Paris Coproduction Village

Transcription

PARIS
PARIS
COPROD
COPROD
UCTION
UCTION
VILLAGE
VILLAGE
by LES ARCS COPRODUCTION VILLAGE
by LES ARCS COPRODUCTION VILLAGE
PROJECT
PROJECT CATALOGUE
CATALOGUE
in partnership with
in partnership with
JUNE 12-13, 2014
JUNE 12-13, 2014
TABLE OF CONTENTS
PARIS COPRODUCTION VILLAGE
P.04/ Introduction
P.05/ Team
p.06/ Program
PROJECTS IN DEVELOPMENT
p.07/
p.08/
p.09/
p.10/
p.11/
p.12/
p.13/
p.14/
p.15/
p.16/
p.17/
p.18/
40% by Andrea Segre - ITALY
The Beauty of Sharks by John Karim Aïnouz - USA
The Delegation by Asaf Saban - ISRAEL
The Embroiderer by Brillante Mendoza - THE PHILIPPINES
Heidi by Catalin Mitulescu - ROMANIA
House of my Fathers by Suba Sivakumaran - SRI LANKA/USA
In the Middle of the River by Damian John Harper - GERMANY
Odd by Maria Jose San Martin - CHILE/ARGENTINA
Samui Song by Pen-ek Ratanaruang - THAILAND
Something Useful by Pelin Esmer - TURKEY
White Knuckles by Pia Marais - AUSTRALIA
White Shadows by Fabio Mollo - ITALY/CANADA
CINEFONDATION
p.19/
p.20/
p.21/
p.22/
p.23/
p.24/
p.25/
Introduction
All the Dead Ones by Caetano Gotardo and Marco Dutra - BRAZIL
Against the Day by Katarina Stankovic - SERBIA
Hearstone by Gudmundur Arnar Gudundsson - ICELAND
The Hereisses by Marcelo Martinessi - PARAGUAY
Last Autumn by Sam Holst - AUSTRALIA
Small Talk by Marcela Said - CHILE/FRANCE
p.26/ Venues
3 /PARIS COPRODUCTION VILLAGE
INTRODUCTION
We are very glad to welcome you to the first edition of Paris Coproduction Village, the Paris-based
international coproduction market organized by Les Arcs European Film Festival and ChampsÉlysées Film Festival. We’re thrilled to present an exciting worldwide selection of 12 feature film
projects in development, which are in search of French and European partners.
After five-year experience of building and creating a festival and a coproduction event in the heart
of the Alps, we’re proud to state that Les Arcs European Film Festival have become a significant
meetings and networking event bringing together a selection of European films and projects with
high coproduction and sales potential.
Les Arcs Coproduction Village team established a new Paris based coproduction market with a
selection of projects in development emerging from Europe, America and Asia. The aim of Paris
Coproduction Village is to bring appealing projects to the wide network of distributors, producers
and sales agent based in Paris and completing it with European and international professionals.
Similarly to the editorial line of the projects presented in Les Arcs Coproduction Village, the Paris
selection is combining commercially exploitable genres and art-house cinema that in overall present a precise and qualitative overview of the current trends in the cinema, aiming to raise their
market potential for sales and distribution.
In an effort to support young filmmakers the Paris Coproduction Village will also introduce six
projects in development of the prestigious Residence of the Cinéfondation established by Cannes
Film Festival.
We would sincerely like to thank our partners whose precious expertise and trust have helped us
build a strong professional platform, and whose support and advice are indispensable to our success.
We invite you to come and discover this year’s selection, meet with fellow professionals and talents and, hopefully, part with new professional and creative challenges.
The Coproduction Village Team
Nous sommes très heureux de vous accueillir à la première édition de Paris Coproduction Village, organisé par le
Festival de Cinéma Européen des Arcs et par le Festival des Champs Elysées, et de vous faire découvrir une très belle
sélection de 12 projets en développement du monde entier, à la recherche de partenaires français et européens.
Le Festival de Cinéma Européen des Arcs est devenu en 5 ans un rendez-vous quasi incontournable pour les
professionnels du cinéma européen réunis autour d’une sélection de projets et de films européens à fort potentiel de
coproductions et de ventes. Forte de cette expérience réussie, l’équipe du Village des Coproductions des Arcs a décidé
de lancer un nouveau marché de coproduction situé cette fois-ci à Paris. L’objectif est de proposer au formidable
tissu professionnel de producteurs, distributeurs et de vendeurs internationaux basés à Paris, auxquels s’ajouteront
quelques professionnels européens reconnus, une sélection de projets venus d’Asie, d’Amérique et d’Europe.
La ligne éditoriale sera sensiblement la même qu’aux Arcs, à savoir une combinaison de films d’auteur et de films
de genre à potentiel commercial, avec toujours l’idée d’illustrer les grandes tendances du cinéma mondial et de
favoriser la coproduction et l’accès au marché de ces projets. Avec le souci de soutenir les jeunes réalisateurs le
Paris Coproduction Village présentera aussi 6 projets en développement de la prestigieuse Cinéfondation du Festival
de Cannes. Nous tenons à remercier chaleureusement nos partenaires pour la confiance qu’ils nous accordent :
leur soutien et leur expertise est indispensable pour construire un évènement de qualité, efficace et utile pour les
professionnels. Nous vous invitons à découvrir cette sélection, à rencontrer les producteurs et les talents associés à
ces projets, et - nous l’espérons – à repartir avec de nouveaux projets et de nouveaux challenges.
L’équipe du Village des Coproductions
PARIS COPRODUCTION VILLAGE TEAM
Pierre-Emmanuel FLEURANTIN
CEO
Vanja KALUDJERCIC
Head of Industry
Guillaume CALOP
General Manager
Sata CISSOKHO
Industry Correspondent
Jérémy ZELNIK
Consultant - co-founder
Joël NSITA
Meetings’ Coordinator
Noémie LAFON
Coordinator
Claire-Marine PIETRIGA
General Coordinator
Marie DUBAS
Consultant
Urte Amelie FINK
Consultant
PROGRAM
WEDNESDAY, JUNE 11th
9am - 7pm
US in progress @ Publicis Cinema
THURSDAY, JUNE 12th
9am - 10am
ACE workshop (for projects participants only)
Eurosites George V
9:30am - 12:30
One-to-one meetings
Eurosites George V
12:30pm - 2pm
Lunch (invitation only)
Bistro Romain
2:30pm - 5:30pm
One-to-one meetings
Eurosites George V
5:30pm
Cocktail
Publicis Rooftop
FRIDAY, JUNE 13th
9:30am - 12:30pm One-to-one meetings
Eurosites George V
12:30pm - 2pm
Lunch (invitation only)
Ladurée
2:30pm - 5:30pm
One-to-one meetings
Eurosites George V
5:30pm
Cocktail
Publicis Rooftop
Italy
Attending Paris Coproduction Village
JOLEFILM
Address: Via Quarto 16
35138 Padova
Italy
Tel.: +39 049 8718175
E-mail: [email protected]
Website: www.jolefilm.com
ANDREA SEGRE
Director
40%
by Andrea Segre
Andrea Segre (1976) approached cinema in 2001, working on numerous
important national and European projects. With a PhD in Sociology
of Communication, he cultivates an interest in the themes around
immigration to Europe, which he developed in several documentaries. In
2010 he directed his first feature film, Shun Li and the Poet, released in more
than 30 countries, and in 2012 his second work, First Snowfall, selected at
70th Venice Film Festival.
SELECTED FILMOGRAPHY:
FRANCESCO BONSEMBIANTE
Producer
ANDREA STUCOVITZ
Co-producer
Goals at Paris: Finding co-producers
and distributors
Current state of script: 1st draft
Co-scriptwriter: Marco Pettenello
First Snowfall (2013) - Venice FF Orizzonti competition, CPH:PIX, Fiction
Grand Prix and Audience Award at Annecy Cinema Italien Festival, Festival
du Film d’Amour de Mons
Undue Debt (2013 - documentary) - Locarno, Trieste, Riviera Maya
Shun Li and the Poet (2011) - Fedic Prize and Lina Mangiacapre Award at
Venice Days, Special Mention of the Jury at Reykjavik, LUX Prize, Goteborg
Shooting dates: Fall 2015
Genre: Fiction - drama
Languages: Italian, Arabic, French
Budget: 3.191.446 €
Financing in place: 224.868 €
Partners attached: Partner Media
Investment (IT)
Introduction
Over the last 10 years the European Union has set forth a system to control illegal migration in cooperation with neighbouring
countries and has entrusted a specialised task force, Frontex, with its management.Corrado is one of the European policemen
involved in a mission in post-revolution Libya; Swada is a young Somali woman who left her country during the war to move to
Europe. One night they meet in the desert and their destinies get entwined
Synopsis
Over the last 10 years, the European Union has implemented
a system to control the flow of clandestine immigration in
collaboration with police in neighbouring states, who often
have no respect for human rights. A task force of specialized
police officers manages this system. Corrado is one of them
and his work often takes him far from his wife and daughter.
His superior, Coiazzi, involves him in a delicate European
mission in the Libyan Desert in order to convince the Libyans
to stop the migrants before they get to the Mediterranean
Sea. There, one night, Corrado had stepped away from his
colleagues when he heard a sound; he turned around and saw
a shadow…
Swada is a young Somalian who left her warring country to
go to Europe. One misfortune after another brought her, alone
and worn-out, to that corner of the desert. Corrado had never
spoken to one of the people he is paid to stop. He gives her
something to eat and drink, as well as directions to get out of
there.
From that moment on their destinies cross: Swada at the
mercy of violent traffickers and the Libyan police tries to reach
the coast where she can take a boat to Italy, Corrado continues
his work at Coiazzi’s side to strengthen the collaboration with
the Libyan forces. Until the moment Corrado finds himself at
dramatic crossroads: respect his orders and state law or save
Swada’s life.
Director’s statement
I am eager to write and direct this film because I believe that
today more than ever Europe needs to explain to itself how it
is facing the momentous phenomenon of migratory pressure.
Europe is the richest and the oldest continent in the world
and it is surrounded by much younger and poorer continents
along its south-eastern border. The instinct of protection on
the one hand and the research for consensus on the other have
encouraged Europe to react to the unavoidable migratory
pressure by developing a very complex and expensive system
of repression and control of migration flows. In other words,
we are trying to stop migratory pressure not by working on its
causes, but by attempting to stop migrants themselves. This
is an almost impossible mission, which involves thousands of
policemen and international officers, who have to experience
strenuous situations of human tension. This is the reason why
- by telling the story of one of these men, Corrado - I hope that
my film will help Europe reflect on what has been done until
now.
40% won’t tell about migration as an adventure or as a cross
section of human despair. It will focus on the way migration
is tackled by the “EU system” at the present time and on the
follow-up historical and human consequences.
Moreover this film will let me work in a cinematographic field
at the crossroads between the humanity of Neorealist films
and the courage of political cinema. Swada’s journey and
the life of migrants in the Libyan Desert will be told by using
methods and choices on the border between documentary and
fiction: nonprofessional actors, who have truly experienced
those situations, real lands, which become characters in the
story, and the camera which fully enters the flow of events.
Corrado’s job and the places where the police lives and works
will focus on the staging of power: internationally renowned
actors, reconstructions of the places and methods of power,
precise and at the same time bare acting.
Company Profile
JOLEFILM is a cinema, documentary and theatre production
company founded in 1999 in Padua. As for theatre and TVoriented audio-visual production, Jolefilm mainly focuses
on Marco Paolini’s work, producing on-stage theatre
performances and experimental TV formats merging theatre
and documentary. As for cinema, Jolefilm supports, develops
and produces high-quality documentaries, short films and
feature films written and directed by young and emerging
talented authors. In Jolefilm’s productions current topics tied
to Italian and European territories, history and traditions
– such as migration, multiculturalism and social inclusion
– merge at the junction between local and global dimension,
where Italian landscapes and flavours meet international
characters and borderless atmospheres.
SELECTED FILMOGRAPHY
First Snowfall (2013) dir. Andrea Segre - Venice FF Orizzonti
L’uomo che amava il cinema (2012 - documentary) dir.
Marco Segato - Venice Days
Shun Li and the Poet (2011) dir. Andrea Segre - Venice Days
USA
ROYAL ROAD ENTERTAINMENT
Address: 3901 S Flower St, Suite 712
Los Angeles, CA 90015
USA
Tel.: +1 310 494 6880
Website: www.royalroadentertainment.com
THE BEAUTY OF SHARKS
by Karim Aïnouz
Born in 1966 in Fortaleza, Karim Aïnouz studied architecture in Brasília
and cinema at New York University.
Of his five feature films, two premiered at the Cannes Film Festival, two at
the Venice Film Festival and his latest, Praia do Futuro, was in competition
at the 64th Berlin International Film Festival.
In 2012, Aïnouz was invited to the Jury at the Cannes Film Festival for the
Cinéfondation and Short Films sections.
FILIP JAN RYMSZA
Producer
Goals at Paris: Finding co-producers,
a sales agent and distributors, funds
Current state of script: Completed
Scriptwriters: Rob Green, F. J. Rymsza
Beach of the Future (2014) - Berlinale Official competition
The Silver Cliff (2011) - Cannes’ Directors’ Fortnight
I Travel Because I Have to, I Come Back Because I Love You (2009) — Venice
Film Festival’s Orizzonti competition
Love for Sale (2006) — Venice Film Festival’s Orizzonti competition
Madame Satã (2002) — Cannes’ Un Certain Regard
Shooting dates: Late 2014
Genre: Fiction - Suspense thriller
Language: English
Budget: 10.000.000 €
Financing in place: 3.300.000 €
Partners attached: Bow Street Films
(USA)
Introduction
A 1950s, French Riviera-set thriller about a gigolo caught in a confidence trick.
