Sarajevo Talent Campus #5 / 17thSFF

Sarajevo latent·Campus #5.

"Our Tirr1e; My Point of View·.· 7 days: July 24- 3,0. 2011 · .

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65-talents: 18 directors. 16. actors. 1.6 scriptwriters. 15 producers 4 fields of work: directors. actors. scriptwriters and pro.docers 13 countries: Albania,_Bosnia and Herzegovina. Bulgaria. Croatia.

Hungary. Macedonia. Montenegro. Romania. Serbia.

Slovenia. Turkey and UNMI Kosovo.

·~ Greece.

42 experts . .

56 lectures• ..panels. workshops. case studies. presentations. *' screenings and _events . ~

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A very .important se.g ment of the Talent Campus platform is also its virtual dimension- th'e Online Talent Database.

The pool of Talents. which will be grow.ing each year:· 9erv~s primarily as a p-romotional and networking tool. The profiles of the ' ·· particip~nts display their ge~eral info. video sample_ s of work and calls for co-operati_ng partners. actors. producers. directors. cinematographes. editors and so on ...

Sarajevo Film Festival 22-30/07/2011

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Contents 4 5

Editorial Welcome note from our co-operating partner – Berlinale Talent Campus and Berlin International Film Festival

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About ASU – Academy of Performing Arts, Sarajevo

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Talents 2011

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Experts 2011

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Programme 28 Sun, July 24 33 Mon, July 25 36 Tue, July 26 39 Wed, July 27 45 Thu, July 28 48 Fri, July 29 52 Sat, July 30

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Thank you

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Partners&Sponsors

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Impressum

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Editorial OUR TIME, MY POINT OF VIEW The focus of this year’s Sarajevo Talent Campus will be on various viewpoints as offered by numerous filmmakers. The programme will address the difficulty but necessity of decisions that need to be taken throughout the creative process of filmmaking. Whether fiction, documentary, experimental, hybrid or transmedia filmmaking: choosing the strongest way to express one’s vision will be conveyed through a diverse programme of lectures, panel discussions and active critical debates, complemented by workshops, practical tutorials, film screenings and festival excursions.

Since the 2011 Campus is entitled: ”Our Time, My Point of View”, the link we are making with Rough Cut Boutique is logical. This newly created project of the Documentary Competition Program of the Sarajevo Film Festival and the Balkan Documentary Center aims to upgrade the development, distribution and promotion of regional documentary films. Within the framework of their respective lectures, documentary filmmaker John Appel will stress features of a creative documentary, while Stefano Strocchi will elaborate the basics of transmedia based documentary filmmaking.

Having in mind auteur film, creative choices and authors’ responses to the times we live in, director Wim Wenders will talk about the challenges of 3D technology he faced while “capturing” the space between the dancers in his film PINA. From a perspective of past-present consideration, Béla Tarr will talk about his latest feature THE TURIN HORSE. In this feature, the Hungarian director uses fiction to reconstruct historical fragments. Having considered split roles of the past and the present, as well as written sources the film is based upon, the adaptation process from literature to film has become a focus of our interest. On that occasion, screenwriter Olivia Hetreed and script consultant Kate Leys will talk about adapting a literary work into a film script. Among others, they will answer the questions: How to adapt a literary work and who is a target group of an adapted script. Writer and screenwriter Abdulah Sidran will share his experience from working in both media, starting from one autobiographical novel to making two film scripts DO YOU REMEMBER DOLLY BELL? and WHEN FATHER WAS AWAY ON BUSINESS. Katriel Schory will discuss about the process of adaptation in the context of film development, but from the perspective of a creative producer.

Among many others, 5th Sarajevo Talent Campus will include such experts and lecturers as Philippe Bober, Gabriele Brunnenmeyer, Licia Eminenti, Cary Joji Fukunaga, Lucile Hadžihalilović, Alby James, Leon Lučev, Joshua Marston, Pierre-Alain Meier, Zeynep Özbatur Atakan, Vladimir Perišić, Erwin M. Schmidt and Frank Stehling.

As in previous years, we will continue the successful practice of intensive “speed matching” and “one on one” meetings that are traditionally implemented with our partner, Robert Bosch Foundation. We are organizing the second edition of “Pack&Pitch”, a program segment designed

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to offer selected participants a chance to learn how to analyze and prepare presentation projects, all under expert guidance. Consequently, they can apply their gained knowledge by pitching their projects to experienced film professionals, Sarajevo Film Festival guests and participants of the CineLink Co-Production market. Through a line of lectures, presentations and screenings we will continue to cooperate with “Minimarket” and answer questions what is short film today, what are examples of successful, contemporary regional and European short films, and what the short film industry stands for. This year too, we will attend various screenings directly related to the carefully designed Talent Campus sessions.

We hope that we will together enjoy the program of the 5th Sarajevo Talent Campus, commenced in cooperation with the Berlin International Film Festival and Berlinale Talent Campus, and recognize future partners in each other.

Mirsad Purivatra

Director of Sarajevo Film Festival

Asja Makarević

Sarajevo Talent Campus Project Manager

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Welcome from our Partner – Berlinale Talent Campus Berlinale Talent Campus #10 (February 11-16, 2012) Changing perspectives Getting out of your reality tunnel: the ability to see things from different sides is an essential skill that helps to perceive today’s vibrant issues in more than one way. However, it requires imagination and it regards change as an opportunity to improve one’s work. In a film industry strongly affected by shifting paradigms when it comes to presenting films and reaching audiences, emerging filmmakers increasingly play an essential role. Changing perspectives is a process asking for active participation: sharing ideas and experiences, approaching filmmaking in a transdisciplinary way, getting inspired by pioneers with a vision and being open to unexpected outcomes along the way is not something that just happens coincidentally.

Bringing both emerging filmmakers and seasoned film professionals together every year, the Berlinale Talent Campus offers a platform to freshen up minds, to discover new horizons, to find fellow-filmmakers to collaborate with and to discuss new trends and developments in contemporary cinema and media.

Since 2007, the collaboration with the Sarajevo Talent Campus has strengthened the opportunities for Southeastern European filmmakers to connect to the international community of filmmakers the Campus has built over the years. With its own programme focusing on directors, screenwriters, producers and actors, Sarajevo offers knowledge and tools to improve the skills of talented filmmakers and to help them connect to each other.

The continuation of the Pack&Pitch training programme at the Sarajevo Talent Campus, is one of the strongest steps forward: offering filmmakers not just inspiration, networking meetings and a great atmosphere — but focusing on improving their chances to deliver good film projects to the market and make them reach out to an audience is the main aim of the international Talent Campus initiative.

Where Sarajevo started, Berlin could easily be the next station for you: the Campus programme taking place parallel to the Berlin International Film festival and the European Film Market pushes it all another step further. Many from Southeastern Europe have been invited in the past years to join the 350 filmmakers at the Berlinale Talent Campus. Moreover, exciting experts such as Jasmila Žbanić, Danis Tanović, Dušan Makavejev, István Szabó, Vladimir Perišić, and Kornel Mundruczó, have shared their wealth of experience and inspiring vision with the Campus participants in the past years in Berlin.

Our warm thanks to the Campus and Sarajevo Film festival team for the continuous enthusiasm and collaboration. Andrea Rieder is representing the Berlinale Talent Campus in Sarajevo this year. Being closely involved in our team as programme coordinator, she will answer all questions you have. For more information and to know how to apply for the upcoming edition (until October 5, 2011) have a look at www.berlinale-talentcampus.de.

Matthijs Wouter Knol Christine Tröstrum

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Academy of Performing Arts Home of the Talent Campus The Academy of Performing Arts is again the main venue of the Talent Campus.

Academy of Performing Arts in Sarajevo started with its activities in 1981, with enrolment of the first generation of students at the Department of Acting. It was followed by opening of the Directing Department (1989), whereas Department of Dramaturgy was established during the war year of 1994. An important segment of the Academy’s activities has been realised at the open stage “Obala”, Sarajevo cult-theatre, the place at which students present their works, and where professional actors, directors, and writers contribute with their works to the theatre repertoire of Sarajevo and BiH. The Academy of Performing Arts is the oldest acting school in BiH, whereas the work of the Acting Department has been established on the foundations of the experiences from the prestigious acting schools from Europe and all over the world.

Considering the number and importance of the prizes awarded to theatre and film directing achievements by its professors and students, Department of Directing can compete with even the most prestigious schools of similar kind from Europe and all over the world. Multi-media directing as a unique artistic profession practiced in theatre, at film, TV and radio, is being studied at the Department.

Department of Dramaturgy The concept of studies is based on the complexity and synthetic character of dramatic arts, as well as on the positive world experiences and original working methods from the field of dramaturgy, theatrology and film arts. The programme joins classic and modern principles and procedures.

Open Stage «Obala» Student training is primarily being realised at the Open Stage “Obala”, where the public presentations of exam works and students’ projects are being organised. Part of the students training is implemented in cooperation with theatre, TV, and film companies in Sarajevo, which enables realisation of students’ practical works and projects in the field of expert and artistic subjects (theatre plays and films).

Professors and students have continued working at the Academy even during the siege of Sarajevo, directing plays and documentary films, or collaborating on different art projects. During the period between 1992 and 1996, the teachers and students of the Department of Directing marked the following events and productions with their significant works and activities: International Theatre Film Festival MESS, the first Sarajevo Film Festival, the work by the SaGa film company, part of production by RadioTelevision of Bosnia and Herzegovina, production of the Sarajevo theatres, as well as a number of other art and documentary projects.

The list of all directing achievements, awards, teachers and graduates of the Directing Department grows from 1992 till today. In numbers, the list contains over 200 awards, out of which the following should be pointed out: American Academy Award (Oscar), European Film Academy Award (EFA), Cannes Film Festival award, as well as the awards from film festivals in Berlin, Locarno, Rotterdam…

Last year we enrolled the first students at the Department of Production and Management in the field of performing arts, and we are also going to continue the activities aimed at establishment of the Department of Filming and Editing, with the support by the Ministry of Education and Science of Canton Sarajevo.

Zijad Mehić, Dean of the Academy of Perfoming Arts

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Talents 2011 - Actors

Adi Hrustemović, 24, Bosnia and Herzegovina

Merima Lepić, 26, Bosnia and Herzegovina

Milan Trninić, 23, Bosnia and Herzegovina

Aleksandar Aleksiev, 23, Bulgaria

Plamen Petkov, 23, Bulgaria

Anica Kovačević, 27, Croatia

Kristina Krepela, 32, Croatia

Eirini Anagnostopoulou, 34, Greece

Viktorija Stepanovska, 28, Macedonia

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Alexandra Maria Mitu, 18, Romania

Mihail Daniel Stanescu, 28, Romania

Stefan Nicolae Statnic, 34, Romania

Andreea Vasile, 30, Romania

Ana Mandić, 24, Serbia

Jelena Trkulja, 26, Serbia

Mediha Didem TĂźremen, 29, Turkey

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Talents 2011 - Directors

David Čip, 23, Bosnia and Herzegovina

Vesi Vuković, 31, Bosnia and Herzegovina

Ogi Kostovski, 24, Bulgaria

Pavel Vesnakov, 24, Bulgaria

Igor Bezinović, 28, Croatia

Efthimis KozemountSanidis, 28, Greece

György Mór Kárpáti, 27, Hungary

Orsolya Nagypal, 33, Hungary

Ariel Shaban, 30, Kosovo

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Dušan Kašalica, 24, Montenegro

Cristina Groşan, 24, Romania

Ionut Piturescu, 32, Romania

Jelena Gavrilović, 21, Serbia

Maša Nešković, 27, Serbia

Katarina Sočan, 21, Slovenia

Alican Durbaş, 25, Turkey

Nazli Elif Durlu, 32, Turkey

Zehra Derya Koç, 34, Turkey

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Talents 2011 - Producers

Eddy Schwartz, 23, Bulgaria

Katya Trichkova, 33, Bulgaria

Ralitsa Veleva, 29, Bulgaria

Ivana Šimić, 27, Croatia

Despina Kavyri, 25, Greece

Nandor Istvan Lovas, 26, Hungary

Victor Huszar, 27, Hungary

Dóra Nedecky, 27, Hungary

Jelena Mišeljić, 24, Montenegro

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Irina Andrea Malcea, 26, Romania

Milena Džambasović, 28, Serbia

Dragana Jovović, 28, Serbia

Asli Akdağ, 30, Turkey

Mehmet Gungoren, 24, Turkey

Nesra Gürbüz, 26, Turkey

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Talents 2011 - Scriptwriters

Koloreto Cukali, 37, Albania

Mirna Kuvalja, 23, Bosnia and Herzegovina

Stipe Karabatić, 30, Croatia

Srđan Laterza, 27, Croatia

Elizampetta IliaGeorgiadou, 23, Greece

Gergő Nagy, 28, Hungary

Stela Mišković, 34, Montenegro

Cristina Bilea, 24, Romania

Andreea Mihaela Ignat, 27, Romania

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Roxana Mocanu, 25, Romania

Staša Bajac, 26, Serbia

Jelena Đokić, 25, Serbia

Ivan Knežević, 27, Serbia

Basak Buyukcelen, 31, Turkey

Esra Ozban, 23, Turkey

Gözde Sukmenyildiz, 25, Turkey

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Co-Producers to Watch

Martin Danisch, 27, Germany

Christine Haupt, 32, Germany

Knut J채ger, 32, Germany

Eva Kemme, 32, Germany

Ann Carolin Renninger, 32, Germany

Catherina Schreckenberg, 27, Germany

Michael Schwertel, 38, Germany

Sarita Sharma, 41, Germany

Jakob D. Weydemann 29, Germany

Sebastian Weyland, 36, Germany

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Experts and Lecturers who will share their experience and knowledge with the Talents of the 5th Sarajevo Talent Campus, are:

Albers, Frank

Appel, John

Project Manager for Art and Culture at the Robert Bosch Foundation. Has developed the CoProduction Prize for Young German and Eastern European Filmmakers.

John Appel has worked as a professional cameraman/director since ’87. As an independent filmmaker, Appel directed more than 30 documentaries for cinema and television. Worked as a cameraman on more than 50 documentaries.

Teaches all over the world, mostly at documentary film workshops. In 2009 he won the IDFA Award for Best Dutch Documentary for the film THE PLAYER, also nominated for Best Feature Length Documentary 2009.

Andrizzi, Mauro Mauro Andrizzi studied scriptwriting and graduated from the ENERC (National Film School), Buenos Aires. Since 2001, he has been a programmer for the Mar del Plata International Film Festival (Argentina). His filmography includes: COLOR AND PIXEL (2006), a documentary short film shot at the Museum of Art History in Vienna, MONO (2007, documentary/feature film) and IRAQI SHORT FILMS (2008), a compilation of video snippers shot by a cross section of amateur documentarians. His film IN THE FUTURE will be screened in the New Currents Programme.

