Sarajevo Talent Campus #6 / 18thSFF

Sarajevo Talent Campus #6

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Contents 4 Editorial 5

Welcome note from our 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 2012

19 Programme

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Experts 2012

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Thank you

62 Partners&Sponsors 63 Impressum

Sarajevo Talent Campus #6

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Sarajevo Talent Campus #6

Editorial The 6th Sarajevo Talent Campus We proudly present you the 6th edition of the Sarajevo Talent Campus within which creators of today’s film and young film artists will have the opportunity to explore the topic “Cinema and Possible Futures”, not only in the sense of social and technological changes happening rapidly before our eyes, but also in the sense of multiple possibilities these changes bring.

Each year of its existence the Sarajevo Talent Campus keeps growing and enriching its content, and thus from this year participation at the Campus will, beside the candidates from the countries of the South-Eastern Europe, facilitate those from four countries of the broader region: Armenia, Azerbaijan, Georgia, and Moldova, whose presence will enrich the Campus with their diversity in approach to the film art. Also, this year, beside the already existing programmes for actors, producers, directors, and scriptwriters, the Sarajevo Talent Campus introduces the programme for film critics, in order to form a critical group whose work will, in the course of time, follow and improve the work of young film artists. Following the theme, through lectures and workshops, we will try to explore different concepts of both cinema and future, either from practical side, with Sydney Levine and Peter Belsito in the sessions “The Future Lays in the Events – The Circuit Session” and “Your Short Your Future, Market Your Film, Determine Your Future”, from creative side, with Olivia Hetreed and Kate Leys, in the sessions “Possible Futures: Character and Choice” and “The End and Beyond: Your Story and Possible Futures” or with Licia Eminenti’s “Visionary Worlds of Past and Present”. Finally, we will focus on heavy social or political themes in “Discussing the Present, Shaping the Future - the Human Rights Day Session” or “Voices from the Past, Hope for the Future” with Orhan Eskikoy and Zeynel Dogan.

This year again, the Talent Campus offers a handful of interesting contents consisting of lectures, panel discussions, and conversations for all the participants, already established workshops, scheduled for each group of the artists, as well as the “networking” opportunities organized in cooperation with our partner Robert Bosch Foundation, such as “speed matching”, “speed dating”, and “one on one” meetings, which will give the opportunity to the participants to present themselves to each other, but also to the group of ten German producers.

We continue with the “Pack&Pitch” program, giving the opportunity to the selected participants to, under the professional mentorship, learn how to analyze and prepare the projects for their presentation, and to apply the gained knowledge through the presentation to experienced film professionals, guests of the Sarajevo Film Festival, and participants of the CineLink coproduction market.

Screenings of the new programme Kinoscope, Open Air and New Currents programmes, as well as the Competition programmes will precede the sessions during which the participants will meet the authors of the currently most actual films, as well as numerous guests of the festival: Todd Solondz, Aida Begić, Orhan Eskikoy, Zeynel Dogan, Eyal Sivan, Cosmina Stratan, Cristina Flutur, Philippe Bober, Nancy Bishop, Leon Lučev, Licia Eminenti, Olivia Heetred, Kate Leys, Sydney Levine, Peter Belesito, Remi Bonhomme and many others.

We are looking forward to one more opportunity for a regional meeting full of learning and networking. We hope we will together enjoy the program of the 6th Sarajevo Talent Campus, commenced in cooperation with the Berlin International Film Festival and Berlinale Talent Campus.

ASJA MAKAREVIĆ

Sarajevo Talent Campus Manager Sarajevo Talent Campus #6

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Welcome from our Partner – Berlinale Talent Campus Some Like It Hot Sarajevo Talent Campus has a lot to offer, being a hotbed for talented emerging filmmakers from Southeastern Europe, Greece, Turkey and the Caucasus. Apart from a thriving programme aiming to bring all participants a significant step ahead in their work, Sarajevo has one clear and major advantage over its bigger brother, the Berlinale Talent Campus: the warm weather.

I always wondered to which extent meteorological circumstances really affect people’s behaviour, but one thing is sure: as soon as the sun shines, people smile more, look better and feel more like talking to other people. That’s basically what the Campus aims for and apart from the great festival it is connected to, Sarajevo Talent Campus offers a perfect setting to get full-speed ahead as a filmmaker.

Full-speed ahead can also include coming to Berlin, since Sarajevo and Berlin are closely linked to each other. Being the only ‚other’ Talent Campus programme on the European continent, Sarajevo Talent Campus has paved the way for quite some filmmakers to come and present their work at the Berlinale, and several alumni of the Berlinale Talent Campus show their work in Sarajevo this year as well: Andrey Paounov (THE BOY WHO WAS A KING), Ilian Metev (SOFIA’S LAST AMBULANCE), Teona Strugar Mitevska (THE WOMAN WHO BRUSHED OFF HER TEARS), Cristian Mungiu (BEYOND THE HILLS) and Jury president Kornel Mundruczó all attended the Campus in the past ten years and developed themselves into successful and exciting filmmakers. Also the late Seyfi Teoman (SUMMER BOOK) was an alumnus of the Campus. After his last film OUR GRAND DESPAIR, which screened in Competition in Berlin 2011, expectations for his future work were high, but sadly he passed away in May this year.

All Talent Campus programmes are regional hotbeds for new talent, and ‘Some Like It Hot’ will be the theme for the 11th edition of the Berlinale Talent Campus (February 9-14, 2013). The programme will focus on how to filmmakers can find audiences and how they can keep their audiences glued to the screen, we will highlight different tastes and the fine art of entertaining — a skill quite regularly neglected in the film industry. More details on how to apply for (and which warm outfit to bring to) the upcoming edition in Berlin (deadline September 20, 2012) will be explaned to you during the week in Sarajevo.

Needless to say, we wish all the filmmakers at this year’s Sarajevo Talent Campus a week to never forget.

Our sincere thanks go also to Mirsad Purivatra, Jovan Marjanović, Asja Makarević, Ivana Pekušić and Ivana Kalember and the rest of the Sarajevo Talent Campus team: it’s heart-warming to work with you together.

On behalf of the Berlinale Talent Campus,

MATTHIJS WOUTER KNOL

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Sarajevo Talent Campus #6

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 Radio-Television 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

Sarajevo Talent Campus #6

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Talents 2012 - Actors

Ismir Gagula, 15 Bosnia and Herzegovina

Ena Kurtalić, 23 Bosnia and Herzegovina

Igor Skvarica, 25 Bosnia and Herzegovina

Amila Terzimehić, 24 Bosnia and Herzegovina

Marta Cerovečki, 32 Croatia

Sanja Milardović, 25 Croatia

Katia Goulioni, 32 Greece

Hermina Éva Fátyol, 30 Hungary

Kire Gjorevski, 30 Macedonia

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Sarajevo Talent Campus #6

Irina Bucescu, 24 Romania

Petriceanu-Cutina Orlando-Stefan, 32 Romania

Verica Nikolić, 29 Serbia

Stane Tomazin, 23 Slovenia

Iulia Valentina VerdeČ™, 25 Romania

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Talents 2012 - Directors

Emin Hajrić, 23 Bosnia and Herzegovina

Ana Kitanova, 24 Bulgaria

Kaloyan Pishmanov, 25 Bulgaria

Jure Pavlović, 27 Croatia

Ivan Sikavica, 32 Croatia

Barbara Vekarić, 24 Croatia

Papuna Mosidze, 29 Georgia

Giorgi Tskvitinidze, 24 Georgia

Konstantina Kotzamani, 29 Greece

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Sarajevo Talent Campus #6

Gavriil Tzafka, 26 Greece

Gábor Harmat, 25 Hungary

László Csuja, 28 Hungary

Irina Verdeș, 23 Moldova

Roxana-Madalina Andrei, 27 Romania

Katarina Stanković, 30 Serbia

Milica Tomović, 26 Serbia

Gregor Božič, 28 Slovenia

Münir Alper Doğan, 31 Turkey

Sarajevo Talent Campus #6

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Talents 2012 - Producers

Hasmik Hovhannisyan, 27 Armenia

Monica Balcheva, 26 Bulgaria

Vanja Jambrović, 32 Croatia

Morana Mitić, 28 Croatia

Luka Venturin, 30 Croatia

Nino Jincharadze, 23 Georgia

Julia Berkes, 29 Hungary

Julianna Ugrin, 31 Hungary

Greta Oros, 25 Romania

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Sarajevo Talent Campus #6

Gabriela Suciu, 25 Romania

Gorana Grozdanić, 29 Serbia

Vladimir Vasiljević, 31 Serbia

Marina Gumzi, 27 Slovenia

Jozef E. Amado, 32 Turkey

Özlem Erol, 27 Turkey

Yoel Meranda, 31 Turkey

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Talents 2012 - Scriptwriters

Džejna Avdić, 21 Bosnia and Herzegovina

Lejla Muratčauš, 21 Bosnia and Herzegovina

Yoana Mircheva, 25 Bulgaria

Milena Petrova, 21 Bulgaria

Anita Čeko, 25 Croatia

Marija Škrlec, 29 Croatia

Katerina Gerothanasi, 25 Greece

Nikoloz Mdivani, 26 Georgia

David Csicskár, 25 Hungary

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Sarajevo Talent Campus #6

Máté Fazekas, 24 Hungary

Júlia Széphelyi, 30 Hungary

Georgiana Constantin, 20 Romania

Andrei Epure, 23 Romania

Diana Andreea Mereoiu, 21 Romania

Diana Voinea, 23 Romania

Iva Brdar, 29 Serbia

Sarajevo Talent Campus #6

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Talents 2012 - Film Critic/Journalist

Davor Pavlović, 33 Bosnia and Herzegovina

Nino Kovačić, 30 Croatia

Irina Trocan, 22 Romania

Aleksandar Radovanović, 32 Serbia

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Sarajevo Talent Campus #6

Sorana Maria Andra Borhină, 23 Romania

Co-Producers to Watch

Su-Jin Song, 28 Germany

Stefanie Nowak, 31 Germany

Luis Singer, 31 Germany

Ulla Lehmann, 34 Germany

Katharina Eckert, 28 Germany

Jelena Goldbach, 32 Germany

Tilman Kolb, 27 Germany

Julia Wagner, 28 Germany

Niklas Warnecke, 31 Germany

Carsten Bรถhnke, Germany Sarajevo Talent Campus #6

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Sarajevo Talent Campus #6

Cary Fukunaga and Michael Fassbender at Sarajevo Talent Campus 2011

Programme Sarajevo Talent Campus #6 Sarajevo Talent Campus #6

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Programme Sarajevo Talent Campus #6 Events marked in: YELLOW are reserved for all Talents, ORANGE for Directors, GREEN for Actors, PINK for Producers, PURPLE for Scriptwriters, BLUE for Film Critics, GRAY for combined groups of Talents. The ones marked with black dots are open to all accredited guests of the 18th Sarajevo Film Festival.

Saturday, July 7 Opening of the 6th Sarajevo Talent Campus 16:30 // Cinema Meeting Point Talents are invited to attend the opening ceremony of the 6th Sarajevo Talent Campus!

A welcome address by the Director of the Sarajevo Film Festival, Mirsad Purivatra, will officially open the 6th Sarajevo Talent Campus.

The opening of the Campus will be followed by the screening of two films made within the Sarajevo City of Film project.

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 two short fiction films: SOMETHING SWEET

Director: Jelena Gavrilović Scriptwriter: Tanja Šljivar Cast: Sara Dacić, Mak Alijević, Jasna Đuričić, Rijad Gvozden, Adi Hrustemović, Selma Čosić, Hana Kalač, Dora Glinac

Ena, a 10 year old girl, who lives with her young mother and grandmother, has a constant urge to eat something sweet, and she never actually gets to eat some, by the end of the day ending up having a different “culinary” experience with her friend Ado who is in the eve of moving to Frankfurt.

ROUNDABOUT Director: Orsy Nagypal Scriptwriter: Elizampetta Ilia Georgiadou Cast: Leon Lučev, Irina Dobnik and Adnan Beširović As a man struggles to deal with his early mid-life crisis and a wrecked marriage, he falls in love with the female voice in his GPS.

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Sarajevo Talent Campus #6

Gloria Welcomes Talents

00:00 // 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 6th Sarajevo Talent Campus.

Recommended Screening - Open Air Programme 21:00 // !hej Open Air Cinema DARK HORSE, Director: Todd Solondz

Sunday, 8 July 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 #6.