Synopsis
The French Riviera – 1959. The charming and handsome
DEVLIN, a master of false personas, seduces and lives off of
wealthy older women. More than anything he’d like to hit the
jackpot or, at the very least, prevent himself from ending up
like the washed-up, aging FARLEY – his former mentor.
Devlin sets his sights on a beautiful but faded American
widow, MRS. HAMILTON, but within hours of bedding her she
reveals her awareness of exactly who and what he is and offers
him a very different kind of ‘job’ – for more money than he has
ever dreamed of.
Sophisticated, intelligent and with a razor sharp wit, Mrs.
Hamilton is the now- impoverished widow of a Hollywood
producer who is desperate to retain her place in high society
and re-acquire the wealth that this involves.
Enter the once notorious but now ailing ‘good time gal of
Monaco’, GLORIA SAINT- SAENS and her vast fortune. Her
only potential heir, mysteriously, is Mrs. Hamilton – or rather
Mrs. Hamilton’s long estranged son, Samuel, who appears to
have gotten himself killed in a car crash. In order to collect on
Gloria’s millions, Hamilton needs someone to impersonate her
son for the benefit of the old woman. Devlin becomes the man
for the con.
However, Mrs. Hamilton isn’t the only one with her eye on the
prize. A ruthless gambler, DE MOLAY, in way too deep with
the mob, and a mysterious beauty, APRIL BROOKS, are all
somehow circling the wounded prey that is the dying Gloria;
but the once decadent and debauched heiress still has some of
her own bite left.
The hunter becomes the hunted; the prey is ever changing and
elusive. Devlin soon finds he is swimming with sharks, and
they are much bigger and deadlier than he ever was.
Since I first read Beauty of Sharks I was swooned by it. It is
a beautiful human story that takes place in a very singular
and cinematic universe. What seduced me first was its
constellation of unique, passionate characters. And then there
was the setting: late 1950’s French Riviera. Beauty of Sharks is
a story of outcasts, characters that fight to be accepted in the
world in the way they are, without making any concessions
- and this is one of the themes that interest me the most in
cinema. Another important layer of the film is the mix of film
noir and melodrama, of dangerous sexual elements, making it
a potentially riveting and explosive film.
Company Profile
Based in Los Angeles, with satellite offices in New York and
Luxembourg, Royal Road Entertainment is an independent
film production company founded and managed by Filip Jan
Rymsza. Royal Road acquires, develops, finances and produces
sophisticated, high-quality content for the global marketplace.
Its current slate of projects includes A Girl and a Gun starring
Anthony Mackie and Christopher Plummer, Karim Ainouz’s
The Beauty of Sharks, Lech Majewski’s Valley of the Gods,
Black List winner The 13th Man... as well as Orson Welles’ last
film The Other Side of the Wind. Royal Road Entertainment is
repped by Symeon K. Davis of Hobson Bernardino + Davis LLP
and attorney Lisa Nitti.
Sangue Azul (2014) - in post-production
Oh Gallow Lay (2014) - in post-production
Israel/Germany/Poland
GUM FILMS
Address: 27, Balfour st.
Tel Aviv
Israel
Tel.: +97236205294
Website: www.gumfilms.com
THE DELEGATION
Original Title: Ha Mishlachat
by Asaf Saban
Asaf Saban’s short films have been screened at film festivals around the
world, and won prizes. In 2010 he was invited to showcase his short films at
leading universities in the U.S.
Asaf is currently working on his debut feature film, The Delegation which
has received development grants by the Israeli film fund and was selected
for a residency in Berlin granted by the Medienboard Film Fund and the
Israeli Film Fund.
On Leave (2009 - short) - San Sebastian, Jerusalem, Lodz, Telluride, AFI-Fest,
Montpellier
Mapping (2007 - short) - Clermont-Ferrand, Zurich, Seattle, Melbourne,
Hamburg
YOAV ROEH
Producer
AURIT ZAMIR
Producer
Shooting dates: April 2015
Language: Hebrew
Budget: 1.067.000 €
Partners attached: Roh Films (DE),
Opus Films (PL)
Introduction
A journey of Israeli teenagers, that take part in a school delegation to concentration camps in Poland.
Synopsis
Poland. Warsaw’s Chopin airport. Businessmen, tourists
and local workers come and go. A group of 40 teenagers,
accompanied by a few nervous adults, exits the arrivals gate.
They are all bunched up together, wearing white sweatshirts
with «ISRAEL» printed in blue on the back. At first glance they
might look like a national sports team. But this Delegation is
here for a very different reason - a school trip to concentration
camps and memorials. We’ll follow this young Israeli
delegation on their journey around Poland, where a history
impossible to comprehend meets the routine of travelling,
including all the small misunderstandings and big emotional
expectations of ordinary teenagers on their first time abroad.
I wish to portray the individual faces emerging from under
the white-sweatshirt’s hoods. Each character will seek his or
her own path and place within this tight-knitted collective
that moves as one and dresses as one, journeying through
Holocaust memorials in Poland.
The film will adopt the teenagers’ point of view. It will be
created from small moments, which reveal the gap between
the teenager’s great expectations for a “bigger-than-life”
experience, and the reality and experiences they actually go
through. The drama will come from the clash between the
Holocaust’s incomprehensible past and the road trip’s routine
- between their nation’s history and their day-to-day lives as
teenagers, simply trying to understand who they are. In this
way a more subtle conflict will be created under the plot-line’s
surface, which will thematically link the different stories and
characters – a «meta-conflict” between the biggest dramatic
story of the past, and the «little» stories creating the present
teenager’s world – the anxiety of death and the “weight” of
history vs. the celebration of life and the dynamics of youth.
The film’s script is structured through a combination of two
familiar film genres: “Coming of Age” (or “Teen films”) and
Road Trip films.
The mix of these genres, in such settings and context, will
enable me to walk safely through the minefield that is the
representation of the Holocaust. The tension between the
genres will create a rich world of characters that exist first and
foremost on an emotional level.
Company Profile
Gum Films is a Tel Aviv based production house for feature
films, TV series and documentaries. In addition the company
develops platforms and formats for the new media. The
founders and owners, Yoav Roeh and Aurit Zamir, graduated
from the Sam Spiegel Film and Television School, one of the
top film schools in the world, and have been involved in the art
and business of making movies for over ten years.
Gum Films has produced films for broadcasters in Israel and
worldwide. Among them: Israel’s Channel 2 – Reshet and
Keshet, HOT, YES- satellite TV, France’s TV5, Belgium’s RTBF,
Canada’s CBC, UK’s BBC, Denmark’s DR.
Manpower (2014) dir. Noam Kaplan - in post-production
The Cursed (2014) dir. Hagai Levi - in post-production
Cupcakes (2013) dir. Eytan Fox
The Lab (2013 - documentary) dir. Yoam Feldman - Vision du
Réel, DocAviv
Off White Lies (2011) dir. Maya Kenig - Berlinale, Busan, Palm
Springs, Jerusalem
The Philippines
CENTRE STAGE PRODUCTIONS
Address: Mandaluyong City
The Philippines
Tel.: +63 25 31 98 31
THE EMBROIDERER
Original Title: Burdadera
by Brillante Mendoza
Mendoza began making films in 2005 and by 2009 had won accolades in the
Philippines and aboard; he was recognized as Best Director in Cannes for
Kinatay. Among his many other films and awards are Lola (2009), prizes
at Dubai International Film Festival, Miami Film Festival and Fribourg
Film Festival; Thy Womb (2012) winning Best Director, Asia Pacific Screen
Awards; and Captive (2012)
Sapi (2013) - Toronto IFF
Captive (2012) - Berlinale Competition
Thy Womb (2012) - Best Director at Asia Pacific Screen Award
Lola (2009) - Dubai IFF, Miami Film Festival, Fribourg
Kinatay (2009) - Best Director in Cannes
LARRY CASTILLO
Executive Producer
JESTHELA LIZARDO
Associate Producer
Scriptwriter: Zig Dulay
Shooting dates: 2015
Genre: Fiction - Drama
Language: Filipino
Budget: 600.000 €
Financing in place: Development
Introduction
Anik, an 83-year old, manages her embroidery business, “La Burda Filipinas”, which is on the verge of bankruptcy. Her mother
passed the business, which was founded by her grandmother on to her. Since girls were deprived of access to education during
the Japanese occupation, embroidery serves as a pastime and eventually, a livelihood to the women of Taal.
Synopsis
How does a heart weave a love story?
Anik, an 83-year old, manages her embroidery business,
“La Burda Filipinas”, which is on the verge of bankruptcy.
Her mother passed the business, which was founded by her
grandmother on to her. Since girls were deprived of access to
education during the Japanese occupation, embroidery serves
as a pastime and eventually, a livelihood to the women of Taal.
Anik’s husband, Kanor in his 90’s, is suffering from a grave
illness. She needs to sell her antique goods to earn money
for Kanor’s medication; one is her baro’t saya, a traditional
Filipino dress for women. When a buyer asks Anik why her
baro’t saya looks new, she stops, smiles and then the story
begins.
During the Japanese occupation in the World War II, Anik
started to learn embroidery. She also met Manuel, a member
of the Filipino guerilla forces fighting against the Japanese
conquerors. She embroidered a baro’t saya, hoping that
someday she would wear it in their wedding.
Yet amidst the Japanese occupation, a catastrophic storm
destroyed Anik’s house. Her father asked his friend to help
him repair their house. In return, Anik’s father promised her
hand in marriage to his friend’s son, Kanor. Anik would never
wear the baro’t saya and would never see the man she loves
again.
How does a woman weave her life and how does a heart weave
a story, not only for the ones we love but also for a nation in
need for our love?.
Aside from showcasing the embroidery industry in the
Philippines, this film makes embroidery a symbol of Anik’s
love to Manuel and Kanor, as well as a metaphor for the
Filipino’s love for their country, embroidered in history.
The concept of undying love is based on the real-life events
of embroiderer Monica De Reyes. Yet, this is not about an
eternal love or an ideal love but shows rekindled love; even
though there was no closure, it reaches a peak of ecstasy. It
does not end with a period, or an ellipsis nor does it measure
with a question mark. The narrative offers love being learned
through time and love changing our definition of life.
The film also shows a Filipino traditional ‘kasunduan’ or
arranged marriage. This custom is not practiced in the present,
except in some parts of the country, and depends more on
parental agreements than the bride and groom’s feelings
and decisions. It is usually driven by one family’s wealth and
influence and may seem a forced marriage. Thus, I use female
embroiderer to visualize an era when women’s voices are
unheard. Her story lies in the patterns of her embroidery; as
she weaves a chain pattern, symbolizing how women were
chained by the powers of a phallocentric society and how we
have been chained by the powers of the colonizers.
Company Profile
Center Stage Productions is a full service production company
in Metro Manila Philippines.
Sapi (2013) - Toronto IFF
Captive (2012) - Berlinale Competition
Thy Womb (2012) - Best Director at Asia Pacific Screen Award
Lola (2009) - Dubai IFF, Miami Film Festival, Fribourg
Kinatay (2009) - Best director in Cannes
Romania
STRADA FILM
Address: 41. Dr. Staicovic
S4 Buchcarest 050556
Romania
Tel.: +40 724 041 627
Website: www.stradafilm.ro
HEIDI
Original Title: Fata Muntilor
by Catalin Mitulescu
Catalin started his career with the shorts films 17 minutes late and
Bucharest Wien presented at the Cannes Film Festival. In 2004 his short
Traffic won Palme d’Or.
In 2006 his debut feature film, The way I Spent the End of the World, has
been selected in the Un Certain Regard section at the Cannes Film Festival
and Dorotheea Petre won the best Female Leading Role.
His second feature Loverboy was selected in Un Certain Regard 2011.
MARCIAN LAZAR
Producer
CATALIN MITULESCU
Director
a sales agent and distributors
Loverboy (2011) - Cannes’ Un Certain Regard, Coup de Coeur of Sarajevo
The way I Spent the End of the World (2006) - Cannes’ Un Certain Regard,
Toronto, Brussels, Helsinki, Sarajevo, Jerusalem, Melbourne
Traffic (2004 - short) - Palme d’Or,
17 Minutes Late (2002 - short) - Cannes’ Cinefondation
Bucharest Wien (2000 - short) - Cannes’ Cinefondation
Shooting dates: May 2015
Language: Romanian
Budget: 1.200.000 €
Introduction
Heidi is 22 years-old and for the last 5 years she has been hanging around the rich crowd of Bucharest, being one of the girls
who receive money from the men they accompany. This time, however, she has crossed the line: she is in love, pregnant and
her dream is to get married.
Synopsis
Heidi (22), a girl from a poor family background, left her
native mountain town and came to Bucharest, in search of a
new life. “The harsh beautiful girl” finally met Alex and now
she is living her dream.
Heidi doesn’t accept to do a movie for the bridal salon without
being asked first by Alex but he is not answering her phone
calls! She runs off from the salon in her wedding dress. She
drops her oblivious mother at the hairdressers and goes to the
place she swore never to come back to again: the apartment
where she received her male clients.
During the fast drive through the Bucharest traffic she
feels bad and she confesses to Mary - she is pregnant. Her 3
“colleagues” and friends, Mary, Lory and Monica offer their
help to find out if Alex is really willing to marry her. They
accompany her to the restaurant where she chooses the details
of the wedding. The girls decide to tell her the truth: Alex will
not marry her. He was seeing Monica all this time and he was
mocking Heidi and her desire to marry.