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Ben Asher, Hagar Her script THE SLUT was written at the Residence Programme of the Cinéfondation-Festival de Cannes.

Her graduation film PATHWAYS which she wrote, directed and acted in, was a part of the Cinéfondation competition of 2007, such as in numerous festivals around the world.

Cottbus, where she was Artistic Director. She also works for the Kuratorium Junger Deutscher Film, a funding body for first and second films by German young talents, and as consultant for script development, packaging and project presentation.

Bober, Philippe Founder of Coproduction Office. As producer he was involved in the work on the films: EUROPA, THE KINGDOM, BREAKING THE WAVES by Lars von Trier, BATTLE IN HEAVEN by Carlos Reygadas, Roy Andersson’s SONG FROM THE SECOND FLOOR and YOU THE LIVING, Kornel Mundruzco’s PLEASANT DAYS, JOHANNA and DELTA, Jessica Hausner’s LOVELY RITA and Urlich Seidl’s DOG DAYS and IMPORT EXPORT. Selector of the New Currents Programme of the Sarajevo Film Festival.

Bourikas, Vassily Has demonstrated his programming skills at the festivals around the world, but pays special attention to Thess International Short Film Festival.

Apart from being a curator and filmmaker, he runs the Lab Group from Athens.

Buehler, Reto Studied philosophy, film studies and Russian linguistics at the University of Zurich. A film critic and since 2005 artistic director of the International Short Film Festival Winterthur, Switzerland.

Denier, Christian Has been working at Clermont-Ferrand Short Film Festival since 1980 first as volunteer and as fulltime employee since 1992. In charge of the technical organization of the Short Film Market, project coordinator for media education actions and member of national and international selection committees.

Brunnenmeyer, Gabriele Gabriele Brunnenmeyer was an artistic adviser for MEDIA Antenna Berlin-Brandenburg training initiative Moonstone International. She contributed to the development of the East-West-Coproduction Market Connecting Cottbus at the FilmFestival

Eminenti, Licia Script analyst and filmmaker. Worked as an administrator for the cinematographic European Coproduction Funds, Eurimages, and was in charge of the international sales for Gemini Films. Has been Sarajevo Talent Campus #5

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expert/reader for Arte France Cinema and continues her collaboration with the Eurimages Funds, as well as with Media Program. Her work includes short films: INTIMISTO, LA PETITE FILLE, FRATERNITAS.

Fukunaga, Cary Joji Wrote and directed the short film VICTORIA PARA CHINO (2004), which screened at the Sundance Film Festival and received a Student Academy Award in 2005. Made his feature film debut with SIN NOMBRE which he both wrote and directed.

The film received a number of awards, including the directing award at the 2009 Sundance Film Festival. In 2010, directed a new film adaptation of JANE EYRE. Recipient of 2007 Katrin Cartlidge bursary annually announced and presented at the SFF.

Građević, Izeta Creative Director of the SFF and the Script Consultant for the Sarajevo City of Film projects. Member of the Selection Committee of the CineLink and the Sarajevo Talent Campus.

Hadžagić, Segor Holds a degree in Dramaturgy. Works as a stage

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and film director, film critic and investigative journalist. Editor of the festival catalogue. Writes reviews for the Festival Daily.

Hadžihalilović, Lucile French filmmaker. Became the first woman to win the Stockholm International Film Festivals annual Bronze Horse award for best film for her 2004 film INNOCENCE. That film won her also award for the best first film at San Sebastian Film Festival. Has worked as an editor of documentaries and features, and is a longtime collaborator with Gaspar Noé, serving as a producer and editor of his short CARNE (1991) and feature I STAND ALONE (1998), and co-scriptwriter of ENTER THE VOID (2009).

Hetreed, Olivia Olivia Hetreed wrote a series of highly acclaimed family films for television including THE TREASURE SEEKERS and THE CANTERVILLE GHOST. She adapted the hit film GIRL WITH A PEARL EARRING from Tracy Chevalier’s best-selling novel and wrote the screenplay for the forthcoming WUTHERING HEIGHTS, directed by Andrea Arnold. Olivia is also an experienced mentor to developing screenwriters.

and short film catalogue. Has contributed to Isola Cinema – a film festival dedicated to African, Asian, Latin American and Eastern European cinema; International Documentary Festival of Zagreb – ZagrebDox Pro, Motovun Film Festival and World Festival of Animated Films – Animafest.

James, Alby A successful theatre director for fifteen years, within the last ten years has been Head of Development with EON Screenwriters’ Workshop in London and Head of Screenwriting at the Northern Film School in Leeds, England. Currently working as an independent producer and theatre director; has recently joined the team of consultants at Script House in Berlin. Mentor at the Berlinale Talent Campus for actors and writers and helps to select the writers and script projects for the Berlinale Talent Campus.

Leys, Kate A feature film script editor who works on projects at all stages of development. Took part in commissioning and developing some of the UK’s most successful feature films including FOUR WEDDINGS AND A FUNERAL, TRAINSPOTTING and the FULL MOUNTY. Has taught screenwriting and script development and been visiting lecturer.

Jovanović, Nebojša Contributor to the STC. His publications are included in Agregat, Arkzin, Borec, Časopis za kritiko znanosti, Frakcija, Prelom, Reč, Sarajevske sveske, Život umjetnosti; The Real, the Desperate, the Absolute, Leap into the City. Cultural Positions, Political Conditions. Seven Scenes from Europe; and Contemporary Art and Nationalism.

Lilja, Hugo Studying film directing at the University of College of Film in Stockholm. Started off exclusively making fantasy and science fiction films but has now widened his filmmaking to include stories about relationships, identity, power and oppression. His film UNLIVING will be screened in the New Currents Shorts Program.

Kaluđerčić, Vanja SFF’S New Currents Shorts Programmer. Worked for Coproduction Office, in charge of acquisitions Sarajevo Talent Campus #5

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Lučev, Leon One of the most famous Croatian actors. Best known for his performance in films ON THE PATH, STORM, GRBAVICA, HOW THE WAR STARTED ON MY ISLAND, WHAT’S A MAN WITHOUT A MUSTACHE and WITNESSES. At the 16th Sarajevo Film Festival won the Heart of Sarajevo for Best Actor for his performance in BUICK RIVIERA by Goran Rušinović. His recent projects include SILENT SONATA and TWO SUNNY DAYS.

Marjanović, Jovan Head of Industry of the SFF. Was executive manager of CineLink Co-Production Market. Currently the National Representative of Bosnia and Herzegovina to Eurimages and a Member of the Board of Management of the newly established Film Centre Sarajevo. Also, one of the advisors to the Torino Film Lab. Teaches production at the newly established Department of Production at the Academy of Performing Arts.

lie, currently at the stage of post production. She played accomplished roles in the films: SNOW, directed by Aida Begić, which received Grand Prix Semaine de la Critique Cannes Film Festival 2008., and was nominated for the European Film Academy Award European Discovery and Srđan Vuletić`s SUMMER IN THE GOLDEN VALLEY, the winner of VPRO Tiger Award for the best film at the Rotterdam Film Festival.

Marston, Joshua Jacob Following a career of a journalist turned to filmmaking. Best known for the film MARIA, FULL OF GRACE, an Oscar and Golden Bear nominee. Also directed an episode of SIX FEET UNDER and a segment of the collective film NEW YORK, I LOVE YOU. His 2011 film THE FORGIVENESS OF BLOOD premiered in competition at the 61st Berlin International Film Festival and competed for the Golden Bear. Along with Andamion Murataj, Marston won the Silver Bear for Best Script.

Meier, Pierre-Alain

Marjanović, Zana Landed the leading role in the film IN THE LAND OF BLOOD AND HONEY, directed by Angelina Jo-

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One of the most experienced Swiss producers, has produced more than 20 features in co-productions on almost every continent. Has been involved in many projects in the region of Southeast Europe, ranging from ORDINARY PEOPLE by Vladimir Perisic (Serbia), THELMA by Peter Netzer (Romania) or MORE THAN HONEY by Markus Imhoof (with Austria).

pany with international business standards. Her filmography includes: THREE MONKEYS (2008), director Nuri Bilge Ceylan, THE CLIMATES (2006), director Nuri Bilge Ceylan, IN NOWHERELAND (2002), director Tyfun Pirselimoglu, LOLA AND BILLY THE KID (1999), director Kutlug Ataman.

Mešević, Iza Razija A senior teaching and research assistant in the field of Intellectual Property Rights at the Law Faculty of University in Sarajevo. Currently finalizing her doctoral thesis (“Collective management organizations in South-Eastern Europe with regard to developments in this field on the EU level”) at the Ludwig Maximilians University in Munich, where she was also a guest researcher at the Max –Planck Institute for Intellectual Property and Competition Law for several times.

Perišić, Vladimir Studied film directing at the Faculty of Drama Arts, Belgrade and at Femis, Paris. His graduating film Dremano oko was selected for Cinefoundation, Cannes Festival, in 2003. The project Ordinary People was developed through Résidence du Festival and presented at L’Atélier du Festival in 2005.

Müller, Olivier Has been in charge of all Production Supports at the Federal Office of Culture since 2007. As such, he is responsible for all selective processes as well as for coproduction and reconnaissance of nationality. He is Switzerland’s national representative at Eurimages.

Perry, Simon ACE (Les Ateliers du Cinema European) Head of Board. As the Head of British Screen, he helped numerous European films make it to the screen, including Neil Jordan’s CRYING GAME and Ken Loach’s LAND AND FREEDOM. His experience covers the range of activities from filmmaking, creative development to production, finance and distribution.

Özbatur Atakan, Zeynep Was one of the founding members of “Co-production Company” where she worked as an administrator, film producer and art director for many years. In 2008, she founded Zeynofilm, a comSarajevo Talent Campus #5

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ries and TV dramas. He is Associate Producer and Line Producer of the award winning feature film BEYOND THE WALL, nominated for Best Foreign Film, Academy Award in 1985.

Rieder, Andrea Program Coordinator of the Berlinale Talent Campus, working for the Berlin International Film Festival since 2001 in different positions and departments. Moderator at film festivals like the international DOK.fest Munich and organizer / coordinator of conferences and symposia.

Schmidt, Erwin M. In 2009 he became the 3D Producer for Wim Wenders’ 3D dance film PINA (Berlinale Out of Competition 2011) and produced Wenders’ 3D Video Installation for Sanaa Architects IF BUILDINGS COULD TALK (Architecture Biennale Venice 2010). At present he develops AMYLAND by German director Birgit Möller within EAVE. Besides his producing activities, Schmidt is coordinating the Cinelink Work In Progress at the Sarajevo Film Festival since 2008.

Schyle, Karin Angela Cultural Manager and Coordinator of the Co-Production Prize of the Robert Bosch Foundation.

Šešić, Rada She writes for Skrien (The Netherlands),Dox (Denmark), Film Guide-Variety (UK), Documentary Encyclopedia (USA), Film Annual (Croatia). Has collaborated on the book “24 Frames” by Dina Iordanova. She is the Competition Documentary Programme Selector at the Sarajevo Film Festival.

She is one of the programmers of the International Kerala Film Festival in India.

Sidran, Abdulah Schory, Katriel Executive Director of the Israel Film Fund. His company Belfilms Ltd produced over 200 films including award winning feature films, documenta-

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Bosnian writer and poet whose major works include several books of poetry and screenplays for award-winning movies from the former Yugoslavia, such as the 1985 Palme d’Or winner and Academy Award nominee WHEN FATHER WAS AWAY ON

BUSINESS directed by Emir Kusturica, DO YOU REMEMBER DOLLY BELL? also directed by Emir Kusturica, KUDUZ and THE PERFECT CIRCLE, directed

by Ademir Kenović and short film (A)TORZIJA, directed by Stefan Arsenijević, 2004 Oscar nominee and the winner of Golden Berlin Bear in 2003.

Sturman, Dan

Stehling, Frank CEO and owner of the Berlin based PRIMEHOUSE GmbH, is member of the European Film Academy as well as the German association of game developer G.A.M.E. He has been active in many fields of the film and media business such as scriptwriting, direction, production and funding for at least 30 years.

Co-wrote and co-directed the Sundance awardwinning documentary film NANKING, and produced the Academy Award®- winning documentary TWIN TOWERS. Has reported and produced for ABC News, CBS News, and the BBC; for Reuters and NBC News; and for ABC News 20/20.

In 1992, was the associate producer of another Academy Award-winning documentary, A TIME FOR JUSTICE. In 2009, he directed SOUNDTRACK FOR A REVOLUTION a documentary film selected by the Academy of Motion Picture Arts and Sciences as part of the Oscar shortlist for the Documentary Feature category of the 82nd Academy Awards.

Strocchi, Stefano Was production manager for CITIZEN BERLUSCONI by Susan Gray and Andrea Cairola (Stefilm WideAngle/PBS- USA). In 2007 he founded MOVE productions dedicated to daring new documentary projects. Here he produced ALMOST MARRIED by Fatma Bucak and Sergio Fergnachino - IDFA First Appearance Competition 2010 and the first Italian cross-media /web series project: FROM ZERO.

Tarr, Béla Hungarian director and one of the most celebrated auteurs. Debuted in 1977 with his feature film FAMILY NEST. Also an associate professor at the Berlin DFFB. Among other works, his rich filmography includes: THE OUTSIDER (1979-80), THE PREFAB PEOPLE (1982), DAMNATION (1987), SATANTANGO (1990-1994), WERCKMEISTER HARMONIES (1997-2000), THE MAN FROM LONDON (2003-2007), THE TURIN HORSE (2009-2010).

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copyright by Donata Wenders

Wenders, Wim

Wink, Andrea

One of the most influential figures of the New German Cinema, his films won numerous prestigious awards and some of his soundtracks have reached cult status. President of the European Film Academy and member of the order Pour le Mérite. Currently teaching film as a professor at the Academy of Fine Arts in Hamburg. Among other works, his filmography includes: PARIS, TEXAS (1984), WINGS OF DESIRE (1987), BUENA VISTA SOCIAL CLUB (1998), THE MILLION DOLLAR HOTEL (2000), LAND OF PLENTY (2004), DON’T COME KNOCKING (2005), PALERMO SHOOTING (2008), PINA (2011).

Pitching Consultant. She has contributed to the Exground Film Festival, Wiesbadener Kinofestival and goEast Festival, curating the Student Competition, coordinating the festival’s training programme goEast-Young Professionals as well as the goEast project-market for young filmmakers from Germany, Central and Eastern Europe.