“Cinema and Possible Futures” will be the underlying focus of the 6th STC. The creators of today’s world of cinema will talk the future to emerging filmmakers, not only from the aspect of social and technological changes happening so rapidly right before our eyes, but the myriad of possibilities that those changes bring with them.

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 designed for small teams with the goal to produce results and encourage interaction, 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.

Also, this year, beside the already existing programmes for actors, producers, directors, and scriptwriters, the Sarajevo Talent Campus introduces the programme for film critics, in order to form a critical group whose work will in the course of time follow and improve the work of young film artists.

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 programme segment designed to offer selected participants a chance to learn how to analyze and prepare project presentations.

Therefore, the program of the Sarajevo Talent Campus #6 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.

Sarajevo Talent Campus #6

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Opening Speed Matching

Everybody Meets Each Other Moderated by STC Team 12:15 // 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 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.

Coffee With...Sarajevo City of Film Authors •

15:00 // Festival Square Terrace Presented by Atlantic Grupa and moderated by Ivana Pekušić Authors of the films made within the project Sarajevo City of Film 2012 will share the experience gained from the work on short films with Gabrijela Kasapović, Atlantic Grupa Director of Corporate Communications, Ivana Pekušić, Sarajevo City of Film Coordinator and audience at the Festival Square Terrace.

Pitch Your Future (D,P,S)

Coaching Session on Pitching by Gabriele Brunnenmeyer 16:15 // 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 Future”, Gabriele Brunnenmeyer, Project and Script Consultant, 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 2010. 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 script advisor and consultant for development, packaging and project presentation for single projects as well as for workshops and trainings such as the NipkowProgramm, Midpoint, the Talent Campus in Berlin and Sarajevo and the Robert Bosch Foundation.

Sarajevo Talent Campus Film Criticism In order to strengthen and promote the project, the Sarajevo Talent Campus has introduced a training program for film critics in addition to the existing programs for directors, producers, screenwriters and actors.

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Sarajevo Talent Campus #6

As much as it is important to invest in young filmmakers, it is also necessary to establish the body of young film critics, because, in a long run, professional critical response can not only contribute to the quality of the work of emerging filmmakers, but promote the Sarajevo Talent Campus project as well. Successful production requires strong critical perception and professional reflection in order to set standards that would improve the quality of films made within the Sarajevo City of Film Project and establish a link between films and critical thought.

TC Film Criticism section (STC FC) aims at offering selected participants an opportunity to acquaint themselves with current trends in cinema and to review films of the Festival. Under the mentorship of a prominent film critic, they will share the impressions and insights by writing critical texts. The texts will be published in SFF Daily.

STC hopes that the program of film criticism will help develop critical thinking about film; expose the best talents to audience, to help talents widen the network with established film professionals and fellow talents.

STC Film Critics will attend lectures designed for all talents, sessions designed for screenwriters, (the analysis of a film by Licia Eminenti) and sessions designed especially for them (lectures by Mike Goodridge and

by Remi Bonhomme). However, the core of their work should be work with a mentor, remarkable film critic Dan Fainaru. During round tables with Dan, participants will gain valuable knowledge, learn to analyze material and develop critical texts that will be published in SFF Daily on the last day of the Campus.

Where to Start From

Film Critic’s Initial Meeting 16:15 // ASU – Backstage On the first day of the Campus, film critics will have a meeting with a coordinator and receive all necessary information about the structure of the program and schedule.

Recommended Screening – Kinoscope Special 19:15 // Multiplex Cinema City 4 MARINA ABRAMOVIĆ: THE ARTIST IS PRESENT, Director: Matthew Akers

Recommended Screening - Kinoscope 21:00 // Open Air Cinema Vatrogasac TABU, Director: Miguel Gomes

Recommended Screening - Open Air Programme 21:00 // !hej Open Air Cinema WHERE DO WE GO NOW?, Director: Nadine Labaki

Recommended Screening – All Shorts 23:15 // Meeting Point Cinema 2012 EFA SHORTS

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Monday, July 9 Co-Production Prize Breakfast •

9:00 // Festival Square Terrace The Robert Bosch Stiftung 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 Stiftung 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. Recognizing the Sarajevo Talent Campus as an important platform for young Eastern and South Eastern European filmmakers, the Robert Bosch Stiftung has been partner since 2007. 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 Stiftung, 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, 2012. Applications are available for download at www.coproductionprize.com.

Through Festivals Into the Future •

Attending Dana Budisavljević, Teona Strugar Mitevska, Labina Mitevska Moderated by Matthijs Wouter Knol 10:15 // ASU – Open Stage Dana Budisavljević, documentary director, Teona Strugar Mitevska, feature film director and Labina Mitevska, an actress and a producer, are three filmmakers of different profiles. What they have in common is that they represent the generation of successful filmmakers who accomplished a great deal, but who, along the way, managed to use festivals as a platform for the development of their careers: Dana is a former Sarajevo Talent Campus participant, who also attended Rough Cut Boutique with her film Family Meals and won an award which included Cinelink Work in Progress participation. Teona is a former Berlinale Talent Campus participant, Labina a former shooting star. The films on which Teona and Labina worked together: I Am From Titov Veles and A Woman Who Brushed Off Her Tears, were developed within the Cinelink before they were successfully launched into the world. I Am From Titov Veles received Special Jury Award at the 13th SFF. During the conversation with these three accomplished filmmakers, Matthijs Wouter Knol, Berlinale Program Manger, will talk about their work and how they used the opportunities young filmmakers can use to launch their career towards different possible futures.

Speed Dating between German Producers and Talents (D,P,S)

Moderated by Karin Angela Schyle and Andrea Wink 12:15 // ASU – Open Stage The Robert Bosch Stiftung, partner of the Sarajevo Talent Campus since 2007, continues its support through representatives Frank Albers, Karin Angela Schyle and Andrea Wink!

Within the context of the Co-Production Prize ten German upcoming producers are invited to the Sarajevo Talent Campus to meet with filmmakers from the region. They will introduce themselves and their field of work, and the participants of the 6th Sarajevo Talent Campus will have a chance to present their project idea 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. The development of common projects and enhancement of co-productions by German and Eastern European talents is the central focus of the funding at the Talent Campus.

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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, scriptwriters and film critics, 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. At the 6th Sarajevo Talent Campus, notable professionals from the film industry, Leon Lučev, Olivia Hetreed, Kate Leys, Katriel Schory, Licia Eminenti, Lucile Hadžihalilović and Dan Fainaru, 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.

Leon Lučev, one of the most prolific Croatian actors, who has become the brand of the Campus over the past five 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. Leon will also do a joint workshop for Actors and Directors focusing on the communication between an actor and a director.

Olivia Hetreed, screenwriter, and Kate Leys, story editor, in the workshop for screenwriters “Possible Futures: Character and Choice” will explore how the development of a character may affect the course of a story, while, in the session “The End and Beyond: Your Story and Possible Futures”, they will tackle upon the significance of an ending of a 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 “Intensive Story Coaching – Working Towards Better Script” helping them improve their scripts, avoid potential traps and overcome problems.

Katriel Schory, an experienced producer and Executive Director of Israel Film Fund will also hold a workshop for talent producers and directors “Small Budget, Big Screen”, where he will do a case study of a micro budged film Room 514 in the presence of a director of the film.

Dan Fainaru will hold “Coaching Sessions on Film Criticism” with film critics to help them develop texts that will be published in Festival Daily on the last day.

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. His performance in Buick Riviera by Goran Rušinović won him the Heart of Sarajevo for the Best Actor at the 14th Sarajevo Film Festival. During the same year he received the Golden Arena at the Pula Festival for the best male supporting role in Brešan’s It Will Not End Here. He appeared as a lead male role in Jasmila Žbanić’s On the Path.

At the 18th Sarajevo Film Festival, the audience can see him in one of the films made within Sarajevo City of Film project Roundabout, directed by Orsy Negypal. Therefore, all over again, he proved that he is not just a guest of the Festival, but also a faithful supporter of young authors, which he only confirmed by comSarajevo Talent Campus #6

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ing to the Sarajevo Talent Campus six 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.

Modern Take on Film Criticism

Lecture for Film Critics by Mike Goodridge 12:15 // ASU – backstage Lecture by Mike Goodridge Mike Goodridge will share his vast experience with budding film critics and talk about past, present and future of film criticism, to what extent writing about films has changed, how digital editions which stem from technological and social changes affected writing about film and what side effects of digitalization are.

Mike Goodridge is currently editor of Screen International and oversees all the brand’s products including daily news, reviews and box office site Screendaily.com, email weekly Screen Weekly, print monthly Screen International, European production database Screen base and the print dailies at major festivals like Cannes, Berlin and Toronto.

He started at Screen in 1994 and started his career in 1990 at The Business Of Film where he was ultimately editor.

Goodridge published his first book Directing in 2000 and is currently series editor of a new series of books about the film crafts which started publishing through Focal Press in the US in 2012.

The Future Lays in the Events: The Circuit Session (D, P)

Lecture for Directors and Producers by Sydney Levine and Peter Belsito 15:15 // ASU – Open Stage Film festivals have evolved over time to include film exhibition, distribution and production, striking a balance between art, spectacle, politics and business of cinema. The process of globalization, along with digital technologies pointed out the economic dimension of film festivals, which apart from exhibiting films became significant market and business places and production hubs for world cinema.

Sydney Levine and Peter Belesito will assist young producers and directors in finding the way through the festivals in order to find the best opportunity for themselves. In the session “The Future Lays in the Events - The Circuit Session”, intended for both directors and producers, Sydney and Peter will address the importance of the events around the world and how each event at any time of year may or may not relate to anyone’s career or project.

In the Circuit Session the participants will learn how they need to prepare and plan which event to go to or not for sales, distribution, financing, marketing for specific or all world territories.

Sydney Levine has over thirty five years experience in the entertainment industry.

In 1988 she founded FilmFinders, the industry’s first database, to service distributors, sales agents and festival programmers looking to acquire features. The database was adopted by the Cannes Marché and developed into what today is called Cinando, the database website used by Cannes, the Berlinale, Karlovy Vary Ventana Sur, Toronto International Film Festival and others.

Previous to establishing FilmFinders, from 1975 to 1988, Sydney was an acquisitions executive for shorts, features and documentaries for both international and U.S. distribution.

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Peter Belsito worked professionally as a cinematographer, produced feature films and feature documentaries and wrote screenplays. He assisted Sydney Levine in founding FILM FINDERS in 1988 as a blue chip film acquisitions tracking, consulting and publishing firm. He came on board full time in 1995 as a FILM FINDERS partner, Head of Sales and Marketing as Executive Vice President. Fourteen years after Ms. Levine’s successful launch of Film Finders, Peter recently founded the growing Film Finders Consulting division.

Both Peter and Sydney have been involved for the last fifteen years in professional education and with young filmmakers via countless festival and market panels and forums and active course involvement with such institutions including Harvard, Wharton, the Maurits Binger Institute of Amsterdam, ACE of Paris, Rotterdam Cinemart, IFP New York, IFP West of Los Angeles etc. Both have originated and coordinated panels and conferences for various institutions as well as Film Finders.

Possible Futures: Character and Choice

A session led by Olivia Hetreed, screenwriter, with Kate Leys, story editor 15:15 // ASU – 3c Young scriptwriters often neglect dramatic focus and the key role of decision-making. It is important to concentrate on the crucial moments of decision in story-telling and how these crystallize character and drama. Character is revealed when a difficult decision has to be made. The action or inaction of the character will tell us a huge amount and move us forward dramatically.

In the workshop for Talent Scriptwriters, Olivia Hetreed, screenwriter, with Kate Leys, story editor, will look at some sample scenes from the work of young scriptwriters and from current films and discuss how to make those crux moments powerful and how to ensure the consequences are felt in the drama.

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 best-selling novel and wrote the screenplay for Wuthering Heights, directed by Andrea Arnold. Non-film work includes the awardwinning 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.

The Digital Future is Here: The Changing Reality of Making Motion Pictures

Video Conference with the Academy of Motion Picture Arts and Sciences 18:00// School of Economics and Business, e-Net Center New technologies are coming on line at an ever increasing pace – new cameras, editing systems, lighting packages, sound mixing options - creating a climate of rapid changes on set and in post-production. Longtime filmmakers are learning new skills and adapting traditional techniques in order to design, shoot and release their films, while figuring out what these changes mean for planning, budgeting and the collaboration between departments. And younger filmmakers just starting out still need to understand fundamentals of story structure and how to work with actors, even as low cost technologies allow their films to look more polished and professional than ever.