Heidi escapes alone in the city and this time Alex wants to talk
to her. Alex is following her and wants to be reconsidered.
The other girls take the mother and insist for a reconciliation
dinner. Heidi wants a man next to her at the meeting and
chooses Andrei - the guy who introduced her in this new
world. She waits for him in the street, by night, still wearing
her wedding dress. They choose to spend together a night of
passion, love and searching for the truth in a luxury hotel.
Andrei escorts her in the early morning to say hello to her
mother who is going back home.
He wants to see her again but Heidi chooses to walk her own
path instead..
Raluca is 22 years old. People call her Heidi because she comes
from the mountains and because she is the youngest of all the
four friends. The others are: Mary, Monica and Lory. Heidi has
moved to Bucharest when she was 16; she has been modelling
since 14; her straight stature and her white and bright
complexion have contributed to this nickname.
Heidi entered the world of high class prostitution. She has
been taught that there are rules that must be obeyed.
You don’t disturb your boyfriend with unnecessary calls; you
stay home for days in a row and wait for him to call. When you
go out with him, you have a specific relationship with other
men and you only talk certain things with the girls. In your
free time you can’t just do anything. Most days are the same:
gym, beauty salon and home. Sometimes Yoga or some other
activity. Any mistake, any deviation from this can have bad
consequences and if you are not careful, you can easily go
down.
Heidi has only recently started down this road. Her natural
attributes, her strenght, have helped her advance rapidly, but
a part of her has remained unscathed. This part of her soul
makes her cross the line and hope that her relationship with
Alex is different. Instinct also told her that she is getting too
involved with Alex and that she crossed a line but the more
surreal it seemed, the more she believed in it.
From the moment she is trying on her wedding dress and Alex is
not answering his phone, all the doubts and her fear that what
she is living is not real throw her into a quest to find herself.
Her self-confidence, her arrogance from the beginning will be
paralleled by her internal dimension, in which gradually over
the course of the film a deep restlessness develops - sometimes
very subtle, other times overwhelming.
This character will create a magnetic field of attraction
around her and will take the viewer in a journey in which an
alternative will be discovered: her own way in life.
Company Profile
Strada Film is a Romanian film production company, founded
in 2004. Until now, Strada Film has released 6 feature
films, 8 short films and 3 documentaries, mostly of them
being presented in top film festivals. Our films started their
international career in early development stage, being present
in Europe’s most important co-production and development
markets and are coproduced with countries like France,
Germany, Sweden, Switzerland, and Spain. Our partners
include top international sales agents, funding organisms
from Europe and foundations like Open Society Institute.
Sri Lanka/USA
PALMYRAH TALKIES
Address: 309 West 109th Street, 5D
New York, NY 10025
USA
Tel.: +44 774 217 4746
HOUSE OF MY FATHERS
by Suba Sivakumaran
Suba Sivakumaran was born in Jaffna, Sri Lanka, grew up in Australia and
lives in New York. She started her career in international development in
Sri Lanka and has worked in humanitarian aid and poverty reduction for
the United Nations. She is a graduate of the London School of Economics and
of Harvard University. Her first short film, I Too Have A Name premiered at
the 2012 Berlinale in competition for the Golden Bear.
I Too Have a Man (2012) - Berlinale, Dubai, the Cork International Film
Festival, Reykjavik, Montreal World Film Festival, Hangzhou Asian Film
Festival, Indian Film Festival of Los Angeles, the London Feminist Film
Festival, the Istanbul Crime and Punishment Film Festival.
SANTI CAMILLA PATHAK
Producer
Current state of script: 2nd draft
Shooting dates: March 2015
Genre: Fiction - Psychological Horror
Language: Tamil, Sinhala
Budget: 240.000 €
Introduction
Two feuding villages face extinction. A vision from the Gods tells them that a man from one and a woman from the other village
have to go into the Forest of the Dead to discover the secret to existence. Together with a foreign peacekeeper, they embark on a
journey which will force them to face past traumas, their own guilt and their inability to trust each other.
Synopsis
Two villages (one Tamil, one Sinhala) at war with each other are
facing the same crisis: the women are suddenly infertile and
the men all die as soon as they reach puberty. This generation
might be the last of their races. The leaders, armed teenagers,
too young to know history, too old to know any different, are
at a loss... Michael, a wandering Christian missionary doctor
with intimate knowledge of both villages is called for help but
cannot find a scientific reason for the infertility problem.
Then both villages receive the same vision from the soothsayers:
a Sinhala man and a Tamil woman must volunteer to be sent to
the Forest of the Dead to find a solution. But only one of them
will return! The two volunteers step forward: Asoka, a traitor
from the Sinhalese village who is out to redeem himself... and
Ahalya, the voiceless daughter of the Tamil leader who has lost
both her husband and child to the war.
Michael is asked to accompany them to ensure their safety.
But he will be more than an impartial mediator: he becomes
the translator for two sides who are torn apart by their past;
and he will come to question his own role in a complex war in
which he, a Christian missionary, only wanted to do good for
the people.
Asoka and Ahalya must confront their pasts, too, and the ways
in which they have betrayed their own people. Is redemption
possible? Can they overcome the weight of the past to make
new choices that could finally alter their lives for the better?
And which of the three will return alive?
- How is the conscious and unconscious mind formed and
how have Sri Lankans’ minds become so compartmentalized
through repeated traumas that memories have been repressed
so deep in the unconscious that the conscious mind denies
their existence?
- What is the responsibility of the Western world towards
conflict-torn regions? Sri Lankans see the international
community as selfish; and while external involvement is
problematic, I believe that without it, Sri Lanka would be worse
off.
- Beyond an end to suffering, what is freedom? Why do
we adopt victim attitudes instead of admitting our own
guilt in complex war situations, where we cannot perceive
traumatizing incidents as unrelated to our own wrongdoings?
- Can we break free from duality? I will explore the boundaries
between various binary parameters. One can be dead, but not
at rest. One can be masculine, but express so-called feminine
aspects of love. One can be Sinhalese, but include those who
are not.
- Can love redeem? How can a previously hurt individual (or
culture) overcome fears of betrayal and start trusting again?
- How can a new wave of Sri Lankan cinema be created, which
is not determined by Sinhalese Buddhist males (phallic,
aggressive, ethnically prejudiced and objectifying Tamils and
women)? My style is non-violent and realistic, placing the
camera in new positions and contexts that allow viewers to reexperience history in a different light.
Company Profile
As a Sri Lankan Tamil woman who has experienced the war,
House of My Fathers is a personal attempt to answer the
questions: - What is the difference between Sinhalese and
Tamils, when their leaders are similar in their use of violence,
distrust and encouragement of ethnic hatred?
- How is identity constructed? Why do we believe that,
especially in times of war, it’s determined through arbitrary
markers dividing «us» against «them» (gender, race, religion
etc.), when actually it’s formed by the relationships you build
with those who share your values?
Palmyrah Talkies is a fledgling company with the idea of
expansion into future Sri Lankan and Asian film productions.
Currently it is in development of Suba Sivakumaran’s feature
film House of My Fathers. We at Palmyrah believe that films
should not only entertain, but also use the powerful medium
that they are in order to raise awareness of issues, which have
not been addressed in the media or understood fully. This is
what we will be looking for in future projects we take on.
I Too Have a Man (2012) - Berlinale, Dubai, the Cork
Germany
WEYDEMANN BROS.
Address: Körnerstr. 45
50823 Köln
Germany
Tel.: +49 176 800 351 91
Website: www.weydemannbros.com
IN THE MIDDLE OF THE RIVER
by Damian John Harper
Damian John Harper, born in 1978 in Colorado/USA works as an Ethnologist
in Mexico before studying film directing in Munich. His graduation short
Teardrop strikingly shows the state of American Youth entirely shot from
the POV of the main protagonist.
With his debut feature film Los Ángeles Harper revisits the Mexican
community. The film premiered in the Berlinale Forum 2014 and is already
invited to numerous international competitions worldwide.
Los Ángeles (2014) - Berlinale Forum, Best First Feature at Guadalajara,
Moscow, Shanghai, L.A. Film Fest, Indie Lisboa, Brussels
Teardrop (2011 - short) - over 50 festival selections
JONAS WEYDEMANN
Producer
Goals at Paris: Finding a sales agent
and distributors
Shooting dates: February 2015
Language: English, Diné
Budget: 2.023.000 €
Partners attached: Cine plus Filmproduktion (DE) Farbfilm Verleih
(distribution, DE) ZDF (TV, DE)
Introduction
A hopeful young man is forced to make a stand against his abusive Grandfather to protect his family and preserve his culture.
Synopsis
Returning home from college for a long weekend GABRIEL
(23), an Iraq veteran and aspiring political science major
is confronted with his sister’s recent suicide, alcoholism,
domestic violence and the feeling of general apathy that hangs
over his Native American community. Compelled to protect his
family and culture he is forced to confront his newly returned
abusive Grandfather, stirring up past trauma in hopes setting
a course for a healthy future.
When I was nineteen years old, I moved to a small town
nestled deep in the heart of the jagged San Juans Mountains
in southwestern Colorado. There I attended Fort Lewis
University, studying Art and Anthropology. As the name
suggests the University was once a true fort. Eventually, the
fort was turned into a so called Indian School where Native
American children were taken from their families and sent
to the fort where they were systematically stripped of their
culture, religion and language.
Years later it became a university. Being born and raised in
the USA but having lived a third of my life abroad, I see our
nation as one of the most segregated countries to ever exist,
where apartheid like conditions are practiced in some areas as
the norm. Yet there at “The Fort”, a window to another culture
was opened for me. Like a tidal wave sweeping me off my feet,
I was shocked to learn that almost everything I was ever taught
about her culture was complete fiction.
Today the poorest counties in the United States are reservations.
At its worst, the poverty rate on the reservations has rocketed
to an all time high of 48.3% (13.8% elsewhere). In some places,
the value of human life has been so degraded that the life
expectancy is only 66.6 years. Almost 2/3 of Native American
women have reported being physically assaulted. Alcoholism,
drug abuse, diabetes and liver disease run rampant and the
suicide rate has reached 37% (10.9% elsewhere). The majority
of those taking their lives are teenagers and young adults.
Even though it is not my personal heritage, it is the history and
continuing story of my country to which I am a participant
and I feel obligated to address it.
All protagonists in this film are Native American. In the city
they speak English, then when they return home they switch
to Diné (Navajo Language).
For me this story is a struggle, a fight. My protagonist battles
to protect his family and strive for a better future - and I want
him to prevail!
Company Profile
Weydemann Bros. produces films for the national and
international market. We have a vision of a narrative cinema
that is both entertaining and political. For us film is always
a critical look at the world and the times we live in. With our
films we do not only hope to get people laughing and crying,
but to inform them and inspire them to contemplate.
Weydemann Bros. is based in Cologne and Berlin, Germany.
Weydemann Bros. is grantholder of the ‘AV Gründerzentrum
Cologne’ and participant of the ‘Berlinale Talent Campus’,
‘Sarajevo Talent Campus’, ‘Rotterdam Lab’, ‘IDFAcademy’ and
‘Cannes Producers Network’, as well as the MEDIA programs
‘EsoDoc’, ‘Documentary Campus Masterschool’, ‘ep2c’ and
‘EAVE Producers Workshop’.
Los Ángeles (2014) dir. Damian John Harper - Berlinale
Forum, Best first feature at Guadalajara
Silence in Dreamland (2013) dir. Tito Molina - Special
Mention at Guadalajara, Torino, BAFICI
Panihida (2012) dir. Ana-Felicia Scutelnicu - CinemaXXI
award at Rome Int. Filmfestival, Sofia, Thessaloniki, Sarajevo,
Cluj, goEast Wiesbaden
Chile/Argentina
ODD
Original Title: Rara
MANUFACTURA DE PELICULAS
Address: Martin Alonso Pinzon
5020 depto. 23
Las Condes Santiago CP 7580312
Chile
Tel.: +56 229 787 988
Website: www.manufacturadepeliculas.cl
by Maria Jose San Martin
Maria Jose San Martin studied acting and participated in several plays as an
actress and director. In 2004 she started working as an assistant director in
more than 18 feature films. In 2011 she directed The Shower awarded at the
Berlinale. During a creation residency in Berlin, she directed her 2nd short
film Gleisdreieck, wining Best Latin-American Short Film at the Valdivia
Film Festival 2012, and where she also wrote a 1st draft for her first fiction
feature film Rara.
Gleisdreieck 2012 - short) - PUDU Best Short Award at FICV
The Shower (2011 - short) - DAAD Short Film Prize at Berlinale, Best Short
Film at New York Int. Latino Film Fest, Best National Script, Direction and
Actress at Fesancor
MACARENA LOPEZ
Producer
MARIA JOSE SAN MARTIN
Director
Co-scriptwriter: Alicia Scherson
Shooting dates: April 2015
Genre: Fiction - coming of age
Language: Spanish
Budget: 335.000 €
Partners attached: Le Tiro (coproducer, AR)
Introduction
Sara is turning thirteen. She feels strange in her rapidly changing body, and with her family that now includes her mother’s
girlfriend, her father’s fianceé and an abandoned kitten that her sister decided to adopt.
Synopsis
Odd is the story of SARA, a teenager who is about to turn
thirteen and whose world is being transformed rapidly.