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Programme Sarajevo Talent Campus #5 28 Sun, July 24 / 33 Mon, July 25 / 36 Tue, July 26 / 39 Wed, July 27 45 Thu, July 28 / 48 Fri, July 29 / 52 Sat, July 30 Sarajevo Talent Campus #5

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Programme Sarajevo Talent Campus #5 Events marked in: yellow are reserved for all Talents, orange for Directors, green for Actors, pink for Producers, purple for Scriptwriters, RED for STC PACK&PITCH Participants, gray for combined groups of Talents, the ones marked with black dots are open to all accredited guests of the 16th Sarajevo Film Festival.

Saturday, July 23 Gloria Welcomes Talents

19:00 // Festival Square Terrace The photos of the last year’s talent actors will be exhibited at the Festival Square Terrace. The exhibition will be open by Dubravka Tomeković Aralica, the editor-in-chief of Croatian magazine Gloria, and Mirsad Purivatra, Sarajevo Film Festival director. Gloria organizes welcome drink for experts and participants of the 5th Sarajevo Talent Campus.

Recommended Screening – Competition Programme, Gala Screening 20:00 // National Theatre

THE TURIN HORSE, Director: Béla Tarr

Sunday, July 24 Opening of the 5th Sarajevo Talent Campus 9:30 // Festival Square Terrace

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Talents are invited to attend the opening of the 5th Sarajevo Talent Campus!

A welcome address by the Director of the Sarajevo Film Festival, Mirsad Purivatra, and Sarajevo Talent Campus Coordinator, Asja Makarević will officially open the 5th Sarajevo Talent Campus.

Further, the representatives of the partners of the Sarajevo Talent Campus Frank Albers, Project Manager for Art and Culture at the Robert Bosch Foundation and Andrea Rieder, Berlinale Talent Campus Programme Coordinator, will greet talents and wish them successful work.

Wim Wenders, a central figure in contemporary European cinema, and Béla Tarr, Hungarian director and one of the most celebrated auteurs, will attend the ceremony as well.

Talent Campus Briefing

10:15 // ASU – Open Stage At the Sarajevo Talent Campus Briefing, following the Breakfast, the members of the team will introduce general program, the focus, novelties and the main idea behind the Sarajevo Talent Campus #5.

Since the world we live in has become dominated by information, never have filmmakers had more choices. On the other hand, never has the challenge to find original voice been greater. Therefore, the focus of the 5th edition of the Sarajevo Talent Campus “Our Time, My Point of View” has been placed on difficulty of making decisions through the creative process of filmmaking in the attempt to establish personal perspective regardless of the mode of expression.

Pursuing the theme in focus, the STC will, like in the last four years, maintain balance between theoretical and practical education, between lectures, panel discussions and conversations, on one side, and workshops and tutorials on the other. The special emphasis is placed on workshops, as they are de-

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signed for small teams with the goal to produce results and encourage interaction. The STC will continue practice of workshops planned for particular groups of artists, but this year under the common theme of adaptation from literature to film, so that actors, directors, producers and scriptwriters could get down to the specificities of their respective professions besides exploring the art of cinema in general.

As documentary film can faithfully reflect the time we live in, the Sarajevo Talent Campus will include it in its program this year as well, but it will also introduce a novelty: Rough Cut Boutique, a newly made project of the Documentary Competition Program of the Sarajevo Film Festival and the Balkan Documentary Network, aiming to upgrade the development, distribution and promotion of regional documentaries.

Yet again, short film has found its way into the Campus program, as the most realistic and tangible option for talents to make a breakthrough into the industry. Talents will get an insight into the world of contemporary European short film at Minimarket, a short film platform brought to the Campus and designed to introduce key figures of international short film industry to regional directors, producers and scriptwriters, attend screenings, lectures, meet experts and hopefully translate experience onto a screen through the Sarajevo City of Film and Co-Production Prize projects.

As in the previous years, we will continue the successful practice of speed matching and one to one meetings organized with our partners Robert Bosch Foundation and launch the second edition of “Pack&Pitch”, a program segment designed to offer selected participants a chance to learn how to analyze and prepare presentation projects.

Therefore, the program of the Sarajevo Talent Campus #5 is designed to help talents make right choices in search for original voice, but also to enhance regional cooperation of young filmmakers through creative and successful projects in the Sarajevo City of Film program and beyond.

Opening Conversation with Béla Tarr • Shared Times: History and Present Moderated by Nebojša Jovanović 11:00 // ASU – Open Stage

After the SFF dedicated its Tribute to… Programme for the year 2006 to Béla Tarr, he returns to the Festival to present his latest feature film THE TURIN HORSE in which one of the critically most acclaimed authorial universes in the history of film was reestablished.

Tarr’s opus is characterized by stylistic evolution, from realism of his earlier works to ‘invention’, that is creation of idiosyncratic Baroque which can only be grasped by the notion Tarrian. Tarr’s feature debut FAMILY NEST (1979) is about three generations of one family being forced to live in a small apartment with only one bedroom. In the realistic, pseudo-documentary key, the film bitterly and sarcastically pointed to the non-existence of successful housing politics as one of the greatest social problems in Hungary of that time. Tarr’s next two feature films were also made in the same veristic register, with the focus on everyday life which consists more of a loose series of events and occurrences then of a story in conventional sense. THE OUTSIDER (1981) follows András, a lazy, egoistic musician whose life in the hands of other scriptwriters and directors might have resulted in drama or melodrama; PREFAB PEOPLE (1982) together with two previous films, closes the thematic and aesthetical trilogy: we are once again thrown into monotonous everyday life of the working married couple in their claustrophobic apartment and hermetic social ambient. The film seems as a peculiar commentary on the FAMILY NEST: even when the young couple is not forced to live with their parents it does not guarantee their happiness.

However, between two latest films, Tarr made something that is taken to be the turning-point in his career, the adaptation of Macbeth for Hungarian television, in which he undertook the radical experiment and introduced the formal capture which will become his trademark. The entire TV film consists of two uninterrupted takes: introductory, shorter one, personates the scene with witches, and after the title sequence, the rest of drama is made in a single uninterrupted take. The following film – ALMANAC OF FALL (1984) – brings not only the attempt in various technical enterprises (some of which Tarr will Sarajevo Talent Campus #5

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abandon – such as expressionistic use of color), but also thematic and worldview shift. From social, Tarr shifts towards ontological: even though the film follows a group of people in a large house, it is however not a film about housing problems, generational conflicts or class dynamics, but a parable which has assumed singular elements from the social to which he sews existential, universal meanings. This shift from social to metaphysical will be finalized in the following film, DAMNATION (1988); it will have its fullest realization in SATANTANGO (1994) and WERCKMEISTER HARMONIES (2000), master-pieces which will both thematically and stylistically be the embodiments of characteristic Tarrian universe. Unconventional stories in repellent, deserted, wind-blasted landscapes, are made additionally challenging for the audience through the usage of extraordinary long takes, restrained editing, and slow tempo, which make Tarkovski’s films, compared to Tarr’s, Hollywood action spectacles. After the MAN FROM LONDON (2007) has been generally rated as a certain impasse in relation to the previous two master-pieces, in THE TURIN HORSE (2011) Tarr returns again to the metaphysics, inertia of everyday life, wind-blasted landscapes and long takes, asking himself and the audience not simply what can be achieved with a film, but what a film actually is.

At the 5th Sarajevo Talent Campus, in the opening conversation, „Shared Times:History and Present“, moderated by Nebojša Jovanović, Béla Tarr will talk about a link between past and present and how film makes history a part of our experience.

3D, Much More Than a Gimmick •

Lecture by Wim Wenders and Erwin M. Schmidt 12:15 // Multiplex Cinema City 1 Just before the commencement of the 3D lecture by Wim Wenders and Erwin M.Schmidt “3D Much More Than a Gimmick”, Mirsad Purivatra, the Director of the Sarajevo Film Festival, will use an opportunity to introduce Wim Wenders and Emil Tedeschi, Chairman of Atlantic Grupa, the partner of the Festival’s Sarajevo City of Film project, who will announce the premier screening of the films made within the Sarajevo City of Film project.

Wim Wenders (Düsseldorf, 1944), the master of modern world cinema, in late 1960’s, entered New German Cinema, the most significant cinematic trend following the French New Wave. The thing that the authors of the New German Wave – Werner Herzog, Rainer Werner Fassbinder, Volker Schlondorff, Margarethe von Trotta and Wenders himself – shared was their critical approach towards German history. From esthetic point of view, each and every one of them operated in unique and specific universe.

The films which represent Wenders’ breakthrough into the scene of world film were somewhat simplified, existentialist themes characteristic for European cultural traditions wrapped into Hollywood genres that Wenders liked, like road movie, thriller or western (Wenders was not alone in his fascination with Hollywood among New German Cinema directors – it is sufficient to remember Fassbinder’s fascination with melodrama). However, he was not a slave to genre, but he deconstructed and contemplated it. KINGS OF THE ROAD (1976) is not just a road movie, just like THE AMERICAN FRIEND (1977) or PARIS, TEXAS (1984) are not a thriller or a western respectively, but the meditation of those genres. Wenders would take atmosphere and spirit from genre and use them together with audio and visual material of a film instead of with the application of narrative conventions. Photography, mise en scene, music – in Wenders’ films everything said more than a story itself.

Individual examining his relations with the world has always remained the focus of Wenders’ films. Human experience is undoubtedly based on the suffering and the facts that people are intruders in this world, but at the same time such conditions offer a possibility for happiness, love and pleasure. Therefore, the most memorable Wender’s hero is Damiel, the angel from WINGS OF DESIRE (1987) who renounces his angel immortality and power to become a mortal and feel love which he cannot feel as an angel. For Wenders, humans are creatures whose flaws are inseparable from their virtues and whose fall is a precondition for their rise and accomplishment.

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Wenders is a cosmopolitan director as well. His heroes are constantly exploring the world, either by circling around their immediate surrounding or going UNTIL THE END OF THE WORLD (1991). For Wenders, ambient and landscape are not just background, but active protagonists on equal terms with humans. Those can be fleeting landscapes like the ones from his road movies or the iconic desert of American west like the one in Paris, Texas. At the same time, no director has made so many movies about so many different cities: WINGS OF DESIRE (1987) and FARAWAY, SO CLOSE! (1993) represent unabashed odes to Berlin. LISBON STORY (1994), BEYOND THE CLOUDS (1995) and PALERMO SHOOTING (2008) take viewers to the cities on the south of Europe. HAMMET (1982), THE END OF VIOLENCE (1997) and THE MILLION DOLLAR HOTEL (2000) take place in San Francisco, Los Angeles and the sprawl of American west coast. The cities are the focus of his documentaries TOKYO-GO (1985) and ODE TO COLOGNE (2002), while BUENA VISTA SOCIAL CLUB (1999) is not only the film about the band but a love letter to Havana.

Wenders arrives to the Sarajevo Film Festival with his most recent work PINA (2010), a documentary about the dancer, choreographer and director of the famous Tanztheater Wuppertal, Pina Bausch. Incidentally, in the same year another veteran of the New German Cinema – Werner Herzog – made a 3D documentary CAVE OF FORGOTTEN DREAMS. Two emblematic authors of the German new wave are the first directors, as one film critic noted, who “used the 3-D technology for good, not for evil.” Both films are mesmerizing in their own distinctive ways. While Herzog is exploring prehistoric drawings in the Chauvet cave, Wenders gives preference to human body caught in dance, which is, apart from music, yet another great Wenders’ love, maybe the most difficult to capture, but the most immediate form of art.

In the lecture “3D Much More Than a Gimmick” Wim Wenders, together with Erwin Schmidt, Producer, will screen the excerpts from PINA as well as from another 3D project IF BUILDINGS COULD TALK, a video installation done for the Venice Architecture Biennale, and discuss the documentary aspects of 3D. In 2009 Erwin Schmidt became the 3D Producer for Wim Wenders’ 3D dance film Pina (Berlinale Out of Competition 2011) and produced Wenders’ 3D Video Installation for Sanaa Architects IF BUILDINGS COULD TALK (Architecture Biennale Venice 2010). At present he develops Amyland by German director Birgit Möller within EAVE. Besides his producing activities, Schmidt is coordinating the Cinelink Work In Progress at the Sarajevo Film Festival in Bosnia and Herzegovina since 2008.

Opening Speed Matching

Everybody Meets Each Other Moderated by STC Team 15:15 // ASU – Open Stage The Sarajevo Talent Campus will proceed with the more extensive version of the “Speed Dating”. For the second time, Talents will get to meet each other and the “Co-Producers to Watch”, supported for the fourth time by the Robert Bosch Foundation. At the meetings, moderated by the STC staff, that will take place in rounds, Talents and these special guests will first meet each other within their professional groups and then proceed by meeting others, group by group. These “get together” meetings, where Talents and guest producers will have a chance to exchange ideas and projects and to get to know each other may be viewed as important networking session of the sort in the region. This Speed Matching should be a networking opportunity in Southeast Europe offering Talents and the guests a chance to discover each other and establish contacts, which will hopefully result in short films made within the project Sarajevo City of Film, Co-production Prize project and some others.

Recommended Screening – Laško Summer Nights 21:30 // Laško Summer Nights

SOUNDTRACK FOR A REVOLUTION Directors: Bill Guttentag and Dan Sturman

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Sarajevo City of Film – Gala Screening of 4 Films 23:30 // Meeting Point Cinema

SARAJEVO CITY OF FILM fund was launched in 2007, with the aim to encourage and motivate the young film directors from the region of Southeast Europe to realize joint projects/films, together with their colleagues, the screenwriters, producers, and actors (participants of Sarajevo Talent Campus). Our wish is to enable the shooting of the films that would be a quality reference for further authors’ work, as well as to provide Sarajevo Film Festival with the opportunity to present these authors as the new talents at the European and the world film scene. This year again, one of the directors will be the recipient of the Atlantic Grupa Award, granted by the project partner Atlantic Grupa. We proudly present four short fiction films: Edina, Posthumous, Scenes with Women and Bodily Function.

Edina

Nóra Lakos Edina, is a playful story on a one night stand of a writer and his own creature. Due to their adventures the writer losses his superpower being able to change the character and the story and can’t get away from his perfect woman character any more.

Posthumous

Cenk Erturk Mirsad’s father’s village is evacuated due to dam construction. The village will soon be under water.

Mirsad arrives from the city intending to move his father’s remains from the old village cemetery to a grave in the new village’s graveyard.

Scenes with Women

Nikola Ljuca Every day Mirza spends with women. Every day he has to re-visit them and make them all happy. Today, he says goodbye to everybody.

Bodily Function

Dane Komljen Adnan is driving a grocery van on his way to sell produce at the market. While he is waiting for a friend’s phone call, he suspects his loyalty.