Join four members of the Academy of Motion Picture Arts and Sciences via video conference from New York City, as they share their current challenges and the opportunities provided by these new technological realities, for both major studio and independent productions.

Panelists will be: Celine Rattray - Producer Maven Pictures THE KIDS ARE ALRIGHT (2010, Academy Award nominee), THE WHISTELBLOWER (2010), NEW YORK, I LOVE YOU (2008).

Suzana Peric - Music Editor Sarajevo Talent Campus #6

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MARGIN CALL (2011), RACHEL GETTING MARRIED (2008), THE PIANIST (2002), THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (2001), THE SILENCE OF THE LAMBS (1991).

Kristi Zea - Production Design, Producer REVOLUTIONARY ROAD (2008, Academy Award nominee, Art Direction), AS GODO AS IT GETS (1997, Academy Award Nominee, Best Picture), THE DEPARTED (2006), 6,000 of the top filmmakers in the world, representing 15 different professional fields, have been elected to membership in the Academy. In addition to the annual Oscar presentation, the Academy produces year round film programs and other educational activities, working to share their knowledge with the public, film students and film professionals around the globe.

Recommended Screening – Competition Programme, Closed Screening 21:00 // Multiplex Cinema City 3 THE WOMAN WHO BRUSHED OFF HER TEARS, Director: Teona Strugar Mitevska

Recommended Screening – All Shorts 23:15 // Meeting Point Cinema CARTE BLANCHE – DIRECTOR’S FORTNIGHT

Tuesday, 10 July Your Short Your Future: Market Your Film, Determine Your Future (D,P)

Workshop for Directors and Producers by Sydney Levine and Peter Belsito 10:15 // ASU – Open Stage Scouts in the film business are always on the hunt for new talent which arises from the young filmmakers, who begin their careers with shorts.

Short film 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.

Short film has more to do with filmmakers than a showcase. It determines where, how and why they want to go with their careers. Short film is a mark of a young author, which heralds the style he/she is about to develop in future. Short film is a ticket to future. It is important that it is seen by the right people in the market place and in private meetings and events sessions where authors are pitching their next projects.

Often young authors do not know how to use their work to promote themselves and find their niche market. It is not sufficient to make a good film. It is important to know what to do with it, which event may offer the most to that particular piece, considering style, category or idea, not only in terms of market for the film, but the future of the filmmaker’s career.

As a follow-up to the previous session, Sydney and Peter will do a case study with Directors and Producers using the shorts of the participants. They will show a couple of shorts and discuss where the authors should take them and why, as well as how they can promote their work and put themselves on the market using their shorts as tickets.

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The End and Beyond: Your Story and Possible Futures

A session led by Kate Leys, story editor, with Olivia Hetreed, screenwriter 10:15 // ASU – 3c ‘There are only two really important things in a story: the beginning and the ending. And the beginning isn’t really that important’ (Walter Murch) In line with this year’s theme of the Campus “Cinema and Possible Futures”, designed to explore where the journey of filmmaking could take an artist, Kate Leys, story editor, with Olivia Hetreed, screenwriter, will hold workshop for Talent Scriptwriters The End and Beyond: Your Story and Possible Futures Everybody should bring to this session a note of the beginning and the end of a story (one sentence each), because the session will address in direct, practical ways, the development of possible futures of a story by examining: what the end of a story is, where the story is going, what a character has at the end of the film that they did not have at the start, how the character is changed by the story, what else might happen, how else the story might end, what drives the story forwards, what happens to the character after the film is over, how/why is inevitability important in storytelling and what audience can see about the future of the story.

Kate Leys is a feature film script editor who works on projects at all stages of development for producers and directly with filmmakers. 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 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.

Presentation of the Project Sarajevo City of Film

By Ivana Pekušić, Alex Traila and Jovan Marjanović 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 “Cinema and Possible Futures” 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 to express their vision by creating a new future.

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 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 Alex Traila, Development Producer, and Jovan Marjanović, Head of Industry and Producer, will share their experience related to work on short films with special emphasis on how to select and develop a good story for short micro-budget film.

Close-Up and Personal (II)

Workshop for Talent Actors by Leon Lučev 12:15 // ASU – 3b Sarajevo Talent Campus #6

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One to One Meetings (D, P, S)

German Producers Meet Talents And Their Projects 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 2013 Co-Production Prize of the Robert Bosch Stiftung.

The German producers are: Carsten Böhnke, Katharina Eckert, Jelena Goldbach, Tilman Kolb, Ulla Lehmann, Stefanie Nowak, Luis Singer, Su-Jin Song, Julia Wagner, Niklas Warnecke Experts for the Speed Dating and the One to One Meetings are: Karin Angela Schyle, Co-Production Prize of the Robert Bosch Stiftung; Andrea Wink, goEast-Film Festival

Screening of the Co-Production Prize Winner Films (Robert Bosch Stiftung) •

Presented by Frank Albers 17:00 // ASU – Open Stage Every year the Robert Bosch Stiftung issues three Co-Production 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: FATHER Co-Production Prize winner 2010

Animation, 16’30” Bulgaria / Croatia / Germany / 2012 Directors: Moritz Mayerhofer, Asparuh Petrov, Veljko Popović, Rositsa Raleva, Dim Yagodin Producers: Maria Stanisheva, Vanja Andrijevic, Christian Müller

When did you last talk with your father? Will you ever ask him about those things that hurt you?

In FATHER the reality of life is turned upside down to create an impossible dialogue - the dialogue between a child and a father that never happens.

PEPSI Co-Production Prize winner 2011

Short Feature, Work in progress 7 Min Germany / Rumania Director: Peter Kerek Producer: Alexander Wadouh , Anca Puiu

In the ‘80s, Romania sold to the Federal Republic of Germany its citizens of German ethnicity for 8.000 DM per person. At that time, a bottle of Pepsi was any child’s dream in Romania. Together with his mother is Istvan, 9 years old, making an unexpected visit at the “Securitate” officer in charge of their emigration to Germany. While his mother is trying desperately to get the passports from the officer, Istvan finds three bottles of Pepsi in the officer`s fridge.

ROMA RALLY Co-Production Prize winner 2011 Documentary, work in progress 10 Min Germany/Hungary Director: Gabor Hörcher Producer: Marieke Bittner, Marcell Iványi

Two gypsy boys are trying to fulfill their childhood dream by competing in the local village rally with their only treasure: a thirty year old, rusty and wheelless BMW. While one of them struggles with the law due to petty thefts, the other one, even though being almost blind, decides to be the navigator.

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Recommended Screening – Special Screening 21:00 // Cinema City 3 SCHINDLER’S LIST, Director: Stephen Spielberg

Wednesday, 11 July In Conversation with Branko Lustig •

Moderated by Nebojša Jovanović 10:15 // ASU – Open Stage Branko Lustig’s life story begs for an opulent and meandering biography. Although he has been working as a film producer for more than fifty years now, the cinema lights did not always illuminate his life. Born in 1932 in the city of Osjek (Kingdom of Yugoslavia, today’s Croatia) in a Jewish family, Lustig’s childhood was eclipsed by two years of imprisonment in the Nazi concentration camps Auschwitz and Bergen-Belsen, while the most of his family perished in the death camps throughout Europe. Traumatic experience of Holocaust could not but leave deep imprints on Lustig, who will return to the topic of the World War II and Shoah throughout his career.

In 1955 he started to work as assistant director in Zagreb-based Jadran Film, one of the two biggest production companies in the socialist Yugoslavia. He was crew director in the 1956 DON’T TURN AROUND MY SON (NE OKREĆI SE SINE), a film destined to enter the canon of the best Yugoslav film. Another major Yugoslav film where he participated – as unit manager and actor – was WWII epic KOZARA (1962), directed by Veljko Bulajić. Lustig also worked in a number of co-productions that were shot in Yugoslavia from the 1960s to 1980s.

He moved to the United States of America in 1988 and quickly became rather disillusioned by the ways in which the market shaped cinema. After doing low budget Sci-Fi thriller WEDLOCK and a couple of TV productions, in 1992 Lustig engaged in production of what would be the most notable Hollywood take on Holocaust, Steven Spilberg’s SCHINDLER’S LIST, which brought him the first Oscar. Four years later, he produced Mimi Leder’s action hit THE PEACEMAKER, and entered the 21st century with another Oscar – this time for Ridley Scott blockbuster GLADIATOR. This success marked the beginning of a collaboration that encompassed the most prolific and commercially most successful period of Ridley Scott’s career: after producing GLADIATOR, Lustig was executive producer and production manager of HANIBAL (2001), BLACK HAWK DOWN (2001), KINGDOM OF HEAVEN (2005), A GOOD YEAR (2006) and AMERICAN GANGSTER (2007). After his “ break-up” with Scott, Lustig participated in establishing an independent production company Six Point Films.

Lustig will address talents on the occasion of the Human Rights Day as a person who managed to rise above tragedy that befell him early in life and rise into the stardom.

Discussing the Present, Shaping the Future •

An Encounter with Eyal Sivan, moderated by Rada Šešić 11:15 // ASU – Open Stage On the 11th of July 2012, a special edition of Human Rights Day Program within the Sarajevo Film Festival will be dedicated to the remembering of Srebrenica tragedy. Prominent authors from the “ever burning” Southeast Europe and filmmakers from around the world will significantly contribute to the commemoration of this important date. Using the film as a medium, its immense possibility to bring different cultures and backgrounds together, the Festival would like to bring important individual and collective stories about Sarajevo Talent Campus #6

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today’s societies to the wider audience. The Festival is planning a whole-day program dedicated to human rights, which would include different activities - screenings, panels and exhibitions.

Accordingly, Sarajevo Talent Campus plans to organize a discussion on the 11th of July and host a guest involved in socially engaged art. The intention is not to address just one failure of humanity in history, but to raise the issue of human rights delivered through the art of filmmaking. The theme of this year’s edition of Sarajevo Talent Campus is Cinema and Possible Futures. Painfully aware that in order to discuss future, it is important to deal with past, we invited Eyal Sivan, the artist who use his work to point out significant human rights topics, but in a such way as to convey the absurdity of suffering and human strength to rise above tragedy.

Eyal Sivan, Paris based filmmaker, scholar and theoretician, has been living between Europe and Israel since 1985. He is Reader (Associate Professor) in Media Production at the School of Arts and Digital Industries at the University of East London (UEL) Known for his controversial films, Sivan directed more than ten feature-length critically acclaimed and internationally awarded political documentaries, and produced many others. Sivan publishes and lectures on the Israeli-Palestinian conflict, documentary filmmaking and ethics, political crimes and representation, political use of memory, genocide and representation, etc. He’s the founder and Chief Editor of South Cinema Notebooks - a journal of cinema and political critic edited by the Sapir academic college in Israel where he lectures regularly. Sivan has directed over ten full-length political documentaries and produced many others, for which he received a number of prestigious awards.

His films include: Commun State, potential conversation [1] (2012), Jaffa the orange’s clockwork (2009) Citizens K (2007) I Love You All (2004) Route 181, Fragments of a Journey in Palestine-Israel (2003) The Specialist (1999), Itsembatsemba, Rwanda one genocide later (1996), Izkor-Slaves of Memory 1990).

En encounter with Eyal Sivan will be moderated by Rada Šešić, Programmer of Competition Programme – Documentary Film

Closer and More Personal

Workshop by Leon Lučev for Actors and Directors 12:15 // ASU – Open Stage After the workshop with actors, Leon will move on by combining actors and directors. The participants will explore how a director conveys an instruction and how an actor perceives it, as well as what a director can do to set an actor in motion.

Visionary Worlds of Past and Present (S,FC)

The Analysis of ‘The Artist’ (2011) and ‘2001 Space Odyssey’ (1968) by Licia Eminenti 12:15 // ASU – 3b Cinema has an extraordinary capacity to reflect on surrounding and human condition, reconstruct past and outline future. Technological and social changes inevitably affect film as a form and the directions of its evolvement, but at the same time, the response to those changes expands reality by showing the needs and the atmosphere of the world and time we live in.

