Sunteți pe pagina 1din 186

International Experimental Film Festival Concept Festival Team Competition Jury Opening Gala/ Closing Gala International Competition

Quinzaine Des Realisateurs Cannes


SPeciAL ProgrAM

6 20 26 31 41 131 141

Festivalul Internaional de Film Experimental Concept Echipa Festivalului Juriul Competiiei Gala de deschidere / nchidere Competiia Internaional Quinzaine Des Realisateurs Cannes
ProgrAM SPeciAL

Oberhausen International Short Film Festival


SPeciAL ProgrAM

Oberhausen International Short Film Festival


ProgrAM SPeciAL

Tampere International Short Film Festival 155


SPeciAL ProgrAM

Tampere International Short Film Festival


ProgrAM SPeciAL

Dutch Experimental Film And Visual Art


SPeciAL ProgrAM

171

Dutch Experimental Film And Visual Art


ProgrAM SPeciAL

Recently, Romania has been characterized by a cinema culture vigorous growth, to name at least the high density of the artistic activity reflected on screen. Thus, a festival of experimental film does not come as a surprise; it is a complementary piece in the big picture of Romanian events that accompany a serious industry. The Bucharest International Experimental Film Festival is at its second edition and, we strongly believe, it will soon become one of the Romanian cultural trademarks. May it reach many editions, enjoyed by a growing number of high quality cinema lovers! Eugen erbnescu General Director of The National Centre of Cinema, Romania

Romnia a devenit n ultimii ani o putere cinematografic, cel puin sub raportul densitii actului artistic pe centimetrul ptrat de ecran. Nu este, deci, de mirare apariia unui festival al filmului experimental, care ntregete complementar tabloul manifestarilor ce nsoesc, de obicei, o industrie serioas. Festivalul Internaional de Film Experimental Bucureti se afl la a doua editie i, suntem convini, va deveni unul dintre reperele de marc ale vieii culturale din Romania. i dorim ct mai multe ediii i un public ndrgostit de cinema-ul de calitate. Eugen erbnescu Director General al Centrului Naional al Cinematografiei, Romnia

Special Acknowledgments / Mulumiri speciale


to all the directors, producers and distributors whose films were screened in BIEFF 2011 and to the following persons and institutions: Tuturor regizorilor, productorilor i distribuitorilor ale cror filme sunt prezentate la BIEFF 2011 i urmtoarelor persoane i instituii:

Peter Greenaway Mihaela Paun - ARCUB Irina Cornisteanu ARCUB Doina Melinte ANST Autoritatea Nationala Pentru Sport si Tineret Gilda Lazar JTI Ovidiu Cernei JTI Nigel T ownson British Council Alis Vasile - British Council Gabriel Antal ABIS Studio Dana T oader ABIS Studio Tiziana Finzi Netherlands and T ransil vania IFF Peter van Hoof - Rotterdam Film Festival Keith Griffiths Mihai Chirilov - T ransil vania Film Festival

Rik Vermeulen - Northern Film Festival Sergio Fant - Venice Film Festival Hilke Doering - Oberhausen Film Festival Christophe Leparc - Quinzaine des Realisateurs, Cannes IFF Marzena Moskal - Quinzaine des Realisateurs, Cannes IFF Gaelle Vidalie - Quinzaine des Realisateurs, Cannes IFF Miguel Valverde - Indielisboa IFF Juhani Alanen - Tampere ISFF Jukka Pekka Laasko - Tampere ISFF Roxana T restioreanu National Art University UNARTE Catalin Balescu - National Art University UNARTE

Gelu Colceag National University of Drama and Film Bucharest Sorin Botoseneanu - National University of Drama and Film Bucharest Laurentiu Bratan - Animest Mihai Mitrica - Animest Anna Abrahams - EYE Film Institute Netherlands Marta Jurkievicz- EYE Film Institute Netherlands Theus Zwakhals - Netherlands Media Art Institute Natalia T rebik - Le Fresnoy Studio National des Arts Contemporaines Caroline Seebregts - Ambasada Regatului rilor de Jos

Ana Maria Androne - Ambasada Regatului rilor de Jos Cristina Hoffman - Institutul Cultural Roman Berlin Anca Milu Vaidesegan - Institutul Cultural Roman Lisabona Roxana Rapeanu - Institutul Cultural Roman Lisabona Monica Joita - Institutul Cultural Roman Venetia Alexandru Damian - Institutul Cultural Roman Venetia Roxana Calinescu - Institutul Cultural Roman Thorsten Geissler Konrad Adenauer Stiftung T omasz Kluz Institutul Polonez

Marco Pribilla Ambasada Finlandei Alina Cantacuzino Institutul Cervantes Lee Yong-il Ambasada Republicii Koreea Gabriela Dobre Delegatia Wallonie Bruxelles Horia Romanescu - TVR Alex Sandulescu 24 FUN Mihai Orasau MDV Film Marius Iurascu Romania Film Jan Naszewski - New Europe Film Sales Anne Claire Martin - Coproduction Office Andreas Fock - Swedish Film Institute Marja Pallassalo - Finish Film Foundation Otto Suuronen - Finish Film Foundation Saara T oivanen - AALTO University Helsinki Film School

Julia T on and Annette Mosk - Kasander Film Peter Taylor - Rotterdam Film Festival Brigitta Burger Utzer - Sixpack Film Dietmar Schwrzler - Sixpack Film Valeska Neu - Films Boutique Gabriel Niculescu Eurogama Yura Kwon - FINECUT CO. LTD. Katarzyna Wilk - Krakow Film Foundation i tuturor voluntarilor notri. and to all our volunteers.

CONCEPT - Bucharest International Experimental Film Festival BIEFF


Bucharest International Experimental Film Festival
Created under the patronage of the NATIONAL UNIVERSITY OF DRAMA AND FILM BUCHAREST and the NATIONAL ART UNIVERSITY BUCHAREST, with the support of the ROMANIAN NATIONAL CINEMA CENTER, with strong educational purpose, BUCHAREST INTERNATIONAL EXPERIMENTAL FILM FESTIVAL BIEFF is the first and only event in Romania dedicated to EXPERIMENTING in cinema and visual art, aimed at bringing in front of the audience highly innovative films, both in content and style, filmmakers with strong personal views on contemporary reality, which also daringly explore the boundaries of cinema language. A cinema of total creative freedom and lack of compromise. We believe BIEFF is a highly necessary event, particularly for Romania, whose cinema already proved its amazing strength in the last years, through outstanding voices like Cristi Puiu, Corneliu Porumboiu, Cristian Mungiu, Radu Jude, and others, yet mainly in the area of realistic narrative fiction. On this flourishing creative background, BIEFF comes as a natural complementary reaction, its main goal being to broaden perception, to open a whole new artistic territory both for the general and specialized audience, particularly for the film and visual art students and professionals. Therefore we present films that are lessons of cinema, emblematic pieces, eye-openers on the unlimited possibilities offered by the cinematic medium, on the ways to transcend any possible borders between fiction/documentary/ visual art, on transgression of boundaries on every level, from concept, structure, rhythm to the very shot construction. BIEFF is also the first event in Romania dedicated to promoting the border area between cinema and visual art, offering increased visibility to cutting edge visual artists, whose work is mainly accessible in museums and art galleries circuit and rarely on cinema screen. We do this as we believe this border area is an extremely rich, creatively nourishing territory, from where unique artistic voices constantly emerged over the years like Peter Greenaway, David Lynch, Derek Jarman, Andy Warhol, Stan Brakhage and others. BIEFF presents on one side an INTERNATIONAL EXPERIMENTAL SHORT FILM COMPETITION, consisting of some of the most intriguing and innovative visual experiments from the last years, titles awarded and screened in prestigious festivals, museums and galleries all over the world, like, in Romanian premiere, the winner of Palm DOr for Short Film Cannes 2011, of the Golden Bear for Short Film at Berlinale 2011, of the Orizzonti Award in Venice 2010, of the Main Prize at Oberhausen 2011, of Tiger Award for Short Film Rotterdam 2011 and many others. As well, for this year we have the honor to be partners with three of the most important international film festivals in the area of avant-guard cinema and visual art, recognized worldwide for their consistent creative support of innovative radical filmmaking and visual art: QUINZAINE DES REALISATEURS - Cannes Film Festival, OBERHAUSEN International Short Film Festival and TAMPERE International Short Film Festival, each of them bringing to Bucharest a selection of highly innovative multi-awarded films from their last years selections. As well, we are honored to have in our International Competition Jury prestigious films professionals like: Sergio Fant (Venice Orrizonti selection committee), Marzena Moskal (Quinzaine des Realisateurs Cannes selection committee), Juhani Alanen (executive director Tampere ISFF), Hilke Doering

(Head of the International Competition Oberhausen), Anna Abrahams (Project Leader Programming at EYE Film Institute Netherlands) and Miguel Valverde ( director Lisbon International Independent Film Festival - Indielisboa). As well, after starting last year a wonderful collaboration with one of the most important experimental filmmaker of our times, Peter Greenaway - who was our last year guest of honor and opened our festival with an impressive Masterclass addressed especially to our main audience, Romanian cinema and visual art students and professionals - we are welcoming him again this year, to open BIEFF 2011 with his groundbreaking LIVE CINEMA VJ PERFORMANCE LUPERCYCLOPEDIA, a highly innovative audio-visual experiment intended to challenge the borders of film language and offer the audience a totally new cinematic experience. Using a specially developed VJ system (large plasma screens with touch-screen), GREENAWAY blends his

PETER GREENAWAY is one of the key voices of avant-guard contemporary cinema, one of the most ambitious and controversial experimental filmmakers of our times. Trained as a painter and heavily influenced by theories of structural linguistics, ethnography, and philosophy, PETER GREENAWAYs films traversed often unprecedented ground, consistently exploring the boundaries of the medium by rejecting formal narrative structures in favor of awe-striking imagery, shifting meanings, and mercurial emotional tension, fascinated by formal symmetries and parallels, earning equal notoriety for its provocative eroticism as well as its almost self-conscious pretentiousness. He has an impressive body of work, consisting of 12 feature films and 50 short-films and documentaries regularly nominated for the Film Festival Competitions of Cannes, Venice and Berlin, exhibitions, visual installations, VJ performances, paintings, books, opera librettos.

Bucharest International Experimental Film Festival

avant-guard cinematographic imagery with the experimental sounds of the Dutch musician HUIBERT BOON, projecting images from the 92 Tulse Luper stories simultaneously on 6 screens and mixing the images live. Mastering the giant touch screen, the newborn realtime image conductor GREENAWAY provides a totally new experience to the audience: Live Cinema at its best. Thus, he radically frees himself from classic cinematographic linearity. His groundbreaking LIVE CINEMA VJ PERFORMANCE is immensely successful all over the world. It travelled in only 4 years to 14 countries: Australia, Belgium, Brasil, France, Germany, Italy, Mexico, Netherlands, Poland, Portugal, Russia, Spain, Switzerland and the UK. Film, video, music and crossover festivals hosted the 33 performances in classic and modern theaters, open squares, industrial halls, amphitheaters, concert-halls, opera-houses and museums.

Following its 2010 success, BIEFF will dedicate again its 2011 Closing Ceremony to the most recent work of one major name in contemporary cinema. After presenting in 2010, for the first time in Romania, the latest film of the master of experimental cinema Jan Svankmajer, right after its premiere in Venice, BIEFF 2011 will offer to the audiences the Romanian premiere of the most recent work of Alexandr Sokurov, his impressive FAUST, winner of the Golden Lion in Venice 2011. Copel Moscu, Festival Director Adina Pintilie, Curator of the International Program

CONCEPT - Festivalul International de Film Experimental Bucureti BIEFF


Bucharest International Experimental Film Festival
Creat sub patronajul Universitii Nationale de Art Teatral i Cinematografic Bucureti i al Universitii Nationale de Arte, cu sprijinul Centrului Naional al Cinematografiei, FESTIVALUL INTERNAIONAL DE FILM EXPERIMENTAL BUCURETI BIEFF - cu o puternic orientare educaional- este primul i singurul eveniment din Romnia dedicat EXPERIMENTULUI in cinema si arta vizuala, avnd ca scop promovarea creaiilor inovatoare att la nivel conceptual si tematic, cat si formal, stilistic, a unor artiti cu viziuni profund personale asupra realitii contemporane si care in acelasi timp exploreaz cu ndrzneal limitele limba jului cinematografic. Un cinema al libertii totale de creaie, un cinema fr compromisuri.
Convingerea noastr este c BIEFF e un eveniment absolut necesar, mai cu seam pentru Romnia, al crei cinema s-a fcut remarcat n ultimii ani prin voci puternice precum cele ale lui Cristi Puiu, Corneliu Porumboiu, Cristian Mungiu, Radu Jude i alii, care au excelat mai cu seam n zona ficiunii narative realiste. Pe acest teren fertil, BIEFF vine n mod natural ca o reacie complementar, avnd ca scop principal extinderea ariei de percepie ctre un spaiu artistic complet nou, att pentru publicul larg ct i pentru cel specializat, n particular pentru studenii facultilor de film i de arte vizuale. Aadar, v propunem filme care sunt adevrate lecii de cinema, producii emblematice, revelatoare n privina posibilitilor nelimitate ale limba jului cinematografic, a cilor de a transcende orice grani dintre filmul de ficiune, documentar i artele vizuale, in privinta negarii limitelor si canoanelor la toate nivelurile, de la concept, structur, ritm pn la construcia fiecrui cadru. BIEFF este de asemenea primul eveniment din Romania care promoveaza zona de granita dintre cinema si artele vizuale, oferind vizibilitate unor artiti vizuali proemineni prin poziia lor inovatoare, ale cror lucrri sunt ndeobte prezentate n muzee i galerii de art i doar rareori n sli de cinema. O facem din convingerea c aceasta zona de grani e un teritoriu extrem de fertil din punct de vedere creativ, din care au provenit de-a lungul anilor voci artistice unice precum Peter Greenaway, David Lynch, Derek Jarman, Andy Warhol, Stan Brakhage i alii. BIEFF prezint, pe de-o parte, COMPETIIA INTERNAIONAL DE SCURTMETRAJ EXPERIMENTAL, care aduce n premier n Romnia cteva dintre cele mai provocatoare i inovative experimente vizuale ale ultimilor ani, filme premiate si proiectate in festivaluri, muzee i galerii de art prestigioase din intreaga lume, printre care castigatorul Palme DOr pentru scurtmetraj (Cannes 2011), al Ursul de aur pentru scurtmetraj (Berlinale 2011), al Marelui Premiu Orizzonti la Venetia 2010, al Marele Premiu Oberhausen 2011, al Tiger Award pentru scurtmetra j Rotterdam 2011 i multe altele. De asemenea, in acest an, BIEFF este onorat s aiba ca parteneri trei dintre cele mai importante festivaluri de film din sfera cinema-ului de avangard i a artelor vizuale, evenimente recunoscute in intreaga lume pentru sprijinul constant acordat creatiei radical inovatoare in film si arta vizuala: QUINZAINE DES REALISATEURS - Cannes Film Festival, Festivalul Internaional de Scurtmetra j OBERHAUSEN i Festivalul Internaional de Scurtmetraj TAMPERE, fiecare aducand la Bucureti o selecie de filme inovatoare multipremiate din programele lor din ultimii ani. n egal msur, BIEFF este onorat de prezena n Juriul Competiiei internaionale a unor profesionisti de prestigiu din domeniul cinema-ului de avantgarda contemporan: Sergio Fant (selectioner al Festivalului International de Film de la Venetia), Marzena Moskal (selectioner al Festivalului International de Film de la Cannes- Quinzaine des Realisateurs), Hilke Doering (Director

al Competitiei Internationale Oberhausen), Anna Abrahams (director al Departamentului de Film Experimental al EYE Film Institute Netherlands), Juhani Alanen (director executiv al Festivalului de la Tampere) si Miguel Valverde (director al Festivalului International de Film Independent Lisabona - Indielisboa). n urma colaborrii de mare succes demarate anul trecut, Peter Greenaway care, in calitate de invitat de onoare al BIEFF 2010, a deschis editia precedenta cu un Masterclass impresionant, adresat cu precdere publicului nostru int, format din studenii i profesionitii din cinema i arte vizuale, - revine n acest an pentru a deschide editia BIEFF 2011 cu creaia sa de avangard LIVE CINEMA VJ PERFORMANCE LUPERCYCLOPEDIA, un experiment audio-

hale industriale, amfiteatre, sli de concerte, sli de oper sau muzee. PETER GREENAWAY, nume emblematic n cinema-ul contemporan avangardist, este unul dintre cei mai ambiioi i controversai cineati ai prezentului. Influenate de studiile sale de pictur, de teoria structuralismului lingvistic, etnografie i filosofie, filmele lui PETER GREENAWAY traverseaza adesea teritorii neexplorate, respingnd structurile narative convenionale n favoarea unei imagistici impresionante i a unei tensiuni emoionale intense, fascinat de simetriile i paralelele formale, devenind notoriu att pentru erotismul provocator ct i pentru preiozitatea sa aproape asumat. Creaia sa e impresionant: 12 lungmetra je i 50 de scurtmetraje i filme documentare, nominalizate cu regularitate la festivaluri precum Cannes, Veneia sau Berlin, expoziii, instalaii video, VJ performances, picturi, cri, librete de oper.

Bucharest International Experimental Film Festival

vizual profund inovator, care pune in discutie limitele limba jului filmic si ofera spectatorului o experien cinematic inedit. Prin intermediul unui sistem VJ construit special (plasme uriase cu touch-screen), GREENAWAY combina imagistica sa avangardista cu muzica artistului olandez HUIBERT BOON, proiectnd simultan pe 6 ecrane si mixand live imagini din cele 92 de parti ale creaiei sale multimedia Tulse Luper Suitcases. Manevrnd uriaul touchscreen, noul dirijor de imagini n timp real GREENAWAY ofer publicului o experien absolut nou: CINEMA LIVE la superlativ. n acest fel, artistul se elibereaza total de liniaritatea cinema-ului clasic. Ineditul su LIVE CINEMA VJ PERFORMANCE se bucura de un imens succes n toat lumea. n ultimii doar patru ani, a cltorit n 14 ri: Australia, Belgia, Brazilia, Elveia, Frana, Germania, Italia, Marea Britanie, Mexic, Olanda, Polonia, Portugalia, Rusia i Spania. Festivaluri de film, de art vizuala, de muzic sau crossover au gzduit cele 33 de reprezentaii n sli de teatru clasice sau moderne, n piee publice,

Ca urmare a succesului din 2010, BIEFF dedic din nou Ceremonia de nchidere a ediiei din 2011 celei mai recente creaii semnate de un maestru al cinema-ului contemporan. Dup ce, n 2010, a prezentat n premier n Romnia ultimul titlu al maestrului filmului experimental Jan Svankmajer, imediat dup premiera acestuia la Festivalul de la Veneia, BIEFF 2011 ofer publicului cinefil premiera romaneasca a celei mai recente creaii semnate de Alexandr Sokurov, impresionantul su FAUST, ctigtor al Leului de Aur la Veneia 2011. Copel Moscu, Director Festival Adina Pintilie, Curator al Programului Internaional

Quinzaine des Realisateurs Cannes SPeciAL ProgrAM


Bucharest International Experimental Film Festival
Parallel section of Cannes International Film Festival, created by the French Directors Guild in the wake of the events of May 68, Quinzaine des Realisateurs ( the Directors Fortnight) seeks to aid filmmakers and contribute to their discovery by the critics and audiences alike. From its initial program in 1969, it cast its lot with the avant-garde (the glorious seventies), as well as it created a breeding ground where the Cannes Festival would regularly find its prestigious auteurs. Since its inception, Quinzaine des Realisateurs has showcased the first films of Werner Herzog, Rainer Werner Fassbinder, Nagisa Oshima, George Lucas, Martin Scorsese, Ken Loach, Jim Jarmusch, Michael Haneke, Chantal Akerman, Spike Lee, Luc & Jean-Pierre Dardenne, Sofia Coppola, Robert Bresson, Manoel de Oliveira, Stephen Frears, Jerzy Skolimowski, William Friedkin, Francis Ford Coppola... among others. Among the various sections at the Cannes Film Festival, Quinzaine des Realisateurs is distinguished by its independent-mindedness, its non-competitive nature and its concern to cater to non-professional Cannes audiences, which can buy a subscription for the entire Fortnight program or purchase tickets for individual screenings. Striving to be eclectic and receptive to all forms of cinematic expression, Quinzaine des Realisateurs pays particular attention to the annual production of fiction features, short films and documentaries, to the emergence of independent fringe filmmaking, and even to contemporary popular genres, provided these films are the expression of an individual talent and an original directorial style.

Seciune paralel a Festivalului de la Cannes, creat de Sindicatul Regizorilor Francezi n timpul tumultuoaselor evenimente din mai 1968, Quinzaine des Realisateurs i-a asumat misiunea de a veni n sprijinul regizorilor i de a contribui la descoperirea lor deopotriv de ctre critica cinematografic i de ctre publicul cinefil. nc de la primul program, cel din 1969, a devenit limpede c miza se punea pe avangard (glorioii ani aptezeci) i pe cultivarea unui teren fertil unde Festivalul de la Cannes s descopere n mod constant autorii si prestigioi. nc de la la nceput, Quinzaine des Realisateurs a proiectat filme de Werner Herzog, Rainer Werner Fassbinder, Nagisa Oshima, George Lucas, Martin Scorsese, Ken Loach, Jim Jarmusch, Michael Haneke, Chantal Akerman, Spike Lee, Luc et Jean-Pierre Dardenne, Sofia Coppola, Robert Bresson, Manoel de Oliveira, Stephen Frears, Jerzy Skolimowski, William Friedkin, Francis Ford Coppola... i alii. ntre seciunile Festivalului de la Cannes, Quinzaine des Realisateurs se evideniaz prin independenta viziunii, prin natura sa necompetitiv i printr-o deschidere ctre publicul din afara industriei, cruia i se ofer posibilitatea de a achiziiona abonamente sau bilete pentru acest program. n intenia sa de a fi eclectic i receptiv ctre toate formele de expresie cinematografic, Quinzaine des Realisateurs i concentreaz atenia asupra noilor producii din fiecare an att din zona ficiunii de lungmetra j, ct i scurtmetra j i documentar, asupra produciilor independente de ni i chiar asupra genurilor populare ale momentului, n msura n care aceste filme sunt expresia unui talent individual i a unei viziuni regizorale originale.

10

Selection Committee Quinzaine des Realisateurs, Cannes Film Festival 2011

Marzena Moskal

Selection Committee Quinzaine des Realisateurs, Cannes Film Festival 2011

Gaelle Vidalie

Bucharest International Experimental Film Festival

Marzena Moskal (b.1983, Warsaw) is a programmer and festival organizer, specialized in Eastern European cinema, member of the Selection Committee for the Quinzaine des Realisateurs - Cannes 2010 and 2011, coordinator of the Warsaw International Film Festival and, since 2010, coorganizer of the Festival of Polish Cinema in Paris. Marzena Moskal (n.1983, Varovia) este selectioner i organizator de festivaluri, cu specializare pe Europa de Est, membru n Comitetul de selecie pentru Quinzaine des Realisateurs - Cannes 2010 i 2011, coordonator al Festivalului Internaional de Film Varovia i, din 2010, co-organizator al Festivalului Filmului Polonez de la Paris.

Gaelle Vidalie (b.1971, Paris) was a member of the Selection Committee for the Quinzaine des Realisateurs Cannes 2010 and 2011. Previous to this, she was the Head of International Affairs at the French Cinmathque, where she worked for 18 years. She also collaborated with Janine Bazin for the Belfort International Film Festival, as well as with Andre S. Labarthe on several films during the 90s. Gaelle Vidalie (n.1971, Paris) este membru al Comitetului de selecie pentru Quinzaine des Realisateurs - Cannes 2010 i 2011. Anterior, a fost timp de 18 ani Director al Departamentului de Relatii Internaionale al Cinematecii Franceze. A colaborat cu Janine Bazin la Festivalul Internaional de Film de la Belfort, iar n anii 90 a colaborat cu Andre S. Labarthe la cteva filme.

11

International Short Film Festival Oberhausen SPeciAL ProgrAM


With the support of / Cu sprijinul:
Founded in 1954, the International Short Film Festival Oberhausen is one of the ma jor international crossroads for the short form, unique in the range of forms and genres it presents to the public, and particularly well known for its spotlight on experimentation. In the course of more than five decades, filmmakers and artists ranging from Roman Polanski to Cate Shortland, from George Lucas to Pipilotti Rist, have presented their first works in Oberhausen. The Festival organizes an International Competition, a Childrens and Youth Programul Festivalului este structurat pe Competiia Internaional, Competiia Filmelor pentru copii i tineri, Competiia Germana, Premiul MuVi pentru cel mai bun videoclip muzical din Germania i Competiia local, dedicat produciilor din Renania de Nord - Westfalia. Alturi de seciunile competitive, OBERHAUSEN este recunoscut pentru programele sale tematice. n 2010, Festivalul a propus programul From the Deep (Din adncuri), o selecie de filme realizate nainte de 1918, iar n 2011, un program dedicat istoriei filmelor artistice i tiinifice despre animale. Festivalul administreaz o bogata videotec, are un departament de distribuie pentru scurtmetra je necomerciale i o arhiv unic de scurtmetra je, colectat de-a lungul celor peste cincizeci de ani de existen a Festivalului. Ediia cu numrul 58 se va desfura ntre 26 aprilie i 1 mai 2012. Programul tematic 2012 este dedicat celei de-a 50-a aniversri a Manifestului de la OBERHAUSEN din 1962. Scurtmetrajul e un excelent prim pas pentru un regizor. Aa mi-am nceput i eu cariera, iar OBERHAUSEN a fost un pas esenial n drumul meu ctre a deveni Regizor. Roman Polanski Aici am fumat prima igar din viaa mea. Ani de zile, n-am pierdut nici un film din programul de scurtmetraj, ateptnd cu nerbdare n fiecare an acele zile n OBERHAUSEN. Acest eveniment a fost foarte important pentru mine, pentru decizia de a deveni regizor. (Wim Wenders) Nu e nicio indoiala ca Festivalul International de Scurtmetraj OBERHAUSEN a scris istorie cinematografic. Filmul de scurtmetraj continu s rmn relevant si s se reinventeze, la fel i Festivalul de la OBERHAUSEN. Atmosfera i fora creatoare continua s fie prezente n scurtmetrajele de astzi. Gerhard Schrder (Cancelar al Germaniei 1998-2005) Films and a German Competition and the MuVi Award for the best German music video as well as the NRW Competition for productions from North RhineWestphalia. In addition, Oberhausen is known for its strong line of thematic programs such as From the Deep in 2010, which presented early films from before 1918, or Shooting Animals in 2011, a program about the history of the artistic and scientific animal film. The festival also operates a well-stocked Video Library, a non-commercial short film distribution branch and a unique archive of short films from more than 50 years of festival history. The 58th edition will take place from 26 April to 1 May 2012. The big thematic program will focus on the 50th anniversary of the Oberhausen Manifesto from 1962. Short film is a great first step for a budding filmmaker. Thats how I made my beginnings and Oberhausen was an important step on my path to become a Director. Roman Polanski I smoked my first cigarette here. For years, I saw every single film at the Westdeutsche Kurzfilmtage, looking forward to those days in Oberhausen every year. These events were important for me, for my decision to become a filmmaker. Wim Wenders Fondat n 1954, Festivalul Internaional de Scurtmetra j OBERHAUSEN este unul dintre punctele ma jore de confluen pe plan international pentru filmul de scurtmetra j si arta vizuala, unic prin diversitatea formelor si genurilor pe care le aduce n faa publicului i recunoscut mai ales pentru accentul pe care l pune pe experiment. n decursul a mai mult de cinci decade, i-au prezentat creaiile la OBERHAUSEN numeroi cineati i artiti, de la Roman Polanski la Cate Shortland, de la George Lucas la Pipilotti Rist.

Bucharest International Experimental Film Festival

12

There can be no doubt that the Oberhausen Short Film Festival has written

film history...The short film has kept itself young, and so has Oberhausen. This atmosphere, this creative power are what still distinguishes short films today. Gerhard Schrder (German Chancellor 1998-2005).

Bucharest International Experimental Film Festival

Head of the International Competition of International Short Film Festival Oberhausen

Hilke Doering

Born in 1966, raised in Germany and Switzerland studied sociology in Bielefeld (Germany) and Paris (France). Hilke Doering has been with the International Short Film Festival Oberhausen since 1995 in different positions. She has been responsible for the distribution as well as the Children and Youth program, for the video library and the market. Since 1996 she is the Head of the International Competition and has represented the festival in international organizations. She has been a jury member in a couple of international festivals and has curated film programs for festivals in different parts of the world.

Nscut n 1966, a crescut n Germania i El veia. A fcut studii de sociologie la Bielefeld (Germania) i la Paris. Hilke Doering a lucrat pentru Festivalul Internaional de Scurtmetraj OBERHAUSEN nc din 1995, ocupnd diverse poziii n structura organizatoric: coordonator al departamentului de distribuie, al programului pentru copii i tineri, al videotecii i al sectorului de market. Din 1996 este Director al Competiiei Internaionale i, n aceast calitate, a reprezentat Festivalul n cadrul organizaiilor internaionale. A fost membru al juriului ntr-o serie de festivaluri internaionale i curator de programe pentru festivaluri din toat lumea.

13

Tampere International Short Fim Festival SPeciAL ProgrAM


With the support of / Cu sprijinul:

Bucharest International Experimental Film Festival

TAMPERE 42nd International Short Film Festival will take place on March 7-11, 2012. It is the oldest and largest short film festival in Northern Europe. In 2011 TAMPERE International Short Film Festival gathered over 30.000 visitors of which 700 were accredited film and television professionals. There were over 500 films shown in about 120 screenings. The festival program consists of the International and National short film competitions and the thematic Special Programs. TAMPERE International Short Film Festival is famous for its excellent innovative programming, magnificent festival atmosphere and of course the Finnish Sauna Party. Besides the 120 screenings, the festival is bursting with various seminars, discussions and meetings for film professionals and enthusiasts and the traditional FestArt Video Art Exhibition. TAMPERE International Short Film Festival promotes up-and-coming filmmakers it is an event to find future masters of cinema. During the festival week the digitized online Film Market has over 4000 titles from all over the world. The Special Programs of 2012 are focusing on Estonia and Nepal. There will also be retrospective screenings as well as few carefully selected feature length documentaries. Traditionally Canon of short films screening presents the best short films throughout the time and a Finnish film professional will curate a Carte blanche screening. Finnish films, both old and new, will be presented in Finnish Film Archive, New Finnish Films as well as other screenings. Over the course of four decades, the festival has been able to reinvent itself and remain relevant and interesting. TAMPERE International Short Film Festival promotes young, up-and-coming filmmakers and attracts a wide audience of film fans and film professionals.

Cea de-a 42-a ediie a Festivalului Internaional de Scurtmetra j de la TAMPERE va avea loc ntre 7 i 11 martie 2011. Este cel mai vechi i cel mai mare festival de scurtmetra j din nordul Europei. n 2011, Festivalul de la TAMPERE a avut peste 30.000 de vizitatori, dintre care 700 de profesioniti de cinema i televiziune. Programul a prezentat mai mult de 500 de scurtmetra je grupate n 120 de sesiuni de proiecie. Programul are n structur seciunile competiionale, internaional i naional, i seciuni tematice speciale. Festivalul Internaional de Scurtmetra j de la TAMPERE este renumit pentru selecia excelent i inovativ, pentru atmosfera spectaculoas i, nu n ultimul rnd, pentru foarte finlandeza sa Sauna Party. Alturi de cele 120 de sesiuni de proiecii, programul abund n seminarii, dezbateri i ntlniri ale profesionitilor i pasionailor genului. Nu lipsete tradiionala expoziie FestArt Video. Festivalul Internaional de Scurtmetra j de la TAMPERE ncura jeaz cineatii promitori, fiind un eveniment care lanseaz viitori maetri. Pe parcursul ntregii sptmni a festivalului funcioneaz marketul online de film cu peste 4000 de titluri din toat lumea. Programele speciale ale ediiei din 2012 au n focus Estonia i Nepalul. Vor fi proiectate i retrospective i cteva documentare de lungmetra j atent selectate. Ca i pn acum, seciunea Canon of Short Films prezint o selecie a unora dintre cele mai bune scurtmetra je din toate timpurile, iar un cineast finlandez de renume va fi curatorul unui program Carte Blanche. Filme finlandeze, att noi ct i vechi, vor fi prezentate n seciunile Finnish Film Archive, New Finnish Films i alte programe. Pe parcursul celor patru decenii de existen, festivalul a gsit calea de a se reinventa i de a rmne un eveniment relevant i interesant. Festivalul Internaional de Scurtmetra j de la TAMPERE este o ramp de lansare pentru tinerii cineati talentai i atrage o audien impresionant de cinefili i profesionitii de cinema.

14

Bucharest International Experimental Film Festival

Juhani Alanen

Executive Director of TAMPERE International Short Film Festival

Juhani Alanen (b. 1956, Finland) studied at the University of Tampere and graduated as M.Sc. in Marketing. He has worked at the TAMPERE International Short Film Festival for more than 25 years on various duties and nowadays he is the Executive Director of the festival. Juhani Alanen has been a member of the selection committee of TAMPERE International Short Film Festival for 10 years. He has curated short film programs for TAMPERE and presented programs of Finnish short films at various film festivals. He has also been a member of the jury at different short festivals.

Juhani Alanen (n. 1956) a studiat la Universitatea din Tampere cu specialitatea marketing. Lucreaz n echipa Festivalului Internaional de Scurtmetra j de la TAMPERE de peste 25 de ani, ocupnd diverse poziii. n prezent, este Directorul Executiv al Festivalului. Juhani Alanen este membru n comitetul de selecie al Festivalului de 10 ani. Este curator a diverse seciuni de scurtmetra j din cadrul Festivalului de la Tampere i a prezentat scurtmetra je finlandeze n numeroase festivaluri de film din ntreaga lume. A fost de asemenea membru al juriului n numeroase festivaluri de scurtmetra j.

15

Dutch Experimental Film and Visual Art


With the support of / Cu sprijinul:
Bucharest International Experimental Film Festival BIEFF 2011 is honored to collaborate with the two key experimental film and visual art distributors in the Netherlands:

SPeciAL ProgrAM

Festivalul Internaional de Film Experimental Bucureti BIEFF 2011 este onorat s colaboreze cu doi dintre cei mai importani distribuitori n domeniul filmului experimental i al artei vizuale din Olanda:

Bucharest International Experimental Film Festival

Eye Film Institute Netherlands


EYE Film Institute Netherlands, the Dutch centre for film culture and heritage, is dedicated to developing a vigorous film culture in the Netherlands. Through its activities and services, EYE aims to foster a viable film industry in the Netherlands and to promote Dutch film at home and abroad. The Institute has the follow ing goals: Advancing knowledge about film and related audiovisual media Providing film and media education for children and young adults Increasing film attendance Supporting the film sector in making a greater contribution to public debate Promoting and highlighting the medium within the arts EYE unites the Dutch film sector: EYE Film Institute Netherlands was founded on 1 January 2010 by merging four important film organisations: Holland Film, the Nederlands Instituut voor Filmeducatie, the Filmbank (the main collector, exhibitor and distributor of contemporary Dutch experimental film, founded in 2001 by key Dutch experimental filmmakers and curators like Anna Abrahams, Peter Van Hoof, Cyrus Frisch and others) and the Filmmuseum. With this fusion, the Dutch film world acquired an umbrella organisation that unites the film sector.

EYE Film Institute Netherlands, centrul olandez pentru cultur i patrimoniu cinematografic, are ca misiune de a dezvolta unei culturi cinematografice viguroase n Olanda. Prin activitile sale i serviciile oferite, EYE sprijin dezvoltarea unei industrii cinematografice viabile i promoveaz cinematografia olandez la nivel naional i internaional. Scopurile Institutului: Perfecionarea cunotinelor din domeniul cinema-ului i al media audiovizuale nrudite Furnizarea de programe de educaie media i cinematografic pentru copii i tineri Creterea numrului de spectatori de cinema Amplificarea ponderii cinema-ului n dezbaterea public Promovarea i evidenierea poziiei cinema-ului ntre celelalte arte. EYE unific sectorul cinematografic olandez: EYE Film Institute Netherlands a fost nfiinat la 1 ianuarie 2010, prin fuzionarea a patru importante organizaii din domeniu: Holland Film, Nederlands Instituut voor Filmeducatie, Filmbank (cea mai important organizaie implicat n arhivarea, difuzarea i distribuia produciei contemporane de film experimental din Olanda, fondat n 2001 de curatori si autori consacrai de film experimental precum Anna Abrahams, Peter Van Hoof, Cyrus Frisch i alii) i Filmmuseum. Prin fuzionarea celor patru organizaii, s-a creat o instituie-umbrel ce unifica sectorul cinematografic olandez.

16

EYE Experimental The aim of the department of EYE Experimental is to find an audience for independent, experimental Dutch films. Experimental in the widest sense of the word, encapsulating work that is inspired by the classic avant-garde or work that explores the relationship between film and other art forms. Any form that are suitable for projection are eligible. Format and length are unimportant. Quality is. EYE Experimental will showcase films that are unique in their unconventional subject matter, working method and form. Films that are so confusing, beautiful, harsh or absurd that they are difficult to forget. More information on: www.eyefilm.nl

EYE Experimental Scopul Departamentului EYE Experimental este s ofere vizibilitate filmului experimental olandez. Experimental n cel mai extins sens al termenului, incluznd lucrri inspirate de avangarda clasic sau lucrri care exploreaz relaia dintre film i alte arte. Orice form care se poate proiecta poate fi inclus. Formatul i lungimea nu sunt importante. Ce conteaz e calitatea. EYE Experimental va prezenta filme unice prin problematica neconvenional, prin metoda de lucru sau form. Filme att de tulburtoare, frumoase, intransigente sau absurde nct sunt imposibil de uitat. Mai mult informaie pe: www.eyefilm.nl

Bucharest International Experimental Film Festival

ANNA ABRAHAMS

Project Leader Programming at the EYE FILM INSTITUTE NETHERLANDS

ANNA ABRAHAMS (Oslo, 1963) is presently Project Leader Programming at the EYE FILM INSTITUTE NETHERLANDS. Prior to this she was the Director of Filmbank, the main collector, exhibitor and distributor of contemporary Dutch experimental film, founded in 2001 by key Dutch experimental filmmakers and curators like Anna Abrahams, Peter Van Hoof, Cyrus Frisch and others. She studied film studies and art history at the University of Amsterdam. She also works as a director and editor of films concerning cultural and social subjects for the independent production foundation Rongwrong, which she founded with her partner filmmaker Jan Frederik Groot in 1989. Her films have been screened and awarded in prestigious film festivals all over the world like Rotterdam, Montreal, Marseille, Indielisboa, Jihlava, Huesca etc. Abrahams has lectured at art academies in The Hague, Rotterdam, Tilburg, Maastricht, Utrecht and Amsterdam, and was author and editor for several magazines on film, television and architecture and also (co) author of a number of books on avant-guard film. Presently she also teaches film at the Royal Art Academy in The Hague.

ANNA ABRAHAMS (n. Oslo, 1963) este Project Leader Programming n cadrul EYE FILM INSTITUTE NETHERLANDS. Inainte de asta, a fost Director al Filmbank, cea mai important organizaie implicat n arhivarea, difuzarea i distribuia produciei contemporane de film experimental din Olanda, fondat n 2001 de curatori si autori consacrai de film experimental precum Anna Abrahams, Peter Van Hoof, Cyrus Frisch i alii. A fcut studii de cinema i istoria artei la Universitatea din Amsterdam. Activeaz ca regizor i editor de filme cu tematici culturale i sociale n cadrul studioului independent de producie Rongwrong, pe care l-a fondat n 1989, mpreun cu partenerul sau, regizorul Jan Frederik Groot. Filmele lui Abrahams au fost prezentate i premiate n festivaluri de prestigiu, precum Rotterdam, Montreal, Marseille, Indielisboa, Jihlava, Huesca etc. Abrahams a predat cursuri la universitile de arta din Haga, Rotterdam, Tilburg, Maastricht, Utrecht i Amsterdam, a fost autor i redactor la cteva publicaii de film, televiziune i arhitectur i este co-autor al unor cri despre filmul de avangard. n prezent, preda cursuri de cinema la Royal Art Academy din Haga.

17

Netherlands Media Art Institute


The Netherlands Media Art Institute (NIMk) promotes the development, application and distribution of and reflection on new technologies in the visual arts. The Netherlands Media Art Institute supports media art in three core areas: presentation, research and collection, and through its facilities provides extensive services for artists and art institutions. Associated with this are educational programs, which are developed for all activities. The NIMk is supported by the Ministry of Education, Culture and Science and the city of Amsterdam COLLECTION: Since the Netherlands Media Art Institute came into being in 1978 an extensive collection of visual art has been assembled, to which new works are constantly added. In addition to its own collection, the Institute also manages the video collections of the De Appel Foundation, the Lijnbaan Center in Rotterdam and the Netherlands Institute for Cultural heritage (ICN). The collections of the Groninger Museum and the Krller Mller Museum can also be viewed. The distribution collection comprises more than 2000 works at present, varying from the earliest experiments through recent productions by known Dutch and international artists and rising talents. DISTRIBUTION: To make a large audience acquainted with media art, The Netherlands Media Art Institute pursues an active distribution policy for videoworks and media installations. These are presented at national and international festivals, manifestations and exhibitions at various art institutions, and are shown for educational purposes. The videoworks and installations are documented in the on-line public catalogue. In the mediatheque all the videoworks from the collection can be viewed on viewing sets. Netherlands Media Art Institute (NIMk) promoveaz dezvoltarea, aplicarea, distribuia si reflectia asupra noilor tehnologii n artele vizuale. Institutul sprijin artele media n trei domenii-cheie: prezentare, cercetare i arhivare, iar prin facilitile de care dispune, institutul ofer o gam larg de servicii pentru artiti individuali i organizaii artistice. Tuturor acestor direcii de activitate le sunt asociate programe educaionale. NIMk funcioneaz cu sprijinul Ministerului Educaiei, Culturii i Stiinei i cel al Primriei din Amsterdam. COLECIA: ncepnd cu 1978, anul nfiinrii sale, NIMk a adunat o colecie impresionant de lucrri de art vizual, care se mbogete constant prin adugarea de noi creaii. Alturi de colecia proprie, institutul administreaz videocoleciile aparinnd De Appel Foundation, Lijnbaan Center din Rotterdam i ale Institutului Naional pentru Patrimoniu Cultural (ICN). Sunt disponibile, de asemenea, coleciile de la muzeele Groninger i Krller Mller. Colecia disponibil pentru distribuie cuprinde peste 2.000 de titluri, de la primele lucrri experimentale pn la cele mai recente producii semnate de autori olandezi i internaionali consacrai, precum i de artiti aflai la nceput de carier. DISTRIBUIA: n scopul de a face accesibile creaiile de art media unui public ct mai larg, NIMk a pus la punct o politic susinut de distribuie a creaiilor video i instalaiilor media. Acestea sunt prezentate la festivaluri naionale i internaionale, evenimente i expoziii organizate de diverse instituii, precum i n cadrul unor programe educaionale. Informaii despre creaiile video i instalaiile coleciei sunt accesibile online i pot fi vizionate si la mediateca NIMk.

Bucharest International Experimental Film Festival 18

EXHIBITION: The Netherlands Media Art Institute presents four exhibitions per year, with Dutch and international artists who work with video, film, internet and other technological media. The exhibitions pose questions about the consequences of technological developments for contemporary art, the artwork itself, and the artistic process. The presentations range from art-historic currents and themes to more popular cultural aspects such as gaming, music, fashion and web 2.0, and how these relate to media art. ARTIST IN RESIDENCE: The Artist in Residence (AiR) programme at the Netherlands Media Art Institute supports the exploration and development of new work in digital/interactive/network media and technology based arts practice. The residency provides time and resources to artists in a supportive environment to facilitate the creation of new work that is produced from an open source perspective. We encourage a cross disciplinary and experimental approach. This is a practice based residency designed to enable the development and completion of a new work. EDUCATION: The Netherlands Media Art Institute has developed structural educational programs for all three of its core tasks (presentation, collection and research). These offer a varied selection of activities for different target audiences, such as the general public, secondary schools, professional art education and specialists (artists, art historians and curators). The programs consist of workshops, expert meetings, awards, lectures, activities on the internet and internships.

EXPOZIII: NIMk organizeaz patru expoziii anuale, n cadrul crora expun artiti olandezi i internaionali ce se exprim prin video, film, internet i alte tehnologii media. Expoziiile ridic ntrebri privind impactul dezvoltrii tehnologice asupra artei contemporane, asupra operei de arta n sine i asupra procesului de creaie artistic. Prezentrile acoper o arie vast, de la curente din istoria artei la aspecte ale culturii populare actuale, precum jocurile, muzica, moda, web2.0 i relaia lor cu artele media. ARTIST IN REZIDENA: Programul de rezideniat (AiR) din cadrul NIMk sprijin cercetarea i dezvoltarea artelor bazate pe tehnologie, a proiectelor artistice bazate pe media si tehnologii digitale/interactive/ network. n cadrul programului de rezideniat, artitii beneficiaz de timpul i resursele necesare pentru a crea, ntr-un cadru stimulator, creaii de factur nou. Institutul ncura jeaz o abordare experimental i multi-disciplinar. Programul de rezideniat pune accent pe practic, fiind conceput pentru a face posibila dezvoltarea i finalizarea unui nou proiect artistic. EDUCAIE: NIMk a dezoltat o structur de programe educaionale care acoper toate cele trei direcii principale ale activitii sale (prezentare, arhivare, cercetare). Programele educaionale ofer o varietate de activiti, destinate mai multor categorii de public: public general, elevi, profesioniti n arte sau educaie artistic (artiti, istorici de art, curatori). n cadrul programelor sunt organizate workshopuri, ntlniri cu specialiti, concursuri, prelegeri, activiti pe internet i stagii de pregtire.

Bucharest International Experimental Film Festival 19

Festival Team Echipa Festivalului

Bucharest International Experimental Film Festival

Copel Moscu

FESTIVAL DIRECTOR / DIRECTOR AL FESTIVALULUI


Nscut n 1953, Copel Moscu a absolvit Institutul Naional de Art Teatral i Cinematografic din Bucureti n 1978, i ulterior a lucrat la Studioul de Film Documentar Sahia. Unul dintre autorii marcani ai Noului Val n Documentarul Romnesc din anii 80 (mpreun cu Ovidiu Bose Patin, Tereza Barta, Laureniu Damian, Sabina Pop), a fost un deschiztor de drumuri n provocarea limitelor limba jului cinematografic n filme subversive, controversate, care ascundeau, n spatele experimentului ndrzne la nivel de concept i form, o critic energic a regimului comunist - filme interzise de cenzur perioadei. Copel Moscu a creat peste 50 de filme de scurt i lung metra j n calitate de regizor i scenarist, pentru care a obinut peste 25 de premii internaionale i naionale (coal seral, Pe malul Ozanei, coala mea iubit, Epoca de bronz, Va veni o zi i Am ales libertatea). n prezent, pred regie de film la Universitatea Naional de Art Teatral i Cinematografic Bucureti (UNATC) i art video la Universitatea de Arte Bucureti (UNARTE) i este un cunoscut consultant artistic pentru televiziune i cinema. n anul 2010, consecvent cu viziunea sa liberal, inovatoare i cu devotamentul su pedagogic, i-a asumat provocarea de a oferi publicului romnesc, n special studenilor de la film i arte vizuale, primul Festival Internaional de Film Experimental din Romnia.

20

Born in 1953, Copel Moscu graduated from the National Institute of Drama and Film Bucharest in 1978, after which he worked at the Sahia Documentary Film Studio. One of the key authors of the Romanian Documentary New Wave from the 80 (together with Ovidiu Bose Pastina, Tereza Barta, Laurentiu Damian, Sabina Pop) he was a pioneer in challenging the borders of cinema language in controversial subversive films which concealed, under daring conceptual and formal experimenting, a fierce criticism of the communist regime, films banned by the establishments censorship. Copel Moscu created over 50 short and feature films, as director and scriptwriter, for which he was awarded over 25 international and national prizes (The Evening School, On the Ozana Shore, My Beloved School, The Bronze Age, A Day Will Come, and I Chose Freedom). Presently he teaches film directing at the National University of Drama and Film Bucharest (UNATC) and video-art at Bucharest Art University (UNARTE) and is referred to as an artistic consultant for television and cinema. In 2010, consistent with his free innovative vision and educational commitment, he took the challenge to offer Romanian audiences, particularly to cinema and visual students, the first International Experimental Film Festival in Romania.

Adina Pintilie

Bucharest International Experimental Film Festival

CURATOR INTERNATIONAL SELECTION / CURATOR AL SELECIEI INTERNAIONALE


Adina Pintilie- regizor/scenarist din Romnia - a absolvit recent Universitatea Naional de Art Teatral i Cinematografic Bucureti, Secia Regie Film. La grania dintre ficiune, documentar i art vizual, filmele sale sunt un fenomen aparte n peisa jul cinematografic romnesc, distingndu-se printr-un stil vizual profund personal, experimentare ndrznea n limba jul cinematografic i explorare fr compromis a psihologiei umane. n anul 2007, documentarul su Nu te supra,dar... - produs de AWA, cu sprijinul ARTE France i TVR, a avut premiera mondial la Locarno - Competiia Cineati ai Prezentului, a fost inclus n selecia IDFA 2007 - Best of Fests, a obinut Premiul Porumbelul de Aur pentru cel mai bun documentar la DOK LEIPZIG 2007 i a fost selecionat/premiat la 50 festivaluri internaionale, cum ar fi: Thessaloniki, Montpellier, Trieste, Namur, Munchen, Moscova, Sara jevo, Indielisboa, Varovia, Krakovia etc. Cel mai recent mediu metra j al su, Oxigen, a fost proiectat n competiia oficial a Festivalului International de Film Rotterdam 2010, n Buenos Aires BAFICI, Montpellier, Thessaloniki, Varovia, Bilbao,Tampere i, n prezent, continu s circule n ntreaga lume n festivaluri de film i muzee. Ultimul sau scurt metra j, Balastiera#186, regizat mpreun cu George Chiper, a fost selecionat la Locarno 2008, Seciunea Scurtmetra je de Autor, si a castigat Runner Up Award la Festivalul Internaional de Film de la Miami i Meniunea special a Festivalului Internaional de Film de la Trieste.

Adina Pintilie is a Romanian filmmaker, recent graduate of the National University of Drama and Film Bucharest, Directing Department. At the border between fiction, documentary and visual art, her films are very particular in the new Romanian cinema landscape, distinguishing themselves through a highly personal visual style, daring experimenting in cinema language and uncompromising exploration of human psychology. In 2007, her medium length Dont Get Me Wrong -produced by AWA, with support of ARTE France and TVR, was world premiered in Locarno - Filmmakers of the Present Competition, included in IDFA 2007-Best of Fests selection, awarded Golden Dove Best Documentary Award at DOK LEIPZIG 2007 and selected/awarded in 50 international film festivals like: Thessaloniki, Montpellier, Trieste, Namur, Munich, Moscow, Sara jevo, Indielisboa, Warszaw, Krakow etc. Her last medium length, Oxygen, was screened in Tiger Awards Short Film Competition of Rotterdam Film Festival 2010, Buenos Aires BAFICI, Montpellier, Thessaloniki, Warszaw, Bilbao and is presently traveling around the world in film festivals and museums. Her latest short, SANDPIT#186, co-directed with George Chiper, was selected in Locarno 2008, Authors Shorts section and won the Runner Up Award in Miami IFF and Special Mention in Trieste IFF.

21

Mihai Fulger

CURATOR ROMANIAN SELECTION / CURATOR AL SELECIEI ROMNETI

Ozana Nicolau
PROJECT MANAGER
Ozana Nicolau recently graduated the National University of Drama and Film Bucharest 2010, Directing Department. One of her student projects, My Sister and I received at CinemaIubit International Film Festival Bucharest two awards: Best Script and Best Actress and First Prize at Future Movie IFF (2010). Surrounded by Friends, her graduation film, was presented at Cannes Film Festival in Short Film Corner, at Karlovy Vary Intl Film Festival and International Short Film Festival in Drama Presently, Ozana is a finalist of the HBO - TIFF DOCUMENTARY CONTEST 2011. She is also developing a feature script in the framework of EAST EUROPEAN FILM ALLIANCE (EEFA) 2011 (Sofia IFF, Molodisk IFF, Tallin BlackNights IFF Workshops) and is working on her latest film, a documentary produced by ARISTOTELES WORKSHOP with the support of ARTE FRANCE. Ozana Nicolau a absolvit recent Universitatea Naional de Art Teatral i Cinematografic Bucureti, secia Regie de film. Unul dintre filmele sale studeneti, Eu i sora mea, a avut premiera la Festivalul Internaional de Film CinemaIubit Bucureti 2009 i a primit dou premii: Cel mai bun scenariu i Cea mai bun actri, precum i Premiul nti la Festivalul internaional de film Future Movie (2010). Filmul su de licen ntre prieteni a fost prezentat la Festivalul de la Cannes, Seciunea Short Film Corner, la Festivalul internaional de la Karlovy Vary i la Festivalul internaional de scurtmetra j de la Drama (Grecia). Este finalist a concursului de documentar HBO-TIFF din 2011. n prezent, pregtete un scenariu pentru un lungmetra j, n cadrul EAST EUROPEAN FILM ALLIANCE (EEFA) 2011 (Sofia IFF, Molodisk IFF, Tallin BlackNights IFF Workshops) i lucreaz la finalizarea celui mai recent documentar al su, produs de Aristoteles Workshop cu sprijinul ARTE France.

Bucharest International Experimental Film Festival

Mihai Fulger is a Romanian film journalist, critic and programmer. Since 2002, he has published over 1000 articles on different film-related subjects in several cultural and general profile publications, as well as on the Internet. His first published work is a volume of interviews, The New Wave of Romanian Cinema (Noul val n cinematografia romneasc), awarded in 2007 with the George Littera prize of Romanias Film Critics Association. He has translated and edited several film books. He is a member of the Film Critics Association within the Romanian Filmmakers Union (UCIN) and of the International Federation of Film Critics (FIPRESCI). He has been a member of the FIPRESCI juries in international film festivals such as Warsaw (2008), Transilvania Cluj (2010), Pusan (2010), Durres (2011) and Arsenals Riga (2011). He has served as selector and jury member in several Romanian film festivals and has been involved in the organization of others. In 2010 he was a member of the jury for the Romanian film industry Gopo Awards. Mihai Fulger este jurnalist, critic i selecioner de film. ncepnd cu anul 2002, a publicat peste 1.000 de articole pe diferite teme legate de film, n mai multe publicaii cu profil cultural sau generalist, precum i pe Internet. Prima sa carte publicat este un volum de interviuri, Noul val n cinematografia romneasc, pentru care a primit premiul George Littera al Asociaiei Criticilor de Film din Romnia. A tradus i redactat o serie de cri de film. Este membru al Asociaiei Criticilor de Film din cadrul Uniunii Cineatilor din Romnia (UCIN) i al Federaiei Internaionale a Criticilor de Film (FIPRESCI). A fost membru al juriilor FIPRESCI la festivaluri internaionale de film, cum ar fi Varovia (2008), Transilvania Cluj (2010), Pusan (2010), Durres (2011) i Arsenals Riga (2011). S-a ocupat cu selecia i a fost membru n juriul mai multor festivaluri de film din Romnia i a fost implicat n organizarea altor festivaluri. n 2010, a fost membru n juriul de preselecie pentru Premiile Gopo ale industriei de film din Romnia.