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Monday, July 25 Co-Production Prize Breakfast • 9:30 // Festival Square Terrace

The Robert Bosch Foundation is one of the major German foundations, which encourages cultural promotion and international cooperation, stimulates advancement and innovation by supporting projects that bring people together and nurture talents.

Each year, the Robert Bosch Foundation issues three Co-Production Prizes for Young German and Eastern European Filmmakers. The prize, worth up to 70,000 Euros for each selected project, is awarded in the categories animated film, documentary, and short film.

Recognising the Sarajevo Talent Campus as an important platform for young Eastern and South Eastern European filmmakers, the Robert Bosch Foundation is partner since 2007.

The best illustration of successful cooperation between the Sarajevo Talent Campus and the Robert Bosch Foundation are the films that have been created. Out of the three projects awarded this year at goEast Festival, the two are the projects created through the cooperation between the German producers and the participants of the 4th Sarajevo Talent Campus: documentary film ROMA RALLY directed

by Gabór Hörcher and Marieke Bittner and the animated film BREAKING NEWS by director Alexandra Lukina, producer Aleksandra Szymanska and music producer Visar Krusha.

The idea of the Co-Production Prize will be introduced at the Coproduction Prize Breakfast that will take place at the Festival Square Terrace. Representatives from the Robert Bosch Foundation, Frank Albers, Karin Angela Schyle and Andrea Wink, will be present to answer questions in an informal atmosphere.

The deadline for the submissions for the next Co-Production Prize is October 31, 2011. Applications are available for download at www.coproductionprize.com.

Coffee with… Sarajevo City of Film Directors •

11:00 // Festival Square Terrace Presented by Atlantic Grupa and moderated by Ivana Pekušić Directors of the films made within the project Sarajevo City of Film 2011: Nóra Lakos, Cenk Erturk, Nikola Ljuca and Dane Komljen will share the experience gained from the work on short films with Gabrijela Kasapović, Atlantic Grupa Director of Corporate Communications and Ivana Pekušić, Sarajevo City of Film Coordinator and audience at the Festival Square Terrace.

Speed Dating (D, P, S)

“Co-Producers to Watch” Meet Talents Moderated by Karin Angela Schyle and Andrea Wink 12:15 // ASU – Open Stage Robert Bosch Foundation, the partner of the Sarajevo Talent Campus continues extending its support through representatives Andrea Wink, Karin Angela Schyle and Frank Albers!

Within two days, Robert Bosch Foundation will repeat the last year’s initiative and introduce special guests to talents. Ten young and upcoming German producers, invited as “Co-Producers to Watch” will meet with emerging filmmakers from the region. First, they will introduce themselves and their field of work. Thereafter, the participants of the 5th Sarajevo Talent Campus will have a chance to present themselves and their project idea to the German producers in individual speed dates limited to 5 minutes each. These first meetings are a kind of “Get together” to present a project, exchange ideas and to get to know each other.

After the Speed Dates there will be a timetable to register for individual “One to One Meetings” with the German producers for the next day.

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Welcome to the STC Workshops

As the Sarajevo Film Festival was gaining momentum in the region, the platform for the Sarajevo Talent Campus was being created with the intent to offer regional artists a chance to receive education, strengthen cooperation by exchanging experience and participating in joint projects and eventually reach European and international market.

That is precisely why the Sarajevo Talent Campus offers theoretical but practical education as well, trying to enhance the transition from a group of creative and talented young film professionals to true professionals. Therefore, this year, like in the past four years, the goal of the Campus is to maintain balance between lectures, panel discussions and conversations on one side and workshops and tutorials on the other. The special emphasis is placed on workshops as they are designed for small teams with the goal to produce specific results and encourage interaction.

This year, the STC will continue the last year’s practice of workshops planned for particular groups of artists. That way, actors, directors, producers and scriptwriters, apart from receiving knowledge and experience about filmmaking in general, will be able to get down to the specifics of their respective professions, analyze and interact, while exploring adaptation, one of the main focuses of this year’s edition of the Campus. Adaptation is an interesting topic because it implies the transfer from one medium to another thereby also building a bridge between past and present. At the 5th Sarajevo Talent Campus, notable professionals from the film industry, Alby James, Leon Lučev, Olivia Hetreed, Kate Leys, Katriel Schory, Cary Joji Fukunaga, Licia Eminenti and Lucile Hadžihalilović, some of them at the same time being the old friends of the Sarajevo Talent Campus and the Sarajevo Film Festival, will hold workshops over one and two days.

In the workshop for actors “Staying Faithful to the Writer’s Vision”, together with Alby James, script consultant, talent actors will investigate selected scenes and characters from one of the two projects and prepare for a public rehearsed reading of the full text of the other. Talents scriptwriters will be invited to observe how a screenplay comes to life for the first time and get fresh insights into characters from the actors’ take on these scripts.

Leon Lučev, one of the most prolific Croatian actors, who has become the brand of the Campus over the past four years, in the Actor Workshop “Close up and Personal”, will start from a close up and use exercises to encourage relaxation with a partner in joint effort for a good scene.

Olivia Hetreed, screenwriter, and Kate Leys, story editor, in the workshop for screenwriters “Adaptation: Why and How” will lead discussions, consider practical examples and look at the process of adaptation in general. Kate and Olivia will also hold a seminar for talent screenwriters and talent directors “Our Time, My Point of View: How Do You Tell Your Story?”

Izeta Građevic, script consultant for the Sarajevo City of Film project, together with Kate Leys, Olivia Hatreed, Licia Eminenti, creative script advisor, and Lucile Hadžihalilović, filmmaker, will convey knowledge, skills and creativity to talent scriptwriters within the session “Story Coaching – Your Story, Your Script” helping them improve their scripts, avoid potential traps and overcome problems.

Katriel Schory, experienced producer and Executive Director of Israel Film Fund will also hold a two-day workshop for talent producers divided into two sessions “The Role of a Creative Producer in a Development Process” and “Adaptation Through Creative Producer’s Point of View”, both encouraging talent producers to search for their original voice and focusing on the role of the creative producer in the specific process of adaptation.

Cary Fukunaga, American director whose new film adaptation of JANE EYRE will be screened at the Festival, in the workshop for directors, will share his challenges and difficulties, as well as creative choices he had to make working with the existing script and the novel and how he managed to overcome the obstacle of other media – literature and adapted screenplay.

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Close-Up and Personal (I)

Workshop for Talent Actors by Leon Lučev 12:15 // ASU – 3b Following his brilliant performances in Croatian box-office hits HOW THE WAR STARTED ON MY ISLAND (1996) and WHAT’S A MAN WITHOUT A MUSTACHE (2005), as well as in internationally awarded films like Žbanić’s GRBAVICA (2006) and Vinko Brešan’s WITNESSES (2003), Leon Lučev became one of the most popular and productive Croatian actors of his generation. He made the appearance at the 14th Sarajevo Film Festival with two feature films, BEHIND THE GLASS by Zrinko Ogresta and BUICK RIVIERA

by Goran Rušinović and SEE YOU IN SARAJEVO one of the Sarajevo City of Film projects by Vanja Sviličić.

His performance in BUICK RIVIERA won him the Heart of Sarajevo for the Best Actor and he received the Golden Arena at the Pula Festival for the best male supporting role in Brešan’s IT WILL NOT END HERE. He recently appeared as a lead male role in Jasmila Žbanić’s ON THE PATH. At the 13th Sarajevo Film Festival, the audience could see him IN THE HOLE, a short film by young director Marko Šantić, which received Special Mention Award. Therefore, all over again, he proved that he is not just an old guest of the Festival, but also a faithful supporter of young authors, which he only confirmed by coming to the Sarajevo Talent Campus five years in the row, from the very beginning. He has become the brand of the Campus and the friend of the Festival.

As a professional who is not restrained by any boundaries in his work, he does not rely on talent and discipline alone. Leon believes that good actors must be connected to their inner selves and have courage and ability to demonstrate that before an audience, a camera or a casting director.

In the workshop for actors “Close-Up and Personal”, follow up to one of his research projects, he will focus on close up, distribution of energy in a close up and the difference between an actor and a character. He will further focus on how to translate energy into action, how to release one’s creativity, liberate oneself from personal and local stereotypes and adapt to other cultures and languages. He plans to use a couple of exercises designed to aid relaxation with a partner, to absorb partner’s feelings and work on mutual communication, surrender and support joint creation.

Our Time, My Point of View: How Do You Tell Your Story? (D, S) •

A Session Led by Kate Leys, Story Editor, with Olivia Hetreed, Screenwriter 14:45 // ASU – Open Stage In line with this year’s theme of the Sarajevo Talent Campus “Our Time, My Point of View”, designed to encourage artists in the pursuit of an original voice and unique vision, Kate Leys, story editor, with Olivia Hetreed, screenwriter, will hold seminar for talent scriptwriters and talent directors Our Time, My Point of View: How Do You Tell Your Story?

The session is designed to be flexible and to address the concerns of participants in direct, practical ways, considering elements crucial for successful writing like how to find an original voice, what is strong personal but universal story, what are the ways to reach audience and market and what should be the role and the degree of collaboration in (screen) writing. The session will open out in the end and become a discussion.

Kate Leys is a feature film script editor who works on projects at all stages of development for producers and directly with filmmakers. She works with a wide range of talent, in all genres, on adaptations as well as original screenplays and on a handful of short films. She has been head of development at several companies including FilmFour where she took part in commissioning and developing some of the UK’s most successful feature films including FOUR WEDDINGS AND A FUNERAL, TRAINSPOTTING and THE FULL MONTY. She developed ORPHANS and brought in EAST IS EAST and GIRL WITH A PEARL EARRING, working with countless British writers and directors along the way. As head of development at Capitol Films she spotted LEAVING LAS VEGAS and THINGS TO DO IN DENVER WHEN YOU’RE DEAD and worked with talent including Roman Polanski and William Boyd. Kate is regular speaker at festivals and industry Sarajevo Talent Campus #5

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events. She has taught screenwriting at the Northern Film School and at the University of London; script development at the National Film School; and been a visiting lecturer at universities and film schools all over the UK. She runs numerous projects for screenwriters.

Recommended Screening – Special Screening 18:00 // KSC Skenderija Cinema

PINA 3D, Director: Wim Wenders

Recommended Screening – Open Air Programme 21:00 // !hej Open Air Cinema

ONCE UPON A TIME IN ANATOLIA, Director: Nuri Bilge Ceylan Recommended Screening – All Shorts 23:30 // Meeting Point Cinema

CARTE BLANCHE : KURZFILMTAGE WINTHERTHUR

Tuesday, July 26 Film Authors and Film Producers – Happily Ever After? (D, P) • Coaching Session on Copyrights by Iza Razija Mešević 10:00 // ASU – Open Stage

Every author uses a creative idea as the main tool in his/her work, as a product they plan to plant on the market and therefore value it as the most prized possession. Copyrights provide a place for safekeeping of artistic inventions and the creativity of authors and contribute to the progress of arts. Types of work which are subject to copyrights have been expanded over time to encourage dynamic culture, return value to creator but, at the same time, provide access for the public.

Aside from focusing on artistic aspects of filmmaking, in its 5th edition, the Sarajevo Talent Campus will crack open the door to more practical and useful issues and invite Iza Razija Mešević, a senior teaching and research assistant in the field of Intellectual Property Rights at the Law Faculty of University in Sarajevo, to hold a coaching session for directors and producers in which she will reflect on the copyright status of film directors and film producers and their mutual relations from the national and international perspective.

Iza Razija Mešević holds an academic degree of Master of Laws (2006/«Community trade mark») and has passed the judicial state exam (2008/Ministry of Justice BiH and of FBiH). Currently she is finalizing her doctoral thesis (“Collective management organizations in Southeast Europe with regard to developments in this field on the EU level”) at the Ludwig Maximilians University in Munich, where she was also a guest researcher at the Max–Planck Institute for Intellectual Property and Competition Law for several times. Aside from providing independent consulting services in the field of IP rights, she has also published a number of research papers in the area of trademarks and copyright.

Adaptation: Why and How?

A Session Led by Olivia Hetreed, Screenwriter, with Kate Leys, Story Editor 10:00 // ASU – 3c As one of the main focuses of the 5th Sarajevo Talent Campus is adaptation, in the workshop for talent scriptwriters, Olivia Hetreed, screenwriter, with Kate Leys, story editor, will lead discussion, consider

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practical examples and look at the process of adaptation with particular reference to GIRL WITH A PEARL EARRING and undertake short writing exercises.

In the course of the session, talents will explore issues like why to adapt in the first place, what makes a suitable source of adaptation, how to work with source, what is the role of audience, as well as some practical issues such as rights, options, process, and a degree of personalization and imagination.

After a successful career as a film editor, Olivia Hetreed moved to the other end of film making. She wrote a series of highly acclaimed family films for television including THE TREASURE SEEKERS and THE CANTERVILLE GHOST. She adapted the hit film GIRL WITH A PEARL EARRING from Tracy Chevalier’s bestselling novel and wrote the screenplay for the forthcoming WUTHERING HEIGHTS, directed by Andrea Arnold. Non-film work includes the award-winning CANTERBURY TALES: THE MAN OF LAW’S TALE for the BBC and the radio play ZERO for Radio Four. Olivia is an experienced mentor to developing screenwriters, as well as giving master-classes and many panel appearances. She is Chair of the Film Committee at the Writer’s Guild of Great Britain, advisor to the Page to Screen Festival in Birdport and sits on Skillset’s Screenwriting course accreditation panel.

Pitch Your Point of View (D, P, S)

Coaching Session on Pitching by Gabriele Brunnenmeyer 12:15 // ASU – Open Stage There comes a moment when you should present a project in order to find sponsors or to receive creative assistance. At that moment you need to be aware of the situation and have your own vision of the first steps in the market place. During the session on pitching, “Pitch Your Point of View”, Gabriele Brunnenmeyer, Networking and Consultancy Expert, will introduce different ways to present a project and advise talents when is the right moment to talk; what are the DOs and DON’Ts at the first meeting with potential collaborators; what information should be given and what could be expected. This will also be a practical guide for all the meetings during the Sarajevo Talent Campus, especially the One to One Meetings with the young German producers whose attendance is organized by the Robert Bosch.

Having worked as a journalist and film critique, Gabriele Brunnenmeyer was in charge of the MEDIA Antenna Berlin-Brandenburg, acting as an artistic adviser for MEDIA training initiative Moonstone International in regard to Eastern and Central Europe and organising workshops for directors and screenwriters in Germany. Beside this she was developing the East-West-Coproduction Market Connecting Cottbus at the Film Festival Cottbus, which she was running as Artistic Director till the end of last year. Since 2005 she is also working for the Kuratorium Junger Deutscher Film, a funding body for first and second films by German young talents. Here she is acting as a freelance project and script advisor. Furthermore she is working as consultant for script development, packaging and project presentation. She lives in Berlin and Leipzig.