In the session “Visionary Worlds of Past and Future”, Licia Eminenti, script analyst and filmmaker, will illustrate the response of film to time by comparing 2001 A Space Odyssey (1968) by Stanley Kubrick, as the film from the past which explored the possibilities of future and The Artist (2011) by Michel Hazanavicius, the film which paid a visit to the past of cinema in spite of the possibilities of the present day.

On one hand, 2001 A Space Odyssey, the film that largely influenced culture and technology, is hopeful and optimistic about humankind potential for future revolving around the exploration of the unknown, human evolution and technology, among everything else. On the other hand, The Artist, the film which received acclaim from critics and won many accolades in the course of the last year, is homage to silent era and a tribute to classical Hollywood. It evokes glamour and strangeness, touches on the question whether the art of cinema was purer when it was silent.

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While the first one uses minimal dialogue, sound in place of narrative and reaches into imagery to speculate about meaning, the other one has no dialogue, no sound design, and gives eulogy for monochrome and silence, with the exception of the lead character’s dream sequence, shaped by the horror of sound.

In the film analysis, Licia Eminenti will discuss sound and music as means to sculpt past and future, to cross borders of space and time and interrogate the sound in cinema as a mean to pierce the image.

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 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

Project Consulting and Pitching Training by Gabriele Brunnenmeyer and Selina Ukwuoma 12:15 // ASU – 3c 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 SelinaUkwuoma, 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.

Selina Ukwuoma is a freelance script editor and consultant with experience as a development executive for EON Screenwriters’ Workshop and for Cuba Pictures - the production arm of Curtis Brown. She has worked with emerging and established writers alike on a diverse range of film and television projects at all budget levels and stages of development. Among these, BOY A (Cuba Pictures’ first screen production) was broadcast to great critical acclaim, winning four BAFTAs in 2008.

Selina also works as a visiting lecturer in screenwriting at the National Film and Television School, the University of Westminster, and at the London Film School and has, since 2008, been a mentor at the Berlin International Film Festival Talent Campus, working each year with exciting new writers from around the world.

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

Intro into the Short Film Industry by Vanja Kaluđerčić Attending: Peter Van Hoof, Carsten Spicher and Laurence Reymond 15:00 // ASU – Open Stage At the 6th 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 introSarajevo Talent Campus #6

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duce 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.

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, New Currents Shorts Programmer, ‘Short Film as a Form of Expression – Intro into the Short Film Industry’.

During the session, in the presence of her guests: Peter Van Hoof, Head and Programmer of Short Film Section of the International Film Festival Rotterdam, Carsten Spicher, Head of Archive of International Short Film Festival Oberhausen and Laurence Reymond, the member of the Selection Committee of Director’s Fortnight, 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.

Recommended Screening – Closed Screening 21:00 // Multiplex Cinema City 3 ROOM 514, Director: Sharon Bar Ziv

Recommended Screening – Kinoscope 21:00 // Open Air Cinema Vatrogasac LAND OF OBLIVION, Director: Michale Boganim

Thursday, 12 July Berlinale Talent Campus # 11 Breakfast •

With Matthijs Wouter Knol 9:00 // 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 fellowfilmmakers to collaborate with and to discuss new trends and developments in contemporary cinema and media.

Where Sarajevo started, Berlin could continue: the Campus programme, 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 Makajević, 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.

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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? Matthijs Wouter Knol, Program Manager who is representing the Berlinale Talent Campus in Sarajevo, 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 have a look at www.berlinale-talentcampus.de.

Small Budget, Big Screen (D, P)

Case Study of ‘Room 514’ by Katriel Schory with Sharon Bar-Ziv 10:15 // ASU – Open Stage The theme of this year’s edition of the Campus, “Cinema and Possible Futures”, has been thought out to explore how social and technological changes affect film and what possibilities these changes carry with them. The surge of novelties brings various possibilities, but for the majority of filmmakers there is one restriction that remains – finding funds to budget a venture.

In the workshop for Talent Producers “Small Budget, Big Screen”, Katriel Schory, experienced and established producer will show how, in times of budget cuts, micro budget film production may be an answer and a possible way to bring a story to the screen.

Katriel will present a potential solution by introducing the success of Israeli films produced in the microbudgeting “guerilla” section – with up to 100,000 Euros. In order to illustrate how future of production might lay in micro-budget films, he will do a case study of the film Room 514 in the presence of Sharon Bar-Ziv, director/screenwriter/producer.

The film Room 514, inspired by real events, represents a microcosm of the Israeli society and shows the duality of the core values and beliefs of an average Israeli citizen. The story revolves around a young interrogator of Russian origin, who operates in a typical masculine military environment and undergoes a complex and intriguing internal journey.

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.

Sharon Bar-Ziv is screenwriter, director and producer. He completed cinema studies at the Tel-Aviv University. In the 90’s he acted in films and TV series and later worked as a screenwriter and copywriter. Room 514 is his first feature film, which he has written as well as directed.

Coaching Session on Film Criticism

Meeting with Dan Fainaru 10:15 // ASU - backstage Film Critics will meet with their mentor Dan Fainaru to discuss the texts they have been working on, to receive practical advice and professional opinion from an experienced film critic as well as the opinion from their peers.

Hopefully, this kind of lively discussion will result in some good texts that will be published in the Festival Daily on the last day of the Festival.

Dan Fainaru was founder and co-editor of the only film magazine in the country, “Cinematheque” started Sarajevo Talent Campus #6

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in 1982 and running strong. In the past, he reviewed films for Variety (1979-91) and later for Moving Pictures. Currently, he is regularly reviewing for Screen International. He is Israeli correspondent of The International Film Guide, and contributor on Israeli cinema for the Hebrew Encyclopedia, Encyclopedia Judaica and the Larousse du Cinema.

He taught History of Cinema at the Ramat Gan Film Academy (1972-79) and was director of the Israeli Film Institute (1979-81), chairman of the Israeli Film Critics Association (1976-86) and vice-president of the International Federation of Film Critics (FIPRESCI) as of 1991 (since 1999, honorary vice president). Dan was editor in chief of the European Film Reviews (1995-8) jointly published by the monthly trade paper Moving Pictures and FIPRESCI, as well as Presided Critics’ Juries in all leading film festivals around the world.

Intensive Story Coaching: Working Towards Better Script

Workshop for Talent Scriptwriters with Licia Eminenti, Izeta Građević, Lucile Hadžihalilović, Olivia Hetreed and Kate Leys 10:15 // ASU - 3a 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 Građevic, 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 Noe, Jean-Michel Roux, Guillaume Breaud and Atlante Kovaite Her feature film Innocence (2004) was awarded at several festivals.

STC PACK&PITCH

Pitching Training by Gabriele Brunnenmeyer and Selina Ukwuoma 10:15 // ASU - 3c

Film Critics Discovering New Talents (D, FC)

Lecture by Remi Bonhomme, La Semaine de la Critique 12:15 // ASU – Open Stage Parallel section of the Cannes Film Festival, La Semaine de la Critique has steadfastly remained true to its tradition of discovering new talents. Ever since it was conceived by the French Union of Film Critics in 1962, the objective of la Semaine de la Critique has been to showcase short films as well as first and second feature films by directors from all over the world. A reflection of a mix of demand and curiosity, which distinguished film critic, La Semaine de la Critique intends to explore and reveal the new creation.

Chris Marker, Bernardo Bertolucci, Jean Eustache,Philippe Garel, Barbet Schroeder, Ken Loach, Leos Carax, Amos Gitai, Wong Kar Wai, Arnaud Desplechin, Guillermo del Toro, Jacques Audiard, Alejandro Gonzalez Iñarritu, François Ozon or Gaspar Noé all started at La Semaine de la Critique.

Going through 50 years of history of La Semaine de la Critique, the session proposes to explore the significance of film criticism in the discovery and support of young talents.

Rémi BONHOMME has collaborated with Cannes’ La Semaine de la Critique since 2003 and was appointed Program Manager in 2008. Based between Paris and Beirut, Rémi is also programmer at the Metropolis Art Cinema in Beirut, cofounder of the company MC Distribution (Lebanon) and since 2011 consultant programmer for the Doha Tribeca Film Festival (Qatar). He was associate producer on the Lebanese feature film Every Day is a Holiday by Dima El-Horr, which premiered at Toronto Festival in 2009.

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Extraordinary Co-Production •

Case Study of Children of Sarajevo by Aida Begić and Francois D’Artemare Moderated by Sonja Heinen 12:15 // Hotel Europe – Conference Hall 1 CHILDREN OF SARAJEVO, Begić’s latest film had its premiere screening at the Cannes’ Un Certain Regard 2012 selection. Begić is once again focused on a young female character dealing with the war heritage and post-socialist transition, which left the broadest strata without security and right to stable existence. Rahima is a twenty-three years old girl who is forced by the life circumstances to make decisions characteristic for much older persons somewhere else. Without her parents, who were killed during the war, she lives in the transitional Sarajevo during the 2000s together with her teenage brother who falls into the world of petty criminals. Besides struggling for their existence by working as the kitchen-made in the restaurant, and double shifts, Rahima is also a parent figure for her brother, whom she has to pull away from the sideway, at which she herself strayed as the adolescent. Sarajevo is depicted as a cruel transitional jungle in which only the most unscrupulous survive. However, Rahima’s decisions and actions show us that social Darwinism is not the destiny. In Cannes, the film won the SPECIAL DISTINCTION OF THE JURY, and gained critics’ acclaim which announce a successful festival life and guaranteed distribution in the art house niche.

This year’s Sarajevo Film Festival will be opened by the screening of this film.

In the session moderated by Sonja Heinen, Aida Begić and an international producer will offer in depth insight into the co-production history of this co-production between Bosnia and Herzegovina, France and Germany. They will show how the project was structured and how different financing mechanisms were merged. The attention will be paid specifically on how the French co-production contributed to the whole in light of the French participation in Cinelink 2012 in the capacity of partner country to the Festival.

Aida Begić graduated directing at the Academy of Performing Arts in Sarajevo in 2000. Her first short film, diploma work FIRST DEATH EXPERIENCE is a story about a man without the past trying to build up his future. The film was screened within the official Cinefondation selection in Cannes in 2001. In her second short film NORTH WENT MAD (2003) death ceases being metaphorical. Girl named Selma is killed by her violent boyfriend after because of her he was late for an important international match of his favorite football team.

Together with her colleague, producer Elma Tataragić, in 2004 Begić established an independent production company, Mama Film, and began realization of her thus far most ambitious film SNOW. This film won the Grand Prix at the Cannes’ Semaine de la Critique 2004 and was screened at more than seventy festivals.

In 2011 Aida Begić took part in DON’T FORGET ME ISTANBUL, one of the omnibuses about the world’s metropolises, such as 2006 PARIS, JE T’AIME (2006) and NEW YORK, I LOVE YOU (2009).

In 2001, François D’Artemare established Les Films de l’Après-Midi in Paris and has coproduced films from all over the world, including Snow by Aida Begić (Grand Prix Semaine de la Critique in Cannes in 2008) and The Hero by ZezeGamboa (World Cinema Dramatic Jury Prize at Sundance FF in 2005). Recently he coproduced short film Rafa by JoãoSalaviza (Golden Bear for Best Short Film at the Berlin International Film Festival in 2012) and feature film Children of Sarajevo by Aida Begic (Un Certain Regard Special Distinction in Cannes in 2012).

Sonja Heinen is Head of the Berlinale Co-Production Market. She started her career in film business in 1991 at Filmstiftung NRW in Duesseldorf. Until 2001 she was responsible for international contacts as Assistant to Executive Director Dieter Kosslick. Since 2003, she works at the Berlin International Film Festival, as Head of the Berlinale Co-Production Market and additionally, since 2004, as Manager of the World Cinema Fund. As the Fund Manager she has been the driving force behind the international co-productions of films and the funding of films from developing countries.

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From Short to Fea(u)ture •

Meet New Currents and Kinoscope Filmmakers: Joao Salaviza, Christoph Schwarz and Axel Petersén Moderated by Vanja Kaluđerčić 15:15 // 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 name only a few.

This year, Sarajevo Film Festival proudly introduced Kinoscope, a new programme at Sarajevo Film Festival consisting of 16 international features and two films in special screenings. Kinoscope took on a mandate to bring in titles from all around the world outside the southeastern Europe region that composes competition.