22

Film Programming / Programare Filme


Adina Pintilie

Guest Coordinator / Coordonator Invitai


Adina Vrgatu

Bucharest International Experimental Film Festival

PR Officer / Responsabil PR
Codrua Creulescu

Jury Coordinator / Coordonator Juriu


Gilda Stan

Asistent PR/ PR Junior Officer


Geo Stan

Cinema Location Manager / Manager Locaie Cinema


Mihai Tudor

Technic & Logistics Coordinator / Coordonator Tehnic & Logistic


Mihai Oranu

Hospitality Partners Coordinator / Coordonator Parteneri de ospitalitate


Gilda Stan

Graphic Designer
Mihai Velcescu

Volunteer Coordinators / Coordonatori Voluntari


Andrei Agudaru

Website Designer / Designer Website


Design Forge Andvert

Print Traffic Coordinator / Coordonator Print Traffic


Alex Olteanu

New Media Coordinator / Coordonator New Media


Dan Nstsoiu

DTP Coordinator / Coordonator DTP


Alexandru Ctlin Petcu

Web Content Editors / Editori Website


Rzvan Tun

Traduceri Catalog / Catalogue Translating


Adina Vrgatu

23

Universitatea Naional de Arte


Founded in 1864, The National School of Fine Arts proposes, through the creative work of its students, a cultural model that links universal art forms to the contemporary cultural space. The specificity of the curriculum offered by UNARTE, and by the Photography and Video Department in particular, relies in the fostering of a flexible thinking, and in promoting themes related to contemporary issues, and a variety of approaches that avoid conservatism and dogma. UNARTE promotes the works and ideas of its students in symposia, exhibitions, and press conferences, and offers them oportunities of exchanges and colaborations with art universities all over Europe. Among its most celebrated professors and alumni, UNARTE counts Constantin Brncui, Theodor Aman, Gheorghe Tattarescu, tefan Luchian, Alexandru Ciucurencu, Corneliu Baba. nfiinat la 5 octombrie 1864, Universitatea Naional de Arte propune prin intermediul absolvenilor si un model cultural care poate lega formele artei universale de spaiul cultural contemporan. Specificul instruciei artistice susinute de Universitatea Naional de Arte si mai ales a sectiei foto-video const n promovarea unui tip de gndire elastic, n raportarea continu a temelor la problematica contemporan cu variante de abordare, n evitarea conservatorismului i a dogmelor. UNARTE promoveaz prin simpozioane, expoziii, conferine de pres etc lucrrile i ideile studenilor i absolvenilor si, oferindu-le posibilitatea de colaborare i schimburi interuniversitare cu orice universitate din Europa. Dintre studenii i profesorii Facultii de Arte Plastice de importan naional i internaional i amintim pe: Constantin Brncui, Theodor Aman, Gheorghe Tattarescu, tefan Luchian, Alexandru Ciucurencu, Corneliu Baba.

Bucharest International Experimental Film Festival

Universitatea Naional de Art Teatral i Cinematografic I.L.Caragiale


The National School of Theatre and Cinema I. L. Caragiale (UNATC) in Bucharest counts among the most prestigious European film schools, together with the Film And Tv School Of Academy Of Performing Arts in Prague (FAMU), and the National Film School in Lodtz. The history of UNATC begins as early as 1864, the year when the fist Theatre School was founded in Bucharest. In 1954, the old school merged with the Institute of Film Art, to become UNATC, The National School of Theatre and Cinema. Great names of Romanian cinema are UNATC alumni; among them, Cristian Mungiu, Corneliu Porumboiu, Catalin Mitulescu, Radu Muntean, Tudor Giurgiu, Adina Pintilie. Universitatea Naional de Art Teatral i Cinematografic I.L.Caragiale (UNATC) se numr alturi de FAMU, Praga i coala de film de la Lodtz (Polonia) printre colile de film de prestigiu din Europa. Istoria UNATC este legat de nfiinarea primei Faculti de teatru care i-a nceput activitatea la Bucureti n 1834. Aceast instituie cu tradiie s-a unit n 1954 cu Institutul de Art Cinematografic, dnd natere UNATC. Printre absolvenii UNATC se numr regizori de valoare ai cinema-ului contemporan precum: Cristian Mungiu, Corneliu Porumboiu, Ctlin Mitulescu, Radu Muntean, Tudor Giurgiu, Adina Pintilie.

24

(b. 1962), graduated from The School for Fine Arts Nicolae Grigorescu in Bucharest in 1986. He is a professor at the National Arts School Bucharest, a member of the Romanian Artists Union, and a Scientific Secretary of the National Arts School Senate. He is a Doctor of Visual Arts, and an internationally renowned artist, whose work has been presented at the International Festival of Painting at Cagnes sur Mer in France, and at the Print and Drawing Biennial Taipei in Taiwan. In Romania, he is present in group exhibitions, most recently at the Visual Arts Centre, and with personal exhibitions opened at Apollo Art Gallery, and Simeza Art Gallery, both in Bucharest. In addition to his academic and artistic work, he has collaborated with the School of Mathematics within the Faculty of Computer Science of the Romanian Academy of Economics, working for research projects on advanced techniques in the analysis of the artistic visual image. He works as an associate expert with the National Institute for Optoelectronics in a project for the development of a method of basic analysis of artistic visual image elements..

CTLIN BLESCU

Visual artist and curator. Works and lives in Bucharest. BA degree in painting at the N. Grigorescu Fine Arts Institute, Bucharest in 1981, and PhD in Visual Arts of the National University of Arts Bucharest, in 2006. Associate Professor she is the head of the Photography and Time Based Arts Department as well as head of the International Relations Department in the National University of Arts Bucharest. She is member of the representative boards of: ELIA - the European League of Institutes of the Arts, ICCA - the International Center for Contemporary Art, transFORMA (RomanianDutch foundation focusing on human rights and transparency of decisions), META Cultural Foundation. She is affiliated with the Romanian Union of Artists since 1990 and the International Association of Art Critics AICA, Romanian Section since 2005. Since 1981 she works and exhibits her projects in painting, drawing, artist book, installation, object, clothing and accessories design, film, video, photography, social practice and relational art. Her conceptual discourse revolves around identity, feminism, human rights.

ROXANA TRESTIOREANU

CTLIN BLESCU s-a nscut n 1962 i a absolvit Institutul de Arte Plastice N. Grigorescu, Bucureti n anul 1986. Este profesor universitar n cadrul Universitii Naionale de Art Bucureti, membru al Uniunii Artitilor Plastici din Romnia i ndeplinete funcia de secretar tiinific al Senatului Universitii Naionale de Arte. Doctor n Arte Vizuale, este unul din artitii plastici recunoscui internaional, participnd printre altele la Festivalul Internaional de Pictur Cagnes sur Mer - Frana i Bienala Internaional de Desen i Gravur - Taipei, Taiwan. n ar este prezent n numeroase expoziii de grup, recent n spaiile galeriei Centrul Artelor Vizuale, avnd expoziii personale n cadrul galeriilor Apollo i Simeza, Bucureti. Pe lng activitatea de profesor i artist plastic, a colaborat cu Catedra de Matematic a Facultii de Cibernetic din cadrul ASE n realizarea unor proiecte de cercetare privind tehnici avansate de analiza imaginii artistice. Parteneriat cu Institutul Naional de Optoelectronic n dezvoltarea unei metode de analiz a elementelor fundamentale din imaginea artistic.

Bucharest International Experimental Film Festival

ROXANA TRESTIOREANU Artist vizual si curator. Lucreaz si trieste n Bucuresti. Absolvent n 1981 a Institutului de Arte Plastice Nicolae Grigorescu, specialitatea Pictur, obtine n 2006 titlul de doctor n arte vizuale la Universitatea National de Arte Bucureti. Confereniar universitar, conduce departamentul Fotografie i Imagine Dinamic, i departamentul Relaii Internaionale la Universitatea Naional de Arte Bucureti. Face parte din consiliile de experi ale: ELIA - European League of Institutes of the Arts, CIAC - Centrul International pentru Art Contemporan, transFORMA (fundatie romno-olandez activ n domeniul drepturilor omului, al transparenei decizionale i al educaiei), Fundaia Cultural META. Este membr a Uniunii Artitilor Plastici din Romnia din 1990 i a AICA - Asociaia International a Criticilor de Art, seciunea Romnia, din 2005 Realizeaz si expune ncepnd cu 1981 proiecte de pictur, desen, carte de artist, instalaie, obiect, vestimentaie i accesorii, film, video i fotografie, proiecte relaionale i cu impact social. Discursul su conceptual se axeaz pe teme legate de identitate, feminism, drepturile omului.

25

Competition Jury Juriul Competiiei


(Oslo, 1963) is presently Project Leader Programming at the EYE FILM INSTITUTE NETHERLANDS. Prior to this she was the Director of Filmbank, the main collector, exhibitor and distributor of contemporary Dutch experimental film, founded in 2001 by key Dutch experimental filmmakers and curators like Anna Abrahams, Peter Van Hoof, Cyrus Frisch and others. She studied film studies and art history at the University of Amsterdam. She also works as a director and editor of films concerning cultural and social subjects for the independent production foundation Rongwrong, which she founded with her partner filmmaker Jan Frederik Groot in 1989. Her films have been screened and awarded in prestigious film festivals all over the world like Rotterdam, Montreal, Marseille, Indielisboa, Jihlava, Huesca etc. Abrahams has lectured at art academies in The Hague, Rotterdam, Tilburg, Maastricht, Utrecht and Amsterdam, and was author and editor for several magazines on film, television and architecture and also (co) author of a number of books on avant-guard film. Presently she also teaches film at the Royal Art Academy in The Hague.

Anna Abrahams

Bucharest International Experimental Film Festival

Anna Abrahams (n. Oslo, 1963) este Project Leader Programming n cadrul EYE FILM INSTITUTE NETHERLANDS. nainte de asta, a fost Director al Filmbank, cea mai important organizaie implicat n arhivarea, difuzarea i distribuia produciei contemporane de film experimental din Olanda, fondat n 2001 de curatori si autori consacrai de film experimental precum Anna Abrahams, Peter Van Hoof, Cyrus Frisch i alii. A fcut studii de cinema i istoria artei la Universitatea din Amsterdam. Activeaz ca regizor i editor de filme cu tematici culturale i sociale n cadrul studioului independent de producie Rongwrong, pe care l-a fondat n 1989, mpreun cu partenerul sau, regizorul Jan Frederik Groot. Filmele lui Abrahams au fost prezentate i premiate n festivaluri de prestigiu, precum Rotterdam, Montreal, Marseille, Indielisboa, Jihlava, Huesca etc. Abrahams a predat cursuri la universitile de arta din Haga, Rotterdam, Tilburg, Maastricht, Utrecht i Amsterdam, a fost autor i redactor la cteva publicaii de film, televiziune i arhitectur i este co-autor al unor cri despre filmul de avangard. n prezent, preda cursuri de cinema la Royal Art Academy din Haga.

Juhani Alanen

26

(b. 1956, Finland) studied at the University of Tampere and has worked at the TAMPERE International Short Film Festival for more than 25 years on various duties. Nowadays he is the Executive Director of the festival. Juhani Alanen has been a member of the selection committee of TAMPERE International Short Film Festival for 10 years. He has curated short film programs for TAMPERE and presented programs of Finnish short films at various film festivals. He has also been a member of the jury at different short film festivals.

Juhani Alanen (n. 1956) a studiat la Universitatea din Tampere i este specialist n marketing. Lucreaz n echipa Festivalului Internaional de Scurtmetraj de la TAMPERE de peste 25 de ani, ocupnd diverse poziii. n prezent, este Directorul Executiv al Festivalului. Juhani Alanen este membru n comitetul de selecie al Festivalului de 10 ani. Este curator a diverse sectiuni de scurtmetra j din cadrul Festivalului de la Tampere si a prezentat scurtmetra je finlandeze n numeroase festivaluri de film din intreaga lume. A fost de asemenea membru al juriului n numeroase festivaluri de scurtmetra j.

Roxana Clinescu
Has been working, since 2006, as Cinema Expert at the Romanian Cultural Institute, where she coordinates the popular Cinema Evening at the Romanian Cultural Institute, event aimed to promote young Romanian filmmakers, and she is also curator and coordinator of the European Film Festival, event organized by the Romanian Cultural Institute. Prior to this, after graduating from the Philology Department of the Bucharest University, she worked for five years in advertising and in 2005, she was editor-inchief of the TV guide of the Cotidianul newspaper. As a film journalist she writes on cinema at the weekly cultural newspaper Dilema Veche. She has also organized film festivals with focus on Ireland and the nordic countries. Roxana Clinescu este, din 2006, Expert pe Film la Institutul Cultural Romn, unde coordoneaz Seara de Film la ICR, un program de mare succes care promoveaz tineri regizori romni, i este, de asemenea, selecioner i organizator al Festivalului Filmului European, organizat de acelai ICR. Roxana este liceniat n filologie, la Universitatea din Bucureti. A lucrat cinci ani n publicitate ca responsabil de comunicare. n 2005 a fost redactor-sef adjunct la ghidul TV al ziarului Cotidianul. Publica interviuri despre film n sptmnalul Dilema Veche. A organizat festivaluri dedicate Irlandei i rilor nordice.

Bucharest International Experimental Film Festival

Hilke Doering
born in 1966, raised in Germany and Switzerland studied sociology in Bielefeld (Germany) and Paris (France). Hilke Doering has been with the International Short Film Festival OBERHAUSEN since 1995 in different positions. She has been responsible for the distribution as well as the Childrens and Youth program, for the video library and the market. Since 1996 she is the Head of the International Competition and has represented the festival in international organizations. She has been a jury member in a couple of international festivals and has curated film programs for festivals in different parts of the world. Hilke Doering (n. 1966) a crescut n Germania i Elveia. A fcut studii de sociologie la Bielefeld (Germania) i la Paris. Hilke Doering a lucrat pentru Festivalul Internaional de Scurtmetra j OBERHAUSEN nc din 1995, ocupnd diverse poziii n structura organizatoric: coordonator al departamentului de distribuie, al programului pentru copii i tineri, al videotecii i al sectorului de market. Din 1996 este Director al Competiiei Internaionale i, n aceast calitate, a reprezentat Festivalul n cadrul organizaiilor internaionale. A fost membru al juriului ntr-o serie de festivaluri internaionale i curator de programe pentru festivaluri din toat lumea.

27

Sergio Fant
(b. 1971) is an Italian film programmer, working mainly in the fields of shorts, experimental cinema, artists film and video, and documentary. He (almost) never has enough of watching, showing and sharing films. After graduating in Film Studies and working as a film archivist at the Bologna Cinematheque, he went on conceiving, curating and selecting programs for several Italian festivals and venues, and is since 2010 the short film programmer of the VENICE Film Festivals ORIZZONTI sidebar. He holds a weekly column on documentary films on the Italian news-magazine Internazionale, and recently co-founded the innovative film distribution platform CineAgenzia.

Bucharest International Experimental Film Festival

Sergio Fant (n. 1971) este curator de film, specializat n scurtmetra j, cinema experimental, film i video realizate de artisti vizuali i film documentar. Nu se satur (aproape) niciodat s vizioneze, prezinte i mprtesc altora filme. Dup ncheierea studiilor de cinema i o perioad n care a lucrat ca arhivist la Cinemateca din Bologna, a continuat prin a concepe programe, a face selecii i a fi curator pentru o serie de festivaluri i institutii din Italia. Din 2010, este selectionerul de scurtmetra j al Festivalului International de Film de la Veneia, sectiunea Orizzonti - dedicata cinema-ului contemporan inovativ. Semneaz articole sptmnale despre film documentar n revista italian Internazionale. Recent, a devenit co-fondator al inovatoarei platforme de distribuie CineAgenzia.

Marzena Moskal
(b. 1983, Warsaw) is a programmer and festival organizer, specialized in Eastern European cinema, member of the Selection Committee for the Quinzaine des Realisateurs - Cannes 2010 and 2011, coordinator of the Warsaw International Film Festival and, since 2010, coorganisator of the Festival of Polish Cinema in Paris. Marzena Moskal (n. 1983, Varovia) este selectioner i organizator de festivaluri, cu specializare pe Europa de Est, membru n Comitetul de selecie pentru Quinzaine des Realisateurs - Cannes 2010 i 2011, coordonator al Festivalului Internaional de Film Varovia i, din 2010, co-organizator al Festivalului Filmului Polonez de la Paris.

28

Miguel Valverde
(b. 1971) is one of the directors and programmers of INDIELISBOA - International Independent Film Festival Lisbon, which he helped to create in 2003. He taught Scriptwriting for Comics, Illustration and Animation Film at the University of Fine Arts in Lisbon and Screenwriting for Fiction Films in Nextart School and currently teaches Copyright Law in Restart, School of Creativity and New Technologies Lisbon. He was a jury member of several film festivals, namely in Uppsala Short Film Festival (Sweden), Cork Film Festival (Ireland), Archipelago Festival Internazionale di Cortometraggi (Rome, Italy), Brest Short Film Festival (France), Mecal Short Film Festival (Barcelona, Spain). He took part in the ICAM juries for the Production of Short and Medium Animation Films and he is also a permanent member of ICAs commission that decides over the subventions to the national film industry. Participated as panelist in several national and international seminars about short films, film promotion and organization of film festivals. In 2010, he produced his first film, A Man at the Balcony, by Gonalo Robalo. Miguel Valverde (n. 1971) este unul dintre directorii i curatorii INDIELISBOA - Festivalul Internaional de Film Independent Lisabona i unul dintre membrii si fondatori (n 2003). A predat cursuri de scenaristic pentru benzi desenate, ilustraie i tehnici de animaie la Universitatea de Art din Lisabona, i pentru filme de ficiune la Nextart School iar n prezent preda cursuri de legislaie privind drepturile de autor la Restart, School of Creativity and New Technologies Lisabona. A fcut parte din juriul mai multor festivaluri de film, printre care Festivalul de scurtmetra j din Uppsala, Suedia, Festivalul Internaional de Film Cork, Irlanda, Arcipelago - Festivalul Internaional de Scurtmetra j din Roma, Brest Short Film Festival din Frana, Mecal Short Film Festival Barcelona. A fcut parte din juriul ICAM pentru Producia de scurtmetra je i mediumetra je de animaie i este membru permanent al Comisiei ICA, ce decide asupra subveniilor acordate industriei naionale de film din Portugalia. A participat ca expert n mai multe seminarii naionale i internaionale despre scurtmetra j, promovare de film i organizare de festivaluri de film. n 2010 a produs primul su film, A Man at the Balcony, n regia lui Gonalo Robalo.

29

Bucharest International Experimental Film Festival

30

Opening Gala Gala de deschidere


With the support of / Cu sprijinul:

Lupercyclopedia Live Cinema Vj Performance


by Peter Greenaway
Bucharest International Experimental Film Festival

Closing Gala Gala de nchidere


With the support of / Cu sprijinul:

Faust

by Alexandr Sokurov

31

Lupercyclopedia Live Cinema Vj performance


On June 17, 2005, Peter GreenAwAy performed his first VJ act in Club 11 music and crossover festivals hosted the act in classic and modern theatres, open squares, industrial halls, amphitheatres, concert halls, opera houses and museums. Bucharest International Experimental Film Festival has the great honour to present Peter GreenAwAys first VJ performance in Romania. LuPercycLoPediA Live CineMA VJ PerforMAnce (which premiered in Greece, in the summer of 2010) opens this years edition of BIEFF. Cinema died in 1983, when the TV remote control was introduced into living rooms around the world, argues Greenaway. What he proposes instead in the Lupercyclopedia is an environmental nonnarrative multi-screen cinema that, without apology, pushes ideas of greater visual literacy for the future of the new media, which surely must supersede traditional cinema. The revolutionary audio-visual show transcends the limits of filmic language and provides the audience a completely original and exciting cinema experience. This ma jor cultural event is certain to have a ma jor impact not only on the way we perceive cinema, but also on the vision of the emerging visual artists and filmmakers. The ma jor innovation brought by it is that, instead of a film whose form and content are definite, spectators are presented a film which creates itself under their eyes. Peter GreenAwAy generates the show with his unique VJ system, by live mixing images taken from his avant-garde film series The Tulse Luper Suitcases, simultaneously projected on five giant screens, accompanied by the experimental soundtrack of Dutch DJ Huibert Boon. The result is a show freed from all the conventions of the cinema theatre and infused by the freedom and dynamism that characterize a live music act. Moreover, the design of the space puts the booths of the VJ/directors and of the DJ in the centre of the hall. Thus, they dont have a privileged position in relation with the audience. Theyre not on the stage, but amid the spectators, who can walk around them and watch the five screens from any angle they desire. LuPercycLoPediA Live CineMA VJ PerforMAnce is produced by Kasander Amsterdam. Using a specially developed VJ system, consisting of a large plasma with touch screen, VJ Greenaway projected his 92 Tulse Luper stories simultaneously on the clubs 12 screens and mixed the images live. The result of blending avant-garde cinematographic imagery with a heavy movie score remix was amazing: Greenaway rocked the crowd in Amsterdams VJ temple 11. Mastering the giant touch screen, he provided a totally new experience to the audience. Live Cinema was born. Peter GreenAwAys magnificent VJ debut did not go unnoticed. As real time image conductor, he freed himself from classic cinematographic linearity. With his outstanding cinematographic eye and energetic approach, Greenaway won the respect of fellow VJs worldwide and thus set the pace in the top level VJ international scene. The tremendous success of this first act made NoTV and Peter GreenAwAy decide to take the performance to the next level and bring it to the international audience by starting the official NoTV Peter GreenAwAy Tulse Luper VJ World Tour. The ground-breaking original VJ performance proved immensely successful. After a challenging and exciting start in 2005, the tour travelled in four years to 14 countries: Austria, Belgium, Brazil, France, Germany, Italy, Mexico, the Netherlands, Poland, Portugal, Russia, Spain, Switzerland and the UK. Film, video,

Opening Gala 32

Film, one of the most important Dutch production companies, which Peter GreenAwAy has worked with for over 15 years. All the films they have made together have been selected in the most important film festivals in the world (Cannes, Venice, Berlin, Locarno, Toronto, etc.).

La 17 iunie 2005, Peter GreenAwAy a debutat ca VJ n Club 11 din Amsterdam. Folosind un sistem VJ conceput special pentru el i constnd dintr-o plasm mare, conectat la un ecran tactil de control, VJ Greenaway i-a proiectat cele 92 de poveti Tulse Luper simultan pe cele 12 ecrane ale clubului i a mixat imaginile n direct. Rezultatul combinrii imagisticii cinematografice avangardiste cu remixul apstor al coloanei sonore a fost uimitor: Greenaway a electrizat mulimea din 11, templul VJ-ilor din Amsterdam. Controlnd uriaul ecran tactil, el a oferit publicului o experien total nou. Lua natere conceptul de Cinema Live. Magnificul debut de VJ al lui Peter GreenAwAy nu a trecut neobservat. Ca dirijor de imagini n timp real, el s-a eliberat de clasica linearitate cinematografic. Graie extraordinarului su sim cinematografic i abordrii sale pline de energie, Greenaway a ctigat respectul colegilor VJ-i din ntreaga lume i, astfel, a impus un nou ritm pe piaa internaional de VJ-ing. Succesul fantastic al acestui prim show i-a determinat pe NoTV i Peter cultural ma jor va avea, fr ndoial, un impact puternic nu doar asupra modului de a percepe spectacolul cinematografic, ci i asupra viziunii tinerilor artiti vizuali i cineati. Inovaia ma jor adus de el const n faptul c, n locul unui film ale crui form i coninut sunt definitive, spectatorilor li se prezint un film care se creeaz sub ochii lor. Peter GreenAwAy genereaz show-ul cu a jutorului sistemului su VJ unic, prin mixarea n direct a imaginilor din seria sa de filme de avangard The Tulse Luper Suitcases care sunt proiectate simultan pe cinci ecrane uriae , acompaniate de soundtrack-ul experimental al DJ-ului olandez Huibert Boon. Rezultatul este un spectacol eliberat de toate conveniile slii de cinema i impregnat cu libertatea i dinamismul ce caracterizeaz un concert de muzic live. n plus, amena jarea spaiului plaseaz cabinele VJ-ului/regizor i DJului n centrul slii, astfel nct ei nu beneficiaz de o poziie privilegiat fa de public nu stau pe scen, ci n mijlocul spectatorilor, care se pot plimba n jurul lor i pot privi cele cinci ecrane din orice unghi doresc. LuPercycLoPediA Live CineMA VJ PerforMAnce este o producie a Kasander Film, una dintre cele mai importante case de producie olandeze, cu care Peter GreenAwAy colaboreaz de peste 15 ani. Toate filmele pe care le-au realizat mpreun au fost selecionate la cele mai importante festivaluri de film din lume (Cannes, Veneia, Berlin, Locarno, Toronto etc.). GreenAwAy s decid continuarea sa la un nivel superior i prezentarea sa n faa unui public internaional, iniiind NoTV Peter GreenAwAy Tulse Luper VJ World Tour. VJ performance-ul, de o inovaie ocant, s-a bucurat de un succes imens. Dup debutul su provocator i incitant din 2005, turneul mondial a a juns, n decursul a patru ani, n 14 ri: Austria, Belgia, Brazilia, Frana, Germania, Italia, Mexic, Olanda, Polonia, Portugalia, Rusia, Spania, Elveia i Marea Britanie. Festivaluri de film, muzic i crossover au gzduit spectacolul n sli de teatru clasice i moderne, piee deschise, hale industriale, amfiteatre, sli de concerte i de oper, precum i muzee. Festivalul Internaional de Film Experimental Bucureti are marea onoare de a prezenta primul VJ performance al lui Peter GreenAwAy n Romnia. LuPercycLoPediA Live CineMA VJ PerforMAnce (care a avut premiera n Grecia, n vara lui 2010) deschide ediia de anul acesta a BIEFF. Cinematograful a murit n 1983, atunci cnd telecomanda televizorului a fost introdus n sufrageriile din ntreaga lume, susine Greenaway. Substitutul propus de el n Lupercyclopedia este un cinematograf ambiental non-narativ multi-screen care promoveaza cresterea nivelului de educatie vizuala pentru viitorul new media, care ca inlocui cu siguranta cinematograful traditional. Show-ul audio-vizual revoluionar transcende limitele limba jului filmic i ofer publicului o experien cinematografic absolut nou i incitant. Acest eveniment

33

Bucharest International Experimental Film Festival

Peter Greenaway
Creation, to me, is to try to orchestrate the universe to understand what surrounds us. Even if, to accomplish that, we use all sorts of stratagems which in the end prove completely incapable of staving off chaos. (Peter Greenaway) Peter Greenaway is one of the most important auteurs of avant-garde cinema in the world, one of the most accomplished, challenging and controversial experimental filmmakers of our time. He was heavily influenced by theories of structural linguistics, ethnography and philosophy. Peter Greenaways films traverse often unprecedented ground, consistently exploring the boundaries of the medium by rejecting formal narrative structures in favour of awe-striking imagery, shifting meaning and mercurial emotional tension. Because of his fascination with formal symmetries and parallels, his work displays an almost obsessive interest in list-making and cataloguing, earning equal notoriety for its provocative eroticism, as well as its self-conscious pretentiousness. His postmodern films also display a cultural criticism that profoundly doubts the capacity of any cultural achievement to have a lasting significance. Born in Wales and educated in London, Peter Greenaway trained as a painter for four years. He started making his own films in 1966. He has continued to make cinema in a great variety of ways, which has also informed his curatorial work and the making of exhibitions and installations in Europe, from the Palazzo Fortuny in Venice and the Joan Miro Gallery in Barcelona to the Boymans van Beuningen Gallery in Rotterdam and the Louvre in Paris. His extraordinary body of work comprises 12 feature films (while other two are in production or post-production) and some 50 short films and documentaries, some of which were selected in competitions of A-rated film festivals (Cannes, Venice, Berlin, etc.), exhibitions, installations, books, paintings, opera librettos, and he collaborated with composers Michael Nyman, Glen Branca, Wim Mertens, Jean-Baptiste Barriere, Philip Glass, Louis Andriessen, Borut Krzisnik and David Lang. His first narrative feature film, The Draughtsmans Contract, completed in 1982, received great critical acclaim and established him internationally as an original filmmaker, a reputation consolidated by his following films, such as The

Opening Gala

Selective Filmography (part 1):


1982: The Draughtsmans Contract Film festivals: Edinburgh, Venice, London, New York, Berlin (Forum), Rotterdam, Sydney, Melbourne 1987: The Belly of an Architect Film festivals: Cannes, Edinburgh, New York, Montreal, Chicago (Best Actor Award Brian Dennehy) 1988: Drowning by Numbers Film festivals: Cannes (Best Artistic Contribution Award), Edinburgh, Barcelona, Rio, New Delhi, T oronto 1989: The Cook, the Thief, His Wife, and Her Lover Film festivals: Cannes, Edinburgh, Rio 1991: Prosperos Books Film festivals: Venice, New York, Sao Paulo

34

Cook, the Thief, his Wife, and her Lover, The Pillow Book and The Tulse Luper Suitcases. He now lives and creates in Amsterdam. In 2010, Peter Greenaway opened the Bucharest International Experimental Film Festival, where he held a master class called Cinema is Dead, Long Live the Cinema and presented his latest feature film, the essayistic documentary Rembrandts JAccuse. His presence at the festival attracted over 2,000 people.

Creaia, pentru mine, nseamn a ncerca s rnduim universul, pentru a nelege ceea ce ne nconjoar. Chiar dac, pentru a izbuti asta, folosim tot felul de stratageme care, n cele din urm, se dovedesc complet incapabile s opreasc haosul. (Peter Greenaway) Peter Greenaway este unul dintre cei mai importani autori de cinema avangardist din lume, unul dintre cei mai nzestrai, provocatori i controversai cineati experimentali din zilele noastre. A fost puternic influenat de teoriile lingvisticii structuraliste, etnografiei i filosofiei. Filmele lui Peter Greenaway traverseaz teritorii deseori nemaiumblate, explornd consecvent graniele limba jului cinematografic prin refuzul structurilor narative formale n favoarea unei imagistici copleitoare, a unei semnificaii n schimbare i a unei tensiuni emoionale volatile. Datorit fascinaiei sale pentru simetrii i paralelisme formale, opera sa etaleaz un interes aproape obsesive n ntocmirea de liste i n catalogare, ctignd deopotriv notorietate pentru erotismul provocator, precum i pentru preiozitatea asumat. Filmele sale postmoderne prezint, de asemenea, o critic cultural care interogheaz n profunzime capacitatea oricrei realizri culturale de a avea o semnificaie permanent. Nscut n ara Galilor i educat la Londra, Peter Greenaway a studiat pictura timp de patru ani. A nceput s-i fac propriile filme n 1966. A continuat s realizeze cinema n multiple moduri, ceea ce i-a insuflat i activitatea curatorial, expoziiile i instalaiile din Europa, de la Palazzo Fortuny din Veneia i Galeria Joan Miro din Barcelona la Galeria Boymans van Beuningen din Rotterdam i Muzeul Luvru din Paris. Opera sa extraordinar const n 12 lungmetra je (plus alte dou aflate n fazele de producie sau postproducie) i aproximativ 50 de scurtmetra je i documentare, dintre care unele filme au fost selecionate n competiiile unor festivaluri de clasa A (Cannes, Veneia, Berlin etc.), expoziii,

instalaii, cri, picturi, librete; a colaborat cu compozitorii Michael Nyman, Glen Branca, Wim Mertens, Jean-Baptiste Barriere, Philip Glass, Louis Andriessen, Borut Krzisnik i David Lang. Primul su lungmetraj narativ, The Draughtsmans Contract, finalizat n 1982, a fost excelent primit de critic i l-a consacrat pe plan internaional ca un cineast original. Reputaia i-a fost consolidat de urmtoarele sale filme, cum ar fi The Cook, the Thief, his Wife, and her Lover, The Pillow Book i The Tulse Luper Suitcases. n prezent triete i creeaz n Amsterdam. n 2010, Peter Greenaway a deschis Festivalul Internaional de Film Experimental de la Bucureti, n cadrul cruia a susinut un master class intitulat Cinematograful a murit, triasc cinematograful! i i-a prezentat cel mai recent lungmetraj, documentarul eseistic Rembrandts JAccuse. Prezena sa la festival a atras peste 2.000 de persoane.

Bucharest International Experimental Film Festival

Selective Filmography (part 2):


1995: The Pillow Book Film festivals: Cannes (Le Distinction Glace Gervais), Sitges (Best Film and Best Cinematography Awards) 1999: 8 Women Film Festivals: Cannes (competition) 2003: The T ulse Luper Suitcases, Part 1: The Moab Story Film festivals: Cannes (competition), Cambridge, Edinburgh, Sitges, Naples, Ischia, T oronto 2003: The T ulse Luper Suitcases: Antwerp Film festivals: Venice 2003: The T ulse Luper Suitcases, Part 3: From Sark to the Finish Film festivals: Venice 2004: The T ulse Luper Suitcases, Part 2: Vaux to the Sea Film festivals: Berlin Three-part film (7 hours) festivals: Montreal, Haifa, Thessaloniki, Sophia, Scopje, Osnabruck, etc. 2005: A Life in Suitcases two-hour version of the seven-hour The T ulse Lupar Suitcases Film festivals: Cannes 2007: Nightwatching Film festivals: Venice 2008: Rembrandts JAccuse Film festivals: IDFA, Hot Docs T oronto, Rome, Pusan

35

Faust
134, 2011, Russia director: Alexandr Sokurov

Cast/DISTRIBUIA: Johannes Zeiler, Anton Adasinskiy, Isolda Dychauk, Georg Friedrich, Hanna Schygulla, Antje Lewald, Florian Brckner, Sigurdur Skulasson, Maxim Mehmet Director/REGIA: Alexandr Sokurov ScriPtwriter/SCENARIUL: Alexandr Sokurov, Marina Koreneva (story: Yuri Arabov), based on the tragedy by Johann Wolfgang von Goethe CINEMATOGRAPHY/IMAGINE: Bruno Delbonnel PRODUCTION DESIGN/DECORURI: Elena Zhukova COSTUME DESIGN/COSTUME: Lidia Krukova EDITING/MONTAJ: Jrg Hauschild SOUND/SUNET: Rudolf Vrhegyi, Makar Akhpashev, Fonin Andrey MAKE-UP/MACHIAJ: Tamara Frid MUSIC/MUZIC: Andrey Sigle PRODUCER/PRODUCTOR: Andrey Sigle PRODUCTION: Proline Film
Forget Marlowe, Goethe, Gounod and Murnau, or rather, lay them aside, since the idiosyncratic helmer adds his own spin on the classic legend, and an over-familiarity with Fausts previous incarnations will likely hinder understanding. Variety, Jay Weissberg Faust raises the power stakes to an epic struggle between a man who thirsts for intellectual dominion and the Devil himself. The expressionistic filmmaking lets loose in an idiosyncratic style of chaotic slapstick, in which frenetic theatrical acting contrasts with deformed visuals that can barely contain the actors. The Hollywood Reporter, Deborah Young The world of Sokurovs film is aggressively corporeal. This world hurts and stinks like the human body. Even hells emissary suffers here from indigestion. A gynaecological examining table resembles a rack, surgical forceps are reminiscent of instruments of torture, and death takes the shape of coffin stuck in a passageway and melted in the heat. Sokurov resurrects the figure of Fausts father, a character that had already appeared in Goethes tragedy: he is a healer and a bonesetter who has dispatched a fair number of honest folk to kingdom come. Medicine cannot be distinguished from poison, a snack from a funeral feast. Everything fleeting is only a stench, says the new Faust, paraphrasing Goethes lines. Sance, Mikhail Yampolsky

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Golden Lion, Future Film Festival Digital Award, SIGNIS Award Venice Film Festival 2011/ Toronto International Film Festival 2011/ Reykjavik Film Festival 2011/ Busan International Film Festival 2011/ So Paulo International Film Festival 2011/ London Film Festival 2011/ AFI Fest 2011/ Mar del Plata International Film Festival 2011 WORLD SALES: Films Boutique Skalitzer Strasse, 54A 10997 Berlin, Germany E-mail: info@filmsboutique.com Web: www.filmsboutique.com Tel.: +49 3069537850 Fax: +49 3069537851

Closing Gala 36

Sokurovs Faust is not a film adaptation of Goethes tragedy in the usual sense, but a reading of what remains between the lines. What is the colour of a world that gives rise to colossal ideas? What does it smell like? It is stuffy in Fausts world: earthshaking plans are born in the cramped space where he scurries about. He is a thinker, a mouthpiece for ideas, a transmitter of words, a schemer, a daydreamer. An anonymous man driven by simple instincts: hunger, greed, lust. An unhappy, hounded creature that issues a challenge to Goethes Faust. Why stay in the moment if one can go further? Further and further, pressing forward not noticing that time stands still. And you shall pass, too. S-i uitm pe Marlowe, Goethe, Gounod i Murnau, sau, mai bine zis, s-i punem deoparte, Regizorul i deapn idiosincraziile proprii n firul legendei clasice, iar raportarea la ncarnrile anterioare ale persona jului Faust n-ar face dect s ne mpiedice s-l nelegem. Variety, Jay Weissberg Faust ridic miza puterii la nivelul unei ncletri epice ntre un om nsetat de supremaie intelectual i Diavolul n persoan. Cinematografierea expresionist d fru liber unui stil personal i caracteristic, un slapstick haotic, n care secvene teatrale jucate frenetic contrasteaz cu un vizual deformat pn ntr-att nct aproape c nu mai als loc actorilor. The Hollywood Reporter, Deborah Young Universul lui Sokurov este agresiv de corporal. Lumea lui doare si emana mirosuri grele, de corp omenesc. E o lume n care pn i emisarul iadului sufer de indigestie. Masa ginecologic aduce a instrument de tortur, la fel i forcepsul. Moartea ia forma unui sicriu topit de cldur, nghesuit ntr-un coridor. Sokurov l renvie pe tatl lui Faust, presona j care apare i n tragedia lui Goethe: un vindector, trgtor de oase, care a trimis destui oameni cumsecade pe lumea cealalt. Medicamentul vindector sau otrava - diferena e greu de sesizat sunt ca o gustare la o mas de parastas. Tot ce e trector e doar duhoare spune noul Faust, parafrazndu-l pe Goethe. Sance, Mikhail Yampolsky Faust al lui Sokurov nu este o adaptare a tagediei lui Goethe, ci o lectur printre rnduri. Ce culoare are o lume n care se nasc idei colosale? Cum miroase ea? Lumea lui Faust e apstoare, el alearg de colo-colo ntr-un spaiu nchircit, esnd planuri menite s zguduie universul. E un gnditor, un purttor de idei, transmitor de cuvinte, intrigant, vistor. Un anonim mnat de instincte primare: foame, lcomie, voluptate. O fiin hituit i nenorocit, care l desfide pe acel Faust al lui Goethe. De ce s rmi pe loc atunci cnt poi merge mai departe? Cnd poi nainta mereu fr s-i dai seama c timpul a rmas pe loc. i c suntem trectori.

Bucharest International Experimental Film Festival

Alexandr Sokurov on FAUST: Faust is the final installment of a cinematic tetralogy on the nature of power. The main characters in the first three films are real historical figures: Adolf Hitler (Moloch, 1999), Vladimir Lenin (Taurus, 2000) and Emperor Hirohito (The Sun, 2005). The symbolic image of Faust completes this series of great gamblers who lost the most important wagers of their lives. Faust is seemingly out of place in this portrait gallery, an almost museumesque literary character framed by a simple plot. What does he have in common with these real figures who ascended to the pinnacle of power? A love of words that are easy to believe and pathological unhappiness in everyday life. Evil is reproducible, and Goethe formulated its essence: Unhappy people are dangerous.

Alexandr Sokurov despre FAUST: Faust este capitolul final al unei tetralogii filmice despre natura puterii. Protagonitii primelor trei filme sunt figuri istorice reale: Adolf Hitler (Moloch, 1999), Vladimir Lenin (Taurus, 2000) i mpratul Hirohito (Soarele, 2005). Imaginea simbolic a lui Faust completeaz seria marilor juctori care au pierdut pariul vieii lor. Aparent, Faust nu-si are locul in aceasta galerie de portrete, fiind un persona j literar aproape vetust incadrat de o poveste simpla. Ce are el n comun cu cele trei persona je reale, a junse n culmea puterii? Pasiunea pentru cuvinte n care e uor s crezi i o nefericire cotodian patologic. Rul e reproductibil, iar Goethe i-a formulat esena: Oamenii nefericii sunt periculoi.

37

Alexandr Sokurov
I would say that we had a very close friendship rather than collegial creative collaboration. I dont know why he liked what I was doing. (Alexandr Sokurov on Andrey Tarkovsky) Alexandr Nikolayevich Sokurov is a world-famous director of avant-garde and independent auteur films. He was born in Russia in 1951. He first graduated from the History Department of the Nizhny Novgorod University. At the age of 19 he made his first television show as a producer. Between 1971-1975 he studied in the Directors Department at the All-Union Cinematography Institute (VGIK, Moscow), where he made friends with Andrey Tarkovsky. His first feature, The Lonely Voice of a Man, was highly appreciated by Tarkovsky and later received a number of awards. Sokurov would be hailed as successor to Tarkovsky. With his famous friends backing, he was employed by the film studio Lenfilm in 1980. At the same time, he started working at the Leningrad Studio for Documentary Films, where he would make his documentaries. Most of Sokurovs early features were banned by Soviet authorities. He acts very often not only as a director, but also as a screenwriter and a director of photography in his projects. The European Film Academy listed Sokurov among the best 100 directors of world cinema. He lives and creates in Saint Petersburg. Sokurov is the creator of the first unedited film, with a continuous shot lasting over 90 minutes his sensational Russian Ark is a genuine historic achievement. Tarkovsky, the first to notice Sokurovs gift, is said to have told him that he was going to have a brilliant career, provided he found his own style and stayed true to it. And this is what Sokurov did throughout his career. Some of his films were commercial failures, because they proved too difficult for common cinema-goers, but critics have always been pleased with them and have recognized in him a remarkable auteur, with a vision of his own. Sokurov kept making highly personal, artistic films that won arthouse fans acclaim first in Russia and then all over the world. He usually focuses less on the narrative plot and more on the aesthetic excellence and on the philosophical content. He has used many non-professional actors in his films, which generally generate very different and conflicting interpretations. Sokurov has always tried to distance himself from mainstream as far as possible. Assisted by European and Asian producers, he founded his own production company Bereg (Coast), which supports independent filmmaking. Sokurov is very influential, he is the driving force of the arthouse movement in Russia, and many Russian directors of younger generations idolize and adore him. In the 1990s, Alexandr Sokurov announced the plan to make a trilogy about the most powerful political leaders of the 20th century a sort of a reconciliation wis his first vocation as a historian. Moloch (1999) chronicles one day in the life of Hitler, Taurus (2000) is an original but controversial look at Lenin, while The Sun (2004) shows the Japanese emperor Hirohito in August 1945, calling for Japans unconditional surrender. It is obvious that Sokurov is concerned with such subjects as the influence of absolute power on human being, the responsibility, and the degree to which one person can influence history. In 2011, this trilogy became a tetralogy with Faust, whose inspiration is drawn from literature rather than history.

Closing Gala 38

A spune c a fost mai degrab o prietenie strns dect o colaborare colegial. Nu tiu de ce lui i plcea ceea ce fceam eu. (Alexandr Sokurov despre Andrei Tarkovski) Alexander Nikolaievici Sokurov este un celebru regizor de filme de avangard i filme independente de autor. S-a nscut n Rusia, n 1951. A absolvit Facultatea de Istorie a Universitii din Novgorod. La 19 ani, a realizat primul su program de televiziune, n calitate de productor. ntre 1971-1975, a studiat regia la Institutul de Cinematografie din Moscova (VGIK), unde l-a cunoscut pe Andrei Tarkovski. Primul su lungmetraj, Vocea solitar a unui om, a fost apreciat de Tarkovski i a ctigat numeroase premii. Sokurov avea s fie privit ca un succesor al lui Tarkovski. Datorit sprijinului celebrului su prieten, a fost angajat la Lenfilm n 1980. n aceeai perioad, a nceput s lucreze la Studioul de film documentar din Leningrad, unde i-a realizat documentarele. Cele mai multe lungmetraje din perioada de nceput a carierei au fost cenzurate de autoritile sovietice. n proiectele sale, Sokurov nu se limiteaz la rolul de regizor, ci le preia i pe cele de scenarist i director de imagine. Academia European de Film l plaseaz pe Sokurov pe lista celor mai buni 100 de regizori ai lumii. n prezent, triete i lucreaz la Sankt Petersburg. Sokurov este autorul primului film fr montaj, senzaionalul Arca ruseasc, constnd ntr-un cadru unic, lung de peste 90 de minute, i considerat o realizare istoric. Tarkovski a fost primul care a sesizat talentul lui Sokurov i se spune c i-a prezis o carier strlucit, cu condiia ca el si definieasc un stil propriu, cruia s-i rmn credincios, ceea ce Sokurov avea s fac pe ntreg parcursul carierei sale. Unele dintre filmele sale au fost eecuri financiare, dovedindu-se prea dificile pentru spectatorul de rnd, dar critica l-a apreciat ntotdeauna, vznd n el un autor remarcabil, cu o viziune proprie. Sokurov a continuat s fac filme marcate puternic de nota sa personal, ctignd tot mai muli admiratori, mai nti n Rusia, iar apoi n ntreaga lume. Sokurov i concentreaz atenia mai puin pe intrig, ci mai degrab pe desvrire estetic i coninut filosofic. Lucreaz mult cu actori amatori la filmele sale, care dau natere unor interpretri diverse i contradictorii. Sokurov s-a strduit mereu s se distaneze de produciile mainstream. mpreun cu productori europeni i asiatici, a nfiinat propria

sa cas de producie, Bereg, care sprijin producia independent. Influena sa e covritoare: Sokurov este motorul micrii cinematografice de art din Rusia i un idol pentru regizorii aparinnd generaiilor tinere. n anii 1990, Alexandr Sokurov i-a anunat intenia de a realiza o trilogie depsre cei mai puternici conductori politici ai secolului XX, ca un fel de reconciliere cu vocaia sa de istoric. Moloch (1999) e cronica unei zile din viaa lui Hitler, Taurus (2000) aduce un portret original i controversat al lui Lenin, iar Soarele (2004) l nfieaz pe mpratul Hirohito n august 1945, n momentul n care anun capitularea necondiionat a Japoniei. Este evident interesul autorului pentru subiecte care in de efectul puterii absolute asupra individului, responsabilitate i modul n care un singur om poate influena instoria. n 2011, trilogia devine tetralogie, prin adugarea filmului Faust, inspirat nu din istorie, precum precedentele, ci din literatur.

Bucharest International Experimental Film Festival

Selective awards and recognition:


1987: Bronze Leopard Locarno, FIPRESCI Award Moscow (The Lonely Voice of Man) 1989: Award of the Forum special programme Berlin (Days of Eclipse) 1991: FIPRESCI Award, KNF Award Rotterdam (Elegy, A Simple Elegy) 1997: State Prize of the Russian Federation (Mother and Son) 1998: International Vatican Prize Third Millenium, for the development of humanistic ideas in cinematic art 2001: State Prize of the Russian Federation (Moloch, Taurus), Russian Guild of Film Critics Prize for Best Director, Nika Award for Best Director and Best Picture (Taurus) 2002: IFC Vision Award T oronto (Russian Ark), Special Award for Lifetime Achievements Sao Paulo 2003: Andrzej Wajda / Philip Morris Freedom Prize Berlin (Russian Ark), FIPRESCI Award Cannes (Father and Son) 2004: The Sil ver Condor Award of the Argentine Film Critics Association (Russian Ark) 2005: Golden Apricot for Best Picture Yerevan (The Sun) 2006: Leopard of Honour for Lifetime Achievements Locarno 2007: Robert Bresson Award for spiritual search and promotion of human culture Venice 2011: Golden Lion Venice (Faust)

39

40

Bucharest International Experimental Film Festival

International Competition Competiia internaional

41

1989 ( When I Was 5 Years Old)


11, 2010, Denmark director: Thor Ochsner

Cast/DISTRIBUIA: Thor Ochsner ( voice over) Director/REGIA: Thor Ochsner ScriPtwriter/SCENARIUL: Thor Ochsner AniMAtor/ANIMATOR: Thor Ochsner Editor/MONTAJ: Thor Ochsner Sound/SUNET: Oskar Skriver Producer/PRODUCTOR: Jacob Jarek

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

Silver Dragon Award for Best Animated Short- Krakow IFF 2011/ Rotterdam IFF 2011/ Oberhausen ISFF 2011/ Edinburgh IFF 2011/ Los Angeles IFF 2011/ Indielisboa IFF 2011/ Uppsala ISFF 2010/ Sundance IFF 2011/ Premiers Plans dAnger 2011/ Best Nordic Animation Award - Minimalen ISFF Norway 2011/ Norwegia ISFF 2011/ Nordisk Panorama 2010 etc

It is an evening in October 1989. A five-year-old boy (Thor Ochsner) is on his way to pick up his mom from the airport. His father is driving the car, it is raining and the windscreen wipers move back and forth. All of a sudden a car accident happens and the five-year-old Thor is left alone, and has to figure out what to do. 1989 (WHEN I WAS 5 YEARS OLD) is a short animated documentary reconstructing the traumatic memories of a car accident that the director experienced when he was 5 years old. Winner of the Silver Dragon Award in Krakow IFF 2011, screened in prestigious festivals like Rotterdam, Oberhausen, Edinburgh, Sundance, Los Angeles etc. O sear de octombrie, n anul 1989. Un bieel de 5 ani (Thor Ochsner) e pe drum spre aeroport, unde trebuie s soseasc mama lui. Tatl e la volan, afar plou i tergtoarele de parbriz se mic ritmic. Accidentul se petrece brusc. Rmas singur, micul Thor trebuie s se descurce. Scurtmetra jul documentar animat 1989 (WHEN I WAS 5 YEARS OLD) reconstituie amintirea traumatizant a accidentului de main trit de autor pe cnd avea 5 ani. Filmul a obinut Premiul Dragonul de Argint la Festivalul internaional de la Cracovia 2011 i a fost prezentat n festivaluri prestigioase, precum Rotterdam, Oberhausen, Edinburgh, Sundance, Los Angeles i altele.

FILM WEBSITE: www.1989shortfilm.com

42

WORLD SALES: Jacob Jarek Producer E-mail: jacobjarek@gmail.com Tel: (+45) 23 96 79 44 Directors contact: thoxner@gmail.com

Thor Ochsner on 1989 ( WHEN I WAS 5 YEARS OLD) When you are five years old, there are many things you dont understand. Especially when youre seeing your dad lying on the ground and not saying anything. I reconstructed the car accident from my point of view, as a five-year-old boy, going through a tragic accident. All the things I could see and hear that night the accident happened is reconstructed w ith simple draw ings and sounds. Theres even space for the viewer to experience it themsel ves. Some of my childhood paintings/draw ings that were drawn in the period of the car accident 1989 are also being used, to have some of the real feelings from my childhood. In the end theres no difference between a 5-year-old Thor and a 25-year-old Thor, except that it was a little sadder for the little 5-year-old Thor.

Bucharest International Experimental Film Festival

Thor Ochsner despre 1989 (WHEN I WAS 5 YEARS OLD): Sunt multe lucruri pe care nu le nelegi la cinci ani. De pild, nu nelegi de ce tatl tu zace pe jos fr s spun un cuvnt. Am reconstituit accidentul de main din perspectiva copilului de 5 ani care eram atunci cnd s-a petrecut. T ot ce am vzut i auzit n noaptea accidentului e redat aici n desene i sunete simple, care las i spaiu ca spectatorul s poat s triasc el nsui acele momente. Am folosit i unele desene fcute de mine n acea perioad, pentru a crea o redare autentic a tririlor mele din copilrie. Pn la urm, nu e mare diferen ntre Thor cel de cinci ani i cel de douzeci i cinci. Doar c, la cinci ani, Thor era ceva mai trist.

Thor Ochsner was born in Copenhagen. Graduated from the European School in Luxembourg and from the European Film College in Denmark. Worked as an editor at TjuBang Film, Zentropa, Freeport Film, Mastiff, DDB, Strix Television, Super16. In 2011 he graduated the Film Editing Department of the National Film School of Denmark. 1989 ( WHEN I WAS 5 YEARS OLD) is his first short. THOR OCHSNER s-a nscut la Copenhaga. A absolvit cursurile colii Europene din Luxemburg i ale Colegiului European de Film din Danemarca. A lucrat ca monteur pentru TjuBang Film, Zentropa, Freeport Film, Mastiff, DDB, Strix Television, Super16. i ncheie studiile de monta j la Institutul Naional de Film din Danemarca n 2011. 1989 (WHEN I WAS 5 YEARS OLD) este primul su scurtmetra j.

43

Abstructures Preview
3, 2011, Romania director: Mario Oprean

Director/REGIA: Mario Orlando Oprean ScriPtwriter/SCENARIUL: Mario Orlando Oprean Animation/animaia: Mario Orlando Oprean CineMAtogrAPhy/IMAGINE: Mario Orlando Oprean Sound/SUNET: Takagi Masakatsu, Alva Noto, Ryoji Ikeda Production: UNARTE Bucureti

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Abstructures Preview is an unfinished visual parataxis, a meditative piece that deranges a viewers perception of time using long duration and loops. Abstructures Preview reprezint o paratax vizual neterminat, o pies meditativ, care tulbur percepia timpului a unui privitor, utiliznd lungimi i loop-uri.

International Competition 44

World premiere

WORLD SALES: Mario Orlando Oprean E-mail: opreanmario@gmail.com Tel: +40755238290

Mario Oprean on Abstructures: Abstructures started out as a project in 2010, w ith the release of Brainwave, my intentions being polarized by concepts of mind experiences or brain activity. These can be described as a virtual storm of electrical and chemical activity, composed of many different frequencies of rhythmic and non-rhytmic waves and ranges. The project eventually degraded into something more abstract than I originally planned, evol ving more into a visual experiment that focuses on its poetic result. The viewer can project his or her own self onto this film, and I leave them free to find the rhyme and reason of these abstract structures.

Bucharest International Experimental Film Festival

Mario Oprean despre ABSTRUCTURES: Proiectul Abstructures a debutat n 2010, cnd am realizat filmul Brainwave; inteniile mele erau polarizate de concept privind experienele mentale i activitatea cerebral. Acestea pot fi descrise ca o furtun virtual de activitate electric i chimic, compus din multe frecvene diferite de valuri i cmpuri ritmice i non-ritmice. n cele din urm, proiectul s-a degradat, devenind ceva mai abstract dect plnuiam iniial, transformndu-se mai mult ntr-un experiment vizual ce se concentreaz asupra rezultatului su poetic. Privitorul se poate proiecta pe sine nsui n film. Eu i las pe spectatori s gseasc singuri rima i temeiul acestor structuri abstracte.

Mario Oprean was born in Bucharest, Romania. He is a 3rd year student of Bucharests National University of Art (BA in Photo, Video and Computerized Processing). Most of his films are school assignments which were never finished. Selected filmography: Brainwave (2010)/ Kevin Connor and Enough Salt (2010)/ Songs for the City Bus (2011) Mario Oprean s-a nscut la Bucureti. Este student n anul al III-lea la Universitatea Naional de Art din Bucureti (secia Foto-Video i Procesare Computerizat a Imaginii). Cele mai multe filme ale sale sunt sarcini pentru facultate care nu au fost niciodat duse la capt. Filmografie selectiv: Brainwave (2010)/ Kevin Connor and Enough Salt (2010)/ Songs for the City Bus (2011)

45

Casus Belli
12, 2010, Greece director: Yorgos Zois

With the support of / Cu sprijinul:


Cast/DISTRIBUIA: Marisha Triantafyllidou, Tzeni Theona, Iris Ponkena, Hlias Gkoyiannos, Alekos Vassilatos, Antonis Tsiotsiopoulos, Yorgos Biniaris, Lampros Filippou. Director/REGIA: Yorgos Zois ScriPtwriter/SCENARIUL: Yorgos Zois CineMAtogrAPhy/IMAGINE: Yiannis Kanakis Art direction/SCENOGRAFIA: Pinelopi Valti Editing/MONTAJ: Ioannis Chalkiadakis Sound/SUNET: Aris Athanassopoulos Producer/PRODUCTOR: Maria Drandaki Production: PAN ENTERTAINMENT SA/ ERT SA/ SQUARED SQUARE/ HOMEMADE FILMS

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

Venice Orizzonti 2010/ 1st Prize Fiction, Special Prize for Directing Debut, Best Script, Best Production Value Film, Best Costumes, Best Set Design Awards at Drama ISFF Greece 2010/ Best Short Film Award at Hellenic Film Academy Awards Athens 2011/ Rotterdam IFF 2011/ Clermont Ferrand ISFF 2011/ Sofia IFF 2011/ Athens IFF 2010/ Trieste IFF 2011/ Ankara IFF 2011/ LA Shorts IFF 2011/ Jury Award at Leiden ISFF 2011/ Palm Springs IFF 2011/ Melbourne IFF 2011/ La Rochelle IFF 2011/ Krakow IFF 2011/ Amiens IFF 2010/ First Prize at Gulf Film Festival Dubai 2011/ Brusseles ISFF 2011 etc. FILM WEBSITE: www.casusbellifilm.com

What do people queuing up to an altar, art gallery, sports betting shop and supermarket have in common? Excitement, the feeling of nervous impatience, anxiety and fear that someone will surely reach the aim before them. Although the queues may be long and tiring, Yorgos Zoiss film, in a perverse way, confirms the unwritten rule that at the end of each of them, regardless of the side, there is always something awaiting us. All kinds of people are waiting in seven different queues. The first person of each queue becomes the last of the next one, thus creating an enormous human line. But at the end of the line, it all begins backwards again. Premiered in Venice Orizzonti 2010, winner Best Short Film Award at the Hellenic Film Academy Awards 2011, screened in prestigious film festivals like Rotterdam, Los Angeles, Palm Springs, Melbourne, Clermont Ferrand etc. Ce au n comun nite oameni care stau la coad n faa unui altar, a unei galerii de art, la o agenie de pariuri i la casa unui supermarket? O stare de agitaie, nerbdare, nelinite i teama c se va gsi cu siguran cineva care s le-o ia nainte. Dei cozile pot fi lungi i obositoare, filmul lui Zois confirm, ntr-un mod pervers, valabilitatea unei legi nescrise: indiferent de locul pe care l ocupi, la captul cozii se va gsi ntotdeauna ceva i pentru tine. Oameni de toate felurile stau la apte cozi diferite. Primul din fiecare coad devine ultimul din coada urmtoare. Se creeaz un ir imens de oameni care stau la coad. Dar odat a juni n fa, ordinea se rstoarn i totul o ia napoi. Prezentat n premier n cadrul seciunii Orizzonti la Festivalul de la Veneia 2010, a obinut Premiul pentru cel mai bun scurtmetra j la Gala Premiilor Academiei Elene de Film n 2011 i a fost prezentat n festivaluri de prestigiu, precum Rotterdam, Los Angeles, Palm Springs, Melbourne, Clermont Ferrand i altele.