She feels Odd in her own body that keeps changing and in
her family, which now includes her father ‘s girlfriend, her
mother’s girlfriend, and an abandoned kitten that her sister
decided to adopt.
Paula and Leah are a couple. Both have many things that
make them strong, but a stronger distress will make them
even stronger; justice will deprive Paula of the custody of Sara
and Catherine, founded only on prejudice based on sexual
orientation.
Sara (13) and Catherine (9) are good sisters. To Cathy the only
thing that is important is to have the permission to have a cat,
and to Sarah is that the boy she likes, will finally notice her.
Victor (44) and Nicole (38) are a couple. They have being
together since Victor divorced Paula. He is convinced that the
girls should live with them, for the best of hers. Nicole is willing
to try, because the girls need to have a little bit of normality.
Paula and Leah, Sara and Catherine, Victor and Nicole are the
main characters in a story that could be about discrimination,
rights and minorities; but instead is the story of a family and
their affections. There is no right or wrong, just people trying
to do what they think is right.
My work derives from the necessity to tell stories centered in
the characters, in the people involved in them. Stories told
in an intimate tone, without all the slogans or big important
declarations. Not because I don’t believe in them, because I
believe film and art in general, is capable to modify the society
in a different and subtler way, which will render a more
perdurable change.
This film is based on true events of discrimination and
prejudice, a true story surrounded by courts and statements,
a story cold and alien, but instead Odd wants to be a movie of
love, innocence, about losses and how to overcome it without
dismember one’s sense of self.
With a subtle and austere look, I want to build a stage where
the audience will accompany Sarah on her journey through
adolescence, seeing reflected on her a society that learns to
discriminate and to live together in difference.
For this reason I have decided to work only with a 50mm lens, I
pretend to capture the intimacy in each scene, composing each
sequence a choreographed scene. Also the script is structured
episodically, with chapters that include elapses, sometimes
weeks and sometimes months. It is the way to cover a sturdy
horizon time in about eighteen months, necessary to portray
not only the events themselves, but also the effect that has
on the characters, in their affections and in their dynamical
relationship’s. In each of the chapters, there is a point of view
of one of the members of this family that predominates; not in
a strictly formal way, but the story focuses on their everyday
universe.
Growing up, the lost of innocence, the way of understanding
the world and finally to see the idea of the characters to
themselves. This story focuses on the everyday universe of
a 13-year-old girl. A woman, another woman, the father, the
teenager, the girl, the ex-husband and his new wife, friends,
home, homework, school, the car, a volcano, the boy she likes,
rumors at school, looks, errors and a cat.
Company Profile
Production Company based in Santiago, Chile which resumes
its activities in 2011 with the feature Rara. Today is dedicated
to the development and production of films that aims to be
innovative in their proposal, taking risks together during the
process. It is conformed with two executive producers with
different professional experiences and who shares a vision
of society, professional ethics and a way of doing things
characterized by the independence of the point of view.
Gleisdreieck (2012 - short) - PUDU Best Short Award at FICV
The Shower (2011 - short) - DAAD Short Film Prize at Berlinale
Best Short
Thailand
SAMUI SONG
Original Title: Samui
BLUERING COMPANY LIMITED
Address: 3/9 Soi Ramindra 26,
Tarang Bangkhen
10230 Bangkok
Thailand
Tel.: +66 2 943 7713
Website: www.bluering.co.th
by Pen-ek Ratanaruang
Pen-ek Ratanaruang was born in Bangkok in 1962. He made his debut as a
feature film director in 1997 with Fun Bar Karaoke. Since then he has been
recognized as a major pioneer in Thai New Wave cinema. Four of his films
– 6IXTYNIN9, Mon-rak Transistor, Last Life in the Universe and Headshot –
were Thailand’s official submissions to the Best Foreign Language Oscar.
His films have been screened in major festivals and have been distributed
worldwide.
RAYMOND
PHATANAVIRANGOON
Producer
PEN-EK RATANARUANG
Director
a sales agent and distributors, funds,
looking for European actors
Headshot (2011) - Berlinale Panorama
Ploy (2007) - Cannes’ Directors’ Fortnight
Last Life in the Universe (2003) - Venice Upstream
Mon-rak Transistor (2001) - Cannes’ Directors’ Fortnight
6IXTYNIN9 (1999) - Berlinale Forum
Shooting dates: November 2014
Genre: Fiction - Crime drama
Language: Thai, English
Budget: 675.000 €
Partners attached: FICO (coproducer, TH)
Introduction
Viyada, a soap opera actress in her mid-30s, is married to Jerome, a rich foreign national. But Jerome’s growing obsession with
a cult-like religious sect and its charismatic leader puts Viyada, an unbeliever, in an increasingly compromised situation. Just
when there seems to be no escape, she encounters Guy Spencer, a mysterious man who claims that he can rid her of her problems – permanently. But things does not go as planned…
Synopsis
Viyada, a soap opera actress in her 30s, is married to Jerome,
a rich foreign national. But Jerome’s growing obsession with a
cult-like religious sect and its charismatic leader The Holy One
puts Viyada, an unbeliever, in an increasingly compromised
situation. One day, Jerome relates his troubles with Viyada
to the abbot, and the Holy One volunteers to help sway her to
the “rightful path”. Soon the abbot comes to visit the couple’s
household. But his “visit” with Viyada leaves the woman
violated and shaken.
This is when Viyada meets Guy Spencer, a suave drifter with
a shady past. He insinuates himself towards her and, in a
moment of weakness, she agrees to his offer to have her
husband killed – for a price.
But the murder plan goes wrong, and Jerome ends up in a
coma. Guy is forced to lie low, but he tries to convince Viyada
that he can still finish the job. But after realizing her husband’s
innocence, she is overcome by guilt. She stops answering Guy’s
calls, and he is unable to track her down. Worse, he is suddenly
being followed by dangerous men. Soon, Guy is captured.
Finally, Jerome passes away. The Holy One conducts the
funeral with the whole sect in attendance. But Viyada, who
discovers that she is pregnant, slips away that night and flees.
Years later, we come upon an island where NGO workers live
with locals in harmony. One of the female NGO workers, Dang,
comforts a young woman, Noi. They soon fall asleep in each
other’s arms, with Dang’s five-year-old boy sleeping next to
them.
Back in Bangkok, Guy reappears. He has only one mission – to
exact his revenge on Viyada. He soon traces and finds her on
the island of Samui. She has changed – the locals call her Dang.
Here I conceived a story of a woman trying to break free from
the suffocation of organized religion… Despite her sins, we
understand her because she is struggling to break free from
a stifling environment whereby she has no way of defining
herself, be it her career, her relationships, her sexuality or
even the destiny of her offspring.
Though the religion presented in Samui Song is an alternative
sect of Buddhism – and these have become more and more
popular in recent years due to the disillusionment of people
towards mainstream Buddhism – the questions posed about
women’s status in today’s organized religion are still the same.
In fact, these alternative sects are even more questionable. The
level of control that these religions hold on people nowadays
is almost cult-like. And these powerful leaders of these sects
– propped up by big businesses and powerful governmental
officials – have free rein in conducting their businesses while
recruiting members and amassing incredible wealth. All in the
name of ‘good karma.’
However, I do not intend to make a very somber and serious
film about how organized religion has led people astray in
today’s society – after all, isn’t it hypocritical to preach about
how wrong others’ preachings are? Ultimately I want the film
to be surprising and unexpected – an ode, if you will, to cinema
itself. Using Hitchcock as a starting point, the film serves as
an homage to the kinds of movies I enjoy, from Bollywood and
Shinya Tsukamoto to Luis Buñuel and Thai cinema from the
‘60s.
Company Profile
Bluering Company Limited is a Bangkok-based production
company created by prominent film and commercials
industry veterans Pen-ek Ratanaruang (director), Chankit
Chamnivikaipong (director of photography), Prachitpon
Tangsritrakul (director), Pawas Sawatchaiyamet (producer &
production designer) and Rasarin Tanalerttararom (producer).
Its aim is to provide high-quality film, television and
commercials content produced by these industry veterans as
well as newcomers. Its latest production is the TV feature film
The Life Of Gravity (2014), directed by Pen-ek Ratanaruang for
TrueVisions. For more information please visit www.bluering.
co.th.
The Life of Gravity (2014) dir. Pen-ek Ratanaruang - TV
Turkey
SINEFILM
Address: Riza Pasa Sokak Konak
Apt. No:10/4 Moda
34710 ıstanbul
Turkey
Tel.: +90 216 450 11 41
Website: www.sinefilm.com
SOMETHING USEFUL
Original Title: Ise Yarar Bir Sey
by Pelin Esmer
Pelin Esmer was born in Istanbul. After she majored in sociology, she
worked as a first assistant director in various films. She founded Sinefilm
where she has produced and directed her films The Play, 10 to 11 and
Watchtower which received many international awards. In 2007, she was
invited to Cinefoundation Festival de Cannes.
Watchtower (2011) - Toronto, Rotterdam, Best Director, Actress,
Cinematography and Supporting Actress at Adana Golden Bowl
10 to 11 (2009) - San Sebastian, Toronto, Rotterdam, Best New Director at Abu
Dhabi, Best Film and Best Screenplay at Adana Golden Bowl
The Play (2005 - documentary) - San Sebastian, Best New Doc Director at
Tribeca
PELIN ESMER
Director, Producer
DILDE MAHALLI
Associate producer
Co-scriptwriter: Barıs Bicakci
Shooting dates: November 2014
Language: Turkish
Budget: 910.000 €
Partners attached: Bir Film
(Distributor, TK)
Introduction
Leyla (42) is a lawyer. She takes the train from Ankara to Izmir for her high school reunion dinner. Canan (21) is a nursing
student. She takes the same train for a job interview. Yavuz (45) is a paralyzed man, waiting for a nurse in his apartment in Izmir
to help him die. They get together in Yavuz’s apartment where Leyla the lawyer now is the poet, Yavuz, “the victim” is now the
admirer of Leyla, Canan the nurse is now Yavuz’s “executioner”.
Synopsis
Leyla (42), a lawyer, takes the train from Ankara to Izmir for
her high school reunion dinner. On the train she meets Canan
(21), a nursing student going to Izmir for a job interview. From
the girl’s uptight behavior and a phone conversation she
overhears, Leyla senses that something is troubling Canan.
They get into a deep conversation where Canan brings up a
story experienced by an acquaintance of hers who was asked
for help by his paralyzed friend to end his life. But he couldn’t
kill him.
In the middle of the trip, Canan suddenly leaves the train at a
station. But at the end she jumps back on the train with tears.
Leyla understands that Canan is traveling to Izmir not to go to
a job interview but to assist in the suicide of the paralyzed man
she spoke of earlier. Leyla offers Canan to accompany her for
this difficult visit.
They visit Yavuz (45), the paralyzed man, at his home where he
is waiting for the nurse who will end his life. Yavuz is amazed
when he sees Leyla: having expected a nurse, he finds himself
face to face with Leyla, a poet he admires.
An intense discussion begins between this trio. For Yavuz, who
expects to die without any farewells, this last afternoon has
turned into a very pleasurable one. As the daylight fades, the
mood is one of life rather than death and of poetry rather than
reality. While Canan is preparing the injection, Leyla suggests
coming back again the next day. Hesitant at first, Yavuz
eventually takes her offer.
That evening, Leyla leaves Canan in a hotel room and sets
off for the high school reunion dinner. After her first visit
to Yavuz and before the second one tomorrow, the reunion
dinner is now a “last supper” for Leyla.
Why does a poet (Leyla) decide to accompany a paralyzed man
(Yavuz) who wants to die, and a young nurse (Canan) who
has taken on the difficult task of killing him? To help them?
Because she is fascinated by them? Because she is fascinated
by death? Because she is curious? Or is it because she wants to
do something useful? Would Leyla have done something
useful by accompanying Canan and spending time with
Yavuz? When art exists as a powerful and magical tool for
understanding life, why does the artist continually seek to do
something useful? I’ll be seeking for some answers in...
The train: As the place which is the evocative of life advancing
towards death with its rhythmic sound and continous
movement, of taking on board and discharging passengers
and stories at stations along the way.
The city of Izmir: As the final destination of the train where we
start to see Leyla as the poet and Canan as the “executioner”.
Where two improbabale pair of women will spend the time
they need to kill until the unorthodox meeting with Yavuz in
the crowds of the city.
Yavuz’s apartment : As an oasis of calm contrasting with
outside; a place which, with Leyla and Canan’s visit, has the
smell of a freshly aired room, rather than being redolent of
death.
“The last supper”: After the visit to Yavuz, for Leyla the
25’th year reunion dinner turns into the venue for the “last
supper”. I thought of Leanardo’s painting while imagining this
sequence shot which I see as a continuous filmstrip that ends
with the final meeting of Yavuz, Leyla and Canan as the last
frame where we will to and fro momentarily between dream
and reality - in order to exploit to the full the possibility of
imagining something as physical and real as death until the
very last moment.
Company Profile
Focusing on independent film projects, Sinefilm was founded
by director Pelin Esmer in 2005 where she produced her feaure
length films together with her producer colleagues Tolga
Esmer and Nida Karabol Akdeniz. Among the productions
of Sinefilm are highly praised and award winners The Play,
10 to 11 and Watchtower. 10 to 11 and Watchtower are both
produced as turkish-german- french co-productions where
Sinefilm has been the delegate production company. 10 to 11
was a coproduction with Arte- France whereas Watchtower was
supported by Turkish Cultural Ministry, CNC, Medianboard
(Berlin) and Eurimage. Both of the films have been released in
Turkey, France, Germany and US.