What both of these programs share is the selection of films which dare to be different and push the boundaries of the medium in inspiring ways. During the session “Transition from Short to Feature”, continuing to explore unconventional and daring film, in conversation with Joao Salaviza and Christoph Schwarz, filmmakers whose films will be shown in this year’s New Currents Shorts Program of the Sarajevo Film Festival, and Axel Petersén, whose first feature film Avalon will be shown in Kinoscope we will learn about their beginning as filmmakers, experiences and challenges in the transition from short to feature, using the examples of their films shown at the Festival. Documentary short Supercargo by Christoph Schwarz tells the story of a man who filmed his solitary journey on a freight ship from Europe to China that was on autopilot, and who began to film his journey to feel less alone.

Rafa, which won Salaviza the Golden Bear for Best Short Film at the 62nd Berlin International Film Festival, deals with a 13 years old kid concerned with his mother, held in a police station for driving without a license.The director shows a day in the life of a teenager who lives on a problematic area and discovers that her mother was arrested because of an automobile accident. Peterson’s first feature Avalon is a story about a night club which is planned to be opened by the film characters. The action takes place in a town of Bastad which the director associates with his childhood and trips that he went on with his family. Members of his closest family have been engaged into the production as actors.

Coaching Session on Film Criticism Meeting with Dan Fainaru 15:00 // ASU - backstage

“Leaving Sarajevo”

Actors Workshop with Nancy Bishop 15:15 // ASU - 3b Nancy Bishop has been retained as casting director by dozens of major feature film and television producers and directors, including George Lucas, (Red Tails), Joel Schumacher (Bad Company) and Roman Polanski (Oliver). She also was nominated for an Emmy Award for her casting work on Anne Frank: The Whole Story, ABC/Disney Studios. Her most recent credits include Mission Impossible IV, and ABC’s Missing. She is currently casting American feature film, Metro Dog, and European feature film Suspension of Mercy.

Nancy is author of Methuen Drama’s best seller, Secrets from the Casting Couch, the first book written from a casting director’s perspective. In addition to casting, Nancy continues to guest lecture internationally, offering on-camera master classes and seminars to develop an actor’s on-camera skills and career marketing. In 2009 she founded the Acting for Film Program, the Prague Film School, which offers an intensive, conservatory style training (half year or full year) program for actors in English.

In the workshop for actors, Nancy will use her proven film acting techniques to guide actors in on camera acting skills. Actors will work on scenes from the in-progress script, Leaving Sarajevo, written by Claudio Feah. Leaving Sarajevo is based on the true love story between a Bosnian, Admira Ismic, and Serb Bosko Boskic, during the Balkan war.

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Online Film Promotion and Distribution (D,P)

DAAZO Presentation 17:00 // Festival Squre Terrace The founders of Daazo.com (Zoltán Aprily and Dániel Deák) have great experience in online film promotion: their short film sharing website was launched in 2006. Daazo.com has been supported by the Media Programme of the European Union since 2009. Zoltán and Dániel have a successful sales and social media activity as well. In their souls, however, they are still filmmakers, who are able to understand the point of view of a director. Dániel and Zoltán are regular guests at prestigious film festivals: they held a workshop at the Short Film Corner of the Cannes International Film Festival in May. They are the founders and editorsin-chief of Daazo’s World of Shorts Magazine.

The lecture is about the life of your short film after you’ve pushed the export button in your editing software. Festivals, distributors, sales agencies, online platforms - how to find the right ones, and how to handle them? How to define your main objectives and outcomes of your film? To sell or not to sell? Dániel and Zoltan will guide you step by step through the how-to of making an international career.

Balkan Actors for International Productions •

Panel with Nancy Bishop and a Group of Regional Actors 18:00 // Hotel Europe - Mezzanine Hall Balkan actors for International Productions The panel composed of actors and casting directors will discuss the success of regional actors in international productions focusing on why Balkan actors have been cast so often on these large scale productions recently; what qualities Balkan actors have that make them interesting to casters; how Balkan actors can improve their profiles and pursue work on the international scene.

The list of participants includes Nancy Bishop, casting director (casted Balkan actors for projects: „Mission Impossible: Ghost Protocol“, „Philantropist“, „Missing“ and „Snowpiercer“), Anila Gajević, agent and owner of Talent Agency „Zona“ (represents actors from Balkan region, founder of first casting/talent agency in Bosnia and Herzegovina), Miraj Grbić, actor from Bosnia and Herzegovina (Mission Impossible: Ghost Protocol), Goran Navojec, actor from Croatia, (Mission Impossible: Ghost Protocol), Feđa Štukan, actor from Bosnia and Herzegovina (Missing), Adnan Hasković, actor from Bosnia and Herzegovina (Snowpiercer), Nikolina Jelisavac, actress from Bosnia Herzegovina (Philantropist) and Visar Vishka, actor from Macedona (Philantropist).

Recommended Screening – Competition Programme 20:00 // Nathional Theatre VOICE OF MY FATHER, Director: Orhan Eskiköy and Zeynel Doğan

Recommended Screening – Competition Programme – Documentary Film 20:30 // Multiplex Cinema City SOFIA’S LAST AMBULANCE, Director: Ilian Metev

Recommended Screening – Kinoscope 21:00 // Open Air Cinema Vatrogasac AVALON, Director: Axel Petersen

Recommended Screening – New Currents Short 23:15 // Meeting Point Cinema NEW CURRENTS SHORT 2 Sarajevo Talent Campus #6

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Friday, July 13 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.

Reality and Possible Futures

Case Study of Sofia’s Last Ambulance by Ilian Metev 10:00 // ASU – Open Stage Sofia’s Last Ambulance, a documentary by Ilian Metev about Bulgaria’s capital and staff as its ambulance is struggling to keep up with their workload captures reality as only a documentary film can and offers solely observational approach without interviews or voice-over. The film follows lives and professional activities of three protagonists: a doctor, a paramedic and an ambulance driver. The film had its premiere in Cannes, where documentary films are occasionally selected and it landed the Critic’s Week Visionary Award. At this year’s Sarajevo Film Festival Sofia’s Last Ambulance is shown in Documentary Competition Program, while last year it was one of the five project of the first edition of Sarajevo Film Festival’s Rough Cut Boutique, the workshop that puts together filmmakers of promising projects at rough cut stage with the top documentary experts from Europe to work together during intensive sessions.

At Sarajevo Talent Campus, in a session for talent directors “Reality and Possible Futures”, Ilian will hold do a case study of the film and talk about the making of Sofia’s Last Ambulance and what methods he used to convey his vision of documentary filmmaking.

Ilian was born in Bulgaria in 1981. As a teenager in Germany, he pursued a career as a violinist and has performed on German classical radio. After studying Fine Art at Central Saint Martins, London, where he experimented with 16mm film, he completed his training at the UK National Film and Television School in 2008. Since then, he is obsessed with finding new challenges using the medium of film and pushing film language. Ilian has directed, photographed and co-produced Goleshovo and Sofia’s Last Ambulance.

Coaching Session on Film Criticism Meeting With Dan Fainaru 10:15 // ASU - backstage

Intensive Story Coaching: Working Towards Better Script

Workshop for Talent Scriptwriters with Licia Eminenti, Izeta Građević, Lucile Hadžihalilović, Olivia Hetreed and Kate Leys 10:15 // ASU - 3a

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ACE INTERVIEW WITH ČEDOMIR KOLAR •

Moderated by Amra Bakšić Čamo 10:30 // Hotel Europe – Conference Hall 1 In the organization of ACE, Čedomir Kolar will give an interview to Amra Bakšić Čamo. Čedomir Kolar is producer whose credits include many acclaimed co-productions such as Manchevski’s Before the Rain (Academy Award nomination in 1995) and Tanovic’s No Man’s Land (Academy Award in 2002). In 2003, he co-founded the Paris-based production entity A.S.A.P. Films, together with his fellow producer Marc Baschet and director DanisTanovic. A.S.A.P. Films produced Tanovic’s Hell (2005), Hänsel’s Sounds of Sand (2006), Tanovic’s Triage (2008), Fliegauf’s Womb (2010), Abdykalykov’s The Light Thief (2010), Tanovic’s Circus Columbia (2010), Hänsel’s Black Ocean (2010). He was elected onto the EFA Board in 2004.

Amra Bakšić-Čamo is the founder and director of the independent production company “Pro.ba” in Sarajevo. She is best known for her work as producer and co-producer on films Snow (2008), Storm (2009), Slovenian Girl (2009), and Circus Columbia (2010). She also works as manager of “CineLink” project at Sarajevo Film Festival and chairperson of the Association of Film Workers of Bosnia and Herzegovina.

STC PACK&PITCH – Pitching Session •

Moderated by Gabriele Brunnenmeyer 12:00 // Hotel Europe – Conference Hall 1 Upon successful completion of the training, talents will get an opportunity for a pitch, assisted by the pitching trainer 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.

COFFEE WITH COSMINA STRATAN AND CRISTINA FLUTUR 15:00 // Festival Square Terrace Talent Actors are invited to the Festival Square Terrace to attend the conversation with two Romanian actresses awarded in Cannes for their debut roles In Cristian Mungiu’s “Beyond the Hills”. The conversation will be moderated by Bosnian actor Ermin Bravo.

Cosmina Stratan was born in 1984 in Iasi and studied journalism in the northern Romanian city, which is also the birthplace of Cristian Mungiu, before going to acting school in Bucharest. She played in several shorts during her studies and wrote for the same newspaper as Mungiu before his film career took off.

“Beyond the Hills” is her first feature film role.

Cristina Flutur, born in 1978, is another native of Iasi and studied languages in the city’s university before going on to acting school. Upon graduation in 2004 she was taken on by national theatre in Sibiu, where she currently works. “Beyond the Hills” is also her first feature film role.

Cristian Mungiu’s Beyond the Hills is based on a horrific 2005 case in which a young woman died after an Orthodox Church session in a remote monastery of eastern Romania to rid her of purported demons.

Beyond the Hills also looks at two young women bound by an intimate friendship who try to navigate in a hostile world with each other’s support. Flutur plays Alina, who grows up with her best friend Voichita, played by Stratan, in the notoriously grim orphanages set up by dictator Nicolae Ceausescu. The picture charts the diverging paths of the two women as young adults, with Voichita choosing God and becoming a nun while Alina seeks a fresh start in Germany. Cristian Mungiu delivers a captivating tragi-comedy of sexual hysteria and material want that is both mysterious and enthralling.

At Cannes 2012, Cristian Mungiu took best Screenplay while Beyond the Hills leads Cosmina Stratan and Cristina Flutur tied for Best Leading Actress.

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Todd Solondz - Carrer Interview

Moderated by Mike Goodridge 16:35 // Cinema Meeting Point Every year Sarajevo Film Festival hosts a prominent artist and presents his/her retrospective attracting great attention of both the audiences and the media in the scope of the Tribute to Programme. This year, tribute is paid to Todd Solondz, who will meet Sarajevo Film Festival audience for a “career interview” following the last screening.

With his seven films, Todd Solondz (1959, Newark, New Jersey) is unquestionably a film master of nonglamorous and neurotic American suburbia. Already his short films, he made as a student at NYU Film School, brought him three-picture deal with Twentieth-Century Fox. However, his experience with the first film FEAR, ANXIETY, AND DEPRESSION (1989) was unfortunate in such a degree that he gave up directing for some time, during which he, among other things, thought immigrants in New York English language.

His real break-through was WELCOME TO THE DOLLHOUSE (1995), a gentle off-beat comedy about growing pains of an obscure suburban teenage girl Dawn Wiener. Film had much of what his next realizations will confirm as the characteristics of Solondz’s poetics: protagonists are ordinary and non-attractive people faced both with their own limits and shortcomings as well as with the non-favorable surrounding; the story takes place in the New Jersey’s suburbia (Solondz’s home neighborhood), and is told with a combination of sadness and wittiness whose deadpan formula after all these years remains Solondz’s secret. This film won the Grand Jury Prize at the Sundance Film Festival, and was awarded at the Berlin International Film Festival as well.

HAPPINESS (1998) righteously extended Solondz’s reputation among critics: remaining in the same universe of the East Coast suburbia, the film brought a new stage in grading the trauma of contemporary American middle class family, among which arguably the most supreme one – pedophilia – found its place.

Solondz remained faithful to the register of deadpan comedy. However, this film won the International Critics Prize at the Cannes International Film Festival and was nominated for a Golden Globe Award for Best Screenplay. Success of the film did not reflect only in awards and nominations it won, but in topics and approach he freed from the bottle. How much Hollywood mainstream profited from it shows the next year’s Oscar, at which the American Beauty triumphed, a failed, saccharine imitation of HAPPINESS which replaced the appeal to empathy with the self-remorse.

