbo svojega glavnega lika ter tudi s prehodom v odraslost in `enskost.

Filmu Surovo sem se odlo~ila dodati eti~no razse`nost te preobrazbe; moralo v neki dolo~eni to~ki preobrniti na glavo, obenem pa obdr`ati gledal~evo so~utje. To me je pri pisanju scenarija postavilo pred zanimiv izziv, saj gledalca ni preprosto prepri~ati, da sprejme nekaj, kar sprva izrecno zavra~a. Zato sem razmi{ljala o treh tabujih ~love{tva: incestu, umoru in kanibalizmu, zdelo se mi je, da tretji odli~no sovpada z duhom mojega raziskovanja telesa, njegove preobrazbe in odpiranja. In tako se je razvilo nekaj tako skrajnega!" (Julia Ducournau)

Francija, Belgija France, Belgium 2016

Blending coming-of-age comedy and horror film, Raw focuses on the startling metamorphosis of a vegetarian, warming our hearths to the character that we initially find abhorrent.

Shy yet extremely smart Justine is a first-year student of veterinary medicine. In keeping with the tradition, freshmen have to go through an initiation ritual, and the succession of savage and sadistic ordeals, including immersion in animal blood and consumption of raw liver, brings about a profound transformation in the innocent vegetarian. Suddenly, Justine is overcome by the insatiable lust for (not exclusively animal) meat.

"Since Junior, I'd been working on the primarily physical metamorphosis of my main character, but also her transition to adulthood and femininity. In Raw, I decided to add an ethical dimension to this metamorphosis; to turn morals on their head at some point in the film, whilst retaining the viewer's empathy. That presented me with an interesting challenge as a screenwriter, because it's not easy to get the viewer to accept something they all-out reject at first glance. So I thought about what I consider mankind's three taboos: incest, murder and cannibalism, and I thought the third went well with the spirit of my work on the body, its metamorphosis and its opening up.

And that's how I ended up with something so extreme!"

(Julia Ducournau)

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E obarbier�wildbunch.er

Julia Ducournau

filmografija/filmography

Rojena leta 1983 v Franciji. Na pari{ki filmski {oli La Fémis je {tudirala scenaristiko. S kratkim prvencem Junior je leta 2011 vzbudila pozornost `irije v Cannesu, njen celove~erni prvenec Surovo pa je bil letos na tem presti`nem filmskem festivalu uvr{~en v sklop International Critics' Week.

2011 Junior (kratki/short) 2016 Grave (Raw/Surovo)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

Born in 1983 in France, Ducournau studied screenwriting at the La Fémis Film School in Paris. Her first short film, Junior, came to the notice of the jury at the 2011 Cannes Film Festival, and her feature-film debut, Raw, was screened in the International Critics' Week section at this prestigious festival.

94

Ekstravaganca Extravaganza

À la recherche de l'ultra-sex In Search of the Ultra-Sex Ultra-seks je izginil!

Nicolas Charlet, Bruno Lavaine

Francija France 2015 re`ija/directed by Nicolas Charlet, Bruno Lavaine scenarij/screenplay Nicolas Charlet, Bruno Lavaine glasba/music Jean Croc monta`a/editing Nicolas Charlet, Bruno Lavaine glasova/voices Nicolas Charlet, Bruno Lavaine producenta/producers David Frenkel, Arno Moria produkcija/production Synecdoche 129 rue de Turenne 75003 Paris, France E david�synecdoche.fr format/format DCP, barvni/colour dol`ina/running time 60' festivali/festivals Crossing Europe 2015, Fantastic Fest Austin 2015

Domiseln kola` posnetkov iz ve~ kot stotih pornografskih filmov sedemdesetih in osemdesetih let prej{njega stoletja, ki s komi~nim posegom avtorjev dobi pridih medgalakti~ne znanstvenofantasti~ne avanture.

A twisted journey into the archives of golden-age porn, the funny, off-the-wall collage of excerpts from over a hundred 1970s and 80s porn movies acquires the dimensions of an intergalactic science-fiction adventure.

Skupina astronavtov s svoje vesoljske ladje s strahom opazuje, kako se po Zemlji {iri nenavadna epidemija, zaradi katere vse prebivalstvo podle`e neustavljivi spolni sli. Medtem ko astronavti sku{ajo ugotoviti, kje ti~i razlog za to nenavadno bolezen, se nam razodene stra{ljiva resnica: univerzalna seksualna matrica, imenovana "ultraseks", je izginila neznano kam. Medtem ko astronavti i{~ejo izgubljeno matrico, da bi re{ili svoj ljubljeni planet, pa na Zemlji divja brezkompromisna orgija.

Somewhere above Earth, a group of astronauts watch in horror as a global pandemic fills everyone on Earth with endless lust. As the astronauts desperately try to understand the reason behind this sudden illness, the horrifying truth is revealed: The sexual matrix of the Universe known as Ultra Sex has gone missing!

Now the astronauts have one chance to discover exactly where the matrix has been taken to in order to save their beloved planet, while a wild orgy continues endlessly, threatening the sanity of all people on Earth.

"Film odstira pogled v najbolj skrite koti~ke tega filmskega `anra, ki je v resnici zelo nepoznan – gre za nekak{no hollywoodsko predsobo, kjer so filmski ustvarjalci v pri~akovanju preboja eksperimentirali z vsem mogo~im. Povsem nebrzdana svoboda re`ijskih zamisli se odra`a tako v dogajanju kot tudi v od{tekanem dekorju." (Nicolas Charlet in Bruno Lavaine)

"Our film affords an insight into the hidden corners of this actually little known genre – a Hollywood antechamber of sorts, in which filmmakers seeking breakthrough experimented with everything under the Sun. The totally unbridled freedom of directorial ideas reflects both in the situations and offbeat decor." (Nicolas Charlet and Bruno Lavaine)

Nicolas Charlet, Bruno Lavaine

filmografija (izbor)/filmography (selection)

Re`iserjema, igralcema in scenaristoma, ki `e od za~etka poklicne poti ustvarjata v tandemu, je preboj v filmski svet uspel s serijo ske~ev z naslovom Message à caractère informatif, ki sta jih posnela za televizijsko postajo Canal+. Napisala sta tudi scenarije za ve~ celove~ernih filmov, med drugimi tudi za film po literarni predlogi Frédérica Beigbederja, 99 Francs.

2008 La Personne aux deux personnes (Me Two) 2013 Le grand méchant loup (The Big Bad Wolf) 2015 À la recherche de l’ultra-sex (In Search of the Ultra-Sex/ Ultra-seks je izginil!)

2015 What We Do in the Shadows (francoska verzija/French version)

prodaja/world sales prodaja/world sales Synecdoche 129 rue de Turenne 75003 Paris, France E david�synecdoche.fr

A French comedy duo, film directors, screenwriters and actors, Charlet and Lavaine have asserted themselves with a series of comedy acts, Message à caractère informatif, made for Canal+. Their credits include screenplays for several feature films, including the cinematic adaptation of Frédéric Beigbeder's novel, 99 francs.

95

Ekstravaganca Extravaganza

Free Fire Free Fire Kon~ni obra~un Velika Britanija Great Britain 2016

Ben Wheatley re`ija/directed by Ben Wheatley scenarij/screenplay Amy Jump, Ben Wheatley fotografija/cinematography Laurie Rose glasba/music Geoff Barrow, Ben Salisbury monta`a/editing Amy Jump, Ben Wheatley igrajo/cast Sharlto Copley (Vernon), Armie Hammer (Ord), Cillian Murphy (Chris), Michael Smiley (Frank), Brie Larson (Justin), Jack Reynor (Harry), Sam Riley (Stevo), Noah Taylor (Gordon), Babou Ceesay (Martin), Enzo Cilenti (Bernie) producent/producer Andy Starke produkcija/production Film4 Productions 124 Horseferry Road London SW1P 2TX, UK info�film4.com & Protagonist Pictures & Rook Films format/format DCP, barvni/colour dol`ina/running time 90' festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 2016 (nagrada ob~instva/ People’s Choice Award)

Brezkompromisen, s ~rnim humorjem za~injen retro strelski obra~un med preprodajalci oro`ja v sodobni britanski "krimi" maniri.

In Free Fire, an uncompromising British dark crime comedy, a disagreement turns into a full-on shootout between firearm dealers.

Boston v poznih sedemdestih. Odlo~na Justin v zapu{~enem skladi{~u organizira ilegalno prodajo oro`ja med pripadnikoma IRE in organizirano tolpo, ki jo vodita nasilne`a Vernon in Ord. Dokaj obi~ajen posel se po nepri~akovanem strelu nenadoma spremeni v peklenski ognjemet. Krogle kot za stavo fr~ijo sem ter tja in vsi vpleteni se trudijo odnesti celo ko`o – pa tudi svoj del plena ...

Boston, late 1970s. The unbending Justine has brokered a gun deal in an abandoned warehouse between IRA men, and gun dealers Vernon and Ord. Everything seems to be going smoothly – until shots are fired during the handover and pandemonium ensues, the warehouse erupting in a barrage of gunfire. The explosive and chaotic battle escalates to a bloody game of survival where everyone left alive is trying to escape with a bag of money.

"Hotel sem ustvariti akcijski film bolj po ~love{ki meri. /.../ V policijskih poro~ilih sem bral, kako je videti pravi strelski obra~un in kako nor je lahko. Kako nih~e ni~esar ne zadane. V poro~ilih pi{e, da so ameri{ki policisti izstrelili dvesto krogel ... in vse so zgre{ile! ^e se tar~a vsaj malo premika, je ne more{ zadeti. /.../ V zgodbi se prodaja oro`ja ponesre~i in vsi se za~nejo silovito streljati med seboj, zatem pa so vsi na tleh. Preostanek filma pa se spra{uje: Kaj storijo zatem?" (Ben Wheatley)

prodaja/world sales Protagonist Pictures 42–48 Great Portland Street London W1W 7NB, UK E info�protagonistpictures.com distribucija/distribution Continental film d.o.o.

Cvetkova ulica 1 1000 Ljubljana E video�continentalfilm.si

Ben Wheatley

filmografija/filmography

Rojen leta 1972 v Billericayu v Essexu (VB). Je eden najprodornej{ih britanskih filmskih ustvarjalcev, navdihnjen z opusom Guya Ritchieja in Quentina Tarantina. Njegove izrazito `anrske filme prevevata morbidna ironija in nasilje, pogosto pa tudi anarhi~en pristop k zgodbi. Kot re`iser in scenarist ustvarja v tesni navezi z `eno Amy Jump.

2009 2011 2012 2013 2014 2015 2016

Born in 1972 in Billericay, Essex, England. Wheatley, whose references include Guy Ritchie and Quentin Tarantino, is one of the most exciting filmmakers working in British cinema today. His films, often written and edited with his wife Amy Jump, take on genre topics with a morbidly ironic tone and, frequently, an anarchic approach to story.

96

"I wanted to make an action movie that was more on a human scale. /.../ I began reading about what an actual gunfight is like from police transcripts and reports, and how crazy it is. How no one can hit anything. You see these reports that say that American cops fired 200 bullets... and they all missed! Because if anything is even slightly moving, you can't hit it. /.../ And in the story the gun deal goes wrong and they all start blazing away at each other, and then they're all on the ground. And the rest of the film is: what do they do next?” (Ben Wheatley)

Down Terrace Kill List Sightseers A Field in England Dr. Who (TV-serija/TV series) High-Rise Free Fire (Kon~ni obra~un)

Kinobalon Kinobalon

Ted Sieger's Molly Monster – Der Kinofilm Molly Monster Po{ast Moli Matthias Bruhn, Michael Ekbladh, Ted Sieger

za otroke od 4. leta for children aged 4+ sinhroniziran v sloven{~ino dubbed into Slovenian

[vica, Nem~ija, [vedska Switzerland, Germany, Sweden 2016 re`ija/directed by Matthias Bruhn, Michael Ekbladh, Ted Sieger scenarij/screenplay John Chambers glasba/music Annette Focks monta`a/editing Melanie Hartmann producenti/producers Michael Ekbladh, Richard Lutterbeck, Elena Pedrazzoli, Tania Reichert-Facilides produkcija/production Little Monster GmbH Mühlebachstrasse 113 CH – 8008 Zürich, Switzerland E jb921�bluewin.ch format/format DCP, barvni/colour dol`ina/running time 70' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2016, [anghaj/ Shanghai 2016 (najbolj{i animirani celove~erec/Best Animated Feature)

Film prikazuje otrokove ob~utke ob prihodu novega dru`inskega ~lana, navezanost na dru`ino in domi{ljijsko potovanje. Prava dogodiv{~ina s perspektive majhnega otroka.

Exploring a child's feelings of apprehension at the birth of a sibling, and family attachment, Molly Monster celebrates the rich world of imagination. A make-believe adventure from the perspective of a small child.

Po{ast Moli odra{~a v ljube~i po{astni dru`ini z o~kom, mamico in malim prijateljem Edisonom. Pri~akujejo pa tudi novega ~lana.

Moli komaj ~aka, da se izvaljeno jajce odpre in iz njega pokuka bratec ali sestrica. Mama in o~e se odpravita na Jaj~ni otok, kjer morata po po{astnih pravilih pri~akati novega dru`inskega ~lana. Toda s seboj pozabita vzeti kapo, ki jo je zanj spletla Moli.

Da se mladi~ ne bi prehladil, mora Moli za njima. Odpravi se na napeto, barvito potovanje ~ez hribe in doline, mimo `ge~kljivcev in puhajo~ih grmi~kov.

Molly Monster can hardly wait till the monster baby finally emerges from its egg. After all, she's never had a younger sibling that she could play with and cuddle and share everything with.

But first Molly's parents have to go off to Egg Island to wait for the new arrival to hatch. That's the place where all the monsters are born. Annoyingly, they forgot Molly's gift for the baby, so she has to get on their trail quickly. Full of fantasy, a fable about an incredible journey across mountains, canyons and seas.

"Pa pre{tejmo … vsaka sekunda filma ima 24 sli~ic, vsaka minuta pa 1440. Film traja 70 minut, torej vsebuje ve~ kot 100.000 sli~ic.

Vsaka od teh sli~ic pa je zahtevala ve~ risb – risbe likov, risbe detajlov, ozadij, ki smo jih zdru`ili kot razli~ne plasti ene slike. ~e pre{tejemo vse te risbe in zraven {e nize skic (storyboarde), smo ustvarili ve~ kot milijon risb!"

(Matthias Bruhn)

"Let's count... each second has 24 images, and each minute1440.

The film lasts 70 minutes, so this means over 100,000 images.

Each of these images implied several drawings – drawings of characters, of details, backgrounds, which were blended as different layers of one drawing. Counting all these as well as the storyboards, we have created over one million drawings!"

(Matthias Bruhn)

Matthias Bruhn, Michael Ekbladh, Ted Sieger

filmografija (izbor)/filmography (selection)

M. B.: Rojen leta 1962. [tudiral je grafi~no oblikovanje v Düsseldorfu. Od leta 1992 kot re`iser in animator ustvarja v studiu Lutterbeck v Kölnu.

Born in 1962. Studied graphic design in Düsseldorf. Has worked since1992 in the Lutterbeck Studio Cologne as filmmaker and animator.

Fivia d.o.o.

M. B.: Prelo`nikova 1 1994 Une bonne journée (kratki/short) 3212 Vojnik 2004 Marias kleiner Esel (TV-serija/TV Series) E cenex�siol.net 2008 Post! (kratki/short) 2016 Ted Sieger's Molly Monster – Der Kinofilm (Molly Monster/Po{ast Moli) M. E.: 2004 Derrick – Die Pflicht ruft!

2009 Die kleine Monsterin (TV-serija/TV Series) 2010 The Mighty Hunter (kratki/short) 2016 Ted Sieger's Molly Monster – Der Kinofilm (Molly Monster/Po{ast Moli) T. S.: 1991 Jean-Claude des Alpes (kratki/short) 2006 The Fourth King (kratki/short) 2009 Die kleine Monsterin (TV-serija/TV Series) 2016 Ted Sieger's Molly Monster – Der Kinofilm (Molly Monster/Po{ast Moli) 99

M. E.: Rojen leta 1958 na [vedskem. [tudiral je animacijo in vizualno umetnost v Kanadi. Kot re`iser, animator in oblikovalec deluje od leta 1985.

Born in 1958 in Sweden. Studied animation and visual art in Canada. Has worked as director, animator and designer since 1985.

T. S.: Rojen 1958 v ^ilu, `ivel v Peruju, Avstraliji in [vici. Poznamo ga kot avtorja animiranih filmov, re`iserja, producenta, celo skladatelja.

Born in 1958 in Chile, has lived in Peru, Australia and Switzerland. Animation filmmaker, director, producer, composer.

distribucija/distribution

Kinobalon Kinobalon

Siv sover vilse Siv Sleeps Astray Prespati pri prijateljici

za otroke od 6. leta for children aged 6+ v {ved{~ini s slovenskimi podnapisi in Swedish with Slovenian subtitles

Catti Edfeldt, Lena Hanno

[vedska, Nizozemska Sweden, The Netherlands 2016

re`ija/directed by Catti Edfeldt, Lena Hanno scenarij/screenplay Lena Hanno, Thobias Hoffmén fotografija/cinematography Gabriel Mkrttchian glasba/music Merlijn Snitker monta`a/editing Christer Furubrand igrajo/cast Astrid Lövgren (Siv), Lilly Brown (Cerisia), Henrik Gustafsson (o~e/ father Nils), Sofia Ledarp (mama/ mother Alva), Barry Atsma (o~e/ father Bastiaan), Valter Skarsgård (Elme), Annemarie Prins (babica/ grandmother) producenti/producers Lena Hanno, Petter Lindblad, Marleen Slot produkcija/production Snowcloud Films AB Swedenborgsgatan 28 118 27 Stockholm, Sweden E contact�snowcloud.se format/format DCP, barvni/colour dol`ina/running time 79'

Predbo`i~na pravljica o deklici Siv v ~ude`ni de`eli. festivali, nagrade (izbor)/ festivals, awards (selection) Berlin Generation K+ 2016, BUFF Malmö 2016, Stockholm Junior 2016, Kristiansand CFF 2016, Zlin 2016

Za~etek decembra je, na severu [vedske je vse pobeljeno.

Sedemletna Siv z jezikom lovi sne`inke, ko zagleda ro`nati pla{~, ki se mo~no razlikuje od drugih. To je Cerisia, nova so{olka, ki se druga~e obla~i in ima o vsaki stvari ~isto svoje mnenje. Siv je presre~na, ko jo Cerisia povabi, da prespita v njenem domu. Tako bi postali prijateljici! Toda Cerisiin dom ni najbolj obi~ajen, zlasti ~e se po njem sprehaja{ pono~i. Govore~a jazbeca z rde~imi {kornji, sprehajajo~a se zebra in jelen, pasji hrt s ~udno kepico na glavi in star{a, ki sredi no~i jesta jagodno torto. Svet pa se lahko hitro pomanj{a – ali pove~a …

"Se spomnite, ko ste prvi~ prespali pri prijatelju? Ves svet se je malce zamaknil. Vse, kar se vam je zdelo normalno, se je izkazalo za druga~no. Vonjave, rjuhe, hrana, pohi{tvo, pogovori. Morda je {lo za va{e prvo sre~anje z ne~im Zares druga~nim. Film Prespati pri prijateljici pripoveduje o tem sre~anju, kako ti lahko svet preobrne na glavo, vendar je obenem lahko tudi zelo vznemirljivo.

Dogodiv{~ina, ki jo nosi{ s sabo do konca `ivljenja."

(Catti Edfeldt, Lena Hanno)

prodaja/world sales Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

A Christmas story about Siv and her amazing adventures in wonderland.

Early December, Sweden is covered in snow. Seven-year-old Siv is catching snowflakes with her tongue when she spots a peculiar pink coat. It's Cerisia's. The newcomer wears eccentric clothes and has a subjective opinion about everything. Siv's first night sleeping over at Cerisia's place turns out to be a magical one. In the early evening, many things are already beginning to seem odd, the exotic food, all of the animals... At night though, the unfamiliar flat really starts to become a realm full of secrets. There is spooky and puzzling stuff waiting to be discovered behind every door. Talking badgers wearing red boots, a wandering zebra and stag, a greyhound sporting a peculiar cap and Cerisia's parents eating strawberry cake in the middle of the night. The world is seen anew, either shrunk or magnified...

"Do you remember the first time you slept over at a friend's house? The whole world shifted a bit. Everything you thought was normal turned out to be not the same. The smells, the sheets, the food, the furniture, the conversations. Maybe it was your first meeting with something Really Different. Siv Sleeps Astray is a story about this meeting, how it can turn your world upside down, but also be very exciting. An adventure that you carry with you for the rest of your life."

(Catti Edfeldt, Lena Hanno)

Catti Edfeldt, Lena Hanno

filmografija (izbor)/filmography (selection)

C. E.: V filmski industriji je `e od osmega leta, ko se je preizkusila kot otro{ka igralka. Do danes je zre`irala dve TV-seriji in tri ve~krat nagrajene celove~erce za otroke.

Edfeldt has been in the film business a long time, starting as an 8-year-old child actor. She has directed two TV-series and three award-winning features for children.

C. E.: 1994 Sixten (Dancing Feet) 2001 Eva & Adam – Fyra bröllop och ett fiasko (Eva & Adam – Four Birthdays and a Fiasco) 2006 Förortsungar (Kidz in the Hood) 2016 Siv sover vilse (Siv Sleeps Astray/Prespati pri prijateljici) L. H.: 1996 Itsider (kratki/short) 2004 Falla Vackert (Falling Beauty) 2016 Siv sover vilse (Siv Sleeps Astray/Prespati pri prijateljici)

L. H.: Uspe{no pot je za~ela kot gledali{ka re`iserka, potem pa se je za~ela ukvarjati s filmom. Leta 2012 je na {oli za dramske umetnosti v Stockholmu magistrirala iz otro{kega filma.

Hanno began her career as a theatre director, and continued with cinema.

She received an MA in children's film from the StDH (Stockholm School of Dramatic Arts) in 2012.

100

Kinobalon Kinobalon

Zipi y Zape y la Isla del Capitán Zip and Zap and the Captain's Island Zipi in Zap in kapitanov otok

za otroke od 6. leta for children aged 6+ v {pan{~ini s slovenskimi podnapisi in Spanish with Slovenian subtitles

[panija Spain 2016

Oskar Santos

re`ija/directed by Oskar Santos scenarij/screenplay Jorge A. Lara fotografija/cinematograhpy Daniel Sosa glasba/music Fernando Velázquez monta`a/editing Carolina Martínez Urbina igrajo/cast Elena Anaya (Pam), Teo Planell (Zipi), Toni Gómez (Zap), Ana Blanco de Córdova (Pippi), Iria Castellano (Flecky) producenti/producers Fernando Bovaira, Francisco Ramos, Mikel Lejarza, Mercedes Gamero, Koldo Zuazua produkcija/production Mod Producciones Paseo de la Habana 12 2d Madrid 28036, Spain E info�modmedia.es format/format DCP, barvni/colour dol`ina/running time 100'

Fantasti~na pustolov{~ina na samotnem otoku.

A fantasy adventure on a deserted island.

Bo`i~ se bli`a in dvoj~ka Zipi in Zap uspeta se`gati bo`i~no jelko v trgovini igra~. Za po~itnice sledi kazen: stroga star{a ju odpeljeta na neznani otok, kjer se povsem nepri~akovano znajdejo v hi{i nenavadne gospodi~ne Pam. Z njo `ivijo tudi otroci brez star{ev, ki u`ivajo v `ivljenju brez pravil. Zdi se, da sta na{la raj na Zemlji!

Toda naslednji dan njuna star{a skrivnostno izgineta. S prijatelji odkrijejo skrivnosti laboratorij, kjer odrasle spreminjajo v otroke!

Christmas is coming and twins Zip and Zap manage to set fire to a toy shop Christmas tree. They have to endure punishment on their school break: their stern parents take them to a remote island where they find themselves in the house of the curious Miss Pam. She shelters parentless children who enjoy their unrestricted freedom. The twins have found Heaven on Earth!

However, the very next day their parents disappear in mysterious circumstances. The twins and their friends discover a clandestine laboratory where adults are turned back into children!

"^e sem iskren, sem film naredil preprosto zato, ker imam rad akcijo. In zaradi istoimenskega stripa, ki je deloval zelo dobro.

Avanturisti~ni filmi so polni ponavljanj in gegov, zgodbe pa niso ravno igrive. Zip in Zap pa mislim, da ujameta duha Barta Simpsona, ki se podaja vedno v nove dogodiv{~ine. V glavi so se mi nakopi~ile {e {tevilne druge filmske in literarne reference iz osemdesetih." (Oskar Santos)

"To be quite honest I made the film simply because I like action movies. And because of the eponymous comic book that made a good impression. There are adventure films full of repetition and gags, but the plots are not exactly playful. I believe that Zip and Zap capture the spirit of Bart Simpson, who's always ready for the next adventure. My head was filled with numerous other cinematic and literary references from the 1980s." (Oskar Santos)

Oskar Santos

filmografija (izbor)/filmography (selection)

Rojen leta 1972 v Bilbau, [panija. S svojimi filmi se redno uvr{~a na pomembne mednarodne festivale. Film Zipi in Zap in kapitanov otok je njegov tretji celove~erec.

2000 2004 2005 2010 2013 2016

Born in 1972 in Bilbao, Spain, Santos' films regularly screen at major international festivals. Zip and Zap and the Captain's Island is his third feature film.

festivali, nagrade/festivals, awards Giffoni 2016 (posebna omemba `irije/Special Mention of the Jury)

Torre (kratki/short) El soñador (kratki/short) Un viaje mar adentro (dok./doc.)

El mal ajeno Zipi y Zape y el club de la canica (Zip and Zap and the Marble Gang) Zipi y Zape y la Isla del Capitán (Zip and Zap and the Captain's Island/ Zipi in Zap in kapitanov otok)

101

Kinobalon Kinobalon

Pojdi z mano Come Along Pojdi z mano

za otroke od 9. leta for children aged 9+ v sloven{~ini in Slovenian

Slovenija Slovenia 2016

Igor [terk re`ija/directed by Igor [terk scenarij/screenplay Igor [terk, Du{an ^ater fotografija/cinematography Milo{ Srdi} glasba/music Jura Ferina, Pavao Miholjevi} monta`a/editing Peter Markovi} igrajo/cast Ivan Vastl (Manc), Mak Tep{i} (Oto), Ronja Matijevec Jerman (Mina), Matija David Brodnik ([pur~) producentka/producer Petra Vidmar produkcija/production A.A.C. Productions Valvasorjeva ulica 10 1000 Ljubljana T +386 412 737 46 format/format DCP, barvni/colour dol`ina/running time 83' festivali, nagrade/ festivals, awards FSF Portoro` 2016, Cinekid Amsterdam 2016

Topla in napeta zgodba o odra{~anju, ljubezni, prijateljstvu in juna{tvu, ki nam izvirno postavlja vpra{anje, kaj se zgodi, ko v dana{njem svetu odpove tehnologija.