Australia
FRESHWATER PICTURES
Address: PO Box 1385
New Farm Queensland
Australia 4005
Tel.: +61 412189977
Website: www.freshwaterpictures.com.au
WHITE KNUCKLES
by Pia Marais
Berlin-based Swedish-South African, Pia Marais’ feature debut won
Rotterdam’s Tiger Award in 2007. Her second feature was developed at the
Résidence du Festival de Cannes, and premiered in competition in Locarno.
Layla Fourie set in South Africa, premiered in competition at Berlin
International Film Festival 2013.
Layla Fourie (2013) - Berlinale Official competition
At Ellen’s Age (2010) - Locarno Official competition
The Unpolished (2007) - Tiger Award at Rotterdam
TRISH LAKE
Producer
PIA MARAIS
Director
Shooting dates: mid 2015
Genre: Fiction - psychological thriller
Language: English, Afrikaan
Budget: 2.370.000 €
Introduction
Miriam (28) a stuntwoman from Australia returns to her native South Africa after her mother is brutally attacked. Back within
her former White-Afrikaans community Miriam decides to investigate the crime herself but she soon discovers that in the
patriarchal world of a post apartheid South Africa, to out one’s own brings wrath and intimidation.
Synopsis
MIRIAM SWAN (28), a South African stuntwoman living on
Australia’s Gold Coast, carries a lot of scars. Receiving news
that her widowed mother, JUDITH SWANEPOEL (48), has been
brutally attacked and left for dead she returns home for the
first time in a decade to nurse her back to health.
For Miriam, the return to her mining settlement hometown
just outside of Johannesburg means a return to everything
from which she fled. But things are not as they once were.
Formerly in power, the white Afrikaners of the region have
been relegated to a disenfranchised working class scraping by
in the midst of a new elite.
Judith now lives in what has become a poor white
neighbourhood and a place of little interest to the police who
have formed their own set of rules. Joblessness and domestic
violence are rife. Organised crime has replaced legitimate
employment, while patriarchy, paranoia and gun ownership
are everyday realities of this life on the fringes of society.
She soon learns that the perpetrator is a young white man
her mother knows, and in order to seek justice she must do so
against a community notorious for closing ranks to protect its
own.
Facing such resistance, Miriam finds the more she delves, the
more she puts herself in danger. She must decide whether to
flee the country again or take on the male-orientated power
structures and avenge the crime against her mother.
White Knuckles is a portrait of a young woman who must
navigate through a crumbling world fractured yet still
dominated by an entrenched patriarchal society.
While White Knuckles is a psychological drama with strong
thriller elements, the story allows the audience to explore
what it’s like to be a member of the major white tribe of South
Africa. The Afrikaans tribe has lost most of its power in postapartheid South Africa and has never got over it. We enter the
world of the middle and lower middle class white Afrikaans,
who live in fortified residences and gated communities,
keeping the outside world at bay and becoming increasingly
paranoid and isolated.
It’s in this over-heated, tense and unstable environment
where the protagonist MIRIAM arrives. Her dysfunctional
relationship with her mother is a metaphor for what she finds
as a nation.
The timeliness of the Oscar Pistorius case is extremely relevant
to White Knuckles– especially the mirroring themes of sexual
crimes, violence, and attitudes towards women.
An antipathy that goes all the way back to the Boer war and
the struggles against apartheid. We reference Debra Granik’s
Winter’s Bone and Thomas Vinterberg’s The Hunt where
isolated or small communities can close ranks to protect their
own or alternatively, turn on each other, sometimes taking the
law into their own hands. We will also draw on the haunting
photography of Roger Mallen. They give a tribal aesthetic to
draw on as well as tonal references from the South African
band Die Antwood – for their rebellious Afrikaans attitude - an
inverted version of how the culture used to be, under apartheid.
It’s clear that twenty-years on from the fall of apartheid, South
Africa is still dealing with the consequences of what was one
of history’s most notorious and unjust civil experiments -- that
of official apartheid or a series of classifications based on race
and skin colour.
Company Profile
Freshwater Pictures produces independent feature films and
documentaries and has worked with leading co-producers,
studios and distributors including Working Title, Walt Disney
Studios, Universal Pictures, Rialto, Madman Entertainment
and Hopscotch E-One. Freshwater’s CEO - Producer, Trish
Lake’s awards include SPAA Feature Film Producer of the Year
and an IF Award for Best Documentary Producer. Freshwater’s
numerous awards and nominations include a record 14 AFI
Nominations for the Australian cinema classic, Gettin’ Square.
Show Me the Magic (2013) dir. Cathy Henkel - Brisbane IFF
My America (2012) dir. Peter Hegedus - Sydney Film Festival
The Burning Season (2011) dir. Cathy Henkel - Tribeca
Subdivision (2009) dir. Sue Brooks - Brisbane IFF
Italy/Canada
ASCENT FILM
Address: Via Montello 30
00195 Rome
Italy
Tel.: +39 06 32 60 02 67
WHITE SHADOWS
by Fabio Mollo
Fabio Mollo is born in Reggio Calabria in 1980. In 2002 he graduated at
the University of East London with BA Honour Bachelor of Arts in Visual
Theory, Film History.
In 2007 he graduated at Centro Sperimentale di Cinematografia di Roma.
ANDREA PARIS
Producer
Goals at Paris: a sales agent and distributors, funds
Current state of script: 2nd draft
South is Nothing (2013) - Official selections at Berlinale Generation, Toronto
Rome, San Francisco - script awarded at Torino Filmlab, selected at l’Atelier
and Berlinale Talent Campus
Naples 24 (2010 - Documentary) - Torino Film Festival
Giants (2007 - short) - Best Short at Torino Film Festival, Special Mention of
the Press at Clermont-Ferrand, Onda Curta Award, Special Mention of the
Jury at Venice’s Circuito Off
Carmilla (2006 - short) - Best Cinematography and Best Actress at Trevignano
In the Dark (2005 - short) - Official selection at Venice
Shooting dates: Summer 2015
Language: English
Budget: 1.200.000 €
Partners attached: January Films
(CA), Rai Cinema (IT)
Introduction
You can run away from somewhere, from your past, your future. You can run away from someone, from your life or even from
your own destiny. But would you ever be able to run away from yourself?
Synopsis
Andros and Alma. A brother and a sister. Two teenagers.
Very different from each other, though there’s a strong bond
between them. They were brought up in a house in the woods.
A house which in the boy’s eyes has become a prison, while she
sees it as a warming and safe shelter. But they both know it’s
the place that their father chose for them, to live and grow up.
And probably even die.
Their father brought them up in that place, far away from the
rest of the world. Though he did it for their own good. It was
the only way to protect them from the evil that winds beyond
the forest.
Forcing them to live in the dark of the night was the only way
to protect them from the evil creatures that live and move
in the daylight. Those beings that sneak inside your brain,
forcing you to see what you don’t want to see. Hear what you
don’t want to hear. Do what you don’t want to do. It was the
only way to protect them from the white shadows.
«You can run away from somewhere, from your past, your
future. You can run away from someone, from your life or
even from your own destiny. But would you ever be able to run
away from yourself?»
This statement at the beginning of the movie perfectly
encloses the feeling I would like to investigate with this story.
The mazes we build up, fortify and make impregnable with
the aid of our mind keep us chained to our executioners and
turn us into our own worst enemies. On 2 March 1998, Natasha
Campusch was kidnapped in front of her house by a man with
a van when she was 10 years old. The little girl will spend 8
years segregated in the basement of her kidnapper’s house, in
a residential area of an Austrian city: after a few years, even if
she was allowed to go out, she couldn’t run away. She wouldn’t
want to. The psychological abuses, which she was forced to
undergo for long periods of time, would make her tie a very
strong bond with her kidnapper, a relationship made of hate
and love.
It’s the so called Stockholm syndrome. Despite the scientific
term, there’s an extremely human feeling behind the
incapability to run away from evil and the intention to
preserve the bond with our executioner.
White Shadows is supposed to be a psychological drama
movie, with the typical thriller structure and setup, though
many dramatic/authorial elements were added to the content
of the story.
The movie features no special effects or supernatural monsters
but only mind games and mazing alternations of lights and
shadows. The greatest challenge that this movie can face is the
single setting of this two-characters story. Therefore, mixing
supernatural thriller and dramatical communication allows
a full exploitation of the cinematographic medium. A very
clear example of this type of movie is The Village by Night
Shyamalan, The Others by Alejandro Amenabar or the more
recent Martha Marcy May Marlene by Sean Durkin.
Company Profile
Ascent Films was founded in 2003, with the goal of becoming
an independent production company that can give voice to
new talent and, more generally related to the audiovisual,
Italian and European.
Research, experience and enthusiasm are the guidelines
that have always distinguished Ascent Film: the different
professional backgrounds of members are helping the
company to capitalize on relationships with producers,
distributors and financiers, Italians and foreigners.
I Can Quit whenever I Want (2014) dir. Sydney Sibilia
My First Time (2014) dir. Riccardo Rossi - opening in Fall 2014
The Ice Forest (2014) dir. Claudio Noce - opening in Fall 2014
Portrait of my Father (2009) dir. Sole Tognazzi - Rome IFF
Pietro Germi (20108 dir. Claudio Bondi - Cannes
La Résidence de
la Cinéfondation
Every year the residence of the festival welcomes a dozen young directors who come to
work on their first or second fiction feature project. The two sessions last 4.5 months,
from October 1 to mid-February, and from the end of February until mid-July. Since
its creation in 2000, the residence has welcomed more than seventy filmmakers from
more than forty countries. It provides them a place of residence in the heart of Paris, a
personalised programme to accompany their script development and forums with film
industry professionals.
Nearly fifty filmmakers emerging from the great halls of this «Villa Médicis» of
cinema have seen their films selected by international festivals and granted theatrical
distribution.
The selection of the residents by a jury, presided by a director or a film professional, is
based on the quality of their shorts or first feature film, as well as on the merits of their
project currently in development and on the candidate’s motivation.and makes peace
with his past, and rediscovers the possibility of joy and love, despite the stranglehold of
racism and a world out of balance.
3, rue Amélie, 75007 Paris
Tel: +33 (0)1 53596120
Fax: +33 (0)1 53596124
RESIDENCE DE LA CINEFONDATION
DEZENOVE SOM E IMAGENS
Producer:Sara Silveira
Address: Rua Conde Silvio Alvares Penteado
96, Pinheiros
São Paulo, SP, Brazil, 05428-040
Tel.: +55 11 3031-3017
Website: www.dezenove.net
Brazil
ALL THE DEAD ONES
Original Title: Todos os Mortos
by Caetano Gotardo & Marco Dutra
Caetano Gotardo and Marco Dutra studied cinema at the São Paulo
University, and since then they have collaborated on the films of one
another in different positions. Marco has directed two feature films.
Caetano has directed one. They both have many short films, and their work
has received attention from many festivals around the world. All the dead
ones is the first film they’ll write and direct together.
CAETANO GOTARDO
CO-DIRECTOR
Caetano Gotardo
The Moving Creatures (2012) - CinéLatino, Paris Cinema IFF
Sand (2008 - short) - Cannes’ Critics’ Week
Marco Dutra
When I Was Alive (2014)
Hard Labor (2011) - Cannes’ Un Certain Regard
A Stem (2007 - short) - Discovery Prize in Cannes’ Critics’ Week
Synopsis
Directors’ Statement
Set in the final months of the 19th century, All the Dead Ones
depicts the decline of a family in São Paulo, from the point
of view of its three women: Isabel, the dying mother, and her
daughters Maria, a nun, and Ana, a silent and unstable young
woman. After the death of their last maid – a former black
slave from the times when the family lived in the coffee farm
– their home seems to start falling apart. Jorge, the father, who
left the women in the city to try to save the old farm, clearly
doesn’t plan to return. As the months go by, Ana develops
an obsessive relation with the memories of the slaves who
lived in the family property. Their presence seems to come
back to haunt her. Unable to adapt themselves to a changing
society, Isabel, Maria and Ana inexorably approach illness and
madness.
At the turn of the 20th century, just like nowadays, São Paulo
lived the benefits of a booming economy, but a lot of people
were left out of it. Our film uses that moment of our history
to think about several issues that still pervade social relations
in Brazil today. Set in the late 19th century, the plot develops
faithfully to that period, and all the characters are immersed
in it. The internal spaces are reconstituted as period sets – the
same logic is applied to the costumes. However, the city in
which the characters walk around is São Paulo in the current
days: the asphalt, buildings, wires, noises. Through this clash
of historical times, conveyed by a simple movie convention, the
characters become ghosts of a sort: the past that still inhabits
the city, and that is still the basis for what it has become.
Serbia
AGAINST THE DAY
CONTACT
Tel.: +381 64 331 6321
by Katarina Stankovic
Katarina Stankovic comes from Belgrade, Serbia. After graduating with a
BFA in Audiovisual Studies from the San Francisco Art Institute and Gerrit
Rietveld Academy in Amsterdam in 2005, she completed her postgraduate
studies in Film at the Academy of Media Arts in Cologne in 2011. The
following year she attended a certificate course in film restoration at the
George Eastman House, International Museum of Photography and Film.
She took part in Sarajevo Talent Campus 2012 and Short Film Station of
the Berlinale Talent Campus 2013. She has directed several shorts and
medium-length films including Zima which premiered at the International
Film Festival Rotterdam and won several prizes at international festivals.