Maybe it was just such sugarcoating that gave spurs to Sondza to continue reaching socially neuralgic topics in his films, but also to start including certain formal experiments. STORYTELLING (2001) consists thus of two separate stories – ‘Fiction’ and ‘Non-Fiction’ – which explore the relation between truth and art, as well as the artist’s responsibility. This film is thus a peculiar Solondz’s consideration of the director’s proper position, who was after the DOLLHOUSE and especially after the HAPPINESS accused for stressing the freakiness of his heroes, as well as for exploitation of trauma and misery. More than the critics who ascribed him the cruelty, misanthropy, and unscrupulousness, Solondz was, perhaps, shocked by the critics who ascribed him the same characteristics but seeing in them – virtues. Therefore his paradoxical statement: “My movies are not for everybody, especially for people who like them”. Solondz rejects one more general thing about himself: that he dissects his characters in a heartless, clinical, coldly reasonable way.

Solondz rejects this statement as well, explaining that he is detached from the characters only in the extent in which it is necessary in order to write about them sincerely. “I admit there’s an element of brutality in all my work – it’s part of the truth about human existence I always want to explore – but the last thing I’m trying to do is put on some kind of freak show, inviting people to get off on the other people’s pain and humiliation.”

In PALINDROMES (2004), a story about a girl who, while searching for love, decides to become a mother, the most superficial critics wrongly recognized the exploitation of the underage pregnancy and abortion as one of the traumatic topics polarizing American public opinion. However, the majority analyzed it as a film which additionally extended and complicated/made intricate Solondz’s universe. This film is opened

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up with the homage to Dawn Wiener, the protagonist of the DOLLHOUSE, and her funeral, to focus later on Dawn’s relative Aviva, the protagonist of PALINDROMS. Solondz was intrigued by the fact that with the protagonist of the DOLLHOUSE identified persons who at the first sight not only did not look like the character in the film, but were also very different from each other. This gave him spurs for the key experiment in PALINDROMS: throughout the film Aviva is played by eight persons of different age, race, physical features, and even sex (in one moment she is played by a boy). PALINDROMS speaks thus about the complexity of relation between the audience and film characters, in which identification and sympathies appear beyond obvious similarities and positive norms. Beside this, a story about a child who leaves her home and wanders off to the unknown invokes itself a garner of a fairytale while interchange of several persons in the same role only contributed to the magical character of the setting up.

LIFE DURING WARTIME (2009) raised more than one critic’s eyebrow with its unprecedented concept. It was a “quasi-sequel” to HAPPINESS, which shows its characters dealing, ten years later, with the consequences of the events shown in the film. The concept, however, included one more experiment in casting: the Maplewood family is acted by entirely different actors, while some resembled their counterparts from HAPPINESS (e.g. Allison Janney in the role of Trish, originally played by Cynthia Stevenson), the others went through radical changes (e.g. the character of Allen played by Philip Seymor Hoffman was now played by the young Afro-American actor Michael Kenneth Williams). Beyond formal changes, the film dealt with forgiving and forgetting as the working out of trauma, definitive topics of the post 9/11 America. In the projection of national trauma to the micro-cosmos of a dispersed family there is also a political blade of the film, emphasized already in the title. Political subtext made possible some of Solondz’s eternal wits, such as: “Forgive and forget – it’s, like, freedom and democracy. In the end China will take over, and none of this will matter.”

Surely, Solondz is not the advocate of free will, choice, and pursuit for happiness. Even less, he stands for ideology that sky is the only limit when it comes to self-realization of a person, and that the will is all we need to achieve social success or accomplish the inner peace. Like another famous Jewish expert for humor, he rather thinks that a certain amount of everyday misfortune is the key ingredient of human existence. This, however, does not make him a nihilist. Limits and shortcomings, both our personal ones and the ones we are destined to with our context, are not necessarily a bad thing: they can also be creative, freeing and, undoubtedly, witty. That is way Solondz prefers laugher based on pessimism with a backing, to the one based on optimism without a backing.

Recommended Screening – Kinoscope Special 19:15 // Multiplex Cinema City 4 Burning Man, Director: Jonathan Teplitzky

Recommended Screening – Competition Programme 19:30 // Multiplex Cinema City 3 Children of Sarajevo, Director: Aida Begić

Recommended Screening - Open Air Programme 21:00 // !hej Open Air Cinema Cesar Must Die, Director: Paolo Taviani, Vittorio Taviani

Sarajevo Talent Campus Party 23:00 // Atrium Garden, School of Economics and Business

Sarajevo Talent Campus #6

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Saturday, 14 July Voices from the Past, Hope for the Future •

Conversation with Orhan Eskikoy and Zeynel Dogan, moderated by Nebojša Jovanović 10:15 // ASU – Open Stage On the last day of this year’s Campus and Festival, it is time to wrap up the theme “Cinema and Possible Future”. The theme has provided us with an excellent opportunity to explore how new generation of filmmakers deals with politically heavy subjects by telling their version of the country’s story in order to express how they see the future.

Talent Campus will host the directors of the film Voice of My Father shown in the Competition Program, Orhan Eskikoy and Zeynel Dogan who will give their perspective on the matter.

Mehmet and Gulizar are a young married couple living in Diyarbakir, in South-Eastern Turkey. While expecting their baby, they take care of Mehmet’s mother Basé, who lives alone in the family house in Eblistan, in a desolated village. While trying to persuade his mother to move in with them, Mehmet will realize that behind his mother’s refusal lies her obsession with her other son, Mehmet’s older brother Hasan, who joined Kurdish resistance movement after the Maras massacre in 1978, in which Turkish rightists killed hundreds of Kurds-Alevis. Neither Basé nor Mehmet have heard of him for decades, but while Mehmet was dedicated to building his own family, mother turned her whole life into awaiting Hasan’s return. It is enough to hear how mother calls him upon each sound she hears in the empty home – or is seems to her she hears – or upon a phone call (coming from Mehmet): it is not only a question of her wish for Hasan to return or to give her a call from the political exile, but of her expectance of the most elementary proof that her older son is alive. At the same time, Hasan is not the only family member being absent: his and Mehmet’s father, Basé’s husband, is dead now, but after the massacre he also had to leave Turkey as the economic emigrant, since as Alevi he could not find a job in the country. Being himself at the threshold of fatherhood, Mehmet learns to know his father throughout the film. He discovers and replays audio recording his father sent from the emigration with the reports from his hard work abroad, along with the messages to his sons.

VOICE OF MY FATHER uncoils before us as a remarkably multi-layered film about garnishing family history and national trauma. What would in the classical film form of a family saga require an epic structure which would follow hardships of a family throughout decades, the authors here offer through Mehmet’s intimate research of the remnants of the past. The past disfigures before us not as a unique historical narrative, but as an entire wreath of various social phenomena: dissolution of traditional nuclear family, political and military resistance, status of Kurds in Turkey, economic crisis, migrations outside of Turkey, but also migrations within the country, from village to town, derogation of village, generational clash. The film will no doubt have a greater resonance among those familiar with Turkish history: already the toponym of Diyarbakir sums up numerous associations of some of the most brutal episodes from Turkish political history (the disreputable prison there, destines of Armenians and Kurds). However, what gives this film a universal relevance is the resoluteness of the author that the main “document”, thought which Mehmet explores the past of his family and country, be audible one. Film is commonly considered a visual art, but VOICE OF MY FATHER is one of the films which sharply remind us how wrong this is, that is how much sound is integral to the film experience. The sound appears in the film in its two main forms. The first is the voice of Mehmet’s father through which Mehmet discovers the elements about family and national past he knew nothing about. However, father’s recordings are not only the exercise in the oral history: father’s voice does not only bring the descriptions of past events, but also transfers ideas, values, and norms. The voice is also a medium of language as a relevant element of both intimate and collective identity. What the father advices and prescribes seems even more obedient just because it is reduced to only the voice – it seems that in father’s voice there is the father’s essence itself, which would be disturbed, put into question by his

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corporal presence. This is where the central paradoxicality of the voice lies: except that it seems to us that there is nothing more elusive than him, at the same time we recognize that hardly anything could haunt us so persistently, even relentlessly. And yet, there is an equally elusive and haunting sound which authors use integrally in the film. That is the silence, which is of course never a mere absence of sound, but the sound for itself (the famous sound of silence). If the voice is at the side of father, the silence is than at the side of mother – the alternative title of the film could be Silence of my mother. However, the silence is in no way the negation of voice, just as the mother is not the negation of father: even beside their differences, they are included into the same project. In creating intimate, family, but also national history certain silences about particular topics by no means mean that the topics do not exist, or that there is nothing to say about them. Furthermore, such silences normally designate precisely the most traumatic and most important topics. One of the greatest virtues of the film is that these two sounds – voice and silence – put into dialectical relation in which the one is not there without the other. The complicity of the film is reinforced by the use of authentic documents, which moves the film to the borderline between a documentary and a feature film. The fact the son, Mehmet, and the mother, Basé, are played by Zeynel Dogan and his mother Basé Dogan, contribute to this. In this oscillation between fiction and documentary, VOICE OF MY FATHER reminds us of the previous project by the same film makers, the feature film ON THE WAY TO SCHOOL.

Exploring Past, Building Future •

Master class by Andy Paterson on the Making of The Railway Man 12:15 // ASU – Open Stage Talents will have an opportunity to attend a master class by Andy Paterson, a producer and a writer, on the making of The Railway Man. The Railwayman, the film that has just been finalized is a true story about a victim from World War II’s “Death Railway” who sets out to find those responsible for his torture, starring Colin Firth, Nicole Kidman and Stellan Skarsgaard. The Railway Man is the second collaboration between Andy and director Jonathan Teplitzky. Their first collaboration Burning Man is showing at the festival.

The Railway Man has been more than a decade in the making. During the session Andy will focus on how he became interested in the story in the first place, how the script developed, why it took so long to get made, how he came to rewrite it, how it came to be directed by Jonathan Teplitzky and how it ended up starring, amongst others, Colin Firth, Nicole Kidman and Stellan Skarsgaard. The master class will cover a lot of questions about putting together complex international co-productions and making films that matter.

Andy Paterson built the partnership with Teplitzky on their last film, Burning Man, starring Matthew Goode and Bojana Novakovic. The collaboration with Firth on The Railway Man follows the success of Paterson’s production Girl With A Pearl Earring, starring Firth and Scarlett Johansson. Previous productions include the Oscar and BAFTA-nominated Hilary And Jackie, starring Emily Watson and Rachel Griffiths; the Oscarwinning Restoration, starring Robert Downey Jr., Hugh Grant and Meg Ryan and Beyond the Sea, which won a Golden Globe nomination for its star and director, Kevin Spacey.

Forthcoming productions include The Grand Sophy, from Olivia Hetreed’s adaptation of Georgette Heyer’s novel.

Excursion to Cinelink (D,P)

With Jovan Marjanović 15:00 // 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 needs 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 10th 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 and Woman Who Brushed Sarajevo Talent Campus #6

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Off Her Tears by Teona Strugar Mitevska, It’s Hard to be Nice by Srđan Vuletić, Buick Riviera by Goran Rušinović, Kenjac 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, listed in 2008 the CineLink Co-Production Market of the Sarajevo Film Festival among the 13 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.

ENHANCING CREATIVE EXPRESSION IN FUTURE PRODUCTIONS (D,P,S)•

Philippe Bober in conversation with Vanja Kaluđerčić 16:00 // ASU – Open Stage During this session Philippe Bober will talk about his role as a creative producer and a sales agent. With an insight in the process of re-editing he will explain what kind of improvements it can bring to the film and raise its sales potential. The participants will have the opportunity to watch two different versions of one film and learn about the methods that Coproduction Office uses to gather most valuable ideas during the re-editing process. Furthermore, the lecture will focus on other principal activities of Coproduction Office: referring to his experience as a sales agent, Philipe Bober will present key points that are required to have a successful arthouse film. The study will be focusing on following points: spotting a talent, marketing and film sales.

Philippe Bober is known as the founder of the Coproduction Office, one of the most recognizable European sales and production companies dedicated to daring and engaging art-house films. Starting in 1987, Philippe Bober worked as a co-producer with Lars von Trier (EUROPA, THE KINGDOM, BREAKING THE WAVES), Dagur Kari (NOI ALBINOI), Carlos Reygadas (JAPON and BATTLE IN HEAVEN), Roy Andersson (SONGS FROM THE SECOND FLOOR and YOU THE LIVING), Jessica Hausner (LOVELY RITA, HOTEL and LOURDES), Kornél Mundruczó (PLEASANT DAYS, DELTA), and Ulrich Seidl (DOG DAYS, IMPORT EXPORT).