The warm and suspense-ridden story about coming of age, love, friendship and bravery and an original look at the situation that arises when technology stops working.

Zgodba o {tirih trinajstletnikih, ki se v iskanju najbolj{e fotografije za {olski nate~aj iz doma~ega urbanega okolja odpravijo v njim povsem tuj pode`elski svet. Pot jih zanese v odro~ne hribe, kjer se na videz preprosto fotografiranje naravnih lepot spremeni v boj za golo pre`ivetje. Tja jih popelje Manc, ki mu grozi izklju~itev iz {ole zaradi domnevne tatvine. Sam bi predvsem rad podo`ivel otro{tvo, ki ga je v tistih hribih pre`ivel z dedkom. Pridru`ijo se mu so{olci Mina, Oto in [pur~. Mina, razvajena h~i igralke in dirigenta, se v tujem okolju prva zlomi, ob strani pa ji stoji Oto, preudaren fant, ki je vanjo zaljubljen. V neobljudenem svetu se tudi [pur~, sin premo`nega avtoli~arja, spremeni v strahopetnega razvajenca in na koncu je prav Manc tisti, ki jih varno vodi domov.

Eager to take an original photo for their school competition, four thirteen-year-olds leave their familiar urban environment and head out on an expedition to the countryside. In the remote hills, the seemingly innocent photo-session turns into a struggle for survival. The expedition is headed by Manc, a boy who is facing expulsion for being suspected of theft. For him this is a chance to relive the childhood he spent in these hills with his grandfather.

Manc is joined by his friends Mina, Oto and [pur~. Mina, the pampered daughter of an actress and conductor, is the first to break down in the foreign environment, and is comforted by the infatuated Oto. In this desolate world even [pur~, son of a wealthy auto body repairman, turns into a cowardly brat. In the end, it is Manc who safely takes them home.

"Moja `elja je bila narediti v osnovi res dober mladinski film, a vendar tak{en, da bi ga z veseljem gledale vse generacije. Imeli smo sre~o, da smo odkrili {tiri res izjemne mlade igralce, ki ponesejo film in ob katerih njegova zgodba res o`ivi. Pre~esali smo celo dr`avo in film posneli na spektakularnih prizori{~ih ter tako pokazali Slovenijo, kot je {e nismo videli." (Igor [terk)

distribucija/distribution Fivia d.o.o.

Prelo`nikova 1 3212 Vojnik E cenex�siol.net

"It was my desire to basically make a really good children's film, but one that would appeal to all generations. We were lucky to find four truly extraordinary young actors that carry the film and make the story truly come alive. We have searched high and low for spectacular locations and have managed to show Slovenia from an original new angle." (Igor [terk)

Igor [terk

filmografija/filmography

Rojen leta 1968 v Ljubljani. Diplomiral je na AGRFT. Za svoj prvi celove~erni film Ekspres, ekspres je prejel 15 mednarodnih nagrad. Njegovi filmi se redno uvr{~ajo v tekmovalne programe pomembnih mednarodnih festivalov; Pojdi z mano je uvr{~en v glavni tekmovalni program festivala Cinekid v Amsterdamu, enega najpomembnej{ih filmskih festivalov, namenjenih otro{kim in mladinskim filmom.

1989 1991 1997 2002 2005 2008 2009 2016

Born in 1968 in Ljubljana, [terk graduated from the Academy of Theatre, Radio, Film and TV Ljubljana. His feature-film debut, Express-Express, won as many as 15 international wards. His films regularly screen in competitive sections of major international festivals; Come Along entered the main competition programme at CINEKID in Amsterdam, one of the most prominent children’s film festivals.

102

Razglednice (Postcards) (kratki/short) One Way Ticket (kratki/short) Ekspres, ekspres (Express-Express) Ljubljana Ugla{evanje (Tuning) Every Breath You Take (kratki/short) 9:06 Pojdi z mano (Come Along)

Kinobalon Kinobalon

Jamais contente Miss Impossible Gospodi~na Nemite`it Emilie Deleuze

za otroke od 11. leta for children aged 11+ v franco{~ini s slovenskimi podnapisi in French with Slovenian subtitles)

Francija France 2016

re`ija/directed by Emilie Deleuze scenarij/screenplay Emilie Deleuze, Marie Desplechin, Laurent Guyot fotografija/cinematography Jeanne Lapoirie glasba/music Olivier Mellano monta`a/editing Frédéric Baillehaiche igrajo/cast Léna Magnien (Aurore), Patricia Mazuy (Patricia), Philippe Duquesne (Laurent), Catherine Hiegel (Agathe), Alex Lutz (Sébastien Couette) producent/producer Patrick Sobelman produkcija/production Agat Films & Cie Paris, France E international�docandfilm.com format/format DCP, barvni/colour dol`ina/running time 90'

Aurore je stara trinajst let in precej nesre~na. Na `ivce ji gredo njeni star{i, sestri, so{olci in fantje v rockovskem bendu, v katerem poje ~udne komade in se obla~i v {e bolj ~udne obleke. Je mogo~e osebno psihodramo spremeniti v kaj bolj pozitivnega? Najstni{ka komedija, ki osvaja nagrade na festivalih v tujini.

Te`ko je biti star trinajst let in Aurore to izku{a prav vsak dan.

O~itajo ji, da je trmasta, kljubovalna in jezikava, a ona ima le izdelane poglede na svet. In kar naprej od nje nekaj pri~akujejo.

Star{a, da ima dobre ocene kot njena mlaj{a sestrica ali pa da je lepa in priljubljena kot starej{a. U~itelj franco{~ine, da bere zastarele debele knjige. Prijateljica, da ji je v vsem uslu`na. Da o fantih ne govorimo. Povabijo jo, da poje z njimi v glasbeni skupini, potem pa tik pred nastopom podvomijo v njen slog obla~enja in se ji drznejo deliti nasvete. A na sre~o se Aurore ne da tako zlahka. "^eprav splo{no ob~utenje filma ne pu{~a dvoma, ali gre za komedijo, moj namen ni, da bi se smejali junakinji, temve~ z njo. Samo s ~im bli`jim prikazom Aurore – njenega posmeha, sarkazma kot tudi krutosti in v~asih pristne panike – sem lahko upodobila njeno zabavnost. Skorajda kot bi bila Olio njenemu Stanu in igrala 'resno faco' njeni od{tekani komiki za pritegnitev ob~instva." (Emilie Deleuze)

Thirteen-year-old Aurore is rather miserable. Fed up with her parents, sisters, schoolmates and the weird rock band she has just joined. Can a psycho-trip turn into something positive? An award-winning teen comedy.

It's tough being thirteen and doesn't Aurore know it. Everyone thinks she’s headstrong, spiteful and impertinent, when she just has uncompromising views. And people have high expectations.

Her parents expect her to be a brainiac like her little sister and to be beautiful and popular like her older one. Her French teacher wants her to broaden her literary horizons. Her girlfriend to be obliging. To say nothing about the boys. They first invite her into their band and just before going on stage dare to offer unsolicited advice on her clothes. But Aurore is not one to be tampered with.

festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2016 (posebna omemba v sklopu Generation Kplus/Special Mention Generation Kplus), CinéJeune de l'Aisne 2016, Evropska nagrada mladega filmskega ob~instva 2016/Winner of the European Young Audience Award 2016

"Although the overall tone leaves no room for doubt that this is comedy, my intention is not to laugh at, but to laugh with.

Only by staying as close as possible to Aurore – her derision, causticity, as well as cruelty and genuine panic sometimes – was I able to capture how funny she is. Almost as if I were playing 'straight man' to her offbeat comic working the audience."

(Emilie Deleuze)

Emilie Deleuze

filmografija (izbor)/filmography (selection)

Na {oli La Fémis v Parizu je {tudirala re`ijo. Njen celove~erni prvenec Peau Neuve je na festivalu v Cannesu prejel nagrado FIPRESCI. Posnela je tudi {tevilne filme za televizijo Arte in tudi ve~ kratkih filmov.

1999 Peau Neuve (New Dawn) 2003 Mister V 2015 Jamais Contente (Miss Impossible/Gospodi~na Nemite`it)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Deleuze studied directing at La Fémis in Paris. Her feature-film debut, New Dawn, screened at the Cannes Film Festival and won the FIPRESCI Prize.

She has directed TV films for the Arte, the European Culture Channel, as well as numerous shorts.

103

Kinobalon Kinobalon

Le nouveau The New Kid Novi mulc

za otroke od 11. leta for children aged 11+ v franco{~ini s slovenskimi podnapisi in French with Slovenian subtitles

Francija France 2015

Rudi Rosenberg

re`ija/directed by Rudi Rosenberg scenarij/screenplay Rudi Rosenberg fotografija/cinematography Nicolas Loir glasba/music Pascal Mayer monta`a/editing Julie Lena igrajo/cast Réphaël Ghrenassia (Benoît), Joshua Raccah (Joshua), Géraldine Martineau (Aglaée), Guillaume Cloud-Roussel (Constantin), Johanna Lindstedt (Johanna), Max Boublil (stric/uncle Greg) producenta/producers Eric Juhérian, Mathias Rubin produkcija/production Récifilms 17 rue d'Hauteville Paris 75010, France T +33 1 40 26 18 18 format/format DCP, barvni/colour dol`ina/running time 80’ festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian IFF 2015, Schlingel Chemnitz 2015, Cinekid Amsterdam 2015 (glavna nagrada `irije, nagrada otro{ke `irije/Jury Prize, Children's Jury Prize), Dunaj/Vienna 2015, Zagreb IFF 2015 (nagrada ob~instva/ Audience Award), Sehpferdchen Hannover 2016, BUFF Malmö 2016 (ECFA nagrada/ECFA Award); Ciné-Jeune de l'Aisne 2016, Indie Junior Lisboa 2016 (nagrada ob~instva, nagrada IndieJunior/ Audience Award, IndieJunior Award), Kristiansand CFF 2016, Zlin 2016, Cinema in Sneakers Var{ava/ Warsaw 2016 (posebna omemba/ Special Mention)

distribucija/distribution Demiurg Lome 3 5274 ^rni Vrh E info�demiurg.si

Najstni{ka komedija o sprejemanju druga~nosti in oblikovanju skupin v {oli z vsemi nujnimi sestavinami: humorjem, nor~evanjem, zavezni{tvom s ~udaki in neumnimi vici.

Benoit se zaradi o~etove slu`be iz manj{ega kraja preseli v Pariz.

Mlaj{i brat Nino ima v novi {oli `e veliko prijateljev, Benoit pa je bolj nerodne sorte, zato mu o~e pridiga, da se mora odpreti. @e prvi {olski dan se zameri skupini fantov, ki so v razredu glavni.

Zdaj se mu vsi izogibajo, razen nekaj so{olcev, podobno kot on ozna~enih za ~udake. Ko star{ev ni doma, Benoit po stri~evem nasvetu organizira "najbolj noro zabavo", s katero bi pridobil priljubljenost v razredu in osvojil Johanno, ki mu je v{e~. "@elel sem posneti film z najstniki, ki po~nejo neumnosti.

Spominjam se, da smo v najstni{tvu z mladostnimi prijatelji po~eli popolnoma idiotske stvari. /…/ [e zlasti me zanima ~etrti razred (v Sloveniji osmi, op.). To prehodno leto so razlike v zrelosti u~encev najbolj o~itne. Kljub isti starosti nismo vsi v istem ~olnu: nekateri so {e ~isti otroci, sesajo palec, nosijo {olsko torbico, in drugi, `e pravi najstniki, ki kadijo, prirejajo zabave in se dobivajo s puncami.

Menil sem, da bi zoperstavitev teh dveh svetov ponudila bogate mo`nosti komike." (Rudi Rosenberg)

A teen comedy about embracing diversity and forming social cliques containing all the key elements: humour, derision, teaming up with weirdoes, and lame jokes.

Benoit and his family move to Paris from a small town. Whereas his younger brother Nino has already made friends at school, Benoit's is not so lucky. After failing it with a bunch of cool kids, Benoit falls in with outcasts and geeks. Taking advice from his uncle, Benoit throws "the wildest party of all time", in a last-ditch attempt to win popularity and the heart of Johanna, a girl he likes.

“I wanted to make a film with adolescents who did stupid stuff.

My memories of being a teenager and having friends is of doing stuff that was completely idiotic. /…/ It's specifically the 4th year which interests me. It's a transitional year when the contrast between the maturity of the pupils is most obvious. Where, despite the age, we are not all in the same boat: there are those who are still clearly children, who suck their thumb, carry their schoolbag, and the others who have become real teenagers, who smoke, organise parties and go out with girls. I thought that the confrontation between these two worlds would offer rich comic territory.” (Rudi Rosenberg)

Rudi Rosenberg

filmografija (izbor)/filmography (selection)

Rojen leta 1979 v Franciji. Pred celove~ernim prvencem Novi mulc je posnel ve~ kot sto oglasov in tri kratke filme, med drugimi ve~krat nagrajeni film Aglaée. @e od mladih let deluje tudi kot igralec. Navdih jemlje iz svojih najstni{kih let ter iz ameri{kih in francoskih komedij osemdesetih in devetdesetih.

2008 13 ans (kratki/short) 2010 Aglaée (kratki/short) 2015 Le nouveau (The New Kid/Novi mulc)

Born in 1979 in France. Prior to making his feature-film debut, The New Kid, Rosenberg directed over 100 commercials and 3 shorts, including the awardwinning Aglaée. Also works as an actor. He draws inspiration from his teen years as well as American and French comedies of the eighties and nineties.

104

Posve~eno Tribute

Jerzy Skolimowski, zagrizeni nekonformist Jerzy Skolimowski, A Fanatical Nonconformist Simon Popek F. Scott Fitzgerald se je v Zadnjem magnatu znebil znamenite misli, da "v ameri{kih `ivljenjih ni drugih dejanj". Zgodovina je nemalokrat pokazala druga~en obraz, kar lahko z enako suverenostjo trdimo za opus poljskega cineasta Jerzyja Skolimowskega (r. 1938). Potem ko je s prvimi filmi v sredini {estdesetih let silovito sooblikoval poljski novi val, prebegnil na Zahod, kjer je ustvarjal tako v Zahodni Evropi kot v ZDA, se je v za~etku devetdesetih let – tudi zaradi slabih produkcijskih pogojev in slabega mnenja o svojih zadnjih filmih – "samoukinil" in naslednjih sedemnajst let posvetil (poleg boksa, poezije in dramatike) svoji drugi strasti, slikarstvu.

Vrnil se je leta 2009, ne kot upehani veteran, temve~ kot igrivi, vitalni in neverjetno energi~ni avtor, ~igar zadnje tri filme, [tiri no~i z Anno (2009), Nujno ubijanje (2010) in 11 minut (2015) – vsi so bili prikazani na Liffu – bi prej kot avtorju z dolgo kilometrino pripisali razigranemu 25-letniku, ki se {ele ho~e dokazati.

Skolimowskemu v ~asu druge pomladi ni bilo treba ni~esar dokazovati, velja za enega najpomembnej{ih in nepopustljivih poljskih cineastov, ~eprav nikoli ni do`ivel {iroke mednarodne prepoznavnosti, ki mu priti~e; morda tudi zato, ker je od za~etka kariere nihal med nacionalnim in kozmopolitskim ter nazadnje ostal brez pravega priznanja v obeh okoljih.

Njegov `ivljenjepis se bere kot razburljiv film; tik pred okupacijo je bil rojen v Lod`u, med vojno je komaj pre`ivel pod ru{evinami hi{e, ki je zgrmela nanj, o~eta so ubili nacisti, konec vojne je pri~akal v siroti{nici. V gimnazijskem ~asu je mami diplomatki sledil v Prago, kjer je {olske klopi gulil z Vaclavom Havlom, Milo{em Formanom in Ivanom Passerjem, bil izklju~en, se vrnil v domovino, kjer je sredi petdesetih let nekaj ~asa polprofesionalno boksal, pa sklenil poklicno pot in objavil ve~ pesni{kih zbirk, nato pa za Andrzeja Wajdo sopodpisal scenarij za Nedol`ne ~arodeje (1960), Romanu Polanskemu pa za No` v vodi (1962), kar mu je odprlo vrata filmske akademije v Lod`u … kjer se ni zadovoljil s kratkim metrom, temve~ je var~eval s filmskim trakom ter v {tirih letih {tudija po ko{~kih kon~al celove~erni prvenec Posebna znamenja: nobeno (1965), s katerim je za~el serijo napol avtobiografskih filmov, v katerih je pove~ini sam zasedal glavne vloge, z drznim slogovnim podpisom pa popisal frustracije sodobne mladine v povojni socialisti~ni Poljski.

Skolimowski je postal specialist za adolescentno tematiko, kar je z uspehom prenesel tudi v nekatere filme ob ustvarjanju na Zahodu (npr. Globina, tudi Le Départ). Ker se ob filmu Roke kvi{ku! (1967) ni `elel ukloniti ukazom cenzorjev, je film romal v bunker, Skolimowski ga je kon~al {ele leta 1981, po dvigu Solidarnosti in rahli otoplitvi politi~nih razmer. Svoj satiri~ni rob je Skolimowski ostril tudi na Zahodu, verjetno najbolj uspe{no v Delu na ~rno (1982), ekspresno spisanem in zre`iranem odgovoru na voja{ki udar v domovini leta 1981, s katerim je naslikal svet la`i in manipulacij med poljskimi delavskimi imigranti v Veliki Britaniji.

Pri filmskem delu si je z leti gotovo ustvaril enako zagrizene zaveznike in sovra`nike, druga~e ob nekonformisti~ni dr`i verjetno sploh ni {lo. Zato je bil njegov nagovor ob~instva ob canski premieri [tirih dni z Anno po skoraj dvajsetletni odsotnosti vsaj tako pomenljiv kot filmi: "Vsem, ki me imajo radi, sporo~am: Vrnil sem me. Enako velja za tiste, ki me sovra`ijo: Vrnil sem se."

In The Last Tycoon F. Scott Fitzgerald famously wrote that, "There are no second acts in American lives". However, history has often proven him wrong. One fine example of 'a second act' is the Polish filmmaker Jerzy Skolimowski (b. 1938). After being one of the most original voices of the Polish New Wave in mid sixties, Skolimowski defected to the West, and worked in Western Europe as well as the USA, before – also owing to unfavourable production conditions and poor reviews – deciding 'to retire' from filmmaking in early nineties and for the next seventeen years devoting his time (apart from boxing, poetry and playwriting) to his other passionate interest, painting.

He made a comeback in 2009, not as a spent veteran, but as a playful, vital and incredibly vigorous auteur whose last three films, Four Nights with Anna (2009), Essential Killing (2010) and 11 Minutes (2015) – all of which were featured at Liffe, ooze with the originality of a vivacious 25-year-old eager to attain recognition.

At the time of his second spring Skolimowski does not have to prove anything, he is considered to be one of the most prominent and unbending Polish filmmakers, despite never having received widespread international acclaim he deserves; perhaps also because he oscillated between the national and the cosmopolitan arenas in his early years and was ultimately left without due recognition in both environments.

His biography reads like a thriller; he was born in Lodz just before the occupation, and war ineradicably scarred his childhood, he was rescued from the rubble of a bombed-out house, his father was executed by the Nazis, and Jerzy spent the last years of the war in an orphanage. He followed his mother to Prague where she was granted the position of a cultural attaché. Here, he attended gymnasium and his fellow students included Vaclav Havel, Milo{ Forman and Ivan Passer. When expelled from school, Jerzy returned to his native Poland, and in mid fifties engaged in semi-professional boxing, only to abandon his career and publish several poetry books, before co-writing the scripts for Andrzej Wajda's Innocent Sorcerers (1960), and Roman Polanski's Knife in the Water (1962), which paved the way to his admission to the Lodz Film School… where he used pieces of reel allocated to him for making a full-length feature debut, Identification Marks: None (1965), rather than shooting prescribed film exercises. Thus a series of semi-autobiographical movies was made, in which the director predominantly cast himself in leading roles, and in his signature style recorded the frustrations of contemporary youth in post-war socialist Poland.

Skolimowski specialised in the issues surrounding adolescence, and tackled these subjects also in some of his Western movies (e.g. Deep End, also Le Départ). Refusing to yield to censorship, Hands Up! (1967) was shelved, to be completed by Skolimowski as late as in 1981, the time of the rising Solidarity movement and slight slackening of political circumstances. Skolimowski sharpened his satirical edge also in the West, most notably with Moonlighting (1982), the film he wrote and directed virtually overnight in reaction to the coup d'état in his homeland in 1981, with a view to depicting the lies and manipulations reigning amongst Polish economic immigrants to Great Britain.

Over the years Skolimowski has gained both staunch allies and adversaries, which is understandable, given his nonconformist stance. After a twenty-year hiatus he returned with Four Nights with Anna. Skolimowski's address at the 2009 Cannes Film Festival was just as telling as his works. "For those who like me – I'm back; and to those who don't like me – I'm back."

107

Posve~eno Tribute

Rysopis Identification Marks: None Posebna znamenja: nobeno Poljska Poland 1965

Jerzy Skolimowski re`ija/directed by Jerzy Skolimowski scenarij/screenplay Jerzy Skolimowski fotografija/cinematography Witold Mickiewicz glasba/music Krzysztof Sadowski monta`a/editing Halina Szalinska igrajo/cast Jerzy Skolimowski (Andrzej Leszczyc), Elzbieta Czyzewska (Theresa, Barbara, gospodinja/ housewife), Tadeusz Minc (Mundzek), Andrzej Zarnecki (Raymond), Jacek Szczek produkcija/production PWSFTviT Lodz (Poland) format/format 35 mm, ~b/b&w dol`ina/running time 73'

Avtobiografski portret brezciljne mladosti in propadlih ambicij, ki je re`iserju Jerzyju Skolimowskemu v {estdesetih letih odprl pot v tujino.

Jerzy Skolimowski's autobiographic portrayal of misspent youth and thwarted ambitions, which secured the director's international career in the sixties.

Andrzej Leszezyc {tudira na univerzi in se `eli izogniti slu`enju voja{kega roka. Ko se mora vseeno sprijazniti z odhodom, mu preostane le nekaj ur, da opravi {e nekaj zadnjih sre~anj z ljudmi okrog sebe. Sledi zaporedje dogodkov, ki ori{ejo njegov odnos z zunanjim svetom. V stanovanju najde svojega bolnega psa in ga mora uspavati. @eni razkrije, da so ga vrgli z univerze in ji razkrije "posebna znamenja". V zadnjih trenutkih se posku{a pripraviti na dvoletno odsotnost ...

Andrzej Leszezyc studies at a university to try to avoid the draft.

At the last moment he then relents and enlists. He has only a few hours to organize his personal life before he must undertake basic training. A series of events ensues, depicting Leszezyc's dealings with external reality. He goes to his apartment; there he finds his sick dog and has it put to sleep. To his wife he reveals the fact that he has been expelled from university and a few 'identification marks'. The young man attempts to prepare himself for spending the next two years in the military.

"Le redki filmi so ubijanje prikazali s toliko silovitosti kot celove~erni prvenec Jerzyja Skolimowskega, ki ga je re`iser posnel pri komajda {estindvajsetih letih. /.../ Junakova neizogibna izguba svobode prepu{~a prostor filmu neobrzdane domi{ljije, pripovedi, ki v lomljeni ~rti prehaja od enega odmika k drugemu, in ambiciozni fotografiji, ki pusto industrijsko mesto Lod` spremeni v sanjsko pokrajino." (Chicago Reader)

prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com

"Few movies have portrayed killing time with as much urgency as Jerzy Skolimowski's debut feature, completed when the director was only 26. /.../ The character's impending loss of freedom gives way to a film of unfettered imagination, with a narrative that zigzags from one digression to another, and ambitious camerawork that transforms the dreary industrial town of Lodz into something out of a dream." (Ben Sachs, Chicago Reader)

Jerzy Skolimowski

filmografija/filmography

Glej stran 52/see page 52.

Glej stran 52/see page 52.

108

Posve~eno Tribute

Walkover Walkover Lahka zmaga Poljska Poland 1965

Jerzy Skolimowski

re`ija/directed by Jerzy Skolimowski scenarij/screenplay Jerzy Skolimowski fotografija/cinematography Antoni Nurzynski glasba/music Andrzej Trzaskowski monta`a/editing Alina Faflik, Jerzy Skolimowski igrajo/cast Jerzy Skolimowski (Andrzej Leszczyc), Aleksandra Zawieruszanka (Teresa Karczewska), Krzysztof Chamiec (vodja tovarne/ conglomerate manager) produkcija/production Zespół Filmowy "Syrena" (Poland) format/format 35 mm, ~b/b&w dol`ina/running time 77'

Ohlapno nadaljevanje prvenca Skolimowskega, ki se v dinami~nem slogu poslovi od mladosti, je satiri~na kritika poljskega birokratskega paternalizma. Z njim se avtor dokon~no zapi{e med nosilce poljskega novega vala.

A loose sequel to Skolimowski's film debut and a farewell to youth, Walkover is a satirical critique of Polish bureaucratic paternalism. The film has solidified Skolimowski's status as one of the most original voices of the Polish New Wave.

Dan in pol sledimo nezadovoljnemu junaku Andrzeju, ki je odslu`il voja{ki rok in postal boksar. Kot pripadnik srednjete`ke kategorije sodeluje v amaterskih dvobojih po tovarnah. Za tekmece si izbira boksarje, ki so slab{i od njega. Poleg tega jih ustrahuje z zvija~o, da je njihov nadrejeni, in tako {e la`je dosega zmage. Neko~ pa pristane v industrijskem mestu, kjer spozna in`enirko Tereso in se vanjo zaljubi. Skupaj `elita zapustiti mesto pred naslednjim uli~nim dvobojem, a tokrat Andrej naleti na mo~nej{ega nasprotnika ...

The malcontent lead character Andrzej has left military service and now drifts around the country participating in amateur boxing fights as a middle-weight boxer. He picks easy opponents and scores guaranteed wins by claiming to be their superior. In an industrial town he runs into Teresa, a government engineer, and falls in love with her. Andrzej decides to leave with Teresa instead of facing a much stronger opponent the next day.

"Kot mladeni~ je bil nadarjen boksar polsrednje kategorije – 'ni {lo za profesionalno boksanje', pravi avtor. 'To takrat na Poljskem ni obstajalo. Boksal sem v 16 amaterskih dvobojih. Ve~krat sem izgubil. Zmagal sem devetkrat, izgubil {estkrat, enkrat je bilo neodlo~eno.' V filmu odigra glavno vlogo in ustvarja karizmati~no prezenco, ki se {irokousti v neimenovani de`eli vzhodnega bloka.

Z jazzovsko filmsko glasbo in z domi{ljenim gibanjem kamere v filmu odzvanjajo filmi Godarda in Tonyja Richardsona." (Geoffrey Macnab, The Guardian)

"As a young man, he was a talented welterweight boxer. 'It wasn't professional boxing’, he says. 'That didn't exist in Poland at the time. I had 16 amateur fights. I lost quite a lot. I won nine, lost six and one was a draw.' He plays the lead in Walkover, proving a charismatic screen presence, swaggering around in an unnamed eastern bloc country. With its jazz soundtrack and selfconscious tracking shots, Walkover echoed movies by Godard and Tony Richardson." (Geoffrey Macnab, The Guardian)

Jerzy Skolimowski

filmografija/filmography

Glej stran 52/see page 52.