KATARINA STANKOVIC
DIRECTOR
Morning Prayers (2013 - short) - Sarajevo FF, Zagreb FF
Zima (2011 - medium-length) - Rotterdam, Best foreign feature at
Philadelphia Independent FF, Grand prix at International Festival of
Cameramen
Synopsis
After an unexpected event an outcast sets off on a journey
through memories, dreams and visions related to the people
he encounters. In his escape, a once disconnected character
begins to feel at home in distant places and times. In viewing
his existence from new perspectives, he begins to discern
an outline of himself and his homelands, as one might see
human or animal forms in clouds or stones. This solitary
walker through different temporal and spatial realms falls
into a whirlwind of experience. decadent extremes into rural
landscapes and beyond, yet forever remains just beneath the
surface of the present.
As a man undergoes a deep sense of remorse for an irrevocable
act, his only wish is to borrow time. Instead of venturing
into a future laden with consequence, he thrusts himself
on a peculiar journey, through temporal and spatial realms
of escape. Along the way, there will be moments of visual
contemplation and reflection. At others, he will bear witness
to a world of images enlivened with the force of mystery,
history, beauty and unresolved passions. The endlessness of
possibility keeps him wide awake. In this transient backdrop
to reality, the man is catalyst – both participant and observer
– for a patchwork of memories, experiences, absurdities and
improvisations. While characters split, multiply, vanish,
solidify, dissolve and congeal again, he wonders: is this the
world or what a world might be with an adjustment or two.
From his journey he will retrieve one single ruin, held together
by the brief moments of happiness in his own past. He would
only like to, if he could, pause for a moment. To piece together
what has been broken. The desire to always borrow time. But
a storm follows him, in pursuit no matter how far he moves
forward. It will push him irresistibly towards that to which his
back has been turned all along.
JOIN MOTION PICTURES
Producer: Anton Mani Svansson
Address: Birkiholt 4
225 Alftanes
Iceland
Tel.: +354 6150005
Website: www.heartstone-themovie.com
Iceland
HEARTSTONE
Original Title: Hjartasteinn
by Gudmundur Arnar Gudmundsson
Guðmundur Arnar Guðmundsson was born in Reykjavik, Iceland 1982. He
studied fine art in Iceland and screenwriting in Denmark. His short films
have received many international awards, including a “Special Mention”
in the Cannes Film Festival 2013.
GUDMUNDUR ARNAR
GUDMUNDSSON
DIRECTOR
Artun (2014 - short) - in post-production
Whale Valley (2013 - short) - Special Mention in Cannes, nominated for Best
Short Film at the European Film Awards 2014, Golden Starfish at Hamptons
IFF, Best Live Action Short at Warsaw IFF, Golden Spike Award at Giffoni IFF
Hidebound (2008 - short) Hard Labor (2011) - First Prize New Forms at Karlovy Vary, Icelandic IFF,
First prize New Forms NUFF - Nordic Youth Film Festival, shortlisted for the
Icelandic Edda Arwards
Synopsis
Set in the harsh beauty of the Icelandic nature, Heartstone tells
a story about a strong friendship between two boys growing up
in a small fishing village.
Heartstone is a personal story based on my own experience as
a young boy growing up in a small fishing village. This village
is a place full of contrast, where the sun shines for the longest
time in the country over the summer and the shortest time
over the winter. It is a place where young kids come to know
animals, and often discover how nature and people, can be
both amazingly beautiful and incredibly cruel. I want to reflect
on this world, which I feel very strongly about.
As a kid and as a teenager I used to wish that I could show
the grown-ups around me how our world really was. As a
filmmaker I want to do that; portray youth in a truthful way
as these years reflect our lives in a very clear, beautiful, and
sometimes harsh manner.
Thor, 13-year-old is small and underdeveloped for his age but
he has a crush on Beth, the most beautiful girl in the village.
Thor’s best friend, Christian, is taller and more developed than
him and acts as his protector whenever Thor gets himself in
trouble. Christian is good at talking with the girls and when
he sees how troubled Thor is over Beth, Christian tries to help
him win her heart over. But in that process, Christian begins to
experience feelings that he doesn’t understand – new feelings
towards Thor.
Christian is not about to admit these feelings to himself,
instead he tries to repress them. But when things start to work
out between Thor and Beth, tension rises between the boys.
Thor slowly realizes that for Christian he is more than just a
friend and when rumors about the boys’ relationship start
to circulate, Thor distances himself from Christian. Alone
and unmoored, Christian is faced with his budding sexuality,
which leads him to take a lifethreatening action. After that the
question arises: Will the boys be able to overcome all that has
happened and reunite their friendship?
MIRA
Producer: Karen Fraenkel
Address: Defensa Nacional 737
Asunción
Paraguay
Tel.: +595 971 150 500
Paraguay
THE HEIRESSES
Original Title: Las Herederas
by Marcelo Martinessi
Marcelo Martinessi (Paraguay, 1973) studied communication before going
to the London Film School. His work revolves around memory and identity.
He was director of Tv Pública Paraguay – first experience of public television
in his home country – from its creation (2010) until the Coup d’État of June
2012.
El Baldio (2013) - Huelva Iberoamerican Film Festival
Calle Ultima (2011 - short) - Berlinale Generation, Clermont-Ferrand
Karai Norte (2009 - short) - Discovery prize in Cannes’ Critics’ Week
MARCELO MARTINESSI
DIRECTOR
Synopsis
Directors’ Statement
Asunción, Paraguay, 2012. Chela (62) has led a very secluded
life, spending most of her time painting and writing in her
diaries. As heiress from a prosperous family, she has received
enough money to live comfortably. But when she turns 60,
the inheritance starts to run out. It all gets more complicated
as her long time partner Martina (63) faces prosecution for
unpaid debts and has to go to jail.
I come from a country that after decades of dictatorships and
a one-party-only regime, had an opportunity to change.
My generation lost that opportunity. Our democratic ‘spring’
was suddenly interrupted by a new Coup d’État in 2012.
This film is an attempt to return to that spring, to that moment
of strong desire, when after a long period in the dark, someone
– a country, a woman – faces unexpected possibilities.
Forced to support herself, Chela begins working for the first
time in her life. She provides a sort of taxi service for the local
petite-bourgeoisie. That is how she meets Angy, a stylish 45
y.o. married woman, to whom she connects instantly.
Australia
LAST AUTUMN
LOHST
Tel.: +61 477 987 127
by Sam Holst
Born in Melbourne, Australia, Sam Holst studied Communications and Film
at RMIT University.
His short film Meathead premiered In Competition at the 64th Cannes Film
Festival and was awarded the Crystal Bear for Best Short Film in Generation
at the 62nd Berlin International Film Festival.
In 2014, Holst was selected as one of six international filmmakers to attend
the Cannes Cinéfondation Residence in Paris, to write and develop original
feature project, Last Autumn.
Meathead (2011 - short) - Official competition in Cannes, Crystal Bear for Best
Short Film at Berlinale Generation
SAM HOLST
DIRECTOR
Synopsis
In the final months of 1999, the world is an uncertain place.
Last Autumn is a family drama about the acceptance of our
own limitations, and those in others.
It aims to explore ideas of personal expectation and
uncertainty in the face of forces greater than our selves – such
as disease, technology, time and change – which test or reveal
such limitations.
Finally however, through the central relationship between
father and son, to highlight the notions of family and love,
which can to a degree, transcend them.
Graham, husband and father-of-two, works in sales for a local
newspaper while operating a small clothing business on the
side to make ends-meet. Then one day he arrives home to be
old his wife has been diagnosed with cancer and must move to
hospital for treatment. He’ll have to care for their two young
sons by himself.
As the year 2000 looms, the business landscape is also shifting.
Graham’s clients at the newspaper begin moving toward new
technologies; away from what he knows best. He also struggles
to uphold commitments at the clothing factory, while trying to
manage the household and kids.
But Graham has a secret. When his eldest son, Beau, finds out,
the limits of both man and child will be revealed.
CONTACT
Producer: Cinema Defacto
40, rue de Paradis
75010 Paris
Chile/France
SMALL TALK
Original Title: De la Pluie et du Beau Temps
by Marcela Said
Marcela Said was born in Santiago, Chile. She graduated from the Catholic
University of Santiago with a degree in Aesthetics, and received her
master’s degree in Media & Language at La Sorbonne University. After
four political documentary films, including El Mocito, which screened at
the Berlinale Forum in 2011, she directed her first narrative feature The
Summer of Flying Fish, which premiered in Directors’ Fortnight at the
Cannes Film Festival in 2013. Her new film project, Small Talk, participated
in the Sundance Institute Screenwriters Lab this past January.
The Summer of the Flying Fish (2013) - Cannes’ Directors’ Fortnight
El Mocito (2011 - documentary) - Berlinale Forum
MARCELA SAID
DIRECTOR
Synopsis
The line which separates good from evil maybe thinner than
we believe.
Forty years after Chilean coup d’etat, the current situation of
the country is rather alarming. Chileans are always divided
about the political questions, and the country moves forward
in a climate of underlying violence.
Small Talk, is a Chilean but also universal story. The idea that
a man is not reduced to an act is central in this argument. I
want to talk about love, hate, violence, forgiveness and the
possibility of redemption.
Small Talk is a film about a woman, a silent victim of violence,
who must learn how to recognized and overcome it. It shows us
what it means to live in a hostile and oppressive environment
disguised as acceptance and comfort, from where is not easy
to get out, since the price of emotional freedom is so high that
it might be unattainable.
Mariana (40) is married to Pedro (45), a workaholic economist.
She’s always been treated like a child by her father and then by
her husband, and lacks self-confidence.
Mariana belongs to a sexist and violent society where Chilean
bourgeois women are reduced to their marital tasks – raising
children and tolerating their husbands. Mariana starts taking
horse riding lessons and develops an awkward and obsessive
connection with Juan (70) a former colonel with a dark past,
who becomes her instructor, mentor and her object of desire.
VENUES
Eurosites George V: 28, avenue George V – 75008 Paris
Publicis Cinema / Rooftop: 129, av. des Champs-Elysees 75008 Paris
Bistro Romain: 122 avenue des Champs-Elysées, 75008 Paris
Ladurée: 75 avenue des Champs-Elysées, 75008 Paris
CALL FOR ENTRIES
ARC 1950 COPRODUCTION VILLAGE
DECEmbER 13-16Th, 2014
SUbmIT yOUR PROjECT AND wORk IN PROGRESS ONLINE
www.lesarcs-filmfest.com
APPLICATION DEADLINE: SEPTEMBER 26TH, 2014
More than 500 Industry professionals from
entire Europe gathered for 3 days of business and
networking in one of the world’s most beautiful
ski resort
•
•
•
•
•
One-to-one meetings
Screening of films in post-production
Film School Village
DIRE Days
Seminars, conferences and masterclasses
• And the 6th European Cinema Ski Cup!
Application and information: www.lesarcs-filmfest.com
Contacts : Pierre-Emmanuel Fleurantin and Vanja Kaludjercic : [email protected]
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SUMMARY
Introduction 3
Schedule 4
Film – Eugenia and John 5-6
Film – Automatic at Sea 7-8
Film – Winning Dad 9-10
Film – Creative Control 11-12
Buyers 13
Jury 14-17
Partners & Endownments 18-20
Team & Practical information 21-22
2 INTRODUCTION
US IN PROGRESS is a joint initiative between the American Film Festival in
Wroclaw, the Champs-Elysées Film Festival in Paris and Black Rabbit Film. It is
the first and only industry event devoted to US indies in Europe. Its aim is to
present US indie films in post-production to European buyers in order to foster
the circulation and distribution of American indie films in Europe. US in Progress
involves two yearly get-togethers at two different festivals (Paris in June and
Wroclaw in October).
Why an event for American cinema in Europe?
The dominant position of American cinema in all European markets is indeed
an obvious fact. But by American films, we usually mean studio producedmovies big budget films that give an entertaining but also a formulated vision
of the United States. Outside this studio-driven system, there exists today an
interesting and lively independent film scene. But very few of these films find
distribution abroad. Most indie movies lack an international strategy and most
European buyers simply are not aware of the existence of these movies.
The objective of the US in Progress Program is to create new bridges between
talented US indie filmmakers and top European buyers and introduce new
voices from America on the European film scene.
4 feature films have been selected for our Paris Program this year. These films
will be screened to 40 top European sales agents, distributors, festivals
programmers and producers. All the films participating in US in progress this
year are features produced by emerging and established filmmakers and
have no previous exposure in the European market place.