Close-Up and Personal (II)

Workshop for Talent Actors by Leon Lučev 12:15 // ASU – 3b

One to One Meetings (D, P, S)

„Co-Producers to Watch“ Meet Talents 15:00 // ASU – Open Stage After the Speed Dating, the talents will have an opportunity to present their projects to potential producers and co-producers from Germany in “One to One Meetings”. Each meeting will last up to 15 minutes and the goal is to use the time in order to find partners for a team that can compete for the 2011 “Co-Production Prize” of the Robert Bosch Foundation.

The German producers are: Martin Danisch, Christine Haupt, Knut Jäger, Eva Kemme, Ann Carolin Renninger, Catherina Schreckenberg, Michael Schwertel, Sarita Sharma, Jakob D. Weydemann and Sebastian Weyland.

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Experts for the Speed Dating and the One to One Meetings are: Frank Albers, Robert Bosch Foundation; Karin Angela Schyle, Co-Production Prize; Andrea Wink, goEast-Festival

Screening of the Co-Production Prize Films (Robert Bosch Foundation)• Presented by Frank Albers 17:00 // ASU – Open Stage

Every year the Robert Bosch Foundation issues three Coproduction Prizes for Young German and Eastern European Filmmakers in the category of animated, documentary and short film to the filmmakers working in the fields of production, directing, camera and screenwriting. At a special screening, Talents will have an opportunity to see some successful accomplishments that won Co-production Prizes over the past years:

ALERIK, Winner of 2009 (Work in Progress)

Germany, Macedonia, 2011, 5 min.

Director: Vuk Mitevski Producer: Labina Mitevska, Katrin Böhringer Alerik is a boy with great imagination. His fantasies help the 16-year old to escape the brutal reality of his war-torn country and offer the audience a lovely animated dream world – until reality returns.

PANIHIDA, Winner of 2010 (Work in Progress) Germany, Republic of Moldova, 2011, 10 min.

Director: Ana-Felicia Scutelnicu Producer: Jonas Weydemann A very hot day in August, a small village in Moldova: an old woman has died, young and old gather in order to say farewell to the deceased who was mother, grandmother, friend and neighbor. Tradition collides with modern spirit, people returning from far away meet people who have never left the village. During the Panihida – the orthodox burial-ceremony – an explosion of emotions, memories, facts and absurdities breaks open.

THE MAGICAL JOURNEY OF THE USELESS THINGS, Winner of 2009 (Excerpt) Germany, Poland, 2010, 25 min.

Director: Katja Schupp, Hartmut Seifert Producer: Alicja Schatton For some it’s garbage, for others a good gaining worth every mile driven towards the East. Just before the annual removal of bulky refuse dozens of old Polish vans cue in the streets of the villages around Mainz, Germany. Drivers skim through piles of garbage to find whatever can be sold back home.

Piotr and Jan are in this business for 15 years. The film accompanies an old tricycle, a sofa and other items from the 38

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streets of the German villages via Piotr’s van to his second hand shop in Poland and to the final new owner. Thereby it tells a story about Europeans in recent times, not only struggling with the gap between poverty and richness but also with the still existent established prejudices.

SUNSTROKE, Winner of 2008 Germany, Hungary, 2009, 35 min.

Director: Lili Horváth Producer: Henning Kamm, Róbert Maly Girl. Mother. Lover. All in the body of a young teenager.

Maja has to face the responsibility of early motherhood. Being a child herself and raised in an orphanage she neither can stand the pressure of responsibility nor the confrontation with feelings she has never received. Even the new governess Rosza, who is willing to give her a proper home, can‘t keep Maja from running away. In the end it turns out that leaving her beloved baby behind is Maja‘s first adult decision.

Recommended Screening – All Shorts 23:30 // Meeting Point Cinema

CARTE BLANCHE : CLERMONT-FERRAND

Wednesday, July 27 Berlinale Talent Campus # 10 Breakfast • Changing Perspectives with Andrea Rieder 9:15 // Festival Square Terrace

Berlinale Talent Campus, an annual creative academy and networking platform for up-and-coming filmmakers from all over the world taking place parallel to the Berlin International Film Festival, offers a huge variety of different program elements for directors, screenwriters, actors, cinematographers, producers, editors, sound designers, composers, production designers and film critics, who have the opportunity to learn from top experts and build international networks in the course of lectures, discussions, workshops and excursions. Bringing both emerging filmmakers and seasoned film professionals together every year, the Berlinale Talent Campus offers a platform to freshen up minds, to discover new horizons, to find fellow-filmmakers to collaborate with and to discuss new trends and developments in contemporary cinema and media.

Where Sarajevo started, Berlin could continue: the Campus programme, in its 10th edition, under the theme “Changing Perspectives”, pushes it all another step further. Many filmmakers from Southeast Europe have been invited in the past years to join the 350 filmmakers at the Berlinale Talent Campus. Moreover, exciting experts such as Jasmila Žbanić, Danis Tanović, Dušan Makavejev, István Szabó, Vladimir Perišić, and Kornel Mundruczó, have shared their wealth of experience and inspiring vision with the Campus participants in the past years in Berlin.

What to keep in mind when you apply for the Campus in Berlin? How to apply for a hands-on program you would like to take part in? How do Berlin and Sarajevo collaborate? What does the Campus community offer you throughout the year? Andrea Rieder, Program Coordinator who is representing the Berlinale Talent Campus in Sarajevo this year, will join talents at the Berlinale Talent Breakfast to answer all questions talents could potentially have. For more information and to know how to apply for the upcoming edition (until October 5, 2011) have a look at www.berlinale-talentcampus.de.

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Challenges of Adaptation from Director’s Point of View Workshop for Talent Directors by Cary Joji Fukunaga 10:15 // ASU – Open Stage

Cary Joji Fukunaga (1977) made his break-through on the film scene with his debut feature film SIN NOMBRE, whose premiere screening on the 2009 Sundance Festival did not leave any dilemma about who will win the award for the best director that year. Made as a pseudo-documentary with a loose genre matrix, without film stars and in Spanish language, SIN NOMBRE was graded as one of the best films of the year. Fukunaga combined road movie, gangster film, atypical character studies and social epopees, in order to tell a story of two people – former member of a gang and a girl who tries to emigrate to the USA – who meet at one of the Mexican freight trains which take poor Latino-Americans from Guatemala to the North, towards the Mexican-American border. Problematic of the illegal economic emigration from Mexico was in the focus of Fukunaga’s short film VICTORIA PARA CHINO (2004), and SIN NOMBRE leaned on Fukunaga’s comprehensive research of that phenomenon which also included living with immigrants on the Mexican freight trains.

Second Fukunaga’s feature film – which will be screened within the Open Air Progamme of the SFF – differs drastically from his first one in many ways. This time, this is not a story sprang forth from his personal experience connected to the burning contemporary social problem, nor is it a film made in documentary key, but the adaptation of JANE EYRE, the classical novel by Charlotte Brontë from the mid19th century. The novel was written in first person, as the autobiographical confession of the title character: it starts with her remembering of hard childhood which, as a girl whose parents died from typhus, she spends in the school for girls Lowood, a standard Dickens’s hell for children. Her youth will not be much nicer and merciful: she will start working as a governess in a bleak and creepy Thornfield Hall, with whose owner Edward Rochester she gets into the ambivalent romantic relationship which is being disturbed by the truth about his past being driven out from the darkness of his estate. Jane Eyre is therefore a bildungsroman, socially-critical prose and Gothic melodrama.

JANE EYRE is one of the most times adapted novels in the history of film and television: first two film versions were made already in 1910, and the most iconic is the one from 1943, directed by Robert Stevenson, with Joan Fontaine as the leading actress and Orson Wells as Rochester. One should certainly add the loose adaptations, such as the horror classic I WALKED WITH A ZOMBIE by Val Lewton, which was made the same year as Stevenson’s glamorous version. This is not surprising since the elementary narrative of the Charlotte Brontë’s novel – the young character who comes to the dark estate, ruled by the mysterious man haunted by ghosts of the mysterious past – helped each epoch to project in it various wishes and traumas. All those Jane Eyres and Rochesters from the films spoke more of the time in which they were made than of the Victorian epoch from which the novel emerged. JANE EYRE had many interpretations, but the most enduring are the feminist ones, which underline that the character is a woman faced with the whole series of social injustices which touch her precisely as a woman: JANE EYRE is being read as the credible inventory of discriminatory norms and measures which struck women of the Victorian time. Script for Fukunaga’s version of JANE EYRE was written by the British woman scriptwriter Moira Buffini, who previously signed the script for TAMARA DREWE, last year’s comedy settled in contemporary English village directed by Stephen Frears. Already with that script Buffini proved to be successful in adaptations: main outline for the script was the comic book of the same name by Posy Simmonds published in “Guardian”, and which itself was a peculiar postmodern rewriting of one more classical Victorian novel, FAR FROM THE MADDENING CROWD by Thomas Hardy.

In the workshop for talent directors, Fukunaga will focus on the work with Moira Buffini on JANE EYRE and the process of adaptation in general as one of the key mechanisms of film production. He will share his challenges and difficulties, as well as creative choices he had to make working with the existing script and the novel and how he managed to overcome the obstacle of other media – literature and adapted screenplay

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Rational Meets Irrational in Auteur Cinema

Analysis of Antichrist by Lars von Trier by Licia Eminenti 10:15 // ASU – 3b The idea behind the 5th edition of the Sarajevo Talent Campus is to encourage young filmmakers to develop a unique perception of the world and discover an original auteur voice, reflecting personal creative vision.

Licia Emineti, creative script analyst, who is the guest of the Sarajevo Talent Campus for the second time, will hold a session for scriptwriters where she will analyze ANTICHRIST, the film by Lars von Trier.

The choice of the artist is not accidental. Hardly there is a filmmaker out there who has distinguished himself more stylistically or who has accomplished higher competence in technique, personal style and interior meaning than Lars von Trier. ANTICHRIST is an excellent example of his distinctive style, addressing a specific psychological theme and employing recurring visual and aesthetic style.

In the session “Rational Meets Irrational in Auteur Cinema”, Licia will analyze the confrontation between rational and irrational worlds in the film and invite the audience to explore the other side of the mirror, to cross behind the appearances and find sense in irrational. “Art exists because reality is neither real nor significant” J.G.Ballard Licia Eminenti has always been close to the music and theatre world organizing and getting involved in many cultural events both in Italy and France. She worked as administrator for the cinematographic European Coproduction Funds, Eurimages, and was in charge of the international sales for Gemini Films. She has been expert/reader for Arte France Cinema and she continues her collaboration with the Eurimages Funds as expert, as well with Media Program. She’s one of the member who founded the BLAC (Collectif for the cultural action for cinema and audiovisual) and teaches “image” in several workshops (also colleges in and out school time). She occasionally collaborates with the cinema review “Cahiers du cinema”.

Her short films received awards and were selected in many festivals worldwide: INTIMISTO (23’30’’), LA PETITE FILLE (19’), FRATERNITAS (17’30’’).

STC Pack&Pitch

Pitching Training and Project Consulting by Gabriele Brunnenmeyer and Frank Stehling 10:15 // ASU The two annual projects of the Sarajevo Film Festival, the Sarajevo Talent Campus and Cinelink, present special pitching training for directors and producers: Sarajevo Talent Campus Pack & Pitch!

Apart from a networking opportunity for talents, Sarajevo Talent Campus Pack & Pitch will offer selected participants a chance to learn how to analyze and prepare their projects to present them in public, in front of industry professionals.

Selected talents will be mentored by Gabriele Brunnenmeyer and Frank Stehling who will teach them how to analyze their current projects, realize how to pitch them and to whom and thoroughly prepare them for written and oral presentation.

Frank Stehling, CEO and owner of the Berlin based PRIMEHOUSE GmbH, is member of the European Film Academy as well as the German association of game developer G.A.M.E. He has been active in many fields of the film and media business such as scriptwriting, direction, production and funding for at least 30 years. As managing director Frank Stehling is responsible for the consulting wing of the company which offers professional support and analyses in the areas of business development as well as script development, market research, marketing, world sales, financing and interactive media.

The Role of a Creative Producer in a Development Process (I) Workshop for Talent Producers by Katriel Schory 10:15 // ASU – Backstage

Katriel Schory, noteworthy and experienced producer, has become a dear friend and regular guest of the Sarajevo Talent Campus for a reason. Since he has gained good reputation among talent producers over Sarajevo Talent Campus #5

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the past two years, he will continue in that fashion this year as well and hold two workshop sessions for talent producers “The Role of a Creative Producer in a Development Process” and “Adaptation Through Creative Producer’s Point of View”, with the focus on the original voice and creative role of producer.

As the quest for the original voice is the theme of this year’s edition of the Sarajevo Talent Campus and adaptation one of the main focuses, Katriel will approach the theme and the focus in two separate workshop sessions. In the first one, Talent Producers will explore various aspects of the decisions made throughout the creative process, like the sources of the stories and the choice of genre cinema. However, the focus on creativity will not deter Talent Producers from practical issues they should keep in mind, like target audience, technology, market, financing or a production company needs, or from considering important steps in the development process, such as dialogue with scriptwriter, director, editor, budget, deadline and shelfing policy. Finally, Katriel will offer general pieces of advice from funder’s point of view and help talent producers prepare to meet creative demands of modern market.

Katriel Schory completed education at The New York University Film School and returned to Israel in 1973. He was in charge of the production of documentary films and dramas which won prestigious awards and international coproduction with BBC, ARD, VARA, PBS. After a couple of more years in the USA in the beginning of the 1980’s, he came back to Israel in 1983 to work as Assistant Producer and Line Producer of the award winning feature film BEYOND THE WALLS (Film Critics’ Award, Venice 1984, nominated for Best Foreign Film, Academy Awards 1985).

In 1984, he established his own production company BELFILMS LTD and until 1998 he produced over 200 films including award winning feature films, documentaries, TV dramas, studio TV shows, and international coproduction. In 1999, he was appointed Executive Director of Israel Film Fund, the institution which was supposed to encourage, promote and invest in Israeli feature films.

Your Film, Your Point of View (D, P, S) •

Presentation of the Project Sarajevo City of Film by Jovan Marjanović and Ivana Pekušić 12:15 // ASU – Open Stage SARAJEVO CITY OF FILM is the project supporting the realization of short micro-budget films, created through artistic and technical cooperation between the young film authors from the South-Eastern Europe.