Glej stran 52/see page 52.

prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com

109

Posve~eno Tribute

Bariera Barrier Bariera Poljska Poland 1966

Jerzy Skolimowski re`ija/directed by Jerzy Skolimowski scenarij/screenplay Jerzy Skolimowski fotografija/cinematography Jan Laskowski glasba/music Krzysztof Komeda monta`a/editing Halina Prugar-Ketling igrajo/cast Joanna Szczerbic (dekle/girl), Jan Nowicki ({tudent medicine/ medical student), Tadeusz Lomnicki (zdravnik/doctor) produkcija/production Zespol Filmowy "Kamera" (Poland) format/format 35 mm, ~b/b&w dol`ina/running time 77'

prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com

Dober primer novega filmskega gibanja povojne Poljske postre`e z nadrealisti~nim podobjem in satiri~nimi vlo`ki, z navidezno improviziranimi dialogi in jazzom.

An impressive example of the new post-war Polish cinema, Barrier features surreal imagery and satirical interludes, ostensibly improvised dialogues and jazz.

Uporni {tudent medicine si `eli pridobiti popolno neodvisnost in premagati vse ovire v svojem `ivljenju – od tistih v zvezi s finan~nim primanjkljajem, starostjo in statusom, do kultov in konvencij. Nekega dne pa sre~a dekle s popolnoma druga~nim pogledom na `ivljenje in z drugimi ideali.

A rebellious medical student wishes to attain total independence and overcome all obstacles in life – from financial constraints, and problems associated with age and status, to cults and conventions. One day, however, he meets a girl whose outlook on life and ideals are diametrically opposed to his own.

"^eprav Bariera ni nadaljevanje filmov Posebna znamenja: nobeno in Lahka zmaga – Skolimowskemu ni bilo dovoljeno odigrati Andrzeja, kot je bilo mi{ljeno – pa vseeno zaokro`i ohlapno trilogijo. Sicer manj svojstvena v sami re`iji, Bariera vseeno ostaja izjemno izvirna v uporabi filmskih u~inkov in metafori~nega prikaza pregrad med generacijami." (Bruce Hodsdon, Senses of Cinema)

"Although Barrier is not a sequel to Rysopis and Walkover – Skolimowski was not allowed to follow his original intention of playing Andrzej – it forms a loose trilogy with them. Less singular in its mise en scène, Barrier remains a strikingly original integration of theatrical and cinematic effect in the metaphorical treatment of the barriers between generations. (Bruce Hodsdon, Senses of Cinema)

Jerzy Skolimowski

filmografija/filmography

Glej stran 52/see page 52.

Glej stran 52/see page 52.

110

Posve~eno Tribute

Rece do góry Hands Up! Roke kvi{ku!

Poljska Poland 1967/81

Jerzy Skolimowski

re`ija/directed by Jerzy Skolimowski scenarij/screenplay Andrzej Kostenko, Jerzy Skolimowski fotografija/cinematography Andrzej Kostenko, Witold Sobocinski glasba/music Józef Skrzek monta`a/editing Grazyna Jasinska-Wisniarowska igrajo/cast Jerzy Skolimowski (Andrzej Leszczyc, Zastawa), Joanna Szczerbic (Alfa), Tadeusz Lomnicki (Opel Record), Adam Hanuszkiewicz (Romeo), Bogumil Kobiela (Wartburg), Alan Bates (Wikto), Jane Asher (Jane Asher) produkcija/production Arte France Cinéma (France) & PRF "Zespol Filmowy", Syrena (Poland) format/format 35 mm, barvni/colour dol`ina/running time 76'

Zadnji film, ki ga je Skolimowski pred begom na Zahod posnel na Poljskem, nadaljuje avtorjevo avtobiografijo in je oster portret povojne generacije, `rtve skorumpiranega poljskega komunizma.

Komunisti~no Poljsko v filmu predstavlja tovorni vlak, v katerem so zaprti mladi junaki. Obujajo spomine na spolne dogodiv{~ine, se med seboj obto`ujejo, da so se prodali, postali konformisti ali oportunisti, vlak pa drvi v neznano. Glavni junak Andrzej Leszczyc je bil zaradi ogromnega Stalinovega plakata, ki ga je izdelal s prijatelji, izgnan z univerze in iz mladinske organizacije – zaradi napake ima Stalin na plakatu dva para o~i. Ko je bil film kon~an, so ga oblasti cenzurirale, Skolimowski pa je moral zapustiti Poljsko. [tirinajst let po prepovedi, leta 1980, je v Londonu in Libanonu posnel {e prolog, ki podaja komentar, kako je cenzura omejila njegovo filmsko ustvarjanje, potem ko je bil primoran zapustiti Poljsko.

"Videl sem, da ~e ne morem snemati filmov o tistem, kar razumem, in povedati tistega, kar mislim, potem ne morem narediti filma o svoji de`eli." (Jerzy Skolimowski)

Skolimowski's last Polish film, the semi-autobiographical Hands Up! is a poignant portrayal of the Polish post-war generation that fell victim to the corrupt Communist regime.

The Communist Poland is represented by a freight car in which young men are reminiscing about the past, reliving their sexual affairs, accusing one another of having compromised their principles and becoming either conformists or opportunists, while the train rushes off into the unknown. The lead character Andrzej Leszczyc was expelled from university and his youth organisation for having fashioned a billboard of Stalin with double eyes. The banning of the film led Skolimowski to leave Poland.

Fourteen year after the ban, in 1980, the film was reedited, and new footage added in London and Lebanon, a prologue about the censors having restricted the director's artistic vision, and his reinvention after being forced to leave Poland.

"I knew that if I couldn't make films about what I understand and say what I think then I couldn't make a film about my country."

(Jerzy Skolimowski)

Jerzy Skolimowski

filmografija/filmography

Glej stran 52/see page 52.

Glej stran 52/see page 52.

prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com

111

Posve~eno Tribute

Deep End Deep End Globina Jerzy Skolimowski

Velika Britanija, Nem~ija Great Britain, Germany 1970

re`ija/directed by Jerzy Skolimowski scenarij/screenplay Jerzy Skolimowski fotografija/cinematography Charly Steinberger glasba/music Cat Stevens, Can monta`a/editing Barrie Vince igrajo/cast Jane Asher (Susan), John MoulderBrown (Mike), Karl Michael Vogler (u~itelj plavanja/swimming instructor) produkcija/production Kettledrum Films (UK) & Maran Film (Germany) format/format 35 mm, barvni/colour dol`ina/running time 90'

prodaja/world sales Possible Films, LLC 779 Riverside Drive New York, NY 10032, USA E info�possiblefilms.com

Rekviem za "svingerski" London {estdesetih let z morbidnim, tema~nim eroti~nim podtonom.

A requiem for London's 'swinging' Sixties, Deep End carries morbid, darkly erotic undertones.

Petnajstletni Mike se zaposli v nekoliko na~etih toplicah v Londonu, kjer postane tar~a po`eljivih dam srednjih let. Zmedeni Mike potrebuje nekaj ~asa, da se privadi in sprejme poslovne usluge, ki jih od njega pri~akujejo. Kmalu se popolnoma zaljubi v starej{o sodelavko Susan. Po`eljiva in svobodomiselna Susan v kratkem krilu, belih {kornjih in rumenem de`nem pla{~u se z Mikom v~asih tudi kruto poigrava, ta pa postaja vse bolj obsesiven. Ko se mu kon~no ponudi prilo`nost, da bi z njo spal v velikem praznem bazenu, pa mu seveda spodleti ...

Fifteen-year-old Mike takes a job at the somewhat dilapidated local swimming baths, where he falls prey to lascivious middleaged women. Mike is confused and at first does not want to accept the tip he gets, but is told that these sexual services are a normal practice. He soon falls head over heels for Susan, a girl ten years his senior. The seductive and free-thinking Susan, wearing a short skirt, white boots and a yellow rain coat, is a tease who plays with Mike's feelings, fuelling his obsession.

When he finally gets the chance to have sexual intercourse with her in the empty pool, he is unable to perform.

"Takoj ko sva se s Skolimowskim spoznala, sva se razumela in ponudil mi je vlogo. Poznala sem ga predvsem kot soscenarista No`a v vodi, ki je bil eden mojih najljub{ih filmov. Nisem vedela veliko ve~ o njem. Je zelo karizmati~en, zelo atraktiven in zelo slovanski." (igralka Jane Asher)

"We clicked immediately and he offered me the role. I knew him mainly as having co-written Knife in the Water, which was one of my favourite films. I didn't know much else about him. He is very charismatic, very attractive and very Slavic." (Actress Jane Asher)

Jerzy Skolimowski

filmografija/filmography

Glej stran 52/see page 52.

Glej stran 52/see page 52.

112

Posve~eno Tribute

The Shout The Shout Krik Jerzy Skolimowski

Velika Britanija Great Britain 1978 re`ija/directed by Jerzy Skolimowski scenarij/screenplay Michael Austin, Jerzy Skolimowski fotografija/cinematography Mike Molloy glasba/music Tony Banks monta`a/editing Barrie Vince igrajo/cast Alan Bates (Charles Crossley), Susannah York (Rachel Fielding), John Hurt (Anthony Fielding) produkcija/production Recorded Picture Company (UK) format/format 35 mm, barvni/colour dol`ina/running time 86'

Skolimowski predela kratko zgodbo Roberta Gravesa v nenavaden horor, temno fantazijo o mo{kosti, zakonu in sanjskem `ivljenju.

Skolimowski's screen adaptation of a short story by Robert Graves, The Shout is an enigmatic horror film, a dark fantasy about masculinity, marriage and dream life.

Charles Crossley je skrivnosten tujec, ki prispe v angle{ko mestece. Tamkaj{nji mlad zakonski par, Rachel in Anthony Fielding, Charlesa gostoljubno sprejme. Skladatelj Anthony raziskuje zvo~ne u~inke in v svojem odmaknjenem zvo~nem studiu preizku{a razli~ne elektronske vire. Charles vse bolj zlove{~e vznemirja prej mirno `ivljenje mladega para. Nazadnje jima zaupa, da ga je staroselski {aman nau~il ustvariti strahovit krik, ki lahko ubije vsakogar, ki ga sli{i neza{~iten ...

Charles Crossley is a mysterious travelling man who invades the life of a young couple, Rachel and Anthony Field. The couple provide hospitality to Bates, but his intentions are gradually revealed as more sinister. Anthony is a composer, who experiments with sound effects and various electronic sources in his secluded studio. Crossley claims he has learned from an Aboriginal shaman how to produce a "terror shout" that can kill anyone who hears it unprotected.

"Nadrealisti~na zgodba, ki se nana{a na elektroakusti~no glasbo in Francisa Bacona, zaseda pomemben polo`aj v avtorjevi filmografiji. V drugi polovici {estdesetih let se je postopoma oddaljeval od realizma; Krik tako pomeni klju~no radikalno opustitev realisti~nih prikazov in razumskih zasnov."

(Monika Keska, ARTMargins)

"The surrealistic story with references to electro-acoustic music and Francis Bacon occupies an important position in Skolimowski's filmography. He has been gradually abandoning realism in his films since the second half of the 1960's; The Shout is a final radical break from the realistic representation and rational plots." (Monika Keska, ARTMargins)

Jerzy Skolimowski

filmografija/filmography

Glej stran 52/see page 52.

Glej stran 52/see page 52.

prodaja/world sales Fortissimo Van Diemenstraat 100 1013 CN Amsterdam, Netherlands E niloufar�fortissimo.nl

113

Posve~eno Tribute

Moonlighting Moonlighting Delo na ~rno Jerzy Skolimowski

Velika Britanija Great Britain 1982

re`ija/directed by Jerzy Skolimowski scenarij/screenplay Jerzy Skolimowski fotografija/cinematography Tony Pierce-Roberts glasba/music Stanley Myers monta`a/editing Barrie Vince igrajo/cast Jeremy Irons (Nowak), Eugene Lipinski (Banaszak), Jirí Stanislav (Wolski), Eugeniusz Haczkiewicz (Kudaj), Edward Arthur (upravnik na uradu za priseljence/immigration officer) produkcija/production Michael White Productions (UK) format/format 35 mm, barvni/colour dol`ina/running time 97'

Humorna {tudija o poljskih priseljencih v Veliki Britaniji z za~etka osemdesetih. Za scenarij, ki ga je napisal v pi~lih treh tednih, je bil Skolimowski nagrajen v Cannesu.

Film, katerega levji dele` je posnet v avtorjevem stanovanju v zahodnem Londonu, pripoveduje zgodbo poljskega priseljenca Nowaka, ki nadzoruje obnovo nekega londonskega stanovanja za svojega vodjo na Poljskem. Ta morda spi z Nowakovo `eno.

Nowak nadzoruje delavce s Poljske – Banaszaka, Wolskega in Kudaja, prispele v London zavoljo posla, ki bi jim v enem mesecu prinesel ve~ denarja, kot zna{a letni zaslu`ek v njihovi domovini.

Ko na Poljskem nastanejo izredne razmere, Nowak to svojim trem sodelavcem zamol~i. S tem se priseljenec, ki tudi z Angle`i ne najde pravega stika, oddalji {e od svojih rojakov.

"V avtobiografski gesti in za zmanj{anje stro{kov je Skolimowski uporabil lastno londonsko stanovanje kot prizori{~e in simbol napete drame Delo na ~rno, presunljive alegorije, ki nezakonito obnovo in negotovi polo`aj delavcev preoblikuje v prefinjeno u~inkovit emblem izgnanstva in odtujenosti." (Harvardski filmski arhiv)

prodaja/world sales HDNet Films 122 Hudson Street, 5th Floor New York, NY 10013, USA E ladamson�hdnetfilms.com

A humorous look at the lives of Polish immigrants to Great Britain in the early 1980s. The script, written in barely three weeks, earned Skolimowski Best Screenplay Award at Cannes.

Skolimowski's own West London apartment served as set for this drama about a Polish immigrant Nowak, foreman to a handful of illegal workers brought in from Warsaw to remodel the new apartment of a Polish official whom Nowak suspects of sleeping with his wife. Nowak supervises Polish workmen on tourist visas – Banaszak, Wolski and Kudaj. He is the only one of the group who speaks English, and consequently the only one to learn that the Solidarity movement in Poland has just been crushed.

Fearful that it will be difficult to return home, Nowak doesn't tell his crew, which alienates him from his fellow countrymen even more.

"In an autobiographical and cost-saving flourish, Skolimowski's own London apartment served as the stage and symbol for Moonlighting's taut drama and moving political allegory which transforms the illegal renovation and the workers' strange limbo status into a quietly potent emblem of exile and alienation."

(Harvard Film Archive)

Jerzy Skolimowski

filmografija/filmography

Glej stran 52/see page 52.

Glej stran 52/see page 52.

114

Fokus Focus

Romunski film 2.0: Desetletje pozneje Romanian Cinema 2.0: A Decade Later Simon Popek Novega romunskega filma ob prvi retrospektivi na Liffu leta 2007 nismo poimenovali "novi val" ali kako podobno; sve`o in izjemno uspe{no generacijo filmarjev smo zavoljo socialisti~nega programskega enoumja tedaj opisali kot "avtorje brez oprijemljive zgodovinske opore", kar je bilo zna~ilno za npr. novi nem{ki film {estdesetih let, ki je po vojni odra{~al in se obrti u~il v odsotnosti filmskih o~etov. Obenem smo se naslonili na trditev Cristiana Mungiuja, ~e{ da mladih re`iserjev "ne povezuje nobena slogovna karakteristika ali ideolo{ka pozicija" in da "ne pripadajo isti filmski {oli".

Percepcija "neoprijemljivosti" se je odtlej dodobra zamajala, novi romunski film je v letih po kupu nagrad v Cannesu (nagrada Posebni pogled 2005, zlata kamera 2006, zlata palma 2007 ...) in drugod postal prvovrstna poeti~na in estetska kategorija, krasili so ga igriv in ironi~en odnos do polpretekle zgodovine, dialo{ko bistre in duhovite minimalke, najve~krat postavljene v majhna, zadu{ljiva socialisti~na stanovanja, pa skrajno sarkasti~en, celo kafkovski odnos zakona, pravice in pravi~nosti do nepomembnega slehernika, ki je najve~krat nepovratno ujet v birokratski aparat tranzicijskega sistema. Romunski film je v tem ~asu dobil tudi svojega zvezdnika, Vlada Ivanova, ki je z nezgre{ljivo karizmo razsvetlil {tevilne mednarodne produkcije. [tevilni re`iserji so v devetih letih od Liffovega prvega poklona postali in{titucije, najprej Cristian Mungiu in Cristi Puiu, vsak po svoje; prvi s kompleksnimi moralnimi zgodbami, ki izrazito imponirajo tudi zahodnemu gledalcu, drugi z nepopustljivo avtorsko dr`o, ki ne kalkulira in se ne prilagaja nobenemu okusu.

Corneliu Porumboiu je medtem {e najbolj eksperimentiral, zana{alo ga je v razli~ne forme, a je vedno izhajal kot zmagovalec.

A kar je najpomembneje, prihajali so novi avtorji s sve`imi idejami in lastnim filmskim jezikom, najprej Adrian Sitaru s formalnimi eksperimenti in gostobesednimi dialo{kimi maratoni, kmalu nato {e Radu Jude, ki je v socialnem realizmu prvih del morda pretirano `elel slediti predhodnikom, da bi z odmikom v romunsko predsocialisti~no obdobje (fevdalizem 19. stoletja v filmu Bravo!, trideseta leta 20. stoletja v Ranjenih srcih), pa tudi po zaslugi folklornih poudarkov in naslona na literarno-filozofsko tradicijo evropskega vzhoda (predvsem ^ehova in Ciorana) zasijal v polni meri.

Izbor petih izvrstnih romunskih filmov leto{njega Liffovega Fokusa ni rezultat kak{nega mukotrpnega ~esanja. Program se je sestavil v hipu in skoraj sam, to je najnovej{a nacionalna produkcija, vsi filmi nosijo letnico 2016, kar je impresiven uspeh za kinematografijo, ki sodi med dr`ave s t. i. majhno avdiovizualno produkcijo. Med filmi je seveda tudi prvenec, ruralni vestern Bogdana Mirice, ki novi romunski film br`kone pelje novim obzorjem naproti.

When in 2007 Liffe featured a retrospective of the New Romanian Cinema, this creative group was not termed a 'New Wave' or the like; the fresh and groundbreaking generation of filmmakers was – owing to regulated socialist film production when cinema was the instrument of ideological influence – described as "directors without a solid historical grounding", a characteristic shared, amongst others, by the 1960s New German Cinema, the post-war generation that grew up and learned the trade in the absence of their filmmaking fathers. At the same time we also based our definition on Cristian Mungiu's assertion that the young directors do not share "any stylistic features or an ideological position", and have "not emerged from the same film school."

The perception of 'groundlessness' has since then shifted considerably; having won a series of awards in Cannes (Un Certain Regard 2005, Golden Camera 2006, Golden Palm 2007, etc.) and elsewhere, the New Romanian Cinema developed into a foremost poetic and aesthetic category, boasting a playful and ironic treatment of the recent history, succinct, clever and witty dialogues, mainly set in small, stifling socialist flats, as well as utterly sarcastic, even Kafkaesque attitude to law, justice and rights of an insignificant everyman, more often than not caught irreversibly in the bureaucratic apparatus of the transitional system. Meanwhile, the Romanian cinema has produced its own celebrity actor, Vlad Ivanov, who has graced numerous international productions with his unmistakable charisma.

Within the nine years since Liffe's first Tribute several Romanian directors have grown to become titans of the film industry, most notably Cristian Mungiu and Cristi Puiu, each in his own way; the former with his complex moral stories that impress also the Western viewers, and the latter with an unbending artistic ideology, uncalculating and refusing to conform to popular expectations. Corneliu Porumboiu has tended towards experimentation, trying out various forms, each time to a remarkable success.

But most significantly, new artists have surfaced with fresh ideas and original cinematic idioms, first Adrian Sitaru whose formal experiments feature verbose, interminable dialogues, and then Radu Jude, who perhaps aimed to follow in his predecessors' footsteps with his first social realist films before emerging as a full-blooded artist by venturing into Romanian pre-socialism (nineteen-century feudalism in Aferim!, and the 1930s in Scarred Hearts), as well as introducing folkloristic motifs and finding inspiration in the Eastern European literary/philosophical tradition (predominantly Chekhov and Cioran).

The selection of five brilliant Romanian films for this year's Focus has not been some tedious and laborious task. The programming required little effort, this is the latest national production – all films were released in 2016, which is an impressive achievement for a cinematography ranking among the countries with low audiovisual output. The selection also includes a film debut, a rural western by Bogdan Mirica, who is doubtlessly opening up new horizons for the Romanian cinema.

117

Fokus Focus

Bacalaureat Graduation Matura Cristian Mungiu

re`ija/directed by Cristian Mungiu scenarij/screenplay Cristian Mungiu fotografija/cinematography Tudor Vladimir Panduru monta`a/editing Mircea Olteanu igrajo/cast Adrian Titieni (Romeo), MariaVictoria Dragus (Eliza), Rares Andrici (Marius), Lia Bugnar (Magda), Malina Manovici (Sandra), Vlad Ivanov (policijski in{pektor/ chief inspector), Gelu Colceag (predsednik maturitetne komisije/ exam commitee president), Petre Ciubotaru (pod`upan Bulai/vicemayor Bulai) producenti/producers Cristian Mungiu, Pascal Caucheteux, Jean-Pierre Dardenne, Luc Dardenne, Jean Labadie, Vincent Maraval, Grégoire Sorlat produkcija/production Mobra Films Intrarea Serdarului, 5 011377 Bucarest, Romania E info�mobrafilms.ro & Why Not Productions (France) & Les Films du Fleuve (Belgium) & France 3 Cinéma (France) format/format DCP, barvni/colour dol`ina/running time 128' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (najbolj{i re`iser/Best Director)

prodaja/world sales Wild Bunch 65 rue de Dunkerque 75009 Paris, France E sales�wildbunch.eu distribucija/distribution Cinemania Roj~eva 1 1000 Ljubljana E info�cinemania-group.si

Romunija, Francija, Belgija Romania, France, Belgium 2016

Christian Mungiu, prvo ime romunskega novega vala, nas postavi pred eti~no dilemo o korupciji in vpra{anju vzgoje otrok v trenutkih, ko je koruptivno dejanje edina mogo~a izbira.

Christian Mungiu, pivotal figure of the Romanian New Wave, confronts us with an ethical dilemma about corruption and the issue of upbringing at a time when compromising your moral integrity is the only available choice.

Romeo Aldea je 49-letni zdravnik iz Transilvanije, ki je svojo h~erko Elizo vedno vzgajal z obljubo, da bo po dopolnjenem osemnajstem letu od{la {tudirat v tujino, kjer bo `ivela bolje kot v Romuniji. Njegov na~rt je blizu uresni~itve, saj Eliza dobi {tipendijo za {tudij psihologije v Veliki Britaniji. Zdaj mora samo {e opraviti maturo, kar pridni dijakinji ne bi smelo povzro~ati te`av. Incident, ki se zgodi dan pred prvim pisnim izpitom, pa nepri~akovano ogrozi njen odhod v tujino. Romeo se znajde pred dilemo: Kako se lotiti problema, pri katerem nobena re{itev ni v skladu z nauki, ki jih je kot star{ uporabljal pri vzgoji svoje h~erke?

Romeo Aldea, a 49-year-old physician living in a small mountain town in Transylvania, has raised his daughter Eliza with the idea that once she turns 18 she will leave to study and live abroad. His plan is close to succeeding – Eliza receives a scholarship to study psychology in the UK. She just has to pass her final exams – a formality for such a good student. On the day prior to her first written exam, an incident jeopardises Eliza's departure. Now Romeo has to make a decision. There are ways of solving the problem, but none of them using the principles he, as a father, has taught his daughter.

"Posplo{eni miselni in vedenjski vzorci postanejo norma – postavljajo eti~ne omejitve, tudi v dru`bah, v katerih se vsi prito`ujejo zaradi korupcije. Seveda, govorimo o korupciji drugih, ne o lastni. /.../ Kaj lahko stori posameznik zoper svet, ki je tako zastavljen in tako deluje? /.../ Zakaj bi moral biti `rtvovan prav moj otrok?" (Cristian Mungiu)

"The patterns of thought and behaviour that are generalised become the norm – they set the ethical boundaries of a society, including those societies in which everybody complains about corruption. Of course, we're talking about other people’s corruption, not our own. /.../ What can one individual do against a whole world that is set up this way and functions like that? /.../ Why should my child be the one to be sacrificed?"

(Cristian Mungiu)

Cristian Mungiu

filmografija/filmography

Rojen leta 1968 v Romuniji. Po {tudiju angle{ke knji`evnosti je nekaj let delal kot u~itelj in novinar, potem pa se je vpisal na {tudij filmske re`ije v Bukare{ti. Po diplomi je posnel ve~ kratkih filmov in leta 2002 celove~erni prvenec Zahod, ki je osvojil ve~ mednarodnih priznanj. Leta 2007 je za film 4 meseci, 3 tedni in 2 dneva kot prvi romunski re`iser prejel zlato palmo na festivalu v Cannesu.

2002 Occident 2005 Lost and Found (epizoda Curcanii nu zboara/episode Turkey Girl) (kratki/short) 2007 4 luni, 3 saptamini si 2 zile (4 Months, 3 Weeks and 2 Days/4 meseci, 3 tedni in 2 dneva) 2009 Amintiri din epoca de aur (Tales from the Golden Age/Zgodbe iz zlate dobe) (omnibus) 2012 Dupa dealuri (Beyond the Hills/Dale~ za gri~i) 2016 Bacalaureat (Graduation/Matura)

Born in 1968 in Romania. After studying English literature he worked as a teacher and journalist for a few years. He then obtained a BA in film directing in Bucharest. Mungiu first made several short films, and in 2002 debuted with his feature film, Occident, which won several international awards. In 2007, 4 Months, 3 Weeks and 2 Days won the coveted Palme d'Or, marking the first time this prize was awarded to a Romanian filmmaker.

118

Fokus Focus

Ilegitim Illegitimate Nezakonito Adrian Sitaru

Romunija, Poljska, Francija Romania, Poland, France 2016

Drzen romunski film o splavu in incestu zaradi kontroverzne teme ni bil dele`en javnega sofinanciranja, zato ga je re`iser z minimalnimi sredstvi posnel kot igralsko improvizacijo.

Being denied state funding for its controversial examination of the issues of abortion and incest, the daring Romanian film was made on a shoestring budget as an acting improvisation.