The international sales slate also includes Takashi Miike’s AUDITION, or the two multi-award-winning Romanian pictures: Cristi Puiu’s THE DEATH OF MR. LAZARESCU (Prix Un Certain Regard 2005) and Corneliu Porumboiu’s 12:08 EAST OF BUCHAREST (Camera D’Or 2006). In 2009, the company has launched four new titles: A TOWN CALLED PANIC by Stéphane Aubier and Vincent Patar (premiered in Cannes, Official Selection, out of competition), while Venice competition featured LOURDES by Jessica Hausner, TETSUO

by Shyina Tsukamoto and WOMEN WITHOUT MEN by Iranian artist Shirin Neshat (Silver Lion for the best direction). In the 2010, Coproduction Office has presented three new titles in Cannes: TENDER SON – THE FRANKENSTEIN PROJECT by Kornél Mundruczó (Official Competition), AURORA by Christi Puiu (Un Certain Regard) and LE QUATTRO VOLTE by Michelangelo Frammartino (Director’s Fortnight).

Sarajevo Talent Campus Closing Session • 18:15 // ASU – Open Stage After the intense program of lectures, panel discussions, workshops, film screenings, presentations and networking, designed to help talents think about possible futures, the team of the Sarajevo Talent Campus 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 Sarajevo City of Film program will invite them to participate in the SCF program.

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Experts and Lecturers

ALBERS, FRANK Project Manager for Art and Culture at the Robert Bosch Foundation. He has developed the Co-Production Prize for Young German and Eastern European Filmmakers.

BEGIĆ, AIDA Director. Her first feature film SNOW world premiered at the 2008 Cannes Film Festival winning the Grand Prix of the Semaine de la Critique. Her second feature CHILDREN won the SPECIAL DISTINCTION OF THE JURY in Cannes, and gained critics’ acclaim which announce a successful festival life and guaranteed distribution in the art house niche. This year’s Sarajevo Film Festival will be opened by the screening of this film.

BAKŠIĆ ČAMO, AMRA Producer. She is the founder and director of the independent production company “Pro.ba” in Sarajevo. She is best known for her work as producer and co-producer on films Snow (2008), Storm (2009), Slovenian Girl (2009), and Circus Columbia (2010). She also works as manager of “CineLink” project at Sarajevo Film Festival and chairperson of the Association of Film Workers of Bosnia and Herzegovina.

BAR-ZIV, SHARON Screenwriter, director and producer. He completed cinema studies at the Tel-Aviv University. In the 90’s he acted in films and TV series and later worked as a screenwriter and copywriter. Room 514 is his first feature film, which he has written as well as directed.

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BELSITO, PETER For the last fifteen years, Peter has been involved in professional education and with young filmmakers via countless festival and market panels and forums and active course involvement with such institutions including Harvard, Wharton, the Maurits Binger Institute of Amsterdam, ACE of Paris, Rotterdam Cinemart, IFP New York, IFP West of Los Angeles etc.

Both have originated and coordinated panels and conferences for various institutions as well as Film Finders.

BISHOP, NANCY

BONHOMME, RÉMI

An Emmy-nominated casting director, author, acting coach, and head of the Film Acting Department at the Prague Film School. With more than 60 major feature film and television projects among her credits, Nancy has cast and instructed literally hundreds of actors throughout Europe, the United Kingdom and the U.S. Her most recent credits include Mission Impossible IV, and ABC’s Missing. She is currently casting American feature film, Metro Dog, and European feature film Suspension of Mercy.

Has collaborated with Cannes’ La Semaine de la Critique since 2003 and was appointed Program Manager in 2008. Based between Paris and Beirut, Rémi is also programmer at the Metropolis Art Cinema in Beirut, cofounder of the company MC Distribution (Lebanon) and since 2011 consultant programmer for the Doha Tribeca Film Festival (Qatar). He was associate producer on the Lebanese feature film Every Day is a Holiday by Dima El-Horr, which premiered at Toronto Festival in 2009.

BOBER, PHILIPPE

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 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.

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

BRUNNENMEYER, GABRIELE

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BUDISAVLJEVIĆ, DANA

DOĞAN, ZEYNEL

Worked as editor, director and producer of creative documentary films and TV series. For five years worked for Factum documentary film project as an assistant and later deputy director to Nenad Puhovski with whom she also launched ZagrebDox Documentary Film Festival in 2005. Dana is the author and co-author of several award-winning documentaries, including the international festival success Straight A’s (2004), which brought her the Grand Prix at 2005 Croatian Film Days. In 2006 she founded Hulahop Film and Art Production. Her film Family Meals will be showed in Documentary Competition Program.

Turkish director. He worked as executive editor for Gün TV which broadcasts in Diyarbakir (2003-2005).

He is working as coordinator of the Diyarbakir Media Center, which trains local youth in contemporary video practice. He is a co-founder of the Perisan Film, together with Turkish directors Özgür Doğan and Orhan Eskiköy. With Orhan Eskiköy he co-directed documentary film The Voice of My Father (2012).

EMINENTI, LICIA

D’ARTEMARE, FRANÇOIS Producer. In 2001 he established Les Films de l’AprèsMidi in Paris and since has coproduced films from all over the world, including Snow by Aida Begić (Grand Prix Semaine de la Critique in Cannes in 2008) and The Hero by Zeze Gamboa (World Cinema Dramatic Jury Prize at Sundance FF in 2005). Recently he coproduced short film Rafa by João Salaviza (Golden Bear for Best Short Film at the Berlin International Film Festival in 2012) and feature film Children of Sarajevo by Aida Begic (Un Certain Regard Special Distinction in Cannes in 2012).

Script analyst. She worked as an 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 well as with Media Program. Her short films received awards and were selected in many festivals worldwide.

ESKIKÖY, ORHAN Turkish director. He worked as producer, assistant director and cameraman in different projects, and as video production expert at the Center of Distance Education (2005-2007). He is best known for

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two co-directed Turkish documentaries, the 2008 award-winning On the Way to School, co-directed with Özgür Doğan, and The Voice of My Father, co-directed with Zeynel Doğan, which premiered at 2012 International Film Festival Rotterdam.

GOODRIDGE, MIKE

FAINARU, DAN Founder and co-editor of the only film magazine in the country, “Cinematheque”. Reviewed films in the past for Variety and later Moving Pictures. Regularly reviewing for Screen International. Israeli correspondent of The International Film Guide, also contributor on Israeli cinema for the Hebrew Encyclopedia, Encyclopedia Judaica and the Larousse du Cinema.

Currently editor of Screen International and oversees all the brand’s products including daily news, reviews and box office site Screendaily.com, email weekly Screen Weekly, print monthly Screen International, European production database Screenbase and the print dailies at major festivals like Cannes, Berlin and Toronto. Goodridge published his first book Directing in 2000 and is currently series editor of a new series of books about the film crafts which started publishing through Focal Press in the US in 2012.

GRAĐEVIĆ, IZETA

GAJEVIĆ, ANILA Worked as journalist and culture editor in Bosnian leading medias. Was also editor in chief of magazine „Global“. In 2008 she founded „Zona“, first casting/talent agency in Bosnia and Herzegovina which today become very respectfull agency in whole region of Eastern Europe and wider. As talent agent she worked on projects such as „Mission Impossible: Ghost Protocol“, „Missing“ and „Philantropist“ (USA), „Skyfall“ (UK/USA), „Venuto al mondo“ (Italy), „Game of Thrones“ (USA/UK), „Crossroad“ and „Salute“ (Turkey), „Shanghai Gypsy“ and „Piran Pirano“ (Slovenia), „Body Complete“ (Austria), „Falsifikator“ (Serbia), „Halimin put“ (Croatia), „Sevdah za Karima“ (Bosnia and Herzegovina)...

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 Sarajevo Talent Campus.

GRBIĆ, MIRAJ Played in more then twenty movies. Made international breakthrough with films “Snipers Valley” directed by Rudolf Schweiger, “The Hunting Party” directed by Richard Shepard, “As If I Am Not There” directed by Juanita Wilson and “Mission Impossible: Ghost Protocol” directed by Brad Bird where Sarajevo Talent Campus #6

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he shared screen with star Tom Cruise. He is expecting premieres of films “Body Complete” directed by Lukas Sturm and “Halimas’s path” directed by Arsen Antun Ostojić. Just signed for film “Salute” directed

by Levent Demirkale.

HEINEN, SONJA

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).

Head of the Berlinale Co-Production Market. She started her career in film business in 1991 at Filmstiftung NRW in Duesseldorf. Until 2001 she was responsible for international contacts as Assistant to Executive Director Dieter Kosslick. Since 2003, she works at the Berlin International Film Festival, as Head of the Berlinale Co-Production Market and additionally, since 2004, as Manager of the World Cinema Fund.

HETREED, OLIVIA

HASKOVIĆ, ADNAN Following his first movie role in feature film “Teško je biti fin” directed by Srđan Vuletić, he made significant role in “Resolution 819” directed by Giacomo Battiato. In 2010 he played in “Sevdah za Karima” directed by Jasmin Duraković, and year later in “Body Complete” directed by Lukas Sturm.

This year he expects premiere of film “Venuto al mondo” directed by Sergio Castellitto where he plays one of lead roles together with Penelope Cruz and Emile Hirsch.

He just finished shooting another international project, SF film “Snowpiercer” directed by Joon-ho Bong.

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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 bestselling novel and wrote the screenplay for Wuthering Heights, directed by Andrea Arnold. Olivia is also an experienced mentor to developing screenwriters.

JELISAVAC, NIKOLINA Following her first feature film “32. decembar” directed by Saša Hajduković she played in in film “Motel Nana” directed by Predrag Velinović. For both roles she was awarded on film festivals in Serbia. Beside theatre and film, she played in a several

tv series in country and one international – NBC’s series “The Philanthropist” directed by John Strickland. She just finished shooting film “Put kestena” directed by Jasmin Duraković.

LEYS, KATE

KOLAR, ČEDOMIR Producer. His credits include many acclaimed coproductions such as Manchevski’s Before the Rain (Academy Award nomination in 1995) and Tanovic’s No Man’s Land (Academy Award in 2002). In 2003, he co-founded the Paris-based production entity A.S.A.P. Films, together with his fellow producer Marc Baschet and director Danis Tanovic. A.S.A.P. Films produced Tanovic’s Hell (2005), Hänsel’s Sounds of Sand (2006), Tanovic’s Triage (2008), Fliegauf’s Womb (2010), Abdykalykov’s The Light Thief (2010), Tanovic’s Circus Columbia (2010), Hänsel’s Black Ocean (2010). He was elected onto the EFA Board in 2004.

Kate Leys is a feature film script editor who works on projects at all stages of development. 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 Mounty. She is regular speaker at festivals and industry events; has taught screenwriting and script development and been visiting lecturer. She also runs numerous projects for screenwriters.

LUČEV, LEON

LEVINE, SYDNEY Founded FilmFinders, the industry’s first database, to service distributors, sales agents and festival programmers looking to acquire features.

She helped start the profitable video rental division of Republic Pictures and Lorimar as Vice President of Acquisitions.

She has worked at Films Inc. The largest educational and non theatrical distributor in U.S., Ross Perot’s start up video company Inovision, award winning short distributor Pyramid Films and ABC Video Enterprises.

Actor. 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 he won the Heart of Sarajevo for Best Actor for his performance in Buick Riviera by Goran Rušinović. In the past 10 years he has participated in many Art of Acting workshops (Michael Chekov, Lee Strasberg, Jerzy Grotowski, clowns, psychodrama, bufons) and is also a member of a research project Potentials of Acting.

LUSTIG, BRANKO Producer. Two-time Academy Award and Golden Globe winner for the production of Schindler’s List and GladiSarajevo Talent Campus #6

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ator. Produced numerous major film hits, such as HANNIBAL, BLACK HAWK DOWN, KINGDOM OF HEAVEN, A GOOD YEAR and AMERICAN GANGSTER. In Croatia, he presides over the Jewish Film Festival London - Zagreb.

laborated with Michael Winterbottom on Welcome to Sarajevo and I Want You. For these accomplishments she was chosen as one of the Shooting Stars at the Berlinale in 1998. Her acting carrier continued around Europe, as she has filmed in Germany, Czech Republic, Turkey, Italy, Bulgaria, and Slovenia.