46

WORLD SALES: Pan Entertainment SA Maria Drandaki 44, Chr. Smirnis St. 15233 Athens Greece E-mail: drandaki@pan.com.gr Web: www.pan.com.gr Tel: +30 210 6985050 Fax: +30 210 6985053 Directors contact: Yorgos Zois - yzois@casusbellifilm.com

Yorgos Zois on CASUS BELLI People standing in line; all in order. Everyone is starving for something: products, entertainment, religion, art, money. But in the last queue they are all starving for food. Its the queue of personal survival. If the food ends, then disorder begins. And if one man falls, we all fall down. (...) Casus Belli means reason for war. But Im not at all talking about a war between countries, but about an internal war the reason for which is poverty. The middle class used to be predominant few years ago, but today, particularly in Greece, the difference between the rich and the poor got huge. From my point of view, the new reason for war is the poverty. Being hungry is the worst that can be for a civilized European citizen. Its the worst of nightmares, the kind that can only happen to someone else. Its enough to take a look at the lines in front of the food banks, they get bigger and bigger. The line of the survivors, this is the last line in which we are waiting. (...) The camera moves in a long lateral traveling and crosses seven daily life spaces where the people stand in line. I chose these camera movements because this is the most direct way from one place to the other and one can see all the characters at the same time, which makes them all equal protagonists in the film. Moreover, the movement from left to right is a natural one, the movement of our eyes when we read, or the one of the clock hands. These traveling shots were combined to create the impression that there is only one camera movement, w ithout cutting, which links all these people as if in real life. And in fact, if a man falls, we all fall w ith him. We are all connected and if a problem appears, we are all affected. The emergency is already there.

Bucharest International Experimental Film Festival

Yorgos Zois despre CASUS BELLI Oameni care ateapt la coad, n ordine. Fiecare moare s obin ceva: produse, distracie, religie, art sau bani. n ultima coad stau cei care mor... de foame. E coad la supravieuire. Cnd se termin mncarea, ncepe dezordinea. Dac un om cade, vom cdea cu toii. (...) Casus belli nseamn motiv de rzboi. Nu m refer aici la rzboaiele dintre ri, ci la un rzboi interior, al crui motiv e srcia. Pn acum civa ani, clasa mijlocie era predominant. Astzi, n special n Grecia, diferena dintre bogai i sraci a crescut enorm. Din punctul meu de vedere, noul casus belli e srcia. Foamea este cel mai ru lucru care i se poate ntmpla unui cetean civilizat al Europei. E cel mai oribil comar, e ceva care se ntmpl ntotdeauna altora. E suficient s arunci o privire cozilor din faa bncilor de alimente. Sunt din ce n ce mai mari. Coada la supravieuire e coad final la care trebuie s stm. (...) Camera se mic ntr-un lung traveling lateral, traversnd apte spaii diferite, unde oamenii stau la coad. Am ales s folosesc aceast micare a camerei, pentru c e modul cel mai direct de a trece de la un spaiu la altul i ofer totodat posibilitatea de a observa toate personajele n acelai timp, conferindu-le astfel tuturor n mod egal statutul de protagoniti. Mai mult, micarea de la stnga la dreapta e o micare natural, e sensul acelor de ceasornic i direcia n care micm ochii atunci cnd citim. Cadrele au fost editate n aa fel nct dau impresia unei micri de camera continue, fr tieturi, crend legturi ntre personaje, la fel ca n viaa real. De fapt, atunci cnd un om cade, cdem cu toii. Suntem legai unul de altul, i dac apare o situaie de urgen, ne afecteaz pe toi. Iar situaia de urgen a aprut deja.

Yorgos Zois was born and lives in Athens. He studied applied Math and Physics in N.T.U.A. and film direction in Stavrakou Film School, Athens and in U.d.K, Berlin where he was awarded a scholarship by Costa-Gavras. He has worked as an assistant to Theo Angelopoulos. Casus Belli is his debut short film. Yorgos Zois s-a nscut i triete la Atena. A fcut studii de fizic i matematic aplicat la Universitatea Tehnic din Atena i studii de cinema la Institutul de film Stavrakou din Atena i la Universitatea de Arte din Berlin, unde a avut o burs acordat de Costa Gavras. A lucrat ca asistent al lui Theo Angelopoulos. Casus Belli este scurtmetra jul su de debut.

47

Chromotheraphy
4, 2010, Romania director: Raluca Rcean

CAST/distribuia: Eugeniu Cozma, Andreea Dardaiac, Crina Zvobod, Adina Hotinceanu, Viorica erban, Cristina Ion, Raluca Rcean, Ionel Barac, Ion Aram, Mihai Savu Director/REGIA: Raluca Rcean ScriPtwriter/SCENARIUL: Raluca Rcean CineMAtogrAPhy/IMAGINE: Radu Gorgos Editor/MONTAJ: tefan Prlog Sound/SUNET: tefan Prlog Music/MuzicA: Nox Arcana (Lullaby), Arnold Schonberg (Suite for Piano Opus 25) Production: UNATC Bucureti FESTIVALS l AWARDS: FESTIVALURI l PREMII: Therapy, individual, agitation, colour, sensation, sound, freedom, image, calm The mixture of us all. Terapie, individ, angoas, culoare, senzaie, sunet, libertate, imagini, linite... Amestecul din Noi.

International Competition 48

CineMAiubit International Student Film Festival, Bucharest

WORLD SALES: Raluca Rcean E-mail: raluca.racean@yahoo.com Tel: +40744692664

Raluca Rcean on CHROMOTHERAPHY: What happens when the mind goes crazy? With the character played by Eugen Cozma, you enter a distorted world, a world of parallel realities. Color Therapy finds his obsessions and lets them freely express. The Character enters an area that he can not control and where his mind is unleashed. Powerful images, Enabled by the colors, shape the chaos of a diseased mind. Its therapy for him and a trip for you. In four minutes of chromotherapy, the character slaloms among graveyards, forests, oranges and aquariums.

Raluca Rcean despre CROMOTERAPIE: Ce se ntmpl cnd psihicul o ia razna ? Odat cu personajul interpretat de Eugen Cozma, intri ntr-o lume distorsionat, o lume a realitilor paralele. Terapia prin culoare i trezete obsesile i le las s se manifeste liber. Personajul intr ntr-o zon n care nu deine controlul, iar mintea lui se dezlnuie. Imaginile puternice activate de culori contureaz haosul unei mini bolnave. E o terapie pentru el i o cltorie pentru tine. n patru minute de cromoterapie, personajul face slalom printre cimitire, pduri, portocale i acvarii.

Raluca Rcean is a graduate of the Drama and Film Academy of Bucharest (I.L. Caragiale) and during her studies she acted in several short movies. This experience approached her to the film world and prompted her to discover more. Her first experience as a director was doing a short comic animation called The Temptation. Chromotherapy is her first direct contact with cinema as an auteur. She is now working on the development of a medium-length film. Raluca Rcean a absolvit Facultatea de Teatru i Film din

Bucharest International Experimental Film Festival 49

Bucureti (I.L. Caragiale), unde n timpul studeniei a jucat n mai multe scurtmetra je. Acest lucru a apropiat-o de lumea filmului i a impulsionat-o s o descopere mai mult. Prima experien ca regizor a avut-o cu Ispita, o animaie comic, apoi a urmat Cromoterapie, un scurtmetra j la care a scris scenariul i pe care l-a regizat. Acum lucreaz la dezvoltarea unui mediumetra j.

Cross
15, 2011, France/ Ukraine director: Maryna Vroda

Cast/DISTRIBUIA: Egor Agarkov, Valeria Bogdanova, Olexander Koval, Maria Sodol Director/REGIA: Maryna Vroda ScriPtwriter/SCENARIUL: Maryna Vroda CineMAtogrAPhy/IMAGINE: Volodumur Ivanov Art direction/SCENOGRAFIA: Ivan Orlenko Editing/MONTAJ: Roman Bondarchuk, Thomas Marchand Sound/SUNET: Maria Nesterenko, Frederic Thery Production: LES 3 LIGNES/ Maryna Vroda/ Anatole de Bodinat The winner of Palme DOr for Short Film at Cannes 2011. By following a cross-country run, an open-air course on uneven ground, CROSS presents a metaphorical view on human condition. First a boy is forced to run. Then he runs on his own. And then he watches another one run. Maryna Vroda on CROSS: Everything is written. The birth of a human being, his life, his death are not a matter of w illpower. He moves from point A to point B while simultaneously making an inner effort in order to develop his inner movement. What I am interested in is precisely this process of inner movement throughout life. I know it is endless whereas life is only given to us for a limited time. My intention was to try and capture this inner process. Is it more important to live or to observe life? Id love to think that in this movie, reality creates poetry. Ctigtor al Palme DOr pentru scurtmetra j la Festivalul de la Cannes 2011. Urmrind o curs de cros pe teren accidentat, filmul prezint, n fapt, o perspectiv metaforic asupra condiiei umane. Mai nti, un biat e obligat s alerge. Apoi alearg din proprie iniiativ. Mai trziu, l observ pe un altul cum alearg. Maryna Vroda despre CROSS: Totul e prestabilit. Fiina uman nu are niciun control asupra naterii, vieii i morii sale. Se deplaseaz din punctul A n punctul B, n acelai timp fcnd un efort intern pentru dezvoltarea sa interioar. Ceea ce m intereseaz este tocmai acest proces interior de-a lungul vieii. E o micare fr sfrit, dei viaa ne e oferit pe o durat limitat. Intenia mea a fost s surprind acest proces intern. Oare e mai important s trieti sau s fii un observator al vieii? mi place s cred c, n acest film, realitatea creeaz poezie.

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition 50

Golden Bear Best Short Film- Berlinale 2010/ Oberhausen 2010/ Silver Dragon Award for Best Director- Krakow 2010/ Special Jury Recognition- Aspen 2010/ Edinburgh 2010/ Sao Paulo 2010/ Los Angeles 2010/ Hamburg 2010/ Munich 2010/ Sara jevo New Currents Shorts 2010/ Melbourne 2010/ Vila do Conde 2010/ Norwegian Short Film Festival 2010etc

WORLD SALES: LES 3 LIGNES Florence Keller 8 rue du Faubourg Poissonnire 75010 PARIS FRANCE E-mail: florence@les3lignes.com keller.fl@gmail.com contact@les3lignes.com Web: www.les3lignes.com Tel: +33 (0)6 81 23 06 26

CurAtors coMMent With this powerful film, Maryna Vroda manages to make the viewer reflect on his condition as a human being and on the meaning of his existence. CROSS means a course in open air, on a route full of obstacles. It follows a young man which runs through a huge forest. At first he runs together w ith his classmates, but after a conflict w ith them, he separates from the group and goes on alone through the forest. Witnessing a crime, he is confronted w ith death and he runs away from it w ith all his force. Catching his breath, the character finally arrives at a touristic beach and its his turn now to observe another man running, this time on water. The image of the sw immer who, in a huge floating balloon, runs on the spot frenetically, makes you inevitably think of the mices running in the cage. The insistence w ith which Maryna Vroda captures through the plastic film the chaotic movements of the body creates an analogy w ith the main character running. The perception of this action is stripped from its initial meaning, making the viewer reflect on his human condition. He is shown the life energy in raw state and reminded the only human beings certainty, as far as his destination is concerned, is death. In our alienated contemporary society in which we want to predict and control everything, CROSS is a necessary film. Its often close to experimental imagery which powerfully evokes both the beauty and the absurdity of life, invites the viewer to enjoy the beauty of each moment particularly as he never forgets that death is always present and can hit any time. Isabelle Mayor, Format Court

Bucharest International Experimental Film Festival

CoMentAriuL curAtoruLui Un film plin de for, prin care Maryna Vroda determin spectatorul s reflecteze asupra condiiei sale de fiin uman i asupra sensului existenei. CROSS nseamn o curs n aer liber, pe un traseu cu obstacole. Filmul urmrete un tnr care alearg printr-o pdure imens. La nceput mpreun cu colegii si de clas, apoi, dup ce intr n conflict cu acetia, se separ de grup i continu s alerge singur prin pdure. Devenind, fr s vrea, martor al unei crime, e confruntat cu moartea i fuge de ea din toate puterile. i trage sufletul abia cnd a junge la o pla j turistic. Este rndul lui acum s observe un om care alearg, de data aceasta pe ap. Imaginea nottorului care alearg pe loc, cu frenezie, n interiorul unui uria balon plutitor, te duce inevitabil cu gndul la oarecii captivi, alergnd pe rotia lor din cuc. Insistena cu care Maryna Vroda struie asupra micrilor haotice ale trupului creeaz o analogie cu alergarea protagonistului. Perceperea aciunii de a alerga i pierde semnificaia iniial, ndreptnd gndul spectatorului ctre nsi condiia uman. Ni se arat energia vital n stare pur i ni se reamintete c singura destinaie cert n via e moartea. n societatea alienat n care trim, avnd pretenia s prevedem i s controlm totul, CROSS devine un film necesar. E o ilustrare experimental plin de for a frumuseii i absurditii vieii, care invit spectatorul s se bucure de fiecare moment, pentru c, s nu uitm, moartea e undeva aproape i poate lovi n orice clip. Isabelle Mayor, Format Court

Maryna Vroda was born on February 22, 1982, in Kyiv, the capital of Ukraine. In 2007, she graduated from the Cinematography and TV faculty, at the Kyiv National University of Theatre, Cinematography and Television with a specialization in feature films direction. She attended Mikhail Ilenkos and Valery Sivaks workshops. After graduation, she worked with Sergei Loznitsa. In 2008, her short student films The Oath and The Rain were screened in international film festivals both in Eastern and Western Europe. Student short films: 2006/2009 - Family portrait/ 2007 The Oath/ 2007 The Rain/ 2003 Forgive. MARYNA VRODA s-a nscut la Kiev, n 1982. A absolvit n 2007 cursurile Facultii de film i televiziune de la Universitatea Naional de Teatru, Film i Televiziune din Kiev, cu specializarea regie film. A participat la workshopuri susinute de Mikhail Ilenko i Valery Sivak. Dup absolvire, a lucrat cu regizorul Sergei Loznitsa. n 2008, dou scurtmetra je realizate de Maryna Vroda, The Oath i The Rain, au fost prezentate ntr-o serie de festivaluri internaionale. n perioada studeniei, a realizat scurtmetra jele: Family portrait (2006/2009), The Oath (2007), The Rain (2007), Forgive (2003).

51

Destination Finale
10, 2009, Germany director: Philip Widmann

With the support of / Cu sprijinul:

Director/REGIA: Philip Widmann ScriPtwriter/SCENARIUL: Philip Widmann CineMAtogrAPhy/IMAGINE: Found Footage Editing/MONTAJ: Philip Widmann Sound/SUNET: Philip Widmann Production: Gerd Roscher / HfbK Hamburg & Philip Widmann

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

Best documentary Tampere ISFF 2010/ Grand Prix - Belfort IFF 2010/ Rotterdam IFF 2009/ Indielisbia 2009/ Curtas Vila do Conde ISFF 2009/ Sao Paulo ISFF 2009/ New York IFF 2009/ FID Marseille 2009/ World IFF Bangkok 2009/ Tirana IFF 2009/ International Media Art Biennale Wroclaw 2009/ Kunstfilmbiennale Kln 2009 etc. FILM WEBSITE: www.workscited.de

A man, presumably of Vietnamese origin, travels through Europe. He is shown most emphatically on screen, moving with obvious unease in unfamiliar surroundings. He looks like an anachronism, strolling around the dcors of Europe in the 1960s. Shortly after, American troops enter the ground war in Vietnam. DESTINATION FINALE is an original 8mm amateur film, shot in 1964, found in Saigon in 2005 and edited by Widmann with a sense of drama. (IFF Rotterdam 2009) Un brbat, probabil de origine vietnamez, cltorete prin Europa. Camera l urmrete cu empatie, cum se deplaseaz, cu evident nesiguran i anxietate, ntr-un spaiu nefamiliar. E o apariie anacronic, ntr-un decor european de anii 1960. La scurt timp dup filmarea respectiv, trupele americane debarc n Vietnam. DESTINATION FINALE pornete de la un film de amator pe 8mm din 1964, descoperit la Saigon n 2005 i montat de Widmann cu sim dramaturgic.

52

WORLD SALES: Philip Widmann Wrangelstr. 86 10997 Berlin Germany E-mail: philip@workscited.de Web: www.workscited.de www.laborberlin.wordpress.com Tel:+49 176 2411 4830

Senses of Cinema, Geneviene Yue Philip Widmanns DESTINATION FINALE similarly complicates the relation between the viewer and what is being seen. The film recuts found home movie footage of a European holiday that features a Vietnamese man who poses, reluctantly it seems, in front of the Eiffel T ower, Piccadilly Circus and the Acropolis. The footage was found in 2005 in Saigon and Widmann added sound effects, including rain, the chiming of Big Ben and the sound of marching, but no voiceover to guide the footage thats being seen. Presumably its just as perplexing for him: who is this man that were seeing and who is filming him? More importantly, whose film is this? DESTINATION FINALE raises some of the same questions that were treated rather dubiously in Werner Herzogs Grizzly Man (2005), but Widmanns artifact is ever more elusive, even ghostly. At the end of the film, Widmann notes the coincidence of the dates between the footage, estimated between late 1964 and early 1965, and the deployment of US troops to Vietnam in March of 1965, a fact that further complicates the way in which these images might be read. Is this man, in his seeming discomfort, already aware of whats to come? Or does this slight hint of a narrative only expose the fact that he is ultimately unknowable?

Bucharest International Experimental Film Festival

Senses of Cinema, Geneviene Yue: Cu DESTINATION FINALE, Philip Widmann complic relaia film- spectator. Filmul e un montaj de secvene dintr-un home-movie nfind un vietnamez n vacan n Europa. Omul pozeaz, stnjenit, n faa Turnului Eiffel, n Piccadilly Circus i la Acropole. Filmul de amator a fost descoperit la Saigon n 2005. Widmann a adugat efecte sonore, precum zgomot de ploaie, btile de la Big Ben, cadena trupelor n mar, dar nu a apelat la voice-over pentru explicarea imaginilor. Autorul pare la fel de derutat precum spectatorul: cine e brbatul din imagini? Cine l filmeaz? i - cel mai important - cui aparine acest film? DESTINATION FINALE ridic aceleai ntrebri pe care le pune echivoc Werner Herzog n Grizzly Man (2005). Filmul lui Widmann e i mai evaziv, aproape fantomatic. La finalul filmului, autorul remarc coincidena de date: se estimeaz c filmrile au avut loc ntre sfritul lui 1964 i nceputul lui 1965, iar trupele americane au fost dislocate n Vietnam n martie 1965. E un element care complic i mai mult cheia n care trebuie citite imaginile. Oare brbatul acesta, cu nesigurana i stnjeneala lui, tie deja ce va urma? Sau ni se d de neles, prin aceast subtil aluzie narativ, c e de fapt total netiutor?

Philip Widmann, born in Berlin in 1980, graduated in Cultural Anthropology and attended the documentary film class at the University of Fine Arts Hamburg. Since 2009 he is a member of the artist-run film laboratory LaborBerlin e.V. Filmography: The Photographers Wife (2011)/ Destination Finale (2008)/ Ex Patria (2006) PHILIP WIDMANN, (n. 1980 la Berlin), este liceniat n antropologie cultural i a urmat cursul de film documentar la Universitatea de Arte din Hamburg. Din 2009, este membru al Studioului de Film LaborBerlin e.V. aparinnd unei asociaii de artiti. Filmografia lui cuprinde The Photographers Wife (2011)/Destination Finale (2008)/Ex Patria (2006).

53

Dressage
9, 2009, the Netherlands director: Julika Rudelius

With the support of / Cu sprijinul:

Director/REGIA: Julika Rudelius ScriPtwriter/SCENARIUL: Julika Rudelius CineMAtogrAPhy/IMAGINE: Julika Rudelius Art direction/SCENOGRAFIA: Julika Rudelius Editing/MONTAJ: Julika Rudelius Sound/SUNET: Julika Rudelius Production: Julika Rudelius

International Competition

FESTIVALS l AWARDS: FESTIVALURI l PREMII: IFF Rotterdam 2011, Oberhausen ISFF 2011, Hamburg ISFF 2011, Centre Pompidou - Hors Pistes IFF 2011, Impakt Festival Utrecht 2011, Kunsthalle Wien 2010, Rome Museum of Contemporary Art 2011, Media Art Biennale Wroclaw 2011 etc.

At the border between fiction, documentary and visual art, the latest video of the Dutch artist Julika Rudelius, DRESSAGE, follows with merciless, anthropological precision, 10 beautiful girls, aged 11 or 12, from New Yorks high society. At once rapt and completely matter-of-fact, these almost artificial-seeming wunderkinds move about in Chanel outfits in a world filled with mobile phones, stylists, and VIP personalities. In a furious finale, the anonymous-looking setting in which they are filmed is dissected with brutish elegance. Screened in Rotterdam, Oberhausen, Centre Pompidou and many other prestigious venues. La grania dintre ficiune, documentar i art vizual, cel mai recent film al artistei olandeze Julika Rudelius urmrete cu acuratee antropologic i fr mena jamente 10 fetie frumoase de 11-12 ani din nalta societate newyorkez. Cu un aer n acelai timp seductor i firesc, aceti copii-minune cu nfiare aproape artificial, mbrcai n haine marca Chanel, se mic ntr-o lume populat de telefoane mobile, stiliti i VIP-uri. ntr-un final furios, decorul anonim n care sunt filmate e disecat cu o elegan brutal. Proiectat la Rotterdam, Oberhausen, Centre Pompidou i n multe alte festivaluri i muzee prestigioase.

54

WORLD SALES: Netherlands Media Art Institute NIMk Joke Ballintijn Keizersgracht 264 1016 EV Amsterdam The Netherlands E-mail: joke@nimk.nl; Web: www.nimk.nl Tel: +31(0)20 6237101 Directors contact: julika@rudelius.org

CurAtors coMMent Ten beautiful girls, eleven or twel ve years old, find themsel ves at this confusing and awkward

age between childhood and puberty. They are preparing for a special occasion. Dressed like young women, they apply make-up so skilfully that it seems as if they do this every day. They were raised in New Yorks high society, so they know how it works. With long hair, high heels and preppy clothes, they have a last look in the mirror, trying to perfect their looks. T reated like princesses, they receive stylish mobile phones from a few assistants. Rudelius films them from a distance, a method which is typical for all her work. Dressage shows the girls w ith merciless, anthropological precision. Their behavior is recognizable, but the artificial situation also causes unease and alienation - especially when the group leaves the dressing room and is led to an adjacent space. Without any apparent reason, w ithout even blinking an eye and w ith a deadpan expression, the girls go for it. With destructive determination they aim at the interior and the walls of the space. Eventually they succeed in breaking out and letting the outside world in. The girls themselves remain impeccable, hardly needing to readjust their hair and clothing. A curious calm ensues. Dressage enacts a female transitional ritual, an unexpectedly aggressive counterpart to the subtle masculine power play in Rudelius earlier work Rites of Passage. Esma Moukhtar, Netherlands Media Art Institute

CoMentAriuL curAtoruLui Zece fetie frumoase, n vrst de 11-12 ani, au ajuns la pragul dificil i confuz care desparte

copilria de pubertate. Fetele se pregtesc pentru o ocazie special. mbrcate ca nite tinere femei, se machiaz cu o siguran care sugereaz c o fac n fiecare zi. Sunt crescute n nalta societate newyorkez, aa c tiu bine cum merg lucrurile. Pr lung, tocuri nalte i haine preppy style. Arunc o ultim privire n oglind i fac cteva mici retuuri, pentru a arta perfect. T ratate ca nite prinese, n completarea toaletei, primesc de la civa asisteni cele mai ic telefoane mobile. T ipic pentru stilul ei, Rudelius le filmeaz de la distan. Dressage le nfieaz pe fete cu o acuratee antropologic, fr menajamente. Comportamentul lor este recognoscibil, dar situaia artificial e de natur s creeze un sentiment de nelinite i alienare - mai ales atunci cnd grupul prsete cabina de machiaj i e condus ntr-un alt spaiu. Fr vreun motiv aparent, fr s clipeasc, cu feele lipsite de orice expresie, fetele se dezlnuie asupra zidurilor ncperii. n final, reuesc s le distrug i s lase lumea de afar s ptrund pn la ele. n ce le privete, inuta lor a rmas impecabil. Abia dac e nevoie s-i rearanjeze prul i hainele. i totul se cufund ntr-o linite stranie. Dressage pune n scen un ritual de trecere la maturitate feminin, o variant neateptat de agresiv a ritualului masculin redat cu subtilitate n filmul anterior al lui Rudelius, Rites of Passage. Esma Moukhtar, Netherlands Media Art Institute

Julika Rudelius was born in 1968 in Cologne, Germany, and is currently based in New York and Amsterdam. She attended the Hochschule fr Bildende Knste in Hamburg, Germany, from 19931994, the Gerrit Rietveld Academy in Amsterdam from 1995-1996 and participated in the Rijksakademie artist-inresidence program from 1999-2001. Her videos, usually showing people in everyday interactions, are marked by an ambiguity between staged and spontaneous situations. The works investigate human behavior, social and cultural stereotypes, and prejudices that are often revealed in judgments about supposedly alien cultures. She also treats the need for demarcation, identity, and sense of belonging to a group that is expressed particularly clearly in certain social constellations. This intersects with an exploration of issues of sexuality, including shifting dynamics of sex and power and our cultural need to verbally express sexual detail. Her work has been exhibited by renowned institutions in recent years, such as Tate Modern London, Stedelijk Museum Amsterdam, and the Frankfurter Kunstverein, Van Abbe Museum in Eindhoven, ZKM Karlsruhe etc. Julika Rudelius s-a nscut n 1968 la Kln. n prezent, triete alternativ la New York i Amsterdam. A urmat cursurile colii de Arte Vizuale (Hochschule fr Bildende Knste) din Hamburg ntre 1993-1994, ale Academiei Gerrit Rietveld din Amsterdam ntre 1995-1996 i a participat la programul de rezideniat al Rijksakademie ntre 1999-2001. Filmele ei, surprinznd de obicei oameni n interaciuni cotidiene, sunt marcate de ambiguitatea dintre situaiile regizate i cele spontane. Rudelius investigheaz comportamentul uman, stereotipiile sociale i culturale i prejudecile care ies adesea la iveal atunci cnd e vorba de culturi strine. Interesul ei se ndreapt, n egal msur, ctre nevoia de demarcare, de stabilire a propriei identiti i sentimentul apartenenei la un anume grup, necesitate care apare pregnant n unele structuri sociale. Acestea se intersecteaz cu explorarea problemelor legate de sexualitate, incluznd dinamica sexului i a puterii i nevoia noastr cultural de a exprima verbal detalii legate de sex. Lucrrile sale au fost expuse n muzee i galerii celebre, precum Tate Modern Londra, Stedelijk Museum Amsterdam, Frankfurter Kunstverein, Van Abbe Museum Eindhoven, ZKM Karlsruhe i altele.

55

Bucharest International Experimental Film Festival

Family Photo
5, 2011, Romania director: Andrei Spirache

CAST/distribuia: Miruna & Alexandru Mag Director/REGIA: Andrei Spirache ScriPtwriter/SCENARIUL: Maria Spirache CINEMATOGRAPHY/IMAGINE: Andrei Spirache EDITING/MONTAJ: Andrei Spirache Music/MuzicA: The Moldy Peaches (Anyone Else But You) Production: UNARTE Bucureti

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

The life of a family in about four minutes. Viaa unei familii n aproximativ patru minute.

International Competition 56

World premiere

WORLD SALES: Andrei Spirache E-mail: andrei.spirache@gmail.com Web: www.andreispirache.com Tel: +40754326586

Andrei Spirache on FAMILY PHOTO: Ive tried to evoke that feeling of nostalgia given by seeing a life passing in fast forward and, by doing so, to make the viewer more aware that what is happening today is very precious and it w ill become tomorrows memories.

Andrei Spirache despre FOTOGRAFIE DE FAMILIE: Am ncercat s evoc acel sentiment nostalgic pe care-l ai atunci cnd vezi o nreag via derulndu-se rapid i, prin aceasta, s-l determin pe privitor s contientizeze mai mult c lucrurile care se ntmpl astzi sunt foarte preioase i vor deveni amintirile de mine.

Bucharest International Experimental Film Festival 57

Andrei Spirache is a 26-year old former photojournalist turned art student, while continuing his career as a commercial photographer. This is his first exercise with motion pictures that turned out OK. Andrei Spirache (26 de ani) este un fost fotojurnalist devenit student la Arte, care-i continu, n paralel, cariera de fotograf comercial. Acesta este primul su exerciiu cu imagini n micare care a ieit bine.

French Version
20, 2011, France director: Maya Da-Rin

CAST/distribuia: Dinara Drukarova, Tiago Manaia Director/REGIA: Maya Da-Rin ScriPtwriter/SCENARIUL: Maya Da-Rin CineMAtogrAPhy/IMAGINE: Sylvain Verdet Art direction/SCENOGRAFIA: Anna Wyrwa, Charlotte Dubois, Clementine Delval Sound/SUNET: Damien Tronchot Music/MuzicA: Edson Secco Production:

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

International Premiere

A man and a woman of different nationalities spend an evening together in a hotel room. In this impersonal surrounding, where people pass by without leaving any trace, the two characters try to communicate in a language they do not master. We dont know almost nothing about their lives or how they got to this place. They are foreigners in that country and strangers to one another. Un brbat i o femeie, de naionaliti diferite, petrec mpreun o sear ntr-o camer de hotel. n decorul impersonal, prin care oamenii trec fr a lsa vreo urm, cei doi ncearc s comunice ntr-o limb pe care niciunul dintre ei nu o stpnete. Nu tim aproape nimic despre vieile celor doi sau despre cum au a juns aici. Sunt ntr-o ar strin i strini unul fa de cellalt.

FILM WEBSITE: www.panorama13.net/?l=eng#/258/Maya-Da-Rin

58

WORLD SALES: Le Fresnoy - Studio National des Arts Contemporains 22 rue du Fresnoy, BP 179, 59202 Tourcoing France Natalia Trebik Diffusion des oeuvres et programmes E-mail: ntrebik@lefresnoy.net Web: www.lefresnoy.net Tel: +33(0)3 20 28 38 64 / +33(0)6 60 15 54 52 +33(0)3 20 28 38 99 Directors contact: mwdarin@uol.com.br

Maya Da-Rin on FRENCH VERSION The film has its departure point in the dialogues of certain iconic French films that propose a

particular use of the word in relation to image (Hiroshima Mon Amour/ Lannee Dernier a Marienbad etc). The film follows a trivial situation, recurring in cinema: a man and a woman of different nationalities spend an evening together in a hotel room. The two characters, who we can see only through their reflexes on the surface of a w indow, wander through the codes of a language they do not master. At this moment of dusk, what we can see is at the same time foreign and familiar. A barrier is always present, even if it is transparent like the surface of a w indow. The title refers to the term used for foreign films dubbed in French, when presented in French cinemas. FRENCH VERSION is a fictional short that comes from my personal experience of arriving in a foreign country and the contact w ith a new language. The film touches upon the limits of the translation of our experience and perceptions when we communicate in a foreign language. All language conveys a particular experience, a way of inhabiting and perceiving the world. Attempting to communicate in a foreign language is a way of exploring a new territory, of fitting into another landscape. When one speaks a new language, two particular experiences of the world are confronted. But this confrontation, which comes from the meeting of differences, also makes the building of a common territory and the creation of shared images possible. A word conjures up images. It projects us into the world.

Maya Da-Rin (b.1979, Rio de Janeiro) graduated from Industrial Design at PUC-RJ (Brasil). She attended directing and documentary workshops at San Antonio de los Banos International School (Cuba) and in 2010 she went as artist in residence at LE FRESNOY - Studio National des Arts Contemporains France. Her work as director includes the documentaries And now, Jose?(2002) and Marge(2007) and her first feature Terres (2009). Her films have been screened and awarded in a large number of international film festivals like Locarno, Dok Leipzig, Guadala jara, Sao Paulo ets and in prestigious museums like MOMA Museum of Modern Art New York, New Museum New York etc. Maya Da-Rin (n.1979, Rio de Janeiro) a fcut studii de design industrial la Pontifcia Universidade Catlica din Rio de Janeiro. A participat la ateliere de film documentar din cadrul Institutului Internaional San Antonio de los Banos (Cuba). n 2010, a fost rezident la Studioul Naional de Art Contemporan Le Fresnoy Frana. A regizat documentarele And now, Jose? (2002) i Marge (2007), iar primul ei lung metra j a fost Terres (2009). Filmele ei au fost prezentate i premiate n festivaluri internaionale, precum Locarno, Dok Leipzig, Guadala jara, Sao Paulo i n muzee de prestigiu: MOMA Museum of Modern Art New York, New Museum New York i altele.

Bucharest International Experimental Film Festival

Maya Da-Rin despre FRENCH VERSION Filmul are ca punct de pornire replici din cteva filme-cult ale cinematografiei franceze, care

stabilesc o relaie special ntre cuvnt i imagine (Hiroshima, dragostea mea, Anul trecut la Marienbad). Situaia e banal, ntlnit adesea n cinema: un brbat i o femeie, de naionaliti diferite, petrec mpreun o sear ntr-o camer de hotel. Cele dou personaje, crora le vedem doar imaginea reflectat n fereastr, se rtcesc n codurile unei limbi pe care nu o stpnesc. Ceea ce vedem n lumina amurgului ne este n acelai timp strin i familiar. Exist o barier mereu prezent, chiar dac e transparent precum fereastra. T itlul parafrazeaz expresia folosit n cinematografele din Frana pentru a numi filmele strine dublate n francez. FRENCH VERSION e un scurtmetraj de ficiune bazat pe experiena mea personal de a sosi ntr-o ar strin i a intra n contact cu o nou limb. Filmul exploreaz limitele comunicrii, atunci cnd suntem nevoii s ne traducem emoiile i percepiile ntr-o limb strin. Orice limb exprima o anumit experien, un anumit mod de a ne situa n lume i de a percepe realitatea. ncercarea de a comunica ntr-o alt limb e un mod de explorare a unui teritoriu necunoscut, de adaptare la un peisaj nou. Exprimarea ntr-o nou limb produce confruntarea a dou lumi diferite. Dar aceast confruntare face posibil i construirea unui spaiu comun, care vine din ntlnirea diferenelor. Cuvntul aduce cu sine imagini i are puterea de a ne proiecta n lume.

59

How To Raise The Moon


9, 2011, Germany/Denmark director: Anja Struck

CAST/distribuia: Tora Balslev Director/REGIA: Anja Struck ScriPtwriter/SCENARIUL: Anja Struck CineMAtogrAPhy/IMAGINE: Angela Poschet Animation/animaie: Dan Ramsay, Anja Perl, Marie-Louise Hojer Jensen, Leo Nicholson Art direction/SCENOGRAFIA: Anja Struck and Lars Henkel Sound/SUNET: Marcio Doctor Music/MuzicA: Marcio Doctor Producer/productor: Tim Leborgne, Anne Hornshoj Thomsen Production: Reflektorium ( Ge) / The Animation Workshop (Dk)

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

First Prize NRW Competition - Oberhausen ISFF 2011/ Annecy IFF 2011/ Dresden IFF 2011/ Curtas Vila do Conde ISFF 2011/ Lille ISFF 2011/ Shnit ISFF Switzerland 2011/ Mostra Invideo ISFF Italy 2011/ Kaunas ISFF Latvia 2011 etc.

In a place of condensed time, the stagnant things become alive and Sleep (Fox) and Death (Bunny) are fighting over a sleeping womans life. A combination of experimental animation and live action about stalemate and cessation, surreal cycles in a poetic world and the secret of how to raise the moon. This is how Anja Struck describes HOW TO RAISE THE MOON, winner of the Frist Prize NRW Competition in Oberhausen 2011. Inspired by various schools of cultural and art history, the director creates a disturbing, atmospheric and condensed assemblage of unusual images whose source is a wellstocked personal depository, revealing an oneiric universe reminiscent of surrealistic silent cinema, in which even the familiar things seem wonderfully strange. ntr-un spaiu unde timpul s-a condensat, lucrurile stagnante prind via i Somnul (Vulpea) i Moartea (Iepurele) se confrunt pentru a pune stpnire pe viaa unei femei adormite. Combinaie de animaie experimental i filmare realist povestind despre stagnare i oprire - cicluri suprarealiste ntr-o lume poetic- i despre metoda secret de a face luna s rsar. Aa i descrie Anja Struck filmul, cu care a ctigat Premiul Competiiei Renania de Nord-Westfalia la Oberhausen n 2011. Inspirat de mai multe coli din istoria artei i culturii, artista creeaz o atmosfer tulburtoare ntr-un cola j condensat de imagini neobinuite, provenite din bogata sa arhiv emoional personal. Rezultatul este un univers oniric amintind de filmul mut suprarealist, unde i cele mai familiare lucruri devin fascinant de stranii.

60

WORLD SALES: Reflektorium Anja Struck Im Dau 16 50678 Kln Germany E-mail: reflektorium@gmail.com

Anja Struck on HOW TO RAISE THE MOON I usually start w ith a piece of music. I work by intuition; some images are coming up right from the start when listening to music, the rest is done on set. I try to reveal the objects true essence: w ithout forcing them into a storyline, I try to follow their indications to what kind of story they want to tell. Some objects are literally clicking when you combine them; others do not react at all. Narrative structure usually forces the image, and shooting tends to become very boring then, whereas intuitive working allows things to unfold their own logic and beauty. Music addresses directly to our emotions and memories and evokes a w ide range of associations. Iw ish for the people to watch films more in a way they listen to music: not to try to read a message in it, but to indulge in their personal associations and feelings ( if there are any) when watching the film. This is what I hope to achieve w ith intuitive filmmaking: to open up a secret box in the peoples subconscious where they might discover some very personal long-lost memories and dreams only they know about. For me, filmmaking is about encoding secrets, not decoding them. City Magazine Cologne, Stadtrevue 5/2011 (...) The visually most impressive film in the program (of Filmfestival Oberhausen) is made by Anja Struck. It takes (..) place in its own realm of dream. How to raise the moon follows the tradition of early surrealistic Cinema-it could almost be a forgotten silent film by Germaine Dulac or Jean Cocteau. Sven von Reden Anja Struck despre HOW TO RAISE THE MOON: De obicei, pornesc de la o pies muzical. Merg pe intuiie: unele imagini mi vin n minte chiar de la nceput, cnd ascult muzica, restul apar pe platoul de filmare. ncerc s dezvlui adevrata esena a obiectelor: fr a le integra forat ntr-o structur narativ, ncerc s urmresc indicaiile lor despre ce fel de poveste vor s spun. Unele obiecte fuzioneaz instantaneu cnd le combini; altele nu au nicio reacie. De obicei, structura narativ foreaz imaginea, i atunci filmarea devine plicticoas. Cnd lucrezi intuitiv, lucrurile au libertatea de a-i dezvlui frumuseea i logica proprie. Muzica vorbete direct emoiilor i amintirilor noastre i declaneaz un noian de asociaii de idei. A dori ca oamenii s vizioneze filme n acelai mod n care ascult muzic: n loc s ncerce s descifreze mesaje, s se lase cuprini de fluxul asociaiilor i sentimentelor personale (dac acestea exist) declanate de vizionarea unui film. Asta e ceea ce sper s realizez cu cinema-ul meu intuitiv: s deschid acea cutie secret din subcontient, unde spectatorul i poate regsi amintiri demult uitate i vise despre care nu tie nimeni altcineva. Pentru mine, filmul nseamn codificarea secretelor, nu decodificarea lor.

Born in 1973, Anja Struck studied Animation and Experimental Film at the Academy of Media Arts Cologne, Germany. In 1999 she founded the art collective Reflektorium together with Lars Henkel and Mario Wagner. Prior to HOW TO RAISE THE MOON, she directed several animated short films that have been screened internationally and have won several awards. Allerleirauh (2004), a 6 min puppet animation with lifesized puppets and a dancer, won the Best National Animation Award in Dresden IFF 2005, the Best Animation Award in Curtas Cinema Rio de Janeiro ISFF 2004, the Special Jury Award at Rio de Janeiro Women IFF Femina 2004, Best First Film Award in Wintherthur ISFF Switzerland 2004 etc. Her puppet animation Enfants du Miel (2002) won the Audience Award in GoEast Wiesbaden IFF 2002 and the Best Experimental Film Award in Chile University IFF 2002. Nscut n 1973, ANJA STRUCK a fcut studii de animaie i film experimental la Academia de Arte Media din Kln. n 1999, a fondat grupul artistic Reflektorium, mpreun cu Lars Henkel i Mario Wagner. nainte de HOW TO RAISE THE MOON, a realizat o serie de scurtmetra je de animaie prezentate i premiate n festivaluri internaionale. Allerleirauh (2004), film de animaie cu ppui n mrime natural, a ctigat Premiul pentru cel mai bun film de animaie la Festivalul internaional de la Dresda n 2005, Premiul pentru cel mai bun film de animaie la Curtas Cinema Rio de Janeiro n 2004, Premiul Special al Juriului la Festivalul Internaional Femina din Rio de Janeiro n 2004, Premiul pentru cel mai bun film la Festivalul Internaional Wintherthur din Elveia n 2004 etc. Animaia cu ppui Enfants du Miel (2002) a ctigat Premiul Publicului la GoEast Wiesbaden IFF 2002 i Premiul pentru cel mai bun film experimental la Festivalul de Film Studenesc al Universitii din Chile 2002.

Bucharest International Experimental Film Festival

City Magazine Kln, Stadtrevue 5/2011 (...) Filmul cel mai impresionant din punct de vedere vizual al programului Festivalului de la Oberhausen este semnat de Anja Struck. Aciunea filmului se petrece ntr-un spaiu oniric. How to raise the moon urmeaz tradiia primelor filme suprarealiste din istoria cinematografului. Aproape c am putea crede c e un film mut, demult uitat, de Germaine Dulac sau Jean Cocteau. Sven von Reden.

61

I Hear You Scream


12, Argentina, 2008 director: Pablo Lamar

With the support of / Cu sprijinul:


Director/REGIA: Pablo Lamar ScriPtwriter/SCENARIUL: Pablo Lamar CineMAtogrAPhy/IMAGINE: Andrs Jordan Art direction/SCENOGRAFIA: Mauricio Rial/ Hugo Robles/ Natalia Bentez Sound/SUNET: Ana Prieto/ Lorena Ortiz Music/MuzicA: Daniela Jahari Producer/productor: Argentina: Alexandra Mora/Gabriela Maldonado; Paraguay: Eugenia Venialgo/ Mnica Gonzlez Production/producia: SAPUKAI CINE

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

Semaine de la Critique Cannes 2008/ Best Short Film - Tampere ISFF 2009/ Best Short Film Award - Buenos Aires BAFICI 2008/ Latinamerican Section Award - Sao Paulo ISFF 2008/ Young Jury Award and Best Short School Film Award - Biarritz IFF 2008/ Best Student Film Award- Karlovy Vary ISFF Fresh Film Fest 2008/ Rotterdam IFF 2009/ Best Short Film Award - Asiana ISFF 2008 Korea/ Best International Film and Best Sound Design - Janela ISFF 2008 Brasil/ Bilbao Zinebi ISFF 2008/ Munchen Film Schools Festival 2008/ New York IFF 2008/ Paraguay IFF 2008/ Huesca ISFF 2008/ Molodist IFF Kiev 2008 etc.

Premiered in Semaine de la Critique Cannes 2008 and awarded in BAFICI, Tampere, Sao Paolo, Biarritz and many others, I HEAR YOU SCREAM offers a poetic, contemplative experience, consisting of one 12 minutes fixed shot which reveals a mood rather than a plot. Two thirds of the frame are made of a sky at dusk, the backlight drawing together the very few elements and movements into the picture, while the characters become outlines, silhouettes shot from a fair distance. In these few minutes, Lamar builds a kind of moving painting that reflects on the state of mind when witnessing the passage from life to death. Prezentat n premier la Semaine de la Critique Cannes 2008 i premiat la festivaluri precum Buenos Aires BAFICI, Tampere, Sao Paolo, Biarritz i multe altele, I HEAR YOU SCREAM e o experien contemplativ, poetic, ntr-un singur cadru fix care dureaz 12 minute, ce creeaz o stare mai degrab dect o poveste. Dou treimi ale cadrului sunt ocupate de cerul la apus. Cele cteva elemente i micri n cadru sunt conturate de lumina de contre-jour, iar persona jele filmate de la distan devin siluete. n decursul acestor cteva minute, Lamar construiete o pictur n micare, care reflect starea de spirit a celui ce e martor al trecerii de la via la moarte.

62

WORLD SALES: Pablo Lamar Universidad del Cine Pje. J.M. Giuffra 330 C1064ADD, Buenos Aires, Argentina E-mail: pablolamar@gmail.com Tel: +5411 4300 1413 / Fax: +5411 4300 0674 Agustina Arbetman Secretara de Extensin E-mail: a.arbetman@ucine.edu.ar Web: www.ucine.edu.ar

CurAtors coMMent It still happens sometimes, but still more rarely now, that films follow you to the depths of your being and in the heart of your nights. I HEAR YOU SCREAM is one of them. Its beauty and simplicity are evident. His secret w ill never be sol ved. For his first film, Pablo Lamar, young filmmaker from Paraguay, sought the cinema, but he found grace. That of taking the time, in a fixed shot of over ten minutes, to film the beginning of a mourning, the tension of a chant, the anxiety of a w ind in the tw ilight, the dreams of a man, the mystery of a procession that becomes shadow theater. Bernard Payen, Short Film Coordinator Semaine de la Critique Cannes

Comentariul curatorului Se ntmpl uneori, din ce n ce mai rar n ultima vreme, ca un film s te ptrund pn n mduva oaselor i s-i bntuie nopile. I HEAR YOU SCREAM e un asemenea film. Frumuseea i simplitatea lui sunt izbitoare. Secretul su nu va fi niciodat dezvluit. Cu acest prim film, tnrul artist din Paraguay a cutat cinema-ul i a gsit harul. Harul de a avea rbdarea s surprind, ntr-un singur cadru fix lung de peste 10 minute, nceputul unui prohod, tensiunea unui bocet, nelinitea vntului n amurg, visele unui om, misterul unei procesiuni ce devine teatru de umbre. Bernard Payen, Coordonator al Seciunii de scurtmetra je, Semaine de la Critique Cannes

Pablo Lamar was born in Asuncin, Paraguay. He studied film at the University of Buenos Aires Film School. He has written and directed the short films I HEAR YOU SCREAM (Ahendu nde sapukai) (2008) and Noche adentro (2009), both of which premiered at the Semaine de la critique of the Cannes Film Festival in 2008 and 2009 respectively. At the moment he is developing his first feature film La ltima tierra. PABLO LAMAR s-a nscut la Asuncin, n Paraguay. A fcut studii de film la Institutul de Film din Buenos Aires. A fost scenarist i regizor al filmelor I HEAR YOU SCREAM (Ahendu nde sapukai) (2008) i Noche adentro (2009), ambele prezentate n premier n cadrul Semaine de la Critique Cannes, n 2008, respectiv n 2009. n prezent, lucreaz la primul su lungmetra j, La ltima tierra.

63

Bucharest International Experimental Film Festival

I Say Never
2, 2011, UK - Romania director: Sabina Tupan

CAST/distribuia: Anna Kiss Director/REGIA: Sabina Tupan ScriPtwriter/SCENARIUL: Sabina Tupan Editing/MONTAJ: Sabina Tupan Sound/SUNET: Sabina Tupan

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

I say never is a strong statement, that slowly reveals intimate thoughts by exposing them in a quite severe way, as a rash. This brings out the diaristic quality I am trying to concentrate in my work, using the surface of the skin as a piece of paper on one hand, and the connotation of the written statement on the other. The sound of her presence can still be heard at the very ending, although there is no video to accompany it. It acts as a zoom in her inner thoughts: what would she never ever? I say never (Eu spun niciodat) este o confesiune puternic, ce dezvluie treptat gnduri interioare, ntr-un mod destul de sever, precum o ran. Astfel se poate observa calitatea intim a unui jurnal, suprafaa pielii fiind folosit ca o foaie de hrtie, ct i conotaia cuvintelor scrise. Prezena ei poate fi simit, datorit sunetului, pn la sfrit, dei nu mai exist o imagine care s o nsoeasc. Funcioneaza precum un zoom n gndurile ei interioare: ce nu ar face ea niciodat?

International Competition 64

World premiere

WORLD SALES: Sabina Tupan E-mail: sabinatupan@gmail.com Web: people.zhdk.ch/sabina.tupan/

Sabina Tupan on I SAY NEVER: The idea behind I Say Never came to me as a need of confession, which I sometimes get in order to clear my thoughts and to be true to myself, but it also relates w ith the publics interpretation. The film possesses a quality I really value in my work and that is being accessible to the viewer, making you wonder what would you never. For me, the statement I would never possesses a great deal of power and should be taken very seriously. But what happens when you repeat the same statement over and over again? Does it make it even more powerful or it softens up and is not as valid anymore as it should be when said once? Ending w ith the word ever is not something to be expected because the statement still remains a mystery that only the female body lying on the floor would know.

Bucharest International Experimental Film Festival

Sabina Tupan despre I SAY NEVER: Ideea din spatele I Say Never (Eu spun niciodat) am descoperit-o ca o nevoie de mrturisire pe care, uneori, o folosesc cu scopul de a-mi clarifica gndurile i, de asemenea, de a fi sincer cu mine nsmi. I say never este i o declaraie cu referire la public. Filmul posed o calitate la care in foarte mult i care este prezent n marea majoritate a creaiilor mele, i anume accesibilitatea pentru spectatori, care te face s te ntrebi: Ce nu ai face niciodat?. Pentru mine, declaraia I would never (Eu nu a niciodat) dispune de o mare putere i trebuie luat foarte serios. Dar ce se ntmpl cnd repetm aceeai declaraie de mai multe ori? Dispune atunci de puteri mai mari sau, dimpotriv, i pierde valoarea pe care a avut-o de la bun nceput, cnd a fost spus o singur dat? Sfritul aduce n prim-plan cuvntul vreodat (ever) , lucru deloc previzibil, deoarece situaia rmne nc un mister tiut numai de corpul feminin aezat pe podea.

Sabina Tupan, born in Bucharest, has graduated from the Nicolae Tonitza Fine Arts Highschool and is presently a final year student of the Print and Digital Media Department within the University for the Creative Arts (Canterbury, UK). She followed a Media course at ZHdk University (Zrich, Switzerland) and plans to continue her art studies with an MA in Germany or the Netherlands. Selected filmography: Romanian Frame (2009)/ Tent Journal (2010)/ I Say Never (2011)/ Glimps (2011)/ Ripping Riddance (2011) Sabina Tupan, nscut la Bucureti, a urmat Liceul de Arte Plastice Nicolae Toniza, iar momentan este student n ultimul an la secia Print and Digital Media din cadrul University for the Creative Arts (Canterbury, Marea Britanie). A urmat un curs Media la Universitatea ZHdk (Zrich, Elveia) i i dorete s urmeze un masterat n Germania sau Olanda. Filmografie selectiv: Romanian Frame (2009)/ Tent Journal (2010)/ I Say Never (2011)/ Glimps (2011)/ Ripping Riddance (2011)

65

Il Capo
15, 2010, Italy director: Yuri Ancarani

CAST/distribuia: Franco Barattini Director/REGIA: Yuri Ancarani ScriPtwriter/SCENARIUL: Yuri Ancarani CineMAtogrAPhy/IMAGINE: Ugo Carlevaro Editing/MontAj: Yuri Ancarani Sound/SUNET: Mirco Mencacci Music/MuzicA: WANG INC. Producer/productor: Ilaria Barbieri Marchi Production: N.O. GALLERY

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

In Carrara, Italy, one man directs his small crew as they carve glacier-white hunks of marble out of the side of a mountain. Yuri Ancaranis wordless film is a treat for the senses; he shoots the massive slabs of marble from different perspectives, some of which reveal the epic scale of the excavations while others make the rocks seem dwarfed by the machines at work. The gigantic stones glide down to earth in slow motion, with a muted soundtrack, in a surreal lunar landscape, almost impracticable. And presiding over it all is IL CAPO (The Boss), conducting a symphony for quarry machines with a flurry of movements and hand gestures. The more inaccessible the place, the more heroic the endless challenge to the mountain. ( Full Frame Documentary Film Festival 2011)

International Competition

Venice Orizzonti 2010/ IDFA Amsterdam 2010 - Best of Fests/ Cinema du Reel IDFF 2011/ Sidney IFF 2011/ Centre Pompidou Paris 2011/ Sara jevo IFF - New Currents 2011/ Best European Short Documentary Award- New Horizons Wroclaw IFf 2011/ Best Short Film Award - Trento ISFF 2010/ Full Frame IDFF USA 2011/ Ann Arbor IFF USA 2011/ International Sculpture Biennale Carrara Italy 2010 etc. FILM WEBSITE: www.ilcapo.it

n Italia, la Carrara, un om i ndrum mica echip de lucrtori, care taie din corpul muntelui blocuri de marmur albe ca gheaa. Acest film fr cuvinte al lui Yuri Ancarani e un regal pentru simuri. Blocurile masive de marmur sunt filmate din diverse unghiuri. Unele planuri dau dimensiunea epic a excavrii muntelui, n timp ce n alte cadre blocurile de marmur apar ca nite pitici pe lng utila jele de la carier. Rocile gigantice alunec spre pmnt n slow motion, fr sunet, ntr-un decor lunar, suprarealist. Totul e condus de ctre Il Capo, eful, care pare s dirijeze o simfonie pentru utila je de cariera, cu o adevrat coregrafie de micri i gesturi ale minilor. Cu ct locul pare mai inaccesibil, cu att mai eroice apar asalturile necontenite ale omului asupra muntelui. (Full Frame Documentary Film Festival 2011).