Victor je o~e {tirih odraslih otrok in vdovec, ki u`iva status dru`inskega patriarha. Nekega dne mu sin Cosma pri ve~erji razodene dejstvo, da se njegovo ime pojavlja v zgodovinskih dokumentih, ki razkrivajo, da je pred letom 1989 nekdanjemu re`imu izdajal `enske, ki so `elele skrivoma opraviti splav. Ozra~je se takoj spremeni. Victor se burno odzove z obrambo, da tudi dvoj~ka Sasha in Romi dolgujeta svoje `ivljenje prav njegovemu nasprotovanju splavu, saj njuna mati ni `elela otrok. Ko h~i Sasha nato razkrije, da je tudi sama nose~a, so Victorjeva prepri~anja nenadoma postavljena pred veliko preizku{njo.

Sitting at the dinner table with his four grown-up children and their partners, widower Victor relishes his role as a family patriarch. One dinnertime his son Cosma confronts him with the fact that his name has shown up in historical documents which indicate he denounced women wanting to flaunt the abortion ban in place until 1989. The mood abruptly shifts. Victor defends himself by pointing out that he is, after all, against abortion and that twins Sasha and Romi owe their very lives to this fact – their mother wanted to abort them. Yet when Sasha announces she is pregnant, Victor’s convictions are put to a true test.

"Ljudje so mi povedali, da jim je film v{e~, da spominja na jazz. Preden sem si drznil postati filmski ustvarjalec, sem igral jazzovsko glasbo. Gre za enak na~in ustvarjanja. Podobno poustvarja{ z dobrimi glasbeniki, improvizira{ in v~asih je kon~ni izid pre~udovit, vendar nikoli ne ve{, kdaj se skladba kon~a.

Z dolo~enega stali{~a ugotavlja{, kako nadaljevati, in proces poteka iz sekunde v sekundo, ustvarjanje tega filma je bilo nekaj podobnega." (Adrian Sitaru)

"People told me they liked the film, that it is like jazz music.

Before daring to be a filmmaker I was a musician and I played jazz. It's the same way of creating. Just as you play with some good musicians, you are improvising and sometimes at the end it is beautiful, but you never know when the song will end. From a certain point, you are realising how to continue and it is second by second and it was a bit like this when we created this film."

(Adrian Sitaru)

Adrian Sitaru

filmografija (izbor)/filmography (selection)

Rojen 1971 v Devi, Romunija. Po {tudiju ra~unalni{tva je na Univerzi v Bukare{ti kon~al {e {tudij filmske in televizijske re`ije. Sprva je snemal televizijske in kratke filme, leta 2008 pa je posnel svoj celove~erni prvenec Pescuit sportiv. Leta 2011 je njegov drugi film Din dragoste cu cele mai bune intentii prejel nagrado za najbolj{o re`ijo na festivalu v Locarnu.

2007 2008 2011 2012 2016

Valuri (Waves) (kratki/short) Pescuit sportiv (Hooked) Din dragoste cu cele mai bune intentii (Best Intentions) Domestic Ilegitim (Illegitimate/Nezakonito)

re`ija/directed by Adrian Sitaru scenarij/screenplay Alina Grigore, Adrian Sitaru fotografija/cinematography Adrian Silisteanu, Alexandru Timosca monta`a/editing Theo Lichtenberger, Mircea Olteanu igrajo/cast Adrian Titieni (Victor Anghelescu), Alina Grigore (Sasha Anghelescu), Robi Urs (Romeo Anghelescu), Bogdan Albulescu (Cosma Anghelescu), Cristina Olteanu (Gilda Anghelescu), Miruna Dumitrescu (Julie), Liviu Vizitiu (Bogdan) producenti/producers Anamaria Antoci, Yohann Cornu, Stanislaw Dziedzic, Klaudia Smieja produkcija/production Domestic Film Strada Gen. Constantin Budisteanu 28 010775 Bucharest, Romania E anamaria�4prooffilm.ro & Film Produkcja (Poland) & Damned Films (France) format/format DCP, barvni/colour dol`ina/running time 89' festivali, nagrade (izbor)/ festivals, awards (selection) Berlinale 2016 (nagrada CICAE/ CICAE Award), Buenos Aires 2016, Istanbul 2016, Seattle 2016

prodaja/world sales Versatile Films 65 rue de Dunkerque 75009 Paris, France E sales�versatile-films.com

Born in Deva, Romania in 1971. After studying computer science he completed studies in film and TV directing in 2003 at the University of Bucharest. First making TV- and short films, Sitaru released Hooked, his debut feature film, in 2008. His second feature film, Best Intentions, received the Best Director Award at the 2011 Locarno Film Festival.

119

Fokus Focus

Câini Dogs Psi Bogdan Mirica

re`ija/directed by Bogdan Mirica scenarij/screenplay Bogdan Mirica fotografija/cinematography Andrei Butica glasba/music Codrin Lazar, Sorin Romanescu, Sebastian Zsemlye monta`a/editing Roxana Szel igrajo/cast Dragos Bucur (Roman), Gheorghe Visu (Hogas), Vlad Ivanov (Samir), Costel Cascaval (Pila), Constantin Cojocaru (Nea Epure), Raluca Aprodu (Ilinca), Catalin Paraschiv (Agent Ana), Emilian Oprea (Sebi Voicu), Valeri Yordanov (Leonid), Ela Ionescu (Mara), Corneliu Cozmei (Nea Terente), Caroline Bera (Sidonia), Miriam Marincea (Luiza), Dumitru Stegarescu (Arcadie) producenta/producers Elie Meirovitz, Marcela Ursu produkcija/production EZ Films 14 rue Mandar 75002 Paris, France E elie�ez-films.com & 42 KM Film (Romania) & Argo Film (Bulgaria) format/format DCP, barvni/colour dol`ina/running time 104' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016 (nagrada FIPRESCI/ FIPRESCI Prize), Sarajevo 2016 (najbolj{i igralec/Best Actor, posebna omemba `irije/Special Jury Mention), Transilvanija/Transilvania 2016 (najbolj{i film/Best Film)

distribucija/distribution BAC Films 9, rue Pierre Dupont 75010 Paris, France E f.schwabe�bacfilms.fr

Romunija, Francija, Bolgarija, Katar Romania, France, Bulgaria, Qatar 2016

Bogdan Mirica je novo obetajo~e ime romunskega filma, njegov prvenec pa izvirna me{anica ameri{kega kriminalnega trilerja in romunskega novega vala.

The new rising star of Romanian Cinema, Bogdan Mirica's feature debut is an original melange of American crime thriller and Romanian New Wave.

Roman pride iz mesta v oddaljeno vas v Romuniji, da bi prodal zemljo, ki jo je podedoval po dedu. Po prihodu je pri~a zaporedju ~udnih dogodkov, ki ga postopoma pripeljejo do spoznanja, da je bil ded pravzaprav lokalni kriminalni vodja. ^e ho~e prodati ozemlje, se mora soo~iti z dedovimi pajda{i na ~elu z dru`abnim in karizmati~nim Samirjem, ki zemlji{~a – in tihotapskega posla, ki poteka na njem – ne izpusti kar tako iz rok. Medtem se lokalni policaj Hogas ukvarja z najdbo odrezanega stopala, a v resnici posku{a priti na sled Samirju, svoji nedosegljivi trofeji ...

Roman comes to a remote village in rural Romania to sell the land he inherited from his departed grandfather. Once there, he is exposed to a series of strange events, all culminating with him discovering that his grandfather used to be a local crime lord and his men will not let go of the land – and their smuggling business – without a fight. Roman has to face his grandfather’s deputies, led by Samir, an affable and charismatic Tartar. Meanwhile, Hogas, the local policeman, investigates the finding of a severed foot, but what he’s really after is getting revenge at any cost on Samir, his lifetime nemesis.

"Film govori o ~love{ki naravi. Seveda – to po~nejo {tevilni drugi.

Vendar je pri likih filma Psi nekaj posebnega – zavedajo se, da je njihova narava globoko pokvarjena, vendar si preprosto ne morejo pomagati. V~asih v `ivljenju se zaveda{, da si izbral napa~no pot in vseeno vztraja{ na njej. To se zgodi mojim likom. /.../ Ne borijo se samo med seboj. Pravzaprav ve~inoma bijejo notranje boje."

(Bogdan Mirica)

"The film is about human nature. Granted – many films are. But there's something special about the characters of Dogs – they're aware that their nature is profoundly corrupted but they just can’t help it. Sometimes in life you're aware that you've chosen the wrong path and yet you stay the course. That's what happens to my characters. /.../ They don't just fight each other. Actually, they mostly struggle with themselves." (Bogdan Mirica)

Bogdan Mirica

filmografija/filmography

Rojen 1978. Do leta 2005 je delal kot zalo`nik, pisec oglasov in pisatelj, a ga je film tako mo~no zanimal, da je za~el {tudirati scenaristiko na Univerzi Westminster v Londonu. Leta 2011 je posnel svoj prvi kratki film Bora Bora, s katerim je osvojil prve mednarodne nagrade. S celove~ernim prvencem Psi se je uvrstil v sklop Posebni pogled na filmskem festivalu v Cannesu.

2011 Bora Bora (kratki/short) 2016 Câini (Dogs/Psi)

Born in 1978, up until 2005 Bogdan was a publisher, an advertising writer and a novelist, but he was so passionate about film that he attended Westminster University in London where he majored in screenwriting.

In 2011, Bogdan wrote and directed his first short film, Bora Bora, which earned him first international awards. His feature debut, Dogs, screened in Un Certain Regard at the Cannes Film Festival.

120

Fokus Focus

Inimi cicatrizate Scarred Hearts Ranjena srca Radu Jude

Romunija, Nem~ija Romania, Germany 2016 re`ija/directed by Radu Jude scenarij/screenplay Radu Jude fotografija/cinematography Marius Panduru glasba/music Cristinel Sirli monta`a/editing Catalin Cristutiu igrajo/cast Lucian Teodor Rus (Emanuel), Ivana Mladenovi} (Solange), Ilinca Harnut (Isa), Serban Pavlu (dr. Ceafalan), Alexandru Dabija (g./Mr. Lazar B.), Marian Olteanu producentka/producer Ada Solomon produkcija/production HiFilm Production Gramont st. 23A 040182 Bucharest, Romania E office�hifilm.ro & Komplizen Film format/format DCP, barvni/colour dol`ina/running time 141'

Z edinstvenim vizualnim pristopom posneta drama o ~lovekovih prizadevanjih po preseganju telesne nemo~i z mo~jo uma. Predelava romana Maxa Blecherja, ki je po desetih letih bolehanja umrl, star komaj 29 let.

Emanuel ima kostno tuberkolozo in pre`ivlja dni v sanatoriju ob obali ^rnega morja. Zaradi bolezni se nekega dne znajde v mavcu, nemo~no prikovan na bolni{ko posteljo. Inteligentni dvajsetletnik, ki obo`uje poezijo in filozofijo, kljub temu ne izgubi smisla za humor in navdu{enja nad razpravljanjem o politiki s sotrpini, ki sovra`ijo Jude. V sanatoriju se tudi zaljubi v Solange, pacientko po po{kodbi noge. A samo vpra{anje ~asa je, kdaj se bo, tako kot ve~ina, vdal v neizogibno usodo ...

"Menim, da mo~ filma ni v zgodbi ali razli~nih filozofijah v njenem ozadju, temve~ v njegovi izjemni sposobnosti opisovanja. Upam, da film ~esa ne 'izra`a', ne nosi kak{nih 'pomenov', ne podaja 'ozna~itev', upam samo, da prika`e; ponudi podroben opis skrajne ~love{ke izku{nje, ki jo lahko podo`ivimo z ne`nostjo, strahom in spo{tovanjem." (Radu Jude)

Jude's most visually compelling work, Scarred Hearts is a drama about human ability to overcome physical infirmity with the strength of mind. Screen adaptation of the eponymous novel by Max Blecher, who died at the early age of 29 after ten years of being immobilised by his disease.

Emanuel is diagnosed with bone tuberculosis and is confined to a marine sanatorium near the Black Sea. He is soon encased in a heavy body cast, and must spend all of his hours confined to his bed. A highly intelligent young man in his early twenties with a penchant for quoting poetry and philosophy, Emanuel tries to live life to its fullest, keeping up his good humour, arguing over politics with anti-Semites and falling in love with Solange, a recovered former patient – but is it only a matter of time until he, like many other of his fellow patients, becomes resigned to his arbitrary fate?

"I believe that the strength of cinema does not lie in the story or in the different philosophies behind the stories, but in its immense descriptive capacity. I hope this movie will not 'express' something, will not have any 'meanings', nor convey 'denotations', I only hope it will show; it will offer the detailed description of an extreme human experience on which to relate with tenderness, fear and respect." (Radu Jude)

Radu Jude

filmografija/filmography

Rojen v Bukare{ti leta 1977. Diplomiral je na filmski smeri tamkaj{nje Univerze za medije. Leta 2009 je posnel celove~erni prvenec Najsre~nej{e dekle na svetu, prikazan na festivalu Sundance in nagrajen na berlinskem festivalu. Tri leta pozneje si je za dru`insko dramo Vsi v na{i dru`ini prislu`il nagrado na sarajevskem festivalu, lani pa je v Berlinu za zgodovinsko dramo Bravo! prejel srebrnega medveda.

2006 Lampa cu caciula (The Tube with a Hat) (kratki/short) 2007 Alexandra (kratki/short) 2009 Cea mai fericita fata din lume (The Happiest Girl in the World/ Najsre~nej{e dekle na svetu) 2011 Film pentru prieteni (A Film for Friends) 2012 Toata lumea din familia noastra (Everybody in Our Family/Vsi v na{i dru`ini) 2013 O umbra de nor (Shadow of a Cloud) (kratki/short) 2014 Trece si prin perete (It Can Pass through the Wall) (kratki/short) 2015 Aferim! (Bravo!)

2016 Inimi cicatrizate (Scarred Hearts/Ranjena srca)

Born in Bucharest in 1977, Jude graduated in film from Bucharest's Media University. In 2009, he came to worldwide attention with his debut feature film, The Happiest Girl in the World, which screened at the Sundance Festival and was awarded at the Berlinale Forum. Three years later, his second feature film, Everybody in Our Family, was awarded at the Sarajevo Film Festival. In 2015 his historical drama Bravo! won the Silver Bear Award at Berlin.

festivali, nagrade (izbor)/ festivals, awards (selection) Locarno 2016 (nagrada don kihot/ Don Quixote Award, posebna omemba `irije/Special Jury Prize), Sarajevo 2016

prodaja/world sales Beta Cinema Gruenwalder Weg 28d 82041 Oberhaching/Munich, Germany E beta�betacinema.com

121

Fokus Focus

Sieranevada Sieranevada Sieranevada Cristi Puiu

re`ija/directed by Cristi Puiu scenarij/screenplay Cristi Puiu fotografija/cinematography Barbu Balasoiu monta`a/editing Ciprian Cimpoi igrajo/cast Mimi Branescu (Lary), Dana Dogaru (Nusa), Marian Ralea (g./ Mr. Popescu), Marin Grigore (Sebi), Rolando Matsangos (Gabi), Tatiana Iekel (teta/aunt Evelina), Judith State (Sandra), Ana Ciontea (teta/aunt Ofelija), Sorin Medeleni (Tony) producenti/producers Anca Puiu, Sabina Brankovi}, Laurence Clerc, Zdenka Gold, Labina Mitevska, Lucian Pintilie, Mirsad Purivatra, Olivier Père, Olivier ThéryLapiney produkcija/production Mandragora 4 Ghe. Bratianu St. 011413 Bucharest, Romania E anca�mandragora.ro & Alcatraz Films & Production2006 & Sisters and Brother Mitrevski & Spiritus Movens Production & Iadasarecasa & ARTE France Cinéma format/format DCP, barvni/colour dol`ina/running time 173' festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 2016, Jeruzalem/Jerusalem 2016, München 20016

prodaja/world sales Elle Driver 66 rue de Miromesnil 75008 Paris, France E sales�elledriver.eu

Romunija, Francija, Bosna in Hercegovina, Hrva{ka, Makedonija Romania, France, Bosnia and Herzegovina, Croatia, Republic of Macedonia 2016

Tretji del Puiujevega projekta portretiranja `ivljenja v predmestju Bukare{te raziskuje tragikomi~no dinamiko dru`ine, zbrane ob sedmini. [tirideset dni po o~etovi smrti se kirurg Lary s svojo mlado `eno udele`i tradicionalne `alne slovesnosti. [tevil~na dru`ina se zbere v socialisti~nem stanovanju preminulega pater familiasa, toda izkazovanje ~asti pokojniku je zgolj izhodi{~e za o`ivljanje starih zamer in sporov, medgeneracijskih {umov, obsedenih teorij zarote itd. Sre~anje Laryja prisili k sprejetju lastne preteklosti in svoje vloge v dru`ini. V `elji, da zamol~i bole~e spomine in prikroji sedanjost, navzo~im postre`e s svojo razli~ico "resnice".

The third instalment in Puiu’s series of insights into the lives of people in suburban Bucharest explores the tragicomic workings of a family gathered to commemorate the loss of their father.

Forty days after the death of his parent, Lary, a neurologist in his forties, is about to spend the Saturday at a family gathering to pay respects to the deceased. The large family gets together in the socialist flat of the late patriarch. But the occasion does not go according to expectations. Forced to confront his fears and his past, to rethink the place he holds within the family, Lary finds himself constraint to tell his version of the truth.

"Skorajda vsak od obiskovalcev kina je `e v nekem `ivljenjskem obdobju prisostvoval `alni pogostitvi. Le redki nimajo te izku{nje.

Ne gre toliko za pretvezo, saj bi {tevilne prvine zgodbo v tej obliki naredile nemogo~o, mogo~e bi jih bilo dovolj samo za dolg niz {al, torej drobnih pripetljajev. ^eprav bi bilo to te`ko sprejeti, vseeno lahko re~em, da po mojem mnenju vsak re`iser, ustvarjalec ali pisatelj tega sveta ne govori o ni~emer drugem kot o smrti. Smrt je osrednji vezni element ... Te`ko bi si zami{ljal druga~no gonilo ob misli na umetnike, ki jih poznam, slikarje, pesnike." (Cristi Puiu)

"Almost everyone who enters a cinema has found themselves, at some point in their life, seated at a table for a commemoration meal. Only few haven't had this experience. It is not quite a pretext, because a lot of elements would have made the story impossible in this form, maybe they would have been enough just for a long string of jokes, that is, small scale events. This might be hard to accept, but I'd say that I don't think any director, writer or author in this whole world speaks about anything else than death. Death is the linchpin... I could hardly imagine a different drive when I think of the artists I got close to, painters, poets." (Cristi Puiu)

Cristi Puiu

filmografija/filmography

Rojen leta 1967 v Bukare{ti. V @enevi je {tudiral slikarstvo, pozneje {e filmsko re`ijo. Sieranevada je tretji del iz napovedane serije [estih zgodb iz predmestja Bukare{te, kamor sodita {e v Cannesu nagrajeni film Smrt gospoda Lazarescuja in Aurora.

1995 Before Breakfast (kratki/short) 2001 Marfa si banii (Stuff and Dough/Roba in cvenk) 2004 Un cartus de Kent si un pachet de cafea (Cigarettes and Coffee) (kratki/short) 2005 Moartea domnului Lazarescu (The Death of Mr. Lazarescu/ Smrt gospoda Lazarescuja) 2010 Aurora 2013 Trois exercices d’interprétation (Three Exercises of Interpretation/ Tri vaje v interpretaciji) 2016 Sieranevada

Born in 1967 in Bucharest, Puiu studied painting in Geneva, and subsequently also film direction. Sieranevada is the third instalment in the series of love stories entitled Six Stories from the Outskirts of Bucharest, which also includes The Death of Mr. Lazarescu, winner of the Un Certain Regard Award in Cannes, and Aurora.

122

Modri `amet 30 Blue Velvet 30

Blue Velvet Blue Velvet Modri `amet ZDA USA 1986

David Lynch

David Lynch je v nespornem mejniku lastne filmografije do popolnosti razvil psihoanaliti~ni pogled na dru`insko idilo petdesetih let.

In one of the milestones of his career David Lynch perfected his psychoanalytical assessment of the 1950s exemplary family.

Jeffrey Beaumont je {tudent, ki se vrne v doma~i kraj Lumberton, da bi prevzel o~etovo trgovino, medtem ko je ta hospitaliziran.

Med sprehodom po travniku blizu doma nekega dne najde ~love{ko uho. Detektiv John Williams mu no~e razkriti nobenih podrobnosti o najdbi in mu svetuje, naj tudi sam mol~i, dokler poteka preiskava. Jeffrey se medtem spoprijatelji z detektivovo h~erko Sandy, ki je doma sli{ala o~etove pogovore o tem primeru.

Izve, da je vanj vpletena Dorothy Vallens, pevka v lokalnem no~nem klubu. Radovednost Jeffreyju ne da miru, zato se odlo~i, da bo sam raziskal Dorothyjino stanovanje, medtem ko je ona v slu`bi ...

College student Jeffrey Beaumont returns to his idyllic hometown of Lumberton to manage his father's hardware store while his father is hospitalised. Walking though a meadow near the family home, Jeffrey finds a severed human ear. After an initial investigation, police Detective John Williams advises Jeffrey not to speak to anyone about the case as they investigate further. Detective Williams' daughter, Sandy, tells Jeffrey what she knows about the case from overhearing her father’s private conversations on the matter: that it has to do with a nightclub singer named Dorothy Vallens. His curiosity getting the better of him, Jeffrey decides to find out more about the woman by breaking into Dorothy’s apartment while she's at work.

"Modri `amet in Eraserhead sta bolj osebna in tudi bolj podzavestna. Dolo~ene `elje obarvajo tvoje zamisli in jih naredijo bolj osebne. Dolo~eni koncepti me privla~ijo. Ko se za~nejo porajati, jih za~nem povezovati. /…/ Ne poznam pomena {tevilnih stvari. Samo ob~utek imam, ali so prave ali ne. Moje delo prevevajo abstraktne ideje, vendar gre za ideje, ki jih poznam. Moj prvi navdih je `ivljenje, zatorej ima vse smisel, ker je povezano z njim." (David Lynch)

festivali, nagrade (izbor)/ festivals, awards (selection) Toronto 1986, oskarji/Academy Awards 1987 (nominacija za najbolj{o re`ijo/Best Director Nomination), zlati globusi/Golden Globes 1987 (dve nominaciji/ 2 nominations)

"Blue Velvet and Eraserhead are more personal and also more subconscious. There are certain desires that colour your ideas and make them personal. I'm attracted by certain concepts. Once they start coming, I start to link them. /…/ I don't know what a lot of things mean. I just have the feeling that they are right or not right. My work is full of abstract ideas but they are ideas I know about. My first inspiration is life, therefore everything makes sense because it is linked to life." (David Lynch)

David Lynch

filmografija (izbor)/filmography (selection)

Rojen leta 1946 v mestu Missoula, ZDA. Odra{~al je natanko v tak{nem predmestnem okolju, kakr{no pogosto orisuje v svojih filmih. Zgodnje o~etovstvo in `ivljenje v nasilni Filadelfiji sta navdihnila njegov celove~erni prvenec Eraserhead, na katerem je po seriji kratkih filmov delal pet let. Od tedaj je ustvaril enega najprepoznavnej{ih avtorskih opusov druge polovice minulega stoletja.

1977 1980 1984 1986 1990 1990 1992 1997 1999 2001 2006

Born in 1946 in Missoula, USA, precisely the kind of small-town American setting so familiar from his films. The experience of early fatherhood and attending art school in a particularly violent and run-down area of Philadelphia inspired Eraserhead, a film that he would work on obsessively for five years.

David Lynch has asserted himself as one of the most prominent auteurs of the second half of the twentieth century.

re`ija/directed by David Lynch scenarij/screenplay David Lynch fotografija/cinematography Frederick Elmes glasba/music Angelo Badalamenti monta`a/editing Duwayne Dunham igrajo/cast Isabella Rossellini (Dorothy Vallens), Kyle MacLachlan (Jeffrey Beaumont), Dennis Hopper (Frank Booth), Laura Dern (Sandy Williams), Hope Lange (ga./Mrs. Williams), Dean Stockwell (Ben), George Dickerson (John Williams), Priscilla Pointer (ga./Mrs. Beaumont), Frances Bay (teta/aunt Barbara), Jack Harvey (Tom Beaumont), Ken Stovitz (Mike), Brad Dourif (Raymond), Jack Nance (Paul) producent/producer Fred C. Caruso produkcija/production De Laurentiis Entertainment Group (USA) format/format 35 mm, barvni/colour dol`ina/running time 120'

Eraserhead The Elephant Man (^lovek slon) Dune (Pe{~eni planet) Blue Velvet (Modri `amet) Wild at Heart (Divji v srcu) Twin Peaks (TV-serija/TV series) Twin Peaks: Fire Walk with Me (Twin Peaks: ogenj hodi z menoj) Lost Highway (Izgubljena cesta) The Straight Story (Resni~na zgodba) Mulholland Dr. Inland Empire (Notranje zadeve)

prodaja/world sales Park Circus 1st Floor, 15 Woodside Crescent Glasgow G3 7UL, UK E info�parkcircus.com

125

Modri `amet 30 Blue Velvet 30

Blue Velvet Revisited Blue Velvet Revisited Ponovni pogled na Modri `amet Peter Braatz

re`ija/directed by Peter Braatz scenarij/screenplay Peter Braatz fotografija/cinematography Peter Braatz glasba/music Cult With No Name, Tuxedomoon, John Foxx monta`a/editing Peter Braatz nastopajo/with David Lynch, Isabella Rossellini, Kyle MacLachlan, Dennis Hopper, Laura Dern, Hope Lange, Dean Stockwell, George Dickerson, Priscilla Pointer, Frances Bay, Jack Harvey, Ken Stovitz, Brad Dourif, Jack Nance producenta/producers Peter Braatz, Ida Weiss produkcija/production Taris Filmproduktion Gutenbergstraße 3 42659 Solingen E peter.braatz�siol.net & Bela Film (Slovenia) format/format DCP, barvni/colour dol`ina/running time 85' festivali, nagrade (izbor)/ festivals, awards (selection) London 2016

Trideset let po nastanku Lynchevega Modrega `ameta imamo ob posnetkih nem{kega re`iserja Petra Braatza prilo`nost pogledati v zakulisje snemanja tega kultnega filma.

Thirty years after the shooting of Blue Velvet, David Lynch's iconic masterpiece, the German filmmaker Peter Braatz revisits his original material and numerous photographs.

Ponovni pogled na Modri `amet je dokumentarni film, sestavljen iz obse`nega filmskega in fotografskega gradiva, ki ga je leta 1985 na prizori{~u snemanja Lynchevega filma v Wilmingtonu (ZDA) posnel Peter Braatz. Nem{ki re`iser je takrat od Davida Lyncha pridobil ekskluzivno pravico dokumentiranja celotne produkcije te filmske klasike, ve~ina tega gradiva pa ni bila nikoli javno predvajana. Podobe, zvo~ni posnetki, fotografije, slike, predmeti in spominki, ki je Braatz zbral, so v dokumentarcu zdru`eni v povsem novo zgodbo. Ponovni pogled na Modri `amet je kot potovanje, na katerem re`iser skupaj z nami odkriva dolgo zakopani zaklad.