3 SCHEDULE
TUESDAY, JUNE 10
Please collect your accreditations at the Café Wifi (Publicis building’s
welcome desk) à from 1:00 to 6:00 PM
8:00 PM : Opening Party at the Publicis Rooftop
WEDNESDAY, JUNE 11
8:45 AM : Gather at the Publicis Building’s welcome desk
9:00 AM - 10:30 AM : Eugenia and John by Hossein Keshavarz (1H26)
10:30 AM - 10:50 AM : Break
10:50 AM : Presentation of USIP prizes by Commune Image, Eaux Vives and
Firefly
11:10 AM - 12:30 PM : Automatic at sea by Matthew Lessner (1H20)
12:40 PM - 1:00 PM : Presentation of USIP prizes by Titra TVS, Ciné + and Centre
Phi
1:30 PM - 3:00 PM : Lunch at Ladurée
3:15 PM - 4:47 PM : Winning Dad by Arthur Allen (1H32)
4:50 PM - 5:10 PM : Break
5:10 PM : Presentation of USIP prizes by Producers Network, Europa Distribution
and Touscoprod
5:30 PM - 7:05 PM : Creative Control by Benjamin Dickinson (1H30)
7:10 PM - 7:40 PM : Meeting of the US in Progress Jury
8:00 PM : Closing Dinner & Award at the Flora Danika
10:00 PM : Cocktail at the Publicis Rooftop
THURSDAY, JUNE 12
10:00 AM - 5:00 PM : One-to-One Meeting at the Eurosite George V
(Buyers only: USIP and Paris Coproduction Village)
12:30 PM - 2:00 PM: Lunch at Bistrot Romain
10:00 PM - 12:00 AM : Closing Cocktail at the Publicis Rooftop
4 EUGENIA AND JOHN
Title : Eugenia and John
Director : Hossein Keshavarz
Producer : Chad Burris, Amy Durning, Maryam Azadi
Main Cast : Venecia Troncoso, Wesley Tunison
Genre : Drama
Shooting format : HD
Length : 90 minutes
Synopsis : Eugenia has a lot on her hands. On top of juggling work as a
cleaning lady with her family, her university studies and her relationship with
her high school sweetheart, John, she is fighting to gain admission to medical
school, despite the limitations she faces as an undocumented immigrant. But
when her sister gets arrested for a routine traffic ticket Eugenia’s world is
thrown upside down. Eugenia reckons with what it means to be an alien in
the place you consider home, and is forced to decide what is worth fighting
for. As she struggles to prevent her sister’s deportation and tries to salvage her
romance with John, Eugenia comes to realize that her position in America is
more tenuous than she ever imagined.
Missing services : Sound edit and mix, score, color correct, special effects,
titles, output.
Contact details:
Hossein Keshavarz (Director)
[email protected] / +1 (917) 207-8880
Chad Burris (Producer)
[email protected] / +1 (505) 913-7073
5 EUGENIA AND JOHN
Hossein KESHAVARZ (Director)’s debut feature,
DOG SWEAT, was released to critical acclaim
in 2011. The New York Times wrote that it was
“polished,
the
young
actors
warmly
believable” and NPR called it is “astonishingly
gutsy.” It won The Special Award Promoting
Social Values awarded by the President of the
Italian Republic at the Rome International Film
Festival and Jury Awards at the Austin,
Nashville and Little Rock Film Festivals.
Keshavarz was nominated for a “Someone to
Watch” Film Independent Spirit Award in 2011.
He also served as Associate Producer for the
2011 Sundance Film Festival Audience Award
Winner, CIRCUMSTANCE.
Maryam
AZADI
(Producer) wrote and
produced the award-winning film, DOG
SWEAT, which was nominated for an
Independent Spirit Award. She recently worked
as the associate producer and story editor for
CIRCUMSTANCE, which won the audience
award at Sundance in 2011. Previously
Maryam has worked extensively in TV in Iran
and produced a documentary feature,
PERSION FASHIONISTAS. Maryam received a
Bachelor’s degree in Film Directing from Soureh
University and a Master of Fine Arts from Tehran
Art University, both with honors.
6 AUTOMATIC AT SEA
Director : Matthew Lessner
Producer : Vanessa Gazy, David Henry Gerson
Main Cast : Livia Hiselius, Breeda Wool, David Henry Gerson
Genre : Mystery
Shooting format : RED
Lengh : 77 minutes (approximate)
Synopsis : A young Swedish traveler (Eve) accompanies a privileged New
Englander (Peter) to his family's idyllic private island. With little to fill their idle
days and even less in common, the two quickly drift apart. As Peter retreats
into isolation, Eve is befriended by the mysterious Grace whose presence blurs
the lines of identity and reality.
Missing services: VFX, composer, sound design, sound mixing, color
correction, subtitles, tape, printing, legal, marketing
Contact details:
Matthew Lessner (Director)
[email protected]
David Henry Gerson (Producer)
[email protected]
7 AUTOMATIC AT SEA
Matthew LESSNER (Director) is a nomadic
filmmaker and artist whose work defies
categorization while remaining distinctly his
own. Lessner's first feature film The Woods
(2011) premiered in the New Frontier program
at the Sundance Film Festival and was
shortlisted for Independent Spirit and Gotham
Awards. He was recently awarded two grants
from the San Francisco Film Society for his
upcoming feature Terror Tuesday. His awardwinning short films (Darling Darling (2005)
starring Michael Cera, By Modern Measure
(2007),
Chapel
Perilous
(2013))
have
collectively screened at over 60 film festivals
worldwide, including SXSW, Clermont-Ferrand, and Sundance, where Chapel
Perilous was just awarded the Audience Award. In addition to narrative work,
Lessner has directed a number of music videos and promos for acclaimed
bands such as Dirty Projectors + Björk and Explosions in the Sky.
www.montelomax.com
David Henry GERSON (Producer) is a graduate
of Columbia University, where he received his
bachelor's degree in English Literature, and
currently
attends
the
American
Film
Institute. He produced the short film Ultra
Violet for Sixteen Minutes, ('Totally engaging!' Albert Maysles) which screened at over a
dozen festivals worldwide, the Pompidou
Museum in Paris, and was acquired into the
permanent collection of the Museum of
Modern Art in New York. Before collaborating
on Automatic At Sea, he produced Matthew
Lessner's short film Chapel Perilous which won
the Audience Award at the 2014 Sundance
Film Festival.
8 WINNING DAD
Title : Winning Dad
Director : Arthur Allen
Producers : Arthur Allen, Julia Bruk, Case Barden
Main Cast : Chuck Sigars, Ellen McLain, Jake Street, Megan Jackson, and
Arthur Allen
Genre : LGBT Romance
Shooting format : Digital (Quicktime H.264/MPEG-4 AVC)
Length : 92 min
Synopsis : Colby's dad knows his son is gay, but he doesn't like talking about it.
He respects it, but ignores everything about that aspect of his son's life - he
doesn't even know about Colby's long-term boyfriend, Rusty. Increasingly
committed to Rusty, Colby hatches a plan to trick his father into camping with
Rusty under the pretense that Rusty is Colby's straight friend and future
business partner. Colby is convinced that, given the chance, his father and his
boyfriend will get along great...
Missing services : Sound, Color, Score, Titles
Contact details :
Arthur Allen (Director)
+1 (425) 345-0251
[email protected]
Twitter: @moviemensch
9 WINNING DAD
Arthur ALLEN (Producer/Writer/Director) Born in
Seattle, Washington, Arthur graduated from the
Great Books curriculum of St. John’s College,
Maryland. After supporting himself for several years
in the Seattle Theater Community (and washing
windows in the Space Needle), in 2008 he joined
the United States Merchant Marine where he wrote
Winning Dad aboard the USNS Gilliland. On leaving
he was recruited by the Washington United For
Marriage coalition as part of its Speaker’s Bureau to
campaign for marriage equality in Washington
State. In 2012 he began working for an Arabic
translation company, and represented the United
States at the second Baghdad International Translation Conference in
Baghdad, Iraq. Winning Dad is Arthur’s debut feature film.
10 CREATIVE CONTROL
Director : Benjamin Dickinson
Producer : Craig Shilowich, Melody Roscher, Zachary Mortensen, Mark De
Pace
Main Cast : Benjamin Dickinson, Nora Zehetner, Alexia Rassmussen, Dan Gill
Genre : Dark sci-fi comedy
Shooting format : Digital
Length : 95 minutes
Synopsis : CREATIVE CONTROL is the near-future story of four Brooklynites
whose tech-obsessed lifestyles get the better of them. Anxious, ambitious ad
executive David Conway starts a chain reaction of destruction when he
becomes obsessed with his best friend Wim’s free-spirited girlfriend, Sophie.
While working on a campaign for a new generation of Augmented Reality
Glasses, David creates a life-like avatar of Sophie in lieu of crossing the line
with her, but before long reality and fantasy begin to blur. As passions
escalate and things get increasingly out of hand, the friends are forced to
deal with the impending collision between their public, private, and
imaginary lives.
Missing services : visual effects, sound mixing, color grading, music licences
Contact details:
Mark De Pace (Executive Producer)
[email protected] / +1 (212) 343-0900
Craig Shilowich (Producer)
[email protected] / +1 (856) 236-0593
Melody Roscher (Producer)
[email protected] / +1 (718) 594-4900
11 CREATIVE CONTROL
Benjamin DICKINSON (Director) grew up in
Wheaton, Illinois. He moved to New York in 1999 to
attend NYU's undergraduate film program, and
after graduation he and some friends from school
started Waverly Films in a warehouse in Bushwick,
Brooklyn. Benjamin got his start directing music
videos for DFA record artists such as LCD
Soundsystem, The Rapture, and the Juan
Maclean. He has since made videos for Q-Tip and
Reggie Watts and directed commercials for
Google, The Ford Motor Corporation, BMW, MTV,
and Guitar Hero. His critically-acclaimed first
feature film, FIRST WINTER, premiered at the 2012
Tribeca Film Festival.
Mark DE PACE (Producer) is a partner at Ghost
Robot. In 2011, Mark produced Benjamin
Dickinson's critically acclaimed feature, FIRST
WINTER He served as Executive Producer on
Michael Cera’s short film BRAZZAVILLE TEEN-AGER
and Joey Garfield’s feature film A LOVE LETTER
FOR YOU. Mark’s producing credits also include
music videos for Björk, The Rapture, and Grizzly
Bear and ads for Google, Toshiba, and AT&T.
12 BUYERS
Alpha Violet - Keiko Funato & Virgine Devesa - France - Sales Agent
Bac Films - Clémentine Hugot - France - Sales Agent & Distributor
Bankside - Patrick Howson - UK - Sales Agent
Berlinale – Paz Lazaro – Germany - Festival
Chrysalis - Camille Lopato - France - Distributor
Content - Toby Melling - UK - Sales Agent
Coproduction Office - Marina Perales Marhuenda & Philippe Bober - France - Sales
Agent
Diaphana - Karin Beyens - France - Distributor
Distrib Films - François Scippa-Kohn - France - Distributor
Film Distribution - Sebastien Beffa - France - Sales Agent
Film Republic - Xavier Rashid - UK - Sales Agent
Happiness Distribution - Emilie Djiane - France - Distributor
Helios Films - Gilles Lerat - France - Distributor
Heliotrope - Laurent Aléonard - France - Distributor
Ici et La Productions - Christophe Bruncher - France – Producer
Indie Sales – Naomi Denamur – France- Sales Agent
K5 International - Oda Schäfer - Germany - Sales Agent
KMBO - Vladimir Kokh & Grégoire Marchal - France - Distributor
Le Pacte - Thomas Pibarot - France - Sales Agent & Distributor
Leiden International Film Festival - Alexander Mouret - Netherlands - Festival
Level K - Natja Rosner - Denmark - Sales agent
Memento Film International - Tanja Meissner & Nicholas Kaiser - France - Sales Agent
& Distributor
MK2 - Juliette Schrameck & Olivier Heitz - France - Sales Agent
New Europe Film Sales - Jan Naszewski - Poland - Sales Agent
Paradis Films - Guillaume Arnoult - France - Distributor
Picture Tree International - Andreas Rothbauer - Germany - Sales Agent
Premium Films - Karwan Kasia - France - Sales Agent & Distributor
Protagonist Pictures - Jennifer Fattell - UK - Sales Agent
Reel Suspects - Frederic Gentet - France - Sales Agent
Rezo Films - Sebastien Chesneau - France - Sales Agent & Distributor
Sacrebleu Prod - Louise Bellicaud - France - Producer
Senator – Tobias Seiffert - Germany - Sales Agent
The Match Factory - Zsuzsi Bankuti - Germany - Sales Agent
The Works - Sarah Arnott - UK - Sales Agent
Trust Nordisk - Silje Glimsdal - Denmark - Sales Agent
Urban Distribution - Claire Charles-Gervais - France - Sales Agent & Distributor
Versatile - Violaine Pichon & Pape Boye - France - Sales Agents
Watchever – Romain Bent & Matilde Zadig – France – Sales Agents
Wide Management - Loïc Magneron - France - Sales Agent
Wild Bunch - Emmanuelle Fellous - France - Sales Agent & Distributor
13 JURY
TITRA TVS
Sophie FRILLEY, 40, is the CEO of TITRA FILM and
STUDIOS DE SAINT OUEN, oversees financial strategy for
B-TWEEN production company, and is the mother of 3
children. After a career in communication and
business, in 2005, she joined TITRA FILM, founded by her
husband’s family in 1934. In 2009, she became the
Director of TITRA FILM with the aim of updating the
company to meet the radical transformation caused
by the digital revolution. STUDIOS DE SAINT OUEN, the
film dubbing company, joined the group in 2010 in
order to add new services for distributors. Alongside
Arnaud Frilley, co-founder of B-TWEEN, “Rasputin”,
produced in 2011, as well as several subsequent
feature films, has expended TITRATVS services offer in
film post-production. In 2014, thanks to David Frilley, comanager of TVS, as well as the TITRATVS team talents in
subtitling, dubbing, digital lab and post-production,
TITRATVS is more than dedicated to those that make,
produce, and distribute films.
CINÉ +
Bruno DELOYE, Graduate from Paris Dauphine University
in
management
of
the
television
and
telecommunications, he begins his professional life in
Region Cable in the development of the new form of
television and launches the first French Pay Per View
channel before joining Euromusque to lauch the first
television dedicated to the classical music, to the jazz
and to the dance. In 2000, he joins the Canal+ Group to
take care of a channel dedicated on film heritage in
France, Spain and Italy, before taking care of the
development of a part of Ciné + channels in particular
around the film heritage and art house cinéma. He is
member of the comittee of the heritage film in the
french CNC.