66

WORLD SALES: Yuri Ancarani via Santi Muratori 7, 48100 Ravenna, ITALY E-mail: info@yuriancarani.com Tel: +39 335 20 60 51

Yuri Ancarani on THE CHIEF In a lot of documentaries about the marble quarries, the quarrymen are shown as Neorealist

archetypes, tough guys made of sweat and swearwords. I, on the other hand, admire their practical intelligence: it is a form of elegance that can teach us a lot, and which, in my head, the quarryman possesses: he is a man who has style in his gestures and manners. In such a tough and dangerous environment I wanted to highlight an aspect of delicacy. CurAtors coMMent A wonderful sign language has arisen between man and machine in the marble quarries of the Italian town of Carrara. In an unreal-looking science-fiction landscape, a man is directing a mechanical arm towards the marble, which is about to crumble into chunks. This is the same marble that was used to create Michelangelos David. A power-play is now taking place between man, marble and technology. The sound we hear is actually much too subtle for the impending, descending destructive power. The noise in Carrara, which is located in northwestern T uscany, must be absolutely deafening, but the sound in the film has been filtered in such a way that all our attention focuses on the movements of the man and the mechanical arm. The camera is positioned so that the jaws of the arm seem larger than the rocks behind it. But in the end, the rocks take back control, filling the screen completely. This time, the man directing is no longer there. IDFA Amsterdam 2010 - Best of Fests

Yuri Ancarani despre IL CAPO n multe documentare despre lucrtorii de la carierele de marmur, acetia apar ca arhetipuri

Yuri Ancarani was born in Ravenna in 1972. He is a visual artist, director and lecturer in Video Art at the NABA in Milan and at the ABA in Ravenna. He is teaching New Media at the Belle Arte Academy in Ravenna. In his art, he investigates and documents, with a poetic and ironic signature, the changes of contemporary reality, paying a particular attention to social rituals and the way they alter the space and human beings interactions. His work has been shown at film festivals and national and international museums and exhibitions, among which: Prague Biennale 5; Full Frame Documentary Festival (Dhuram); Cinma du Rel (Centre Pompidou, Parisi); Videoreport Italia, GCAC, (Mon- falcone); 23 IDFA (Amsterdam); 67 Mostra Internazionale dArte Cinematografica (Venice Film Festival); XIV Biennale Internazionale di scultura (Carrara). Yuri Ancarani s-a nscut la Ravenna n 1972. E artist vizual, regizor i profesor de arte vizuale la Nuova Accademia di Belle Arti Milano i la Accademia di Belle Arti Ravenna, unde pred cursuri de new media. Arta sa investigheaz, cu o semntur ironic i poetic, schimbrile din realitatea contemporan, artnd un interes special ritualurilor sociale i impactului acestora asupra spaiului i a relaiilor dintre oameni. Lucrrile lui au fost prezentate la festivaluri de film i n muzee, n cadrul unor expoziii naionale i internaionale: Bienala 5 de la Praga, Full Frame Documentary Festival (Dhuram); Cinma du Rel (Centre Pompidou, Paris); Videoreport Italia, GCAC, (Monfalcone); 23 IDFA (Amsterdam); 67 Mostra Internazionale dArte Cinematografica (Festivalul de film de la Veneia); Bienala internaional de sculptur, ediia XIV (Carrara).

Bucharest International Experimental Film Festival

neorealiste, indivizi duri, fcui din sudoare i cuvinte aspre. n ceea ce m privete, am admirat ntotdeauna inteligena lor practic. Lucrtorii de la cariere au o anumit elegan de la care putem avea multe de nvat. Personajul meu posed aceast elegan, ale stil n gesturi i maniere. Am vrut s scot n eviden delicateea care zace ascuns ntr-un astfel de mediu dur i extrem de periculos. CoMentAriuL curAtoruLui Un impresionant limbaj al semnelor ia natere ntre om i main, n carierele de marmur din oraul italian Carrara. ntr-un peisaj ireal, science fiction, un om dirijeaz braul unei mainrii ctre blocul de marmur care st s se sparg n buci. E aceeai marmur pe care a folosit-o Michelangelo cnd l-a creat pe David. Omul, marmura i utilajul sunt cu toii antrenai ntr-un joc al puterii. Sunetul pe care l auzim e mult prea subtil pentru imaginea care arat for i distrugere. n realitate, la Carrara, n nord-vestul T oscanei, zgomotul carierelor de marmur trebuie s fie absolut asurzitor, dar filmul filtreaz sunetul pentru a ne ndrepta atenia ctre micrile omului i ale braului mecanic. Camera filmeaz dintr-un unghi care face ca flcile utilajului s par mai mari dect blocurile de piatr din spatele lor. n cele din urm ns, marmura preia controlul, umplnd ntregul cadru. De aceast dat, omul care dirijeaz totul nu mai e acolo. IDFA Amsterdam 2010 - Best of Fests

67

Infinite Minutes
19, 2011, Hungary - Romania director: Ceclia Felmri

CAST/distribuia: Jzsef Br, Gyrgy Honti, Kata Losonczi, Csilla Varga, Zoltn Tamsi, Bea Lass, Tnde Szalontay ScriPtwriter/SCENARIUL: Ceclia Felmri (based on a short novel by Jnos Szntai) CineMAtogrAPhy/IMAGINE: Gyrgy Rder Editing/MONTAJ: Pter Politzer Sound/SUNET: Rudolf Vrhegyi Art direction/SCENOGRAFIA: Sandra Sztevanovity Producer/PRODUCTOR: Andrs Muhi, Rbert Lakatos / Gbor Sipos, Gbor Ra jna, Jnos Szntai, rpd Szirmai PRODUCTION: Inforg studio, Argo Audiovisual Association / Laokoon Film On a summer afternoon, a person spills coffee on himself, another feeds pigeons, another kills a bee, another dies, another copies patterns, another listens to the radio, another makes a phone call, another And there may be certain connections among them all

International Competition

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Locarno IFF 2011, Hungarian Film Week Budapest 2011 National premiere

68

WORLD SALES: Asociaia Audiovizual Argo Str. Aurel Suciu 32-42, Cluj-Napoca, Romnia Rbert Lakatos E-mail: lakatrob@yahoo.com Tel: +40724258592 Inforg studio H-1092 Budapest, Kinizsi u. 11, Hungary Andrs Muhi E-mail: muhi@inforgstudio.hu Tel: +36309493507 Ceclia Felmri Str. Nuferilor 1, ap. 2, Cluj-Napoca, Romnia E-mail: ceciliafelmeri@yahoo.com Tel: +40745363334

ntr-o dup-amiaz de var, cineva se pteaz cu cafea, altcineva hrnete porumbei, cineva ucide o albin, altcineva moare, cineva copiaz un ablon, altcineva ascult la radio, cineva vorbete la telefon, altcineva i ntre toate acestea poate exista o conexiune

Ceclia Felmri on INFINITE MINUTES: The film shows a single moment from a number of points of view. Each episode is a subjective version of that moment from the perspective of a different character. At the end of each episode, we go back one or two steps in time. The scenes are connected w ith reference points, to help us orienting in time and space. My goal was to experiment another style than in my previous short film, Cuckoo. The film is based on a short novel by Jnos Szntai, and for me it was a challenge to build the same atmosphere in the film, which I found important in the literary text. I have changed considerably the characters and the story, but I think that all these changes were necessary for the film to have the same essence the short novel has.

Ceclia Felmri despre MINUTE INFINITE: Filmul surprinde un singur moment din mai multe puncte de vedere. Fiecare episod arat o versiune subiectiv a aceluiai moment, din perspectiva altui personaj. La sfritul fiecrui episod, facem unul sau mai muli pai napoi n timp. Scenele sunt legate de puncte comune de referin, care ne ajut s ne orientm n timp i spaiu. Am vrut s ncerc un altfel de stil dect cel pe care l-am experimentat n scurtmetrajul meu anterior, Cucul. Filmul se bazeaz pe nuvela lui Jnos Szntai. Pentru mine, a fost o provocare s redau n film acelai atmosfer care mi s-a prut important n textul literar. Am schimbat multe la personaje i poveste, dar cred c toate aceste modificri erau necesare pentru ca esena filmului s reflecte esena nuvelei.

Ceclia Felmri, film director, graduated at Sapientia University in Cluj-Napoca and MA studies at I.L. Caragiale National Film University in Bucharest. Her shorts, e.g. Infinite Minutes (short fiction, 2011), Mathias, Mathias (short animated documentary, 2010), Cuckoo (short fiction, 2008), were in competition at Locarno IFF, Warsaw IFF, Mar del Plata IFF, DokLeipzig, Transilvania IFF, etc. She won more than 20 prizes with her shorts, e.g. Best Romanian Film at Animest, Best Hungarian Short Film at Cinefest, Most Promising Young Talent at Hungarian Filmweek.

Bucharest International Experimental Film Festival 69

Ceclia Felmri, regizoare de film, a studiat la Universitatea Sapientia din Cluj-Napoca i a urmat studii masterale la UNATC Bucureti. Scurtmetra jele sale, de ex. Minute infinite (scurtmetra j de ficiune, 2011), Matei, Matei (scurtmetra j documentar de animaie, 2010) sau Cucul (scurtmetra j de ficiune, 2008), au fost n competiie la Locarno IFF, Warsaw IFF, Mar del Plata IFF, DokLeipzig, Transilvania IFF etc. i au ctigat mai mult de 20 de premii, printre care Cel mai bun film de animaie la Animest, Cel mai bun film maghiar la Cinefest, Cel mai promitor tnr talent la Festivalul Filmului Maghiar etc.

Maska
23, 2010, Poland/UK director: Quay Brothers

With the support of / Cu sprijinul:


Director/REGIA: Quay Brothers ScriPtwriter/SCENARIUL: Quay Brothers based on the short story of Stanislawa Lem Maska CineMAtogrAPhy/IMAGINE: Quay Brothers Animation/animaie: Quay Brothers Editing/MontAj: Quay Brothers Sound/SUNET: Janusz Czubak Music/MuzicA: Krzysztof Penderecki Producer/productor: Zbigniew Zmudzki (Se-ma-for Film Production), Marlena Lukasiak (Polish Cultural Institute in London) Production: Se-ma-for Film Production

International Competition

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Best Short Film Award - Uruguay IFF 2011/ Best Original Music - Annency Animation IFF 2011/ Tampere ISFF 2011/ Edinburgh IFF 2011/ Rotterdam IFF 2011/ Melbourne IFF 2011/ First Prize for Animation - Athens IFF 2011 US/ Sitges IFF 2011/ Seattle IFF 2011/ Norwegian ISFF 2011/ Stuttgart Animation IFF 2011/ Vienna Independent Shorts IFF 2011/ Curtas Vila do Conde ISFF 2011/ Krakow IFF 2011/ Era New Horizons IFF Poland 2011/ Anima Mundi Animation IFF Brazil 2011/ London Animation IFF 2011 etc. WORLD SALES: Se-ma-for Film Production Targowa 1/3 B.24, 90-022, Lodz, Poland, E-mail: p.kardas@se-ma-for.com Web: www.se-ma-for.com Tel: +48 42 681 54 74

Screened and awarded in prestigious film festivals like Rotterdam, Edinburg, Tampere, Uruguay, Melbourne, Annency and many others, MASKA is the latest experimental animation of the filmmakers and animators Quay brothers, two of the most influential contemporary experimental authors. Based on Stanislaw Lems novel of the same title, with music composed by the renowned Polish classical composer Krzysztof Penderecki, MASKA is a beautiful dark, terrifying yet poetic fairytale set in a technologically developed but, at the same time, feudal world. Beautiful Duenna was created in order to carry out a certain mission. However, she will be forced to choose between accomplishing the task she was created for and love. Prezentat i premiat n festivaluri de film de prestigiu, precum Rotterdam, Edinburg, Tampere, Uruguay, Melbourne, Annency i multe altele, MASKA este cea mai recent animaie experimental a Frailor Quay, doi dintre cei mai influeni autori experimentali contemporani. Bazat pe romanul omonim al lui Stanislaw Lem i pe muzica renumitului compozitor polonez Krzysztof Penderecki, filmul e un basm de o frumusee ntunecat, nfricotor i poetic totodat, care se petrece ntr-o lume tehnologic evoluat i feudal n acelai timp. Frumoasa Duenna, care a fost creat pentru a ndeplini o anumit misiune, va fi forat s aleag ntre dragoste i misiunea care i-a fost ncredinat.

70

CurAtors coMMent This trip into the surreal Brothers Quays universe is yet another foray into the world of Polish literature. After their Street of Crocodiles (inspired by Bruno Schulzs prose) and Inventorium of T races (a tribute to Jan Potocki), the time is ripe for the allegorical science fiction of Stanislaw Lem, MASKA, which brought inspiration to the Quays idea of creating a film about a woman-humanoid. In MASKA the masters of puppet animation create a world suspended between the future and the past, between dream and nightmare, full of weathered props and a sultry carnality. The film is a story of grow ing consciousness, of power, feminity and strength. It is created piece by piece, limb by limb, and then w ith a sudden rush of gender takes the shape of a demonic automaton disguised as a beautiful female, Duenna, sent on a mission into a courtly kingdom to mercilessly track down a rebel prince and kill him. Although she is programmed to kill, something akin to a conscience seems to surface in her unscrupulous character, so she is also capable simultaneously of questioning this programation. It is this friction between the soul and the machine that keeps one suspended between belief and disbelief. The seemingly simple plot generates a number of disturbing reflections circulating around the themes of love, identity and power.

CoMentAriuL curAtoruLui Aceast cltorie n universul suprarealist al Frailor Quay prilejuiete o nou ncursiune n lumea literaturii poloneze. Dup Street of Crocodiles (inspirat de proz lui Bruno Schulz) i Inventorium of T races (un omagiu adus lui Jan Potocki), a sosit vremea alegoriei sci-fi a lui Stanislaw Lem, MASKA, care le-a inspirat idea unui film despre o femeie-humanoid. n MASKA, cei doi maetri ai animaiei cu ppui creeaz o lume suspendat ntre viitor i trecut, ntre vis i comar, abundnd n elemente de decor deteriorat de vreme i carnalitate voluptoas. Filmul este o poveste despre dezvoltarea contiinei, despre putere, feminitate i for. Creatura e construit bucic cu bucic, membru cu membru. Apoi, printr-o explozie de sexualitate, creatura devine o mainrie diabolic, deghizat ntr-o femeie superb, Duenna, trimis n misiune ntr-un regat, unde trebuie s-l identifice i s-l ucid fr mil pe un prin rebel. Dei programat s ucid, ceva asemntor cu constiinta pare s ias la suprafa n caracterul su lipsit de scrupule, ceea ce o face s poat n acelai timp s pun la ndoial programul care i dirijeaz aciunile. Acest conflict suflet - mainrie este ceea ce ne menine suspendai ntre ncredere i nencredere. Povestea aparent simpl genereaz o serie ntreag de reflecii tulburtoare n jurul conceptelor iubire, identitate, putere.

The extraordinary Quay Brothers (b.1947) are two of the worlds most original filmmakers, two of the key authors of contemporary experimental cinema. Influenced by the tradition of Eastern European animation, the Quays display a passion for detail, a breathtaking command of color and texture, and an uncanny use of focus and camera movement that make their surreal universe unique and instantly recognizable. Best known for their classic 1986 film STREET OF CROCODILES, which filmmaker Terry Gilliam recently selected as one of the ten best animated films of all time, they are masters of miniaturization and on their tiny sets have created an unforgettable world, suggestive of a landscape of long-repressed childhood dreams. Their unique work has been screened and awarded in ma jor film festivals and exhibited in prestigious museums like MOMA, Tate Modern etc. In 1994, with INSTITUTE BENJAMENTA, premiered in Locarno 1995 and winner of Bronze Horse in Stockholm IFF, they made their first foray into live-action feature-length filmmaking. In 2005 premiered their second feature film, THE PIANO TUNER OF EARTHQUAKES, at the same Locarno. Their work includes as well highly acclaimed ground-breaking music videos and commercials and also set design for theater and opera. Fraii QUAY (n. 1947) sunt doi dintre cei mai originali cineati ai zilelor noastre, doi artiti emblematici ai cinema-ului experimental contemporan. Influenate de tradiia animaiei est-europene, lucrrile lor se caracterizeaz prin pasiunea pentru detaliu, printr-o stpnire a culorilor i a texturilor care-i taie respiraia i o utilizare stranie a profunzimii de camp i a micrilor de camer, ce fac ca universul lor suprarealist s fie unic i de neconfundat. Cea mai cunoscut creaie a lor este deja clasicul STREET OF CROCODILES (1986), film pe care cineastul Terry Gilliam l-a introdus recent pe lista celor mai bune zece animaii din toate timpurile. Maetrii ai miniaturizrii, artitii au creat n decorurile lor minuscule, o lume de neuitat, sugernd un peisa j al viselor reprimate din copilrie. Opera lor unic a fost prezentat i premiat n importante festivaluri i expus n muzee i galerii, precum MOMA, Tate Modern etc. Cu filmul INSTITUTE BENJAMENTA, prezentat n premier la Locarno n 1995 i ctigtor al Calului de bronz la Festivalul Internaional de la Stockholm, Fraii Quay fac prima incursiune n lumea lungmetra jului de ficiune realist. Al doilea lungmetra j, THE PIANO TUNER OF EARTHQUAKES, a avut premier la Locarno n 2005. Activitatea lor include de asemenea videoclipuri muzicale celebre, reclame i scenografii pentru spectacole de teatru i oper.

Bucharest International Experimental Film Festival 71

Mathias, Mathias
13, 2010, Hungary - Romania director: Ceclia Felmri

ScriPtwriter/SCENARIUL: Ceclia Felmri DRAWINGS/DESENE: Andrea Jnosi Editing/MONTAJ: Ceclia Felmri SUNET/SOUND DESIGN: Rudolf Vrhegyi Music/MuzicA: Mihly Bojtor Producer/PRODUCTOR: Andrs Muhi, Rbert Lakatos, Jnos Szntai Production: Inforg studio, Argo Audiovisual Association

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

Main prize 7 arte 2011, Romania/ Nominalization in short film category at Gopo Awards 2011/ Prize for the Best Romanian Film Animest 2010/ Prize of the Hungarian Television Film.dok 2010 / Prize for the Best Animated Film Hyperion International Student Film Festival 2010 / Zinebi IFF Bilbao 2010 / DokLeipzig 2010 / Transilvania IFF 2010 / National Filmfestival of Hungary 2010 WORLD SALES: Asociaia Audiovizual Argo Str. Aurel Suciu 32-42, Cluj-Napoca, Romnia Rbert Lakatos E-mail: lakatrob@yahoo.com Tel: +40724258592 Inforg studio H-1092 Budapest, Kinizsi u. 11, Hungary Andrs Muhi E-mail: muhi@inforgstudio.hu Tel: +36309493507 Ceclia Felmri Str. Nuferilor 1, ap. 2, Cluj-Napoca, Romnia E-mail: ceciliafelmeri@yahoo.com Tel: +40745363334

A 13-minute animated documentary about how much the residents of Cluj-Napoca know about the famous King Matthias, who was born in their city. The voice is documentary (interviews), the images are animated. And the only other thing I can say about him is that the statue of King Matthias is sitting on a horse. Thats it. What else is there to say?

Un documentar de animaie de 13 minute despre locuitorii Clujului i ce tiu ei despre regele Matei Corvin, care s-a nscut n oraul lor. Vocile sunt documentare (interviuri), iar imaginile sunt animate. Singurul lucru care-mi vine n minte despre el este c, pe statuie, regele Matei e clare. Att. Ce s mai zic?

72

Ceclia Felmri on MATTHIAS, MATTHIAS: King Mathias is the symbol of the city and has a nice statue in the center we are all proud of him. But if anyone asks about what we know about him and who we are proud of, we do not really know what to answer. The animated documentary technique allows to show in a relative short time the essence of the subject; in fact, it allows a caricaturist documentary vision of reality. Caricature highlights the essence of things and emphasizes them. Regarding the sound, we tried to extract the quintessence, the parts which are truly relevant and characteristic (we used only a small part of the 24 hours of registered interviews). The same procedure we applied in the scenes and in the visual part, by compressing into the image all the elements which might not be there in the moment of the interview, but which could be there. All these resulted in an interpreted reality, a caricature of reality. However, w ith all the directorial interventions, the film still remains a documentary.

Ceclia Felmri despre MATEI, MATEI: Regele Matei este simbolul oraului, are o statuie frumoas n centru suntem cu toii mndri de el. Dar, dac cineva ne ntreab ce tim despre el si de cine suntem de fapt mndri, nu prea tim rspunsul. Tehnica documentarului de animaie mi permite s art ntr-un timp relativ scurt esena unui subiect i, astfel, s ofer o viziune documentar de caricaturistic asupra realitii. Caricatura surprinde esena lucrurilor i le accentueaz. La nivelul sunetului am ncercat extragerea esenei, a prilor ntr-adevr relevante i caracteristice (am folosit doar o parte foarte mic din cele 24 de ore de interviuri nregistrate). La fel am procedat i n privina situaiilor din film i a vizualului: am comprimat n imagine toate elementele care n momentul nregistrrii sunetului poate nu erau acolo, dar care ar fi putut s fie. Astfel a rezultat o realitate interpretat, o caricatur a realitii. T otui, cu toat intervenia regizoral, filmul rmne un documentar.

Ceclia Felmri, film director, graduated at Sapientia University in Cluj-Napoca and MA studies at I.L. Caragiale National Film University in Bucharest. Her shorts, e.g. Infinite Minutes (short fiction, 2011), Mathias, Mathias (short animated documentary, 2010), Cuckoo (short fiction, 2008), were in competition at Locarno IFF, Warsaw IFF, Mar del Plata IFF, DokLeipzig, Transilvania IFF, etc. She won more than 20 prizes with her shorts, e.g. Best Romanian Film at Animest, Best Hungarian Short Film at Cinefest, Most Promising Young Talent at Hungarian Filmweek.

Bucharest International Experimental Film Festival 73

Ceclia Felmri, regizoare de film, a studiat la Universitatea Sapientia din Cluj-Napoca i a urmat studii masterale la UNATC Bucureti. Scurtmetra jele sale, de ex. Minute infinite (scurtmetra j de ficiune, 2011), Matei, Matei (scurtmetra j documentar de animaie, 2010) sau Cucul (scurtmetra j de ficiune, 2008), au fost n competiie la Locarno IFF, Warsaw IFF, Mar del Plata IFF, DokLeipzig, Transilvania IFF etc. i au ctigat mai mult de 20 de premii, printre care Cel mai bun film de animaie la Animest, Cel mai bun film maghiar la Cinefest, Cel mai promitor tnr talent la Festivalul Filmului Maghiar etc.

Metamorphosis
3, 2011, Romania director: Drago tefan

Director/REGIA: Drago tefan ScriPtwriter/SCENARIUL: Drago tefan Animation/animaie: Drago tefan CineMAtogrAPhy/IMAGINE: Drago tefan Editing/MONTAJ: Drago tefan Sound/SUNET: Drago tefan Production: UNARTE Bucureti

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Metamorphosis is a perspective born from the observation that we have never changed our underlying patterns of tension. We have been creating illness, conflict and war from the beginning of time. We cure one illness and we create another. We end one conflict and we create another one. We as human beings change a lot. Metamorphosis reprezint o perspectiv generat de observaia c noi, oamenii, nu ne-am schimbat niciodat tiparele fundamentale de a produce tensiune. Am creat boal, conflict i rzboi nc de la nceputul umanitii. Ne vindecm boala i crem o alta. Sfrim un conflict i crem altul. Noi, ca fiine umane, ne metamorfozm mult.

International Competition 74

World premiere

WORLD SALES: Drago tefan E-mail: stefandragosnor@yahoo.com

Drago tefan on METAMORPHOSIS: Metamorphosis is my fourth short film (school project). I tried to make it as sterile as possible and I tried to give everyone the freedom to choose their own meaning. I wanted, w ith this clear and strong contrast between the sounds and the image, to give a more industrial feeling... a more robotic metamorphosis.

Drago tefan despre METAMORPHOSIS: Metamorphosis este al patrulea scurtmetraj al meu (proiect de coal). Am ncercat s-l fac ct mai steril cu putin i s las fiecruia libertatea de a-i alege singur semnificaia. Am dorit, cu acest contrast evident i puternic ntre sunete i imagine, s ofer o senzaie mai industrial... o metamorfoz mai robotic.

Bucharest International Experimental Film Festival 75

Drago tefan has finished Architecture studies, but, as he has always wanted to make photography and films, he has become a student of Bucharests National University of Art (BA in Photo, Video and Computerized Processing). He is also a music producer (jazz-influenced hip-hop) and owns a home sound studio.

Drago tefan a absolvit studii de Arhitectur, dar, cum i-a dorit dintotdeauna s fac fotografii i filme, a devenit student la Universitatea Naional de Art din Bucureti (secia Foto-Video i Procesare Computerizat a Imaginii). Produce i muzic (hiphop cu influene din jazz) i are un studiou de sunet.

Mirror
2, 2011, Romania director: Irina Ghenu

CAST/distribuia: Irina Ghenu Director/REGIA: Irina Ghenu ScriPtwriter/SCENARIUL: Irina Ghenu CineMAtogrAPhy/IMAGINE: Irina Ghenu Editing/MontAj: Irina Ghenu Music/MuzicA: Andrei Boan Production: UNARTE Bucureti

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

World premiere

Mirror is an experimental fiction film that tells the story of a girl who gets scolded by her boyfriend for being pregnant. Unable to provide any answers she decides to throw herself off a bridge. Mirror este un film experimental ficional, ce spune povestea unei fete care este certat de prietenul ei din cauza unei sarcini. Incapabil de a da orice fel de rspuns, ea se hotrte s se arunce de pe pod.

WORLD SALES: Irina Ghenu E-mail: teaotspp@yahoo.com

76

Irina Ghenu on MIRROR: In Romania, an old legend says that pregnant women who cant or wont identify the childs father are w itches and are to be handed to a priest to perform an exorcism. If that fails, they w ill be executed. Mirror also stands for the girls reflection in the water before she drowns herself. On a symbolic level, the water reflects ones true self, whilst the pregnancy becomes a concealing method for thoughts and emotions. A healing wound, while ambiguous, can remind the viewer about a certain fragility that the reception of reality has.

Bucharest International Experimental Film Festival

Irina Ghenu despre MIRROR: n Romnia, o veche legend spune despre femeile nsrcinate care nu puteau sau nu voiau s-l identifice pe tatl copilului c sunt vrjitoare i trebuie exorcizate de un preot. Dac aceast metod eua, ele erau executate. Oglinda reprezint reflexia fetei n ap, nainte de a se neca. La un nivel simbolic, apa este singura care poate reflecta sinele, n timp ce sarcina devine o modalitate de a ascunde gnduri i sentimente. O ran care se vindec, dei ambigu n interpretare, poate aminti privitorului despre fragilitatea receptrii realitii.

Irina Ghenu was born in Giurgiu, Romania. She is a 3rd year student of Bucharests National University of Art (BA in Photo, Video). She is trying to pursue a career in video art and cinema. She almost always uses herself as character in her films mainly because self-expressions seem more reliable than illustrating unexperienced events and feelings. Selected filmography: Nana (2010)/ Bird Girl (2010)/ The Bank (2010)/ Waking (2010) / Roe (2011) / Mirror (2011)

Irina Ghenu s-a nscut n Giurgiu. Este student n anul al III-lea la Universitatea Naional de Arte (specializare: Fotografie, Video). Urmrete dezvoltarea unei cariere n cinematografie i video art. Se folosete pe sine aproape de fiecare dat n propriile producii, n special pentru c ilustrarea sinelui pare un mod mai sigur de expresie dect prezentarea unor evenimente i emoii netrite. Filmografie selectiv: Nana (2010)/ Bird Girl (2010)/ The Bank (2010)/ Waking (2010) / Roe (2011) / Mirror (2011)

77

Missmatch
3, 2010, UK - Romania director: Claudiu Revnic

CAST/distribuia: Katia Kvinge, Craig Burns Director/REGIA: Claudiu Revnic ScriPtwriter/SCENARIUL: Claudiu Revnic, Robbie Jones CineMAtogrAPhy/IMAGINE: Tom Bishop Editing/MONTAJ: Julien Purrefoy Sound/SUNET: Dimitris Patrikios, Rishi Dani Music/MuzicA: Dimitris Patrikios ANIMATION, VISUAL EFFECTS, VIDEO COMPOSITION/ ANIMAIE, EFECTE VIZUALE, COMPOZIIE VIDEO: Stephane Rando Producer/PRODUCTOR: Claudiu Revnic Production: Baboon Moshpit Films FESTIVALS l AWARDS: FESTIVALURI l PREMII: In a world where everybody has duct-tape over their mouths, one guy does not. Trying to have a conversation with a girl he fancies, he discovers why everybody keeps ducttape in the first place. ntr-o lume n care toi poart band adeziv peste gur, un individ se abate de la norm. ncercnd s poarte o conversaie cu o fat pe care o place, el realizeaz de ce toi recurg la banda adeziv.

International Competition 78

World premiere

WORLD SALES: Claudiu Revnic E-mail: claudiu.revnic@yahoo.com claudiu.revnic85@gmail.com Tel: +40733200330

Claudiu Revnic on MISSMATCH: Missmatch is a film illustrating the intrusion of technology into everyday life and how incompatible it is w ith the behavioural patterns we have so far acknowledged as human. It is not aiming to be a critique of social networking or advertising. However, in the fashion of absurd theatre and surreal comedy, Missmatch illustrates the idiosyncrasies of modern communication or, better said, miscommunication. It was done w ith strenuous financial effort under the budget of 20 pounds sterling and shot over two days in public places, under the hottest weather conditions Scotland has ever seen. The film crew consisted mainly of students at Edinburgh University, Edinburgh College of Art and Napier University.

Bucharest International Experimental Film Festival

Claudiu Revnic despre MISSMATCH: Missmatch este un film ce ilustreaz intruziunea tehnologiei n viaa cotidian i ct de incompatibil este ea cu tiparele comportamentale pe care pn acum le-am recunoscut ca umane. Filmul nu intete s devin o critic a reelelor de socializare sau a publicitii. T otui, n stilul teatrului absurdului i al comediei suprarealiste, Missmatch ilustreaz idiosincrasiile comunicrii moderne sau, mai bine spus, ale incomunicrii. Realizat cu exorbitanta sum de 20 de lire sterline, producia a fost filmat pe parcursul a dou zile, n cea mai fierbinte vreme pe care a avut-o Scoia vreodat. Echipa filmului a fost format n principal din studeni ai Edinburgh University, Edinburgh College of Art i Napier University.

Claudiu Revnic is a Romanian independent filmmaker who started making short films during his MA at Edinburgh University, covering mostly production roles. He has been involved in organising the Edinburgh Movie Production Society and was part of Edinburghs Traverse Theatres Young Writers Group. In 2010, he produced Toni with an I, winner of Best Use of Character at the 48 Hour Film Competition in Edinburgh. In Romania, he acted as executive producer for the short film Suicide Me by Jamil Hendi (2010) and the music video for Cheloos Sau (2011). He also translated the script and assisted in the production of the documentary Generation of Sacrifice, directed by JeanCristophe Couet for Le Fresnois Studio National Des Artes Contemporains (France). Claudiu Revnic este un cineast independent romn care a nceput s realizeze scurtmetra je n timpul masteratului la University of Edinburgh, lucrnd de multe ori n producie. A fcut parte din organizarea Edinburgh Movie Production Society i a fost membru n Traverse Theatres Young Writers Group. n 2010, a produs Toni with an I, scurtmetra j ctigtor al premiului Best Use of Character la 48 Hour Film Competition din Edinburgh. n Romnia, a lucrat ca productor executiv la Sinucide-m de Jamil Hendi (2010) i la videoclipul lui Cheloo Sau (2011). De asemeanea, a lucrat la traducerea i producia documentarului Generaia de sacrificiu, realizat de Jean-Cristophe Couet pentru Le Fresnois Studio National Des Artes Contemporains (Frana).

79

Monday Morning
12, 2011, Romania director: Eva Pervolovici

CAST/distribuia: Richard Bovnoczki, Tnde Baczo and Anita Drghicis breathing recorded by Alexander Heinze in Berlin 2010 Director/REGIA: Eva Pervolovici ScriPtwriter/SCENARIUL: Eva Pervolovici CineMAtogrAPhy/IMAGINE: Eva Pervolovici, Vlad Filimon (using footage from My Undone School Films, 2008) Editing/MONTAJ: Eva Pervolovici Sound/SUNET: Fabrice Osinski Producer/productor: Eva Pervolovici

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

The story of a couple whose attraction is running dry. As he heads to work in the morning, she lets herself devoured by fantasies and nightmares. Povestea unui cuplu a crui atracie reciproc este pe cale s sece. Dimineaa, cnd el se ndreapt ctre serviciu, ea se las devorat de fantezii i comaruri.

International Competition 80

World premiere

FILM WEBSITE: www.evapervolovici.com

WORLD SALES: Eva Pervolovici E-mail: eva@metacult.ro

Eva Pervolovici on MONDAY MORNING: For a couple of years, Im persuaded by the idea of bringing to live characters from My Undone School Films. Its a certain love story that was the most w illing to materialize into its own film. Monday Morning its about visual collage, about mixing different formats: the same couple shot in 2007 on Super16 and in 2011 on 5D, in totally different cinematographic contexts. Adding to this its the collage of sounds, as sound becomes a third character. On one hand, the breathing I had recorded in Berlin for a different short film and which had been banned from that film for being considered too erotic. On another hand, the sound character is depicted by the blue lady, the voice of the radio. Bringing the same characters in different visual contexts over long periods of years its rather fascinating, and Im thinking of a w ider project, where to film them every five years in a travel through genres and styles.

Eva Pervolovici despre LUNI DIMINEAA: De civa ani, sunt urmrit de ideea de a aduce la via personaje din Filmele mele nefcute. O anume poveste de dragoste era cea mai doritoare de a se materializa n propriul ei film. n Luni dimineaa e vorba de colaj vizual, de mixarea unor formate diferite: acelai cuplu, filmat n 2007 pe Super16 i n 2011 pe 5D, n contexte cinematografice complet diferite. Se adaug colajul de sunete, deoarece sunetul devine un al treilea personaj. Pe de o parte, respiraia pe care o nregistrasem n Berlin, pentru un alt scurtmetraj, i care fusese eliminat din acel film, pentru c era considerat prea erotic. Pe de alt parte, sunetul, ca personaj, este reprezentat de doamna albastr, vocea de la radio. S aduci aceleai personaje n contexte vizuale diferite, dup lungi perioade de timp, este fascinant. M gndesc la un proiect mai amplu, n cadrul cruia s le filmez din cinci n cinci ani, ntr-o cltorie printre genuri i stiluri cinematigrafice.

Eva Pervolovici is a Romanian film director who lives in Paris, having completed her studies in Bucharest and Edinburgh. Her short films have been screened at festivals around the world and won several prizes. The most recent, Lubaben, was shown in the official Tiger competition in Rotterdam 2011, while Mina was shown in Spectrum in the same festival. They are both French/Romanian coproductions, shot in Paris. Little Red, a ten-minutes short, shot in Romania and funded by Mendienboard, was shown in Berlin Today Award Competition, part of Berlinale 2011. She is currently developing the feature film Ileana together with Strada Film, for which they received development grant from the Romanian Center of Cinematography. In parallel, she is developing the feature film Marussa with French-based company Kinoelectron. Eva Pervolovici este o regizoare de film din Romnia, care triete n Paris, dup ce i-a absolvit studiile de specialitate n Bucureti i Edinburgh. Scurtmetra jele sale au fost prezentate n festivaluri din ntreaga lume i au ctigat mai multe premii. Cel mai recent dintre ele, Lubaben, a fost selecionat n competiia oficial a Festivalului de la Rotterdam, ediia 2011, n timp ce Mina a fost inclus n seciunea Spectrum a aceluiai festival. Ambele scurtmetra je sunt coproducii franco-romne, filmate la Paris. Little Red, un scurtmetra j de zece minute, filmat n Romnia i finanat de Mendienboard, a fost prezentat n competiia Berlin Today Award din cadrul Berlinalei 2011. n momentul actual, ea dezvolt lungmetra jul Ileana mpreun cu Strada Film, proiect pentru care realizatorii au primit un grant de dezvoltare de la Centrul Naional al Cinematografiei din Romnia. n paralel, Eva dezvolt lungmetra jul Marussa mpreun cu compania francez Kinoelectron.

Bucharest International Experimental Film Festival 81

My Undone School Films


15, 2008, Romania director: Eva Pervolovici

CAST/distribuia: Alexandru Potocean, Tnde Baczo, Richard Bovnoczki, Mihai Ni, Oana Popescu, Adrian Anghel, Ctlina Moga, Gabriel Costin, Florina Gleznea, Maca, Sofia Radu, Mihaela Teleoac, Alin State, Ismail Iamaloudin, Andrei Branea, Lori Director/REGIA: Eva Pervolovici ScriPtwriter/SCENARIUL: Eva Pervolovici (based on original scripts and ideas developed together with Yoz a.k.a. Cosmin Pojoranu, Ina Ghi, Vladimir Tupanceski, Luca Dinulescu) CineMAtogrAPhy/IMAGINE: Vlad Filimon Editing/MONTAJ: Alex Radu, Eva Pervolovici Sound/SUNET: Florian Ardelean Art direction/SCENOGRAFIA: Georgiana Svua Music/MuzicA: Maca Production: UNATC Bucureti

To all those characters who missed the chance to be captured on film. Several film characters are in a race against time to be captured on film, but the destination they reach might see them deleted forever. Pentru toate acele persona je care i-au ratat ansa de a fi capturate pe pelicul. Mai multe persona je de film se afl ntr-o curs contra timp pentru a fi capturate pe pelicul, ns destinaia la care a jung le vede, poate, ca terse pentru totdeauna.

International Competition 82

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Best Experimental Film Hyperion Film Festival 2008, Romania; Ex-aequo Prize 7ArteFest 2008, Romania; Milwaukee Short Film Festival 2008, USA; Transilvania International Film Festival 2008, Romania; Anonimul International Film Festival 2008, Romania; IPIFF 2008, Romania; Studentfest, Romania; CineMAiubit Student Film Festival, Romania; Cinma au fminin, Paris, France

FILM WEBSITE: www.evapervolovici.com

WORLD SALES: Eva Pervolovici E-mail: eva@metacult.ro

Eva Pervolovici on MY UNDONE SCHOOL FILMS: In its description of the planet Tln, Borges talks about objects that become visible only in the moment of somebody watching them. Its the viewers look that materializes things around him. T oaw ider extent, thats the basis of my questioning in My Undone School Films: what happens to all the huge amount of ideas that dont get to be finalized? Either a collective unconsciousness, or a forgotten database, a wasteland of characters that are about to be born but something is stopping them. I feel a great tenderness towards these characters, towards this in between state of almost being created but not yet there. I tried to depict these characters in their naivety, in their beauty, as they know neither their condition of potential film characters nor the refusal of their existence that is waiting for them at the end of their quest.

Eva Pervolovici FILMELE MELE NEFCUTE: n descrierea pe care o face planetei Tln, Borges vorbete despre obiecte care devin vizibile doar n momentul n care cineva le privete. Privirea observatorului este cea care materializeaz lucrurile din jurul su. ntr-o perspectiv mai larg, aceasta este baza interogaiei mele din Filmele mele nefcute: ce se ntmpl cu imensa cantitate de idei care nu ajung s fie finalizate? Un incontient colectiv, o baz de date uitat sau un pustiu de personaje care sunt pe cale s se nasc, ns ceva le oprete. Simt o mare tandree fa de aceste personaje, fa de aceast stare de grani celui care este aproape de a fi creat, dar nu nc acolo. Am ncercat s prezint aceste personaje n naivitatea lor, n frumuseea lor, deoarece nu cunosc nici condiia lor de poteniale personaje de film, nici refuzul existenei lor, care i ateapt la sfritul cltoriei.

Eva Pervolovici is a Romanian film director who lives in Paris, having completed her studies in Bucharest and Edinburgh. Her short films have been screened at festivals around the world and won several prizes. The most recent, Lubaben, was shown in the official Tiger competition in Rotterdam 2011, while Mina was shown in Spectrum in the same festival. They are both French/Romanian coproductions, shot in Paris. Little Red, a ten-minutes short, shot in Romania and funded by Mendienboard, was shown in Berlin Today Award Competition, part of Berlinale 2011. She is currently developing the feature film Ileana together with Strada Film, for which they received development grant from the Romanian Center of Cinematography. In parallel, she is developing the feature film Marussa with French-based company Kinoelectron. Eva Pervolovici este o regizoare de film din Romnia, care triete n Paris, dup ce i-a absolvit studiile de specialitate n Bucureti i Edinburgh. Scurtmetra jele sale au fost prezentate n festivaluri din ntreaga lume i au ctigat mai multe premii. Cel mai recent dintre ele, Lubaben, a fost selecionat n competiia oficial a Festivalului de la Rotterdam, ediia 2011, n timp ce Mina a fost inclus n seciunea Spectrum a aceluiai festival. Ambele scurtmetra je sunt coproducii franco-romne, filmate la Paris. Little Red, un scurtmetra j de zece minute, filmat n Romnia i finanat de Mendienboard, a fost prezentat n competiia Berlin Today Award din cadrul Berlinalei 2011. n momentul actual, ea dezvolt lungmetra jul Ileana mpreun cu Strada Film, proiect pentru care realizatorii au primit un grant de dezvoltare de la Centrul Naional al Cinematografiei din Romnia. n paralel, Eva dezvolt lungmetra jul Marussa mpreun cu compania francez Kinoelectron.

83

Bucharest International Experimental Film Festival

Night Fishing
34, 2011, South Korea director: PARKing CHANce

(PARK Chan-wook,Park Chan-kyong)

With the support of / Cu sprijinul:

Ambasada Coreei de Sud

International Competition

CAST/distribuia: OH Kwang-rok, LEE Jung-hyun Director/REGIA: PARKing CHANce (PARK Chan-wook, Park Chan-kyong) ScriPtwriter/SCENARIUL: ARKing CHANce (PARK Chan-wook, Park Chan-kyong) CineMAtogrAPhy/IMAGINE: JU Sung-lim Art direction/SCENOGRAFIA: JO Hwa-seong Editing/MontAj: KIM Woo-il, KIM Chang-sub Sound/SUNET: Mirco Mencacci Music/MuzicA: JANG Young-gyu Producer/productor: Wonjo JEONG, Park Chan-wook, Park Chan-kyong Production: Moho Film

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Golden Bear Award - Berlinale 2011/ Neuchtel International Fantastic Film Festival/ South by Southwest (SXSW) Film Festival/ Leeds International Film Festival 2011/ Deauville Asian Film Festival etc.

Deep in the woods, cutting through the fog, a man walks in carrying a fishing bag. He arrives at the edge of a river. The man leisurely goes about setting up his fishing rods and starts fishing. Hours later, night has fallen on the quiet riverside. The man hasnt caught much fish and just sits, waiting. Just then, something big is caught on the fishing rod. Its not something he can put on his dinner plate, but a mysterious young woman in white funeral dress crying in a little girls voice, calling him daddy A visually stunning and deeply emotional meditation on life, death and love, shot entirely on IPhone4, winner of the Golden Bear at Berlinale 2011. n adncul pdurii, un om cu un sac pe pescuit pe umr nainteaz prin cea. Ajunge la malul unui ru, i aaz fr grab undiele i ncepe s pescuiasc. Orele trec i pe malul linitit se las noaptea. Pescarul n-a prins mare lucru, st n ateptare. La un moment dat, una din undie se smucete, semn c s-a prins ceva mare. Acel ceva nu e potrivit pentru cin, ci e o tnr misterioas, mbrcat ntr-o rochie de doliu alb, ce plnge cu o voce de copil, numindu-l tticule... O impresionant din punct de vedere vizual i profund emoionant meditaie despre via, moarte i dragoste, filmat integral cu un iPhone4. Ctigtorul Ursului de Aur pentru scurtmetra j la Berlinale 2011.

84

WORLD SALES: FINECUT CO. LTD. 4F, Incline Bldg., 891-37, Daechi-dong, Gangnam-gu, Seoul, 135-280 KOREA YURA KWON Director of Festival & Marketing E-mail: yura@finecut.co.kr Web: www.finecut.co.kr Tel: 822-569-6266 Fax: 822-569-9466

Berlinale 2011 Jury Statement We long for films that weave dreams and reality together seamlessly, that provoke deep feelings, intense emotions, that transport us to the new. The film we chose is nothing but a small miracle. Throughout the multi-layered original story of a simple man who is forced to confront his life and death, through his shape-shifting, we experienced transformation, judgement and deep forgiveness. CurAtors coMMent Not many films that clock in at 33 minutes generate the press coverage and hype that surrounds NIGHT FISHING, a surprisingly polished work shot by OLDBOY director Park Chan-wook and his brother Park Chan-kyong on the iPhone 4. Financed by telecoms giant KT, the film is ostensibly a showcase of the iPhone 4s technical capabilities, although the filmmakers strapped lenses onto their phones and put the resulting footage through extensive postproduction work. At any rate, the end result is visually sumptuous and artistically bold. NIGHT FISHING centres around a fisherman who reels in a fish that transforms into a young woman once touching land. She begins talking to him of his long-lost daughter, and it only gradually becomes apparent that she is a shaman acting as a medium between the land of the living and the dead. Sw itching back and forth between black-andwhite and colour, and featuring a mesmerizing soundtrack by UhUhBoo Project (SYMPATHY FOR MR. VENGEANCE), the film strikes a more sober and difficult tone than many of Parks genre-influenced films. Indeed, the shamanist imagery and themes are reflected in previous work by acclaimed visual artist Park Chan-kyong, who also has a film Anyang, Paradise City screening in Rotterdams Bright Future section. ScreenDaily, Darcy Paquet

Bucharest International Experimental Film Festival

Motivaia Juriului Berlinalei 2011 Tnjim dup filme care mpletesc armonios visul cu realitatea, care nasc sentimente profunde, emoii intense, care te transport ctre ceva nou. Acest film e o mic minune. Povestea original, desfurata pe mai multe planuri, despre un om obinuit confruntat cu propria sa via i moarte i care trece printr-o schimbare interioar profund, vorbete despre transformare, judecat i iertare.

The acronym PARKing CHANce names the 2 brothers and filmmakers PARK Chan-wook and Park Chan-kyong. Director PARK Chan-wooks visionary films (OLD BOY, THIRST, IM A CYBORG BUT THATS OK, LADY VENGEANCE) have received recognition at the ma jor intl film festivals including Cannes, Venice, and Berlin. His latest work, NIGHT FISHING is his first collaboration with his media artist brother, PARK Chan-kyong and is also notable for the fact that the entire film has been shot with iPhone4. Dealing with the subject of the tradition of Shamanistic ritual in Korea, PARK explores here the themes of life and death. Visual artist PARK Chan-kyong has produced works of photography, video, installation art dealing with themes of the Cold War, Separation of North and South Korea, and the culture of traditional religion in Korea. He has expanded his work into the film arena and his recent feature film, ANYANG, PARADISE CITY has been selected for the Bright Future section of the 2011 Intl Film Festival Rotterdam. His previous short SINDOAN (2008) and FLYING (2007) have been shown internationally in festivals like Oberhasen, Seoul Intl Experimental Film Festival etc. Acronimul PARKing CHANce i denumete pe cei doi frai i regizori PARK Chan-wook i Park Chan-kyong. Filmele vizionare ale regizorului PARK Chan-wook (OLD BOY, THIRST, IM A CYBORG BUT THATS OK, LADY VENGEANCE) au dobndit recunoatere internaional la prestigioase festivaluri, inclusiv la Cannes, Veneia i Berlin. Cel mai recent film al su, NIGHT FISHING, e prima colaborare cu fratele su, artistul vizual PARK Chan-kyong. E de remarcat c acest proiect a fost filmat integral cu iPhone 4. Preocupat de tradiiile amaniste din Coreea, PARK exploreaz aici tema vieii i a morii din aceast perspectiv. Artistul vizual PARK Chan-kyong a realizat fotografie, video i instalaii ale cror teme se refer la Rzboiul Rece, separarea celor dou Corei i religia coreean tradiional. i-a extins aria de activitate ctre cinema, recentul su lungmetra j ANYANG, PARADISE CITY fiind selectat la Seciunea Bright Future a Festivalului Internaional de la Rotterdam (2011). Anterior, scurtmetra jele sale SINDOAN (2008) i FLYING (2007) au fost prezentate la festivaluri internaionale precum Oberhausen, Festivalul Internaional de Film Experimental de la Seul etc.

COMENTARIUL CURATORULUI Nu multe filme de 33 de minute reuesc s aib atta pres i s fac atta vlv precum NIGHT FISHING, creaia surprinztor de rafinat a regizorului filmului OLD BOY, Park Chan-wook, i a fratelui su, artistul vizual Park Chan-kyong, filmat pe iPhone 4. Finanat de gigantul n telecomunicaii, KT, filmul este, la suprafa, o prezentare a performanelor tehnice ale iPhone 4, dei autorii au adugat obiective foto pe telefoanele lor, iar materialul filmat a trecut printr-un proces intens de post-producie. n orice caz, rezultatul e somptuos din punct de vedere vizual i ndrzne din punct de vedere artistic. n centrul filmului e un pescar, n a crui undia se prinde un pete care, odat tras pe uscat, se transform ntr-o tnr fat. Aceasta ncepe s-i vorbeasc despre fiica lui demult pierdut, i devine tot mai limpede c fata e de fapt un aman, un intermediar ntre lumea morilor i lumea celor vii. Alternnd alb/negru-ul cu colorul i cu o coloan sonor hipnotic aparinnd UhUhBoo Project (SYMPATHY FOR MR. VENGEANCE), filmul atinge o tonalitate mai sobr i mai dificil dect multe din precedentele filme de gen marca Park. E adevrat ns ca tema i reprezentrile amaniste se regsesc i n alte lucrri ale fratelui su, celebrul artist vizual Park Chan-kyong, al crui film Anyang, Paradise City a fost proiectat n programul Festivalului de la Rotterdam, Seciunea Bright Future. ScreenDaily, Darcy Paquet

85

Out
35, 2010, Israel director: Roee Rosen

CAST/distribuia: Ela Shapira/ Yoana Gonen/ Igor Krutogolov/ Boris Martzinovsky Director/REGIA: Roee Rosen ScriPtwriter/SCENARIUL: Roee Rosen CineMAtogrAPhy/IMAGINE: Avner Shahaf Editing/MontAj: Max Lomberg Sound/SUNET: Binya Reches Producer/productor: Sharon Benraf

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Winner of the Venice Orizzonti Award for Best Medium Length Film in 2010 and of the ARTE Award in Oberhausen 2011, OUT is a hybrid between a documentary, a horror story, an erotic show and a political reflection. OUTs central part presents a domination/ submission thrashing scene, set in a mundane living room. The scene is not acted but rather performed by two women whose real-life preferences entail BDSM. But in this session, the painful blows meted by the Dom cause the Sub to spew out sentences, all of which are quotes from Israels minister of foreign affairs, Avigdor Lieberman, known as one of the most extreme right wing politicians in the country. Ctigtor al Premiului pentru cel mai bun mediumetra j la Festivalul de la Veneia, seciunea inovativa Orizzonti 2010 i al Premiului ARTE la Oberhausen 2011, OUT e un hibrid de documentar, film horror, spectacol erotic i reflecie politic. Partea central a filmului e o secven sado-masochist, care se desfasoara ntr-o sufragerie obisnuita. Scena nu e jucat, ci prestata de dou femei ale cror preferine se ndreapt ctre sado-masochism i n viaa real. Dar de data aceasta, loviturile primite de la Stapana o fac pe Sclava sa scuipe fraze care sunt citate din discursurile ministrului israelian al Afacerilor Externe, Avigdor Lieberman, recunoscut ca fiind unul dintre cei mai radicali politicieni israelieni de extrem dreapt.

International Competition 86

Venice Orizzonti Award for Best Medium Length Film 2010/ ARTE Award - Oberhausen ISFF 2011/ New Vision Award - CPH: DOX Copenhagen 2011/ Tiger Awards Short Film Competition Rotterdam 2011/ Viennale IFF 2010/ Indielisboa IFF 2011 etc.

WORLD SALES: Roee Rosen E-mail: agrosen@netvision.net.il

Roee Rosen on OUT Similarly to rituals of exorcism in Jew ish literatures (the Dybbuk) or in popular cinema (The Exorcist), the demon who speaks through the Sub, is and isnt herself. These sentences are all quotes of the present Israeli minister of foreign affairs, Avigdor Lieberman, known as one of the most extreme right w ing politicians in Israel. His nationalist and racist ideology is literally demonized, but, at the same time, it is not presented as an external evil, but as inherent to the eroticized body of young Israelis, thus problematizing the moralizing and comfortable disavowal of the native Russian Lieberman, and asserting that the director, the participants, and the viewers may be implicated by his worldview. OUT is thus a hybrid between a documentary (both of the present rhetoric of the Israeli right, and of its free-spirited sexual community), a fictional scene harking to a genre of horror movies, an erotic scene and a political reflection. But it is also a hybrid in its structure. The ritual at the center of the work is framed by two scenes, each w ith its own distinct cinematic style. First, a preceding interview w ith the two participants seems at the beginning to be a straightforward documentary about their own experiences w ithin the Israeli BDSM scene, but soon transforms into an exposition of the premise by which one is possessed, the other an exorcist. The final musical scene is a song set to the words of the Russian poet Esenins Letter to Mother. Executed as a one-shot, the song not only elevates and complicates the emotional resonance of what preceded it, but is also a direct, if tw isted, homage to the final scene of another film that deals w ith hybridity, radical sexuality and politics: Dusan Makavejevs WR, The Mystery of the Organism.

Roee Rosen despre OUT Similar ritualurilor de exorcizare descrise n literatura iudaic (Dybbuk) sau n cinematografia populara (Exorcistul), demonul care vorbete prin gura Sclavei este i nu este ea insasi. Femeia rostete citate ntregi din discursurile actualului ministru de externe al Israelului, Avigdor Lieberman, cunoscut ca unul dintre cei mai nverunai reprezentani ai extremei drepte din Israel. Ideologia lui rasist i naionalist este demonizat n film, dar, in acelasi timp, ea nu apare ca un ru de provenien extern, ci ca element nrdcinat n trupurile erotizate ale tinerilor israelii. Privind lucrurile din acest punct de vedere, Rosen ploblematizeaz renegarea moralizatoare i confortabil a evreului de origine rusa Lieberman i lanseaza ipoteza ca autorul filmului, participantii i spectatorii s-ar putea s mprteasca viziunea acestuia despre lume. OUT devine astfel un film hibrid. Are elemente de documentar (despre retorica extremei drepte din Israel si comunitile sale sexuale libertine), de ficiune, cu trimitere ctre genul horror, elemente de film erotic i de reflecie politic. Filmul e un hibrid i ca structur. Ritualul care st n centrul filmului e flancat de dou secvene distincte ca stil cinematografic. Prima, un interviu cu cele dou protagoniste sado-masochiste, pare la nceput s fie un documentar clasic despre experienele lor personale n contextul comunitii sado-masochiste din Israel, dar curnd alunec nspre alte coordonate, una dintre ele devenind posedata, iar cealalt, exorcista. Secvena muzical de la final e un cntec pe versurile poeziei lui Esenin, Scrisoare mamei. Filmat ntr-un singur cadru, are nu numai darul de a amplifica i de a complica rezonana emoionala provocata de secvenele anterioare, dar este, n acelai timp, un omagiu, direct, chiar dac distorsionat, adus secvenei finale dintr-un alt film-hibrid care trateaz sexualitatea i politica radicale: W.R.The Mystery of the Organism de Dusan Makavejev.