Blue Velvet Revisited is a documentary film based on hours of documentary footage that was filmed and photographed in 1985 in Wilmington, the USA, on the set of Lynch's Blue Velvet. Peter Braatz obtained the exclusive rights to document the entire production of the cult classic from Lynch himself, with most of this footage never previously released to the public. The film images, numerous sound recordings, photographs, paintings, objects and relics that Braatz had collected are selected and composed into an evocative new film. Blue Velvet Revisited is a journey sharing with the viewer some kind of buried treasure.

"Ponovni pogled na Modri `amet je odkopavanje skritega zaklada, ki se ga je bilo treba {e enkrat dotakniti, da bi vnovi~ vzbrstel in zablestel." (Peter Braatz)

prodaja/world sales Bela film Knezova ulica 2 1000 Ljubljana, Slovenia E info�belafilm.si

Nem~ija, Slovenija Germany, Slovenia 2016

"Blue Velvet Revisited is my excavation of a hidden treasure, which just needed to be touched once more to blossom and sparkle." (Peter Braatz)

Peter Braatz

filmografija (izbor)/filmography (selection)

Rojen leta 1959 v Solingenu v Nem~iji. Diplomiral je na Akademiji za film in televizijo v Berlinu (DFFB). Je nekdanji pevec in tekstopisec pank skupine S.Y.P.H., danes pa producent, re`iser, scenarist, monta`er, snemalec, fotograf in oblikovalec zvoka. Sodeloval je z Davidom Lynchem in Wimom Wendersom. Ustvarja tudi pod imenom Harry Rag.

1988 No Frank in Lumberton (dok./doc.)

1991 DDR – Ohne Titel (dok./doc.)

1995 Foto Film 20001 (dok./doc.)

2002 Over the Sun, Under the Moon 2007 ^love{ka ribica (The Human Fish) (dok./doc.)

2007 Blumfeld: Nackter als nackt/Live in Berlin 2009 Tracking the Walkabouts (dok./doc.)

2011 Vedno mlada Slovenija (Forever Young – Slovenia) 2012 Tamikrest (dok./doc.)

2016 Blue Velvet Revisited (Ponovni pogled na Modri `amet) (dok./doc.)

Born in 1959 in Solingen, Germany. He graduated from the German Film and Television Academy in Berlin (DFFB). He was a singer and songwriter with the punk band S.Y.P.H. Since 1988 he has been an independent producer, director, screenwriter, editor, cameraman, photographer and sound designer.

He has worked with David Lynch and Wim Wenders. He also works under the pseudonym Harry Rag.

126

Retrospektiva Retrospective

Sherlock Jr. Sherlock Jr. Sherlock Holmes ml.

ZDA USA 1924

Buster Keaton re`ija/directed by Buster Keaton scenarij/screenplay Jean C. Havez, Joseph A. Mitchell, Clyde Bruckman fotografija/cinematography Byron Houck, Elgin Lessley monta`a/editing Roy B. Yokelson igrajo/cast Buster Keaton (kinooperater, Sherlock, ml./projectionist, Sherlock, Jr.), Kathryn McGuire (dekle/the girl), Joe Keaton (dekletov o~e/the girl's father), Erwin Connelly (stre`aj/the butler), Ward Crane ({ejk/the sheik) producenta/producers Buster Keaton, Joseph M. Schenck produkcija/production Buster Keaton Productions (USA) format/format DCP, ~b/b&w dol`ina/running time 48'

prodaja/world sales Kino Video

@lahtna burleska z detektivskim pridihom, v kateri pla{ni kinooperater `eli osvojiti srce svoje izbranke.

A vintage burlesque with a tinge of thriller-mystery about a timid projectionist who wants to win the heart of his beloved.

Plahi kinooperater, ki vsak ve~er po projekciji po~isti dvorano, rad prebira kriminalne romane in si bolj kot vse na svetu `eli postati zasebni detektiv. Zagledan je v privla~no mladenko, ki jo osvaja tudi zapeljivec {ejk. Da bi se znebil tekmeca, {ejk ukrade `epno uro dekletovega o~eta in krajo podtakne ubogemu kinooperaterju.

A v njegovi domi{ljiji oziroma v filmskem svetu ni pora`enec, saj se v slogu slavnega detektiva Sherlocka Holmesa soo~i z razli~nimi nevarnostmi in re{i primer.

A meek and mild projectionist, who also cleans up after screenings, would like nothing better than to be a private detective. He becomes engaged to a pretty girl but a ladies' man known as the Sheik vies for her affection. He gets rid of the projectionist by stealing a pocket watch belonging to the girl's father and slipping the pawn ticket into the projectionist's pocket.

The projectionist doesn't have much luck in real life but, in his dreams, he becomes the renowned detective Sherlock Jr. who faces danger and solves the crime.

"Tretji in najkraj{i celove~erec Busterja Keatona se uvr{~a med njegove najbolj{e. Ironi~ni komentar o dru`beni krivi~nosti je navidezno resna {tudija o domi{ljiji in resni~nosti, `ivljenju in umetnosti. Vendar gre predvsem za film o filmu, ki daje kreativnosti in eskapizmu tako velik poudarek, da sanjski prizori vsakdanjo resni~nost odrinejo na rob." (David Parkinson, The Empire)

"Buster Keaton's third and shortest feature ranks among his best.

An ironic comment on social injustice, it's a deceptively serious study of fantasy and reality, life and art. But, most significantly, it's also a film about film that places so much stress on creativity and escapism that the dream sequence relegates the everyday to the margins." (David Parkinson, The Empire)

Buster Keaton

filmografija (izbor)/filmography (selection)

Rojen leta 1895 v Kansasu, ZDA, umrl leta 1966. Pri treh letih je za~el nastopati, k filmu pa je pri{el z enaindvajsetimi. Je eden najbolj znanih in priznanih predstavnikov neme burleskne komedije. Ve~ino filmov, v katerih je igral, je sam tudi re`iral in produciral. S pojavom zvo~nega filma se je umaknil, a se je konec {tiridesetih ponovno vrnil pred kamere in nastopil v uspe{nicah, kot je Bulvar somraka (1950).

1920 1923 1923 1924 1924 1925 1926 1926 1928

Born in 1895 in Kansas, the USA, died in 1966. He began performing at age 3. He was introduced to film when he was 21 and eventually directed and starred in films in the 1920s. The talkies eventually pushed him out of demand, but he made a comeback in the 1940s and '50s, when he starred in films such as Sunset Boulevard (1950).

130

One Week (Buster gradi hi{o) Three Ages (Bustrovo potovanje skozi stoletja) Our Hospitality (Na{e gostoljubje) The Navigator (Navigator) Sherlock Jr. (Sherlock Holmes ml.)

Go West (Kavboj Buster) Battling Butler (Buster boksar) The General (General) The Cameraman (Kamerman)

Retrospektiva Retrospective

The Smallest Show on Earth The Smallest Show on Earth Najmanj{a kinopredstava na svetu Velika Britanija Great Britain 1957

Basil Dearden

re`ija/directed by Basil Dearden scenarij/screenplay William Rose, John Eldridge fotografija/cinematography Douglas Slocombe glasba/music William Alwyn monta`a/editing Oswald Hafenrichter igrajo/cast Virginia McKenna (Jean Spenser), Bill Travers (Matt Spenser), Margaret Rutherford (ga./Ms. Fazackalee), Peter Sellers (Percy Quill), Bernard Miles (stari Tom/old Tom), Francis De Wolff (Albert Hardcastle), Leslie Phillips (Robin Carter) producenti/producers Sidney Gilliat, Frank Launder, Michael Relph produkcija/production Hallmark Productions (UK) format/format 35 mm, ~b/b&w dol`ina/running time 80'

Rahlo ekscentri~en, v duhu britanskih komedij iz petdesetih let posnet film ponuja zabaven pogled na ~as zapiranja majhnih in pri gledalcih priljubljenih kinodvoran z du{o.

Zakonca Jean and Bill se finan~no komaj prebijata iz dneva v dan.

Nekega dne prejmeta telegram, v katerem izvesta, da je Billu pokojni stric zapustil kinodvorano v mestecu Sloughborough.

Bill in Jean se po~utita, kot bi zadela na loteriji. Polna zanosa se odlo~ita prevzeti stri~ev posel, a kaj ko podedovani kino ni nikakr{na zlata jama, temve~ majhna, razpadajo~a podrtija s povsem neuporabnim osebjem, ki je tam zaposleno `e od vekomaj. Sprijaznjena s te`kimi razmerami se odlo~ita kino ~im bolje prodati in se vrniti domov, a to je la`je re~i kot storiti ...

"Ta ekscentri~ni film, posnet v slogu studiev Ealing, je zabaven spomin na dni kinodvoran, preden smo se mno`i~no za~eli odpravljati v komplekse brezdu{nih korporacij na obrobju mesta. /.../ Gre za izrazito ansambelsko delo, ki se zelo opira na situacijsko komiko in filmske prijeme, kot so npr. prehiter tek filma ali prekinjanje prizora na polovici, za izvabljanje smeha – zaradi ~esar ni ni~ manj zabaven." (Amber Wilkinson, Eye for Film)

The slightly eccentric film shot in the vein of the British 1950s comedies, The Smallest Show on Earth is a humorous take on the good days of cinema, the small and popular movie theatres with a character.

Jean and Bill are a struggling married couple. Out of the blue they receive a telegram informing them that Bill's long-lost uncle has died and left them his business, a cinema in the town of Sloughborough. They pack their bags and travel to Sloughborough expecting to sell the cinema to gain a huge inheritance, however, they discover the cinema is falling apart and is run by a comically incompetent staff who seem to have worked there forever. They set out with a plan to sell it but things don't go quite as expected.

"This eccentric film, in the vein of Ealing comedies, offers a fun reminder of the days of cinema before we all started driving to out-of-town complexes, owned by faceless corporations. /.../ Very much an ensemble piece, it relies heavily on sight gags and cinema business, such as the film running too quickly, or snapping part way through, to provide the best laughs – no less fun for all that." (Amber Wilkinson, Eye for Film)

Basil Dearden

filmografija (izbor)/filmography (selection)

Rojen leta 1911 v Essexu, Anglija, umrl marca 1971. Sprva je re`iral v gledali{~u, nato se je posvetil filmu. Prvenec je posnel leta 1943 ter v nadaljevanju ustvarjal v tesni navezi s scenaristom in producentom Michelom Relphom. Njuni filmi so, predvsem zaradi drznih, dru`beno anga`iranih tem, zaznamovali britansko kinematografijo. V {estdesetih letih prej{njega stoletja se je Dearden uspe{no preizkusil tudi v raznovrstnem akcijskem filmu.

1943 1945 1946 1947 1950 1956 1957 1959 1961 1966 1969 1970

Born in 1911 in Essex, England, died in 1971. A former stage director, Basil Dearden entered film as assistant director and made his feature debut in 1943. He eventually became associated with writer/producer Michael Relph, and together the two made films on themes not often tackled in British films, such as homosexuality and race relations. In the '60s Dearden embarked on a new phase of his career by directing large-scale action pictures.

The Bells Go Down Dead of Night (Pozno pono~i) The Captive Heart Frieda The Blue Lamp Who Done It? The Smallest Show on Earth (Najmanj{a kinopredstava na svetu) Sapphire Victim Khartoum The Assassination Bureau The Man Who Haunted Himself

prodaja/world sales British Lion Film Corporation E petersnell�britishlion.com

131

Retrospektiva Retrospective

The Last Picture Show The Last Picture Show Zadnja kino predstava ZDA USA 1971

Peter Bogdanovich re`ija/directed by Peter Bogdanovich scenarij/screenplay Larry McMurtry, Peter Bogdanovich fotografija/cinematography Robert Surtees monta`a/editing Donn Cambern igrajo/cast Jeff Bridges (Duane Jackson), Cybill Shepherd (Jacy Farrow), Timothy Bottoms (Sonny Crawford), Ben Johnson (Sam), Cloris Leachman (Ruth Popper), Ellen Burstyn (Lois Farrow), Randy Quaid (Lester Marlow) producent/producer Stephen J. Friedman produkcija/production BBS Productions (USA) & Columbia Pictures Corporation (USA) format/format 35 mm, ~b/b&w dol`ina/running time 118' festivali, nagrade (izbor)/ festivals, awards (selection) oskarji/Academy Awards 1972 (najbolj{a stranska mo{ka vloga, najbolj{a stranska `enska vloga/Best Supporting Actor, Best Supporting Actress), zlati globusi/Golden Globes 1973 (najbolj{a stranska mo{ka vloga/Best Supporting Actor), BAFTA 1973 (najbolj{i scenarij, najbolj{a stranska mo{ka vloga, najbolj{a stranska `enska vloga/Best Screenplay, Best Supporting Actor, Best Supporting Actress)

Iskrena, grenko-sladka, s spolnim prebujenjem in socialnim brezupom zaznamovana drama o odra{~anju na zaspanem ameri{kem pode`elju.

Za~etek petdesetih. Prijatelja Sonny in Duane sredi Teksasa odra{~ata ob igranju ameri{kega nogometa, osvajanju deklet in obiskih mestnega kina. Jacy je dekle iz bogate dru`ine, ki si jo `elijo vsi fantje na {oli – tudi Duane. Zna~ilne mladostni{ke dni zaznamujejo ljubezenske lekcije, osamljenost, ljubosumje in dru`enje, predvsem pa sanje o pobegu iz zakotnega mesteca, ki ne obeta prihodnosti. Bli`ajo~a se matura in zadnja kino predstava v priljubljenem hramu gibljivih slik simboli~no naznanjata konec brezskrbne mladosti in vstop v neznani svet odraslih odgovornosti ...

"Morali smo uporabiti ~rno-beli format. Zaradi barve bi bilo mesto preve~ ... ~edno, mislim. In ena od podzavestnih misli je bilo upanje, da bi lahko pripomogli k preseganju neumnega tabuja zoper ~rno-beli format. [tevilnih filmov ne bi smeli posneti v barvi. Orson Welles mi je neko~ povedal, da so bile vse velike predstave monokromne. To je skorajda dobesedna resnica. ^rno-bela obogati, zaznamuje jo skrivnostnost. Barva je preve~ realisti~na." (Peter Bogdanovich)

Peter Bogdanovich Rojen leta 1939 kot sin srbskega slikarja in pianista ter avstrijske matere judovskega rodu. Obiskoval je igralsko {olo Stelle Adler in najprej nastopal pred kamero, nato pa za~el re`irati. V sedemdesetih je bil del hollywoodske elite; takrat je posnel tudi svoje tri najodmevnej{e filme: Zadnja kino predstava, Kaj te o~ka pu{~a samo? in Papirnati mesec. Danes je priznan filmski zgodovinar, kritik in novinar, producent, re`iser in igralec.

Born in 1939 to Serbian painter/pianist father and Austrian mother of Jewish descent. He began his career on stage under the tutelage of famed acting teacher Stella Adler. He went on to direct, produce and act in a number of films. An accomplished artist, he belonged to the Hollywood elite circles in the 1970s, when he made his most resounding works, The Last Picture Show, What's Up, Doc? and Paper Moon.

132

A surprisingly frank, bittersweet drama of social and sexual mores in small-town America.

Early 1950s. Enduring that awkward period of life between boyhood and manhood, Sonny in Duane pass their time with the movie house, football, and girls. Jacey is Duane's steady, wanted by every boy in school. The boys are torn between a future somewhere out there beyond the borders of town or making do with their inheritance of a decrepit movie house. As high school graduation approaches, they learn some difficult lessons about love, loneliness, and jealousy. With the closure of the movie house, the boys feel that a stage of their lives is closing. They stand uneasily on the threshold of the rest of their lives.

"We had to use black and white. Color made the town look too ... pretty, I guess. And one of the things in the back of my mind was the hope that maybe we could help break that silly taboo against black and white. A lot of pictures shouldn't be shot in color.

Orson Welles told me once that all the great performances had been in black and white. That is almost literally the truth. There's something mysterious and enriching about black and white. Color is too realistic." (Peter Bogdanovich)

filmografija (izbor)/filmography (selection) 1968 1971 1972 1973 1974 1979 1981 1985 2001 2014

Targets The Last Picture Show (Zadnja kino predstava) What’s Up, Doc (Kaj te o~ka pu{~a samo?)

Paper Moon (Papirnati mesec) Daisy Miller Saint Jack They All Laughed (Dan, ko so se vsi smejali) Mask The Cat's Meow ([pica) She's Funny That Way (Tak{na pa~ je)

Retrospektiva Retrospective

El espíritu de la colmena The Spirit of the Beehive Duh panja [panija Spain 1973

Víctor Erice

Portret pode`elske [panije po dr`avljanski vojni skozi o~i travmatizirane deklice {tevilni uvr{~ajo med najbolj{e {panske filme vseh ~asov.

A critical portrait of 1940s rural Spain seen through the eyes of a traumatised girl, The Spirit of the Beehive is regarded as one of the greatest Spanish films ever made.

Leto 1940. [panska dr`avljanska vojna se je pravkar kon~ala z zmago Francovih sil. [estletna deklica Ana `ivi v osamljeni vasici na kastiljski planoti s star{ema in sestro Isabel. Ko v vas prispe potujo~i kino, si gre Ana z Isabel ogledat Frankensteina. Deklico film povsem za~ara, Isabel pa ji razlo`i, da je po{ast v njem kot neke vrste duh, s katerim lahko spregovori, ~e zapre o~i in se mu predstavi. Anino navdu{enje nad zgodbo se {e pove~a, ko jo Isabel odpelje v zapu{~eni ov~jak, kjer domnevno `ivi po{ast. Ana se tja ve~krat vrne, da bi sre~ala to prikazen, a vse, kar najde, je velika stopinja na tleh. Deklica pod mo~nim vplivom te izku{nje postopoma odtava v svet domi{ljije.

1940. The Spanish Civil War has just ended with the Francoist victory over the Republican forces. Six-year-old Ana is a shy girl who lives in an isolated Spanish village on the Castilian plateau with her parents and her sister, Isabel. A mobile cinema brings Frankenstein to the village and the sisters go see it. Ana finds the film interesting, and Isabel says the monster is like a spirit, and Ana can talk to him if she closes her eyes and calls him. Ana's fascination with the story increases when Isabel takes her to an abandoned sheepfold, which she claims is the monster's house.

Ana returns alone many times to look for him but finds only a large footprint. Traumatised after viewing the movie, Ana drifts into her own fantasy world.

"Kot otrok sem si ogledal veliko hollywoodskih filmov; to je bilo na voljo. Tako sem lahko u`ival v izjemnem obdobju ameri{kega filma. Sedaj ugotavljam, da sem kot otrok gledal filme, ki so se mi tedaj zdeli mojstrovine in tako menim {e danes. [e preden sem vedel, da je Frankenstein domi{ljijska stvaritev Mary Shelley, {e preden sem prebral knjigo, sem videl film: meni Boris Karloff predstavlja Frankensteina. Druga~e re~eno, miti, ki jih vpijemo v otro{tvu, ostajajo z nami za vekomaj." (Victor Erice)

festivali, nagrade (izbor)/ festivals, awards (selection) San Sebastian 1973 (najbolj{i celove~erec/Best Feature), Chicago 1973

"As a child, I watched a lot of Hollywood movies; that was what we could see. So I was able to enjoy an extraordinary period for American films. I now realise that as a child I watched films which I considered masterpieces then and which I still consider masterpieces today. So even before I knew Frankenstein was the product of the imagination of Mary Shelley, even before I read the book, I saw the film: for me, Boris Karloff is Frankenstein. In other words, the myths we absorb in childhood remain with us forever." (Victor Erice)

Victor Erice

filmografija/filmography

Rojen leta 1940 v kraju Karrantza v [paniji. Na Univerzi v Madridu je {tudiral pravo, politologijo in ekonomijo, nato pa {e filmsko re`ijo. Po {tudiju je najprej delal kot filmski kritik za {pansko filmsko revijo Nuestro Cine, nakar je za~el snemati kratke filme. Njegov celove~erni prvenec Duh panja je prejel glavno nagrado na filmskem festivalu v San Sebastianu.

1969 1973 1983 1992 2002

Born in 1940 in Karratza, Spain. He studied law, political science, and economics at the University of Madrid. He also attended the Escuela Oficial de Cinematografia in 1963 to study film direction. He wrote film criticism and reviews for the Spanish film journal Nuestro Cine, and made a series of short films before making his first feature film, The Spirit of the Beehive, which won the Golden Seashell Award for Best Picture at the San Sebastian Film Festival.

re`ija/directed by Víctor Erice scenarij/screenplay Víctor Erice, Ángel Fernández Santos, Francisco J. Querejeta fotografija/cinematography Luis Cuadrado glasba/music Luis de Pablo monta`a/editing Pablo G. del Amo igrajo/cast Fernando Fernán Gómez (Fernando), Teresa Gimpera (Teresa), Ana Torrent (Ana), Isabel Tellería (Isabel), Ketty de la Cámara (Milagros), Estanis González (pripadnik civilne stra`e/civil guard), José Villasante (Frankenstein), Juan Margallo (begunec/fugitive), Laly Soldevila (Doña Lucía), Miguel Picazo (zdravnik/doctor) producent/producer Elías Querejeta produkcija/production Elías Querejeta Producciones Maestro Lassalle 21 ES-28016 Madrid, Spain E norma�eliasquerejeta.com & Jacel Desposito (Spain) format/format 35 mm, barvni/colour dol`ina/running time 97'

2006 2011 2012 2016

Los desafíos (The Challenges) (omnibus) El Espíritu de la Colmena (The Spirit of the Beehive/Duh panja) El sur (El Sur/Jug) El Sol del Membrillo (The Quince Tree Sun/S soncem obsijana kutina) (dok./doc.)

Ten Minutes Older: The Trumpet (Deset minut starej{i: Trobenta) (omnibus) La Morte Rouge 3.11 Sense of Home (dok. omnibus/doc. omnibus) Centro Histórico (omnibus) Víctor Erice – Abbas Kiarostami: Correspondencias (Víctor Erice – Abbas Kiarostami: Correspondence)

prodaja/world sales Tamasa Distribution 63 Rue de Ponthieu 75008 Paris, France T +33 1 43 59 01 01

133

Retrospektiva Retrospective

Mes petites amoureuses My Little Loves Moje male ljubice Francija France 1974

Jean Eustache re`ija/directed by Jean Eustache scenarij/screenplay Jean Eustache fotografija/cinematography Néstor Almendros monta`a/editing Françoise Belleville, Vincent Cottrell, Alberto Yaccelini igrajo/cast Martin Loeb (Daniel), Jacqueline Dufranne (babica/grandmother), Jacques Romain, Ingrid Caven (mama/mother), Vincent Testanière, Roger Rizzi, Anne Stroka, Cirque Muller, Syndra Kahn, Jean-Jacques Bihan, Ghislaine Lakomy, Brigitte Pangaud, Michele Deboutet, Dionys Mascolo, Claire Treille, Louis Caut, Patrick Eustache, Henri Martinez, Jean-Noël Picq, Jean-Claude Gasché producent/producer Pierre Cottrell produkcija/production Elite Films (France) & Gala (France) format/format 35 mm, barvni/colour dol`ina/running time 123' festivali, nagrade (izbor)/ festivals, awards (selection) Moskva/Moscow 1975

prodaja/world sales Elite Films

Drugi in zadnji igrani celove~erec francoskega re`iserja Jeana Eustacha, ki je nasledil njegovo prebojno mojstrovino Mama in kurba.

My Little Loves is French director Jean Eustache's second and final narrative feature, made a year after his masterpiece, The Mother and the Whore.

Daniel je najstni{ki fant, ki `ivi z babico. Po prvem letu srednje {ole se mora preseliti k mami na jug Francije. Mama je {ivilja in `ivi v majhnem stanovanju z ljubimcem Josejem, {panskim kme~kim delavcem. Daniel bi rad nadaljeval {olanje, vendar si njegova mati tega ne more privo{~iti, zato ga po{lje na delo kot vajenca v popravljalnici motociklov. Daniel pri delu tava z mislimi in se vse bolj osredoto~a na dekleta, o katerih se u~i od drugih fantov v mestu. Ko bo {el naslednje leto obiskat babico, bo precej bolj zrel kot njegovi stari prijatelji.

Daniel lives with his grandmother and, after one year of high school, has to go live with his mother in the south of France. She is a seamstress living in a tiny apartment with her lover Jose, a Spanish farm worker. Daniel would like to continue school, but his mother cannot afford it, so she sends him to work as an apprentice in a moped repair shop. Daniel wiles away his time in the shop, and learns about girls from the other boys in town.

When he visits his grandmother next year, he returns as a much more mature boy than his old friends.

"So~uten, vendar nikoli sentimentalen film Moje male ljubice je klju~en vpis v kanon filmov o odra{~anju, delo, ki oplemeniti adolescenco z resnicoljubnim portretiranjem njenih spremljajo~ih nedostojnosti." (Melissa Anderson, The Village Voice)

"Compassionate but never sentimental, My Little Loves is an essential entry in the coming-of-age canon, a film that ennobles adolescence by so truthfully portraying its attendant indignities."

(Melissa Anderson, The Village Voice)

Jean Eustache

filmografija/filmography

Rojen leta 1939 v okro`ju Pessac pri Bordeauxu v Franciji. Ustvaril je kratek, a pomemben opus v francoski kinematografiji. Poklicno pot je za~el z majhnimi opravili pri filmih francoskega novega vala, vklju~no z be`no vlogo v Godardovem Weekendu (1967). Obenem je za~el snemati svoje filme, ves svoj dar pa je razkazal v filmu Mama in kurba. Leta 1981 je bil delno paraliziran v prometni nesre~i, kmalu za tem je storil samomor.

1963 Les mauvaises fréquentations (Robinson's Place/Slaba dru`ba) (kratki/short) 1966 Le père Noël a les yeux bleus (Santa Claus Has Blue Eyes/Bo`i~ek ima modre o~i) 1969 La rosière de Pessac (The Virgin of Pessac) (dok./doc.)

1970 Le cochon (The Pig) (dok./doc.)

1971 Numéro zéro (dok./doc.)

1973 La maman et la putain (The Mother and the Whore/Mama in kurba) 1974 Mes petites amoureuses (My Little Loves/Moje male ljubice) 1977 Une sale histoire (A Dirty Story) 1979 La rosière de Pessac (The Virgin of Pessac) (dok./doc.)

1980 Les photos d’Alix (kratki/short) 1980 Le jardin des délices de Jérôme Bosch (Hieronymous Bosch's Garden of Delights) (kratki/short) 1982 Contes modernes: A propos du travail (omnibus)

Born in 1939 in Pessac, a suburb of the city of Bordeaux, France, Eustache had a brief but important career in French cinema. During the 1960s, he got his start as a director assisting New Wave filmmakers, and took a small role in Godard's Weekend (1967). In the late '60s, he launched his own directorial career with two features. While they garnered some acclaim, it was not until The Mother and the Whore, his third feature, that the full depth of his talent and sensitivity was recognised. In 1981, he was partially immobilised in an 134 auto accident and later committed suicide.