14 COMMUNE IMAGE
After eight years working in the digital industry, Michael
WERNER launches an internet site : BtoB and BtoC
where he develops for four years its structure and
deployment. After that, he joins a multimedia agency,
leader in that sector, where he will be the head of the
marketing strategy of great accounts in the bank,
cosmetics and catering fields. After a short experience
as headhunter, he starts leading the Commune Image
project in order to create a working place that offers
media professionals the necessary resources and tools
to the development of their projects. The Commune
Image’s
choice is to establish a new place that will
ease the audiovisual creation. Therefore, 2500 m2 will
be available in order to form offices, collective spaces
and technique infrastructures (sound and image
editing rooms, screening rooms etc...) suggested at
some moderate prices.
EAUX VIVES PRODUCTIONS
After twelve years of experiences in cinema industry,
both in festivals and in production companies, Xénia
MAINGOT creates in 2008, Eaux Vives, a production
company of features and documentaries films. The
company seeks to promote the emergence of
filmmakers from other visual arts and who have a lucid
and/or out of the ordinary view of today’s world.
FIREFLY
Three years ago, Philippe REINAUDO created, with Luc
Guenard, Firefly Cinema a company specialized in
software development for the film industry. After more
than 15 years in digital cinema industry, Philippe’s
dayto-day experiences allow him to offer creative
and innovative technical solutions, from daily
management through to post-production. Former CTO
of Eclair Laboratoires, Philippe Reinaudo built, set up,
and optimized the 1st European digital lab to create a
complete digital postproduction workflow for Cinema.
He was also the technical head of the 1st 4K European
post-production and of the 1rst European DCI master.
15 EUROPA DISTRIBUTION
After studies in literature and communication and
several
experiences
in
french
production
companies (Pyramide Production, INA), Christelle
OSCAR joins Haut & Court Distribution in 2001 where
she is in charge of programming Haut & Court’s films
in French independent theaters. She has worked on
more than 120 french and international releases,
such as The Class (Palme d’Or at the 2008 Cannes
Film Festival), Paul Greengrass’s Bloody Sunday, and
Thank you for smoking. She is currently working on
the release of Naomi Kawase’s Still the water, in
official selection at the 2014 Cannes Film Festival.
PRODUCERS NETWORK
Julie BERGERON is the manager of the Industry
Programs at the Marché du Film – Festival de Cannes,
in charge of the Producers Network and Producers
Workshop. She is also managing international projects
at Ventana Sur, the Latin American Film Market coorganised by the INCAA and the Marché du Film/
Festival de Cannes. Also, she runs Vision-in-Motion a
Paris-based multi- facet company she founded in 2001
and specializing in the production of events for the film
industry. Julie Vision-in-Motion is organizing Cinéma du
Québec in Paris for SODEC since 2004, a week
dedicated to screening of Quebec films and
professional meetings for producers and filmmakers.
And is involved with the Frontières International Coproduction Market for Genre Films co-organised by
Fantasia International Film Festival (Montreal) and
Brussels International Fantastic Film Festival.
INDIEWIRE
Sydney LEVINE, journalist, IndieWire Blog & consultant.
Sydney Levine has been active in the film business for 35
years. She established FilmFinders in 1988, a service for
buyers, sellers and programmers. She was the first
woman in international distribution. Currently she has
great interest in online education for international film
business and teaching literacy through film.
16 TOUSCOPROD
Sophie KUNO is Director of Partnership for Touscoprod,
the first French crowdfunding platform exclusively
dedicated to cinema and audiovisual arts and
launched in January 2009. Graduated from SciencesPo Paris, Sophie has been committed to the arts from
the start and worked in cultural institutions such as the
Centre of Contemporary Cultures of Barcelona and
movie production companies such as 3B Productions
and Kissfilms in Paris. Her fascination for the web
industry and the emergence of new technologies then
drove her to become consultant in digital
communication and strategic planning for five years.
Sophie joined Touscoprod with the same persistent
desire to contribute in transmitting and sharing
knowledge and culture to the greatest number, this
time through crowdfunding.
PHI CENTER
An artist and a businesswoman, Phoebe GREENBERG
has devoted her life to art and culture. In 2007, with
the exhibition of the great British artist Marc Quinn,
Phoebe launched DHC/ART, her foundation for
contemporary art whose mission is to offer a Montreal
venue for the work of the best contemporary artists in
the world, including Sophie Calle, Christian Marclay,
Jenny Holzer, Ryoji Ikeda, Thomas Demand and
brothers Jake and Dinos Chapman, to name but a
few. In 2008, with the construction of the Phi Centre
underway, Phoebe conceived and produced the
short film Next Floor by Denis Villeneuve, winner of Best
Short Film at the 2008 Cannes Film Festival’s
International Critics’ Week. In 2011, Phoebe
Greenberg was Associate Producer on Denis
Villeneuve’s Incendies, recipient of a 2011 Oscar
nomination for Best Foreign Film. She continued
with Cochemare by
Chris
Lavis
and
Maciek
Szczerbowski
(directors
of
the
celebrated
film Madame Tutli-Putli), and Visitors, the latest film by
the great American filmmaker Godfrey Reggio. Last
year she also co-produced Séances, Guy Maddin’s
unclassifiable cinematic project, and the much talked
about 20,000 Days on Earth by Nick Cave. In 2012,
Phoebe Greenberg opened the doors to a unique
arts centre in Montreal: the Phi Centre, whose mission
is to create a gathering place for art.
17 PARTNERS & ENDOWNMENTS
CINÉ + has always protected the diffusion of independent
cinema among a larger audience. This year, it inaugurates a
partnership with Champs-Elysées Film Festival’s Work in Progress.
The channel guarantees that the Ciné+ Prize winner’s film will be
purchased for an amount of 15 000€ and broadcast on television.
If the film becomes the object of commercial distribution on
french territory, this amount will be assured by a french distributor
for two years after its initial screening at the Champs-Elysées Film
Festival’s US in Progress.
Located behind the “Marché aux Puces” in Saint Ouen, at less
than a kilometer of Porte de Clignancourt, COMMUNE IMAGE is a
working place of 2500 m2 consisting on offices and collective
spaces available for all those who work in the media world with
the gold of contributing to intelligent and worldwide constructive
creations. Therefore, several editing rooms, a preparation office,
a screening room... are available for a very moderate price.
Commune Image will make available its theater auditorium
equiped with a 2K and 4K digital projector allowing a calibration
area in the best conditions.This service will be available for 10
days for an amount of 15 000€. We also propose a screening
check at the end of Titra Film completion work once the DCP
mastered, for an amount of 400€.
After many years of experiences in cinema industry, both in
festivals (Cannes, Moscow, Saint-Pétersbourg...) and in
production companies, Xénia MAINGOT creates in 2008, EAUX
VIVES PRODUCTIONS, a production company of features and
documentaries films. With a strong expertise in acquisitions on
the world wide market, Jean-François DEVEAU decides to join
the company in 2013 as producer. EAUX VIVES PRODUCTIONS
seeks to promote the emergence of film-makers with a lucid,
involved and strong artistic point of view. Eaux Vives will take
care of the post-production’s coordination of the winning film
with the prize partners, which includes 4 weeks of postproduction monitoring for an amount of 8600€.
18 FIREFLY CINEMA is a French based company, created in June 2010
by Philippe Reinaudo and Luc Guénard with a common
ambition: to use their technical knowledge to serve art and artists
by creating the first collaborative color grading solution. Firefly
Cinema is specialized in software development for the film industry.
It offers a complete pipeline from on-set rushes management to film
post- production. Firefly Cinema products are Fireplay, a free player
for DOP and AC, FireDay, digital dailies software, and FireCloud
color grading and finishing solution for the post-production.
Specialties : Digital Cinema, Color Grading, Digital Dailies, Post
Production Workflow, On-set Dailies. Firefly will make available its
complete color grading software that enables collaborative work
on the same site or remote sites. The allocation is equivalent to
7000€.
Launched in 2004, the PRODUCERS NETWORK hosts nearly 550
producers throughout the world in a series of meetings established
to promote the development of international co-production. Each
day, an individually tailored program is offering the producers the
opportunity to meet industry executives from all fields of the industry
(financing, co-production and distribution). With its Breakfast
Meetings, Meet the Funds Speed-Dating and Happy Hours, the
Producers Network is the place in Cannes to meet international
producers. Producers Network offers to the winning film a
registration to its 2015 edition in Cannes for an amount of 370€.
TITRA TVS combines the experience of a historic name in subtitling
for cinema (TITRA FILM Paris) with the dynamism of a pioneer in
digital technologies for television and new media (TVS). TITRA FILM Established in 1933, TITRA FILM is the world pioneer in subtitling. In
2007, the company moved to a new site in Saint-Ouen which allows
for its technological evolution (digital cinema, new media,
dubbing). TVS - Established in 1991 to fulfill video needs, TVS
developed several departments: Video Subtitling, Dubbing, HD
Broadcasting, BLURAY, DVD, New Media (encoding and internet)...
THE SAINT-OUEN STUDIOS - Acquired in 2010, THE SAINT-OUEN
STUDIOS make TITRATVS the only technical service provider capable
of subtitling and dubbing films for Film and Television. TITRATVS offers
the full range of technical services dedicated to the production,
distribution, sale and broadcast of feature films and video
programs: From editing to storage, laboratory work to broadcastready materials. TITRA TVS will offer to the winning film the
production of the DCP master and the French subtitles.
19 EUROPA DISTRIBUTION is a network of independent film distributors,
created in 2006. Since then it has accompanied and reinforced the
integration and collaboration process between its members. The
network’s aim is to strengthen the European existing ties to improve
the reach, impact,distribution and promotion tools of independent
films. With more than 140 leading independent distributors
representing 29 countries in Europe and beyond, it serves as the
voice of the sector and acts as a network and a think tank. Cristian
Mungiu (Cannes Golden Palm 2007) is the President of Honor of the
Association. The Board of Administration, chaired by Annemie
Degryse (Lumière / Belgium) & Jakub Duszynski (Gutek Film /
Poland) is composed of 11 independent European distributors,
representative in terms of nationality, type of structure, and cultural
diversity. Europa Distribution will promote the awarded film in its
network of 130 members, and will target more particularly the 40
European distributors members of Europa Distribution International
(EDI).
TOUSCOPROD is a crowdfunding platform that’s all about cinema
and audiovisual arts. It funds feature films, short films,
documentaries, web documentaries, animations and absolutely
anything involving video. Since its website was launched on
January 20th, 2009, touscoprod has collected over €3M which have
been used to produce over 300 films. Six selections in Cannes,
two Oscar nominations and one Golden Bear in Berlin, set
touscoprod apart in terms of the catalogue’s quality. These critical
acclaimed and rewarded films would never have seen the light of
day without the community support offered by touscoprod - a
community that is now close to 50 000 members. Touscoprod
commits to promote and support the winning film on their site and
reimburse 10% of their commission if the winner wants to raise funds
on Touscoprod.com.
PHI CENTRE’s mission is to make art accessible to as many people
possible and to foster encounters and exchanges of all kinds
between artists, the work and the audience. By creating a
gathering place for art, Phi also makes art essential. The Phi Centre
is a place of bold diversity The Phi Centre is such a diverse arts
centre that bold only begins to describe it. The Phi Centre is a
versatile space with venues that adapt to accommodate the
event at hand: launches, conferences, seminars, screenings,
exhibitions, concerts, performances, interactive installations. The
Phi Centre offers creative studios and production suites equipped
with the latest technology for all artistic needs. The Phi Centre
showcases art in all its forms, for every taste, from around the corner
to the other side the world. The Phi Centre is a space in constant
evolution, where nothing is entirely the same, nor entirely different,
from one visit to the next. Making every visit unique. Phi Centre will
organize a special screening of the winning film. The prize will be
assured for one year after the film’s completion, with or without the
presence of a distributor. The DCP would be provided by the
producer or distributor, without screening fees.
20 TEAM & PRACTICAL INFORMATION
Adeline MONZIER
Black Rabbit Film
US in Progress Paris
[email protected]
Tel : +33 (0)6 07 65 70 40
Eric VICENTE
CEFF Head Programmer
[email protected]
Tel : +33 (0)6 62 45 62 79
Chantal LIAN
CEFF Programmer
US in Progress Paris
[email protected]
Tel : +33 (0)6 77 65 88 39
Ula SNIEGOWSKA
Aurore BADO
Marie ZENITER
American Film Festival
US in Progress Wroclaw
[email protected]
Tel : +48 60 23 16 900
Hospitality
[email protected]
Tel : +33 (0)7 88 41 13 04
USIP Booklet
[email protected]
Tel : +33 (0)6 15 73 14 11
21 TEAM & PRACTICAL INFORMATION
A : PUBLICIS CLUB (Screening Room)/WIFI CAFÉ (Welcome Desk)/
TERRASSE PUBLICIS (Rooftop)
133 avenue des Champs-Elysées, 75008 Paris
Tel : +(0)1 47 20 12 42
B : FLORA DANIKA (LA MAISON DU DANEMARK)
142 avenue des Champs-Elysées, 75008 Paris
Tel : +(0)1 44 13 86 26
C : LADURÉE
75 Avenue des Champs-Élysées, 75008 Paris
Tel : +(0)1 40 75 08 75
D : HÔTEL MARCEAU
37 avenue Marceau
Tel : +(0)1 47 20 43 37
E : EUROSITES GEORGE V
28 Avenue George V, 75008 Paris
Tel : +(0)1 53 82 60 00
22 C
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Paris Coproduction Village

Transcription

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