Roee Rosen (b. 1963) is an Israeli-American artist, filmmaker, writer and teacher. After studying philosophy and comparative literature at the Tel Aviv University, he received his BFA from the School of Visual Arts, and his MFA from Hunter College, both in New York. He heads the advanced visual arts program at HaMidrasha Art College, in Israel, and teaches at the Bezalel Art Academy in Jerusalem. Rosens paintings, films, and writings have become known for their historical, theological and psychological controversy. Rosens painting and text installation, Live and Die as Eva Braun (1995-1997), stirred a scandal when first exhibited at the Israel Museum, when both members of the right-wing religious MAFDAL party and secular conservatives demanded its removal. Eva Braun was later recognized as groundbreaking in its approach to the representation of the holocaust, and was exhibited in Berlin and in New York. In 2010 Rosen created two films. Hilarious, in which a dysfunctional standup culminates with an epic joke set at the Twin Towers moments before they collapse, premiered at Tate Modern. It was followed by Out, in which a BDSM session becomes a political exorcism. Out premiered in Venice, where it won the Orizzonti award for best medium-length film. Roee Rosen (n. 1963), de origine israelit i american, este artist vizual, cineast, scriitor i profesor. A fcut studii de filosofie i literatur comparat la Universitatea din Tel Aviv, este liceniat al Facultii de arte vizuale i masterand al Hunter College, ambele din New York. Conduce programul de studii avansate de arte vizuale la HaMidrasha Art College din Israel i pred la Bezalel Art Academy din Ierusalim. Picturile, filmele i scrierile sale au devenit cunoscute datorita controverselor istorice, teologice i psihologice pe care le-au strnit. Instalaia sa bazata pe pictura si text Live and Die as Eva Braun (1995-1997) a strnit un adevrat scandal la prima expunere n Israel, cnd att membrii partidului religios de dreapta MAFDAL, ct i laicii conservatori au cerut insistent scoaterea lucrrii din muzeu. Lucrarea Eva Braun a fost recunoscut mai trziu ca oper deschiztoare de drumuri n reprezentarea holocaustului i a fost expus la Berlin i New York. n 2010, Rosen a realizat dou filme. Hilarious - despre un standup care merge prost i culmineaz ntr-o fars de proporii epice, totul desfurndu-se n Turnurile Gemene, cu cteva momente naintea prbuirii lor - a avut premiera la Tate Modern Londra. Urmtorul film este Out, n care o repriz de sado-masochism se transform n exorcizare politic. Filmul a fost prezentat n premier la Veneia, unde a obinut Premiul pentru cel mai bun mediumetra j.

87

Bucharest International Experimental Film Festival

Questions From A Worker


2, 2011, Romania director: Arnold Estefan, Anca Benera

CAST/distribuia: factory workers (anonymous) Director/REGIA: Arnold Estefan, Anca Benera ScriPtwriter/SCENARIUL: Arnold Estefan, Anca Benera CineMAtogrAPhy/IMAGINE: Arnold Estefan ART DIRECTION/SCENOGRAFIE: Arnold Estefan Editing/MontAj: Arnold Estefan Sound/SUNET: workers voices (recorded by Anca Benera) Producer/productor: Arnold Estefan, Anca Benera

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Un grup de muncitori dintr-o fabric de conserve din Romnia recit n gnd poezia Fragen eines lesenden Arbeiters de Bertolt Brecht. A group of workers from a can factory recite in mind the poem Fragen eines lesenden Arbeiters by Bertolt Brecht.

International Competition 88

The Department of Temporary History, Magma Contemporary Art Space, Sfntu Gheorghe, Romania; Festival Temps dImages 2011, Cluj Napoca, Romania

WORLD SALES: Arnold Estefan E-mail: estefan.arnold@gmail.com Anca Benera E-mail: anca.benera@gmail.com

Arnold Estefan and Anca Benera on QUESTIONS FROM A WORKER: If the image of the worker used to have a generous representation during the communist period, being considered as the new universal class, this began to gradually disappear today, although the existence of the simple worker has not vanished. T odays ordinary workers continue to be exploited and pushed to the margins of society, forced to stand in silence. Questions from a Worker is part of the Temporary History Department created by Anca Benera, Arnold Estefan and Michaela Michailov. The project documents, archives and builds performative representations for one of the most consistent social communities in Romanian recent history the factory. Seen as a space of perpetual workhood, the factory shapes our mental and physical relation to the society of workers, their visible and invisible products.

Bucharest International Experimental Film Festival

Arnold Estefan i Anca Benera despre NTREBRILE UNUI MUNCITOR: Dac imaginea muncitorului avea o reprezentabilitate generoas n perioada comunist, fiind promovat ca noua clas universal, ea a nceput s dispar treptat, dei existena muncitorului simplu n-a disprut odat cu apariia noii clase proletare cu gulere albe. Astzi, muncitorii obinuii continu s fie exploatai i mpini la marginea societii, forai s reziste n tcere. Lucrarea face parte dintr-un proiect mai amplu, denumit Catedra de Istorie Temporar i conceput de Anca Benera, Arnold Estefan i Mihaela Michailov. Proiectul documenteaz, arhiveaz i construiete reprezentri performative pentru una dintre cele mai consistente comuniti sociale din trecutul recent al Romniei fabrica. Conceput ca un spaiu al muncii perpetuue, fabrica modeleaz relaia noastr fizic i mental cu societatea muncitorilor, cu rezultatele muncii lor vizibile i invizibile.

Arnold Estefan is a visual artist and graphic designer; he lives and works in Bucharest, Romania. He is a co-founding member of the Centre for Visual Introspection in Bucharest, an independent platform for research and artistic and theoretical production. He is a co-author of the Self-Publishing in Times of Freedom and Repression (2011) and co-curator of the public art project Ars Telefonica (2008). Anca Benera is a visual artist and co-founder of The Centre for Visual Introspection in Bucharest (www.pplus4.ro). Her practice is research-based, focusing on the public realm, which is both a resource and a medium to present and inform her projects.

Arnold Estefan este artist vizual i designer grafic; triete i lucreaz n Bucureti. Este membru cofondator al Centrului de Introspecie Vizual din Bucureti, o platform de cercetare i de producie artistic i teoretic. Este coautor al proiectului Publicaiile independente n vremea represiunii i a libertii de expresie (2011) i co-curator al proiectului de art public Ars Telefonica (2008). Anca Benera este artist vizual i cofondatoare a Centrului de Introspecie Vizual din Bucureti (www.pplus4.ro). Activitatea ei este bazat pe cercetare, se concentreaz asupra spaiului public, care este att resursa informaional, ct i mediul de prezentare al lucrrilor ei.

89

Red Road
9, 2010, France director: Jro Yun

CAST/distribuia: Serge Djen, Emilie Lacape, Clyd, Corinne Pel Director/REGIA: Jro Yun ScriPtwriter/SCENARIUL: Jro Yun CineMAtogrAPhy/IMAGINE: Guillaume Brault Editing/MontAj: Jro Yun Music/MuzicA: Robin Rimbaud Production:

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

One night, a car accelerates. The city gradually darkens. The abstract lights vaguely illuminate a car. In an agonizing, strange ambiance, the car suddenly enters into a fantasy world where an old man waits. A surreal accident: blood flows in streams from one life into another. Reminding of David Lynch aesthetics. Screened in Interfilm Berlin, FIDEC International Film Schools Festival Belgium, Amiens and many others. O main accelereaz n noapte. Oraul se cufund treptat n bezn. Luminile abstracte contureaza vag o masina. ntr-o atmosfera agonizant i stranie, masina intra ntr-o lume fantastic unde un batran ateapta. Un accident suprarealist. Sngele nete n valuri, trecnd dintr-o via in alta. Filmul amintete de estetica lui David Lynch. A fost prezentat la Interfilm Berlin, FIDEC International Film Schools Festival Belgia, Amiens etc.

International Competition 90

Split IFF Croatia 2011/ Prix Ars Electronica Austria 2011/ Interfilm Berlin ISFF 2010/ Amiens IFF 200/ Temps dImages IFF France 2010/ Lille ISFF 2010/ FIDEC - International Film Schools Festival Belgium 2010/ Molodist IFF Kyev 2010 etc.

FILM WEBSITE: www.jeroyun.net/redroad-en.html

WORLD SALES: Le Fresnoy - Studio National des Arts Contemporains 22 rue du Fresnoy, BP 179, 59202 Tourcoing France Natalia Trebik Diffusion des oeuvres et programmes E-mail: ntrebik@lefresnoy.net Web: www.lefresnoy.net Tel: +33(0)3 20 28 38 64 / +33(0)6 60 15 54 52 +33(0)3 20 28 38 99 Directors contact: jeroyun@hotmail.com

Jro Yun on RED ROAD The film Red Road consists in a dream that has assailed me regularly at night since my birth. I

have just arrived to France for the first time in my life, right after I left Korea. Only a month later, my bike was hit by a car, throw ing me two meters into the air. That day, I did not die. My eyes were able to transmit to my brain what they saw. It happened very quickly. My brain did not have the time to be conscious at the moment of impact between the car, my bike and me. I was on the ground, w ithout even realizing that my skull was covered w ith blood, w ithout really understanding what had happened. That night, I had a dream. Through this dream, I could finally see what had happened, as if my eyes (or my brain rather) had memorized the images. A bike... a red light... a car... a noise of breaking I had already heard. It was an extremely piercing sound, an unbearable noise, which resounded for a long time in my head, day and night. A few years later, I dreamt of this accident again. It was like a sort of reconciliation! But this time, the dream was very different, a sort of Surrealist metaphor. I felt strange when I woke up. I immediately understood that this dream represented my accident. When the accident happened, my brain did not really have the time to analyze nor understand what had actually happened. But afterwards, w ith these dreams, a sort of reminiscence was taking place in my brain which enabled it to express a posteriori, and in abstract fashion, the feelings, sensations produced by the accident. Talking of fear, of death, through a personal dream, I wanted above all to express the feeling of a passage towards an unknown world where we w ill probably all go..

J ero Yun despre RED ROAD Filmul e de fapt un vis pe care l-am avut noapte de noapte, din frageda copilarie. T ocmai ajunsesem

n Frana. Abia plecasem din Coreea i m aflam n Frana pentru prima oar. Dup numai o lun, pe biciclet fiind, am fost lovit de o main care m-a azvrlit doi metri n aer. Nu mi-a fost dat s mor n ziua aceea. Ochii mei au nregistrat totul i au transmis creierului cele vzute. T otul s-a petrecut foarte repede. Creierul n-a avut timp s devin contient n momentul impactului dintre mine, bicicleta i main. Zceam pe jos, fr s-mi dau seama nici macar c aveam capul plin de snge, fr sa inteleg ce se ntmplase. n noaptea aceea, am avut un vis. n vis, am putut n sfrit s vd ce se ntmplase, ca i cum ochii (sau creierul) ar fi memorat acele imagini. Biciclet ... lumin roie ... main ... zgomotul a ceva care se rupe. Era un sunet pe care l mai auzisem, un sunet percutant, aproape de nesuportat, care mi-a rsunat n cap zi i noapte mult timp de atunci ncoace. Civa ani mai trziu, am visat din nou accidentul. Era ca un fel de reconciliere! Dar, de data asta, visul era diferit. Devenise un soi de metafor suprarealist. M-am trezit cu un sentiment straniu. Am neles imediat c visul se referea la accidentul meu. Atunci cnd s-a ntmplat, creierul meu nu a avut timp s analizeze i s neleag. Dar, cu trecerea timpului i prin intermediul viselor, un fel de rememorare s-a ntmplat n creierul meu, care a fcut posibil reconstituirea a posteriori, ntr-o manier abstract, a senzaiilor produse de accident. Filmul vorbete despre team i moarte, prin intermediul unui vis personal. Mai presus de toate, am dorit s vorbesc despre senzaia trecerii ctre o lume necunoscut, care ne ateapt, probabil, pe toi...

He was born in Busan, South Korea, in 1980. At the age of 13, he began his training in drawing and painting. After 5 years of studying design at high school and an academic apprenticeship, he began his studies in classical art at art school in 1998. In 2000 his travels to Italy opened his eyes to a world he did not know. The existence of the foreign fascinated him. In 2001, he arrived in France. He became interested in the videos and experimental films of Jonas Mekas, Bill Viola, Garry Hill and the filmmakers of the 1920s: the avant-garde. In 2005, he entered the ENSAD (Ecole Nationale Suprieure des Arts Dcoratifs de Paris), Video / Photo Section, where he learned classic cinema and documentary. Since 2002, he has directed fifty films (fiction, documentary, video, experimental, journalism etc). He is currently looking for his cinematographic writing. He is currently an artist in residence at Le Fresnoy (Studio National of Contemporary Art), and continues to make films. Jero Yun s-a nscut la Busan, n Coreea de Sud, n 1980. A nceput s studieze desenul i pictura la 13 ani. Dup cinci ani de studii de design n liceu i de ucenicie universitara, s-a nscris n 1998 la cursurile de arta clasica n cadrul Institutului de Arte. n 2000, calatoriile in Italia ii deschid ochii ctre o lume despre care nici nu tia c exist. n 2001 sosete n Frana. Descoper arta video i filmele experimentale ale lui Jonas Mekas, Bill Viola, Garry Hill i ale avangarditilor anilor 1920. n 2005, este admis la Ecole Nationale Suprieure des Arts Dcoratifs din Paris, Secia video/ foto, unde urmeaz cursuri de cinema clasic i film documentar. ncepnd din 2002, lucreaz ca regizor de film. A regizat 50 de filme (documentare, filme de ficiune, filme experimentale, reporta je etc.). n prezent se afla in cautarea semnaturii sale cinematografice, a vocii sale artistice particulare. Este artist in rezidenta la Studioul Naional de Art Contemporan Le Fresnoy i continu s fac filme.

Bucharest International Experimental Film Festival 91

Returns
7, 2010, Poland director: Krzysztof Kadlubowski

With the support of / Cu sprijinul:

Director/REGIA: Krzysztof Kadlubowski ScriPtwriter/SCENARIUL: Krzysztof Kadlubowski CineMAtogrAPhy/IMAGINE: Krzysztof Kadlubowski Editing/MontAj: Tomasz Slawinski Production: Studio Filmowe Plus Tv

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

From the mist emerges the runway of Warsaw airport. The guard of honor of the Polish Army is waiting to solemnly welcome those who have just arrived in Poland. But there is no one to welcome this time. On their shoulders the soldiers carry invisible coffins in front of invisible spectators and carefully place them on special racks - all to the rhythm of Chopins Funeral March. We observe all the intricate choreography, which turns out to be a rehearsal for the ceremony. This short black-and-white film is a record of events that took place after 10 April 2010, one of the most important dates in modern Polish history. Din cea apare pista aeroportului din Varovia. Garda de Onoare a Armatei Poloneze ateapt aliniat s ntmpine solemn pe cei care tocmai au sosit n Polonia. Dar de aceast dat nu au pe cine s ntmpine. Soldaii duc pe umeri sicrie invizibile, defilnd n faa unor spectatori invizibili. Sicriele sunt aezate cu grij pe stative speciale totul in acordurile Marului funerar de Chopin. Suntem martorii unei coregrafii complicate, care se dovedeste a fi o repetiie pentru ceremonie. Acest scurtmetra j realizat n alb/ negru e o rememorare a evenimentelor care au avut loc dup 10 aprile 2010, una dintre datele cele mai importante ale istoriei poloneze moderne.

International Competition 92

Krakow IFF 2011/ Uppsala ISFF 2011/ Lille ISFF 2011/ Northern IFF The Netherlands 2011/ Message to Man IFF Russia 2011/ Era New Horizons IFF Poland 2011 etc.

FILM WEBSITE: www.polishdocs.pl/en/films/finished/905/returns

WORLD SALES: Krakow Film Foundation ul. Basztowa 15/8a, 31-143 Krakw, Poland E-mail: info@kff.com.pl Web: www.kff.com.pl Tel./Fax: +48 12 294 69 45 Katarzyna Wilk E-mail: katarzyna@kff.com.pl Directors contact: plustv@op.pl

On 10th April 2010, 96 people, including the Polish president and government representatives died

in a plane crash near Smolensk. They were on their way to Russia to participate in a ceremony commemorating the 70th anniversary of the Katyn massacre, the mass murder of Polish officers carried out by the Soviet Union NKVD. Krzysztof Kadlubowski on RETURNS 10th April 2010. First news about the air catastrophe of the government plane Tu-154 in Smolensk reached Poland. Soon the most tragic scenario became reality. All the crew members and passengers including the President of the Polish Republic - Lech Kaczynski and his w ife Maria died. Grief-stricken Poles pay last respects to the tragically deceased flight members in front of the Presidential Palace. By reason of my profession, I recorded all that happened during those sad days of April including the first of the returns. I came to the airport a bit earlier in order to place the camera in the best possible position. The crowd of journalists was already there waiting at the platform. Talks, little rough and tumbles. All of the sudden it came to me that I was w itnessing something metaphysical. I saw coffins that were not really there. The group of self-aware soldiers was rehearsing the official salute of the coffins w ith the remains of the casualties. I was struck by the tragic nature of this moment and the absurdity of the disquieting military ballet. I knew that I wanted to show that. At that precise moment I knew exactly how my film would look like.

Bucharest International Experimental Film Festival

La 10 aprilie 2010, 96 de oameni, printre care Preedintele Poloniei i reprezentani de seam

ai guvernului, au murit ntr-o catastrof aerian n apropiere de Smolensk. Delegaia polonez se ndrepta spre Rusia, pentru a participa la cea de-a 70-a comemorare a masacrului ofierilor polonezi de la Katyn, ordonat de NKVD-ul sovietic. Krzysztof Kadlubowski despre RETURNS 10 aprilie 2010. Se difuzeaz n Polonia prima tire despre catastrofa aerian de la Smolensk, n care a fost implicat avionul oficial TU-154. Curnd se dovedete c scenariul de comar e pur realitate. T oi membrii echipajului i pasagerii avionului - printre care Preedintele Poloniei Lech Kaczynski i soia lui, Maria - erau mori. n faa Palatului prezidenial, polonezii ndurerai aduc un ultim omagiu celor disprui n accident. Prin natura profesiei mele, am filmat tot de s-a-ntamplat n acele triste zile de aprilie, printre care i primele ntoarceri acas. Am sosit la aeroport mai devreme, ca sa am timp s plasez camera n cea mai bun poziie. O mulime de jurnaliti erau deja acolo. Brusc am avut revelaia c asist la ceva metafizic. Vedeam sicrie care nu erau de fapt acolo. Grupul de soldai repeta salutul oficial cu care aveau s ntmpine sicriele cu rmiele celor disprui. M-a frapat tragismul momentului i absurdul nelinititorului balet militar. Am tiut atunci c vreau s art toate acestea. n acel moment, am tiut exact cum va arta filmul meu.

Krzysztof Kadlubowski (b. 1965) graduated from the Polish National School of Film, Television and Theater in Ldz. He has been the co-founder and head of the Film Studio Plus from Warsaw since 1995, producing among other things commercials, music videos, public service spots, news coverage, animations and documentary films. He is also the cinematographer of many documentaries, such as The Constant General (2005); Polish Summer, Hungarian Autumn (2006) and Mutter (2007). Krzysztof Kadlubowski (n. 1965) a absolvit cursurile Institutului Naional de Film, Televiziune i Teatru din Ldz. Este co-fondator i director al Film Studio Plus din 1995, calitate n care a produs reclame, videoclipuri muzicale, spoturi publicitare pentru serviciile publice, tiri, filme de animaie i filme documentare. A semnat imaginea pentru o serie de filme documentare, precum The Constant General (2005); Polish Summer, Hungarian Autumn (2006) i Mutter (2007).

93

Ripping Riddance
3, 2011, Switzerland-Romania director: Sabina Tupan

CAST/distribuia: Sabina Tupan, Matthias Moos Director/REGIA: Sabina Tupan ScriPtwriter/SCENARIUL: Sabina Tupan Editing/MONTAJ: Sabina Tupan Sound/SUNET: Sabina Tupan, Matthias Moos

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Ripping Riddance is a film in which the viewer witnesses the bonding between two elements: the transformation of the natural into the artificial, mechanical and the constant feeling of eradicating ones past or current state of mind. The transformation earlier mentioned is being expressed within the film starting from the placement of body (the back) in a confetti shaped as a nest, the light hitting the back creating perfect horizontal lines and the natural breathing from the beginning which, once speeded up, becomes unnatural, almost mechanical and rhythmic. The attempt of getting rid on the image by ripping it apart seems to fail several times, as if this duality between the natural and artificial is here to stay. Ripping Riddance (Ruptur eliberat) este un film n care privitorul asist la mbinarea a dou elemente: transformarea naturalului, firescului ntr-o stare artificial, mecanic, i sentimentul constant al eliminrii trecutului sau prezentului. Transformarea menionat anterior este exprimat n cadrul filmului pornind de la plasarea corpului (spatelui) ntr-o form de cuib creat din confetti; lumina lovind spatele creeaz liniile orizontale, iar respiraia natural de la nceput, odat accelerat, i pierde naturaleea, devenind aproape mecanic i ritmic. ncercarea de a scpa de imagine prin rupere pare s eueze de mai multe ori, ca i cum aceast dualitate ntre natural i artificial dorete s rmn aici pentru mai mult timp.

International Competition 94

World premiere

WORLD SALES: Sabina Tupan E-mail: sabinatupan@gmail.com Web: people.zhdk.ch/sabina.tupan/

Sabina Tupan on RIPPING RIDDANCE: Ripping Riddance was produced while I was in exchange in Sw itzerland, studying Media Art; I guess coming from a fine arts background and working for five months in such a media-based department has influenced my way of perceiving and working w ith video. I felt that my work became slightly more technical regarding the message I was trying to get across. This explains the synopsis, but, as a personal note on this particular piece, I would say that the main message would be loss of childhood, the body becoming an egg in its nest and the hands that would try to disturb the eggs balance.

Bucharest International Experimental Film Festival

Sabina Tupan despre RIPPING RIDDANCE: Ripping Riddance a fost produs n timp ce eram n exchange n El veia, studiind Art media. Provenind din mediul artei plastice i lucrnd ntr-un astfel de departament timp de cinci luni, am simit o schimbare n felul meu de a percepe i de a lucra cu imaginea video. Lucrrile mele au devenit puin mai tehnice n ceea ce privete mesajul pe care doream s-l transmit. Acest lucru este explicat i n sinopsis, iar ca o not personal n legatur cu aceast lucrare, a spune c mesajul principal ar fi pierderea copilriei corpul devine un ou n cuibul su, cu minile care ar ncerca s perturbe echilibrul oului.

Sabina Tupan, born in Bucharest, has graduated from the Nicolae Tonitza Fine Arts Highschool and is presently a final year student of the Print and Digital Media Department within the University for the Creative Arts (Canterbury, UK). She followed a Media course at ZHdk University (Zrich, Switzerland) and plans to continue her art studies with an MA in Germany or the Netherlands. Selected filmography: Romanian Frame (2009)/ Tent Journal (2010)/ I Say Never (2011)/ Glimps (2011)/ Ripping Riddance (2011) Sabina Tupan, nscut la Bucureti, a urmat Liceul de Arte Plastice Nicolae Toniza, iar momentan este student n ultimul an la secia Print and Digital Media din cadrul University for the Creative Arts (Canterbury, Marea Britanie). A urmat un curs Media la Universitatea ZHdk (Zrich, Elveia) i i dorete s urmeze un masterat n Germania sau Olanda. Filmografie selectiv: Romanian Frame (2009)/ Tent Journal (2010)/ I Say Never (2011)/ Glimps (2011)/ Ripping Riddance (2011)

95

Roe
1, 2011, Romania director: Irina Ghenu

CAST/distribuia: Irina Ghenu Director/REGIA: Irina Ghenu ScriPtwriter/SCENARIUL: Irina Ghenu CineMAtogrAPhy/IMAGINE: Irina Ghenu Editing/MontAj: Irina Ghenu Music/MuzicA: Clint Mansell Production: UNARTE Bucureti

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Roe is a short experimental film that portrays a dream. An alternate reality in which fish roe float in the air. Roe este un scurtmetra j experimental ce ilustreaz un vis. O realitate alternativ n care icrele de pete plutesc n aer.

International Competition 96

World premiere

WORLD SALES: Irina Ghenu E-mail: teaotspp@yahoo.com

Irina Ghenu on ROE: Roe has been considered a symbol for fertility or pregnancy. Although it is still unclear the way the subconscious is processing and coding the information, dreams have a vivid way of expressing our fears and emotions. Through dreams, our alternate sel ves become real. A single ego is an absurdly narrow vantage from which to view an experience. And the only way to contemplate relationships of ones various sel ves to one another is through dreams. Thats why floating roe could be seen as a display of not-yet born sel ves.

Irina Ghenu despre ROE: Icrele au fost considerate un simbol al fertilitii sau sarcinii. Dei este nc neclar modul prin care subcontientul proceseaz i cripteaz informaia, visele au un mod expresiv de a ne arta sentimentele. Prin vise, eurile alternative devin reale. Un singur eu este un punct extrem de ngust prin care poate fi privit o experien. Iar singurul mod de a contempla relaia dintre multitudinea de euri este prin vise. De aceea, icrele plutitoare pot fi vzute ca o expunere a tututor eurilor neformate.

Bucharest International Experimental Film Festival

Irina Ghenu was born in Giurgiu, Romania. She is a 3rd year student of Bucharests National University of Art (BA in Photo, Video). She is trying to pursue a career in video art and cinema. She almost always uses herself as character in her films mainly because self-expressions seem more reliable than illustrating unexperienced events and feelings. Selected filmography: Nana (2010)/ Bird Girl (2010)/ The Bank (2010)/ Waking (2010) / Roe (2011) / Mirror (2011)

Irina Ghenu s-a nscut n Giurgiu. Este student n anul al III-lea la Universitatea Naional de Arte (specializare: Fotografie, Video). Urmrete dezvoltarea unei cariere n cinematografie i video art. Se folosete pe sine aproape de fiecare dat n propriile producii, n special pentru c ilustrarea sinelui pare un mod mai sigur de expresie dect prezentarea unor evenimente i emoii netrite. Filmografie selectiv: Nana (2010)/ Bird Girl (2010)/ The Bank (2010)/ Waking (2010) / Roe (2011) / Mirror (2011)

97

So Do I
12, 2009, Romania director: Vlad Constantin

CAST/distribuia: Constantin Florescu, Veronica Gheorghe Director/REGIA: Vlad Tiberiu Constantin ScriPtwriter/SCENARIUL: Vlad Tiberiu Constantin CineMAtogrAPhy/IMAGINE: Daniel tefan Editing/MONTAJ: Dan tefan Prlog Sound/SUNET: Dan tefan Prlog Production: UNATC Bucureti

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Surrounded by an artificial monotony, in which even sin has lost its fire, two spouses cheat on each other. Whether they are blind against this situation, whether they tacitly agree upon it, these two continue to declare Love to one another. This word is written in the stone which they have to carry every morning.

International Competition

7 Arts National Film Festival 2009, Clrai (Romania)/ CineMAiubit International Student Film Festival 2010, Bucharest

ntr-o monotonie artificial, n care pn i pcatul i-a pierdut din flcri, doi soi se neal. Fie c sunt orbi n faa situaiei, fie c o consimt (la fel ca i vecinii lor), acetia continu s-i declare Iubire. Acest cuvnt atrn greu n aerul rece al fiecrei diminei.

WORLD SALES: Vlad Constantin E-mail: vlad.tiberiu.constantin@gmail.com

98

Vlad Constantin on SO DO I: Without language there is no falsehood. Everything is true. Can it be that language represents only a cover-up for the deepest desires of man? What if people speak just to lie? How many people say what they feel, and how many stay hidden behind their language? In the beginning there was the word. And the word was a lie.

Bucharest International Experimental Film Festival

Vlad Constantin despre I EU: Fr limbaj nu exist minciun. T otul este adevrat. Se poate oare ca limbajul s reprezinte o acoperire pentru cele mai adnci dorine ale omului? Dac oamenii vorbesc numai pentru a mini? Ci oameni spun cu adevrat ce simt i ci oameni se ascund n spatele limbajului? La nceput a fost cuvntul. i cuvntul era o minciun.

Vlad Constantin was born in Clrai, Romania, in 1984, and came to Bucharest after the revolution. After four years spent as a student at the faculties of Project Management and Political Sciences, Vlad decided to follow the National University of Drama and Film, and graduated Film Directing in 2010. He is currently an MA student at the Editing and Sound department and a student at the Faculty of Art Theory and History. Selected filmography: So Do I (2009)/ Tranzit (2010)/ LAcadmie Roumaine (2011)/ Someone Will Call You (2011)

Vlad Constantin s-a nscut la Clrai n 1984 i a venit n Bucureti dup revoluie. Dup patru ani petrecui ca student al facultilor de Management al Proiectelor i tiine Politice, Vlad s-a hotrt s urmeze Facultatea de Regie de Film, pe care a i absolvit-o n 2010. n present, este masterand la Facultatea de Film, secia Monta j i Sunet, i student la Facultatea de Istoria i Teoria Artei. Filmografie selectiv: i eu (2009)/ Tranzit (2010)/ LAcadmie Roumaine (2011)/ Cineva o s v sune (2011)

99

Someone Will Call You


7, 2011, Romania director: Vlad Constantin

CAST/distribuia: Silviu Debu Director/REGIA: Vlad Tiberiu Constantin ScriPtwriter/SCENARIUL: Vlad Tiberiu Constantin CineMAtogrAPhy/IMAGINE: Zsolt Magyari Editing/MONTAJ: Vlad Tiberiu Constantin Sound/SUNET: Vlad Tiberiu Constantin Production: UNATC Bucureti

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

The competition is tough and our hero needs to eat. How far does he allow himself to go in order to work? What is work? This is a film about what remains outside while you enter, about the power of the example and the downfall of this specific structure in the social architecture. What is lost when you stay bound to be less human? Concurena este mare i eroul nostru trebuie s mnnce. Ct de departe este dispus s mearg ca s munceasc? Ce nseamn munc? Acesta este un film despre ce lai la intrare, despre puterea exemplului i arhitectura social deviant. Ce se pierde atunci cnd eti constrns s fii mai puin om.

International Competition 100

World premiere

WORLD SALES: Vlad Constantin E-mail: vlad.tiberiu.constantin@gmail.com

Vlad Constantin on SOMEONE WILL CALL YOU: People work in general too much, to remain authentic. Work has become a curse. And man made this curse voluptuous. T o turn work into a target, to work w ithout joy and outside creativity leads only to absurdity. Work has become absurd along w ith the concrete man. [] Creative work has to be an activity of continuous transfiguration, not an exteriorizing activity, one to lead outside the centre of being. It is representative that in our modern society work expresses an exclusively exterior activity. That is why man no longer expresses himself, but produces. T o work so that you can live, this is a fatality which for man is the final expression of self-renouncing. [] Through work, man turned from subject to object, to an animal which even lacks the quality of savagery. Instead of developing his shining presence in the world, searching a solar existence, instead of living for itself not in a selfish way, but in a way of inner development he has become a sinful and impotent servant of sensible reality. (Emil Cioran) Cinema not only provides the background for ethical introspection, but imposes through its simple (magical) presence such reflections. Cinema exists in order to be seen. Cinema has to assume responsibility for its powers by show ing it is capable to develop a new type of language, a new type of media.

Bucharest International Experimental Film Festival

Vlad Constantin despre Cineva o s v sune: Oamenii muncesc n general prea mult pentru a mai putea fi autentici. Munca a devenit un blestem. Iar omul a fcut din acest blestem o voluptate. A face din munc un scop n sine, a munci fr bucurie i n afara oricrui act creator nu duce dect la absurdul muncii. Munca a devenit absurd i odat cu ea omul concret. [...] Munca creatoare, trebuie s fie o activitate de continu transfigurare i nu o activitate de exteriorizare, de ieire din centrul fiinei. Este emblematic faptul c n societatea modern munca exprim o activitate exclusiv exterioar. De aceea, prin ea omul nu se mai realizeaz, ci realizeaz. S munceti pentru ca s trieti, iat o fatalitate care la om e expresia final a renunrii la sine. [...] Prin munc, omul a devenit din subiect obiect, adic un animal, care nu mai are nici macar calitatea slbticiei. n loc ca omul s tind la o prezen stralucitoare n lume, la o existen solar i sclipitoare, n loc s triasc pentru el nsui nu n sens de egoism, ci de cretere interioar , a ajuns un rob pctos i impotent al realiii din afar. (Emil Cioran) Cinema-ul nu numai c are posibilitatea s ndemne la introspecii de natur etic, ci impune, prin simpla prezen (magic), asemenea cutri. El exist pentru a fi privit. Cinema-ul trebuie s-i asume responsabilitatea unei astfel de puteri, artnd c este capabil s pun bazele unui nou tip de limbaj, unui nou tip de media.

Vlad Constantin was born in Clrai, Romania, in 1984, and came to Bucharest after the revolution. After four years spent as a student at the faculties of Project Management and Political Sciences, Vlad decided to follow the National University of Drama and Film, and graduated Film Directing in 2010. He is currently an MA student at the Editing and Sound department and a student at the Faculty of Art Theory and History. Selected filmography: So Do I (2009)/ Tranzit (2010)/ LAcadmie Roumaine (2011)/ Someone Will Call You (2011)

Vlad Constantin s-a nscut la Clrai n 1984 i a venit n Bucureti dup revoluie. Dup patru ani petrecui ca student al facultilor de Management al Proiectelor i tiine Politice, Vlad s-a hotrt s urmeze Facultatea de Regie de Film, pe care a i absolvit-o n 2010. n present, este masterand la Facultatea de Film, secia Monta j i Sunet, i student la Facultatea de Istoria i Teoria Artei. Filmografie selectiv: i eu (2009)/ Tranzit (2010)/ LAcadmie Roumaine (2011)/ Cineva o s v sune (2011)

101

Stardust
20, 2010, Belgium director: Nicolas Provost

Director/REGIA: Nicolas Provost ScriPtwriter/SCENARIUL: Nicolas Provost CineMAtogrAPhy/IMAGINE: Nicolas Provost Editing/MontAj: Nico Leunen, Nicolas Provost, Nathalie Cools Sound/SUNET: Nicolas Provost Producer/productor: Nicolas Provost

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

Venice Orizzonti 2010/ Tiger Award for Short Film at Rotterdam IFF 2011/ Honorable Mention - Tampere ISFF 2011/ Milano IFF 2010/ Sundance IFF 2011/ Clermont Ferrand ISFF 2011/ Cinema du Reel IDFF Switzerland 2011/ Jeonju IFF Japan 2011/ Cinema Jove ISFF 2011/ Brussels ISFF 2011/ Norwegian ISFF 2011/ Hamburg ISFF 2011 etc.

Nicolas Provost (award winner in BIEFF 2010 with his previous short PLOT POINT) took his hidden camera to Las Vegas and used the glorious, ambiguous seduction of the gambling capital to turn everyday activities into a thriller. The inhabitants of Las Vegas and its visitors unwittingly act as the leading characters and extras in STARDUST. Provost filmed everyday life in Sin City with a hidden camera, making use of Hollywoods cinematic and narrative codes to edit the footage into a fiction film. Without even realizing it, a couple of real Hollywood stars, including Dennis Hopper and Jack Nicholson, even have cameos. World premiered in Venice Orizzonti 2010 and winner of the Tiger Award for Short Film in Rotterdam 2011. Nicolas Provost (premiant al Festivalului Internaional de Film Experimental Bucureti 2010 cu scurtmetra jul PLOT POINT) a filmat cu camera ascuns la Las Vegas. Splendoarea ambigu i puterea de seducie a capitalei jocurilor de noroc e folosit de autor pentru a transforma activiti cotidiene banale n thriller. Locuitorii i vizitatorii din Las Vegas au devenit, fr voia lor, protagoniti sau figurani n STARDUST. Provost a filmat viata cotidiana din Oraul Pcatului cu camera ascuns si a montat materialul sub forma unui film de fictiune, folosind codurile narative i cinematografice hollywoodiene. Fr s tie, cteva staruri reale ale Hollywoodului, printre care Dennis Hopper i Jack Nickolson, au apariii cameo n filmul lui Provost. Prezentat in premiera mondial la Festivalul de la Veneia n 2010, n seciunea sa inovativ Orizzonti, i ctigtor al Tiger Award pentru cel mai bun scurtmetra j la Festivalul de la Rotterdam 2011.

FILM WEBSITE: www.nicolasprovost.com

102

WORLD SALES: Laurence Alary ARGOS distribution Werfstraat 13 rue du Chantier, B-1000 Brussels, Belgium E-mail: distribution@argosarts.org Web: www.argosarts.org Tel: +32 2 229 00 03 Fax: +32 2 223 73 31 Directors contact: Nicolas Provost - provost@online.no

CurAtors coMMent STARDUST is the second part of a trilogy where Provost investigates the boundaries of fiction and reality by filming everyday life w ith a hidden high resolution camera and editing the cinematic images into a fiction film by using cinematographic and narrative codes from the Hollywood film language. The first part of the trilogy was the award w inning Plot Point (2007) that turned everyday life around T imes Square into a thriller film, by using a subtle combination of music, editing and photography to lead the viewer into a subconscious process of establishing and discovering a story. STARDUST takes his investigation a step further, manipulating recorded conversations taken from films as well as background music. Provost moves from New York to Las Vegas, filming the public going about their daily business. He then uses these clips of people engaging in conversations, making phone calls, watching a screen or gazing into space, and adds film music and dialogue over the top. Provost is the master of exploiting the associations and reactions learned by the public through years of watching crime and action films and television programs, using film music to build tension, to induce emotional responses, to alter the nature of what is seen or heard. He also uses parataxis to great effect, presenting two separate and unrelated things together, so that the audience generates links. For example, hearing gunshots while the camera shows only a closed door, we think that the shots have been fired in the room behind the door. Through his understanding of cinematographic language, Provost manipulates the audience into generating narratives and developing characters. As the piece progresses, the plots that must be built become more complex and less believable, exposing the tricks Provost is playing. Argos Center for Art and Media Brussels Comentariul curatorului: STARDUST este partea a doua a unei trilogii n care Provost investigheaza graniele dintre ficiune i realitate prin filmarea vietii cotidiene cu o camera ascunsa de nalt rezoluie si montarea imaginilor sub forma de film de fictiune prin folosirea codurilor narative si cinematografice hollywoodiene. Prima parte a trilogiei, multipremiatul Plot Point (2007) transform n thriller viaa cotidian din Times Square, prin utilizarea unei combinatii subtile de muzica, montaj i miscari de aparat, menita sa declaneze n mintea spectatorului un proces subcontient, de identificare i descoperire a unei povesti. STARDUST duce investigatia la un nou nivel, manipulnd conversaii extrase din filme i muzica de fundal. Provost se mut de la New York la Las Vegas i filmeaz oamenii de pe strad, care i vd de treburile lor zilnice. Foloseste apoi aceste imagini n care oamenii stau la poveti, vorbesc la telefon, se uit la vreun ecran sau pur i simplu privesc n gol, i le adauga pe sonor replici i muzica. Provost e un maestru in exploatarea asociaiilor de idei i reaciilor previzibile invatate de public de-a lungul anilor de vizionat filme poliiste, de aciune i seriale de televiziune. Foloseste muzica pentru a crea tensiune, pentru a induce reacii emoionale, pentru a altera natura a ceea ce se vede pe ecran. Parataxa e de asemenea utilizat cu mare eficien, prezentnd mpreun elemente separate, fr legtur ntre ele, astfel nct mintea spectatorului s genereze relaii ntre ele. De exemplu, auzind sunetul unei mpucturi n timp ce imaginea arat o ua nchis, spectatorul i va nchipui c cineva a tras cu arma n camera din spatele acelei ui. Folosindu-se de limbajul cinematografic, Provost i manipuleaz spectatorii spre a-i construi singuri mental naraiunea i personajele. Pe msur ce se deruleaz filmul, intrigile care trebuie construite devin tot mai complicate i mai greu de crezut, demascnd trucurile la care a recurs autorul. Argos Center for Art and Media Brussels

Nicolas Provost (b. 1969) is a filmmaker and visual artist who moved back to Brussels after a ten-year stay in Norway. His work is a reflection on the grammar of cinema and the relation between visual art and the cinematic experience, analyzing and questioning the phenomenon of cinema, its various elements, its influence and conventional rules. His work intends to walk on the fine line between dualities, between the grotesque and the moving, beauty and cruelty, the emotional and the intellectual. Time and again his phantasmagorias provoke both recognition and alienation and succeed in catching our expectations into an unraveling game of mystery and abstraction. With manipulations of time, codes and form, cinematographic and narrative language is analyzed, accents are shifted and new stories are told. In his found footage work, filmic memory and perception are stimulated by the use of film historical fragments. Apart from the use of film and visual language, sound is also a constant factor in Provosts body of work, as a rhythmical spine or an emotional guideline. His work has been screen and awarded in top film festivals like Venice, Rotterdam, Clermont Ferrand etc and exhibited in prestigious museums and galleries like Chicago Museum of Modern Art, Centre Pompidou, Haus der Kulturen der Welt, etc. Nicolas Provost (n. 1969) este un cineast i artist vizual de origine belgiana, care a revenit la Bruxelles dup ce a locuit timp de 10 ani n Norvegia. Lucrrile lui sunt reflecii asupra gramaticii filmice i a relaiei dintre arta vizual i experiena cinematic, analiznd i ridicnd ntrebri referitoare la fenomenul cinematografic i elementele care l compun, la influena pe care o are i la conveniile pe care le genereaz. Are intentia de a pi pe linia incert de demarcaie dintre dualitati: grotesc si emotionant, frumusete si cruzime, sentimental si intelectual. Fanteziile lui Provost reuesc mereu s provoace simultan sentimentul recunoaterii de sine i al alienrii i s atraga ateptrile spectatorului ntr-un joc al misterului i abstractizrii. Prin manipularea timpului, a codurilor i formei, el analizeaz limba jul cinematic i naraiunea filmic, schimba accentele i spune mereu alte i alte poveti. In lucrarile sale bazate pe found footage, memoria filmic i percepia sunt stimulate prin utilizarea unor materiale de arhiv. Dincolo de limba jul cinematic i vizual, lucrrile lui Provost acord o mare importan sunetului, care devine coloana vertebral pe care se construiesc ritmul si emoia filmului. Creaiile lui au fost prezentate i premiate la festivaluri internaionale, precum cele de la Veneia, Rotterdam, Clermont Ferrand i altele i expuse n muzee i galerii de prestigiu: Chicago Museum of Modern Art, Centre Pompidou, Haus der Kulturen der Welt etc.

103

Bucharest International Experimental Film Festival

Sundays
14, 2011, Belgium director: Valry Rosier

With the support of / Cu sprijinul:

CAST/distribuia: Germaine Dervaux, Jonathan Masure, Fernande Delcroix, Odette Beaudart, Monique Parent, Andre Vanopdenbosch Andr Delcroix, Jean-Louis Lejeune, Muriel Deghelt, Andr Caron Jos Delroisse, Denise Lhotte, Andr Lefbvre, Grgory Masquelier-Huys Director/REGIA: Valry Rosier ScriPtwriter/SCENARIUL: Valry Rosier CineMAtogrAPhy/IMAGINE: Olivier Boonjing Editing/MontAj: Nicolas Rumpl Sound/SUNET: Arnaud Calvar Production: Papyrus Films/ Ultime Razzia Productions Sundays or how Mankind faces the passage of time. That spare time we are trying to fill at all costs. That same time we see passing by, with laughter or boredom. My intention in this film is to show how we, as human beings, face the emptiness in our lives. A series of paintings in which human beings look like still lives. (...) Between hyper realism and burlesque, it is a mixture of sense and nonsense. Our lives are filled with moments where things make sense one day and not another. A spirit and aesthetics similar to the films of Ulrich Seidl and photos of Diane Arbus, In Sook Kim and Jeff Wall. (Valry Rosier) Winner of the Kodak Discovery Award in Semaine de la Critique Cannes 2011 and European Film Awards Nominee of Curtas Vila do Conde ISFF 2011. Duminici, sau cum face Omenirea fata trecerii timpului. Acel timp liber pe care ne strduim s-l umplem cu orice pre. Acel timp pe care l privim scurgndu-se, rznd sau plictisii. Am vrut s art n acest film modul n care noi, fiinele umane, facem fa golului din existenele noastre. Un ir de tablouri n care fiinele umane arat ca nite naturi moarte (...) ntre hiper-realism i burlesc, ntr-un amestec de sens i nonsens. Viaa e plin de momente n care lucrurile par ntr-o zi s aib sens, pentru a deveni lipsite de sens n urmtoarea. Filmul are spiritul i estetica filmelor lui Ulrich Seidl i ale imaginilor Dianei Arbus, ale lui In Sook Kim i Jeff Wall. ( Valery Rosier) Ctigtor al Kodak Discovery Award la Semaine de la Critique Cannes 2011 i nominalizat la European Film Awards al Curtas Vila do Conde ISFF 2011.

International Competition 104

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Kodak Discovery Award and Special Jury Metion - Semaine de la Critique Cannes 2011/ French Community Award and Special Press Jury Mention - Brussels ISFF 2011/ European Film Awards Nominee of Curtas Vila do Conde ISFF 2011/ Milano IFF 2011/ Namur IFF 2011/ San Francisco IFF 2011/ Sao Paulo ISFF 2011/ Alternativa Barcelona ISFF 2011 etc. FILM WEBSITE: www.facebook.com/dimancheslefilm WORLD SALES: Ultime Razzia Productions 81 rue de Moncheret, 6280 Acoz, Belgium Nicolas Guiot E-mail: urzzia@gmail.com Tel: +32 477 30 59 39 Directors contact: Valry Rosier Rue de lErmitage, 6, 1050 Bruxelles E-mail: valery.rosier@gmail.com Tel: +32/475/27.30.30 / +33/6/ 05.30.68.81

Valery Rosier on SUNDAYS What to do on Sundays? What does the human being do when he has nothing to do? Why do some people have difficulties just doing nothing? The Belgian Symbolist poet Georges Rodenbach writes Sunday: a pale boredom of the soul, idleness at its best. Why is it that, for many, Sunday is synonymous w ith blues or boredom? Isnt the way we seek at all costs to fill our free time an indicator of a certain emptiness in our lives? According to Cioran, the only concern of most men is to escape the boredom of life. He adds that boredom is the cause of human entertainment, whose success exposes the miserable side of humanity. Boredom, a feeling born out of the tiredness of having to be something rather than nothing. Arent Sundays, or at least what we make of them, not indicative of the way we approach our lives? With blinders on and running or w ith eyes w ide open facing reality. The film is composed of thirty static shots. Each of these plans shows an unusual situation, sometimes ridiculous, bordering on ludicrous, reminiscent of Sundays activities or inactivities. The bodies are the reflection of the staging: static. Not that they remain inert throughout the sequence, but rather because the characters fail to evolve w ithin the universe surrounding them. Everyone seems to be stuck in the stiffness of the frame. The film is not a documentary. It is a fiction. It aims to explore a very hybrid kind: the staged reality. It is a fiction in which actors play themselves. They are filmed in their apartment, or workplace, in their own clothes, accompanied by their spouse, etc. The only difference is that they perform an action, something not too distant from their lives, but written in advance, staged, rehearsed, shot several times w ithin a set frame and light. The film is primarily a fiction. A fiction that draws heavily from reality.

Bucharest International Experimental Film Festival

Valery Rosier despre SUNDAYS Ce facem duminicile? Ce fac oamenii atunci cnd nu au nimic de fcut? De ce e aa de greu s nu faci nimic? Poetul simbolist belgian Georges Rodenbach scria: Duminic: o palid plictiseal a sufletului, lene, n cel mai bun caz. Oare de ce, pentru foarte muli, duminica e sinonimul melancoliei i al plictiselii? Modul n care ne strduim s ne umplem timpul liber cu orice pre nu indic oare prezena unui gol n vieile noastre? Citndu-l pe Cioran, singura grij a majoritii oamenilor e aceea de a scpa de plictiseal. i Cioran adaug: plictiseala a nscut divertismentul, iar succesul acestuia din urm e expresia nefericirii umane. Plictiseala, un sentiment nscut din oboseala de a trebui s fii ceva, mai curnd dect nimic. Oare nu sunt duminicile - sau cel puin ceea ce facem din ele - indicatori ai modului cum ne abordm viaa? Cu ochii acoperii i alergnd, sau cu ochii deschii, nfruntnd realitatea. Filmul e compus din treizeci de cadre statice. Fiecare nfieaz o situaie aparte, neobinuit, uneori ridicol, aproape absurda, amintind de activitatile sau inactivitatile duminicale. Corpurile sunt i ele o reflectie a punerii in scena: statice. Nu nseamn c rmn inerte pe parcursul scenelor, ci mai curnd c personajele eueaz n ncercarea de a evolua n propriul mediu nconjurator. Fiecare pare a fi blocat n rigiditatea cadrului. SUNDAYS nu e un documentar, e un film de ficiune. Isi propune sa exploreze un teritoriu hibrid: punerea in scena/ regizarea realitatii. E o ficiune n care actorii se joac pe ei nsisi. Sunt filmai la ei acas sau la lucru, n hainele personale, cu soul sau soia etc. Singura diferen fa de viaa cotidiana e c joac un rol, care, n.b., nu e prea departe de viaa lor real, dar e scris dinainte ntr-un scenariu, e pus in scena, repetat, filmat de mai multe ori in interiorul unei incadraturi si cu o iluminare prestabilite. Putem spune despre acest film c e o ficiune. O ficiune extras din realitate.

After studying Management Engineering, Valry Rosier starts a film school in Belgium (IAD). His final film, Yeti , gets selected in numerous festivals and receives a few prices. On the side he works as a director assistant on some feature films. In 2008, he shoots Good Night , a short film that wins more than ten prizes all over the world and gets nominated at the European Film Awards in 2009. In 2011, he finishes a new short film Sundays , and shoots a documentary, Silence radio , in the north of France. He is currently writing the script of his first feature film. Dup terminarea studiilor de Management Engineering, Valry Rosier se nscrie la Institutul de Film din Belgia. Filmul de absolvire, Yeti, e selectat de numeroase festivaluri i obine cteva premii. ntre timp, Rosier lucreaz ca asistent de regie la mai multe filme de ficiune. n 2008, filmeaz Good Night, un scurtmetra j care avea s obin peste zece premii internaionale i o nominalizare pentru European Film Awards n 2009. n 2011, termin filmul Sundays i filmeaz n nordul Franei pentru documentarul Silence Radio. n prezent, scrie scenariul primului su lungmetra j.

105

The Box
10, 2011, Romania director: Mircea Ghibortz Ghinescu

CAST/distribuia: Laureniu Bnescu Director/REGIA: Mircea Ghibortz Ghinescu ScriPtwriter/SCENARIUL: Mircea Ghibortz Ghinescu CineMAtogrAPhy/IMAGINE: George Dsclescu Editing/MontAj: Alexandru Dumitrescu Music/MuzicA: Alexandru Dumitrescu Production: endslate production & LockNLoad Production

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

ESCU works as a box assembler in a factory. From one side of the room flat cardboards are entering on a mechanized belt and with a tape-dispenser he puts them up into boxes, which then are getting out of the room through an opening in the wall on the other side of the room. The conveyor belt is jamming, so ESCU waits patiently for his work schedule to be over. But boredom sets in, so ESCU starts to look at the box left inside... Eventually the conveyor belt starts over and ESCUs schedule comes to an end...He needs to put the box down and go home. ESCU este un muncitor contiincios ntr-o fabric de ansamblat cutii. ncperea n care lucreaz este strbtut de o band rulant care aduce cartoane ce sunt transformate n cutii de ESCU. Banda se blocheaz la un moment dat, iar ESCU nu mai are nimic de fcut dup ce ansambleaz i ultimul carton. De plictiseal, ESCU se apuc s i cerceteze obiectul munciiBanda repornete, iar ESCU se apuc de lucru pn la finalizarea programului, dup care va trebui s plece acas, ca n fiecare zi de munc.

International Competition 106

Timishort 2011, Timioara, Romania/ EBienale George Enescu International Festival 2011, Bucharest

WORLD SALES: Roxana Ghinescu E: roxana@endslate.ro

Mircea Ghibortz Ghinescu on THE BOX If you dont have a life get a box!

Mircea Ghibortz Ghinescu despre THE BOX Dac nu ai o via f rost de o cutie!

Bucharest International Experimental Film Festival 107

mircea ghibortz ghinescu, born and raised like a bum he talks and writes like an illiterate and thinks of himself as a true but yet undiscovered film talent. his lack of iron and studies reflects the three ma jor degrees he never graduated cause in a pub there are not so many books. all he knows about films is what his roommates were talking about after they returned the VHS tapes to the rental store. he is still daydreaming at 34 of becoming the next great director while serving coffee as an assistant director. couple of shorts and a music video for some friends... thats all: A Days Work (2010), No Snow This Winter (2010), Jeremiah (Go To Berlin). mircea ghibortz ghinescu, nscut crescut i necioplit scrie i se semneaz ca un analfabet i se crede cel mai talentat dintre frustrai. are carene de fier i studii grave. despre cele trei faculti cioprite nu prea are ce s vorbeasc la crcium nu prea se preda. despre filme i regie a prins din discuiile colegilor de camer care tociser casetele video de la un butic de nchirieri. de fcut filme zice c tie dar nu are cu cine aa c n restul timpului se ocup cu visatul i face pe asistentul altora. scurtmetra je i videoclipuri la prieteni cam att a reuit s nregistreze pe diverse suporturi: O zi de munc (2010), Cet hiver pas de neige (2010), Jeremiah (Go To Berlin).

The Evocation Of Sadness


11, 2010, Netherlands director: Erwin Olaf

With the support of / Cu sprijinul:

CAST/distribuia: Romy de Vries, Hans Kemna, Gerrie van de Klei, Cas Enklaar, Adrian Brine Director/REGIA: Erwin Olaf ScriPtwriter/SCENARIUL: Erwin Olaf/ Ate de Jong CineMAtogrAPhy/IMAGINE: Steve Walker Art direction/SCENOGRAFIA: Floris Vos Producer/productor: Ate de Jong Production: Mulholland Pictures BV

International Competition

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Netherlands Film Festival 2010, River IFF Italy 2011, Avanca IFF Portugal 2011, etc.

The latest work of the controversial visual artist Erwin Olaf, THE EVOCATION OF SADNESS, is a stylized tribute to Luchino Visconti about a 19th century young noblewoman who is surrounded by people from the moment she awakes. Resigned, she undergoes the morning ritual, in which three servants clothe her and do her hair. During the day, she grows increasingly paranoid. The people she sees remain unnoticed by the others. Or is she really watched? Erwin Olaf here turns the making of films into subject. He is investigating the cinematic medium itself, bursting the bubble of illusion. Unlike the Hollywood film The Truman Show, where the protagonist is the only one who does not know he is living in a television show, Sophie is the one-eyed queen in the land of the blind. Cea mai recent lucrare a controversatului artist vizual Erwin Olaf THE EVOCATION OF SADNESS e un omagiu stilizat adus lui Luchino Visconti. Suntem n sec. 19. O tnr de familie nobila e inconjurata de oameni din momentul in care se trezeste. Resemnata, ii duce la bun sfrit ritualul matinal, n timpul cruia trei servitoare o mbrac i o piaptn. Pe msur ce ziua nainteaz, devine din ce n ce mai paranoic. Oamenii pe care ea i vede nu sunt observai de ceilalti. Sau, oare e intr-adevar supravegheata? Subiectul filmului lui Erwin Olaf devine chiar procesul realizrii unui film. Spulbernd iluzia, el analizeaza insasi natura cinema-ului. Spre deosebire de hollywoodianul The Truman Show, unde protagonistul e singurul care nu tie c triete ntr-un spectacol de televiziune, Sophie e singura care vede ntr-o ar a orbilor.