Retrospektiva Retrospective

Usodni telefon The Fatal Telephone Usodni telefon Jugoslavija Yugoslavia 1987

Damjan Kozole

Nizkoprora~unski prvenec Damjana Kozoleta in eden prvih slovenskih neodvisnih filmov v nekdanji Jugoslaviji.

The low-budget feature debut by Damjan Kozole and one of the first Slovenian independent films in former Yugoslavia.

Matja` in Igor sta prijatelja in sostanovalca, ki ravnokar kon~ujeta monta`o celove~ernega filma o sodobnem svetu, ~asu in prebivalcih, ki ta svet naseljujejo. Igor se med montiranjem slikovnega gradiva zadovoljuje z ob~asnimi eroti~nimi zvezami, Matja` pa se je prek telefonske slu{alke zapletel v razmerje s skrivnostno `ensko. Ko film dobi tudi svojo zvo~no podobo, Igor z njim ni zadovoljen, zato posname Matja`ev telefonski pogovor s skrivnostno `ensko. Matja` je zaradi te poteze u`aljen, vendar se mu uresni~i `elja ...

Friends and roommates Matja` and Igor are wrapping the editing of their feature film about contemporary world, its spirit and the people who inhabit it. To while away the time during postproduction, Igor takes pleasure in casual sexual encounters, and Matja` forms a romantic relationship with a mysterious woman over the phone. When the sound mastering is completed Igor is dissatisfied with the sound design, and records one of Matja`'s phone conversations. Although Matja`'s feelings are hurt, his wish is finally granted.

"Slovenski re`iser Damjan Kozole je imel rosnih dvaindvajset in bil neuspe{en kandidat za {tudij na filmski akademiji, ko je ustvaril ta celove~erec brez prora~una. Neznaten je in nezrel, vendar nakazuje Kozoletovo iskrivo pankovsko senzibilnost, eklekti~en vizualni slog in obvladovanje forme ter daje slutiti obetajo~i dar. /.../ Kozole, na katerega je mo~no vplival francoski novi val, spretno uporablja protagoniste za odra`anje lastnega pomanjkanja sredstev za filmsko ustvarjanje." (Joshua Katzman, Chicago Reader)

"Slovenian director Damjan Kozole was just 22 and a film school reject when he made this no-budget feature. It's slight and immature, but the film shows signs of Kozole's vibrant punk sensibility, eclectic visual style, and strong formal command, indicating a budding talent. /.../ Strongly influenced by the French New Wave, Kozole cleverly uses his protagonists to mirror his own meagre resources as a filmmaker." (Joshua Katzman, Chicago Reader)

Damjan Kozole

filmografija/filmography

Glej stran 40/see page 40.

Glej stran 40/see page 40.

re`ija/directed by Damjan Kozole scenarij/screenplay Damjan Kozole fotografija/cinematography Andrej Lupinc glasba/music Otroci socializma monta`a/editing Vesna La`eta igrajo/cast Vinci Vogue An`lovar (Igor), Miran [u{tar{i~ (Matja`), Mira Berginc, Jo`e Dolmark, Franci Slak, Andrew Horn, Brane Atanaskovi~, Peter Barbari~, Brane Bitenc, Roman De~man, Alenka Dolinar, Anita Lopojda, Andrej Lupinc, Du{an Merklin, Marija Mlinari~, Marijan Osole – Max, Radmila Pavlovi}, Jeremi Slak, Iztok Turk, Nada Vodu{ek, Nadja Zgonik, Tadej Zupan~i~ producent/producer Danijel Ho~evar produkcija/production Dru{tvo [KUC Stari trg 21 SI-1000 Ljubljana, Slovenia E info�skuc.org & Filmoteka 16 (Croatia) format/format 35 mm, barvni/colour dol`ina/running time 63'

prodaja/world sales Vertigo Metelkova 6 1000 Ljubljana E info�emotionfilm.si

135

Retrospektiva Retrospective

Nuovo Cinema Paradiso Cinema Paradiso Kino Paradi` Italija, Francija Italy, France 1988

Giuseppe Tornatore re`ija/directed by Giuseppe Tornatore scenarij/screenplay Giuseppe Tornatore fotografija/cinematography Blasco Giurato glasba/music Ennio Morricone monta`a/editing Mario Morra igrajo/cast Salvatore Cascio (Salvatore 'Totò' Di Vita – otrok/child), Marco Leonardi (Salvatore 'Totò' Di Vita – najstnik/ teenager), Pupella Maggio (Maria Di Vita – starej{a/older), Agnese Nano (Elena Mendola), Philippe Noiret (Alfredo), Jacques Perrin (Salvatore 'Totò' Di Vita – odrasel/adult) producenta/producers Franco Cristaldi, Giovanna Romagnoli produkcija/production Cristaldi Snc Piazza Ungheria, 6 00198 Rome, Italy E cristaldi�cristaldifilm.com format/format 35 mm, barvni/colour dol`ina/running time 155' festivali, nagrade (izbor)/ festivals, awards (selection) oskar za najbolj{i tuji film/Academy Award for Best Foreign Language Film 1990, zlati globus za najbolj{i tuji film/Golden Globe for Best Foreign Language Film 1990, Cannes 1998 (velika nagrada `irije/ Grand Jury Prize), BAFTA 1989 (najbolj{i igralec/Best Actor, najbolj{i tujejezi~ni film/Best Film Not in the English Language, najbolj{i izvirni scenarij/Best Original Screenplay)

prodaja/world sales Cristaldi Snc Piazza Ungheria, 6 00198 Roma, Italy E cristaldi�cristaldifilm.com

V filmski mojstrovini Kino Paradi`, nagrajeni z oskarjem, se re`iser spominja otro{tva na Siciliji, predvsem pa prijateljstva z va{kim kinooperaterjem, ki mu je {e kot de~ku odprl vrata v ~arobni svet filma.

In Cinema Paradiso, winner of the Academy Award for Best Foreign Language Film, Tornatore revisits his childhood spent on the island of Sicily, and the village projectionist who introduced him to the magical world of cinema.

Neke no~i uglednega filmskega re`iserja Salvatoreja di Vitta zbudi telefonski klic. Na drugi strani zasli{i materin glas: "Alfredo je umrl." Te tri besede v Salvatoreju prebudijo spomine na njegovo otro{tvo, ki ga je pre`ivel na Siciliji, na njegovo rojstno vas Giancaldo, predvsem pa na prijateljstvo s kinooperaterjem Alfredom, "najvplivnej{im ~lovekom v Giancaldu", v ~igar projekcijski kabini je Salvatore `e kot otrok spoznal svet, ki ga je pozneje soustvarjal tudi sam – svet filmske umetnosti.

One night the ringing phone surprises Salvatore di Vitta, a smart forty-year-old filmmaker. His mother's voice and these few words: "Alfredo is dead". It is enough to make his childhood reappear, the Giancaldo village in Sicily, the dusty and white square, the church and the parish cinema, where rules the almighty figure of Alfredo, the projectionist and the "most influential man in Giancaldo", who initiated Salvatore into the parallel universe of moving pictures.

"Med sedmim letom pa do nekako {estindvajsetega sem si v kinu ogledal vsaj en film na dan. To je bil ~as, ko si lahko videl nov film mojstra, kot je Fellini, kriminalko giallo ustvarjalca, kot je Dario Argento, ali ni~vreden eksploatacijski B-film, vendar sem se od vsakega kaj nau~il. To povem mladim, ki si `eli ustvarjati filme: 'Oglejte si vse!' ^e vidite samo filme, za katere menite, da vam bodo v{e~, bo va{a senzibilnost zelo ozka." (Giuseppe Tornatore)

"From the age of about seven to 26, I would see at least one movie per day in a theatre. That was a time when you could see a new film by a master like Fellini, a giallo by someone like Dario Argento, or a B-movie exploitation piece of shit, but I learned something from them all. That's what I tell young people who say they want to make movies: 'See everything!' If you just see the sort of movies that you think you will like, your sensibility will be very narrow." (Giuseppe Tornatore)

Giuseppe Tornatore

filmografija (izbor)/filmography (selection)

Rojen leta 1956 v mestecu Bagheria na Siciliji. Sprva je delal kot fotograf, nato se je zaposlil pri italijanski dr`avni televizijski hi{i RAI, leta 1985 pa je posnel svoj celove~erni prvenec Il camorrista. Temu je sledil njegov najve~ji uspeh Kino Paradiž, ki je poleg {tevilnih drugih uglednih filmskih nagrad prejel tudi oskarja za najbolj{i tuji film. Do dana{njega dne njegova filmografija {teje `e triindvajset filmskih naslovov.

1986 1988 1990 1994 1995 1998 2000 2006 2009 2013 2016

Born in 1956 in Bagheria, Sicily, Tornatore worked initially as a freelance photographer. He then worked for RAI before releasing his first full-length film, Il Camorrista, in 1985. Tornatore's best known screen work was released in 1988: Cinema Paradiso, which obtained worldwide success and won an Academy Award for Best Foreign Language Film. To date Tornatore has released twenty-three films.

136

Il camorrista (The Professor) Nuovo cinema paradiso (Cinema Paradiso/Kino Paradi`) Stanno tutti bene (Everybody Is Fine) Una pura formalità (A Pure Formality) L'uomo delle stelle (The Star Maker) La leggenda del pianista sull’oceano (The Legend of 1900) Malèna La sconosciuta (The Unknown Woman/Neznanka) Baarìa La migliore offerta (The Best Offer) La corrispondenza (Correspondence)

Retrospektiva Retrospective

Caro diario Dear Diary Dragi dnevnik Italija, Francija Italy, France 1994

Nanni Moretti

Italijanski re`iser Nanni Moretti v ve~krat nagrajenem filmu re`ira in igra samega sebe v posmehljivem pogledu na lastno `ivljenje.

One of the most acclaimed contemporary Italian film directors, Nanni Moretti directs himself playing himself in this wry look at life.

Dragi dnevnik je sestavljen iz treh avtobiografskih poglavij v `ivljenju re`iserja in igralca Nannija Morettija. V prvi epizodi se re`iser z vespo pelje po napol zapu{~enem Rimu. Pokrajina, arhitektura in ~udoviti spomeniki krojijo njegove misli, ki segajo od kritike hollywoodskega filma do zgra`anja nad banalnostjo italijanskega filma. V drugem delu Moretti zapusti mrzlico mestnega `ivljenja in se odpravi na potovanje po Eolskem oto~ju, v tretjem delu pa se ubada s te`avno boleznijo, ki ga je prizadela v resni~nem `ivljenju. Re`iser zaradi nenehnega srbenja in nespe~nosti obi{~e vrsto zdravnikov, ki ga eden za drugim soo~ijo z bizarnimi diagnozami.

The film consists of three autobiographical chapters of an open diary – that of film director and film producer Nanni Moretti.

The first episode follows the director/protagonist riding a Vespa through the neighbourhoods of a half-deserted Rome. Shots of landscape, architecture, and beautiful monuments accompany his thoughts, which range from critiques of Hollywood cinema, to critiques of banalisation of the Italian cinema. The second episode cuts to Moretti escaping from the frenzy of city life on a journey through the Aeolian Islands. The final episode narrates the difficult diagnosis of a disease that affected Moretti in real life and has the symptoms of persistent itching and disturbing insomnia. Nanni goes through a load of doctors and specialists who suggest the most bizarre of diagnoses.

"/.../ Avtoportret je komi~no prevzeten in samoposmehljiv, ustvarjalen in prav tako zastal, produktiven in neu~inkovit, zazrt v prihodnost in nostalgi~en, preganjajo ga tako tragedije iz preteklosti in neposredno nova – njegova kriti~na bolezen.

Morettijev smisel za satiro zaznamuje dar naravnega pripovedovalca za pretiravanje, njegovo kritika kinematografije prikli~e ob~utje `ivljenja, polno u`itega v naravni simbiozi s filmom. Gre za mojstrovino sodobnega filmskega ustvarjalca, ki so mu podobe zabrisale mejo med `ivljenjem in umetnostjo."

(Richard Brody, The New Yorker)

festivali, nagrade (izbor)/ festivals, awards (selection) Cannes 1994 (najbolj{a re`ija/ Best Director), Evropske filmske nagrade/European Film Awards 1994 (nagrada FIPRESCI/FIPRESCI Prize), nagrade David di Donatello/David di Donatello Awards 1994 (najbolj{i film/Best Film, najbolj{a glasba/Best Music)

"The /.../ self-portrait is comically proud and self-mocking, in equal measures creative and blocked, productive and frustrated, forward-moving and nostalgic, haunted both by past tragedies and by a new one at hand – his grave illness. Moretti's sense of satire has a natural storyteller's hyperbolic flair, and his film criticism on the wing conveys a sense of a whole life lived in natural coalescence with the cinema. It's a masterwork by a modern movie man, for whom images have effaced the boundary between life and art." (Richard Brody, The New Yorker)

Nanni Moretti

filmografija (izbor)/filmography (selection)

Rojen leta 1953 v Brunecku, Italija. Leta 1976 je na super osmi~ko posnel svoj celove~erni prvenec, v osemdesetih pa niz filmov, s katerimi se je uveljavil kot vodilni italijanski cineast svoje generacije. Mednarodni uspeh so mu prinesli filmi, kot sta Dragi dnevnik in April, s Sinovo sobo pa je osvojil tudi cansko zlato palmo. ^eprav je ve~ina njegovih del izrazito intimnih, Moretti z njimi vedno kriti~no presoja tudi italijansko dru`bo.

1976 1978 1981 1984 1985 1989 1990 1993 1998 2001 2006 2011 2015

Born in 1953 in Bruneck, Italy. In 1976 he made his first feature film in a Super-8 format, and in the 1980s a series of films with which he asserted himself as the pre-eminent Italian filmmaker of his generation. His international breakthrough came with Dear Diary, April and Son's Room, the last of which won the Palme d'Or at Cannes. Although most of his films are explicitly intimate in subject, they also deal with Italy’s political situation and Moretti's views on it.

re`ija/directed by Nanni Moretti scenarij/screenplay Nanni Moretti fotografija/cinematography Giuseppe Lanci glasba/music Nicola Piovani monta`a/editing Mirco Garrone igrajo/cast Nanni Moretti (on sam/himself), Giovanna Bozzolo (igralka/actress), Sebastiano Nardone (igralec/actor), Antonio Petrocelli (igralec/actor), Giulio Base (voznik/driver), Italo Spinelli, Carlo Mazzacurati (filmski kritik/film critic), Jennifer Beals (ona sama/herself), Alexandre Rockwell (on sam/himself), Renato Carpentieri (Gerardo), Raffaella Lebboroni, Marco Paolini, Claudia Della Seta, Lorenzo Alessandri producenti/producers Nella Banfi, Angelo Barbagallo, Nanni Moretti produkcija/production Sacher film Via Raffaello Giovagnoli, 6 00152 Rome, Italy E sacherfilm�sacherfilm.eu & Banfilm (France) & La Sept Cinéma (France) format/format 35 mm, barvni/colour dol`ina/running time 97'

Io sono un autarchico (I Am Self Sufficient/Jaz sem samozadosten) Ecce bombo Sogni d'oro (Sweet Dreams/Sladke sanje) Bianca La messa è finita (The Mass Is Ended/Ma{e je konec) Palombella rossa (Red Lob/Rde~a parabola) La cosa (The Thing/Stvar) (srednjemetra`ni/medium-length) Caro diario (Dear Diary/Dragi dnevnik) Aprile (April) La stanza del figlio (Son's Room/Sinova soba) Il caimano (The Caiman/Aligator) Habemus papam (We Have a Pope/Habemus papam: imamo pape`a) Mia madre (My Mother/Moja mama)

prodaja/world sales Sacher film Via Della Piramide Cestia 1 00153 Roma, Italy E sacherfilm�sacherfilm.eu

137

Retrospektiva Retrospective

La chatte à deux têtes Porn Theater Ma~ka z dvema glavama Italija, Francija Italy, France 2002

Jacques Nolot re`ija/directed by Jacques Nolot scenarij/screenplay Jacques Nolot fotografija/cinematography Germain Desmoulins glasba/music Nino monta`a/editing Sophie Reine igrajo/cast Vittoria Scognamiglio (blagajni~arka/ cashier), Jacques Nolot (mo{ki/ man), Sébastien Viala kinooperater/ projectionist), Olivier Torres (mo{ki v rumeni obleki/man in a yellow dress), Lionel Goldstein (mo{ki v ~rnem de`nem pla{~u/man in a black raincoat), Fouad Zeraoui (transvestit/ transvestite), Jean-Louis Coquery (gol mo{ki/naked man) producentka/producer Pauline Duhault produkcija/production Elia Films 9, rue Ganneron 75018 Paris, France E info�eliafilms.com format/format 35 mm, barvni/colour dol`ina/running time 90'

Odkrita in na trenutke {okantna filmska mojstrovina o skrivnem `ivljenju pisane dru{~ine mo{kih, ki v zanikrnem pari{kem pornografskem filmskem gledali{~u i{~ejo be`ne spolne avanture, v~asih pa le iskren pogovor in bli`ino soljudi.

V neuglednem pari{kem pornografskem kinu se zbirajo mo{ki vseh starosti in z vseh vetrov – od vojakov, zvodnikov, poro~enih mo{kih pa vse do transvestitov. Tu se v varnem zavetju teme kinematografa prepu{~ajo be`nim seksualnim dogodiv{~inam z drugimi mo{kimi. Dogajanje ves ~as budno spremlja dobrodu{na blagajni~arka italijanskega rodu, ki dobro pozna vse obiskovalce, pa tudi njihove `ivljenjske zgodbe in skrivne fantazije. Nekega dne se zaplete v pogovor z enim od rednih obiskovalcev kina, petdesetletnim mo{kim, oku`enim z virusom HIV, in med njima se kmalu splete nenavadno prijateljstvo. "/.../ Jacquesu Nolotu v Ma~ki z dvema glavama, ganljivemu, zabavnemu in spolno nazornemu priro~niku o iskanju spolnega partnerja ter ponujanju ali prejemanju uslug v pornografskem kinu, uspe odli~en spoj umazanega in umetni{kega. Fiktiven film, katerega prizori{~e so blagajna, dvorana in strani{~e pornografskega kina v Parizu, ujame in obdr`i neverjetno odkrit ton, ki se iskri od humorja in ~love{ke drame." (Lisa Nesselson, Variety)

prodaja/world sales Mercure Distribution 27 rue de la Butte aux Cailles 75013 Paris, France E infos�mercure-distribution.fr

A straightforward and by turns shocking masterpiece about a clandestine life of a motley group of men seeking brief sexual encounters, but then again only human warmth and sympathy, in a decrepit Parisian adult cinema.

A tale set in a decaying Parisian porn theatre, where within its dark confines, male patrons – soldiers, transvestites, married men – regularly engage in anonymous sex acts. In the ticket booth of the theatre, a wise Italian woman serves as benevolent gatekeeper, observing – but never judging – the proceedings occurring under her watchful eyes. One day, one of her regulars engages her in a conversation that leads to an unusual friendship, as these two worldly souls share their common experiences. "/.../ Jacques Nolot pulls off a perfect blend of the sordid and artistic in Porn Theater, a touching, funny and sexually explicit instruction manual on how to cruise, service and be serviced in an adult movie house. Fictional pic, set entirely at the open-air box office and in the auditorium and restroom of a one-screen porn hardtop in Paris, hits and sustains a miraculously matterof-fact tone brimming with humour and human drama." (Lisa Nesselson, Variety)

Jacques Nolot

filmografija/filmography

Rojen leta 1943 v kraju Marciac, Francija. Je igralec, scenarist in re`iser.

Nastopil je v {tevilnih gledali{kih predstavah in igral v filmih Claire Denis, Françoisa Ozona, Luca Moulleta ter drugih priznanih filmskih ustvarjalcev.

Z Andréjem Téchinéjem je napisal scenarij za film I Don't Kiss, sam pa je re`iral tri celove~erce; film L'arrière pays je prejel nagrado mladega ob~instva na festivalu v Cannesu.

1986 1998 2002 2007

Born in 1943 in Marciac, France. Actor, screenwriter and director, Nolot performed on the stage and acted in numerous films by directors including Luc Moullet, Claire Denis, Jacques Demy, François Ozon and other notables. He also co-wrote André Téchiné's I Don't Kiss. He has directed three features, including The Hinterlands that won a Prix de la Jeunesse at the Cannes Film Festival.

138

Manège (kratki/short) L'arrière pays (Hinterland) La chatte à deux têtes (Porn Theater/Ma~ka z dvema glavama) Avant que j'oublie (Before I Forget)

Retrospektiva Retrospective

Fantasma Fantasma Prikazen Argentina, Francija, Nizozemska Argentina, France, The Netherlands 2006

Lisandro Alonso

re`ija/directed by Lisandro Alonso scenarij/screenplay Lisandro Alonso fotografija/cinematography Lucio Bonelli glasba/music Flor Maleva monta`a/editing Lisandro Alonso, Delfina Castagnino igrajo/cast Agentino Vargas (Argentino), Misael Saavedra (Misael), Carlos Landini, Jorge Franceschelli, Rosa Martinez producenti/producers Lisandro Alonso, Ilse Hughan, Marianne Slot produkcija/production 4L Monroe 1220 1428 Buenos Aires, Argentina E lisandroalonso4l�gmail.com format/format 35 mm, barvni/colour dol`ina/running time 63'

Lisandro Alonso z mojstrskim prepletom fikcije in nekaterih resni~nostnih elementov gledalca popelje na meditativno in skrajno intimno popotovanje v drobovje kinematografa.

Masterfully interlacing elements of reality with fantasy, Lisandro Alonso takes the viewer on a meditative and utterly intimate voyage into the entrails of a cinema.

Argentina Vargasa povabijo na posebno projekcijo filma Los Muertos, v katerem igra glavno vlogo. Argentino se tako odpravi v Buenos Aires, da bi prisostvoval temu velikemu dogodku v enem od tamkaj{njih cinepleksov. Medtem ko tava po tema~nih in neskon~nih hodnikih, da bi na{el pravo dvorano, se mu odstira njemu dotlej {e neznani svet mastodontskega kinematografa.

Argentino Vargas, who appeared in one of Alonso's previous works, Los Muertos, is invited to attend a special screening of the film, and travels from his small rural village to Buenos Aires for the event. Vargas begins exploring the mammoth theatre where the screening is taking place as images of himself and his community flash on the huge screen.

"Ne zanima me sodba o likih. To je eden od razlogov, zakaj se ne ukvarjam z njihovim ozadjem. ^e se igra{ s psiholo{kim utemeljevanjem, zapade{ v past presojanja ~love{kih dejanj. Bolj me zanima zastavljanje vpra{anj likov in ob~instva – ne zanimajo me odgovori. ^e bom nekega dne izvedel vse odgovore, se ne bom ve~ posve~al filmskemu ustvarjanju." (Lisandro Alonso)

"I'm not interested in judging characters. That's one reason why I don't dwell on backstories. If you play with psychological reasoning you fall into the trap of judging what people do. I am more interested in asking questions of the characters and the audience – I'm not interested in answers. If a day comes when I have the answers I won’t bother making films anymore."

(Lisandro Alonso)

Lisandro Alonso

filmografija/filmography

Rojen leta 1975 v Buenos Airesu. Filmsko re`ijo je {tudiral na Universidad del Ciné. Poklicno pot je za~el kot asistent re`ije, leta 1995 je s Catriel Vildosola posnel kratki film Dos en la vereda. Njegova celove~erca Svoboda in Jauja: Raj na zemlji sta bila prikazana v sklopu Posebni pogled na filmskem festivalu v Cannesu. Velja za enega vidnej{ih predstavnikov sodobne argentinske kinematografije.

1995 2001 2004 2006 2008 2011 2014

Dos en la vereda (kratki/short) La libertad (Freedom/Svoboda) Los muertos Fantasma (Prikazen) Liverpool Sin título (Carta para Serra) (kratki/short) Jauja (Jauja: Raj na zemlji)

prodaja/world sales Luxbox 6 rue Jean-Pierre Timbaud 75011 Paris, France E info�luxboxfilms.com

Born in 1975 in Buenos Aires. One of the pre-eminent figures of contemporary Argentinian cinema, Alonso studied film directing at the Universidad del Ciné. He started out on his career as an assistant director, and in 1995 together with Catriel Vildosola made the short Dos en la vereda.

Alonso's first feature film, Freedom, was screened at the Cannes Film Festival within the scope of the Un Certain Regard section, a distinction also achieved by Jauja.

139

140

Evropa na kratko Europe in Short

Tekmovalni program Competitive Programme

Konec je s puberteto

Figura

1. sklop Section 1

No~na ptica

Ro`e in riti

Figura Figura Figurae

On a beautiful summer day, two teenage twin sisters meet a boy at the lake. The encounter acquaints them with sexuality, jealousy, and a very real danger. This moment may mean the end of their adolescence.

Belgija, Poljska Belgium, Poland 2015 re`ija/directed by Katarzyna Gondek scenarij/screenplay Katarzyna Gondek fotografija/cinematography Jarosław Piekarski kontakt/contact bekkefilms�gmail.com format/format DCP, barvni/colour dol`ina/ running time 9'00"

Ro`e in riti

Flowers and Bottoms Flowers and Bottoms Gr~ija Greece 2016

[e zadnji deli telesa so v pripravi na transport, ~istijo u{esa in naposled pritrdijo na tovornjak {e ogromno glavo. Ne`no smehljajo~i se Janez Pavel II. se vozi skozi pokrajino – njegov cilj je Czestochowa, meka za miniature religioznih spomenikov.

Katarzyna Gondek opazuje potek nadvse sekularnega dela na izjemni skulpturi, ki naposled kon~a na vrhu hriba, kjer, obdana z majhno varnostno ograjo, stoji v vsej svoji nebe{ki slavi.

A huge ear is being cleaned, the last body parts prepared and then the oversized head is fastened onto a truck. Smiling calmly, John Paul II glides through the landscape – the goal being Czestochowa, a Mecca for religious miniature monuments.

Katarzyna Gondek observes the overly secular work on this superlative sculpture, which was eventually erected on a hill, where, surrounded by a small security fence, it stands in all its glory.

Konec je s puberteto Kamaszkor vége End of Puberty

Mad`arska Hungary 2015 re`ija/directed by Fanni Szilágyi scenarij/screenplay Fanni Szilágyi fotografija/cinematography Kristóf Becsey, Nándor Gulyás igrajo/cast Liza Kárpáti, Zita Szenteczki, Renátó Olasz kontakt/contact info�daazo. com format/format DCP, barvni/colour dol`ina/running time 13'00"

Na prelep poletni dan sestri dvoj~ici v cvetu pubertete sre~ata fanta ob jezeru. Sre~anje jima odpre vrata v svet spolnega prebujenja, zavisti in zelo resni~ne nevarnosti – preti jima labodji spev njune adolescence.