MARJANOVIĆ, JOVAN Head of Industry of the SFF. He was executive manager of CineLink Co-Production Market. Currently, he is the National Representative of Bosnia and Herzegovina to Eurimages and a Member of the Board of Management of the newly established Film Centre Sarajevo.

Jovan is also one of the advisors to the Torino Film Lab.

NAVOJEC, GORAN Played in over then 20 films in Croatia, Bosnia and Herzegovina, Italy, Serbia, Slovenia, USA. Film audience in Europe knows him by lead roles that he played in films “Legend of Jaguar”, “Vukovar on the Way Home”, “The Way Through Dark Side”, “Elvis and Merlin”, “Two Players from the Bench” and supported roles in “Parade”, “Suma summarum”, “Libertas”. He also appeared in blockbuster “Mission Impossible: Ghost Protocol” playing Burly Russian Prisoner. Expecting premieres of films “Shangai Gypsy”, “Fashion Tension”, “Falsifikator” which are in postproduction. Won several prestigious awards for his theatre and movie roles.

METEV, ILIAN After studying Fine Art at Central Saint Martins, London, where he experimented with 16mm film, he completed his training at the UK National Film and Television School in 2008. Since then, he is obsessed with finding new challenges using the medium of film and pushing film language. Ilian has directed, photographed and coproduced Goleshovo and Sofia’s Last Ambulance.

PATERSON, ANDY

MITEVSKA, LABINA Started her acting career in Milcho Mancevski’s Golden Lion award winning Before the Rain. She col-

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Andy Paterson’s recent films include The Railway Man, Burning Man as well as the critically acclaimed Girl With A Pearl Earring, based on Tracy Chevalier’s best-selling novel. Previous productions include the Oscar and BAFTA-nominated Hilary And Jackie, starring Emily Watson and Rachel Griffiths; the Oscar-winning Restoration, starring Robert Downey Jr., Hugh Grant and Meg Ryan and Beyond the Sea, which won a Golden Globe nomination for its star and director, Kevin Spacey. Forthcoming productions include The Grand Sophy, from Olivia Hetreed’s adaptation of Georgette Heyer’s novel.

Film Festival. The film won four other prizes including Best Short Film at IndieLisboa and it was in more than 50 festivals. His film Rafa won the Golden Bear for Best Short Film at the 62nd Berlin International Film Festival in 2012.

PETERSÉN, AXEL Made his debut in 2007 with a short form “Numerologen”. For several years he occupied himself with similar pictures. In 2011 he produced his first feature film “Avalon”. Its premiere took its place in February, 2011 during the Toronto International Film Festival, where Alex Petersen was granted an award of the International Federation of Film Critics FIPRESCI for the best directorial debut.

SCHORY, KATRIEL Executive Director of the Israel Film Fund. His company Belfilms Ltd produced over 200 films including award winning feature films, documentaries 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.

REYMOND, LAURENCE Worked in film distribution companies in France, such as Ad Vitam and Le Pacte. In the same time, she kept a regular activity as film critic for various magasines (Score, Cinéastes) and website (Flucutat.net). In 2011, she did the selection of films for the European Middle Lenght Film Meetings of Brive, and joined the selection team of the Directors Fortnight in september 2011, where she’s programming the short films section. Since june 2012, she’s also programming coordinator for the Festival du Nouveau Cinema in Montreal.

SCHWARZ, CHRISTOPH Member of Collaborative Art Group involving four individual art / culture / media / leisure workers from Vienna /Austria - developing, producing and promoting projects “not bound to a specific media” and “affection for beauty in the mundane.”

SCHYLE, KARIN ANGELA SALAVIZA, JOÃO

Cultural manager and coordinator of the Co-Production Prize of the Robert Bosch Foundation.

Portuguese film director and actor. With his film Arena he won the Short Film Palme d’Or at the 2009 Cannes Sarajevo Talent Campus #6

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SIVAN, EYAL

STRUGAR MITEVSKA, TEONA

Paris based filmmaker, scholar and theoretician.

Known for his controversial films, Sivan directed more than ten feature-length critically acclaimed and internationally awarded political documentaries, and produced many others. Sivan publishes and lectures on the Israeli-Palestinian conflict, documentary filmmaking and ethics, political crimes and representation, political use of memory, genocide and representation, etc. His films include: Commun State, potential conversation [1] (2012), Jaffa the orange’s clockwork (2009) Citizens K (2007) I Love You All (2004) Route 181, Fragments of a Journey in Palestine-Israel (2003) The Specialist (1999), Itsembatsemba, Rwanda one genocide later (1996), IzkorSlaves of Memory 1990)..

Director. Her first feature film, How I Killed a Saint, premiered at the 2004 Rotterdam Film festival, Tiger Competition and has won numerous prizes around the world like Best European Film at the Crossing Europe Film festival, Linz, Austria.

Her penultimate film I Am from Titov Veles has been theatrically distributed in 15 countries in, including in the USA, and was screened in the official competition at numerous film festivals. Her third feature The Woman Who Brushed off Her Tears with Victoria Abril made its world premiere at the 2012 Berlin Film Festival and will be screened in the Competition Program of Sarajevo Film Festival.

SPICHER, CARSTEN

He cooperated with various Bosnian directors such as Pjer Žalica (Gori vatra), Srđan Vuletić (Teško je biti fin), Jasmin Duraković (Nafaka), Ines Tanović (Neke druge priče)… Directors from the region also liked working with him so he played in films “Kino Lika” (Dalibor Matanić) and “Top je bio vreo” (Boban Skerlić). He achieved international recognition with film “As If I Am Not There” (Juanita Wilson) where he played one of lead roles and ”In the Land of Blood and Honey” (Angelina Jolie). TV audience can see him in new ABC series “Missing”.

Head of Archive of International Short Film Festival Oberhausen. He is also in charge of the Festival’s German Competition, NRW Competition, and Distribution Department. Since 2002 he has been representing Oberhausen in the German Short Film Association.

He organized various Profiles program and curated the program Sarajevo Documentary School in 2009.

He has been selected to sit on numerous juries for national and international film and video festivals.

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ŠTUKAN, FEĐA

UKWUOMA, SELINA Freelance script editor and consultant with experience as a development executive for EON Screenwriters’ Workshop and for Cuba Pictures - the production arm of Curtis Brown. She has worked with emerging and established writers alike on a diverse range of film and television projects at all budget levels and stages of development.

Works as a visiting lecturer in screenwriting at the National Film and Television School, the University of Westminster, and at the London Film School and has, since 2008, been a mentor at the Berlin International Film Festival Talent Campus.

VISHKA, VISAR Started his film career with “Years of solitude”, followed by the big success of “Does it Hurt? - the first Balkan Dogme”, “Balkan Bazar”, an Albanian-Italian production, the NBC’s series “The Philanthropist”.

This year at Sarajevo Film Festival he will present film “Shangai Gypsy” where appears in lead role.

WINK, ANDREA

VAN HOOF, PETER Head and programmer of Short Film Section of the International Film Festival Rotterdam. The founder and programmer of Cinema De Balie (1996-2005), the independent cinema department of political cultural center De Balie in Amsterdam. One of the founders of Stichting De Filmbank, a small organization for promoting Dutch experimental cinema that recently merged with the Dutch Film Museum into the Eye Film Institute.

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 “goEastYoung Professionals“ as well as the goEast projectmarket for young filmmakers from Germany, Central and Eastern Europe.

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Moderators

JOVANOVIĆ, NEBOJŠA

ŠEŠIĆ, RADA

Film Historian and Contributor to the STC. His publications are in- cluded in Agregat, Arkzin, Borec, Časopis za kri- tiko 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.

Rada Šešić is a filmmaker, consultant and lecturer.

Employed as a mentor at the Master of Film Studies at The Netherlands Film Academy, Amsterdam.

Specialized in Eastern European and South Asian cinema. Programmer and advisor of IDFA and IFFR Rotterdam as well as member of the selection committee of the Hubert Bals Fund and Jan Vrijman Fund. Rada writes for various international film magazines and books and is a mentor at various film workshops.

KALUĐERČIĆ, VANJA SFF’S New Currents Shorts Programmer. Worked for Coproduction Office, in charge of acquisitions and short film catalogue. She 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.

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WOUTER KNOL, MATTHIJS Programme manager of the Berlinale Talent Campus since 2008, trained as historian and journalist in the Netherlands. Worked 2001-2007 as a producer in Amsterdam and developed and associate produced over 30 documentary films, many of them awardwinning. He was co-responsible for the international co-production and sales markets as well as the IDFAcademy master class programme at the International Documentary Film Festival Amsterdam (IDFA).

in partnership with

funded by

in cooperation with

member of

supported by

Script analysis & critique, revision and rewriting for feature film scripts.

Presentation, fundraising and production strategies for an effective project development process.

An integrated program of 2 residential workshop sessions per season in the Greek islands of Eastern Aegean, combined with follow up periods of continuous consultation and evaluation.

Mediterranean Film Institute OFFIce address: Varvaki 38, athens 114 74, Greece MaIlInG address: P.O. Box 13759, athens 10310, Greece Tel/Fax: +30 210 645 7223 e-MaIl: info@mfi.gr weBsITe: www.mfi.gr

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THANK YOU: Ahmed Mulaibrahimović Almir Palata Amela Borovac Andrea Wink Christine Tröstrum Dieter Kosslick Fikreta Harba Frank Albers Ivana Ivišić Karin Angela Schyle Katriel Schory

Licia Eminenti Lucile Hadžihalilović Matthijs Wouter Knol Olivia Hetreed Philippe Bober Zijad Mehić Blow up Student Dormitory Bjelave KJKP „GRAS

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

Wim Wenders and Emil Tedeschi at the Talent Campus Lecture “3D, Much More Than a Gimmick”- Pina related lecture by Wim Wenders and Erwin M. Schmidt

Sarajevo Talent Campus #6

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Sarajevo Talent Campus #6

Impressum Team 2012 PROJECT MANAGER: Asja Makarević PROJECT COORDINATORS: Ivana Kalember, Ivana Pekušić SELECTION: Izeta Građević, Amra Bakšić Čamo, Jovan Marjanović, Elma Tataragić, Gabriele Brunnenmeyer, Nebojša Jovanović MODERATORS: Gabriele Brunnenmeyer, Nebojša Jovanović, Vanja Kaluđerčić, Ivana Pekušić, Karin Angela Schyle, Andrea Wink, Amra Bakšić Čamo, Matthijs Wouter Knol, Mike Goodridge LOCATION MANAGER: Rusmir Efendić (ASU) GUEST MANAGEMENT: Aldina Bukva – Mahmutović, Alen Munitić TECHNICAL COORDINATOR: Ahmed Alić FIELD TECHNICIAN: Goran Akrap PROJECT ASSISTANTS: Luna Zimić Mijović, Lamija Muminović STC INFO DESK: Nadina Habibović, Nejra Branković, Amer Ćosović, Zerina Hodžić, Benjamin Halimić STC VIDEO DOCUMENTATION: Aziz Čeho STC NOTEBOOK: Ivana Kalember, Nebojša Jovanović, Asja Makarević Imprint: DOCUMENTATION: STC TEAM TRANSLATION AND PROOFREADING: Ivana Kalember, Asja Makarević GRAPHIC DESIGN AND DTP: BOOM Produkcija PRINT: BLICDRUK PRINT RUN: 300

Sarajevo Talent Campus #6 “Cinema and Possible Futures” 8 days: July 7-14, 2012 69 talents: 18 directors, 14 actors, 16 scriptwriters, 16 producers, 5 film critics/journalist 5 fields of work: directors, actors, scriptwriters, producers and film critics/journalist 13 countries: Armenia, Bosnia and Herzegovina, Bulgaria, Croatia, Georgia, Greece, Hungary, Macedonia, Moldava, Romania, Serbia, Slovenia, Turkey 45 experts 56 lectures, panels, workshops, case studies, presentations, screenings and events A very important segment of the Talent Campus platform is also its virtual dimension – the Online Talent Database.

The pool of Talents, wich will be growing each year, serves primarily as a promotional and networking tool. The profiles of the participants display their general info and video samples of work. www.sff.ba

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Sarajevo Talent Campus #6