FILM WEBSITE: www.erwinolaf.com

108

WORLD SALES: Netherlands Media Art Institute NIMk Joke Ballintijn Keizersgracht 264 1016 EV, Amsterdam, The Netherlands E-mail: joke@nimk.nl Web: www.nimk.nl Tel: +31(0)20 6237101 Directors contact: info@erwinolaf.com

CurAtors coMMent In a number of his films, Erw in Olaf serves up perfect worlds in which dazzlingly beautiful people in crease-resistant clothing move through sublime interiors, unapproachable and emotionless. Theres not a blemish in sight, until Olaf himself introduces cracks in this perfect surface. That is also what happens in THE EVOCATION OF SADNESS ( original title La T ristesse Riche). Like the Italian filmmaker Luchino Visconti, to whom this film is an homage, Olaf has a profound feeling for detail and style. The film promises to be a costume drama, but rapidly changes course. In the past, the elite were constantly surrounded by servants. As a member of the nobility, that was your lot and you patiently accepted it. The original title, whose literal translation would be The Rich Sorrow, would seem to refer to this golden cage. Sophie, a young scion of a 19th century Dutch noble family, is awakened and dressed by three servants. With some reluctance she has accepted that these strangers see her naked body and touch her in moments of intimacy. But when real intruders invade her world, its more than Sophie can take. Aside from the mentally retarded gardener, she is the only one who sees these aliens; they are invisible to the rest of her family. Is poor Sophie mad, or a visionary? Nanda Janssen, Netherlands Media Art Institute

CoMentAriuL curAtoruLui n multe dintre filmele sale, Erw in Olaf ne prezinta lumi perfecte, in care oameni fascinant de frumoi, mbrcai impecabil, evolueaz, inabordabili i impasibili, n interioare sublime. T otul e imaculat, pn n momentul n care autorul nsui introduce fisuri in aceast suprafa perfect. Este i cazul filmului de fa (cu titlul original La T ristesse Riche). Asemeni lui Visconti, pe care autorul l omagiaz prin acest film, Olaf are un sim ascuit pentru detaliu i stil. T otul ncepe ca un film de epoc, dar cursul se schimb rapid. n trecut, cei din nalta societate triau constant nconjurai de servitori. Dac fceai parte din nobilime, trebuia s accepi acest stil de via. T itlul original, La T ristesse Riche, s-ar traduce prin T ristee fastuoas i pare s se refere la aceasta colivie aurit. n fiecare diminea, Sophie, o tnr descendent a unei familii nobiliare olandeze din sec. 19, e trezit i mbrcat de trei servitoare. Ea a acceptat, dei cu o oarecare repulsie, ca aceste strine s o vad goal i s o ating n momentele de intimitate. Dar cnd intrui adevrai i invadeaz lumea e mai mult dect poate suporta Sophie. n afara grdinarului, care e srac cu duhul, ea e singura care i vede pe invadatori. Pentru restul familiei, ei sunt invizibili. Ce s-a ntmplat cu biata Sophie? E nebun sau vizionar? Nanda Janssen, Netherlands Media Art Institute

Erwin Olaf (b.1959) is a Dutch visual artist whose trademark is to address social issues, taboos and bourgeois conventions in a highly stylized and cunning mode of image making. In his carefully staged and lit, perfectly constructed compositions and his flawlessly conceived scenarios, Olafs work questions the preconceived judgments about our life, shamelessly confronting us with the incongruities of common norms and values. Since 1991, he has also been making films and videos drawing upon a visual language that is very similar to his photography. During the last years, he has increasingly concentrated on autonomous video and installation work playing with the traditions of art, fashion, television and cinema. His highly controversial oeuvre has received many awards and has been shown in galleries and museums all around the world: Maison Europenne de la Photographie, Paris; Chelsea Art Museum, New York; Kunsthalle, Winterthur, Switzerland, Museum of the City of New York, Stedelijk Museum, Amsterdam, Modern Art Gallery of Bologna, Italy; Museum of Modern Art, Moscow; The Hague Museum of Photography; Institut Nerlandais, Paris; Hermitage, Amsterdam; Rijksmuseum, Amsterdam etc Erwin Olaf (n.1959) e un artist vizual olandez, care i-a fcut un renume din a adresa controverse sociale, tabu-uri i convenii burgheze ntr-un stil vizual rafinat si inteligent. In compozitiile sale regizate si luminate cu grij, perfect construite, i scenariile fr fisuri, Olaf pune sub semnul intrebarii ideile preconcepute confruntndu-ne fr mena jamente cu absurditatea normelor i valorilor acceptate de societate. Din 1991, Olaf face si filme al cror limba j vizual are multe n comun cu fotografiile sale. n ultimii ani, s-a concentrat din ce in ce mai mult pe crearea de instalaii si filme autonome care se joaca cu traditiile din arta, moda, televiziune i cinema. Lucrrile lui extrem de controversate au obinut numeroase premii i au fost expuse n galerii i muzee din toat lumea: Maison Europenne de la Photographie, Paris; Chelsea Art Museum, New York; Kunsthalle Winterthur, Elveia; Museum of the City of New York; Stedelijk Museum, Amsterdam; Modern Art Gallery Bologna, Italia; Muzeul de Art Modern, Moscova; The Hague Museum of Photography; Institut Nerlandais, Paris; Hermitage, Amsterdam; Rijksmuseum, Amsterdam etc

109

Bucharest International Experimental Film Festival

The German Pavillion


14, 2009, Spain director: Juan Millares

With the support of / Cu sprijinul:

Director/REGIA: Juan Millares ScriPtwriter/SCENARIUL: Juan Millares CineMAtogrAPhy/IMAGINE: Emili Sampietro Editing/MontAj: Irene Blecua Producer/productor: Maria Jose Diez Production: LAVORAGINE P.C./ MATI S.L.

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

In 1900, Eugene Aget takes photographs of Paris as if it were the scene of a crime. In 1929 Mies van der Rohe inaugurates in Barcelona the German Pavilion at the Universal Exposition and it becomes one of the most relevant buildings of the 20th century. In 1980, a Spanish architect imagines some fictions through the pages of the architecture books. Three real characters and three stories cross over the History in an amazing and exciting game of deductions, intrigue and announcements about the crimes hidden in the old photographs. Winner of the Best Iberoamerican Short Documentary Award in Huesca ISFF, screened in Tampere, Bilbao, Documenta Madrid, Las Palmas etc. n anii 1900, Eugene Aget fotografiaz Parisul ca scen a unei crime. n 1929, Miles van der Rohe inaugureaz Pavilionul German n cadrul Expoziiei Universale de la Barcelona, o construcie ce avea s devin un reper arhitectural al secolului al XXlea. n 1980, un arhitect din Madrid isi imagineaza ficiuni care se ascund n paginile crilor de arhitectur. Trei persona je reale, trei momente istorice i trei poveti se intersecteaz n istorie, ntr-un fascinant si captivant joc de deducii, intrigi i indicii despre crime ce zac ascunse n fotografii vechi. Ctigtor al Premiului pentru cel mai bun scurtmetra j documentar sud-american la Festivalul Internaional de la Huesca, prezentat la Tampere, Bilbao, Documenta Madrid, Las Palmas etc.

International Competition 110

Best Iberoamerican Short Documentary - Huesca ISFF 2010/ Nominates for the Best Short Documentary Award at Goya Spanish Film Industry Awards/ Amnesty International Award and Best Short Film Award at Almeria en Corto ISFF 2010/ Tampere ISFF 2011/ Documenta Madrid IDFF 2010/ Bilbao Zinebi ISFF 2010/ Las Palmas ISFF 2011/ Norway ISFF 2011 etc.

WORLD SALES: LAVORGINE P.C. Plaza Luca de Tena 13, 40 E, 28045 Madrid MARA JOS DEZ LVAREZ E-mail: info@lavoragine.es ma josediez@hotmail.com Tel/Fax: +34 915213398

Juan Millares on The GERMAN PAVILLION It was a long time ago, when only the myths explained the world and the rational thought was scarcely stuttering. T oday the reason turns out to be indispensable for us and the myths are a fantasy or an irrelevant desire. Nevertheless the mythical statements continue feeding, secretly, our more intimate dreams or our more uncontrollable terrors. The photographs form a part of this vast space where the contemporary myths, the histories become condensed in just a few square centimeters. Every photo, every photographic document, contains a story to be deciphered. Fiction and documentary. Seen as that, I share less this distinction of genres which we are forced to apply when it comes to reading a movie. And this is valid for THE GERMAN PAVILION as well, as at the bottom, the whole cinema is fiction and documentary simultaneously, w ith a major or minor emphasis on an aspect or on the other one. It entertains me to think that this project tries itself to turn into a species of strange deliberately frustrated thriller - and therefore, not exempted from humor - w ith a sufficient dose of irony, about the black threats of the present.

Juan Millares (b. 1950, Spain), doctor in Architecture, from 1986 he is professor at the audiovisual department of the Faculty of Arts at the Complutense University of Madrid. He has directed several investigation projects and doctorate courses as well as published articles and conferences about art and new technologies, virtual reality, audiovisual teaching methods and new spaces of fiction, in festivals, universities and congresses. As a filmmaker, his career started in 1979 with several short films and culminated in 2005 with the feature documentary Cuadernos de contabilidad de Manolo Millares awarded with the 1st Prize in Time of History section of the International Film Week of Valladolid (Seminci 2005). JUAN MILLARES (n. 1950, Spania) e doctor n arhitectur, din 1986 profesor la Facultatea de Arte a Universidad Complutense de Madrid. A condus o serie de proiecte de cercetare i lucrri de doctorat, a publicat articole i a susinut conferine despre arta si noile tehnologii, realitatea virtual, metode audiovizuale n practica pedagogic i noile spaii ale ficiunii, la festivaluri, universiti i congrese internaionale. Ca cineast, cariera sa a nceput n 1979 cu cateva scurtmetra je si culmineaza in 2005 cu documentarul de lungmetra j Cuadernos de contabilidad de Manolo Millares ctigtor al Premiului I la seciunea Time of History a Festivalului Internaional de Film Valladolid Seminci 2005.

Bucharest International Experimental Film Festival

Juan Millares despre The GERMAN PAVILLION Demult de tot, lumea nconjurtoare era explicat prin mituri. Gndirea raional abia dac exista. Astzi, raiunea pare indispensabil, iar miturile sunt o fantezie sau o dorinta lipsit de relevan. i totui, miturile continu s alimenteze tainic visele noastre cele mai intime, sau cele mai incontrolabile spaime. Fotografia e o parte a acestui spaiu vast n care miturile contemporane se condenseaz pe doar civa centimetri ptrai. Fiecare fotografie, fiecare document fotografic, contine o poveste care poate fi descifrat. Ficiune i documentar. Impartasesc mai putin aceasta distincie care ni se impune atunci cnd citim un film. Si asta e valabil si n cazul filmului THE GERMAN PAVILION. n fond, orice creaie cinematografic e, n acelai timp, ficiune i documentar, oscilnd ntre a accentua un aspect sau pe cellalt. M incit gndul c proiectul de fa e un specimen straniu de thriller intenionat frustrat - si de aceea nu lipsit de umor i care conine o doz suficienta de ironie, despre ameninrile ntunecate ale prezentului.

111

The Great Race


7, 2010, Spain director: Kote Camacho

With the support of / Cu sprijinul:


CAST/distribuia: Eriz Alberdi, Iaki Urrutia, Charly Urbina, Puri Urretabizkaia, Ana Elordi, Joseba Apaolaza, Aitor Mendizabal, Eider Pikabea, Mikel Dez, Pedro Arnez, Toni Director/REGIA: Kote Camacho ScriPtwriter/SCENARIUL: Kote Camacho after an original idea by Asier Altuna CineMAtogrAPhy/IMAGINE: Kote Camacho Animation/ANIMAIA: Kote Camacho Art direction/SCENOGRAFIA: Ander Lendinez Editing/MontAj: Kote Camacho Sound/SUNET: Kote Camacho Production: Txintxua Films FESTIVALS l AWARDS: FESTIVALURI l PREMII: Intelligent, funny, surreal, this film works on many levels. Its a great metaphor of the history of the 20th century, executed with great talent and impressive skill. The Lasarte racetrack announces a race with a never-before-seen prize for the winning horse. Eight of the best horses and mares in the world have registered. Fans and gamblers from all continents gather to participate in the great event: the Half Million Grand Prize. The greatest horse race ever in the world is about to start when a horrible crime is committed...the fact that the riders are executed does not stop the huge absurdist machinery of greed. The sense of reality given by the so perfectly done fake archive makes the story even more frightening. Winner of 37 awards and screened in over 80 national and international film festivals like Clermont Ferrand, Tampere, Bilbao, Amiens, Edinburgh etc. Inteligent, amuzant, suprarealist, filmul acesta lucreaz pe mai multe niveluri. Este o excelent metafor a istoriei secolului 20, realizat cu impresionant mestesug i mare talent. Cursele de cai Lasarte anun un premiu fr precedent pentru calul ctigtor. n curs s-au nscris opt dintre cei mai buni cai de curse din lume. Fani i pariori de pe toate continentele dau nval, dornici s asiste la marele eveniment: Cursa cu Marele Premiu de O Jumtate de Milion. Cursa secolului e pe cale s nceap, cnd se petrece o crim oribil... dar executarea jocheilor nu poate opri imensul i absurdul mecanism al lcomiei. Senzatia de realitate, creata de perfect executata arhiva falsa, face ca povestea s devina cu att mai nspimnttoare. Filmul a ctigat 37 de premii i a fost prezentat n 80 de festivaluri naionale i internaionale, printre care Clermont Ferrand, Tampere, Bilbao, Amiens, Edinburgh etc.

International Competition 112

Tampere ISFF 2011/ Clermont Ferrand ISFF 2011/ Edinburgh IFF 2011/ European Film Award Nominee Grimstad ISFF Norway 2011/ Bilbao Zinebi ISFF 2010 / Gijn ISFF 2010 / Amiens IFF 2010/ Tirana IFF 2010 / Prague Short Film Festival 2010/Budapest ISFF 2011/ Mediawave IFF 2011/ Lille ISFF 2011/ Circuito OFF Venice ISFF 2011/ Bolzano ISFF 2011/ Era New Horizons IFF Poland 2011/ Ankara IFF 2011 FILM WEBSITE: www.kimuak.com/en/short_films/index.php?s=la-gran-carrera WORLD SALES: KIMUAK - Esther Cabero Euskadiko Filmategia-Filmoteca Vasca Avda. Sancho el Sabio, 17 - trasera 20010 DONOSTIA-SAN SEBASTIAN, Spain E-mail: kimuak@filmotecavasca.com Web:www.kimuak.com Tel: +34 943 115 511 Fax: +34 943 469 998 Directors contact: kotecamacho@hotmail.com

Kote Camacho on THE GREAT RACE As a visual artist, I have been experimenting w ith all the sources that I could use, in all the projects that I did before. I needed a story where I could actually put some of these developed skills together. The story came from Asier Altuna. This person knew about my animation work, so he told me about this surrealistic and crazy story he had. I found it outstanding, first due to the strength of the message, and second, what was more important for me, it required all the elements I wanted to be told. It was a strong human message, told in terms of movie action, and had a big impact. So, once I had time, I started working on the script and, at the same time, I worked the image. At the beginning it was meant to be a traditional 2D animation project. I just wanted to use some CGI 3D elements for the sequence of the horses in action. I was impressed about the result of these 3D horses, which looked almost real. I decided to try to make the whole story look like real image. But it didnt really work, due to some 3D effects that where difficult to hide. However, I realized that if I made the film look old, I could hide most of the computer effects. That is when we decided to shoot some characters dressed as in the 1920s. The thing started to work. Asier Altuna liked the idea, and he found actual old footage, from 1920s, related w ith our story. Telling such a surreal story w ith these real 1920s images, mixed w ith CGI 3d elements, and actors in front of a green chroma, was a crazy idea. And it was partivularly hard to match things together, shot by shot. I could imagine it, but sometimes I didnt know how it was going to look all together. T ook me like 14 months since I started, until I finished it.(...)It is deceiving. Dont know if it is an animation project, a fiction project, a fake documentary, or an experimental film. When you see it, you just dont think about this. It just works. What a relief.

Bucharest International Experimental Film Festival

Kote Camacho despre THE GREAT RACE: Ca artist vizual, am lucrat la proiecte n care am experimentat cu toate sursele care mi-au stat la ndemn. Simeam nevoia unei poveti care s-mi permit s folosesc experiena acumulat. Povestea a venit de la Asier Altuna, care mi cunotea lucrrile de animaie i care mi-a mprtit aceast poveste suprarealist i nebun. Proiectul m-a entuziasmat, n primul rnd pentru c povestea conine un mesaj puternic, iar n al doilea rnd, foarte important pentru mine, coninea toate elementele pe care eram interesat s le explorez. Avea un mesaj uman foarte puternic, transmis sub forma de aciune filmica, si un puternic impact. Am nceput lucrul la scenariu concomitent cu realizarea imaginilor. La nceput am vrut s fac un film de animaie 2D. Intenionam s inserez doar cteva imagini 3D generate pe computer n secvena cu caii in actiune. Am fost impresionat de rezultatul acestor cai 3D, care aratau aproape reali. Am decis s incerc s fac ca ntreaga poveste s arate a imagine reala. Dar n-am prea reusit, pentru ca unele dintre efectele 3D erau foarte greu de ascuns. In orice caz, mi-am dat seama c, dnd imaginilor aspectul de film vechi, puteam ascunde cea mai mare parte a efectelor digitale. Atunci ne-a venit ideea s costumam personajele n stilul anilor 1920. Lucrurile au nceput s funcioneze. Lui Asier Altuna i-a plcut ideea, i chiar a gsit filmri din epoca respectiv, care se potriveau povetii noastre. Realizarea unui film care s combine o poveste suprarealist cu imagini de arhiv din anii 1920, cu imagini 3D generate pe computer i actori care joac n faa ecranului verde prea un poiect nebunesc. Si intr-adevar a fost o munca imensa s facem lucrurile s se potriveasca mpreun, cadru cu cadru. Puteam s-mi imaginez, dar uneori nu mai stiam cum vor arta toate puse laolalt. Mi-a luat cam 14 luni s termin proiectul (...) E inselator. Nu stiu dac e animaie, ficiune, pseudo-documentar sau film experimental. Dar cnd l vezi, nu te gndeti la lucrurile astea. Pur i simplu funcioneaz. Ce uurare!

Kote Camacho (b.1980), a graduate in Fine Arts by the University of the Basque Country, he has been a comic scriptwriter and artist for Napartheid. He has lived in Bilbao, Madrid and London. He worked as a storyboard artist (Catica Ana by Julio Medem; 28 Weeks Later by Juan Carlos Fresnadillo), traditional and 3D animator and also in post production. He currently lives in Oiartzun, where he created his first short film for the silver screen, The Great Race. KOTE CAMACHO (n.1980), a absolvit cursuri de Belle Arte la Universitatea din ara Bascilor. A scris scenarii pentru benzi desenate i a lucrat pentru Napartheid. A locuit la Bilbao, Madrid i Londra. A lucrat ca storyboard artist (Catica Ana de Julio Medem; 28 Weeks Later de Juan Carlos Fresnadillo), ca animator clasic i 3D, precum i n post-producie. n prezent, locuiete n Oiartzun (Spania) unde a creat The Great Race, primul su film.

113

The Mirror
7, 2010, Switzerland director: Ramon & Pedro

CAST/distribuia: Zachary Destraz, Jules Martinet, Pierrick Destraz, Henri Destraz Director/REGIA: Ramon & Pedro (Laurent Fauchre, Antoine TInguely) ScriPtwriter/SCENARIUL: Ramon & Pedro CineMAtogrAPhy/IMAGINE: Hans Meier 3D Animation/ANIMAIA 3D: Nicolas Elsig, Laurent Fauchre, Antoine Tinguely Art direction/SCENOGRAFIA: Ramon & Pedro Editing/MontAj: Water NYC Sound/SUNET: Capitaine Plouf Producer/productor: Xavier Derigo, Isabelle Pasini Production: IDIP Films FESTIVALS l AWARDS: FESTIVALURI l PREMII: Youth. Old age. Good days and bad days. The mirror sees it all. The film shows a mans life from early childhood to old age passing by in one 7 minutes shot. 4 Actors, of which 3 generations from the same family, embody him in front his bathroom mirror. The few elements in the frame are enough to suggest the whole content of a lifetime: the shape of the woman in the shower, the photo of the now divorced couple etc. THE MIRROR is a mirror in which we can see ourselves. The directors managed to wonderfully capture the intimate and often amusing moments of a human being faced with his own reflection and with himself. Premiered in Locarno, winner of Best Creative Idea Award at Shanghai IFF 2011 and of Audience Award at Geneve ISFF 2011. Tineree. Btrnee. Zile bune, zile proaste. Oglinda le vede pe toate. Filmul red scurgerea vieii unui om de la copilrie pn la btrnee, ntr-un singur cadru, lung de 7 minute. Patru actori, dintre care trei generaii din aceeai familie, ntruchipeaz persona jul in faa oglinzii sale de la baie. Cele cteva elemente din cadru sunt suficiente pentru a sugera cuprinsul unei viei ntregi: silueta feminin de sub du, o fotografie a cuplului ntre timp divorat etc. THE MIRROR e o oglind n care fiecare dintre noi se poate vedea. Autorii au surprins perfect momentele intime i adesea amuzante, cnd omul se confrunt cu imaginea sa din oglind i cu sine nsui. Prezentat in premiera la Locarno, ctigtor al Best Creative Idea Award la Festivalul de la Sanghai i al Premiul Publicului la Festivalul de la Geneva, ambele n 2011.

International Competition 114

Locarno IFF 2010/ Best Short Film Award Nominee - Swiss Cinema Academy Awards 2011/ Best Creative Idea Award - Shanghai IFF 2011/ Audience Award - Geneve ISFF 2011/ Cinema Jove IFF 2011/ Bruselles ISFF 2011/ Aspen ISFF 2011/ Winterthur ISFF Switzerland 2011/ Regensburg ISFF Switzerland 2011/ Curtocircuito Santiago de Compostela ISFF Spain 2011/ Era New Horizons IFF Poland 2011/ Chicago Reel ISFF 2011 etc. FILM WEBSITE: www.lemiroir.tv WORLD SALES: Premium Films Olivier Heitz 130 Rue de Turenne, 75003 Paris, France E-mail:olivier.heitz@premium-films.com Tel: +33142770639 Directors contact: info@ramonandpedro.com

Ramon&Pedro on THE MIRROR In January of 2009, the authors Ramon & Pedro had the idea of making a short film which followed someones life during the mundane task of a morning wash in front of a mirror. Friends and fans of animator Pierrick Destraz, they presented the synopsis to him and were delighted when he agreed to play the main character. Joining the cast, and adding essential credibility to the film, were Pierricks father, Henri, and his son, Zacharie. Shortly after, IDIP Films was brought on board to oversee the production. After the essentials were in place, the creative team was free to explore their memories and inspirations to fine tune the script. Part of this creative process invol ved shooting test versions experimenting w ith camera moves, framing, and the extremely challenging choreography that would make or break this film. In the fall of 2009, the project was selected to be financed by the OFC (Sw iss Federal Cultural Office). When expert DP Hans Meier signed on and developed a camera set up specific to their needs, the directing team could not have been more pleased. Story and photography secured, the search began for the missing link between Pierrick and his 6 year old son. After two weeks and some intense make up sessions, the perfect actor was found and a studio in Lausanne, Sw itzerland was booked. Right after the postproduction was finished, the film was selected to the famous International Film Festival of Locarno.

Ramon&Pedro despre THE MIRROR n ianuarie 2009, Ramon i Pedro au avut ideea de a face un scurtmetraj care s urmareasca viata cuiva n timpul activitii ct se poate de lumeti a splatului de diminea, n faa oglinzii de la baie. Cei doi au prezentat proiectul animatorului Pierrick Destraz, ai crui fani i prieteni sunt, i au fost ncntai cnd el a acceptat rolul principal. Tatl lui Pierrick, Henri, i fiul su, Zacharie, s-au alturat distribuiei, sporind semnificativ credibilitatea proiectului. Curnd dup, producia a fost ncredinat societii IDIP Films. Acum, c toate elementele eseniale ale produciei erau asigurate, echipa creativa era libera sa-si exploreze amintirile i inspiraia pentru aducerea scenariului ntr-o form final. Ca parte a acestui proces creativ, autorii au fcut filmri de prob, experimente cu micri ale camerei, ncadraturi i extrem de dificila coregrafie, care putea s devin cheia succesului sau motivul eecului acestui film. n toamna anului 2009, proiectul a ctigat o finanare din partea Biroului Cultural Federal al El veiei, OFC. Echipa a fost ncntat s-l primeasc n rndurile ei pe directorul de imagine Hans Meier, care a pus la punct sistemul de filmare de care aveau nevoie. Scenariul i imaginea erau acum asigurate. Rmnea de gsit conexiunea dintre Pierrick i fiul lui, n vrst de 6 ani. Dup dou sptmni i multe edine de machiaj, actorul perfect a fost gsit la un studio din Lausanne. Imediat dup ncheierea post-produciei, filmul a fost selectat de celebrul Festival de la Locarno.

Ramon & Pedro (aka Antoine Tinguely and Laurent Fauchere) met while studying at Switzerlands ERAG (State School of Graphic Design) in Lausanne but chose different paths until 1999, when they found themselves sitting next to each other as creative directors at Trollbck & Company in New York. Ramon & Pedro was born in 2004. They were featured in Shots Magazine in the New Directors section, which lead them to sign with Partizan Worldwide. Since then, R&P has directed commercials for clients such as Diesel, AOL, Panasonic, Citron, Milky Way, Lenovo, and shot music videos for artists like Feist, Hocus Pocus, MatchBox 20, Calogero. Their recent video for Ready Made FC was played at the Antenna event in London at the National Film Theatre, at the L.A. Film Festival, and featured in Boards and Shots magazines. R&P look forward to shooting more music videos, commercials and (short) films. Storytelling is what captivates us. If, at the end of the day, we can go home having told a great story in a smart and simple fashion, we are happy. Ramon & Pedro (pe numele lor adevrate Antoine Tinguely i Laurent Fauchere) s-au cunoscut n timpul studiilor de la Institutul de Grafic i Design ERAG din Lausanne. Carierele lor au urmat drumuri separate pn n 1999, cnd s-au regsit lucrnd cot la cot ca directori de creaie pentru Trollbck & Company din New York. Tandemul Ramon & Pedro s-a nscut n 2004. Au aprut n Shots Magazine, seciunea Tineri Regizori, ceea ce le-a deschis calea semnrii unui contract cu Partizan Worldwide. De atunci ncoace, R&P au realizat reclame pentru clieni de talia Diesel, AOL, Panasonic, Citron, Milky Way, Lenovo i videoclipuri pentru Feist, Hocus Pocus, MatchBox 20, Calogero. Videoclipul recent realizat pentru Ready Made FC a fost prezentat la Antenna, la National Film Theatre Londra, n cadrul Festivalului de film din Los Angeles, i n revistele Boards i Shots. R&P au ca planuri de viitor realizarea de noi videoclipuri muzicale, reclame i scurtmetra je. A povesti este ceva ce ne captiveaz. Dac putem ncheia fiecare zi cu contiina c am reuit s spunem o poveste nemaipomenit ntr-un stil simplu i detept, asta ne face fericii.

115

Bucharest International Experimental Film Festival

The Photographers Wife


29, 2011, GERMANY director: Philip Widmann & Karsten Krause

CAST/distribuia: Gerti Gerbert Director/REGIA: Philip Widmann & Karsten Krause ScriPtwriter/SCENARIUL: Philip Widmann PhotogrAPhs, FiLMs And Texts: Eugen Gerbert CineMAtogrAPhy/IMAGINE: Philip Widmann & Karsten Krause Editing/MontAj: Philip Widmann & Karsten Krause Sound/SUNET: Philip Widmann, Karsten Krause, Roman Vehlken Production: Philip Widmann & Karsten Krause

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

International Competition

Visions du Rel Nyon 2011/ IndieLisboa 2011/ Special Mention - Krakow FF 2011/ Special Mention - Huesca ISFF 2011/ Special Mention Hamburg ISFF 2011/ Documentary Award at First Steps Awards 2011( German Film Industry Debut Awards)/ Curtocircuito Santiago de Compostela ISFF 2011

Gerti Gerbert was photographed by her husband Eugen over a period spanning more than forty years. Besides the obligatory family photographs, from their wedding day until his death Eugen took countless pictures of Gerti: in her underwear, in homemade summer frocks, or completely naked; on the beach, in the woods, in the car, or on the floor at home. Using the Gerberts picture archive, interviews with Gerti, and Eugens notes, the film looks at what remains of life and love at the end. Premiered in Vision du Reel International Documentary Film Festival 2011 and winner of the Best Documentary Award at the First Step Awards, Germany Film Industry Debut Awards. Gerti Gerbert a fost fotografiat de ctre soul ei Eugen pe parcursul a peste patruzeci de ani. Pe lng pozele de familie obligatorii, de la nunt i pn n momentul morii sale, Eugen a fotografiat-o pe Gerti de nenumarate ori: n lenjerie intim, n rochie de var croite n cas, sau complet goal; pe pla j, n pdure, n main, sau acas, ntins pe podea. Punnd laolalt arhiva familiei Gerbert, interviuri cu Gerti i notiele lui Eugen, filmul ne arat ce mai rmne atunci cnd viaa i dragostea ating sfritul. Premiera filmului a avut loc la Festivalul internaional de film documentar Visions du Reel n 2011 i a obinut Premiul pentru cel mai bun documentar la First Step Awards, Gala Premiilor pentru Debut a industriei cinematografice germane.

FILM WEBSITE: www.workscited.de

116

WORLD SALES: Philip Widmann Wrangelstr.86, 10997 Berlin, Germany E-mail: philip@workscited.de Web: www.workscited.de www.laborberlin.wordpress.com Tel: +49 176 2411 4830 Karsten Krause c/o Thiedeitz, Ellenbogen 6, 20144 Hamburg Web: www.workscited.de Tel: +49 178 5251463

Interview with Karsten Krause & Philip Widmann, IndieLisboa 2011: I: How did you meet this couple, Gerti and Eugen? K&P: We met Gerti after seeing some of the photographs from the archive. Gerti had at one point sold all negatives to a collector, whose assistant at the time was Karstens flatmate. We had a look at the photographs, and soon after contacted Gerti and visited her for the first time. The encounter w ith Eugen came quite a bit later in the process of making the film, through his writings. When we started working on the film, he had been dead for 15 years. However, apart from the photographs, he left a private autobiography as well as countless written holiday reports, which later became an integral part of the film. I: How was it to convince Gerti to share such a personal material w ith you? K&P: There was no need to convince Gerti to share the photographs w ith us. When she sold the negatives, this meant that the pictures would become public. Selling the negatives and agreeing to participating in a film both served the same purpose: Her husband was not to be forgotten. the complete interview on www.bieff.ro Interviu cu Karsten Krause i Philip Widmann, IndieLisboa 2011 R: Cum i-ai cunoscut pe Gerti i Eugen? K&P: Am cunoscut-o pe Gerti dup ce am vzut cteva fotografii din arhiva familiei. Gerti vnduse toate negativele unui colecionar, al crui asistent din acea vreme s-a ntmplat s fie coleg de apartament cu Karsten. Am vzut fotografiile, i curnd dup am luat legtura cu Gerti i am avut prima ntlnire. Cu Eugen ne-am ntlnit ceva mai trziu, pe cnd lucram deja la film. L-am cunoscut prin intermediul notelor sale, pentru c murise cu 15 ani n urm. n orice caz, pe lng arhiva de fotografii, a lsat n urm un jurnal personal i nenumrate notie de vacan, pe care le-am integrat n film. R: A fost greu s o convingei pe Gerti s fac public un material att de personal? K&P: n privina fotografiilor, nu a fost nevoie de vreo munc de convingere. Vnduse deja negativele, ceea ce nsemna c ele puteau fi fcute publice. Prin vnzarea negativelor i acceptul ei de a face parte din film, urmrea de fapt un singur scop, acela ca soul ei s nu fie uitat. Interviul complet pe www.bieff.ro

Bucharest International Experimental Film Festival 117

Karsten Krause was born in Freiburg, Germany, in 1980. Studied Visual Communication at the University of Fine Arts Hamburg. Lives and works in Hamburg. Filmography: You and Me (2009), Die Zeit, die es braucht (2008), A Fundamental Right (2007), Ex Patria (2006). Philip Widmann, born in Berlin in 1980, graduated in Cultural Anthropology and visited the documentary film class at University of Fine Arts Hamburg. Since 2009 he is a member of the artistrun film laboratory LaborBerlin e.V. Filmography: Destination Finale (2008), Ex Patria (2006). Karsten Krause s-a nscut la Freiburg, n Germania, n 1980. A fcut studii de comunicare vizual la Universitatea de Arte Frumoase din Hamburg. Triete la Hamburg. Filmografia lui cuprinde: You and Me (2009), Die Zeit, die es braucht (2008), A Fundamental Right (2007), Ex Patria (2006). Philip Widmann s-a nscut la Berlin n 1980. Este absolvent de antropologie cultural i a urmat cursuri de film documentar la Universitatea de Arte Frumoase din Hamburg. Din 2009, e membru al asociaiei artistice LaborBerlin e.V. Filmografia lui cuprinde: Destination Finale (2008), Ex Patria (2006).

The Procrastinators 1: Frank Houtappels


9, 2010, the Netherlands director: Lernert & Sander

With the support of / Cu sprijinul:


CAST/distribuia: Frank Houtappels Director/REGIA: Lernert & Sander ScriPtwriter/SCENARIUL: Lernert & Sander Animation/animaia: Lernert & Sander CineMAtogrAPhy/IMAGINE: Ram van Meel Sound/SUNET: Diederik Idenburg Music/MuzicA: Danny Calvi Producer/productor: Wendela Scheltema Production: Limboland TV

Frank: scriptwriter. He is planning to get some writing today. However, his good intentions must be preceded by some tidying up and some necessary purchases. Next, he must trace a remembered song, postpone todays first glass of wine, think about new socks, ponder going to the market or the hairdressers. This leads to another song and, eventually, to a state of horniness. THE PROCRASTINATORS 1: FRANK HOUTAPPELS is the first episode of a series of eleven short minimalist animated documentaries of people who talk associatively about their creative process and the role that postponing, fleeing and wriggling out of things plays in it. Frank: scenarist. Pentru astzi, i-a planificat s scrie ceva. Dar, nainte de a trece la ndeplinirea bunelor sale intenii, trebuie s fac ordine i nite cumprturi absolut necesare. Dup aceea, mai are de fcut urmtoarele: s gseasc o melodie care i-a venit n minte, s amne primul pahar de vin de astzi, s se gndeasc la o pereche de osete noi, s hotrasc dac merge la pia sau la frizer. Toate astea induc amintirea unui alt cntec, i, n cele din urm, la o stare de excitaie sexual. PROCRASTINATORS 1: FRANK HOUTAPPELS este primul episod al unei serii de 11 documentare animate, realizate n stil minimalist, despre oameni care vorbesc asociativ despre procesul lor creativ i despre rolul pe care amnarea, evadarea i fofilarea l joac n acest proces.

International Competition 118

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Centro de las Artes de Sevilla Spain 2010, Salon1 - Amsterdam, Bosch Art Film Festival the Netherlands etc.

FILM WEBSITE: www.lernertandsander.com

WORLD SALES: Netherlands Media Art Institute NIMk Joke Ballintijn Keizersgracht 264 1016 EV, Amsterdam, The Netherlands E-mail: joke@nimk.nl Web: www.nimk.nl Tel: +31(0)20 6237101 Directors contact: hello@lernertandsander.com; lernert@lernert.nl; hello@sanderplug.com; we@weloveourwork.com

CurAtors coMMent If I just do this first and then that, then I can really put my mind to what I need to do afterwards.

Because thats what I want! But not yet, because first I have to do this... Procrastinators: what on earth keeps them so busy? Why is it, that the one thing they really want to do, really want to achieve is experienced as a must and w ill therefore be postponed and put off as long as possible?.. All these artists starring in The Procrastinators series are successful and productive, but they suffer from different neurotic types of procrastination. They sleep, drink, smoke, move things or clean up the house. They make plans and lists or go on the internet in search of random information for research purposes. They get in the way of themselves: get lost in distractions, but simultaneously there seems to be no other way of getting the work done. Only when this behavior gets really tedious, can they find the motivation to actually get to work. The struggle w ith deadlines and goals, the doubts and fears are perhaps necessary: w ithout the lolling around, no last minute focus. For this series Lernert and Sander asked film-makers, designers, writers, artists, actors and other creative people to reflect on their work process. Their self-questioning, tragicomic or hilarious monologues are supported visually by a stylized still life of colored pencils, empty tables, pieces of paper, w ine glasses, cigarettes and coffee against a white background. Now and again something happens, something moves or falls over. Esma Moukhtar, Netherlands Media Art Institute

CoMentAriuL curAtoruLui Dac fac nti asta i dup aceea o fac pe cealalt, atunci cu siguran o s pot s m gndesc la

ce am de fcut dup aceea. Pentru ca asta vreau! Dar nu m apuc nc, pentru c, mai nti, trebuie s fac... Ce poate s-i in att de ocupai pe cei care amn mereu lucrurile? De ce singurul lucru pe care vor cu adevrat s l fac, singura realizare care i intereseaz, e perceputa ca obligatie i de aceea e amnata la nesfrit? T oi cei care apar n episoadele serialului sunt artiti de succes i productivi, dar fiecare dintre ei sufer de diverse forme nevrotice de procrastinare. Dorm, beau, fumeaz, mut lucruri de colocolo, fac curenie. Fac planuri, liste, caut informaii pe internet pentru cercetare. Se mpiedic n propriile picioare, se las distrai din toate prile, dar in acelasi timp se pare ca asta e singura modalitate pe care o cunosc pentru a-i duce treaba la bun sfrit. Abia atunci cnd acest comportament devine de-a dreptul distructiv, apare motivaia de a trece, n sfrit, la treab. n lupta cu deadline-urile i planurile, ndoielile i spaimele sunt probabil un ru necesar: fr amnare nu va fi posibil poate nici concentrarea de ultim moment. Pentru acest serial, Lernert i Sander au apelat la cineati, designeri, scriitori, artiti, actori i alte persoane implicate n procese creative, rugndu-i s reflecteze asupra procesului lor creativ. Autoanaliza a produs monologuri uneori tragicomice, alteori hilare, pe care filmul le susine vizual cu naturi moarte stilizate cu creioane colorate, mese goale, bucati de hrtie, pahare de vin, igri i cafea, totul proiectat pe un fundal alb. Din cnd n cnd, se ntmpl ceva. Ceva se mic sau cade. Esma Moukhtar, Netherlands Media Art Institute

Lernert & Sander are two dutch visual artists and friends who decided that working alone was getting boring and started collaborating on art related projects. Since their first video Chocolate Bunny theyve been working on commercials, leaders, art movies, documentaries and installations. Their aim is to make simple and communicative works, that take little note of the existing border between contemporary art and commercial projects. Their highly esthetic, humorous and dedicated works are often challenging the media and its viewer, in a simple but very effective way. Their work was selected for international festivals in New York, Rio de Janeiro and Oberhausen. Sander Plug (1969) works as a freelance graphic designer and artist. He finished his Masters in Art in 2004 at the Sandberg Institute in Amsterdam. He has exhibited in several group exhibitions in Amsterdam, Berlin and Barcelona. Lernert Engelberts (1977) works as a director, writer and journalist. He is curator for Lost&Found, and advisor for the Dutch Filmfund at research and development. Lernert & Sander sunt doi artiti vizuali olandezi i prieteni, care au decis la un moment dat c munca de unul singur e plictisitoare. Aa a nceput colaborarea lor. De la primul proiect video comun, intitulat Chocolate Bunny, au realizat mpreun reclame, filme despre art, video-instalaii i documentare. Scopul lor este acela de a realiza lucrri simple, care a jung cu uurin la receptor, fr a ine prea mult seama de demarcaia dintre arta contemporan i produciile comerciale. Lucrrile lor estetizate i pline de umor provoaca adesea spectatorul ntr-un mod simplu dar foarte eficient. Lucrrile celor doi au fost prezente n festivaluri internaionale, precum cele din New York, Rio de Janeiro i Oberhausen. Sander Plug (n.1969) lucreaz ca freelancer. Este artist i grafician. A terminat un master in arte la Institutul Sandberg din Amsterdam in 2004. Lucrrile lui au fost prezentate n cadrul unor expoziii colective la Amsterdam, Berlin i Barcelona. Lernert Engelberts (n.1977) este regizor, scriitor i jurnalist. Este curator pentru Lost&Found i consultant pentru Dutch Filmfund, sectiunea cercetare i dezvoltare.

119

Bucharest International Experimental Film Festival

The Second Office


13, 2011, France director: Lixin Bao

With the support of / Cu sprijinul:

CAST/distribuia: Chinastu Kosakatani, Shoufeng Wang Director/REGIA: Lixin Bao ScriPtwriter/SCENARIUL: Lixin Bao Art direction/SCENOGRAFIA: Indi Di Vita, Michal Kerbiche CineMAtogrAPhy/IMAGINE: Guillaume Brault Editing/MontAj: Lixin Bao Sound/SUNET: Pierre Bompy Production: According to the Chinese media, there are several hundred thousand concubines in the country. Even if it is forbidden by law, more and more young women are now becoming mistresses of powerful men in order to escape poverty and rise up the social ladder. In the film, an actress plays three roles; mistress, wife and unfaithful man. The trio provokes a sort of ambiguity between these three characters. The woman becomes the mans object; she is subdued and depends totally on him. A situation both desired and endured, provoking pleasure and frustration. Potrivit presei chineze, exist sute de mii de femei din China care se complac n statutul de concubine. Dei legea o interzice, tot mai multe tinere devin amante ale celor bogai, pentru a scpa de srcie i a urca pe scara social. Actria din film joac trei roluri: al amantei, al soiei i al soului necredincios. Se nate o relaie ambigu n acest trio. Pentru brbat, femeia devine un simplu obiect. i este supus i depinde de el n totalitate. E o situaie dorit i detestat totodat, care provoac i plcere, i frustrare.

International Competition 120

FESTIVALS l AWARDS: FESTIVALURI l PREMII: International premiere

WORLD SALES: Le Fresnoy - Studio National des Arts Contemporains 22 rue du Fresnoy, BP 179, 59202 Tourcoing, France Natalia Trebik Diffusion des oeuvres et programmes E-mail: ntrebik@lefresnoy.net Web: www.lefresnoy.net Tel: +33(0)3 20 28 38 64 / +33(0)6 60 15 54 52 +33(0)3 20 28 38 99 Directors contact: mujinbaolixin@gmail.com

Lixin Bao on THE SECOND OFFICE The film is a videographic project about a common phenomenon in China: the return of the concubines. After 30 years of Chinas economic reform, the womens concept of value has been much influenced by the social progress. They adapt to the new, modern way of life, but the return of concubines traces back to the ancient Chinese culture. Among my family and friends, there are many concubines. I am shocked by these backward women, who ignore one of the main aspects of the XXI century: progress. However, they are free, because they embody the idea of free w ill and this kind of freedom evolved, in the sense of an absence not of rules, but of constraints that we imposed on oursel ves. This aspect of continuity associated w ith tradition is present in the film, as classicism and modernity coexist peacefully. I intend to investigate the problem of <<love>> w ithout any sentimentality or pathos, w ith a clear desire for objectivity.

Lixin Bao was born in Inner Mongolia, China in 1982. She earned a DNSEP from the Lcole nationale suprieure dart de Nancy, France ( 2009 ) and is a residents of Le Fresnoy-studio national des arts contemporains, France (2011). In ENSA Nancy, Lixin Bao directed her first short films, including Le Cri in 2007, Sans titres in 2008, Sauter and Le Vent in 2009. In Le Fresnoy, she directed an experimental documentary Ailleurs , in 2010, which is selected in several film festivals in France, Brazil, Belgium, etc. She works in cinema through an experimental way. She develops her own vision of Chinaa past and its future in a global environment. Her films are at the same time secretly autobiographical and flagrantly open to the world. By mixing document and fiction, she invented an artistic form that creates metaphor, poetry, being marked by a polyphonic crossing of voices and images, such as the experimental film The Second Office , which is produced by Le Fresnoy, in 2011. Lixin Bao lives and works in Paris, France and Beijing. Lixin Bao s-a nscut n 1982 n Regiunea Autonom Mongol din China. Deine o diplom de licen n arte plastice a Institutului de art de la Nancy (Lcole nationale suprieure dart) i este rezident la Studioul Naional de Art Contemporan Le Fresnoy din 2011. n timpul studiilor de la Nancy, Lixin Bao a regizat primele sale scurtmetra je, printre care Le Cri n 2007, Sans titres n 2008, Sauter i Le Vent n 2009. La Le Fresnoy a realizat documentarul experimental Ailleurs , (2010), selectat de festivaluri din Frana, Brazilia, Belgia etc. Este interesat de cinema-ul experimental. i construiete propria viziune asupra trecutului i viitorului Chinei n actualul context global. Filmele ei combin elemente secrete autobiografice cu o izbitoare deschidere ctre lumea nconjurtoare. Documentarul se amestec cu ficiunea, iar rezultatul e o form artistic proprie, purttoare de metafore, poezie, polifonia vocilor i a imaginilor, aa cum este cazul filmului The Second Office, produs la Le Fresnoy n 2011. Lixin Bao triete alternativ la Paris i Beijing.

Bucharest International Experimental Film Festival

Lixin Bao despre THE SECOND OFFICE: Filmul e un proiect videografic despre un fenomen obinuit din China zilelor noastre: revenirea concubinelor. Dup 30 de ani de reform economic, conceptul de valoare al femeilor a fost major influenat de progresul social. Ele nva s se adapteze noului mod, modern de via. Pe de alt parte, concubinajul exist n cultura chinez nc din antichitate. n familia mea i n cercul meu de prieteni exist numeroase concubine. M ocheaz mentalitatea retrograd a acestor femei, care nu par s fie contiente de progresele aduse de secolul 21. n orice caz, sunt fiine libere, care acioneaz conform propriei lor voine, dar acest tip de libertate a evoluat, nu in sensul unei absente a regulilor, ci a constrngerilor autoimpuse. Acest aspect al continuitatii asociate tradiiei e prezent pe tot parcursul filmului, la fel cum clasicismul se mbin panic cu modernismul. Intenia mea a fost s analizez tema iubirii fr sentimentalism sau pasiune, ci doar cu sinceritatea obiectivitii.

121

The Woman
10, 2011, Czech Republic director: Ondrej Fleislebr

With the support of / Cu sprijinul:


CAST/distribuia: Antonie Urbancov, Ondrej Fleislebr Director/REGIA: Ondrej Fleislebr ScriPtwriter/SCENARIUL: Ondrej Fleislebr, Vojtech Batr Animation/animaia: Ondrej Fleislebr, Antonie Urbancov CineMAtogrAPhy/IMAGINE: Tom Kraus, Tom Merta, Jan Fuksa Art direction/SCENOGRAFIA: Zdenka Prevrtilov Editing/MontAj: Tom Klein Sound/SUNET: Radovan Rakus Production: Zlin Film School Barrandov studios A man falls asleep at the foot of a tree. He dreams of the woman he loved. His tongue, his eyes linger over the body of the young woman. Reminding of the Jan Svankma jer and Quay Brothers aesthetics, THE WOMAN is a combination of live action and animation talking about feelings which stay alive between partners even though love had already waned. In an attempt to regain his beloved Womans heart, the Man sends four parts of his body to visit her. Yet, the Man knows she also likes attention and small souvenirs. And so, with only two attributes, an empty box of chocolate and a stale bouquet, the four living creatures walk in playful and rightful manner into the Womans bedroom. Un brbat aipete sub un copac. n vis i apare o femeie pe care a iubit-o odat. O mngie pe tnra femeie cu ochii i cu limba. n spiritul esteticii lui Swankma jer i a Frailor Quay, filmul e o combinaie de fictiune i animaie, ce vorbete despre sentimente care rmn vii n relaia dintre parteneri, chiar i dup ce dragostea s-a stins. n ncercarea de a rectiga inima iubitei sale Femei, Brbatul trimite patru pri din corpul su sa-i faca acesteia o vizita. Brbatul tie c apreciaz atentia i micile suveniruri. Astfel, narmate cu numai doua atribute, o cutie goal de bomboane i un buchet ofilit, cele patru creaturi se indreapta cu pas ceremonios i in acelasi timp jucaus, ctre dormitorul Femeii.

International Competition 122

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Premiers Plans Anger International Film Festival 2011/ Animateka IFF 2011, Mecal ISFF Spain 2011 etc.

FILM WEBSITE: www.womanthemovie.com

WORLD SALES: Ondrej Fleislebr E-mail: epidem@seznam.cz

Ondrej Fleislebr about the characters of THE WOMAN The Man was impersonated by the director and animator himself, Ondrej Fleislebr. He chose his own body as a subject of animation, above all in believe that he, being experienced w ith such animation, would be able to understand and act the continual movements of an animated figure. Ondrej decided to enact the male character as well for the reason that the picture is replenished w ith autobiographical features, revealing that the film is dedicated to a certain woman, or to women in general. For the most of The Man characters part, a hay puppet was used, mainly because the decomposition of The Mans body has been created by means of poisonous acid solution. Unfortunately, there was a shortage of the mentioned acid solution as most of it was spilled in the car during the transportation process. The Woman is represented by Antonie Urbancov, a twenty-four years old student in the 3rd year at the Multimedia Communications Faculty of the T omas Bata University in Zln. From the very beginning, the overcoming awareness of being almost undressed in front of the camera was not difficult for the actress. Much more complications were caused by raw meat that was changing consistence and smell under the influence of the warm temperature during the day. For the filming needs, fresh eyes and tongues were used each day and the school fridge served as main meat storage. However, the officious cleaning lady thoughtlessly threw pivotal material into the trash bin many times, stopping the crew from filming for the whole day. Ondrej Fleislebr despre persona jele din THE WOMAN Rolul Brbatului a fost jucat chiar de cte autorul i animatorul filmului, Ondrej Fleislebr. Autorul a decis s-i foloseasc propriul corp pentru c, nainte de toate, avea experiena animaiilor de acest tip i tia ce fel de micri vor da personajului animat continuitatea necesar i va fi capabil s le execute corect. Un alt motiv pentru care Ondrej a dorit s personifice personajul principal este acela c filmul abund de trimiteri autobiografice i este dedicat unei anumite femei, dar i femeilor n general. Pentru o parte semnificativ din rolul Brbatului, autorul a folosit ppui de paie, mai cu seam din cauza faptului c, pentru dezagregarea corpului Brbatului, s-a folosit o soluie acid foarte nociv. Din nefericire, n-a avut la dispoziie o cantitate suficient din soluia tocmai menionat, pentru c o bun parte din ea se vrsase n main n timpul transportului. Femeia e jucat de Antonie Urbancov de 24 de ani, student n anul 3 la Facultatea de Comunicare Multimedia a Universitii T omas Bata din Zln. De la bun nceput, ea n-a avut dificulti n a aprea aproape goal n faa camerei. Mai greu a fost cu carnea crud, care i schimba consistena i mirosul pe msur ce trecea timpul. n fiecare zi aveam nevoie pentru film de globi oculari i de limbi proaspete, iar frigiderul colii a fost de mare folos pentru pstrarea lor. S-a ntmplat, ns, de destule ori, ca femeia de serviciu, n zelul i incontiena ei, s arunce la gunoi materialele vitale pentru filmrile noastre, condamnnd echipa la inactivitate pentru cte o ntreag zi.

The short animated film THE WOMAN was created as a student project almost one year ago in the Film School of Zln. Scriptwriter, director and animator is Ondrej Fleislebr. From the very beginning of his studies in film school, Ondrej was interested in puppet animation, especially that using pixilation and stop motion animation techniques. That animation technique puts in motion lifeless objects, especially human characters that are further used as animation puppets. The 26 years old young man shuttles between Prague and Kladno in preparation of his new animated project about animals that needlessly meet their end on the highways. In THE WOMAN, Ondrej animates animal meat and, by that, points out to its increasing use, and consideration as a purely consumption good. The tendency toward meat animation originates in Ondrejs negative experience in his previous medicine studies and working in that sphere. Scurtmetra jul de animaie THE WOMAN e un proiect studenesc, creat acum un an n cadrul Institutului de film din Zln. n cadrul proiectului, Ondrej Fleislebr cumuleaz rolurile de scenarist, regizor i animator. nc de la nceputul studiilor sale, Ondrej a manifestat interes pentru animaia cu ppui, pentru tehnica pixelrii i a animaiei stop motion. Este o tehnic ce pune in miscare obiecte nensufleite i fiinte umane folosite ulterior ca papusi animate. n prezent, autorul de 26 de ani face naveta ntre Praga i Kladno, lucrnd la un proiect despre animalele care i gsesc sfritul pe autostrzi. n THE WOMAN, Ondrej animeaz buci de carne, punnd astfel n discuie creterea consumului de carne i faptul ca aceasta e considerat exclusiv un produs destinat consumului. Interesul pentru animarea bucilor de carne e o reminiscen a experienelor neplcute trite de autor ca student i practicant al medicinei.

123

Bucharest International Experimental Film Festival

Un(A)Titled
8, 2011, Romania director: Mihai Barabancea

CAST/distribuia: Mihai Petre Barabancea Director/REGIA: Mihai Petre Barabancea ScriPtwriter/SCENARIUL: Mihai Petre Barabancea CineMAtogrAPhy/IMAGINE: Mihai Petre Barabancea Editing/MONTAJ: Dorina Petre Sound/SUNET: Mihai Petre Barabancea Music/MuzicA: Mihai Petre Barabancea Producer/productor: Mihai Petre Barabancea, Dorina Petre Production: UNARTE Bucureti

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Bad cops gone good die young. Poliitii ri devenii buni mor tineri.

International Competition 124

World premiere

WORLD SALES: Dorina Petre Tel: +40720456538 Mihai Barabancea Web: http://mironosit.tumblr.com

Mihai Barabancea on UN(A)TITLED: Un(a)-Tit-Led is all about a bad cop which goes good and then dies today Overclocking your search and find your own hunters and remove them from statistics. There is always an overriding sequence or wormhole on any level. When you use it, expect only the worst to happen. A video-walk through your own chain of personality. Shiftshaping into native original characters. In the end, the hunter become a part of the poaching system. Its selfsufficient. No words atached, just unfinished Un(a) Tit Led works. Anti experimental scape, non avantgarde, catholic & beyond.

Bucharest International Experimental Film Festival

Vlad Constantin despre cineva o s v sune: Un(a)-Tit-Led prezint povestea unui poliist ru care devine bun i apoi moare... Updateaz-i cutarea i gsete-i vntorii, apoi terge-i din statistici. Exist mereu o secven care anuleaz orice comand iniial sau, cu alte cuvinte, exist un shortcut, o gaur de vierme n orice sistem de referin. Dar, atunci cnd o utilizezi, ateapt-te s fii tras la rspundere (cauz-efect). E un video journey prin multiplele personaliti ale privitorului. Schimbarea de form se face n personaje autentice. La final, vntorul devine o parte component a sistemului de braconaj. E autosuficient. Nu are nevoie de cuvinte, e doar o lucrare neterminat, Un(a) T it Led, pentru c se abate de la cursul firesc al naturii. E un peisaj antiexeperimental, non-avangardist, catolic & dincolo. Mihai Barabancea is a photographer and a student of Bucharests National University of Art (BA in Photo, Video). Un(a)titled is his first short film.

Mihai Barabancea este fotograf i student la Universitatea Naional de Arte din Bucureti (specializare: Fotografie, Video). Un(a)titled este primul su scurtmetra j.

125

You And Me
4, 2009, Germany director: Karsten Krause

CAST/distribuia: Annelise Krause, Hans Krause Director/REGIA: Karsten Krause ScriPtwriter/SCENARIUL: Karsten Krause CineMAtogrAPhy/IMAGINE: Karsten Krause Editing/MontAj: Karsten Krause Music/MuzicA: Karsten Krause PoeM: E.E. Cummings Producer/productor: Works Cited, HfbK Hamburg Works Cited, HfbK Hamburg

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

A woman has been walking towards her husbands camera for four decades. Winner of the Cinema Jury Prize in Oberhausen 2010 and of Best Experimental Film Award in Curtas Vila do Conde, screened in Hamburg, Sao Paulo, Warsaw, Oslo, Cork and many others festivals, YOU&ME is a touching experimental documentary made of found footage revealing, through editing, sound and music, the poetry of everyday life seen through the emotional filter of memory. De-a lungul a patru decenii, o femeie se indreapta ctre obiectivul camerei soului ei. Ctigtor al Premiului Juriului la Oberhausen n 2010 i al Premiului pentru Cel mai bun film experimental la Curtas Vila do Conde, prezentat la Hamburg, Sao Paulo, Varovia, Oslo, Cork i n multe alte festivaluri, You&Me e un emotionant documentar experimental, care, pornind de la o arhiva personala, prin monta j, sunet i muzic, dezvluie poezia vieii de fiecare zi privit prin filtrul emoional al amintirii.

International Competition 126

Prize of the Cinema Jury - Oberhausen 2010/ Best Experimental Film Award - Curtas Vila do Conde 2010/ Hamburg ISFF 2010/ Sao Paulo ISFF 2010/ Karlovy Vary ISFF Fresh Film Fest 2010/ Warsaw IFF 2010/ Cork ISFF 2010/ Kasseler Dokumentarfilm und Videofest 2010/ Dresden IFF 2010/ Oslo Screen IFF 2010/ Iceland Experimental Film & Video Festival 2010 etc.