142

re`ija/directed by Christos Massalas scenarij/screenplay Christos Massalas fotografija/cinematography Christos Massalas kontakt/ contact massalas.christos�gmail.com format/format DCP, barvni/colour dol`ina/running time 6'00"

Neznani mo{ki sedi v temni sobi in gleda neznan film z naslovom Ro`e in riti.

An unidentified man sits in a dark room and watches an obscure film titled Flowers and Bottoms.

No~na ptica No~na ptica Nighthawk

Slovenija Slovenia 2016 re`ija/directed by [pela ^ade` scenarij/screenplay Gregor Zorc, [pela ^ade` animacija/animation Zarja Menart, [pela ^ade`, Matej Lavren~i~ glasovi/voices Andrej Nahtigal, Karin Komljanec, Gregor Zorc produkcija/ production Finta kontakt/contact info�bonobostudio.hr format/format DCP, barvni/colour dol`ina/running time 9'00"

Jazbec oble`i na lokalni cesti v gozdu. V mraku se mu pribli`a policijska patrulja. Policisti med postopkom ugotovijo, da `ival ni mrtva, kakor so bili obve{~eni, temve~ najedena prezrelih hru{k.

Ko ho~ejo obnemogle`a spraviti na rob ceste, se ta prebudi in dogajanje popelje v nenavadno smer ...

A badger is lying on a lonely forest road. A police car patrolling the area approaches it in the evening dusk. Investigating the case, the officers ascertain that the animal is not dead but suffering from gastric distress caused by overripe pears. When

Kazalo Index

izvirni naslovi original titles

A

B

C

D

E

F

G H

I

J

K

L

11 minut 52 24 Wochen 10 9 Days From My Window in Aleppo 143 A la recherche de l’Ultra-Sex 95 A peine j'ouvre les yeux 30 Ah-ga-ssi 63 All These Voices 147 American Honey 24 Aquarius 11 Avenir, L' 62 Bacalaureat 118 Baden Baden 70 Badewanne, Die 147 Bariera 110 Belladonna 146 Bil halal 75 Blue Velvet 125 Blue Velvet Revisited 126 Boris sans Beatrice 72 Bosque de ecos 144 Caini 120 California 77 Caro diario 137 Cciénaga – entre el mar y la tierra, La 78 Chatte a deux tetes, La 138 Chevaliers blancs, Les 71 Dark_net 145 Deep End 112 Dobra `ena 12 Economie du couple, L' 29 Effet aquatique, L' 74 El Clan, El 53 Elle 41 Ernelláék Farkaséknál 73 Eshtebak 85 Espiritu de la colmena, El 133 Fantasma 139 Figura 142 Fille inconnue, La 37 Flowers and Bottoms 142 Forushande 46 Free Fire 96 Grave 94 Hell or High Water 47 Hunt for the Wilderpeople 32 Hymyilevä mies 81 I, Daniel Blake 28 Ilegitim 119 In the Distance 146 Inimi Cicatrizate 121 Ja, Olga Hepnarova 76 Jamais contente 103 Ji-geum-eun-mat-go-geu-ddaeneun-teul-li-da 65 Kamaszkor vége 142 Kaze ni nureta onna 86 Kung Fury 143 Kuripi: Itsuwari no rinjin 93 Last Picture Show, The 132 Lesapán 146 Little Men 82 Lo and Behold 27 Love & Friendship 54

148

slovenski naslovi slovene titles

M

N

P

R

S

T

U

V W Z

Love 144 Love Witch, The 91 Loving 31 Ma Loute 33 Ma' Rosa 56 A Ma vie de courgette 26 Mae so ha uma 84 B Maend & hons 80 Mal de pierres 25 Maman(s) 144 Manchester by the Sea 55 Mes petites amoureuses 134 Mi gran noche 57 Moj narobe svet – Je`ek 34 ^ Molly Monster 99 D Moonlighting 114 Mot naturen 83 Ne gledaj mi u pijat 13 Neon Demon, The 35 Neruda 36 Nnouveau, Le 104 Nocturama 39 F Nocturnal Animals 38 No~na ptica 142 No~no `ivljenje 40 G Nuovo Cinema Paradiso 136 Paterson 42 Personal Shopper 58 Piuma 79 Pojdi z mano 102 Porto 14 J Rece do góry 111 Rester vertical 59 K Rhapsody 147 Rysopis 108 S one strane 87 Schneider vs. Bax 92 Shavua ve Yom 18 Sherlock Jr. 130 Shout, The 113 Sieranevada 122 Siv sover vilse 100 Slava 17 L Small Talk 146 Smallest Show on Earth, The 132 Sunset Song 60 Symbolic Threats 144 The Beatles: Eight Days a Week – The Touring Years, M The 44 Toni Erdmann 45 Tortue Rouge, La 16 Transfiguration, The 15 U~itelka 64 Umi yori mo mada fukaku 61 Uncanny Valley 143 Usodni telefon 135 Vla`nost 19 Voyage of Time: Life's Journey 43 Walkover 109 WinWin 88 Zipi y Zape y la Isla del N Capitán 101

11 minut 52 24 tednov 10 9 dni skozi moje okno v Aleppu 143 Ameri{ka ljubica 24 Aquarius 11 Baden Baden 70 Bariera 110 Beli vitezi 71 Belladonna 146 Boris brez Beatrice 72 Breme bole~ine 25 Bu~ko 26 ^as za pozabo 73 O Delo na ~rno 114 Dobra `ena 12 Dotik vode 74 P Dovoljena ljubezen (in spolnost) 75 Dragi dnevnik 137 Duh panja 133 Favnov gozd 146 Figura 142 Forest of Echoes 144 Glej in se ~udi: Sanjarjenje o povezanem svetu 27 Globina 112 Gospodi~na Nemite`it 103 Gozd odmevov 144 Grozljiva dolina 143 Jaz, Daniel Blake 28 Jaz, Olga Hepnarova 76 R Kalifornija 77 Kino paradi` 136 Klan 53 Ko ljubezni ni ve~ 29 S Ko odprem o~i 30 Kon~ni obra~un 96 Konec je s puberteto 142 Kramljanje 146 Krik 113 Kung Fury 143 Lahka zmaga 109 Ljubezen 144 T Ljubezen in prijateljstvo 54 Ljubezenska ~arovnica 91 Lov na divjaka 32 Loving 31 Ma' Rosa 56 Ma~ka z dvema glavama 138 U Mame 144 Manchester by the Sea 55 Matura 118 V Med morjem in zemljo 78 Mirni zaliv 33 Mladost – norost 79 Modri `amet 125 Moj narobe svet – Je`ek 34 Z Moja divja no~ 57 Moje male ljubice 134 Mo`je in koko{i 80 Najmanj{a kinopredstava na svetu 132 Najsre~nej{i dan Ollija Mäkija 81 Najstnika 82

Navidezne gro`nje 144 Ne glej mi v kro`nik 13 Nenaravno 83 Neonski demon 35 Neruda 36 Nezakonito 119 Neznanka 37 Nisem tvoj sin 84 No~na ptica 142 No~ne ptice 38 No~ni razgledi 39 No~no `ivljenje 40 Novi mulc 104 Ona 41 Osebna stilistka 58 Ostati pokon~en 59 Paterson 42 Pesem somraka 60 Po nevihti 61 Pojdi z mano 102 Ponovni pogled na Modri `amet 126 Porto 14 Posebna znamenja: nobeno 108 Po{ast Moli 99 Potovanje ~asa 43 Preobrazba 15 Prespati pri prijateljici 100 Prihodnost 62 Prikazen 139 Psi 120 Ranjena srca 121 Rapsodija 147 Rde~a `elva 16 Roke kvi{ku! 111 Ro`e in riti 142 Schneider in Bax 92 Sherlock Holmes ml. 130 Sieranevada 122 Slava 17 Slu`kinja 63 Spopad 85 Srhljivo 93 Surovo 94 Teden in en dan 18 Temni internet 145 The Beatles: Osem dni na teden 44 Toni Erdmann 45 Trgovski potnik 46 U~iteljica 64 Ultra-seks je izginil! 95 Usodni telefon 135 V daljavi 146 V kadi 147 Vla`na punca v vetru 86 Vla`nost 19 Vsi ti glasovi 147 Z druge strani 87 Za vsako ceno 47 Zadnja kino predstava 132 Zdaj prav, potem narobe 65 Zipi in Zap in kapitanov otok 101 Zmagovita kombinacija 88

Kazalo Index

angle{ki naslovi english titles

A

B

C

D

E F

G

H

I

K L

11 Minutes 52 24 Weeks 10 9 Days From My Window in Aleppo 143 After Love 29 After the Storm 61 All These Voices 147 American Honey 24 Aquarius 11 Aquatic Effect, The 74 As I Open My Eyes 30 Baden Baden 70 Barrier 110 Bathtub, The 147 Belladonna 146 Beatles: Eight Days a Week – The Touring Years, The 44 Between Sea and Land 78 Blue Velvet 125 Blue Velvet Revisited 126 Boris Without Beatrice 72 California 77 Cinema Paradiso 136 Clan, The 53 Clash 85 Come Along 102 Creepy 93 Dark_net 145 Dear Diary 137 Deep End 112 Dogs 120 Don't Call Me Son 84 Elle 41 End of Puberty 142 Fantasma 139 Fatal Telephone, The 135 Feather 79 Figure 142 Flowers and Bottoms 142 Forest of Echoes 144 Free Fire 96 From the Land of the Moon 25 Glory 17 Good Wife, A 12 Graduation 118 Halal Love (and Sex) 75 Handmaiden, The 63 Hands Up! 111 Happiest Day in the Life of Olli Mäki, The 81 Hell or High Water 47 Humidity 19 Hunt for the Wilderpeople 32 I, Daniel Blake 28 I, Olga Hepnarova 76 Identification Marks: None 108 Illegitimate 119 In Search of the Ultra-Sex 95 In the Distance 146 It's Not the Time of My Life 73 Kung Fury 143 Last Picture Show, The 132 Lesapán 146 Little Men 82 Lo and Behold 27

re`iserji, re`iserke directors

M

N

O

P

Q R

S

T

U V W

Z

Love & Friendship 54 Love 144 Love Witch, The 91 Loving 31 Ma' Rosa 56 Maman(s) 144 Manchester by the Sea 55 Men & Chicken 80 Miss Impossible 103 Molly Monster 99 Moonlighting 114 My Big Night 57 My Life as a Zucchini 26 My Little Loves 134 My World Is Upside Down 34 Neon Demon, The 35 Neruda 36 New Kid, The 104 Nighthawk 142 Nightlife 40 Nocturama 39 Nocturnal Animals 38 On the Other Side 87 One Week and a Day 18 Out of Nature 83 Paterson 42 Personal Shopper 58 Porn Theater 138 Porto 14 Quit Staring at My Plate 13 Raw 94 Red Turtle, The 16 Rhapsody 147 Shout, The 113 Right Now, Wrong Then 65 Salesman 46 Scarred Hearts 121 Schneider vs. Bax 92 Sherlock Jr. 130 Sieranevada 122 Siv Sleeps Astray 100 Slack Bay 33 Small Talk 146 Smallest Show on Earth, The 132 Spirit of the Beehive, The 133 Staying Vertical 59 Sunset Song 60 Symbolic Threats 144 Teacher, The 64 Things to Come 62 Toni Erdmann 45 Transfiguration, The 15 Unknown Girl, The 37 Uncanny Valley 143 Voyage of Time: Life's Journey 43 Walkover 109 Wet Woman in the Wind 86 White Knights, The 71 WinWin 88 Zip and Zap and the Captain's Island 101

A Ade, Maren 45 Alonso, Lisandro 139 Anspach, Sólveig 74 Arnold, Andrea 24 Assayas, Olivier 58 B Barras, Claude 26 Berrached, Anne Zohra 10 Biller, Anna 91 Bogdanovich, Peter 132 Bonello, Bertrand 39 Bouzid, Leyla 30 Braatz, Peter 126 Bruhn, Matthias 99 Bucsi, Réka 144 C Capelle, Luz Olivares 144 Castillo, Carlos del 78 Charlet, Nicolas 95 Coté, Denis 72 ^ ^ade`, [pela 142 D Dardenne, Jean-Pierre 37 Dardenne, Luc 37 Davies, Terence 60 Dearden, Basil 132 Deleuze, Emilie 103 Diab, Mohamed 85 Doucouré, Maïmouna 144 Ducournau, Julia 94 Dudok de Wit, Michael 16 Dumont, Bruno 33 E Edfeldt, Catti 100 Ekbladh, Michael 99 Ellrich, Tim 147 Erice, Victor 133 Eustache, Jean 134 F Farhadi, Asghar 46 Ford, Tom 38 Fouladkar, Assad 75 Garcia, Nicole 25 G Gerson, David Henry 147 Giaever, Ole 83 Gondek, Katarzyna 142 Grolig, Florian 146 Grozeva, Kristina 17 Guiraudie, Alain 59 Hafnor, Even 146 H Hajdu, Szabolcs 73 Hanno, Lena 100 Hansen, Lisa Brooke 146 Hansen-Love, Mia 62 Henke, Lutz 144 Herzog, Werner 27 Hoesl, Daniel 88 Hong, Sang-soo 65 Howard, Ron 44 ˇ Hrebejk, Jan 64 Iglesia, Alex de la 57 I Jarmusch, Jim 42 J Jensen, Anders Thomas 80 Johnson, Roan 79 Jude, Radu 121 Ju{i}, Hana 13 Karanovi}, Mirjana 12 K Kazda, Petr 76 Keaton, Buster 130 Klinger, Gabe 14

L

M

N O P

R S

[ T

V

W

Kore-eda, Hirokazu 61 Kozole, Damjan 40, 135 Kuosmanen, Juho 81 Kurosawa, Kiyoshi 93 Lafosse, Joachim 29 Lafosse, Joachim 71 Lang, Rachel 70 Larrain, Pablo 36 Lavaine, Bruno 95 Leinkauf, Mischa 144 Ljuca, Nikola 19 Loach, Ken 28 Lonergan, Kenneth 55 Lynch, David 125 Mackenzie, David 47 Malick, Terrence 43 Marshall, Tom 145 Massalas, Christos 142 Mendonca Filho, Kleber 11 Mendoza, Brillante 56 Meulen, Floor van der 143 Meyer, Constance 147 Mirica, Bogdan 120 Moretti, Nanni 137 Mungiu, Cristian 118 Muylaert, Anna 84 Nichols, Jeff 31 Nolot, Jacques 138 Ogresta, Zrinko 87 O'Shea, Michael 15 Park, Chan-wook 63 Person, Marina 77 Polonsky, Asaph 18 Puiu, Cristi 122 Rosenberg, Rudi 104 Sachs, Ira 82 Sandberg, David 143 Santos, Oskar 101 Seli{kar, Petra 34 Shiota, Akihiko 86 Sitaru, Adrian 119 Skolimowski, Jerzy 52, 108–114 Soukup, Pavel 146 Stillman, Whit 54 Szilágyi, Fanni 142 [terk, Igor 102 Tornatore, Giuseppe 136 Touma, Issa 143 Trapero, Pablo 53 Turi}, Dubravka 146 Val~anov, Petar 17 Verhoeven, Paul 41 Vold, Marte 83 Vroege, Thomas 143 Waititi, Taika 32 Wanderdam, Alex van 92 Weinreb, Tomás 76 Wenninger, Paul 143 Wermke, Matthias 144 Wheatley, Ben 96 Winding Refn, Nicolas 35

149

Nagrajenci Award Winners

vodomec Kingfisher Award 1996–2015

1996

@iveti v pozabi Living in Oblivion, Tom DiCillo 1997

Vzhodna pala~a, zahodna pala~a Dong gong, xi gong, Zhang Yuan 1998

@ivljenje, kot ga sanjajo angeli La vie reveé des anges, Erick Zonca 1999

Deseti brat

Beshkempir, Aktan Abdikalikov 2000

Vzhod je vzhodno East is East, Damien O'Donnell 2001

Kruh in mleko (Kruh in mleko, Jan Cvitkovi~ 2002

Sobota Sábado, Juan Villegas 2003

Vrnitev Vozvra{~enje, Andrej Zvjagincev posebna omemba/special mention:

Pod njenim oknom Pod njenim oknom, Metod Pevec 2004

Popolni preobrat Somersault, Cate Shortland posebna omemba/special mention:

Pogre{ana Bu jian, Li Kang-sheng 2005

Skriti adut Voksne mennesker, Dagur Kári posebna omemba/special mention:

Odgrobadogroba Odgrobadogroba, Jan Cvitkovi~ 2006

1:1 Ena na ena 1:1 En til en, Annette K. Olesen posebna omemba/special mention:

Namizni tenis Pingpong, Matthias Luthard 2007

Okna v ponedeljek Montag kommen die Fenster, Ulrich Köhler 2008

Lakota Hunger, Steve McQueen

150

Spremljevalni program Accompanying Programme

Filmska nagrada LUX

LUX Film Prize

Filmsko nagrado LUX, ustanovljeno leta 2007, vsako leto podeljuje Evropski parlament z dvema glavnima ciljema: pove~ati pretok evropskih filmov po Evropi ter povsod po evropskem prostoru spodbujati dialog in razpravo o poglavitnih dru`benih vpra{anjih.

Tudi tako dejavno uveljavlja kulturno in jezikovno razli~nost, kot je dolo~eno v Listini EU o temeljnih pravicah. Ob tem ima zaradi svojih zakonodajnih pristojnosti odlo~ilno vlogo pri oblikovanju politik EU, ki vplivajo na vsakodnevno `ivljenje 500 milijonov Evropejcev in sodeluje pri re{evanju klju~nih dru`benih vpra{anj.

Filmski dnevi LUX, v okviru katerih so predvajani trije filmi, finalisti nagrade LUX, ki jih vsako leto julija izbere mednarodna `irija, potekajo po vsej Evropi. Vsi trije filmi so prevedeni v vseh 24 uradnih jezikov, s ~imer dose`ejo ob~instvo v vseh dr`avah EU. Prav v tem je edinstvenost te filmske pobude Evropskega parlamenta, saj zaradi jezikovne razdrobljenosti zelo malo evropskih filmov premaga jezikovne ovire in dose`e tako {irok krog gledalcev.

Evropski parlament sodeluje z evropsko filmsko industrijo in je z nagrado LUX partner {tevilnih filmskih festivalov v Evropi, med drugimi berlinskega festivala Berlinale, festivala 14 dni re`iserjev v Cannesu, festivala v Karlovih Varih, Bene{kih dni, festivalov v Sofiji, Stockholmu, Solunu, Dunaju (Viennale), Talinu (Black Nights), Corku, Bratislavi in Sevilli ter Ljubljanskega mednarodnega filmskega festivala – Liffe.

Since 2007, the European Parliament has been awarding the annual LUX Film Prize with the aim of boosting circulation of European films across European cinemas and encouraging dialogue and discussion on important social issues in all European countries.

The European Parliament's initiative, which aims to promote cultural and linguistic diversity, as enshrined in Article 22 of the Charter of Fundamental Rights of the European Union ("The Union shall respect cultural, religious and linguistic diversity"), will go one step further this year by honouring one of the most crucial subjects in European history and culture.

The LUX Film Days project aims to bring the screenings of the finalists (subtitled in the 24 official languages of the EU) of the LUX Film Prize Official Competition closer to European citizens across all 28 countries of the European Union.

The European Parliament's LUX Film Prize is a permanent feature of numerous European film festivals, including the Berlin (Berlinale), Cannes (Directors' Fortnight), Karlovy Vary, Venice (Venice Days), Sofia, Stockholm, Thessaloniki, Vienna (Viennale), Tallinn (Black Nights), Cork, Bratislava and Seville film festivals.

Starting in 2015, partnership has also been established with the Ljubljana International Film Festival – Liffe.

Ve~ o filmski nagradi LUX na www.luxprize.eu in www.europarl.si

LUX 2016 finalists at the 27th Liffe Festival Complimentary screenings

Filmi, finalisti za nagrado LUX 2016 na 27. Liffu Brezpla~ne projekcije TO, 15. novembra, ob 19.30, Kosovelova dvorana, CD Ko odprem o~i (À peine j'ouvre les yeux), re`ija Lajla Buzid; Francija, Tunizija, Belgija, Zdru`eni arabski emirati Projekcija bo interaktivna. Pred in po filmu se bomo preko spleta v `ivo povezali z Brusljem, od koder bosta na vpra{anja odgovarjali re`iserka in glavna igralka. Vpra{anja bo mogo~e zastavljati preko twitterja.

PE, 18. novembra, ob 11. uri, Kosovelova dvorana, CD Bu~ko (Ma vie de courgette), re`ija Claude Barras; {vica, Francija NE, 20. novembra, ob 20.45, Kosovelova dvorana, CD Toni Erdmann, re`ija Maren Ade; Nem~ija, Avstrija, Romunija

154

More on the LUX Film Prize at www.luxprize.eu and www. europarl.si

TUE, 15 November, at 19.30, Kosovel Hall, CD As I Open My Eyes (À peine j'ouvre les yeux), by Lajla Buzid; France, Tunisia, Belgium, United Arab Emirates FRI, 18 November, at 11.00, Kosovel Hall, CD My Life as a Zucchini (Ma vie de courgette), by Claude Barras; Switzerland, France SUN, 20 November, at 20.45, Kosovel Hall, CD Toni Erdmann, by Maren Ade; Germany, Austria, Romania

Spremljevalni program Accompanying Programme

PO, 14. novembra, ob 15. uri Klub CD, Cankarjev dom

Monday, 14 November 2016, at 15.00, CD Club, Cankarjev dom

V pri~akovanju leta 2021: Internetno ob~instvo.

Kako ga dose~i?

Toward 2021: Internet Audience. Can we reach them?

MEDIA seminar Centra Ustvarjalna Evropa v Sloveniji z Lindo Beath

Creative Europe Desk Slovenia's MEDIA Masterclass with Linda Beath

Do leta 2021 bo vse va{e ob~instvo na internetu.

Kako boste dosegli ob~instvo kot producent? Kak{en bo nov poslovni model filmske industrije? Kako vam bodo distributerji, prodajni agenti in strokovnjaki za tr`enje pomagali pri financiranju in prikazovanju filmov ter pridobivanju ob~instva?

By 2021 all of your audience will be on the Internet.

As a producer – how will you reach your audience? As an industry – what will the new business model be? How will the distributors, sales agents and marketing people help your film be financed, released and seen?

Digitalna revolucija je preoblikovala avdiovizualno podro~je.

Pojavili so se novi klju~ni izzivi, kot so varstvo intelektualne lastnine, zagotavljanje dostopa do financiranja na podro~ju, ki se hitro spreminja, in zagotavljanje ustrezne distribucije. Cilj programa Ustvarjalna Evropa – MEDIA je osredoto~iti se na pobude, ki lahko resni~no vplivajo na avdiovizualno podro~je v vsej Evropi.

Linda Beath ima s svojim podjetjem Ideal Filmworks ve~ kot dvajset let izku{enj (v Kanadi in Italiji) z razvojem in financiranjem mednarodnih koprodukcij vrhunskih igranih filmov in televizijskih oddaj. Izobra`uje producente in druge strokovnjake v Evropi in ju`nem Sredozemlju v zvezi s financiranjem projektov in strate{kim poslovnim na~rtovanjem za njihova podjetja. Je tudi finan~na strokovnjakinja v eni od najpresti`nej{ih evropskih organizacij za strokovno usposabljanje, razvoj projektov in partnersko povezovanje za avdiovizualne producente, EAVE (European Audiovisual Entrepreneurs). Javnim financerjem svetuje v zvezi s politiko, trenutno zlasti v zvezi s potrebo industrije po novih poslovnih modelih.

The digital revolution has reshaped the audiovisual sector.

Therefore new issues such as the protection of intellectual property, securing access to finance in a rapidly changing sector and ensuring the proper distribution of works have arisen as key challenges. The objective of the Creative Europe MEDIA programme is focusing on the initiatives that can have a real impact on the audiovisual sector across Europe.

With her company Ideal Filmworks Linda Beath has more than 20 years of experience (both in Canada and Italy) in development and production financing for international co-productions of high quality feature films and television programmes. She trains producers and other practitioners in Europe and the South Mediterranean in project financing and strategic business planning for their companies, and is the financial expert for one of the most prominent European professional training organisations, project development and networking organisations for audiovisual producers, EAVE (European Audiovisual Entrepreneurs). She consults public funders on policy issues, at this time especially with respect to the industry's need for a new business model.

Prireja: Center Ustvarjalna Evropa v Sloveniji/Zavod Motovila v sodelovanju z Zavodom AIPA v okviru 25. obletnice programa MEDIA (Ustvarjalna Evropa)

The event is organised by the Creative Europe Desk Slovenia / Motovila Institute in partnership with the AIPA Institute in the framework of the 25th Anniversary of the Creative Europe MEDIA programme.

Seminar bo potekal v angle{~ini. Udele`ba je brezpla~na.

Prijave do 10. novembra: www.ced-slovenia.eu (spletni obrazec) ali info�ced-slovenia.eu

The event will be held in English. Participation is free of charge.

Pre-registration until 10 November: www.ced-slovenia.eu or info�ced-slovenia.eu

155

Spremljevalni program Accompanying Programme

Mladinska `irija Kinotrip

Kinotrip Youth Jury

Mladi filmski ljubitelji so pomembni del ob~instva Ljubljanskega mednarodnega filmskega festivala. Z leto{njim letom v programu dobivajo prav poseben prostor in glas. Na festival namre~ pripotujejo odposlanci Kinotripa, novega Kinodvorovega programa, ki ga ustvarjajo mladi za mlade. V duhu slogana "Naj te film odpelje" bo po festivalskih programskih sklopih potovala mladinska `irija Kinotrip in si ogledala pet filmov (v katalogu so ozna~eni z logotipom Kinotripa), ki razli~no prikazujejo zgodbe njihovih vrstnikov oziroma se dotikajo tem, ki so pomembne za mlade razli~nih generacij. Najbolj{ega po njihovem izboru bodo razglasili na osrednji sklepni prireditvi.

Prvo mladinsko `irijo Kinotrip sestavlja pet ~lanov filmskega kluba, ki so sodelovali pri pripravi 1. Mednarodnega filmskega festivala Kinotrip: Isabella Menart, Max Raku{~ek, Lovro Smrekar, Izabela Tomin{ek in Aiko Zakraj{ek.

Poleg razglasitve najbolj{ega filma bodo pripravili tudi pogovore z gosti ob posameznih filmih iz Kinotripovega nabora.

Young film lovers form an important part of the Ljubljana International Film Festival's audience. This year Liffe is introducing a Youth Jury consisting of representatives of Kinotrip, a new programme from Kinodvor devised by the youth for the youth. Kinotrip Youth Jury will see and evaluate five films from different sections, movies that address issues concerning their peers, or, deal with the topics relevant to young people. The winning film will be announced at the Festival's concluding ceremony. Q&A session with filmmakers will also be organised.

156

Spremljevalni program Accompanying Programme

Pionirski dom na 27. Liffu

Pionirski dom at 27th Liffe

Pionirski dom – Center za kulturo mladih `e ve~ kot petdeset let organizira kulturno-umetni{ke in jezikovnokulturne programe ter {tevilne projekte za kreativno pre`ivljanje prostega ~asa.