For many years, the Sarajevo Film Festival has been developing program platforms which aim towards providing support and promoting the new young film scene in the region. A part of this strategy is being successfully implemented through the activities of the projects of Sarajevo Talent Campus and the CineLink. It is in this framework that our project, SARAJEVO CITY OF FILM, represents a natural upgrade and linkage between these two fields of activities – the education, i.e. training, and the film industry.

This year’s theme of the Sarajevo Talent Campus “Our Time My Point of View” resonates with what the Sarajevo City of Film project is all about: giving a chance to young talents, who used the Sarajevo Talent Campus to find kindred spirits, to draw inspiration from their time, find new, original voice and use this project to express their vision.

The presentation of the Sarajevo City of Film project will be an opportunity for the participants in the Talent Campus to learn about the rules of participation in the project and to hear directly from one of the members of the selection board what stories capture their attention.

The Coordinator of the program, Ivana Pekušić, will inform talents how to apply for Sarajevo City of Film project, while Jovan Marjanović, Head of Industry and one of the SCF’s executive producers will share the experience related to work on short films with special emphasis on how to select and develop a good story for short micro-budget film. Also, the last year’s talent directors who participated in the Sarajevo City of Film project will join the session to talk about challenges they encountered in their work using the specific examples.

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Staying Faithful to the Writer’s Vision (I) Workshop for Talent Actors by Alby James 12:15 // ASU – Backstage

Focusing on the options and choices directors and actors have in interpreting a script for performance, the sessions with Alby James will address the wider responsibility the actors and director have to understand what the writer is trying to say and how best to communicate that in their translation of the script into a performance that is to be recorded by the camera for eventual assembly into a coherent film for an audience. In the course of three sessions, Talent Actors will achieve this by investigating selected scenes and characters from Humidity by Nikola Ljuca and Staša Banjac and by preparing for a public rehearsed reading of the full text of Tears Lost by Tina Šmalcelj that will follow the sessions. Humidity was at Berlinale Script Station this year, was admitted into Cinelink selection, and received Hubert Balls fund.

The director participated at the last year’s Sarajevo Talent Campus and co-scriptwriter is the participant of this year’s edition. Tears Lost was also at Berlinale Script station but last year, while the scriptwriter is STC alumni as well. Engaging in deep exploration of story-telling and interpretation for performance guided by Alby James, Talent actors will immerse themselves in the scenes and embody their roles, creating real, intriguing characters and making the dialogue and story lines come alive and reflecting the writer’s voice with conviction.

By working on the scenes, actors will explore: scene construction, dialogue and the use of subtext; character construction, character development, visual realisation, conflict and focus – meaning the difference between episodic and character-driven narratives.

Alby James was a successful theatre director for fifteen years before shifting his primary focus to film in the mid-90s. Within the last ten years he has been Head of Development at EON Screenwriters’ Workshop and has been Head of Screenwriting at the Northern Film School in Leeds, England. He specialises as a development producer and in this capacity is involved in several projects with writers in different parts of the world in a range of genres from animation to romances and thrillers. He has also recently agreed to join the team of consultants at Script House in Berlin. He is a mentor at the Berlin Talent Campus for actors and writers and helps to select the writers and script projects for the Berlin Talent Campus and, for the last four years, has been on the jury for the World Cinema Fund.

Short Film as a Form of Expression (D, P, S) •

Intro into the Short Film Industry by Vanja Kaluđerčić Attending: Vassily Bourikas, Reto Bühler and Christian Denier 15:00 // ASU – Open Stage At the 5th Sarajevo Talent Campus, as in the past, lectures, discussions, conversations, workshops and practical sessions will offer knowledge and advice on how to improve artistic skills, but also broaden talents’ horizons concerning the most realistic and tangible options for them to make a break through into the industry.

Short films with the whole range of categories – animated, documentary, experimental, live action, musical, travelogue, to name a few, allow experiments with cinematic styles and format at the starting point in career. They focus on different topics, which larger, more commercial films avoid, giving larger freedom, enabling a filmmaker to take higher risk.

In this year’s edition of the Sarajevo Film Festival, besides finding its way to the screen, within the Competition Programme – Short, New Currents Short and Sarajevo City of Film, short film found its way into the festival via the industry-linked event, Minimarket. Minimarket is a short film platform designed to introduce key figures of international short film industry to regional directors and producers. Its purpose is to create market place for the exhibition of regional and international short film production and inform about promotion and opportunities.

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As the Sarajevo Talent Campus is involved in the market, the Sarajevo City of Film project will be presented as an example of regional production and talents will have a chance to benefit from it. Besides getting the insight into short film market at the Minimarket, experimenting and networking with colleagues from around the region in the Sarajevo City of Film Program and sharing experiences amongst themselves during the Coffee With…Sarajevo City of Film Authors, talents will receive the introduction to the industry of short film through the session with Vanja Kaluđerčić, “Short Film as a Form of Expression – Intro into the Short Film Industry” and the European Film Academy and New Currents Short Screening.

Vanja Kaluđerčić worked on different projects at Slovenian Cinematheque and arthouse cinema Kinodvor, Ljubljana. She is one of the cofounders of Isola Cinema - a film festival dedicated to African, Asian, Latin American and Eastern European cinema. She contributed to the Human Rights Film Festival in Zagreb and the International Documentary Festival of Zagreb where she managed ZagrebDox Pro. She also worked at Hulahop Film and Art production company, and is in charge of production management of World Festival of Animated Films – Animafest. She was involved in the work of the Co-Production Office, where she was responsible for aquisition.

During the session, in the presence of her guests: Vassily Bourikas, Thess International Short Film Festival Selector, Reto Bühler, Director of the Winterthur Short Film Festival and Christian Denier, Director of The Clermont-Ferrand Short Film Festival, Vanja will introduce short film industry and use a couple of good examples of the European Film Academy shorts to show successful accomplishments in various categories that can serve as an orientation points for future works.

In the introduction to the short film industry, talents will hear the presentation of the entire process of the making of short films – preproduction, distribution, promotion and cover all the elements (financing, production, foundation, festivals, TV, sale, world sales) of European and – to lesser extent – regional industry of short film, as well as the introduction to the basic units of the European film industry, that is, who is who, what is the role of a producer, TS, what is sales, what is the role of festivals.

Christian Denier has been working at Clermont-Ferrand Short Film Festival since 1980 first as volunteer and as full-time employee since 1992. He is in charge of the technical organization of the Short Film Market, project coordinator for media education actions and member of national and international selection committees.

Reto Bühler studied philosophy, film studies and Russian linguistics at the University of Zurich. He is a film critic and since 2005 has been artistic director of the International Short Film Festival Winterthur, Switzerland.

Vassily Bourikas has demonstrated his programming skills at the festivals around the world, but pays special attention to Thess International Short Film Festival. Apart from being a curator and filmmaker, he runs the Lab Group from Athens.

Recommended Screening – New Currents Shorts Programme 19:15 // Multiplex Cinema City 5

THE UNLIVING, Director: Hugo Lilja

Recommended Screening – Open Air Programme 21:00 // !hej Open Air Cinema

JANE EYRE, Director: Cary Joji Fukunaga

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Thursday, July 28 DocuBreakfast •

With Dan Sturman and Rada Šešić Moderated by Andrea Rieder 9:15 // Festival Square Terrace Sarajevo Film Festival’s Documentary Competition Program and its Docu Corner this year offer a unique possibility to documentary filmmakers from the region – ROUGH CUT BOUTIQUE! In collaboration with the Balkan Documentary Center, the workshop will put together filmmakers of 5 promising projects at rough cut stage with the top documentary experts from Europe to work together during 6 intensive sessions. The best project will be invited to pitch within Sarajevo’s annual Work-InProgress selection and will receive a chance to compete for 80.000 Euro.

Together with MINIMARKET, a market place for exhibition of regional and international short film production, and CineLink, a development and financing platform for selected regional feature-length fiction films, Rough Cut Boutique is yet another program designed to offer professional assistance to aspiring young filmmakers.

Rada Šešić, selector of Sarajevo Film Festival’s Competition Program – Documentary Film will join Talents at the DocuBreakfast, inform them about the Rough Cut Boutique in more detail and answer any potential questions in the presence of the Rough Cut Boutique participants. Finally, the lectures by documentary filmmakers John Appel and Stefano Strocchi will be announced.

The DocuBreakfast will also be attended by Dan Sturman, Director of SOUNDTRACK FOR A REVOLUTION. SOUNDTRACK FOR A REVOLUTION is a 2009 documentary film selected by the Academy of Motion Picture Arts and Sciences as part of the Oscar shortlist for the Documentary Feature category of the 82nd Academy Awards. This documentary traces the story of the civil rights movement and the struggles fought by young African-American activists with an emphasis on the power of music.

Dan Sturman (Director / Writer / Producer) Together with Bill Guttentag, Dan Sturman wrote and directed the Sundance award-winning documentary film NANKING, and produced the Academy Award- winning documentary TWIN TOWERS. Between 2001 and 2003, Sturman produced three seasons of the NBC documentary series CRIME & PUNISHMENT. In 1992, Sturman was the associate producer of another Academy Award-winning documentary, A TIME FOR JUSTICE. The film, produced by Charles Guggenheim, commemorates the lives of the men, women, and children who were killed during the American Civil Rights Movement of the 1950s and 60s.

Our Time, Creative Docs •

Master Class for Talent Directors by John Appel 10:30 // ASU – Open Stage Although documentary usually reflects political, social or cultural concerns of a time, the fragments of reality are recorded, selected and edited with aesthetic approach, therefore creating a strong impression on a viewer. This form of visual expression is not just representation, but willed presentation of a problem in a creative way. In the master class for talent directors, John Appel, one of the most esteemed contemporary Dutch directors, will talk about creative choices a director has to make in a documentary, using the excerpt from his work.

Appel graduated as cameraman and documentary director at the Dutch Film and Television Academy. In 2000, he established a production company with filmmaker Heddy Honigmann (VOF Appel&Honigmann).

Appel is a guest lecturer at the Dutch Film and Television Academy and Media Academy in Amsterdam, an advisor to the Dutch Film Fund, a lecturer at IDFA screenwriting workshops and a mentor at the Binger Doclab and international documentary project Greenhouse.

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In 1999, he won the Joris Ivens Award at IDFA for the film SHE BELIEVES IN ME, the most successful documentary film in Dutch cinema released in 40 years. His film THE LAST VICTORY (2004) won many international awards and was nominated for Best European Documentary 2004. In 2009 he won the IDFA Award for Best Dutch Documentary for the film THE PLAYER, also nominated for Best Feature Length Documentary 2009.

Staying Faithful to the Writer’s Vision (II) (A, S)

Workshop for Talent Actors and Talent Scriptwriters by Alby James 10:30 // ASU – 3a Talent scriptwriters are invited to observe how a screenplay comes to life for the first time and get fresh insights into characters from the actors’ take on these scripts. The actors and scriptwriters will have the opportunity to offer suggestions and comments during the sessions. In discussion they will explore who and what the story is about; whose character journey in the story is most interesting and why; whether the world of the story makes any difference to the main character’s choices or actions; whether there is a particular genre at play – how it affects character’s actions or options, as well as potential technical challenges.

Intensive Story Coaching: Your Story, Your Script…

Workshop for Talent Scriptwriters with Licia Eminenti, Izeta Građević, Lucile Hadžihalilović , Olivia Hetreed and Kate Leys 10:30 // ASU In order to write good scripts young writers need good support and understanding why stories and scripts work. Talent scriptwriters will receive creative and practical guidance in the series of unique and original one-to-one script coaching sessions packed with information and tools for script development.

Izeta Građević, script consultant for the Sarajevo City of Film project, together with Kate Leys, story editor, Olivia Hatreed, screenwriter, Licia Eminenti, creative script advisor, and Lucile Hadžihalilović, filmmaker, will convey knowledge, skills and creativity to talents, helping them improve their scripts, avoid potential traps and overcome problems.

Izeta Građević, Creative Director of the SFF is the Script Consultant for the Sarajevo City of Film projects and the member of the Selection Committee of the Cinelink and the Sarajevo Talent Campus.

Lucile Hadžihalilović is versatile filmmaker, who apart from building her own filmography collaborated as writer, producer and editor with various other artists like Gaspar Noé, Jean-Michel Roux, Guillaume Breaud and Atlante Kovaite Her feature film INNOCENCE (2004) was awarded at several festivals.

STC Pack&Pitch

Pitching Training and Project Consulting by Gabriele Brunnenmeyer and Frank Stehling 10:30 // ASU

Adaptation Through Creative Producer’s Point of View (II) Workshop for Talent Producers by Katriel Schory 10:30 // ASU - Backstage

Having introduced the role of a creative producer in a development process in general, in the second workshop session, Katriel will focus on the role of the creative producer in the specific process of adaptation, particularly on the sources of the stories – books and novels, as the specific elements to be aware of in adaptation.

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My Point of View aCross Media (P, S) •

Case Study of “From Zero” by Stefano Strocchi 12:15 // ASU – Open Stage Documentary has always been the observation of life in an art from, depicting themes that revolve around creative, ethical and conceptual problems and choices. However, media devices and strategies have evolved in order to keep up with the needs of modern individual. Today, media property, services and stories are distributed across media platforms using a variety of media forms.

In the case study for talent producers and directors, Stefano Strocchi, independent author and producer, will talk about new media development such as cross-media and interactivity. First, he will go through some examples of what has been done in the field, “milestones” of cross-media, and then he will move over to the case study of FROM ZERO, an independent production in cross-media/internet based documentary from the point of view of an independent producer.

Stefano Strocchi, has worked extensively as producer on many international co-productions including: BUILDING THE WINTER GAMES (Stefilm for Discovery Channel Europe), SEE YOU IN MY PLACE, ITALIAN EPISODE (Alma films for Keshet Networks-Israel), DOCTOR ICE a Stefilm production for ZDF/ARTE (Germany/France). He was production manager for Citizen Berlusconi by Susan Gray and Andrea Cairola (Stefilm - WideAngle/PBS- USA). The first documentary he directed OVERBOOKED! was produced by Stefilm in co-production with ITVS International (USA) and premiered in 2008 on PBS. In 2007 he founded MOVE productions dedicated to daring new documentary projects. Here he produced ALMOST MARRIED

by Fatma Bucak and Sergio Fergnachino - IDFA First Appearance Competition 2010 and the first Italian cross-media /web series project: FROM ZERO-Stories from Earthquake tent camps in co-production with PULSEmedia and Al Jazeera English – IDFA DocLAB 2009, TFF2009, Bellaria 2010, TEKfestival 2010.