FILM WEBSITE: www.workscited.de

WORLD SALES: Karsten Krause c/o Thiedeitz, Ellenbogen 6, 20144 Hamburg Web: www.workscited.de Tel: +49 178 5251463

Karsten Krause on YOU&ME After several screenings of my film YOU & ME, I realized bit by bit that private footage is often understood by people as the real documentation of life. Even if emotionality is reinforced by music and sounds, people cannot let go of their irrepressible picture of reality in private footage. Although it is, as any kind of filming, an interpretation of reality, private footage is, for most, a perfect reproduction of family. The films I made range from classical direct cinema to experimental documentaries such as found footage films. I got the initial idea of my film YOU & ME through the mass of material my grandfather shot on N8 and S8 between 1953 and 1989. Private footage, w ith exceptions of course, is almost always taken for the same reasons: vacation, children, celebrations, family. My aim was to find an essential motive, which runs through the whole material from the 50s till 80s. I got to the idea that there has to be a picture of my grandmother from every year, where she is walking towards his camera, which could be the perfect visualization of love in a relationship. Through editing, through the music and the poem by E.E. Cummings I tried to show that found footage is in the same way an interpretation of an existing reality, as every other cinematic reality. Karsten Krause was born in Freiburg, Germany, in 1980. Studied Visual Communication at the University of Fine Arts Hamburg. Lives and works in Hamburg. Filmography: You and Me (2009), Die Zeit, die es braucht (2008), A Fundamental Right (2007), Ex Patria (2006). Karsten Krause s-a nscut n 1980 la Freiburg, n Germania. A fcut studii de comunicare vizual la Universitatea de Arte Frumoase din Hamburg. Triete la Hamburg. Din filmografie: You and Me (2009), Die Zeit, die es braucht (2008), A Fundamental Right (2007), Ex Patria (2006).

Bucharest International Experimental Film Festival

Karsten Krause despre YOU&ME Asistnd la tot mai multe proiecii ale filmului, am ajuns s-mi dau seama c, atunci cnd oamenii vd imagini din arhive personale, le categorisesc drept documentare ale vieii reale. Chiar i atunci cnd emoia e amplificat i ghidata de muzic i sunet, spectatorul nu-i poate stpni tendina de a vedea n orice filmare privata doar o simpla ilustrare a realului. Desi este, ca orice tip de cinema, o interpretare subiectiva a realitatii, un film care contine imagini private e considerat de majoritatea spectatorilor doar o simpla reproducere a vieii de familie. Filmele pe care le-am fcut merg de la cinema-ul clasic direct pn la documentarul experimental. Pentru You&Me, ideea mi-a venit cnd am nceput s vizionez materialul filmat de bunicul meu n format N8 i S8, n perioada 1953-1989. Filmrile personale, cu excepiile inerente, sunt de obicei orientate ctre aceleai subiecte: vacane, copii, aniversri, momente importante n viaa familiei. Scopul meu a fost acela de a identifica un fir rou, un laitmotiv care s m poarte prin tot materialul acumulat ntre anii 1950 i 1980. Atunci mi-a venit ideea c trebuie s existe, n fiecare an, o imagine n care bunica mea se ndreapta ctre camera de filmat. Aceasta ar putea fi vizualizarea perfect a iubirii ntr-o relatie. Prin montaj, muzica i poezia lui E.E. Cummings, am incercat s arat cum filmarile private pot deveni n acelasi timp o interpretare subiectiva a realitii, la fel ca orice alt produs cinematografic.

127

You Cant Hide Love From Gypsies


5, 2011, , France-Turkey-Romania director: Mara Trifu Director/REGIA: Mara Trifu ScriPtwriter/SCENARIUL: Mara Trifu CineMAtogrAPhy/IMAGINE: Lucille Caballero Editing/MONTAJ: Ando Naulainen, Maximilien Van Aetryck, Alexandru Lungu Sound/SUNET: Ando Naulainen Music/MuzicA: Mihai Petre Barabancea Producer/productor: Esra Demirkiran Production: NISI MASA

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Put on your dancing shoes and pilot your spaceship into morning. A fortune teller reads a DJs future in a coffee cup: Some crazy dog like hell is how it feels to live without love. You should be dancing, after tonight its all over. A story about the encounter between a coffee reader and a man-dog who, when the morning comes, is turning into a deer. Pune-i pantofii de dans i piloteaz-i nava spaial dimineaa. O ghicitoare citete ntr-o ceac de cafea viitorul unui DJ. Fr dragoste te simi ca un cine nebun. Ar trebui s dansezi acum, dup noaptea asta totul se termin. O poveste despre ntlnirea dintre o ghicitoare n cafea i un om-cine care, cnd vine dimineaa, se transform n cerb.

International Competition 128

Cannes Film Festival 2011, Critics Week Section/ Transylvania International Film Festival 2011/ Best Experimental Short Film Filmul de Piatra Film Festival 2011

WORLD SALES: Mara Trifu E-mail: aramraa@gmail.com

Mara Trifu on YOU CANT HIDE LOVE FROM GYPSIES: Sometimes, when you start a project, you cant imagine the journey that awaits you. There can be something preposterous and pretentious about writing a directors statement. Making a film is an organic process. It is also a collaborative effort, where no one can foresee the outcome w ith any kind of accuracy. Yet, in presenting and introducing our films, we make a great deal of final, unalterable and declarative statements. It is as if we forget that making a film is a process, wherein the journey is far greater than the destination. A traveller returning home, after reaching a far off land, is sure to feel different about his quest than he did on the day he first set off. Likew ise, a director who emerges from an intense filmmaking experience w ill be a different person than he was going into it. Though it is a collaborative effort, the filmmaking process can be a deeply personal journey for the director. This is my most personal film.

Mara Trifu is a 25-year old freelance visual artist from Transylvania. She is now living in Berlin. Selected filmography: You Cant Hide Love from Gypsies (2011)/ Into the Rabbit Hole (2011)/ The Japanese Quince Tree (2011)

Bucharest International Experimental Film Festival

Mara Trifu despre YOU CANT HIDE LOVE FROM GYPSIES: Uneori, atunci cnd ncepi un proiect, nu-i poi imagina cltoria care te ateapt. Poate exista ceva pretenios i ridicol n scrierea unui statement regizoral. Realizarea unui film este un proces organic. Este, de asemenea, un efort colectiv, bazat pe colaborare, n care nimeni nu poate prevedea exact rezultatul. T otui, atunci cnd ne prezentm i introducem filmele, facem o groaz de declaraii finale, ferme, de parc am uita c realizarea unui film este un proces n cadrul cruia cltoria n sine este mult mai important dect destinaia. Un cltor care se ntoarce acas, dup ce a ajuns ntr-un trm ndeprtat, i percepe cu siguran expediia ntr-un mod diferit dect o fcuse n ziua n care pornise la drum. La fel, un regizor ieit dintr-o experien cinematografic intens este o persoan diferit de cea care o iniiase. Printr-un efort colectiv, de colaborare, procesul cinematografic poate reprezenta o cltorie profund personal pentru regizor. Acesta este cel mai personal film al meu.

Mara Trifu (25 de ani) este o artist vizual liber-profesionist din Transilvania, care triete n prezent la Berlin. Filmografie selectiv: You Cant Hide Love from Gypsies (2011)/ Into the Rabbit Hole (2011)/ The Japanese Quince Tree (2011)

129

130

Quinzaine des Realisateurs - Cannes


Bucharest International Experimental Film Festival

SPeciAL ProgrAM

Recomandat de

131

Boro In The Box


- also part of the International Competition
40, 2011, France director: Bertrand Mandico

CAST/distribuia: Elina Lwensohn, Thierry Benoiton, Benot Serres Director/REGIA: Bertrand Mandico ScriPtwriter/SCENARIUL: Bertrand Mandico CineMAtogrAPhy/IMAGINE: Pascales Granel Art direction/SCENOGRAFIA: Benot Serres, Stephane Rosenbaum Editing/MontAj: George Gragg/ Laure Saintmarc SOUND/SUNET: Laure Arto Music/MuzicA: Erwan Eyck/ Gedalhia Tazazrtes Producer/productor: Philippe Bober Production: Parisienne de Production A bizarre, surreally beautiful meditation on life, death and filmmaking, reminding of Quay Brothers, Jodorowsky and Bunuel. From the day he was conceived to his cinematographic death, this is the fantasized life-story of filmmaker Walerian Borowczyk. Boro-in-his-Box discovers a cruel world. He experiences banal, yet colorful adventures, from Poland to Paris, caressing erotic birds and organic cameras in an imaginary Alphabet. World premiered in Quinzaine des Realisateurs Cannes 2011. O superb meditaie suprarealist asupra vieii, morii i cinematografului, ce duce cu gndul la fraii Quay, Jodorowsky i Bunuel, povestea imaginata a vieii cineastului Walerian Borowczyk, din momentul concepiei i pn la moartea sa cinematografic. Boro-in-his-Box descopera o lume crud. Triete aventuri banale i totusi pline de culoare, din Polonia pn la Paris, dezmierdnd psri erotice i camere de filmat organice ntr-un alfabet imaginar. Prezentat n premiera mondiala n Quinzaine des Realisateurs Cannes 2011.

Quinzaine SPeciAL ProgrAM 132

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Quinzaine des Realisateurs Cannes 2011/ Great Prize Cidade de Vila do Conde at Curtas Vila do Conde ISFF 2011

WORLD SALES: Coproduction Office Anne-Claire MARTIN Festivals Coordinator Mommsenstrae 27, 10629 Berlin, Deutschland E-mail: festivals@coproductionoffice.eu Web: www.coproductionoffice.eu Tel: +4930 3277 7873 Fax: +4930 323 2091 Directors contact: mandico.bertrand@wanadoo.fr

Bertrand Mandico on BORO In THE BOX Subject: fictional portrait of Walerian Borowczyk in the form of an alphabet1999 Borowczyk proposes me to meet him 2006 Borowczyk dies2007 I decide to meet him..

CurAtors coMMent En 2008 Bertrand Mandico curated a Walerian Borowczyk retrospective in Warsaw. Here is a quote from his curatorial presentation: Walerian Borowczyk (1923 2000) is one of the most interesting film directors of the last century. His first animated and experimental films were made during his studies at the Cracow Academy of Fine Arts. However, it was the cooperation w ith Jan Lenica ( e. g. Time Upon a Once 1957, House 1958) that brought Borowczyk an international fame and high position among animators. His surreal animations reflect strong inspiration by George Melies films and the 1920 French avant-garde, full of absurd black humor. In his animations, Borowczyk prefers to employ photography more than draw ings. Similarly to Robert Bresson, Boro deprived his characters of psychological depth. Likew ise Buster Keaton, he was considered a master of creating and giving life to props. Borowczyks films influenced a whole generation of filmmakers, among others Terry Gilliam and Peter Greenaway and the Quay Brothers. Borowczyk is believed to be an artist engaged in erotic film art, although this subject matter dominated only the last years of his oeuvre. The retrospective accompanying the exhibition aims at contradicting this simplified myth and show ing Walerian Borowczyk as one of the greatest experimental filmmakers of the 20th century.

Bertrand Mandico despre BORO In THE BOX Subiect: un portret fictiv al lui Walerian Borowczyk, sub form de alfabet. ... 1999 Borowczyk mi propune s-l ntlnesc ... 2006 Borowczyk moare... 2007 M decid s-l ntlnesc.

Born in 1971 in Toulouse, Bertrand Mandico graduated from the film directing program at the Gobelins Animation School Paris. Over the years, he directed several highly personal award-winning films, cultivating an unique aesthetic and a flare for dark humor that juxtaposes macabre elements and burlesque. An eclectic director, he involves graphic, photographic and written elements in his films. He has enriched his cinematic studies with various still format publications, photography, collage and drawings. Bertrand has also worked on promoting forgotten or underappreciated filmmakers (he programmed a Walerian Borowczyk retrospective in Warsaw). His audiovisual creations (a total of 40 short films, TV-commercials and musical films) have been awarded various prizes. His first short film THE BLUE HORSE RIDER won the Annecy Prize Grant in 1998. HE WAS EDDYS DOG was part of the 2001 Cannes Film Festivals short selection. His previous short LIFE AND DEATH OF HENRY DARGER was world premiered in Venice Orizzonti 2010. His project BORO IN THE BOX, an irreverent portrait of Walerian Borowczyk, won the Clermont-Ferrand Festival Grant in 2008. THE MAN WHO HIDES THE FOREST will be Bertrand Mandicos first feature length film. Nscut n 1971 la Toulouse, Bertrand Mandico a absolvit cursurile de regie ale Facultii de Animaie Gobelins din Paris. n anii care au urmat, a realizat o serie de filme profund personale, cu o estetic aparte si pline de un umor negru ce juxtapune elemente macabre si burlesti. E un artist eclectic, ale crui filme mbin elemente grafice, fotografice i scrise. Cariera sa cinematografic e completat de fotografie, cola je si desene. Bertrand s-a implicat, de asemenea, n promovarea unor cineati uitai sau subestimai (a fost curator al unei retrospective Walerian Borowczyk la Varovia). Creaiile sale audiovizuale (40 de scurtmetra je, reclame TV i filme muzicale) au ctigat numeroase premii n festivaluri din intreaga lume. Scurtmetra jul THE BLUE HORSE RIDER a obtinut Marele Premiu la Festivalul de la Annecy n 1998. n 2001, filmul HE WAS EDDYS DOG a fost inclus n selecia de scurtmetra je a Festivalului de la Cannes. LIFE AND DEATH OF HENRY DARGER a avut premiera mondial n seciunea Orizzonti a Festivalului de la Veneia n 2010. Proiectul BORO IN THE BOX, portret ireverenios al cineastului Walerian Borowczyk, a ctigat Grantul pentru Dezvoltare al Festivalului de la Clermont-Ferrand n 2008. Bertrand Mandico pregtete primul su lungmetra j, THE MAN WHO HIDES THE FOREST.

Bucharest International Experimental Film Festival

CoMentAriuL curAtoruLui n 2008, Bertrand Mandico a realizat o retrospectiv Walerian Borowczyk la Varovia. Iat un citat extras din programul retrospectivei: Walerian Borowczyk (1923 - 2000) e unul dintre cei mai interesani regizori de film ai ultimului secol. A realizat primele sale animaii i filme experimentale n timpul studiilor de la Academia de Arte Frumoase din Cracovia. Recunoaterea internaional i poziia de vrf n rndul animatorilor le-a dobndit n urma colaborrii cu Jan Lenica ( e.g. Time Upon a Once 1957, House 1958). Animaiile sale de factur suprarealist abund n umor negru absurd, prnd inspirate din filmele lui George Mlis i avangarda francez a anilor 1920. n animaiile sale, Borowczyk prefer s foloseasca imagini filmate mai degrab dect desenul. La fel ca Robert Bresson, Boro i dezbrac personajele de profunzimea psihologica. i, precum Buster Keaton, e considerat un maestru n crearea i nsufleirea elementelor de recuzit. Filmele lui Borowczyk au fost surs de inspiraie pentru o ntreag generaie de cineati, printre care Terry Gilliam, Peter Greenaway si fraii Quay. Borowczyk e adesea considerat un exponent al cinema-ului erotic, dei aceast tem domin doar lucrrile din ultima perioad a creaiei sale. Retrospectiva, completat de o expoziie, i propune s contrazica aceasta mistificare simplificatoare i s-l dezvluie pe adevaratul Walerian Borowczyk, unul dintre cei mai importanti autori de film experimental din secolul 20.

133

Killing The Chickens To Scare The Monkeys


23, 2011, Sweden/ Thailand director: Jens Assur

With the support of / Cu sprijinul:

Director/REGIA: Jens Assur ScriPtwriter/SCENARIUL: Jens Assur CineMAtogrAPhy/IMAGINE: Marek Wieser Editing/MontAj: Fredrik Morheden/ Asa Mossberg SOUND/SUNET: Wille Peterson-Berger/ Niclas Merits Producer/productor: Jens Assur/ Anna Carlsten Production: Studio Jens Assur AB Premiered in Quinzaine des Realisateurs Cannes 2011, KILLING THE CHICKENS TO SCARE THE MONKEYS is an exceptional story set in the Peoples Republic of China, told from a unique perspective and rendered with a daring cinematic language. The film consists of nine scenes that unfold in the grey area between black and white, where national politics and strategy have unforeseen consequences on a young teachers life. The precisely thought-out aesthetics and the provocative narrative technique of the film are intended to open up the viewers eyes for reflection and contemplation. The authenticity and uncompromising vision combine to create a powerful emotional and political statement. Proiectat n premier la Quinzaine des Realisateurs Cannes 2011, KILLING THE CHICKENS TO SCARE THE MONKEYS e o poveste impresionant din Republica Popular Chinez, relatat dintr-o perspectiv inedit i ntr-un limba j cinematografic deosebit de ndrzne. Filmul const din nou secvene care se deruleaz n zona intermediar dintre alb i negru, n care politica i strategia naional au consecine neprevzute asupra vieii unei tinere profesoare. Estetica precis conceput i tehnica narativ provocatoare au ca scop s deschid ochii spectatorului ctre reflecie i meditaie. Autenticitatea i viziunea autorial fr compromisuri creeaz o puternic i emoionant declaraie politic.

Quinzaine SPeciAL ProgrAM 134

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Quinzaine des Realisateurs Cannes 2011/ Vila do Conde International Short Film Festival 2011/ Nordisk Panorama 2011

FILM WEBSITE: www.studiojensassur.se

WORLD SALES: Studio Jens Assur AB Eastmansvgen 12 SE- 113 61 Stockholm Sude E-mail: jens@assur.se Web: www.studiojensassur.se Tel: +46 708 11 11 45 / Festival contact: Andreas Fock E-mail: andreas.fock@sfi.se Tel: +46 8 665 11 36 Directors contact: E-mail: jens@assur.se Tel: + 46 708 11 11 45

J ens Assur on KILLING THE CHICKENS Once I saw a picture of a Chinese execution in the newspaper The Independent. The picture had secretly been taken by a spectator. This image stayed w ith me for years and I one day realized, this is a film. With Killing the Chickens to Scare the Monkeys I wanted to stage this picture and elaborate on the cause of an every day execution in China.

J ens Assur despre KILLING THE CHICKENS Am vzut odat, n The Independent, o fotografie de la o execuie din China. Era o fotografie fcut pe ascuns de un spectator oarecare la execuie. Imaginea m-a obsedat ani de zile, ca, pn la urm, s-mi dau seama c e punctul de pornire pentru un film. Cu KILLING THE CHICKENS am dorit s pun n scena acea imagine i s dezvolt o poveste despre cauzele execuiilor cotidiene din China. CoMenTARiuL curAtoruLui Prima secven e un singur cadru care dureaza 15 minute, fr taieturi. Lumea dezvluit de fotografie prinde via prin mis-en-scena. Filmul prezinta, fr concesii, n succesiunea necronologic a celor nou secvene, o Chin mecanica, inuman. Se refer la practica prin care autoritile chineze rspndesc teroare prin executarea disidenilor politici cu scopul de a intimida populaia. Filmul lui Jens Assur este din acest punct de vedere fascinant, pentru ca pune n discutie i delicata problema a voyeurismului publicului si provoaca spectatorul s ias din starea de somnolen i s umple golurile lsate intenionat n film de ctre autor. S ne grbim! N-avem timp! Acestea sunt cuvintele cu care ncepe filmul. Oamenii care apar n faa camerei au venit aici cu un scop, acela de a asista la un spectacol mai puin obinuit: execuia programata a unor dumani ai poporului, acuzai de a fi conspirat mpotriva autoritilor statului. Iubitorii de senzaii morbide - unii aflai la prima lor experien de gen - vin mbrcai n hainele lor cele mai bune i narmai cu aparate de fotografiat, ca s imortalizeze evenimentul pentru colecia lor de suveniruri. Extrem de nelinistitoarea prima secventa, de 15 minute, ar putea fi, ea singura, un foarte puternic film n sine. Dar Jens Assur nu se opreste aici. Urmeaz alte opt tablouri, n care personajul feminin, despre care descoperim c e profesoar, se contureaza din ce n ce mai pregnant. Scenele sunt relatate de la sfrit ctre nceput, ceea ce ne permite s reconstituim viaa acestei femei, victim a unui sistem care a condamnat-o la moarte fr drept de apel. Katia Bayer, Format Court

CurAtors coMMent The first scene is a 15-minute single take, w ithout cuts. We experience the world as in a photographic still life played out in mise-en-scene. The film depicts w ithout concessions, in 9 non-chronological scenes, a merciless mechanical China. It refers to the Chinese government politics to spread terror by killing the disidents in order to intimidate the rest of the population. Jens Assurs work is in this respect fascinating, as it touches also on audiences voyeurism and challenges the viewer to get out of his conditioned somnolence and fill in the gaps intentionally left by the author. Hurry up, we dont have much time. This is the line that opens the film. The reason people come in front of the camera is to assist at an unusual show: a scheduled execution of enemies of the State, accused of conspiring against the authority. T o do this, the lovers of morbid sensations - and for some of them its a first time experience - put on their official costumes and brought their cameras to collect the souvenir. This extremely unsettling 15 min first scene only, could make already a very good film. But Jens Assur goes further: he shows 8 more tableaux in which the female character, which we discover to be a teacher, gets more and more shape. The film is built backwards, allow ing us to retrace the life of this woman, victim of a system which has decided her death in advance. Katia Bayer, Format Court

Jens Assur (born 1970), is a world-renowned photographer and filmmaker whose writing and directing debut, The Last Dog in Rwanda, announced the arrival of a visionary new talent. Drawing from his experiences as a war photographer, the film won numerous international awards including the Grand Prix at Clermont-Ferrand and Best Film at Tribeca Film festival, as well as prizes at Sydney and Rome Film festival among others. Assur pushes the envelope further with his latest film, Killing the Chickens to Scare the Monkeys. Assur lives and works in Stockholm, Sweden and in Los Angeles, USA. Jens Assur (n. 1970) este un renumit fotograf i regizor al carui debut n cinema, The Last Dog In Rwanda, anunta deja aparitia unui nou talent vizionar. Inspirat din experiena sa ca fotograf de rzboi, filmul a ctigat premii prestigioase, printre care Marele Premiu la Clermont-Ferrand, Premiul pentru cel mai bun film la Tribeca, premii la Sydney, Roma etc. Cu filmul KILLING THE CHICKENS, Assur merge si mai departe ca indrazneala a viziunii. Artistul triete i lucreaz n Stockholm i Los Angeles.

135

Bucharest International Experimental Film Festival

Las Palmas
14, 2011, Sweden director: Johannes Nyholm

CAST/distribuia: Helmi Hellrand Nyholm Director/REGIA: Johannes Nyholm ScriPtwriter/SCENARIUL: Johannes Nyholm CineMAtogrAPhy/IMAGINE: Johannes Nyholm Editing/MontAj: Johannes Nyholm SOUND/SUNET: Johannes Nyholm, Samuel Nyholm Music/MuzicA: Bjrn Olsson, Goyo Ramos Producer/productor: Johannes Nyholm Production: Joclo

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

A middle-aged lady on a holiday in the sun tries to make new friends and have a good time. But in the end, she is not at all adept to playing this whole social game. The role is played by a one-year-old girl (Johannes Nyholms daughter); the rest of the cast are marionette puppets. Winner of the Short Film Award and the Audience Award in Goteborg IFF 2011. The trailer received over 10 million views on YouTube. O doamn ntre dou vrste petrece o vacan nsorit, n timpul creia ncearc s se distreze i s-i fac prieteni noi. Pn la urm, se dovedete c femeia nu are deloc afiniti pentru acest intreg joc social. Rolul principal este jucat de o fetita n vrst de un an (fiica lui Johannes Nyholm), iar restul distribuiei este alctuit din marionete. Ctigtor al Premiului pentru Scurtmetra j i al Premiului Publicului la Festivalul Internaional de Film de la Goteborg 2011. Trailerul filmului, postat pe YouTube, a avut peste 10 milioane de accesri.

Quinzaine SPeciAL ProgrAM 136

Quinzaine des Realisateurs Cannes 2011/ the Short Film Award and the Audience Award at Goteborg IFF 2011/ Vila do Conde ISFF 2011/ Sao Paulo ISFF 2011/ Melbourne IFF 2011/ Hamburg ISFF 2011/ Montreal World IFF 2011/ Milano IFF 2011/ Nordisk Panorama 2011 etc.

FILM WEBSITE: www.johannesnyholm.se/laspalmas WORLD SALES: JOCLO - Johannes Nyholm Toppsegelsgatan 9 SE-41461 Gothenburg Sweden Email: mail@johannesnyholm.se Web: www.johannesnyholm.se Tel: +46(0)31 42 35 60 Festival contact The Swedish Film Institute Andreas Fock Email: andreas.fock@sfi.se Web: www.sfi.se Tel: +46(0)8 665 11 36

Goteborg Jury Statement The award goes to a tragicomic movie in a crazy world that feels horribly familiar. An ingenious hybrid of Swedish classic Sllskapsresan (The Charter T rip) and Easy Rider, which goes straight into our hearts.

Motivaia Juriului Festivalului de la Goteborg Premiul se acord unei tragicomedii despre o lume nebun, care ne este, totodata, ngrozitor de familiar. Un hibrid ingenios intre clasicul Sllskapsresan ( The Charter T rip) si Easy Rider, care-si gseste calea drept ctre inima spectatorului.

Bucharest International Experimental Film Festival

Johannes Nyholm, born 1974, is a Swedish artist and filmmaker. His work is usually presented in a wide range of forums. The animated film series The Tale of Little Puppetboy f.x was originally shown at, and made for, gallery screenings. But it has also been shown widely on festivals around the world, after world premiering in Quinzaine des Realisateurs Cannes. His music videos were made for distribution on TV, but have also been shown widely on galleries and film festivals. The music video Twice, for Little Dragon, was the origin for the short film Dreams from the Woods, which also premiered in Quinzaine des Realisateurs. That aspect is something that characterizes his work in general the quality to communicate through both what is commonly characterized as high culture and low culture channels. Johannes works with narration, but it is not so important through what media that narration is told. It could be through sculpture, performance, film, or all at the same time. With his shorts Johannes has been awarded with innumerable prizes at film festivals around the world. He runs his own production company, Joclo.

Johannes Nyholm (n.1974), artist i cineast suedez, i prezint creaiile n contexte diverse. Serialul de animaie The Tale of Little Puppetboy de exemplu a fost iniial destinat prezentrii n cadrul galeriilor de art, dar a fost de asemenea proiectat n numeroase festivaluri internaionale, dup premiera n Quinzaine des Realisateur Cannes. Johannes a realizat videoclipuri muzicale destinate difuzrii TV, care au a juns s fie prezentate n galerii de art i festivaluri de film. Videoclipul Twice, realizat pentru Little Dragon, a fost punctul de plecare pentru scurtmetra jul Dreams from the Woods, prezentat n premier tot n cadrul Quinzaine des Realisateurs. Acest aspect este caracteristic lucrrilor lui n general - calitatea de a comunica att prin canalele high culture ct i prin cele low culture. Johannes experimenteaz n materie de structur narativ, utiliznd diverse medii prin care relateaz respectiva poveste. Poate fi sculptur, spectacol sau film, sau toate n acelasi timp. Scurtmetra jele lui Johannes au ctigat numeroase premii la festivaluri de film din ntreaga lume. Are propria sa casa de producie, Joclo.

137

Mila Caos
18, 2011, Germany/Cuba director: Simon Paetau

CAST/distribuia: Yaniel Castillo, Rebeca Aragn, Paula Ali, Jaime Reyes Nomi, Felipe Reyes, Betsy Padrn Director/REGIA: Simon Paetau ScriPtwriter/SCENARIUL: Fabin Suarez / Simon Paetau CineMAtogrAPhy/IMAGINE: Charlotte Michel Art direction/SCENOGRAFIA: Alicia Estrella Editing/MontAj: Ilka M. Valds SOUND/SUNET: Raynier Hinojosa/ Vincent Ribaud Music/MuzicA: Juan Formell Production: Academy of Media Arts Cologne, EICTV, Simon J. Paetau

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Quinzaine SPeciAL ProgrAM

Quinzaine des Realisateurs Cannes 2011/ MoMA New Directors, New Film 2011, New York/ Oberhausen ISFF 2011/ Curtas Vila do Conde ISFF 2011/ Sao Paulo ISFF 2011/ Karlovy Vary ISFF Fresh Film Fest 2011 etc.
FILM WEBSITE: www.simonpaetau.blogspot.com WORLD SALES: Kunsthochschule fr Medien Kln Academy of Media Arts Cologne Press and Public Relations: Ute Dilger Peter-Welter-Platz 2, 50676 Kln, Germany E-mail: ute.dilger@khm.de Web: www.khm.de Tel: +49 (0) 221/20189-330 Directors contact: Simon Paetau Antoniastrasse 5, 51105 Kln E-mail: simonjpaetau@gmail.com Tel: 0049176/83280360

Every weekend at an illegal drag show in a suburb of Havana, Sebastin, a 17 year old Cuban teenager, transforms into Mila Caos. He suffers from his mothers indifference and dreams that one day she will see him on stage. World premiered in Quinzaine des Realisateurs Cannes 2011. n weekenduri, la un drag-show ilegal din Havana, Sebastin, un cubanez n vrst de 17 ani, se transform n Mila Caos. Sebastian sufera din cauza indiferenei mamei sale si viseaza c, ntr-o bun zi, aceasta l va vedea pe scen. Prezentat n premiera mondial n Quinzaine des Realisateurs Cannes 2011.

138

Simon Paetau on MILA CAOS My own experiences in Bogot, Berlin and Havana encouraged me to make a highly personal film addressing several gender-related issues. As a counterpoint to the overrepresented victimization of trans-people, I created a strong character whose conflict many people can identify w ith: that of trying to be seen by the people one loves. While Sbastian explores his femininity, the central subjects of my film are not sexuality and cross-dressing. As the famous song Lo Material by Elena Burke goes, I focus on the desire to be seen and the importance of existing over dreaming, existir me interesa ms que soar. The film has a very concrete narrative. Still, the overall meaning and the depths are dictated not by the events of storyline, but by the time and spaces in-between, the constellations and relations which link each character to the other. The mother, the women, the home and the world outside are motifs reappearing throughout, but always in small variations in color and sound. There is no exotic imagery of the Havana we know. Instead of representing a specific place, I concentrate on underlying questions raised not only by those w ithin Cuba, but in the rest of the world as well: Where is your home? What makes you feel accomplished? What do you want?

Born 1986, Simon J. Paetau has a German father and a Colombian mother. He studies at the Academy of Media Arts, Cologne Germany. In 2010 he received a scholarship to study in Cuba for one year at the International Film School EICTV. Since 2006 Simon has realized projects in the fields of Film and Arts in Colombia, Brazil, Cuba, Germany and has won several awards, including the German Human Rights Filmprize 2008 for the film Oury Jalloh.

Bucharest International Experimental Film Festival

Simon Paetau despre MILA CAOS Propriile experiene trite n Bogot, Berlin i Havana m-au ncurajat s fac un film profund personal, care s adreseze cteva probleme legate de sexualitate. n contrapunct cu omni-reprezentata imagine a transsexualului victimizat, am creat un personaj puternic, cu al carui conflict multi oameni se pot identifica: acela de a incerca s fie vzut cu adevarat de ctre oamenii pe care-i iubeste. n vreme ce Sbastian isi exploreaz feminitatea, filmul meu nu este unul despre sexualitate i travestii. Ca n cntecul celebru al Elenei Burke, Lo Material, m-am concentrat asupra dorinei fiecruia de a fi vazut i pe faptul ca e mult mai important s trieti cu adevrat dect s visezi: existir me interesa ms que soar. Naraiunea filmului e ct se poate de concret. Cu toate astea, semnificaia i profunzimile filmului nu i au originea n evenimentele nirate n scenariu, ci, mai degrab, n timpul i spaiul dintre ele, n constelaia de relaii care se stabilesc ntre personaje. Mama, femeile, acas i lumea exterioara sunt motive recurente, cu uoare variaii de culoare sau sunet. Nu vom ntlni imaginile exotice pe care ne-am obinuit s le asociem cu Havana. Nu am urmrit reprezentarea cu exactitate a unui spaiu, ci m-am concentrat asupra unor ntrebri persistente nu doar n Cuba, ci oriunde n lume. Unde suntem acas? Ce ne face s ne simim mplinii? Ce anume cutm?

Simon J. Paetau s-a nscut n 1986, ntr-o familie mixt: tatl german i mama columbian. i-a fcut studiile la Academia de Arte Media din Kln. n 2010, a ctigat o burs de studii de un an n Cuba, la Institutul Internaional de Film EICTV. ncepnd din 2006, Simon a realizat o serie de proiecte cinematografice i de art n Columbia, Brazilia, Cuba i Germania i a ctigat numeroase premii, printre care German Human Rights Filmprize 2008 pentru filmul Oury Jalloh.

139

140

International Short Film Festival Oberhausen


SPeciAL ProgrAM

Bucharest International Experimental Film Festival

With the support of / Cu sprijinul:

141

Atrophy
8, South Africa, 2009 director: Palesa Shongwe

With the support of / Cu sprijinul:

Director/REGIA: Palesa Shongwe ScriPtwriter/SCENARIUL: Palesa Shongwe CineMAtogrAPhy/IMAGINE: Palesa Shongwe Editing/MontAj: Palesa Shongwe Production: Big Fish School of Digital Filmmaking

Oberhausen SPeciAL ProgrAM

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Prize of the Ecumenical Jury - Oberhausen 2011/ Encounters Film Festival, South Africa 2010/ Best Short Film Audience Award - The Tri-Continental Film Festival, South Africa 2010 / CinemAfrica Film Festival, Sweden 2011/ Asian and Latin American Film Festival Milan 2011

Picture, poetry, voice and music are woven together into a contemplative short film about the lingering memory of youth, the loss of spontaneity and the quiet fear of growing up. Using dance as a metaphor, the winner of the Ecumenical Jury Prize at Oberhausen 2011 is a visual composition reflecting on how, in growing up, freedom and self-expression can become stifled. Imagine, poezie, voce, muzic se mpletesc pentru a compune un scurtmetra j contemplativ despre rememorarea persistent a tinereii, despre pierderea spontaneitii i teama tcut de maturizare. Utiliznd dansul ca metafor, filmul e o compoziie vizual ce reflecteaz asupra efectului rigidizant pe care maturizarea l poate avea asupra libertii de exprimare a adevratului eu. ATROPHY este ctigtorul Premiului Juriului Ecumenic la Oberhausen 2011.

142

WORLD SALES: Big Fish School of Digital Filmmaking Gail Bond, South-Africa, E-mail: bondg@bigfish.org.za Web: www.bigfish.org.za Tel: +27-11-482 5599

Oberhausen Ecumenical Jury Statement ATROPHY is a successful combination of dance, poetry, music and documentary. A young South African woman expresses her longing for freedom through a dance that creates a feeling of community and evokes her cultural tradition. At the same time she fears that the space she unfolds through dancing w ill become more and more constricted due to the conditions of life in the townships. The rhythm of the body creates spaces that resist these grow ing social limitations.

Motivaia Juriului Ecumenic al Festivalului de la Oberhausen ATROPHY este o combinaie reuit ntre dans, poezie, muzic i documentar. O tnr sud-african i exteriorizeaz dorina de libertate printr-un dans care creeaza o comuniune cu tradiia ei cultural. n acelasi timp, teama ei este c spaiul de desfurare a dansului se va contracta din ce n ce mai mult, din cauza limitrilor impuse de mediul urban n care triete. Ritmul corpului creeaz spaii care rezista acestor limitri sociale tot mai pregnante.

Bucharest International Experimental Film Festival

Palesa Shongwe is an emerging talent in documentary filmmaking. Originally entering the South African film and TV industry as a script-reader and production coordinator, she distinguished herself as a capable documentary researcher before attending the Film Talent Incubator program, which focuses on documentary filmmaking in 2009. Atrophy is her first film. Palesa Shongwe este un nume promitor n cinematografia documentar. A nceput ca cititor de scenarii i coordonator de producie n industria cinematografic i TV din Africa de Sud si s-a facut remarcata ca un deosebit de capabil cercetator pentru documentar, nainte s urmeze, n 2009, Film Talent Incubator, un program dedicat realizrii de film documentar. Atrophy este primul ei film.

143

Everybodys Nuts
1330, USA, 2010 director: Fabian Vasquez Euresti

With the support of / Cu sprijinul:

Director/REGIA: Fabian Vasquez Euresti ScriPtwriter/SCENARIUL: Fabian Vasquez Euresti CineMAtogrAPhy/IMAGINE: Roman Zenz Editing/MontAj: Fabian Vasquez Euresti SOUND/SUNET: Ben Huff Production: Fabian Vasquez Euresti

Oberhausen SPeciAL ProgrAM

Screened in the International Competition of Oberhausen International Short Film FESTIVALS l AWARDS: FESTIVALURI l PREMII: Oberhausen 2011/ Vienalle 2010/ Los Angeles IFF 2011/ Full Frame Documentary Film Festival USA 2011/ Slamdance IFF 2011 Festival 2011, this film is a short essay about a particular landscape and the people who live there. In the San Joaquin Valley, California, agriculture and oil power the economy. While Eurestis camera records the bright sun-bleached landscape, agricultural implements and farms as well as the modest bungalow where his parents live the soundtrack tells the darker story of his family, now sick from contamination by the same oil company that employed his father. Proiectat n cadrul Competiiei Internaionale Oberhausen 2011, filmul e un eseu despre un peisa j anume i despre oamenii care l locuiesc. Este vorba despre San Joaquin Valley din California, unde economia e propulsat de agricultur i de industria petrolier. n timp ce imaginile filmate arat un peisa j scldat n soare i presrat cu ferme i utila je agricole i bungalow-ul modest unde triesc prinii autorului coloana sonor relateaz partea ntunecat a povetii familiei, acum bolnava din cauza ca e nevoita s triasc n mediul contaminat chiar de ctre compania la care tatl e anga jat.

WORLD SALES: Fabian Vasquez Euresti E-mail: readyformycloseup@mac.com. Tel: +1-661-301 8222

144

Fabian Vasquez Euresti on EVERYBODYS NUTS: The southernmost county in the San Joaquin Valley is Kern County. Nestled in between Los

Angeles and San Francisco, Kern is home to two industries: agriculture and oil. During my formative years, it was my home too. And for my parents, both Mexican immigrants, it still is. They live in a house owned by my fathers employer, Paramount Citrus. Close to their home lie thousands of oil wells. And the drinking water is contaminated. Everybodys Nuts is an essay and a portrait film that explores the choice of two individuals whose economic circumstances helped determine where they would live. CurAtors coMMent The San Joaquin Valley of California, where filmmaker Fabian Euresti grew up, relies heavily on two industries: oil production and citrus fruit agriculture. Unfortunately, the oil wells have seeped into the local water supply, rendering it unfit for human consumption. Euresti has called this contemplative short a portrait film about my parents, but it is also an essay on injustice, which he narrates over static camera shots of the dry oil fields stretching out behind the backyard of the house his family rents from the Paramount Citrus, where his father has worked watering the orange groves for more than two decades. The film is a wry and bleak meditation on a landscape where the zero-sum game of corporate greed has put two naturally opposed resourcesoil and waterin direct and dangerous competition w ith one another. Full Frame International Documentary Film Festival

Fabian Vasquez Euresti despre EVERYBODYS NUTS: La extremitatea sudic a Vii San Joaquin se afl inutul Kern, situat ntre Los Angeles i San

Francisco. Zona i asigur existena din agricultur i industria petrolier. Acesta e locul copilriei mele. Prinii mei, imigrani mexicani, triesc acolo i acum. Casa n care locuiesc aparine companiei Paramount Citrus, unde lucreaz tatl meu. Nu departe de casa prinilor mei se ntinde un teren presrat cu mii de puuri de petrol. Apa potabil e contaminat. Filmul e un eseu si un film-portret n acelai timp, despre doi oameni a cror decizie de a locui ntr-un anume loc a fost dictat de raiuni economice. CoMentAriuL curAtoruLui Valea San Joaquin din California, locul unde a crescut regizorul filmului, Fabian Euresti, i bazeaz existena pe cultivarea citricelor i pe extragerea petrolului. Din pcate, puurile de petrol au ptruns n pnza freatic i au contaminat apa potabil din zon. Euresti i-a intitulat acest scurtmetraj contemplativ un film-portret despre prinii mei. Dar filmul este, n acelai timp, un eseu despre nedreptate, construit pe fundalul unor cadre statice ale peisajului petrolier sterp care se ntinde n spatele gospodriei familiei, casa ce aparine companiei Paramount Citrus, pentru care tatl autorului a lucrat mai mult de douzeci de ani la irigarea livezilor de portocali. Filmul e o meditaie ironic i amara asupra unui peisaj n care lcomia corporatista a pus dou resurse naturale opuse - apa i petrolul - ntr-o competiie direct i periculoas. Full Frame International Documentary Film Festival

Fabian Vasquez Euresti was born in Bakersfield, Ca, and raised in the nearby town of McFarland. He holds a M.F.A. in Film Directing from California Institute of the Arts and a B.A. in English Literature from California State University, Bakersfield. His work examines alienation, loneliness, injustice, and the slight sense of the surreal that typifies existences in Southern California- where people live surrounded by lush groves, migrant workers, modern subdivisions and forgotten lands, all the while remaining haunted by a faint sense of unease. Both his thesis film, Dos, Por Favor (Two, Please), and Everybodys Nuts are official selections of the 2010 Viennale. He is currently editing two new short films and has a feature-length script in development. Fabian Vasquez Euresti s-a nscut la Bakersfield, California, i a crescut n orelul McFarland. Este deintor al unui master degree n Regie de Film la Institutul de Arte din California i este liceniat al California State University Bakersfield n literatur englez. Creaiile lui exploreaza alienarea, singurtatea, nedreptatea si dimensiunea suprarealista a vieii din sudul Californiei si sentimentul permanent de anxietate care o insoteste. Att filmul lui de absolvire, Dos, por favor, ct i Everybodys Nuts au intrat n selecia oficial a Viennale 2010. n prezent, Euresti monteaza dou noi scurtmetra je i dezvolta un scenariu de lungmetra j.

145

Bucharest International Experimental Film Festival

Im Not The Enemy


- also part of the International Competition
13, Germany, 2011 director: Bjorn Melhus

With the support of / Cu sprijinul:


CAST/distribuia: Bjorn Melhus Director/REGIA: Bjorn Melhus ScriPtwriter/SCENARIUL: Bjorn Melhus CineMAtogrAPhy/IMAGINE: Art direction/SCENOGRAFIA: Felix Ott, Julia Neuenhausen Editing/MontAj: Ben Brix Producer: Yuki Jungesblut Production: Limboland Productions

Oberhausen SPeciAL ProgrAM

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Oberhausen 2011 - Special Mention of the International Jury Special Mention - Hamburg ISFF 2011

Home is a place of comfort, of security and peace. Delve into the world of a PTS (Post Traumatic Stress Disorder) suffering war veteran however, and such notions drastically become perverted and uneasy. The home becomes alien and family members come to encapsulate the demons against whom the veteran has to fight. Appropriating dialogues from Hollywood movies that deal with the legacy of the Vietnam War and firmly implanting them amongst quiet German suburbs, the winner of the Special Mention of the Jury at Oberhausen 2011, IM NOT THE EMEMY cuts open the ways in which a society engaged in war deals with the problematic reintegration of its war veterans. Acas nseamn confort, siguran i linite. n lumea unui veteran de rzboi suferind de sindrom post-traumatic, aceste noiuni sunt distorsionate i generatoare de anxietate. Acas devine un mediu ostil, iar cei din familie sunt purttori ai demonilor mpotriva crora veteranul trebuie s lupte. Filmul preia replici din produciile hollywoodiene despre efectele rzboiului din Vietnam i le planteaz n mediul linitit al suburbiei germane. Ctigtor al Meniunii speciale a Juriului la Oberhausen 2011, IM NOT THE EMEMY disec modul n care o societate anga jat n conflicte armate nelege s abordeze problema complicat a reintegrrii veteranilor de rzboi.

FILM WEBSITE: www.melhus.de

146

WORLD SALES: Limboland, Deutschland Bjorn Melhus E-mail: info@melhus.de studio@melhus.de Web: www.melhus.de

Oberhausen Jury Statement With this Special Mention, the jury would like to raise awareness on works in moving images made by visual artists. From American film history, Bjorn Melhus appropriates a list of films about Vietnam veterans and transfers them to a non-American (German) setting. Extracting the films dialogue from the original contexts, the alienation effect of Im Not the Enemy makes us aware of cracks in the surface of society.

CurAtors coMMent Melhuss uncanny enactment of the dissociative symptoms related to post-traumatic stress disorder made good use of both his own acting skills ( all characters are played by the director) and his sensibility for the tragicomic: dressing up as various stock characters found in American war veteran films and delivering a disturbing mash-up dialogue derived, precisely, from a selection of such films, Melhus provided a portrait of PTS (and its social implications) that may have been even funnier than he intended, but ot was not, because of this, any less effective. Tijana Mamula, Neromagazine

Bucharest International Experimental Film Festival

Motivaia Juriului Festivalului de la Oberhausen Prin acordarea acestei meniuni speciale, juriul dorete s atrag atenia asupra lucrrilor cinematografice semnate de artiti vizuali. Bjorn Melhus i nsuete o list de filme americane despre veteranii rzboiului din Vietnam i transfer totul ntr-un spaiu german. Extrgnd replicile din contextul lor original, efectul de alienare al Im Not the Enemy ne face contieni de fisurile din suprafaa societii. CoMentAriuL curAtoruLui Melhus ofer o reconstituire tulburtoare a simptomelor disociative ale sindromului de stres post-traumatic, fcnd apel la talentul su actoricesc (regizorul interpreteaz toate personajele filmului) i la afinitatea sa pentru tragicomedie. Costumaia e preluat de la personaje stereotipe din filmele americane despre veterani de rzboi, iar tulburatorul colaj de replici are aceeai surs. Melhus prezinta un portret al sindromului de stres post-traumatic, cu toate implicaiile sale sociale. Rezultatul e poate mai amuzant dect a intenionat autorul, dar asta nu face filmul mai puin eficient. Tijana Mamula, Neromagazine

BjOrn Melhus, born 1966, is a German-Norwegian media artist. In his work he has developed a singular position, expanding the possibilities for a critical reception of cinema and television. His practice of fragmentation, destruction, and reconstitution of well-known figures, topics, and strategies of the mass media opens up not only a network of new interpretations and critical commentaries, but also defines the relationship of mass media and viewer anew. Originally rooted in an experimental film context, Bjorn Melhuss work has been shown and awarded at numerous international film festivals. He has held screenings at Tate Modern and the LUX in London, the Museum of Modern Art (MediaScope) in New York, and the Centre Pompidou in Paris, amongst others. His work has been exhibited in shows like The American Effect at the Whitney Museum New York, the 8th International Istanbul Biennial, solo and group shows at FACT Liverpool, Serpentine Gallery London, Sprengel Museum Hanover, Museum Ludwig Cologne, ZKM Karlsruhe, Denver Art Museum among others. Bjorn Melhus (n. 1966) este un artist media germano-norvegian. Lucrrile sale prezinta o perspectiva singulara, extinznd posibilitile receptrii critice a filmului i televiziunii. Tehnica sa - de a fragmenta, deconstrui i apoi reconstitui personaje, teme i strategii mass-media bine cunoscutedeschide calea ctre o intreaga retea de noi interpretri critice i n acelasi timp redefinete relaia mass-media spectator. Lucrrile lui Bjorn Melhus au depit contextul filmului experimental, fiind proiectate si premiate n numeroase festivaluri internaionale de film, si prezentate si n alte spaii, ca Tate Modern i LUX, Londra sau Muzeul de Art Modern MediaScope din New York printre altele. A fost prezent n diverse expozitii: The American Effect la Whitney Museum New York, Bienala Internaional de la Istanbul ediia a 8-a, expozitii individuale i colective la FACT Liverpool, Serpentine Gallery Londra, Sprengel Museum Hanovra, Museum Ludwig Kln, ZKM Karlsruhe, Denver Art Museum i altele.

147

Inventory
9, POLAND, 2010 director: Pawel Lozinski

With the support of / Cu sprijinul:

Director/REGIA: Pawel Lozinski ScriPtwriter/SCENARIUL: Pawel Lozinski CineMAtogrAPhy/IMAGINE: Pawel Lozinski Editing/MontAj: Rafal Listopad, Dorota Wardeszkiewicz Producer: Pawel Lozinski Production: Pawel Lozinski Produkcja Filmow

Oberhausen SPeciAL ProgrAM

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Oberhausen 2011/ Zagreb Dox IDFF 2011/ Jihlava IDFF 2010/ Lodz Camerimage 2010/ DocPoint Helsinki IDFF 2011/ Sao Paolo ISFF 2011/ Festival dei Popoli Italy 2010/ Belgrade iDSFF 2011/ Docpoint Tallin 2011/ Its All True IDFF Brazil 2011/ Kortfilmfestivalen Grimstad Norway 2011/ DokumentART Germany 2010/ Era New Horizons IFF Poland 2011/ DOXA Vancouver IDFF 2011 etc.

Screened in the International Competition of Oberhausen 2011, INVENTORY is a short metaphoric story approaching the problem of memory, identity and the search for traces of the recent past. On thirty hectares in the city centre, an inventory is being made to reconstruct a lost city- researchers scan the inscriptions of the tombstones of the great Jewish cemetery of Warsaw. The camera focuses on details, showing fingers touching an obliterated inscription or a laborious process of decoding letters excavated from the ground, because each of them has a meaning. Prezentat n cadrul Competiiei internaionale a Festivalului de la Oberhausen 2011, INVENTORY e o metafor despre memorie, identitate i cutarea urmelor istoriei recente. Pe o suprafa de 30 de hectare aflat n centrul oraului, cercettorii fac un inventar amnunit. Pentru a putea reconstrui un ora disprut, sunt cercetate atent inscripiile de pe monumentele funerare din marele Cimitir Evreiesc din Varovia. Camera se concentreaza pe detalii, urmrete degete care ating inscripii terse de vreme sau ncercarea laborioas de a deslui literele dezgropate, pentru c fiecare dintre ele are o semnificaie.

148

WORLD SALES: Krakow Film Foundation, Katarzyna Wilk, Poland E-mail: katarzyna@kff.com.pl, Web: www.kff.com.pl Tel: +48-12-294 6945,

Pawel Lozinzki - director, scriptwriter and producer of documentary and fiction films born in 1965 in Warsaw. He earned his degree from the Film Directing Department of the Polish National Film School in Ldz. He has won prestigious awards at festivals in Bornholm, Paris, Leipzig and Krakow. His documentary films include Birthplace (1992), The Way It Is (1999), Sisters (1999), Between the Doors (2004), The Exile (2005), Kitty, Kitty (2008) and the newest one Inventory (2010). His film Chemo (2009) has won PRIX EUROPA for Best Television Documentary Programme of the Year 2009, The MDR Film Prize (Mitteldeutscher Rundfunk) for an excellent Eastern European documentary film 2009 and brought him a title of the Best Director at One World Human Rights Watch Film Festival in Prague. Filmography: 2010 Inventory/ 2009 Chemo/ 2008 Kitty, kitty/ 2007 Jacek Hugo-Bader, corespondent from Poland / 2004 Between the doors / 2003 Our census - My nature index in the Lezno village / 2002 The Ukrainian cleaning lady/ 1999 Sisters/ 1999 The way it is/ 1996 Gutter/ 1995 A hundred years in the cinema/ 1992 Birthplace/ 1990 Voyage.

Pawel Lozinzki este regizor, scenarist i productor de documentar i ficiune. S-a nscut n 1965, la Varovia. Este liceniat al Institutului Naional de Film din Ldz, Facultatea de Regie. A ctigat premii prestigioase la festivaluri de film din Paris, Leipzig, Cracovia. Ca regizor de documentar, filmografia lui include Birthplace (1992), The Way It Is (1999), Sisters (1999), Between the Doors (2004), The Exile (2005), Kitty, Kitty (2008) i cel mai recent film, Inventory (2010). Cu filmul Chemo (2009), a ctigat Prix Europa pentru cel mai bun documentar de televiziune al anului 2009, Premiul Radiodifuziunii Germane MDR Mitteldeutscher Rundfunk pentru cel mai bun documentar din Europa de Est i distincia de Cel mai bun regizor la Festivalul One World Human Rights din Praga. Filmografie: 2010 Inventory/ 2009 Chemo/ 2008 Kitty, kitty/ 2007 Jacek Hugo-Bader, corespondent from Poland / 2004 Between the doors / 2003 Our census - My nature index in the Lezno village / 2002 The Ukrainian cleaning lady/ 1999 Sisters/ 1999 The way it is/ 1996 Gutter/ 1995 A hundred years in the cinema/ 1992 Birthplace/ 1990 Voyage

149

Bucharest International Experimental Film Festival

Kengere
23, UGANDA, 2010 director: Peter Tukei Muhumuza

With the support of / Cu sprijinul:


CAST/distribuia: Nabuyondo Nightingale Director/REGIA: Peter Tukei Muhumuza ScriPtwriter/SCENARIUL: Peter Tukei Muhumuza CineMAtogrAPhy/IMAGINE: Peter Tukei Muhumuza Art direction/SCENOGRAFIA: Peter Tukei Muhumuza Editing/MontAj: Sunna Peter SOUND/SUNET: Sunna Peter MUSIC/MUZICA: Sunna Peter Producer: Abbie Heffelfinger Production: Rural Film

Oberhausen SPeciAL ProgrAM

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Prize of the International Short Film Festival Oberhausen 2011/ Rotterdam IFF 2011

Winner of the Prize of the International Short Film Festival Oberhausen 2011, this experimental, political puppet stop motion animation is a remarkable exception in African cinema. Made with patience and barely contained rage, this story, innovatively told using puppets, relates an event whereby soldiers locked 69 people in a train and set fire to it in 1989. Later on, a cyclist returns to his village to look for a cassette tape that contains the voices of the victims. Ctigtor al Premiului pentru scurtmetra j la Oberhausen n 2011, aceasta animatie stop motion experimentala cu subiect politic este o excepie remarcabila n cinematografia african. Construit cu rbdare i mnie abia reinut, povestea e redat ntr-un mod inovativ, prin intermediul unor marionete. n 1989, soldaii au sechestrat 69 de oameni ntr-un vagon de tren, cruia i-au dat foc. Mai trziu, un biciclist se ntoarce n sat, n cutarea unei casete pe care sunt nregistrate vocile victimelor.

150

WORLD SALES: Rural Film Peter Tukei Muhumuza Uganda E-mail: peter.muhumuza@gmail.com Tel: +256-713-160 770,

Oberhausen Jury Statement: Kengere by Peter Tukei Muhumuza is impressive in the care, intelligence and delicacy, the imagination w ith which it creates a handmade world of its own a world in which massive human rights abuse is part of everyday life, as we learn slowly but surely. It is a congenial fusion of animation and documentation. T ukei Peter Muhumuza about KENGERE We used these puppets to remind oursel ves of our political history. In 1989, in a small village in Mukura in Eastern Uganda, government solders accused the residents of being rebels making only an exception when they could prove otherw ise by means of an identification card. Sixty-nine of the residents failed to identify themsel ves and were hence locked in train wagons and set on fire. All but one diedand for years our government has tried to erase such history from the people. I used puppets to paint this story. When I talked to actors about making a film out of this story, they didnt feel comfortable, afraid that the government would come after them. What is the purpose of us as artists? We paint or discuss issues affecting our communities, issues that politicians or other societies arent comfortable to address. In the film, a cyclist returns to his village to look for a cassette tape that contains the voices of the victims.

Bucharest International Experimental Film Festival

Motivaia Juriului Festivalului de la Oberhausen: Kengere de Peter Tukei Muhumuza impresioneaz prin grija, inteligena, sensibilitatea i imaginaia cu care creeaz o lume manufacturat de sine stttoare - o lume unde abuzul masiv impotriva drepturilor omului este la ordinea zilei, aa cum aflm pas cu pas. Filmul e o combinaie foarte reuit ntre animaie i documentar. Tukei Peter Muhumuza despre KENGERE Am folosit marionetele pentru a rememora un episod din istoria noastr. n 1989, ntr-un sat din regiunea Mukura din estul Ugandei, soldaii guvernului la putere i-au acuzat pe localnici c ar fi rebeli. Singura modalitate de a dovedi contrariul era s prezinte cartea de identitate. 69 dintre steni nu i-au putut dovedi identitatea. Soldaii i-au nchis ntr-un vagon de tren i le-au dat foc. Un singur prizonier a supravieuit. Ani de zile, guvernul s-a strduit s tearg evenimentul din memoria oamenilor. Am relatat aceast ntmplare cu ajutorul marionetelor, pentru ca actorii crora le-am propus s lucreze la proiect s-au temut de represaliile autoritilor n cazul n care ar fi acceptat rolurile. Care este scopul nostru, al artitilor? Acela de a ilustra sau de a pune n discuie chestiuni care ne afecteaz i pe care politicienii i autoritile se feresc s le abordeze. n film, un om se ntoarce n satul lui, pe biciclet, n cutarea unei casete care conine nregistrarea vocilor victimelor.