V njem izvajajo tudi filmsko vzgojo otrok in mladine v obliki filmskih delavnic, kar nadgrajujejo tudi s filmskim festivalom Zoom, ki predstavlja produkcijo osnovno{olcev in srednje{olcev doma in v tujini.

Pionirski dom, Young People's Cultural Centre, has been implementing artistic, cultural and linguistic programmes as well as projects focused on leisure-time creativity for over fifty years. The institute has organised and implemented over fifty programmes and projects, and takes special pride in its didactic film workshops and screenings, as well as the Zoom Film Festival, targeted at young film buffs.

Od ^E, 10., do PO, 14. novembra, od 17. do 19. ure Dvorana E2, Cankarjev dom

THU, 10 November – MON, 14 November, 17.00–19.00 E2 Hall, Cankarjev dom

Lete~a animacija Brezpla~na delavnica animiranega filma (od 6. leta)

Flying Animation Complimentary animated film workshop (for children aged 6+)

Vodita: Andreja Goetz, dru{tvo Slon; Ma{a Ogrizek Na delavnicah bodo udele`enci spoznali nekaj najbolj priljubljenih filmov za otroke vseh ~asov: ^arovnika iz Oza, Mary Poppins, E.T. – Vesolj~ka, Petra Pana in Harryja Potterja. V teh filmih junaki ne letijo le na krilih domi{ljije, ampak ~isto zares. Njihova prevozna sredstva pa so zelo razli~na: od hi{e in kolesa do de`nika in metle.

Nekaterim pa za letenje zado{~ajo le vesele misli. V tehniki stop animacije (snemanje sli~ico za sli~ico) bodo z nami poleteli {e vi{je, na svetlobni mizici pa bomo animirali silhuete.

Za obisk delavnice predznanje ni potrebno, izpit za metlo za`elen, vesele misli pa obvezne!

Prijave: kultura�pionirski-dom.si

Conducted by: Andreja Goetz, Slon; Ma{a Ogrizek The workshops aim to present some of the most popular children's films of all time: Wizard of Oz, Mary Poppins, E. T. The Extra-Terrestrial, Peter Pan and Harry Potter whose characters do not fly solely on the wings of imagination. This time, they will fly in the stop motion technique (frame-by-frame) to animate the silhouettes on a light table.

No prior knowledge required.

Applications: kultura�pionirski-dom.si

SO, 19. novembra, ob 18. uri Dvorana E1, Cankarjev dom

Presentation of practical work and film programme Together with Vizo, Pionirski dom will present works created at the workshop, and feature a short film programme.

SAT, 19 november, at 18.00 E1 Hall, Cankarjev dom

Predstavitev nastalih izdelkov in filmski program Pionirski dom bo skupaj z zavodom Vizo predstavil nastale izdelke delavnic v okviru Liffa, poleg tega pa tudi skupen program kratkih filmov, ki bo med drugimi obsegal filme minulega festivala Zoom in minulih MAF-seminarjev.

157

Spremljevalni program Accompanying Programme

MAF – Mad About Film Enostavno nori na film … `e tretje leto Seminar za mlade Zavod za uveljavljanje vizualne kulture Vizo s programom Mad About Film (MAF) ustvarja prostor, ki mladim ponuja prilo`nost, da se o filmu in filmskem neformalno kakovostno izobrazijo. Na Liffu brezpla~ni seminar poteka `e tretje leto (sicer je `e deveti zapovrstjo) in je namenjen vsem starej{im od petnajst let. Letos bo seminar za nekatere udele`ence dolg kar deset ustvarjalnih dni.

Prakti~ni del seminarja bo ponujal delavnico pisanja scenarijev, ki jo bo vodila priznana filmska kriti~arka in scenaristka Tina Poglajen, in delavnico filmske kritike, ki jo bo vodil priznani filmski kritik Matic Majcen. Udele`enci bodo u`ivali tudi v festivalskih filmih in spoznavali festivalske goste.

Letos se je Vizo povezal tudi s Pionirskim domom, ki bo z mentorjem Sandijem Skokom udele`enim na delavnici scenaristike ponudil nadaljevalno 5-dnevno delavnico snemanja kratkega filma Med vsem napisanimi scenariji na delavnici scenaristike bodo izbrali najbolj{ega, ki ga bodo nato vsi udele`enci delavnice realizirali in posneli.

Po lanskem velikem zanimanju za predavanje Jo`ka Rutarja, filmskega producenta, bo tokratni posebni gost seminarja priznani filmski producent Miha ^ernec, ki bo ob primeru bogatih izku{enj in predvsem zadnjih let dela v produkcijski hi{i Staragara predstavil ustvarjalno delo producenta. ^ernec je za svoje delo prejel `e {tevilne slovenske in evropske filmske nagrade.

Predavanje je javno in odprto za vse zainteresirane, za delavnici pa so potrebne prijave: madaboutfilm.si/prijavi-se.

Ve~ na www.madaboutfilm.si PE, 11. novembra, ob 18. uri Dvorana E1, Cankarjev dom Miha ^ernec: S ~em vse se ukvarja filmski producent Multimedijsko predavanje Od ^E, 10., do PE, 18. novembra Dvorana E1, Cankarjev dom Filmska kritika Delavnico vodi: Matic Majcen Scenarij in snemanje kratkega filma Delavnico vodita: Tina Poglajen, Sandi Skok Zaklju~eno (predprijave) SO, 19. novembra, ob 18. uri Dvorana E1, Cankarjev dom Predstavitev nastalih izdelkov in filmski program Vsi nastali izdelki bodo objavljeni tudi na spletni strani www.madaboutfilm.si.

Zaklju~eno (predprijave)

158

MAF – Mad About Film … for the third year Seminar for young people Aimed primarily at young people, the Institute for the Promotion of Visual Culture Vizo and its Mad About Film (MAF) programme present a platform for informal yet quality film education.

The 27th Liffe will host the seminar targeted at audiences aged fifteen plus for the third time. By means of multimedia lectures, the attendees will gain insight into the production process of filmmaking, and learn the rudiments of film criticism and screenwriting. The practical part includes workshops on screenwriting and film criticism.

This year Vizo, in cooperation with Pionirski dom, has invited Sandi Skok to conduct a 5-day workshop on making a short film.

The best scripts written within the scope of the screenwriting workshop will be made into a film by all workshop participants.

Featured guest: acknowledge and award-winning film producer Miha ^ernec.

The lecture is open to the general public, applications required for the workshop: madaboutfilm.si/prijavi-se Further information www.madaboutfilm.si FRI, 11 November, at 18.00 E1 Hall, Cankarjev dom Miha ^ernec: The Complex Profession of a Film Producer Multimedia lecture THU, 10 November – FRI, 18 November E1 Hall, Cankarjev dom Film Criticism Workshop conducted by Matic Majcen Writing and Making a Short Film Conducted by Tina Poglajen and Sandi Skok By application only SAT, 19 November, at 18.00 E1 Hall, Cankarjev dom Presentation of practical work and film programme Works created at the workshop will also be available online at www.madaboutfilm.si.

By application only

Spremljevalni program Accompanying Programme

SR, 16. novembra, ob 13. uri Dvorana Lili Novy, Cankarjev dom

WED, 16 November, at 13.00 Lili Novy Club

Kratka scena predstavlja: Martin Horvat

Kratka scena presents: Martin Horvat

Scenaristi~na delavnica

Ekipa scenaristi~ne delavnice Kratka scena pripravlja sklepni del delavnice z mladim scenaristom in mentorjem Martinom Horvatom. [tudij je kon~al na Ameri{kem filmskem in{titutu (AFI), ki velja za eno najpresti`nej{ih filmskih {ol na svetu. Njegov diplomski projekt kratki film Vsi ti glasovi, pri katerem sta se kot scenarista podpisala skupaj z re`iserjem filma Davidom Ghersonom, je bil septembra 2016 v Los Angelesu nagrajen s {tudentskim oskarjem, ki ga podeljuje ameri{ka Akademija filmskih umetnosti in znanosti.

Martin Horvat bo spregovoril o `ivljenju in delu v ZDA, o procesu nastanka filma Vsi ti glasovi, o pristopih k pisanju izvirnega scenarija in predelave ter o sodelovanju z drugimi scenaristi.

Posebno pozornost bomo namenili tematiki dela z re`iserjem in sami prihodnosti filma. Pogovor bosta vodila Peter Cerov{ek in Bojana Bregar.

Screenwriting workshop The team of the Kratka scena scriptwriting workshop presents the concluding part of the workshop in association with a young screenwriter and mentor, Martin Horvat, graduate of the American Film Institute (AFI). His graduation short film, All These Voices, which he co-wrote with director David Gherson, won the 2016 Student Academy Award, bestowed by the American Academy of Motion Picture Arts and Sciences.

Film Vsi ti glasovi (All These Voices) bo na ogled na odprtju 27. Liffa.

Kratka scena je scenaristi~na delavnica, namenjena razvoju scenarijev za kratki film. Nastala je kot skupni projekt Dru{tva za uveljavljanje kratkega filma Kraken, produkcijske hi{e EnaBanda ter Centra ustvarjalna Evropa v Sloveniji, ki deluje v okviru Motovile, centra za spodbujanje sodelovanja v kulturnih in ustvarjalnih sektorjih.

159

Spremljevalni program Accompanying Programme

^E, 17., od 15. do 20. in PE, 18. novembra, od 10. do 15. ure Dvorana Lili Novy, Cankarjev dom

Casting delavnica V sodelovanju z igralsko agencijo United Slavic Actors prihajata na Liffe priznana direktorja castinga, ki sta med najbolj iskanimi na obmo~ju JV Evrope. Timka Grahi} je sodelovala pri filmih Skyfall in V de`eli krvi in medu ter z re`iserji, kot so Danis Tanovi}, Jasmila @bani}, Sergio Castellitto, brata Dardenne in Juanita Wilson, legendarni Slobodan Dedei} pa je dolgoletni direktor castinga in sodelavec pri filmih Emirja Kusturice, Mil~a Man~evskega, Jana Hrebejka idr.

Timka Grahi} bo po vzoru in izku{njah delavnic castinga v svetu udele`encem ponudila natan~en vpogled v skrivnosti dobro izpeljanega nastopa na avdiciji. Iz prve roke bodo izvedeli, kaj so najpogostej{e napake, ki jih igralci naredijo na avdiciji, kako se dobro pripraviti na avdicijo in kako najbolje predstaviti svoje zmogljivosti.

Delavnica bo prakti~na, temeljila bo na vajah, ki bodo igralcem pomagale pri nastopu na avdicijah. Namenjena je profesionalnim in aktivnim igralcem, ki jih zanima igra pred kamero. [tevilo udele`encev za posamezno delavnico je zaradi intenzivnosti treninga omejeno na petnajst. Vsa delavnica in vaje bodo posnete, gradivo pa bodo udele`enci lahko uporabili za svoje predstavitvene posnetke (showreele).

Prijave do 3. novembra: info�unitedslavicactors.com Prijavam je treba prilo`iti fotografijo, kratko biografijo in predstavitveni posnetek (~e ga zainteresirani imajo).

Cena delavnice 80 EUR PE, 18. novembra, ob 15.30 Dvorana Lili Novy, Cankarjev dom

Casting Okrogla miza Timka Grahi} in Slobodan Dedei} bosta v sodelovanju z United Slavic Actors in Akademijo za likovno umetnost in oblikovanje Univerze v Ljubljani svoje bogate izku{nje pri filmu delila tudi na okrogli mizi o castingu. Beseda bo tekla zlasti o nujnosti uvedbe avdicij in profesionalnega sistema castinga na na{em ozemlju po zgledu dobrih izku{enj iz tujine ter sistemati~nega pregleda igralske ponudbe in zastopstva agentov, o nadgradnji igralskega potenciala, (samo)promociji igralcev in delu z njimi pred kamero.

Okrogla miza je namenjena igralcem, re`iserjem in producentom. www.unitedslavicactors.com Vstop prost

160

THU, 17 November, 15.00–20.00 and FRI, 18 November, 10.00–15.00 Lili Novy Club, Cankarjev dom

Casting Workshop Acknowledged casting directors Timka Grahi} and Slobodan Dedei} will conduct a casting workshop at Liffe in cooperation with the United Slavic Actors acting agency. Timka Grahi} will share the secrets of auditioning with confidence. Aimed at professional and active actors interested in film acting, the workshop will primarily focus on practical work. The number of participants is limited to fifteen. The workshop and the exercises will be filmed, and the video footage available to the participants to use as their showreels.

Applications by 3 November: info�unitedslavicactors.com Attach a photograph, short resume and a showreel (if available).

Registration fee: EUR 80 FRI, 18 November, at 15.30 Lili Novy Club, Cankarjev dom

Casting Round Table In cooperation with the United Slavic Actors acting agency and the University of Ljubljana's Academy of Fine Arts and Design Timka Grahi} and Slobodan Dedei} will share their invaluable experience at a casting round table. The addressed topics will include the necessity of auditions and professional casting in our region based on international good practices as well as a systematic catalogue of actors and agents, how to maximise one's acting potential, the (self)promotion of actors and how to work with them when making a film.

Aimed at actors, directors and producers. www.unitedslavicactors.com Admission free

Spremljevalni program Accompanying Programme

PO, 14., ob 10 uri in TO, 15. novembra, ob 14. uri Dvorana Lilli Novy, Cankarjev dom

MON, 14 November at 10:00, Lilli Novy Club TUE, 15 November at 14:00, Lilli Novy Club

Podoba kinematografa v digitalni dobi

Cinema in Digital Age

Strokovno sre~anje Art kino mre`e Slovenije

Expert Meeting of the Art Cinema Network Slovenia

Art kino mre`a – zdru`enje 27 kinematografov in prikazovalcev kakovostnega in umetni{kega filma Slovenije je prostovoljno, samostojno, nepridobitno zdru`enje, ki ga povezuje medsebojno sodelovanje in razvoj delovanja kinematografov, izmenjave izku{enj, strokovnega znanja in informacij s podro~ja raz{irjanja in promocije filmske kulture in filmske vzgoje ter promocije in prikazovanja kakovostnega in umetni{kega filma.

Zdru`enje svoje iniciative `e nekaj let iz tehni~nih vpra{anj (digitalizacija, posodabljanje kino dvoran) preusmerja v programske pobude, kjer se ukvarja s skupnimi programskimi akcijami, aktivno ustvarjajo programe filmske vzgoje, pri iniciativah za bolj{o dostopnost filmskih vsebin pa zdru`enje sodeluje s slovenskimi distributerji, producenti in tujimi partnerji.

Prav novi modeli distribucije bodo osrednja tema sre~anja zdru`enja, ki bo potekalo v ~asu Ljubljanskega filmskega festivala (Liffe). Ob dobrih izku{njah in okroglih mizah bomo ugotavljali, ali kinematografi v novem ~asu postajajo neke vrste "festivalska" prizori{~a, ki se vedno manj nana{ajo na redne oblike distribucije filmov, zato pa so v njihovih programskih shemah vedno bolj prisotne posebne projekcije, dogodki, ki dajejo filmu dodano vrednost (event cinema), filmske klasike, prenosi koncertov in oper, ter {tevilne druge vsebine, ki nadgrajujejo in v novem digitalnem okolju spreminjajo tradicionalni koncept kinematografa.

Nagrajenje programske podobe in prepoznavnosti kinematografov vplivajo tudi druge vizualne platforme: video na zahtevo, televizija, festivalske "streaming" platforme in spletni mediji, ki zahtevajo premislek o tem, kako se lahko kinematografi prilagodijo novim razmeram, kako lahko s pomo~jo digitalnih vsebin gradijo svoje ob~instvo in obenem ohranjajo ~arobnost "velikega platna".

The Art Cinema Network – the Slovenian association of 27 art cinemas or screening halls is a voluntary, independent, unprofitable association bringing together art cinemas with the aim of improving the working conditions of member cinemas, exchange of best practices and improve circulation of information, and the common goal of promoting film culture, fostering appreciation of art film, and stimulating national and international collaboration.

Oriented towards the future, the association promotes digitalisation of cinemas and suggests practical solutions, including ongoing nationwide campaigns and film education programmes, and collaborates with national distributers, producers and international partners in the initiatives for greater accessibility of film.

Held within the scope of the Ljubljana International Film Festival, the meeting will focus on various distribution models. The issue will be raised whether cinemas have become some kind of 'festival' venues, less oriented towards film distribution and more on special screenings, events that add value to cinema (event cinema), film classics, live streaming of concerts and opera performances, and other content that has been changing the traditional concept of cinema in a new digital environment.

It is also the various visual platforms that influence the programming and recognition of cinemas, including video on demand, television, festival 'streaming' platforms and online media that invite reflection on the ways in which cinemas can adapt to new circumstances, how to build audiences by means of digital content and still recreate the magic of 'the big screen'.

161

Spremljevalni program Accompanying Programme

Borders

PE, 11. novembra, ob 19. uri FRI, 11 November, at 19.00 Kino [i{ka, mala dvorana / Kino [i{ka Cinema, small hall

Podoba – Glasba Image – Music Stromae: Quand c'est?

Belgija/Belgium, 2015 re`ija/by Luc Junior & Xavier Reyé

Michael Kiwanuka: Black Man In A White World VB, ZDA/GB, USA, 2016 re`ija/by Hiro Murai

David Bowie: Blackstar VB, [vedska/GB, Sweden, 2015 re`ija/by Johan Renck

Florence + The Machine: The Odyssey VB, ZDA/GB, USA, 2016 re`ija/by Vincent Haycock

Tame Impala: The Less I Know The Better Avstralija, [panija/Australia, Spain, 2015 re`ija/by CANADA

Radiohead: Daydreaming VB, ZDA/GB, USA, 2016 re`ija/by Paul Thomas Anderson

M.I.A.: Borders VB, Indija/GB, India, 2016 re`ija/by M.I.A.

Coldplay: Up & Up VB, Izrael, ZDA/GB, Israel, USA, 2016 re`ija/by Vania Heymann & Gal Muggia

Baauer: Day Ones ZDA/USA, 2016 re`ija/by Hiro Murai

Beyoncé: Formation ZDA/USA, 2016 re`ija/by Melina Matsoukas

Massive Attack ft. Young Fathers: Voodoo In My Blood VB/GB, 2016 re`ija/by Ringan Ledwidge

Jamie xx: Gosh VB, Francija/GB, France, 2016 re`ija/by Romain Gavras

162

Spremljevalni program Accompanying Programme

Nevidni inovatorji Invisible Innovators Matic Majcen Zgodovina glasbenega videa sega pribli`no tako dale~ nazaj kot zgodovina filma, v konec 19. stoletja. Brez te`av lahko napi{emo, da je kratki film The Dickson Experimental Sound Film iz leta 1894 oz. 1895 prvi znani predhodnik glasbenofilmske forme, danes imenovane glasbeni videospot. Ta 17-sekundni film je posnel {kotski izumitelj William Dickson, ki je tisti ~as delal kot uslu`benec Thomasa Edisona v prvem ameri{kem filmskem studiu Black Maria v New Jerseyju. Teh nekaj sekund spremljamo Dicksona, ki usmerjen proti gramofonu na violino igra glasbeni motiv, medtem ko pred njim dva mo`akarja za {alo v objemu ple{eta po njegovih notah. Film so takrat pravzaprav posneli zgolj kot eksperiment brez vnaprej{njih priprav ali scenarija, s katerim so `eleli kot prvi v zgodovini zdru`iti zvok in sliko.

Poskus je spodletel – kon~ni film, kakr{nega poznamo danes, so po najdenem zvo~nem zapisu sestavili {ele leta 1998. Po nekem naklju~ju je bilo to ravno v ~asu vzpona videospotovskega zgodovinopisja, ki tega kratkega filma ni zamudilo opisati celo kot prvega videospota. Mimogrede, ta isti film v dokumentarcu Roza kino (Celluloid Closet, 1995) obenem navajajo tudi kot primerek prvega LGBT-filma, kar je zelo dvomljiva trditev, a to je `e povsem druga zgodba.

The Dickson Experimental Sound Film podobno kot {tevilni filmi iz prvih let sedme umetnosti s sabo nosi pomembno spoznanje, ki nam veliko pove tudi o dana{njem ~asu. Namre~, Dicksonu in kolegom se ni moglo niti pribli`no sanjati o tem, kak{en vpliv bo imel njihov izdelek na nadaljnji razvoj razli~nih oblik filmskega ustvarjanja. Glasbeni video je svoj prvi vzpon za~el {ele desetletja pozneje, z nastopom televizije po drugi svetovni vojni, samo ime pa se je uveljavilo {ele v sedemdesetih letih. Tako kot brata Lumière nista mogla slutiti, kako vplivna bosta za takrat {e neobstoje~o prakso dokumentarnega filma ali kot Georges Méliès ni mogel predvideti poznej{e eksplozije posebnih u~inkov, niti Dickson ni mogel vedeti, da je nehote posnel prvi primerek prihodnje filmske forme, veliko pozneje imenovane glasbeni video.

Neprijetna misel, ki izhaja iz tega, je seveda ta, da verjetno prav zdajle neki inovator nekje v majhni sobici opravlja filmski poskus, morda ~ez desetletja prepoznan kot mejnik neke nove filmske forme, kakr{ne si danes sploh ne znamo zamisliti. [e toliko bolj, ~e vemo, da se v za~etku 21. stoletja ob bliskovitih spremembah v medijih in umetnosti nove forme izra`anja rojevajo vsak mesec. Nehote zatorej `ivimo v objemu nekak{ne zgodovinske nevednosti, z zavedanjem, da se pravkar nekje na svetu dogaja nekaj prelomnega, a obenem ni nikakr{nega na~ina, da bi to odkrili in prepoznali. Kaj nam pomaga, ~e bomo ~ez pol stoletja lahko povedali, da smo `iveli v ~asu, ko je ta izumitelj opravljal svoje prve korake, ko pa danes, v ~asu njegovega `ivljenja, ne moremo slaviti njegovih dose`kov?

Re{itve tega zgodovinskega paradoksa pravzaprav ni. Edina stvar, ki nam v tem trenutku preostane, je ~a{~enje tistih `e uveljavljenih oblik umetnosti, kakr{ne so se razvile v preteklosti. V polju glasbenega videa zato tudi letos predstavljamo ducat daljnih potomcev tistega, kar je pred 122 leti za~enjal William Dickson.

Morda bo to ~ez nekaj desetletij veljalo za nekaj prese`enega in se bomo tolkli po glavi, zakaj nismo bili pozorni na vznik novih oblik za na{im hrbtom. A naj se ne razumemo narobe. Tudi ti izdelki "stare" umetnosti so {e vedno osupljivi in neverjetni primerki neke filmske forme, ki jo bo prihodnost morda presegla, njene preteklosti pa si nikoli ne bo drznila izbrisati.

The history of music video goes as far back as the history of cinema, to late nineteenth century. It is safe to say that the short film titled The Dickson Experimental Sound Film from 1894 or 1895 is the first known example of the musical-film format, today known as the music video. This 17-second film was made

by Scottish inventor William Dickson, who at the time worked at Thomas Edison's Black Maria, the first American movie production studio in New Jersey. The film features Dickson playing a violin into the recording horn, while in front of Dickson two men dance to the music. This short film was the first attempt in history to record sound and moving image in synchronisation.

The experiment failed – the current version of the film was digitalised and restored in 1998. Chance would have it that the restoration coincided with the writing of the music-video annals, and thus the clip was selected for inclusion in the national film registry as the first known musical short. Furthermore, in the Celluloid Closet documentary (1995) this short is referred to – questionably so – as an example of the first LGBT film.

Similarly to the films from the early age of cinema, The Dickson Experimental Sound Film conveys the telling truth about our present day. Namely, at the time Dickson had no idea about the considerable scope of influence his film would have on the further development of filmmaking. Music video did not make its ascent until several decades later, with the emergence of television after WWII, and the term was introduced as late as in the 1970s. Just as Brothers Lumière could not imagine their own influence on the then inexistent documentary film and just as Georges Méliès could not envisage the later-date explosion of special effects, Dickson had no way of knowing that he unintentionally made the first specimen of a future film format, to be much later called a music video.

The disturbing thought that comes to mind is that as we speak some innovator is performing a cinematic experiment, an innovation to be recognised in decades to come as a major landmark in the history of film. The thought is all the more sobering because we know that in early twenty-first century the rapid technological changes within the medium facilitate emergence of new forms of expression on a monthly basis.

Therefore, by force of circumstance, we live in a period of historical ignorance, instinctively nevertheless knowing that something groundbreaking is taking place in the world, but we are powerless in our endeavour to grasp its significance.

There is no way of solving this historical paradox. There is no other alternative but to celebrate the already developed and established artistic genres and media. Our music video selection is thus a representative collection of a dozen distant descendants of the format introduced 122 years ago by William Dickson. Perhaps within a few decades they will be regarded as outstanding achievements and we will blame ourselves for not being able to acknowledge their innovative worth. But do not get me wrong. These examples of 'old' art are still astounding and impressive representatives of a genre which the future will possibly surpass, but whose historical relevance will never be erased.

163

Spremljevalni program Accompanying Programme

PE, 11. novembra, ob 13. uri Kino [i{ka

FRI, 11 November, at 13.00 Kino [i{ka Cinema

Glasbeni dokumentarni film

Music Documentary Film

Okrogla miza Glasbeni dokumentarni film je eden najpopularnej{ih filmskih `anrov, ki svoj razcvet do`ivlja v 21. stoletju. Vsak pomembnej{i re`iser ali bend se je preizkusil v tem `anru. Spomnimo se D.A. Pennebakerja, ~igar Ne glej nazaj (Don’t Look Back) z Bobom Dylanom bo naslednje leto obhajal 50-letnico nastanka; ne smemo pozabiti niti velikanov, kot Martin Scorsese ali celo Ron Howard, katerega film The Beatles: Osem dni na teden (The Beatles: Eight Days a Week – The Touring Years) ravno do`ivlja svojo slovensko premiero na Liffu. S tem namenom organiziramo okroglo mizo na temo Glasbeni dokumentarni film, na kateri bodo sodelovali: re`iserja Pjer @alica in Janez Burger, producent Miha ^ernec, kantavtor Zoran Predin in Admir ]ulumarevi}, direktor SPFF, mednarodnega festivala glasbenega dokumentarnega filma.

164

Round table One of the most widespread film genres, music documentary has been enjoying growing popularity in the twenty-first century.

Every established director or band has made one. Let us only recall D. A. Pennebaker whose Don't Look Back featuring Bob Dylan will celebrate its 50th anniversary next year; or the illustrious filmmakers, including Martin Scorsese, and Ron Howard whose The Beatles: Eight Days a Week – The Touring Years will receive its Slovenian premiere at Liffe. Addressing this issue, the panel of the Music Documentary Film round-table discussion will consist of: directors Pjer @alica and Janez Burger, producer Miha ^ernec, songwriter Zoran Predin and Admir ] ulumarevi}, Director of the International Music Documentary Film Festival.