The Role of a Creative Producer and a Sales Agent (D, P, S)• Philippe Bober in Conversation with Vanja Kaluđerčić 15:00 // ASU – Open Stage

Philippe Bober is known as the founder of the Coproduction Office, one of the most recognizable European sales and production companies with a reputation for discovering and nurturing talents. The Coproduction Office started as the company, which mainly worked with financing and sales and evolved to include talent spotting and production. When it was established, back in 1987, this Berlin-based company mainly worked with financing and international sale of films by, among others Lars von Tier, Mika and Aki Kaurismaki, Nanni Moretti and late Andrei Tarkovski. The next logical step was to include production in the operation by founding Essential Filmproduktion in 1996 and finally, upon the return to Paris, in 2001, he set up offices with included a short film division, “a sort of greenhouse for new filmmakers”.

The work of Philippe Bober, as a creative producer, includes the early films of Lars von Tier (EUROPA, THE KINGDOM, BREAKING THE WAVES), Lu Ye (SUZHOU RIVER), Carlos Reygadas (JAPON and BATTLE IN HEAVEN), Roy Andersson (SONG FROM THE SECOND FLOOR, YOU THE LIVING), Jessica Hausner (LOVELY RITA, HOTEL and LOURDES), Kornel Mundruczo (PLEASANT DAYS, DELTA), Urlich Seidl (DOG DAYS and IMPORT EXPORT), as well as international discoveries and top sellers such as Cristi Puiu`s THE DEATH OF MR. LAZARESCU and Corneliu Porumboiu’s 12:08 EAST OF BUCHAREST. The Office is focused on bold and engaging award-winning films by directors with strong personal vision.

It is the smallest of the established sale and production companies, but a home for radical art house films. They work with a small number of films, one or two per year, which are hand-picked and continue working with authors, who are selected early in their careers, through their short films. The best examples are the launching of Swedish director Roy Andersson’s SONGS FROM THE SECOND FLOOR in competition at Cannes – the film won a shared Jury prize and was sold worldwide and Jessica Hausner’s feature debut LOVELY RITA in Un Certain Regard.

Philippe Bober has been an old friend of the Sarajevo Film Festival and selector for the New Currents Program, the work that enabled him to demonstrate his eye for young and different directors who move the Sarajevo Talent Campus #5

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boundaries, discovering great filmmakers of tomorrow with “strong handwriting” and “atypical auteur films”.

In conversation with Vanja Kaluđerčić, New Currents Short Program Selector, Philippe will let talents in on his view of the role of a creative producer and a sales agent at the market.

Staying Faithful to the Writer’s Vision (II) Workshop for Talent Actors by Alby James 15:00 // ASU – Backstage

Recommended Screening – organized for Talents only 19:00 // Multiplex Cinema City 3

ORDINARY PEOPLE, Director: Vladimir Perišić Recommended Screening – Open Air Programme 21:00 // !hej Open Air Cinema

THE FORGIVENESS OF BLOOD, Director: Joshua Marston Sarajevo Talent Campus Party •

Trashformers: The Dark Side 23:00 // Dom Armije (Old Officer’s Club)

Friday, July 29 ACE and EAVE Breakfast

9:30 // Hotel Europe Terrace Leading professional training organizations in film business will host a networking breakfast for both emerging and accomplishing film professionals.

Les Ateliers du Cinema European (ACE) is a center for training and development geared towards helping independent European producers. Its objective is to guide, advise and offer opportunities to producers to exchange information, establish contacts, and make use of tailor made service. Every year a dozen of producers are selected to participate in ACE program and construct projects. It also gives producers a chance to experience international festivals through ACE events and meetings.

European Audiovisual Entrepreneurs (EAVE) is one of the leading training, development and networking programs for audiovisual producers in Europe. Over the past twenty years, it has delivered a variety of training programs at international, national and regional level. At the center of its activities, there is producers’ workshop in the form of a yearlong professional development program delivered through three week long intensive workshop held in three different European cities for producers who want to develop coproduction network of knowledge, contacts and partners.

ACE Interview with Zeynep Özbatur Atakan • Moderated by Simon Perry 10:30 // Hotel Europe – Conference Hall 1

In the organization of ACE, Zeynep Özbatur Atakan, Producer, will give an interview to Simon Perry, ACE Head of Board. Simon Perry is famous for a number of achievements in international production. As the Head of British Screen (1991-2000), he helped numerous European films make it to the screen, includ-

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ing Neil Jordan’s CRYING GAME and Ken Loach’s LAND AND FREEDOM. His experience covers the range of activities from filmmaking, creative development to production, finance and distribution.

Zeynep Özbatur Atakan was born in Istanbul in 1966 and graduated from Marmara University, Faculty of Art, Department of Cinema and Television. In 1986, she started her professional career in advertising business and worked with well-known companies and directors. Following assistantship to directors and producers, she started acting as advertisement officer and film producer. In 1994, she was one of the founding members of “Co-production Company” where she worked as an administrator, film producer and art director for many years. In 2008, she founded Zeynofilm, a company with international business standards. Her filmography includes: THREE MONKEYS (2008), director Nuri Bilge Ceylan, THE CLIMATES (2006), director Nuri Bilge Ceylan, IN NOWHERELAND (2002), director Tyfun Pirselimoglu, LOLA AND BILLY THE KID (1999), director Kutlug Ataman. Zeynep is the winner of the fourth edition of the EUROPEAN CO-PRODUCTION AWARD - Prix EURIMAGES, an award acknowledging the decisive role of co-productions in the European film industry

Autobiography – My Life, My Point of View (D, S) • Master Class with Abdulah Sidran Moderated by Nebojša Jovanović 10:30 // ASU – Open Stage

The scriptwriting work of Abdulah Sidran (Sarajevo, 1944) is an example of how the work on film can permanently mark the biographies of those whose primary interest lies elsewhere. Although he entered the world of literature back in the 1960’s and wrote some of the canon poetry of (post)Yugoslav cultural circle, the general public knows him best by his scriptwriting work.

He wrote scripts for films: DO YOU REMEMBER DOLLY BELL? (dir. Emir Kusturica), WHEN FATHER WAS AWAY ON BUSINESS (dir. Emir Kusturica), THAT TOO WILL PASS (dir. Nenad Dizdarević), KUDUZ (dir.

Ademir Kenović), HOLIDAY IN SARAJEVO (1991, dir. Benjamin Filipović), THE PERFECT CIRCLE (dir. A. Kenović), and (A)TORZIJA (2003, Stefan Arsenijević). In 1989 KUDUZ received Special Award of the European Film Academy “for the spirit of the film coming from Sarajevo”.

The first two scripts, on which he collaborated with Emir Kusturica, still represent the most important pieces in Sidran’s script collection. The reasons for that are not only awards the films won, critics’ appraisals and the popularity they enjoyed, but are also of personal nature.

The main protagonist of DO YOU REMEMBER DOLLY BELL – Dino Zolj – is growing up in the Sarajevo suburb in the early 1960’s discovering rock ‘n’ roll, sexuality, love and confronting with a local bully. However, the key emotional relationship is the one between Dino and his old and sick father who is, using a lot of old shabby communist platitudes, trying to teach Dino and his brothers to be better people. The film became emblematic of Sarajevo and Sarajevan spirit. Many lines from the film became a part of everyday language showing that, at the same time, the film was recognized as a cult film among wider audience, influencing even those who have never seen it.

WHEN FATHER WAS AWAY ON BUSINESS is far more ambitions both in terms of idea and realization.

Although it is a bildung story about a boy growing up in an epoch gone with the wind, its focus is not on sentimental growing up of a teenage boy drenched in nostalgia but a childhood in a bleak shadow of the key historical trauma of socialist Yugoslavia. After Stalin excluded Yugoslavia from the Cominform in 1948, Yugoslav regime arrested and imprisoned numerous Stalin supporters, as well as many of those who were perceived as such. The most notorious prison for those political prisoners – Goli otok /lit. barren island/ - became a synonym of political trauma. Due to its excessive nature, Goli otok, in spite of its fairly short two-year history, remained a taboo in the socialist Yugoslavia. It was Kusturica’s film, as one of the key artifacts that initiated public discussion about such sensitive topic of Yugoslav socialism in mid 1980’s. The theme was personal for both Sidran and Kusturica as their fathers were imprisoned at Goli otok and after they were re-socialized and rehabilitated they carried its stigma. WHEN FATHER WAS Sarajevo Talent Campus #5

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AWAY ON BUSINESS is a story about Meša Malkoč, who was accused, arrested and deported to Goli otok and his family, which continues to live in the shadow of his departure. However, that is not just black and white story in which high dogmatic politics crushes upon small helpless individuals. What makes the film successful is the fact that it blends political/public and family/private. There are no absolute culprits or absolute victims in it. Even child characters slowly learn how to be responsible for their actions.

When it comes to the script, it is interesting that both films stem from the body of literature: Sidran’s fiction about Zolj family. It is a kind of family cycle mostly inspired by autobiography. Sidran describes his own childhood and family with the emphasis on the tragic character of a father. Chronologically speaking, DOLLY BELL was inspired by Sidran’s growing up during the 1960’s and his father’s death, while FATHER, although it speaks of a different family, is a prequel to DOLLY BELL and it speaks about father’s banishment to Goli otok and later re-socialization upon his return home. Sidran continued to work on this family trilogy about Zolj family and after these two films a new chapter emerged in the form of a drama VOTING FOR THE FIRST TIME WITH MY FATHER, that will soon be made into film, directed by Branko Baletić.

At the Sarajevo Talent Campus, in the session moderated by Nebojša Jovanović, through the reflection on his work with Kusturica, Sidran will talk about the consistence of autobiographical view in his scriptwriting.

Intensive Story Coaching: Your Story, Your Script…

Workshop for Talent Scriptwriters with Licia Eminenti, Izeta Građević, Lucile Hadžihalilović , Olivia Hetreed and Kate Leys 10:30 // ASU

Staying Faithful to the Writer’s Vision (III) Workshop for Talent Actors by Alby James 10:30 // ASU – Backstage

Extraordinary Co-Production (D, P) •

Case Study of Ordinary People by Piere-Alain Meier and Vladimir Perišić Moderated by Olivier Mueller 13:00 // Hotel Europe – Conference Hall 1 Ordinary People by Vladimir Perišić, a powerful story offering a realistic view of war by charting the course of one day in the life of a young Serbian soldier, among numerous accolades it received at festivals around the world, won the «Heart of Sarajevo» for Best Film and Best Actor at the 15th Sarajevo Film Festival. This unordinary film is also a good example of extraordinary co-production that will be analyzed in the case study organized for Talent Producers.

Pierre-Alain Meier from Prince Films, with the participation of Vladimir Perišić, in the session moderated

by Olivier Muller, will offer in depth insight into the co-production history of this unordinary co-production between Serbia, France and Switzerland. They will show how the project was structured and how different financing mechanisms were merged. The attention will be paid specifically on how the Swiss coproduction contributed to the whole in light of the Swiss participation in Cinelink 2011 in the capacity of partner country to the Festival.

Since 1989, Pierre-Alain Meier (Prince Films), one of the most experienced Swiss producers, has produced more than 20 features in co-productions on almost every continent: from South America (many movies from Fernando Solanas) to Africa (Idrissa Ouedraogo), Asia (SALT OF THIS SEA, Annemarie Jacir).

He’s been involved in many projects in the Cinelink region, ranging from ORDINARY PEOPLE by Vladimir Perisic (Serbia), THELMA by Peter Netzer (Rumania) or MORE THAN HONEY by Markus Imhoof (with Austria).

Vladimir Perišić was born in Serbia (Belgrade). He studied film directing at the Faculty of Drama Arts, Belgrade and at Femis, Paris. His graduating film DREMANO OKO was selected for Cinefoundation, Cannes

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Festival, in 2003. The film received, among others, VVF Young talent film award for best film at the Munich Film School Festival and the award for best collaboration director - director of photography at the Festival européen de court métrage in Brest. The project ORDINARY PEOPLE was developed Résidence du Festival and presented at L’Atélier du Festival in 2005.

Video Conference Surprise Session

15:15 // School of Economics and Business, e-Net Center On Friday, 29 July 2011, at the School of Economics and Business, talents will attend a video conference surprise session! Four filmmaker members of the Academy of Motion Picture Arts and Sciences will participate in a discussion via video conference from New York. Participants will be announced closer to the date of the program.

STC Pack&Pitch – Pitching Session •

Moderated by Gabriele Brunnenmeyer 16:30 // Hotel Europe – Conference Hall 1 Upon successful completion of the training, talents will get an opportunity for a brief pitch, assisted by Gabriele Brunnenmeyer, in front of the audience, composed of distributers, producers, financiers (Sarajevo Film Festival guests, CineLink Co-Production Market participants). Possibility for further communication with the attending film professionals will be reached in form of less formal gathering.

Excursion to CineLink With Jovan Marjanović 17:30 // Hotel Europe

As a part of the Industry section of the Sarajevo Film Festival, CineLink represents a development and financing platform for selected regional feature-length fiction films destined for European co-production.

Its activities are ongoing throughout the year and designed to meet the current need and expectations of Southeast Europe’s film industry in its reshaping. The program includes: Development and Training, Co-Production Market, Work in Progress, Industry Events and Industry Office Activities. In its 9th edition CineLink will attract over 400 film professionals from all over Europe who have embraced CineLink as a way for development of their projects and a true catalyst in the filmmaking process.

Films developed and financed through CineLink such as I AM FROM TITOV VELES by Teona Strugar Mitevska, IT’S HARD TO BE NICE by Srđan Vuletić, BUICK RIVIERA by Goran Rušinović, DONKEY by Antonio Nuić, HONEY by Semih Kaplanoglu etc., were a part of prestigious film festivals’ selections and distribution catalogues throughout Europe. Screen International, one of the most important industry publications in the world, in its June 2011 issue listed the CineLink Co-Production Market of the Sarajevo Film Festival as one of the most successful world film co-production markets.

CineLink and CineLink Work in Progress are open for authors from Albania, Austria, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Greece, Hungary, Macedonia, Malta, Montenegro, Romania, Serbia, Slovenia, Turkey and UNMI Kosovo.

Jovan Marjanović, Head of Industry, will explain how one can participate in the platform by submitting a project for the development workshops and look for co-production partners for its realization.

Recommended Screening – New Currents Programme 21:15 // Multiplex Cinema City 3

THE SLUT, Director: Hagar Ben Asher

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Saturday, July 30 Staying Faithful to the Writer’s Vision (III)

Public rehearsed reading of the full text of TEARS LOST by Tina Šmalcelj guided by Alby James 10:15 // ASU – Open Stage

Artistic Authenticity •

Different Language, Different Point Of View by Zana Marjanović 12:15 // ASU – Open Stage It seems that Zana Marjanović has never had serious dilemma about her vocation. Having completed the Fiorello LaGuardia High School of Music, Arts and Performing Arts, in New York, she returned to Sarajevo, her hometown, where she enrolled in and graduated at the Department of Acting at the Academy of Performing Arts. Her subsequent engagement in theatre, on TV, and in film during the last few years, made her one of the most eminent Bosnian young actresses.

Her feature film debut was in the directing debut of Srđan Vuletić, SUMMER IN THE GOLDEN VALLEY (2003). In the testosterone film, which combined the stories about growing up of the adolescent who wanted to defend the honor of his deceased father, and about crime and corruption on the streets of Sarajevo, as the kidnapped girl Sara, Marjanović made the emotional center of the film and the best achieved acting performance. After her role in the short film by Alen Drljević, PAYCHECK (2006), and the supporting role in the second Vuletić’s film IT’S HARD TO BE NICE (2007), Marjanović got the role she deserved: leading role in the feature film SNOW (2008) by Aida Begić, a story about women who returned to the village from which they were deported during the war, while their husbands, brothers and sons were killed. Marjanović impersonates Alma, a young woman still haunted by the dreams about her husband whom she lost during the war. Her post-war days pass in hard labor through which she tries to ensure her staying in the village, and also in a complex, ambivalent relationship with her mother-in-law, a matriarch who seemingly still sees in her a woman who stole her son.

Supporting role in the film TRANSFER (2010), a dystopian SF cautionary tale of human rights and international problematic, directed by German director of Croatian descent Damir Lukačević, led her away from the thematic of the Bosnian war, but only shortly. Already that same year, Marjanović was engaged in the production which could make her globally known by the starry status of its director.

This is the directorial debut of Angelina Jolie IN THE LAND OF BLOOD AND HONEY, a story about starcrossed lovers settled in the war in Bosnia. In the film, whose premiere screening is expected by the end of year 2011, Marjanović plays the leading female protagonist, Ajla. One of the curiosities about this production is that the film was made in two language versions, in English and in the mother tongue of the actors.

During her lecture at the Talent Campus, Zana Marjanović will talk about this aspect of her performance in the film: Whether the change of language changes the film characters and authenticity of the plot. The topic imposes itself as particularly relevant and delicate in the era marked with international co-productions in which all the more actors perform in languages not being their native. The lecture will be based on the personal experience of Marjanović, and also on the practical work with the participants of the Talent Campus, through improvisations.

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In Conversation with Joshua Marston • Moderated by Segor Hadžagić 15:00 // ASU – Open Stage

Screening of MARIA FULL OF GRACE, debut feature film by the director and scriptwriter Joshua Marston, at 2004 Sundance and Berlinale turned the attention on the filmmaker of opulent background and subdued but precise expression. Marston once said that his dealing with film is a desperate attempt to connect his affinities towards sociology and political sciences (which he studied), journalism (which he shortly practiced), and photography as his favorite art. MARIA FULL OF GRACE was by all means more than the desperate attempt: story of Maria, a pregnant 17-year-old girl who leaves her Columbian province in which she was born and decides to emigrate to the USA, even at the cost to enter as a mule who carries the drugs in her stomach, was the example of a film which only at first sight seems utterly simple, while it soon reveals as a complex story about woman’s independence, betrayal of tradition, economic exploitation, deglamorized world of crime. The film won the Audience Award at the Sundance festival, while, for her Maria, Catalina Sandino Moreno won the Silver Bear for the Best Actress in Berlin, and was nominated for Oscar. The film was nominated in Berlin for the Golden Bear and Marston won the Alfred Bauer Award.

After the success of his debut, Marston directed television series such as SIX FEET UNDER, IN TREATMENT, LAW & ORDER, and HOW TO MAKE IT IN AMERICA. He also took part in the omnibus NEW YORK, I LOVE YOU (2009), second film in the project Cities of Love launched by the omnibus PARIS, JE T’AIME (2006). Directors were restricted to three formal requirements: shooting could not last more than two days, and editing more than a week, while the finished segment should have lasted eight minutes.

Marston directed the part on the life of an old married couple (Cloris Leachman and Eli Wallach) who visit Coney Island.

Joshua’s second feature, THE FORGIVENESS OF BLOOD brings up social phenomenon, which is believed to be one of the characteristics of Albanian tradition: blood feud which befalls male family members. This type of revenge, eye for an eye, enacted by the cannon law, the traditional code from the 15th century, transferred from one generation to the next, even today determines life in rural mountain parts of the country. A turf dispute between two families culminates when the baker Mark and his brother Zaf kill Sokoli. The murder automatically turned Mark’s sons Nik and Dren into the targets for blood feud. Boys stay in de facto house arrest (which the older son, 17-year-old Nik, does not abide to), while the daughter Rudina, who is forced to leave school and preserve her father’ business, has to maintain the connection with the outer world. Young protagonists of the film – just like Maria in Marston’s debut – decide to build the future by making their own decisions, which question the tradition under whose burden they live.

The script for the film, joint work of Marston and the filmmaker of Albanian origin Andamion Murataj, was awarded Silver Bear for the screenplay in Berlin in 2011. At the Talent Campus, in conversation with talents, Marston will talk about his work on the latest film.

Distinctive Voices of Contemporary Cinema •

Meet New Currents Filmmakers: Mauro Andrizzi, Hagar Ben Asher and Hugo Lilja Moderated by Vanja Kaluđerčić 16:15 // ASU – Open Stage Determined to invite only first and second films from up-and-coming directors, New Currents has featured promising filmmakers in previous editions that are now among the key figures of international independent cinema: Harmony Korine, Carlos Reygadas, Jia Zhangke, or Bruno Dumont (to whom the festival dedicates a retrospective last year), to name only a few.

Continuing to explore unconventional and daring film, in conversation with Mauro Andrizzi, Hagar Ben Asher and Hugo Lilja, filmmakers whose films will be shown in this year’s New Currents Program of the Sarajevo Film Festival, we will learn about their beginning as filmmakers and experiences in making their first feature films.

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Hagar Ben Asher made a name for herself when her short Pathways won the Cinefondacion prize in Cannes a few years ago. The script for THE SLUT was developed as part of Atelier in Cannes. The project was also developed at the Torino Film Lab. In the meantime, Ben Asher became famous as an actress in a TV series THE RAN QUARTET and in the motion picture JULIA MIA. THE SLUT tells the story of a woman, Tamar (Ben Asher herself), the mother of two children who drifts away from one sexual encounter to another until a man called Shai arrives.

Mauro Andrizzi wrote his first short films as a student and worked in several TV shows in Buenos Aires after his graduation. Since 2001 he has been a programmer for the Mar del Plata International Film Festival (Argentina). His works have been screened at major international film festivals. They include COLOR AND PIXEL (2006), a documentary short film shot at the Museum of Art History in Vienna, MONO (2007), a documentary/feature and IRAQI SHORT FILMS (2008), a compilation of video snipers shot by a cross section of amateur documentarians.

IN THE FUTURE is a film about many manifestations of love, sex and film. It is a combination of confession documentary and ghost story, expressive black-and-white and faded color.

The long dark Swedish winters have made a strong impression on the story telling of Hugo Lilja. He is now studying film directing at the University of College of Film in Stockholm. Hugo started off exclusively making fantasy and science fiction films but has now widened his filmmaking to include stories about relationships, identity, power and oppression. He would like to unite Kaurismäki and HP Lovecraft and also bring together Cassavetes with Peter Jackson.

In his short film UNLIVING, thirty years after a zombie outbreak, people have got used to living alongside them: Zombies are a cheap source of labour. However, the ‘normal’ people, like Katrin and Mark, first have catch and lobotomize them...not bring them home.

The session “Distinctive Voices of Contemporary Cinema” will be an ideal opportunity for talents to discuss with New Current filmmakers if author film can really survive in the face of limited possibilities.

Sarajevo Talent Campus Closing Session • 17:30 // ASU – Open Stage

After the intense program of lectures, panel discussions, workshops, film screenings, presentations and networking, designed to help talents express their point of view, the team of the SFF will take stock of the Campus and say goodbye to talents hoping to meet them again at future festivals as successful filmmakers. In the meantime, the Coordinator of the SCF program will invite them to participate in the SCF program.

As one of the short films made within the last year’s edition of the Sarajevo City of Film project, SCENES WITH WOMEN by Nikola Ljuca, was sponsored by NATO, which supported the Sarajevo City of Film, its representative will join us at the closing session to introduce the organization and its goals. NATO is a political and military organization fostering transatlantic unity since 1949. With 28 members from North America and Europe, NATO provides collective defense for its member states and works with partners to promote peace and stability in the Euro-Atlantic area and beyond.

Recommended Screening – New Currents Programme 19:15 // Multiplex Cinema City 5

IN THE FUTURE, Director: Mauro Andrizzi Recommended Screening – Panorama Programme 21:15 // Open Air Cinema Vatrogasac

IN A BETTER WORLD, Director: Susanne Bier

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CROATIAN TALENTS AND FILMS IN SELECTION AT 17TH SARAJEVO FILM FESTIVAL SARAJEVO TALENT CAMPUS 2011 Igor Bezinović, director Anica Kovačević, actress Kristina Krepela, actress

Stipe Karabatić, screenwriter Srđan Laterza, screenwriter Ivana Šimić, producer

SARAJEVO CITY OF FILM 2011 Davorka Begović, producer

Marko Cindrić, actor

FEATURE FILM IN COMPETITION Spots | Fleke director Aldo Tardozzi SHORT FILMS IN COMPETITION Mezzanine | Mezanin director Dalibor Matanić

Dove sei, amor mio director Veljko Popović

DOCUMENTARY FILMS IN COMPETITION Land of Knowledge | Zemlja znanja director Saša Ban

Depopulation | Razorubičenje director Domagoj Matizović

The Way Out | Prolaz za van directors Sanja & Vedran Šamanović

War Reporter | Ratni reporter director Silvestar Kolbas

CINELINK SELECTION 2011 A Happy Man | Sretan čovjek writer / director Davor Kanjir

Nova Ves 18, 10 000 Zagreb, Croatia tel +385 (0)1 6041 080 fax +385 (0)1 4667 819 website www.havc.hr

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THANK YOU: Academy of Performing Arts, Art Servis, Asa Group, ASBH, Atlantic Grupa, Berlin International Film Festival, Berlinale Talent Campus, BHRT, British Council, Cinema Fund of Federation of BiH / Ministry of Culture and Sport of Federation of BiH, Coca-Cola, Croatian Audiovisual Centre, Disti, Film Center Serbia, Izo Light, Kanal 1, Living Pictures, MDGF, MEDIA International, NATO, Office of Public Affairs – OPA, Podravka, Prime Time, Pro.ba, Radionica, Robert Bosch Stiftung, Sarajevo Osiguranje, Slovenian Film Center, Team Consulting, The Royal Norwegian Embassy, TV5Monde.

Abdulah Sidran Adi Tunović Aida Memović Alby James Alma Hadžić Almir Palata Altijana Marić Amer Bećirbegović Amra Bakšić Čamo Andrea Rieder Andrea Wink Anja Mušanović Béla Tarr Bernd Buder Bojan Popić Cary Joji Fukunaga Charlotte Rampling Christian Denier Christine Tröstrum Dan Sturman Darko Arsenovski Dejan Ćorić Dieter Kosslick Dževad Mujan Elma Tataragić Emina Ganić Emina Nuspahić Emir Hadžihafizbegović Emir Pekmez Ena Đozo Erwin M. Schmidt Feđa Purivatra Frank Albers Frank Stehling Gabriele Brunnenmeyer Hajrudin Ajkunić

Hugo Lilja Ida Smailbegović Ivana Ivišić Ivana Pekušić Iza Razija Mešević Izeta Građević Jelena Pojužina John Appel Jovan Marjanović Karin Angela Schyle Kate Leys Katriel Schory Lela Begić Lejla Kalamujić Lejla Karišik Leon Lučev Licia Eminenti Lucile Hadžihalilović Matthijs Wouter Knol Mauro Andrizzi Mirsad Purivatra Moamer Kasumović Nedim Čengić Nedim Kovač Nenad Dizdarević Olivia Hetreed Olivier Mueller Philippe Bober Pierre-Alain Meier Rada Šešić Reto Bühler Sabina Branković Salmir Kaplan Simon Perry Stefano Strocchi Tina Šmalcelj

Vanja Kaluđerčić Vassily Bourikas Vladimir Perišić Wim Wenders Zana Marjanović Zeynep Özbatur Atakan Zijad Mehić SFF Accrediation Team BOOM! Produkcija SFF CineLink Team SFF Regional Forum Team SFF Hospitality Team SFF Press Team SFF Protokol Team SFF Sponsorship Department SFF Transport Team

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Impressum Team 2011

PROJECT MANAGER: Asja Makarević Project Co-ordinator: Adnan Beširović Selection: Amra Bakšić Čamo, Izeta Građević, Jovan Marjanović, Elma Tataragić Moderators: Bernd Buder, Gabriele Brunnenmeyer, Segor Hadžagić, Nebojša Jovanović, Vanja Kaluđerčić, Olivier Mueller, Ivana Pekušić, Simon Perry, Andrea Rieder, Karin Angela Schyle, Andrea Wink Location Manager: Rusmir Efendić (ASU) Guest Management: Aldina Bukva – Mahmutović, Alen Munitić TECHNICAL CO-ORDINATOR Asmir Šabić PROJECT ASSISTANTS: Goran Akrap, Ahmed Alić, Amar Čustović, Luna Zimić Mijović, Lamija Muminović STC INFO DESK: Nadina Habibović, Ensar Hadžić, Vildana Karalić, Edin Šabić STC VIDEO DOCUMENTATION: Aziz Čeho, co-ordinator: Antonia Kašik and Mira Klug, assistants SOUND TECHNICIAN: Adis Baždarević STC NOTEBOOK: Nebojša Jovanović, Ivana Kalember, Asja Makarević

Imprint: Documentation: STC TEAM Translation and Proofreading: Ivana Kalember, Asja Makarević Graphic Design and DTP: BOOM Produkcija Print: BLICDRUK Print run: 500

Sarajevo latent·Campus #5.

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65-talents: 18 directors. 16. actors. 1.6 scriptwriters. 15 producers 4 fields of work: directors. actors. scriptwriters and pro.docers 13 countries: Albania,_Bosnia and Herzegovina. Bulgaria. Croatia.

Hungary. Macedonia. Montenegro. Romania. Serbia.

Slovenia. Turkey and UNMI Kosovo.

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56 lectures• ..panels. workshops. case studies. presentations. *' screenings and _events . ~

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