Tukei Peter Muhumuza is a visual artist based in East Africa, a young multi talented creator of an unconventional work with extraordinary imagination and unfound creativity greatly influenced by the grandeur of African arts, African cultures, vitality of African dance and music as a free expressive art form. He is at the vanguard of a youthful art renaissance that refuses to be pigeonholed into a singular artistic expression. Whether hand painting clothes for his Art for film label rural area piercing live graffiti performances and back chops codirecting music videos and Hip-Hop shows or reciting his poetry, Tukei lives up to his motto, creativity is limitless. Tukei Peter Muhumuza e un tnr artist vizual din estul Africii. Talent plurivalent, este autorul unor lucrri neconvenionale care abund n imaginaie i creativitate, puternic influenate de grandoarea artei i culturilor Africii i de vitalitatea i libertatea de expresie a dansului i muzicii africane. Se afl n avangarda artei tinere, care refuz s se lase ngrdit de o singur form de expresie artistic. Fie c picteaz haine, susine reprezentaii de live graffiti, regizeaz clipuri muzicale i spectacole hip-hop sau i recit propriile poezii, Tukei triete n spiritul motto-ului su creativitatea nu are limite.

151

Untitled
15, France, 2011 director: Neil Beloufa

With the support of / Cu sprijinul:

CAST/distribuia: Coralie Lequain, Alex Pelle, Franois Bouzigues, Michel Baudemont, Maurice Berland Director/REGIA: Neil Beloufa ScriPtwriter/SCENARIUL: Neil Beloufa CineMAtogrAPhy/IMAGINE: Guillaume Legrontec/ Ermano Corrado/ Neil Beloufa Art direction/SCENOGRAFIA: Florian Fournier / Johnny Brecht Editing/MontAj: Neil Beloufa SOUND/SUNET: Jeremy Morelle Producer/productor: Frdric Papon

Oberhausen SPeciAL ProgrAM

Production:

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Grand Prize of the City of Oberhausen and the Prize of the Jury - Oberhausen 2011

Like in his ethnological science fiction documentary Kempinski, in his new film, winner of the Grand Prize and the Jury Prize in Oberhausen 2011, Nel Beloufa shatters our expectations about reality and fiction in a necessary and almost natural process. In his work he creates a simulated reality of his own, as much virtual as real. In UNTITLED, both the backgrounds and the statements of the characters are blatantly false. Where do truth and veracity lie behind the staging, the stories and the filming? La fel cum a fcut-o n al sau documentar etnologic science-fiction Kempinski, cu acest nou film, ctigtor al Marelui Premiu i al Premiului Juriului la Festivalul de la Oberhausen 2011, Neil Beloufa ne spulber ateptrile privind realitatea i ficiunea, ntr-un proces necesar i aproape natural. Beloufa creeaz propria lui realitate simulat, virtual i real n egal msur. n UNTITLED, att decorurile ct i discursurile persona jelor sunt flagrant de false. Unde anume se ascund adevrul i veridicitatea n spatele mizanscenei, povetilor i filmrii?

152

WORLD SALES: LE FRESNOY - Studio National des Arts Contemporaines 22 rue du Fresnoy, BP 179, 59202 Tourcoing France Natalia Trebik E-mail: ntrebik@lefresnoy.net; Web: www.lefresnoy.net Directors contact: neil.beloufa@yahoo.fr

Algerian and French, the visual artist Neil Beloufa (b. 1985, Paris) demonstrates a persisting interest in dichotomies; reality and fiction, cause and effect, presence and absence, all of which he communicates through mediums ranging from sculpture, video, installation and photography. Through his construction of dichotomies Beloufa is able to deconstruct our perceived ideas of truth and fantasy, thus posing fantasy as truth. Beloufa himself dubs his work as ethnological sci-fi documentary. Beloufa studied at Le Fresnoy Studio National des Arts Contemporaines, the cole des Beaux Arts de Paris (ensba), at the Art Decoratifs de Paris (ensad), at Cooper Union in New York and at CalArts, Valencia. His work has been exhibited internationally, including the ITCA 2008 - Prague International Triennial of Contemporary Art, Prague; 12th Biennial of the Moving Image, Geneva; Palais de Tokyo, Paris; NCCA - National center of contemporary Arts, Moscow etc. His previous work Kempinski won the ARTE Prize in Oberhausen 2008, theGrand Prix at IndieLisboa 2009 and Prix Videoforme in Clermont Ferrand 2009. Artistul vizual franco-algerian Neil Beloufa (n. 1985 la Paris) manifest un interes persistent pentru dihotomii: realitate ficiune, cauz efect, prezen absen, despre care comunic cu a jutorul unor medii diverse, de la sculptur la instalaii video sau fotografie. Construindu-i dihotomiile, Beloufa deconstruiete percepia noastr asupra adevrului i imaginarului, n aa fel nct imaginarul devine adevr. Beloufa nsui aplic lucrrilor lui eticheta de documentare etnologice sci-fi. Beloufa i-a fcut studiile la Studioul Naional de Art Contemporan Le Fresnoy, cole des Beaux Arts Paris, Art Decoratifs Paris, Cooper Union New York i CalArts Valencia. Lucrrile lui au fost expuse internaional, n muzee, galerii si evenimente precum ITCA 2008 Trienala de Art Contemporan de la Praga; Bienala Moving Image ediia a 12-a de la Geneva; Palais de Tokyo, Paris; NCCA Centrul Naional de Art Contemporan Moscova i altele. Filmul Kempinski a obinut Premiul ARTE la Festivalul de la Oberhausen 2008, Marele Premiu la IndieLisboa 2009 i Premiul Videoforme la Clermont Ferrand, 2009.

CurAtors coMMent A luxurious villa in Algeria, built in modernist style, is the setting for the action in UNTITLED. Or actually,

it isnt. In fact it is a reproduction of a villa, fabricated from cardboard w ith photographic wallpaper pasted onto it. Against this disorientating background various people talk about the period when the house was in the possession of terrorists, who were supposed to have used it as a hideout for a while. There are plenty of these anecdotes about the terrorists, and they constantly contradict each other. While one w itness declares that the house was left behind in perfect condition, another says that it was wrecked. A table was broken in two, says the owner of the house. And the curtains caught fire but that could also have been caused by the strong moonlight. What were the terrorists doing in that house, which, w ith its huge w indows, would seem to have been the worst possible hiding place? Nel Beloufa based his film on an event that actually happened: the raid on a villa near Algiers by terrorists in the 1990s. Beloufa interviewed the landlord, the neighbors, the gardener and other servants, people who live around the supposedly occupied villa. He also photographed this angular house and created large paper/cardboard models of it for the set through collating the photographs, in order to produce the film w ithin this blown-up reproduction. The real interviewed people are represented by actors usually filmed from the back who wander through the paper replica of the villa like ghosts. Even the lush garden and the empty sw imming pool are mere photographic prints. The w itnesses oral accounts are edited onto their re-enactments. Pauline Kleijer, Netherlands Media Art Institute

Bucharest International Experimental Film Festival

CoMentAriuL curAtoruLui Cadrul n care se desfoar aciunea din UNTITLED e o vil luxoas din Algeria, construit n stil

modernist. De fapt, nu e. E doar reproducerea unei vile, construit din carton acoperit cu fototapet. Pe fundalul acestui decor deconcertant, nite oameni vorbesc despre perioada n care vila era ocupata de teroriti, care ar fi folosit-o ca ascunztoare pentru o vreme. Povetile despre teroriti sunt multe i contradictorii. Un martor declar c, la plecarea teroritilor, vila era n perfect stare. Altul susine c era o ruin. O mas a fost rupt n dou - declar proprietarul casei. i perdelele erau arse, dar de vin ar fi putut fi lumina prea puternic a lunii. Ce cutau teroritii n casa aceea cu ferestre uriae, care o fceau cea mai proast ascunztoare posibil? Filmul lui Neil Beloufa pornete de la o ntmplare real, petrecut n anii 1990, un atac al teroritilor asupra unei vile din nprejurimile Algerului. Beloufa a intervievat pe proprietarul vilei, vecinii, grdinarul i alti servitori, oamenii care locuiesc n apropiere. De asemenea, a fotografiat vila i a printat reproduceri marite pe bucati uriase de carton, pe care le-a pus laolalta pentru a crea aceast reproducere fotografic inedit a casei, n interiorul creia a realizat filmul. Oamenii intervievai sunt jucai de actori, filmai cel mai adesea din spate. Ei trec prin replica de carton a vilei ca nite fantome. Chiar i grdina luxuriant i piscina goal nu sunt altceva dect fotografii. Relatrile martorilor sunt montate pe aceast reconstituire. Pauline Kleijer, Netherlands Media Art Institute

153

154

Tampere International Short Fim Festival


Bucharest International Experimental Film Festival

SPeciAL ProgrAM

With the support of / Cu sprijinul:

155

How To Pick Berries


- also part of the International Competition
19, Finland, 2010 director: Elina Talvensaari

With the support of / Cu sprijinul:


Director/REGIA: Elina Talvensaari ScriPtwriter/SCENARIUL: Elina Talvensaari & Mauro Farias CineMAtogrAPhy/IMAGINE: Joonas Pulkkanen Editing/MontAj: Markus Leppl SOUND/SUNET: Pinja Kuusela Music/MuzicA: Pinja Kuusela Producer: Elina Talvensaari Production: AALTO UNIVERSITY/ School of Art and Design/ ELO Helsinki Film School

Tampere SPeciAL ProgrAM

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Best Documentary Award - Tampere ISFF 2011/ Venice IFF Orrizonti 2010/ San Sebastian IFF 2010- International Film Student Meeting Awards, 2nd prize / IDFA Amsterdam 2010/ Golden Mikeldi Award for Documentary - Bilbao 2010/ MOMA - Museum of Modern Art New York 2011/ Prmio RTP2 Onda Curta - Indielisboa 2011/ Centre Pompidou Paris 2011/ Best musical Creation Award Premiers Plans IFF Angers 2011/ DocPoint Helsinki 2011/ Recontres Henri Langlois, International Film Schools Festival Poitiers 2010/ DOCAVIV IDFF 2011/ London IDFF 2011 etc WORLD SALES: AALTO UNIVERSITY School of Art and Design, ELO Helsinki Film School Hmeentie 135 C, FIN-00560 Helsinki, Finland Saara Toivanen Festival Coordinator E-mail: saara.toivanen@aalto.fi Web: www.taik.fi/elo Tel: +358-(0)50-331 7754 Fax: +358-(0)9-634 303 Directors contact: elina.talvensaari@gmail.com

Economy is stranger than fiction. Visitors from a distant place appear in the misty swamps of Northern Finland. As harmless as they are, their foreign presence unwittingly disrupts the pace of local habits. They have come to look for berries, an activity that all of a sudden seems to embody all the values of local culture. Who is to blame and who is profiting from all this? World premiered in Venice Orizzonti 2010, screened in prestigious festivals and venues like IDFA Amsterdam, MOMA, Centre Pompidou, the winner of Best Documentary Award at Tampere 2011 is an exploration of Finnish mind and the absurdities of global economy. Stylized as a science fiction film, it wonders how the economical inequality brings others as if to a strange planet while causing others act like they were dealing with aliens. Economia e uneori mai ciudat dect orice ficiune. n mlatinile ceoase din nordul Finlandei apar vizitatori venii de undeva de departe. Sunt inofensivi, dar simpla lor prezen perturb mersul obinuit al lucrurilor. Noii sosii au venit s culeag coacze, o activitate care dintr-o dat pare s ntrupeze toate valorile culturale locale. Cine e de vin i cine are de profitat? Prezentat n premier n seciunea inovativ Orizzonti a Festivalului de la Veneia 2010, proiectat n festivaluri i muzee prestigioase, precum IDFA Amsterdam, MOMA, Centrul Pompidou i ctigtor al Premiului pentru cel mai bun documentar la Festivalul de la Tampere 2011, HOW TO PICK BERRIES analizeaz mentalitatea finlandez i absurditile economiei globale. Adoptnd stilistica filmului science fiction, reflecteaz asupra modului n care inegalitile economice i aduc pe unii oameni parc pe o planet strin, iar pe alii i fac s se comporte ca i cum ar avea de-a face cu extrateretri.

156

Elina Talvensaari on HOW TO PICK BERRIES The twisted logic of global economy never fails to amaze me. For me it is the most sci-fi thing there is, but real. At the same time Im very curious about how the landscape shapes us and our identity. Those two favorite themes of mine met in the subject of this film. It is also interesting how simple actions can carry in themselves so many unspoken rules. Ive been fascinated by Julio Cortzars way of depicting the so called normal things as strange, showing how nothing is as simple as it seems. In a way, the name of the film refers to his short stories like the Instructions on how to cry or the Instructions on how to climb a staircase. Picking berries is not just detaching the fruit from the stalk of the plant and dropping it into the bucket; its way more complicated than that. About the film : Savukoski, a municipality in Northern Finland has experienced a puzzling change. Some years ago the local berry company started collaborating with berry pickers from Thailand. The nearby villages were filled with hundreds of Thais trying to find an income by picking wild berries in the swamps and forests of the area and selling them to the berry company. Berrypicking, although not really an income for the locals anymore, is still a tender spot for the locals. Somehow the activity seems to embody all the values of local culture, and changes in it has provoked a mix of feelings from patriotism and racism to envy, admiration and pity. How can such small fruits do all that?

Bucharest International Experimental Film Festival

Elina Talvensaari despre HOW TO PICK BERRIES Logica distorsionat a economiei globale nu nceteaz s m surprind. Pentru mine, e de domeniul science fiction-ului, doar c de fapt totul e real. T otodat, m intereseaz modul n care mediul nconjurtor i pune amprenta asupra identitii noastre. Sunt dou teme apropiate mie, care se ntlnesc n acest film. E foarte interesant de asemenea cum activiti n aparen simple pot s presupun attea reguli nerostite. M-a fascinat modul n care Julio Cortzar descrie lucrurile aa-zis normale ca pe ceva foarte ciudat, artnd astfel cum nimic nu e att de simplu precum pare. ntr-un fel, titlul filmului face referire la prozele lui scurte precum Instruciuni despre cum s plngi sau Instruciuni despre cum s urci scrile. Culesul coaczelor nu nseamn numai desprinderea boabelor de pe tulpin i pusul lor ntr-o gleat; e mult mai complicat de att. Despre film: Savukoski e o regiune din nordul Finlandei care a trecut prin schimbri majore. Cu civa ani n urm, o companie local de prelucrare a coaczelor a nceput s angajeze muncitori din Thailanda. Satele din regiune s-au umplut de sute de thailandezi venii s-i ctige existena din culesul coaczelor de prin mlatinile i pdurile din jur i vnzarea lor ctre compania de prelucrare. Culesul coaczelor, chiar dac de mult vreme nu mai constituia oricum pentru localnici o surs de venit, rmne n continuare un punct nevralgic pentru acetia. Aceast activitate pare s nglobeze toate valorile culturii locale, iar schimbrile survenite provoac o furtun de reacii, de la patriotism i rasism, la invidie, admiraie i mil. i toate astea, din cauza unor fructe att de mici?

Elina Talvensaari began her studies with anthropology and sociology at the Helsinki University. While finishing her Masters Degree she switched to film studies, ma joring in documentary directing. HOW TO PICK BERRIES is her film for the Bachelors Degree at Aalto University, Helsinki. Elina Talvensaari a studiat antropologia i sociologia la Universitatea din Helsinki. n timpul studiilor de masterat, a decis s se nscrie la studii de film, cu specializare n regia de film documentar. HOW TO PICK BERRIES este filmul ei de absolvire a Universitii Aalto din Helsinki.

157

Always Decent
20, Finland, 2007 director: Katja Pllijeff

With the support of / Cu sprijinul:

Director/REGIA: Katja Pllijeff ScriPtwriter/SCENARIUL: Katja Pllijeff Editing/MontAj: Tiina Aarniala, Katja Pllijeff SOUND/SUNET: Elina Hyvrinen Music/MuzicA: Juan Formell Producer/productor: Anna Pohjola Production: AALTO UNIVERSITY/ School of Art and Design/ ELO Helsinki Film School The 1970s Ostrobothnia in Western Finland: Elvis dies, my parents divorce and a new concept is introduced in school maths: set theory (Katja Pllijeff). Screened in prestigious festivals as Tampere, Oberhausem, Vila do Conde, Uppsala and many others, based entirely on archive material, ALWAYS DECENT is an experimental, autobiographical documentary about a childs fear of difference, shame, guilt and longing. The film dips into the logic and dimensions of childs thinking through warm humor and associative visual narrative. Anii 1970, regiunea Ostrobothnia, n vestul Finlandei. Elvis moare, prinii mei divoreaz, iar la orele de matematic ni se pred teoria mulimilor (Katja Pllijeff). Prezentat la festivaluri prestigioase precum Tampere, Oberhausem, Vila do Conde, Uppsala i multe altele, ALWAYS DECENT e un documentar experimental autobiografic bazat exclusiv pe imagini de arhiv, despre tririle unui copil: team de schimbare, ruine, sentiment de vinovie, dor. Filmul exploreaz cu cldur i umor, printr-o naraiune vizual asociativ, logica i universul imaginar al copilului.

Tampere SPeciAL ProgrAM 158

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Tampere IFF 2008/ Leeds IFF 2007/ DocPoint Helsinki 2008/ Oberhausen 2008/ Curtas Vila do Conde 2008/ Karlovy Vary Student ISFF 2008/ Dok Leipzig 2008/ Odense 2008/ Nordisk Panorama 2008/ Uppsala 2008/ Munich International Festival of Film Schools 2008/ Kasseler Dokfest 2008/ Beijing Film Academy Student IFF 2008 etc.

WORLD SALES: AALTO UNIVERSITY School of Art and Design, ELO Helsinki Film School Hmeentie 135 C, FIN-00560 Helsinki, Finland Saara Toivanen Festival Coordinator E-mail: saara.toivanen@aalto.fi Web: www.taik.fi/elo Tel: +358-(0)50-331 7754 Fax: +358-(0)9-634 303 Directors contact: katjapallijeff@gmail.com

CurAtors coMMent
Human child, be aware/ Two roads are there/ One leads up to the stars/ Other into peril so

afar/ I never fly./ Even in my dreams I never fly./ Although sometimes/ I rise high to the sky like a runaway balloon and/ cant get down no matter what./ I look down at the people/ and they are very far./ The enormous and specialized/educational structure -/ of mathematics can be defined using a few basic concepts:/ set, element and subset. / And rules / regarding them; axioms./ Things to be ashamed for: Crying in front of others./ Spilling juice on the table when visiting somebody./ If somebody sees you naked./ When they kiss on the telly./ If you pass w ind and somebody hears it./ If somebody sees you picking your nose./ If you need to go to a toilet, but cant make it in time./ That you cannot say s and must take speech classes./ Sitting legs w ide, because Granny says you shouldnt... This is how the audio track of ALWAYS DECENT begins. Reminding of stream-ofconsciousness surrealist writings, by freely associating words and images, by juxtaposing scientific speeches w ith a childs magical realist perception of reality, the film reveals the hidden poetic quality of everyday life, transfigured by the emotional power of memory.

Katja Pllijeff studied film editing at the University of Art and Design Helsinki UIAH, School of Motion Picture, Television and Production Design and graduated in 2007. Always Decent is her MA-graduation film and also her first film as a director.

Bucharest International Experimental Film Festival

CoMentAriuL curAtoruLui Pui de om, ia seama/Sunt dou ci n faa ta/Una te duce spre stele/Cealalt e plin de primejdii/Eu nu zbor/Nici mcar n vis/N-am putut zbura/Dei m nal uneori/Ca un balon - pn la cer/i nu pot cobor, orict ncerc. /Privesc spre oameni din zare/i ei sunt la mare deprtare./ Structura enorm/i specializat/de nvare a matematicii/poate fi definit prin cteva concepte simple: /mulime, element, submulime. /i reguli/crora se supun acestea; axiome./ Lucruri de care s-i fie ruine: s plngi n faa altora/s veri sucul pe mas cnd eti n vizit/cnd te vede cineva dezbrcat/cnd se srut unii la televizor/cnd faci pr i te aude cineva/cnd te vede cineva c te scobeti n nas/cnd trebuie s mergi la toalet i nu ajungi la timp/cnd nu poi s-l pronuni pe s i trebuie s mergi la logoped/cnd stai cu picioarele desfcute, pentru c bunica zice c nu-i frumos... Astfel ncepe ALWAYS DECENT. Amintind de tehnica stream of consciousness din scrierile suprarealiste, prin asocierea liber a cuvintelor i imaginilor, prin alturarea dintre discursul academic i percepia magic-realist a copilului asupra existenei, filmul dezvluie latura poetic a vieii cotidiene, transfigurate de fora emoional a memoriei.

Katja Pllijeff a absolvit n 2007 Facultatea de Film, Televiziune i Producie din cadrul Universitii de Arte i Design UIAH din Helsinki, cu specializarea monta j. ALWAYS DECENT este filmul ei de licen i totodat filmul de debut ca regizor.

159

Hanasaari A
15, Finland, 2009 director: Hannes Vartiainen & Pekka Veikkolainen

With the support of / Cu sprijinul:

Director/REGIA: Hannes Vartiainen & Pekka Veikkolainen ScriPtwriter/SCENARIUL: Hannes Vartiainen & Pekka Veikkolainen CineMAtogrAPhy/IMAGINE: Hannes Vartiainen & Pekka Veikkolainen Animation/ANIMAIA: Hannes Vartiainen & Pekka Veikkolainen Editing/MontAj: Hannes Vartiainen & Pekka Veikkolainen Music/MuzicA: Joonatan Portaankorva Producer/productor: Hannes Vartiainen & Pekka Veikkolainen Production: Pohjankonna Oy FESTIVALS l AWARDS: FESTIVALURI l PREMII: Winner of the Resource Award in Tampere 2009 and of the Grand Prix for Short Film at Hong Kong International Film Festival 2010, HANASAARI A is an experimental documentary about the changing cityscape of Helsinki, and the final moments of a coal-fired power plant. The old industrial milieu is being destroyed to make space for modern housing units. The film is a combination of animation, live action cinematography, and graphic elements. It is based on 500 000 photographs taken during the final two years of the existence of the power plant. Ctigtor al Resource Award la Tampere 2009 i al Marelui Premiu pentru Scurtmetra j la Hong Kong International Film Festival 2010, HANASAARI A este un documentar experimental despre schimbarea peisa jului oraului Helsinki i despre ultimele momente ale unei centrale electrice pe crbune. Vechiul peisa j industrial e demolat pentru a face loc locuinelor moderne. Filmul combin animaia cu filmri reale i elemente grafice i se bazeaz pe nu mai puin de 500.000 de fotografii fcute pe parcursul ultimilor doi ani de existen a vechii centrale.

Tampere SPeciAL ProgrAM 160

Tampere ISFF 2009 - Resource Award/ Grand Prix for Short Film at Hong Kong IFF 2010/ Clermont Ferrand ISFF 2010/ Camerimage Lodz IFF Poland 2009/ Doc Aviv IDFF 2009/ Curtas Vila do Conde IFF 2009/ Festival du Nouveau Cinema Montreal 2009/ Warsaw IFF 2009/ Uppsala ISFF 2009/ Cinema Jove IFF 2010/ Molodist IFF Kiev 2010/ Leeds IFF 2009/ Teheran ISFF 2009/ Young Jury Prize at Regensburger Kurzfilmwoche Germany 2010/ Special Mention- Interfilm Berlin ISFF 2010/ Special Mention for Documentary - Huesca ISFF 2010 etc. FILM WEBSITE: www.hanasaaria.com/index_hanasaari.html

WORLD SALES: Pohjankonna Oy Hannes Vartiainen Nilsinkatu 10-14 B 00510 Helsinki, FINLAND E-mail: hannes@pohjankonna.fi Web: www.pohjankonna.fi Tel: +358-50-320 9050

Curators comment There can be beauty in destruction. Based on half a million still photographs, v ARI A documents the abandonment and demolition of a coal-fired power plant in Helsinki, Finland, transforming it into a stunning work of art. Time-lapse photography gives the dismantlement a frenetic energy. Anthropomorphized metal jaws suspended from a crane eat away at the building while a wrecking ball thuds against the bricks. Day speeds to night in a matter of seconds, a thunderstorm rips across the sky, and shadows scud across empty rooms w ith purpose. The images are rhythmic but silent, accompanied only by music that ranges from industrial percussion to sparse tones. There is a textural quality to this experimental film that allows the audience to feel the destruction as well as see it. Full Frame International Documentary Film Festival USA

Bucharest International Experimental Film Festival

CoMentAriuL curAtoruLui Frumuseea poate fi gsit chiar i n distrugere. Pornind de la o jumtate de milion de fotografii, HANASAARI A realizeaz o uimitoare oper de art din cronica abandonului i demolrii unei vechi centrale electrice din Helsinki. Tehnica de filmare time lapse photography red demolarea centralei cu o energie frenetic. Flcile metalice antropomorfe suspendate de braul macaralei muc din cldire, n timp ce o bil enorm de metal se izbete ritmic de zidurile din crmid. Ziua se grbete s se transforme n noapte n doar cteva secunde, cerul e brzdat de fulgere, iar umbrele se preling de-a lungul ncperilor goale. Imaginile sunt ritmice dar tcute, nsoite doar de o muzic ce variaz de la percuie industrial la accente izolate. Prin calitatea sa texturala, filmul nu doar arat ci te face s i simi actul distrugerii. Full Frame Internaional Documentary Film Festival USA

Hannes VartIainen (b.1980) studied film directing at the Helsinki Polytechnic from 2000 to 2004. He worked as a freelance director and as a production manager for Kinotar Ltd from 2004 until 2008. Pekka Veikkolainen (b.1982) studies graphic design in the University of Art and Design Helsinki. He studied animation and painting at the Vysok kola umelecko-prumyslov in Prague and has worked in the fields of animation and illustration since 2000. The two started their own production company in 2008 and they have so far completed two short films: Hanasaari A (2009,15 min) and The Death of an Insect (2010, 7 min), screened and awarded in prestigious film festivals all over the world ( Venice, IDFA, Tampere, Clermont Ferrand etc). Hannes Vartiainen (n.1980) a studiat regia la Helsinki ntre anii 20002004. ntre 2004 i 2008, a lucrat ca regizor independent i ca productor pentru Kinotar Ltd. Pekka Veikkolainen (n.1982) studiaz graphic design la Universitatea de Arte i Design din Helsinki. E liceniat n animaie i pictur (Vysok kola umelecko-prumyslov, Praga) i lucreaz n animaie i ilustraie din 2000. Cei doi au fondat o cas de producie n 2008 i au produs pn acum dou filme: Hanasaari A (2009, 15 min) i The Death of an Insect (2010, 7 min), prezentate i premiate n festivaluri prestigioase din ntreaga lume (Veneia, IDFA, Tampere, Clermont Ferrand etc).

161

High Hopes
14, Finland, 2007 director: Mazdak Nassir

With the support of / Cu sprijinul:

CAST/distribuia: Jorma Tommila, Soile Mkel, Sisu Pulli, Nuutti Levo Director/REGIA: Mazdak Nassir ScriPtwriter/SCENARIUL: Juhana Lumme CineMAtogrAPhy/IMAGINE: Eve Hgman Art direction/SCENOGRAFIA: Katariina Kapi SOUND/SUNET: Tuomas Skopa Music/MuzicA: Pietari Mikkonen Producer/PRODUCTOR: Suvi Salokoski Production: Pietari Mikkonen FESTIVALS l AWARDS: FESTIVALURI l PREMII: Main Prize of Finish Competition - Tampere 2008/ Audience Award - FIDEC - International Festival for Film Schools, Belgium 2007/ Best Cinematography Award - St. Petersburg Student IFF 2007/ Jury Award - Ismailia ISDFF Egypt 2008/ Outstanding Award Beijing Film Academy Student IFF 2008/ Special Award for Best Picture Technique in Student Film Competition Camerimage Lodz 2008/ Main Prize - TAU Student IFF Israel 2008/ Nordisk Panorama 2008/ Tehran ISFF 2007 etc. WORLD SALES: AALTO UNIVERSITY School of Art and Design, ELO Helsinki Film School Hmeentie 135 C, FIN-00560 Helsinki, Finland Saara Toivanen Festival Coordinator E-mail: saara.toivanen@aalto.fi Web: www.taik.fi/elo Tel: +358-(0)50-331 7754 Fax: +358-(0)9-634 303 Directors contact: mazdak.nassir@aalto.fi

Tampere SPeciAL ProgrAM

A tale about an inventor couple and their obscured vision of teaching a child how to fly. Winner of the Main Prize of the Finish Competition in Tampere 2008, the Audience Award at the FIDEC International Festival of Film Schools Belgium 2007, the Outstanding Award at the Beijing Film Academy International Film Festival 2008 and many others, HIGH HOPES is a powerful metaphor-comment on the complex relationship between parents and children in our contemporary society. Povestea unui cuplu de inventatori i a ciudatei lor dorine de a-i nva copilul s zboare. Ctigtor al Marelui Premiu al Competiiei Finlandeze la Festivalul de la TAMPERE n 2008, al Premiului Publicului la FIDEC Festivalul Internaional al colilor de film din Belgia n 2007, al Premiului special la Festivalul Internaional al Academiei de Film din Beijing n 2008 i al altor premii importante, HIGH HOPES e o metafor plin de for a relaiei complexe dintre prini i copii n societatea contemporan.

162

Mazdak Nassir on HIGH HOPES As a filmmaker, I have always been interested in social matters. T o me, cinema is a multidimensional art form that contains many layers of allusions. However, socially orientated doesnt mean genre. It is a point of view, a spark from which a story begins. The spark for High Hopes was created when a friend of mine told me about her battle to get her son into a special kindergarten specialized in developing childrens mathematical and architectural abilities. Her son was under one year old. Soon after, I become aware of the surrounding reality. Of course I was aware of the fact that we live in a goal-orientated society. What I didnt know, was that people submit their children - at a very young age - to this everlasting combat to be the best. This movie is an utopia. A world where individuals are accepted as they are.

Bucharest International Experimental Film Festival

Mazdak Nassir despre HIGH HOPES Ca cineast, problemele sociale m-au interesat dintotdeauna. Pentru mine, cinema-ul e o art multidimensional, care suprapune multe straturi aluzive. n orice caz, orientarea ctre problemele sociale nu nseamn un gen. Este, mai degrab, un punct de vedere, scnteia care declaneaz povestea. n cazul filmului HIGH HOPES, scnteia a fost provocat de o prieten care mi-a povestit despre btlia pe care a trebuit s o duc pentru a-i nscrie copilul la o grdini special. Grdinia respectiv era specializat n dezvoltarea capacitilor copiilor n direcia matematicii i a arhitecturii. La momentul respectiv, bieelul ei nu mplinise nc un an. Povestea ei a avut pentru mine efectul unei treziri la realitate. Desigur, eram contient c trim ntr-o societate care ne cere s avem eluri clar definite. Ceea ce nu tiam era c oamenii i nscriu copiii la vrste att de fragede n cursa asta nesfrit spre a fi cel mai bun. Acest film e o utopie. Creeaz o lume n care eti acceptat aa cum eti.

Mazdak Nassir studies film directing at the University of Art and Design Helsinki UIAH, School of Motion Picture, Television and Production Design. High Hopes is his second short film.

Mazdak Nassir studiaz regia de film la Universitatea de Arte i Design din Helsinki UIAH, Facultatea de Film, Televiziune i Producie. HIGH HOPES este cel de-al doilea scurtmetra j al su.

163

Home Video
14, Finland, 2006 director: Mikko Kuparinen

With the support of / Cu sprijinul:

CAST/distribuia: Pertti Sveholm, Kalle Kulmanen, Sari Havas Director/REGIA: Mikko Kuparinen ScriPtwriter/SCENARIUL: Mikko Kuparinen CineMAtogrAPhy/IMAGINE: Anssi Leino Art direction/SCENOGRAFIA: Heini Granberg Editing/MontAj: Hanna Kuirinlahti SOUND/SUNET: Mika Niinimaa & Vesku Merilinen Producer: Mikko Kuparinen Production: AALTO UNIVERSITY/ School of Art and Design/ ELO Helsinki Film School FESTIVALS l AWARDS: FESTIVALURI l PREMII: Tampere IFF 2006/ Grand Prix - Sleepwalkers Student Film Festival Tallin 2006/ Recommendation of the Jury of Cinema Owners - Mannheim-Heidelbeg IFF 2006/ KarlovyVary Student ISFF 2006/ Belo Horinzonte ISFF 2006/ Uppsala ISFF 2006/ Munich International Festival of Film Schools 2006/ FAMU Fest Prague 2006/ 3rd Prize- Blue Sea Film Festival Finland 2006 WORLD SALES: AALTO UNIVERSITY School of Art and Design, ELO Helsinki Film School Hmeentie 135 C, FIN-00560 Helsinki, Finland Saara Toivanen Festival Coordinator E-mail: saara.toivanen@aalto.fi Web: www.taik.fi/elo Tel: +358-(0)50-331 7754 Fax: +358-(0)9-634 303 Directors contact: E-mail: mikko.kuparinen@me.com Web: www.mikkokuparinen.com Tel: +358-50-5054646 Premiered in Tampere 2006 competition. Winner of the Grand Prix at the Sleepwalkers International Student Film Festival Tallin 2006. The father has decided to leave his family the next morning. Before he leaves, he wants to tell his son something important. But the last evening home doesnt quite go according to plans. Prezentat n premier la Festivalul de la TAMPERE n 2006 i ctigtor al Marelui Premiu la Sleepwalkers International Student Film Festival Tallin 2006. ntr-o sear, un tat se hotrte s-i prseasc familia a doua zi diminea. nainte de a pleca pentru totdeauna, ar vrea s-i mprteasc fiului su ceva important. Dar ultima sear acas nu se desfoar aa cum i-ar fi dorit.

164

Tampere SPeciAL ProgrAM

Mikko Kuparinen on HOMEVIDEO I wanted to do a short film, where the content and the cinematic form would be one unity. A story that couldnt be told in any other way. I was also fascinated w ith the idea of looking and being looked at. How our behavior changes when we are conscious of the fact that we are being observed. I decided I would use a video camera as a dramatic object in the story and that the film would be shot w ith that same camera. The audience would see everything that happens while the camera is recording. [...] I guess, then I came up w ith rules. In writing, I find rules often helpful. It doesnt matter who makes the rules. It can be you or it can be the money. The important thing is that you should not think rules as something that limit, rather than something that inspire. I think my rules w ith this project were something like: the length of the film max 15 min, one location, max three actors, story time less than 12h from early evening to early morning. (The last one was because I knew it would be easier to borrow a house if it was only for one night.) I think the first questions I asked myself in the beginning of the writing process were something like: Who does the video? Why is he doing it? What does he want to achieve by doing it? What kind of obstacles are there in the way? Does he succeed or not? [...] In HOMEVIDEO I decided to use the style of actual home videos. Images that look bad, are not nicely composed, lighting that doesnt look lit and a pace that allows big pauses, because the action hasnt been made as tight as it should be in a dramatic, more openly constructed piece. Mikko Kuparinen (b.1979, Finland) studied film directing at the University of Art and Design Helsinki UIAH, Department of Film and Television. Mikko Kuparinen (n.1979, Finlanda) a studiat regia de film la Universitatea de Arte i Design din Helsinki UIAH, Facultatea de Film i Televiziune.

Bucharest International Experimental Film Festival

Mikko Kuparinen despre HOMEVIDEO Am dorit s realizez un scurtmetraj n care coninutul i forma cinematografic s reprezinte o unitate. O poveste care s nu poat fi spus ntr-un alt mod. M-a fascinat i ideea de a privi i a fi privit. Felul n care comportamentul nostru se schimb atunci cnd suntem contieni c suntem privii. Am hotrt s dau camerei un rol dramatic n cadrul povetii, simultan cu menirea sa de a nregistra aciunea. Spectatorul urmnd s vad tot ceea ce se ntmpl atta timp ct camera nregistreaz. [...] Apoi mi-am impus anumite reguli. Regulile mi se par utile atunci cnd scriu. Nu conteaz cine le face. Le faci tu sau le face bugetul. Important e s nu le priveti ca pe ceva restrictiv, ci s le consideri un factor de inspiraie. Cred c regulile mele referitoare la proiectul de fa au fost cam urmtoarele: lungime, max. 15 minute, o singur locaie, max. 3 actori, timpul aciunii max. 12 ore de seara pn n zori. (Ultima regul mi-am impus-o tiind c va fi mult mai uor s nchiriez o cas doar pentru o noapte). Cred c prima ntrebare pe care mi-am pus-o cnd am nceput s scriu scenariul a fost: Cine filmeaz? De ce filmeaz? Ce vrea s obin? Ce dificulti i stau n cale? Va reui sau nu? [...] Stilistic, am decis s folosesc chiar tipul de filmare home video, adic imagini proaste, compoziie neglijent, lumin care nu pare pus i un ritm care permite pauze lungi, pentru a susine o aciune care nu e construit la fel de concentrat cum se ntmpl de regul n naraiunile clasice.

165

Tango Finlandia
6, Finland, 2007 director: Hannu La junen, Tomo Riionheimo

With the support of / Cu sprijinul:

CAST/distribuia: Petteri Sopanen, Timo Pesonen, Kaarina Etto Director/REGIA: Hannu La junen, Tomi Riionheimo ScriPtwriter/SCENARIUL: Hannu La junen CineMAtogrAPhy/IMAGINE: Antti Takkunen Art direction/SCENOGRAFIA: Tomi Riionheimo Editing/MontAj: Yk Jrvinen, Tomi Riionheimo SOUND/SUNET: Pirkko Tiitinen Music/MuzicA: Hannu La junen Production: Indie Films Oy

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Premiered in Tampere 2007 competition and screened in over 80 film festivals all over the world, TANGO FINLANDIA depicts in an unusual way a dance-evening in the local bar somewhere in the Finnish peripheria. Lonely people come there to find joy. There are not that many customers, but the hot and passionate tango-rhythms take all of them to the dance floor. The Finnish tango is hard and sweaty. This film is basically a testosterone loaded action movie. Prezentat n premier la Tampere ISFF 2007 i proiectat n peste 80 de festivaluri din ntreaga lume, TANGO FINLANDIA este o descriere inedit a unei seri dansante ntr-un bar situat ntr-o periferie finlandez. Este locul unde se adun cei singuri, n cutarea unei clipe de bucurie. Nu sunt muli clieni, dar ritmurile fierbini i pasionale de tango i atrag pe toi pe ringul de dans. Tangoul finlandez nseamn efort i sudoare. TANGO FINLANDIA e de fapt un film de aciune ncrcat de testosteron.

Tampere SPeciAL ProgrAM

Tampere ISFF 2007/ Lodz Poland 2007/ Helsinki IFF 2007/ Centre Pompidou Paris/ Molodist Kiev 2007/ Annency Animatd IFF 2008/ Hiroshima Animated IFF 2008/ San Francisco Animated IFF 2008/ Huesca IFF Spain 2010/ Lille ISFF 2010/ Barcelona ISFF 2010/ Lisbon Animated IFF 2010/ Bronx IFF 2007 etc

FILM WEBSITE: www.indiefilms.fi/en/productions/

tango-finlandia/

166

WORLD SALES: Indie Films Oy Malminkatu 22 c 55, 00100 Helsinki, Finland E-mail: tomi.riionheimo@indiefilms.fi Web: www.indiefilms.fi Tel: +358 40 5634603

Hannu La junen, Tomo Riionheimo on TANGO FINLANDIA The idea of this film came out in the mid nineties, when we were working on the Rieku & Raiku (Hip and Hale) animation series, and it is slightly based on real events. After hours drunken wrestling events at local parks were not very rare in our home town of Joensuu, eastern Finland in those times. Even in the final film the characters are those of our friends who took part to those events. The crossover success of the film was a surprise for us. Having a film taking part in special childrens film festivals, erotic animation festivals, dance film festivals, gay film festivals and now, experimental film festival is really hilarious.

Bucharest International Experimental Film Festival

Hannu La junen i Tomo Riionheimo despre TANGO FINLANDIA Ideea filmului a aprut pe la mijlocul anilor 1990, pe cnd lucram la Rieku & Raiku (serialul de animaie Hip and Hale). ntru-ctva, filmul se bazeaz pe ntmplri reale. Pe vremea aceea, beiile i btile prin parcuri la ore trzii erau ceva frecvent n Joensuu, oraul nostru natal. Personajele de la finalul filmului sunt inspirate de unii dintre prietenii notri care au luat parte la asemenea evenimente. Succesul pe care l-a avut filmul n situaii att de diverse a fost o surpriz. E foarte amuzant s fi fcut un film prezentat n acelai timp n festivaluri pentru copii, festivaluri de film erotic, de animaie, de dans, festivaluri de filme gay, iar acum, ntr-un festival de film experimental.

Hannu Lajunen (1963) is a graphic designer and a part time drummer of various bands. Tomi Riionheimo (1966) is a drop out lecturer of human anatomy and physiology, a self made comic strip artist, designer and producer. Hannu Lajunen (n. 1963) este graphic designer i, ocazional, percuionist n diverse formaii. Tomi Riionheimo (n. 1966) a renunat la poziia de lector de anatomie i fiziologie, este desenator de benzi desenate autodidact, designer i productor.

167

The Death Of An Insect


7, Finland, 2010 director: Hannes Vartiainen, Pekka Veikkolainen

With the support of / Cu sprijinul:

Director/REGIA: Hannes Vartiainen & Pekka Veikkolainen ScriPtwriter/SCENARIUL: Hannes Vartiainen & Pekka Veikkolainen CineMAtogrAPhy/IMAGINE: Hannes Vartiainen & Pekka Veikkolainen Animation/animaie: Hannes Vartiainen & Pekka Veikkolainen Editing/MontAj: Hannes Vartiainen & Pekka Veikkolainen Music/MuzicA: Joonatan Portaankorva Producer/PRODUCTOR: Hannes Vartiainen, Pekka Veikkolainen Production: Pohjankonna Oy FESTIVALS l AWARDS: FESTIVALURI l PREMII: Premiered in Orizzonti 2010, the innovative sidebar of the Venice Film Festival, screened and awarded in prestigious festivals like IDFA Amsterdam, Clermont Ferrand, Tampere, Hong Kong, Lisbon and many others, THE DEATH OF AN INSECT is a visually stunning experiment, a unique mix of animation and documentary. In a lifeless urban landscape where time itself has stopped its crawl, a mad ballet is commencing and a newly hatched butterfly is about to die. This tragic story was constructed using dead insects gathered from forgotten attics and tool sheds, from between window panels and cobwebs. Prezentat n premier n Orizzonti, seciunea inovativ a Festivalului de Film de la Veneia 2010, proiectat i premiat la festivaluri precum IDFA Amsterdam, Clermont Ferrand, Tampere, Hong Kong, Lisabona i multe altele, THE DEATH OF AN INSECT e un experiment vizual uimitor, o combinaie unic de animaie i documentar. Un peisa j urban lipsit de via, unde nsui timpul pare s fi ncremenit, devine scena unui balet frenetic, iar un fluture abia ieit din crisalid e pe cale s moar. O poveste tragic, la a crei construcie au contribuit insecte moarte gsite prin poduri prsite i magazii de unelte, ntre ferestre i pnze de pianjen.

Tampere SPeciAL ProgrAM 168

Venice Orizzonti 2010/ IDFA Amsterdam 2010/ Tampere ISFF 2011/ Best Experimental Short Film Award at Worldwide Short Film Festival Toronto 2011/ Upsalla 2010/ Bilbao Zinebi 2010/ Festival du Nouveau Cinema Montreal 2010/ Clermont Ferrand 2011/ Hong Kong 2011/ Ann Arbor 2011/ Indielisboa 2011/ Huesca 2011/ Hamburg ISFF 2011/ Los Angeles 2011/ Cinema Jove 2011/ Melbourne Animation IFF 2011/ Annency Animated IFF 2011/ Honorable Mention at Minimalen IFF Norway 2011 etc FILM WEBSITE: www.pohjankonna.fi

WORLD SALES: Pohjankonna Oy Hannes Vartiainen Nilsinkatu 10-14 B, 00510 Helsinki, FINLAND E-mail: hannes@pohjankonna.fi Web: www.pohjankonna.fi Tel: +358-50-320 9050

Hannes Vartiainen & Pekka Veikkolainen on THE DEATH OF AN INSECT The film combines a number of animation techniques from classic stop-motion animation to animated 3D models of x-ray CT-scanned insects. Most of the insects featured in the film were gathered from the forgotten corners of the city of Helsinki: from between w indow panels, dusty attics and cobwebs. Some of them come from old butterfly collections, the earliest samples being from the 1960s. The Giant Prickly Stick Insect w ith the tragic solo performance died in the 1990s of natural causes. After he passed away, the carcass was preserved and now, 20 years later, found its way to star in the film. From the early drafts of the script we were sure that in order to have complete control over depicting tiny dead bugs we would have to be able to look inside them, or even get the camera inside them if we so felt like. It turned out that around the world there are a few X-ray 3D scanners for hire, that can scan fossils or other things down to the size of a grain of sand. In February 2010 we paid a visit to the University of Ghent, in Belgium. Their research team has built an X-ray scanner, which can create 3D models by combining hundreds of X-rays images taken of an object. From about 100 flies, we chose 3 w ith the most interesting death poses, and mailed them over to Belgium along w ith some beetles and a hawmoth. The data came back a while later and Janne Pulkkinen helped us visualize the see-through insect carcasses through his self-built 3D engine. In order to take the insects out to the streets, to have them race on the Baltic Sea and dance on the ice, we had a 2 hour flight w ith a tiny Cessna plane, at sunset, over Helsinki. These shots were then tracked for the 3D implementation of dancing bugs.

Bucharest International Experimental Film Festival

Hannes Vartiainen (b.1980) studied film directing at the Helsinki Polytechnic from 2000 to 2004. He worked as a freelance director and as a production manager for Kinotar Ltd from 2004 until 2008. Pekka Veikkolainen (b.1982) studies graphic design in the University of Art and Design Helsinki. He studied animation and painting at the Vysok kola umeleckoprumyslov in Prague and has worked in the fields of animation and illustration since 2000. The two started their own production company in 2008 and they have so far completed two short films: Hanasaari A (2009,15 min) and The Death of an Insect (2010, 7 min), screened and awarded in prestigious film festivals all over the world (Venice, IDFA, Tampere, Clermont Ferrand etc.). Hannes Vartiainen (n.1980) a studiat regia la Helsinki ntre anii 2000-2004. ntre 2004 i 2008, a lucrat ca regizor independent i ca productor pentru Kinotar Ltd. Pekka Veikkolainen (n.1982) studiaz graphic design la Universitatea de Arte i Design din Helsinki. E liceniat n animaie i pictur (Vysok kola umelecko-prumyslov, Praga) i lucreaz n animaie i ilustraie din 2000. Cei doi au fondat o cas de producie n 2008 i au produs pn acum dou filme: Hanasaari A (2009,15 min) i The Death of an Insect (2010, 7 min), prezentate i premiate n festivaluri prestigioase din ntreaga lume (Veneia, IDFA, Tampere, Clermont Ferrand etc)

Hannes Vartiainen & Pekka Veikkolainen despre THE DEATH OF AN INSECT Filmul combin mai multe tehnici de animaie, de la clasica stop-motion la modele animate 3D ale insectelor scanate la raze X. Cele mai multe dintre insectele care apar n film au fost adunate de prin coluri uitate din Helsinki, din poduri prsite sau prinse n pnze de pianjen. Unele provin din vechi colecii entomologice. Cel mai vechi exemplar e din anii 1960. Extatosoma tiaratum, protagonista tragicului sfrit, a murit n anii 1990 de moarte natural. Cadavrul ei a fost conservat, ca acum, dup 20 de ani, s ajung vedeta acestui film. De la primele variante ale scenariului, am fost siguri c, pentru a avea control complet n ce privete descrierea acestor mici insecte moarte, va trebui s putem s le vedem pe dinuntru, chiar s ptrundem cu camera n interiorul lor, dac e nevoie. Aa am aflat c n ntreaga lume exist doar cteva scannere 3D de nchiriat, care pot scana fosile i alte lucruri de dimensiunea unui grunte de nisip. n februarie 2010, am vizitat Universitatea Ghent din Belgia. O echip de cercettori de acolo a pus la punct un scanner cu raze X care poate crea modele 3D prin combinarea a sute de radiografii ale aceluiai obiect. Din aproape 100 de insecte moarte, am ales 3, ale cror cadavre ni s-au prut cele mai interesante i le-am trimis n Belgia mpreun cu civa crbui i o molie colibri. Dup un timp au venit rezultatele i Janne Pulkkinen ne-a ajutat s vizualizm 3D carcasele insectelor cu ajutorul unui sistem 3D pe care l-a creat chiar ea. Pentru a realiza zborul insectelor pe strzi i pe deasupra Mrii Baltice i dansul lor pe ghea, am zburat dou ore deasupra oraului Helsinki la ora amurgului cu un avion uor de tip Cessna. Imaginile filmate au fost apoi integrate n realizarea dansului insectelor n 3D.

169

170

Dutch Experimental Film and Visual Art


SPeciAL ProgrAM
In collaboration with / n colaborare cu:
Bucharest International Experimental Film Festival

Eye Film Institute Netherlands

With the support of / Cu sprijinul:

171

Birth Of A Nation
10 , 2010, The Netherlands director: Daya Cahen

With the support of / Cu sprijinul:

Director/REGIA: Daya Cahen ScriPtwriter/SCENARIUL: Daya Cahen CineMAtogrAPhy/IMAGINE: Daya Cahen Editing/MontAj: Daya Cahen Production: Daya Cahen

FESTIVALS l AWARDS: FESTIVALURI l PREMII:

Dutch SPeciAL ProgrAM

IDFA Amsterdam 2010/ Rencontres Internationales Paris 2010 Centre Pompidou/ IFFR Rotterdam 2011/ Watch Docs IDFF Warsaw 2010/ Planete Doc Review IDFF Warsaw 2011

At a cadet school in Moscow (the only one in the world), girls from 11 to 17 years are trained to grow as ideal citizens of the homeland. Here, the girls learn how to sew, march, cook, sing, shoot, how to use make up and how to prepare for military action. Even more than being trained as a good patriot, the aim is to become an ideal woman. Through six separate images, the maker decomposes the various characters from which this ideal woman is made up. Cahens film is a sequel of her research in the increasing patriotism among Russian youth. Premiered in the experimental section Paradocs of the prestigious IDFA Amsterdam 2010. La o coal militar din Moscova (unic n lume), fete de 11 pn la 17 ani sunt antrenate s devin cetene-model ale patriei. nva s coas, s bat pas de defilare, s gteasc, s cnte, s trag cu arma, s se machieze i s se antreneze pentru aciuni militare. Mai mult dect educarea lor n cel mai bun spirit patriotic, coala dorete s scoat din ele femei ideale. Autoarea descompune, n ase imagini separate, diferitele persona je din care e alcatuita aceasta femeie ideala. Filmul lui Cahen e o continuare a cercetrii sale asupra patriotismului n crestere n rndurile tineretului rus. Filmul a fost prezentat n premier n 2010 la prestigiosul IDFA Amsterdam, n cadrul seciunii experimentale Paradocs.

172

WORLD SALES: EYE Film Institute Netherlands Vondelpark 3, 1071 AA Amsterdam, Marta Jurkiewicz Distribution Experimental Film International Festivals E-mail: marta jurkiewicz@eyefilm.nl Tel: 020 - 7582351 (direct) Fax: 020 - 683 3401 Directors contact: dayacahen@hotmail.com; daya@cahen.nl

Daya Cahen (b. Amsterdam) makes photographs, videos and video installations. She studied photography at the Gerrit Rietveld Academy in Amsterdam (2002-2006) and was selected in 2009 as one of the 4 most promising recent graduates to have the opportunity to present her work at Rietveld Arsenale that was held during the Venice Biennale. Cahens work revolves around propaganda, indoctrination and and the manipulative powers of the media. She investigates the representation of political icons, symbols of power and the role of the masses versus the individual. In her work she links the political with the everyday and personal, combines archive material with contemporary images and blurrs the border between fact and fiction. Her work was shown at the Moscow MoMa, The Hague Photomuseum (The Hague), De Appel Arts Centre (Amsterdam), Wiels Contemporary Art Centre (Brussels), Platform Garanti (Istanbul), Institut Nerlandais (Paris), Rencontre Internationale (2006/2008), Oberhausen (2006/2008) and was nominated for a Golden Bear (short film) at the Berlinale 2007. Daya Cahen (n. Amsterdam) lucreaz fotografie, video i video-instalaii. A fcut studii de imagine la Gerrit Rietveld Academy din Amsterdam (20022006), iar n 2009 a fost selectat printre cei patru absolveni cei mai promitori, ceea ce i-a oferit ansa de a-i prezenta lucrrile la Rietveld Arsenale din cadrul Bienalei de la Veneia. Lucrrile lui Cahen se axeaz pe teme precum propaganda, ndoctrinarea i puterea de manipulare a media. Ea analizeaz reprezentrile idolilor politici i ale simbolurilor puterii i este preocupat de rolul maselor vs. rolul individual. Combin politicul cu cotidianul i personalul, imagini de arhiv cu filmri actuale, si face neclara grania dintre faptul real i ficiune. Lucrrile ei au fost prezentate la MoMa Moscova, The Hague Photomuseum (Haga), De Appel Arts Centre (Amsterdam), Wiels Contemporary Art Centre (Bruxelles), Platform Garanti (Istanbul), Institut Nerlandais (Paris), Rencontre Internationale (2006/2008), Oberhausen (2006/2008). A primit o nominalizare pentru Ursul de aur la Berlinale 2007, seciunea scurtmetra j.

CoMentAriuL curAtoruLui Fascinaia regizoarei olandeze Daya Cahen pentru psihologia de mas i ndoctrinare s-a tradus printr-o serie de documentare realizate n Rusia de mai muli ani de zile. n 2006, a pornit n cutarea nepotului lui Stalin, n filmul The Stalin that Was Played by Me, iar n 2008 a avut rara ans de a filma ntr-o tabr de var a tineretului devotat lui Putin, realiznd filmul Nashi. De aceast dat, Cahen ptrunde n coala Militar Nr. 9 din Moscova, o coal-unicat, unde fete ntre 11 i 17 ani nva s devin patriote ideale i femei desvrite pentru Rusia. Autoarea nu recurge la interviuri, prefernd s spun povestea prin combinarea pe ecran a ase imagini diferite cu desfurare concomitent. Ele le surprind pe fete n timp ce i aranjeaz prul, gtesc, calc rufe, bat pas de defilare sau nva s trag cu arma. Filmrile dezvluie faete diverse ale personalitilor lor, i pune ntrebarea: cum se poate ca toate aceste aspecte s fie privite complet separat? n timp ce fetele cnt imnuri de slav nchinate Marii naiuni ruse, nu putem s nu observm contrastul dintre ndoctrinarea militar i inocena tinereii. Oare patriotismul trebuie s nsemne renunarea la orice form de gndire independent i aciune liber? Oare fetele neleg ce li se ntmpl? Oare pot ele nelege, la o asemenea vrst? (Paradocs, IDFA 2010) Anumite fragmente din filmul lui Cahen se concentreaz asupra fetelor mpletindu-i prul. T oate cadetele poart funde imense din panglic alb, n total discordan cu austeritatea uniformelor militare. Contrastul face ca panglicile s para nite pene fine ca borangicul, crescute pe spatele fetelor. Ceea ce le transform dintr-o dat ntr-un stol de mici creaturi naripate: psri sau poate chiar ngeri. Metamorfoza subliniaz tensiunea dintre imaginea de femeie-rzboinic ce le este impus i inocena lor copilroas. Videonale.13 Festival for Contemporary Video Art

CurAtors coMMent Fascinated by mass psychology and indoctrination, Dutch filmmaker Daya Cahen has been making documentaries in Russia for years now. In 2006, she went looking for Stalins grandson in The Stalin that Was Played by Me, and in 2008 she got the rare opportunity to film in a summer camp of Putins youth movement for the film Nashi. This time around, Cahen goes to Cadet School Number 9, a unique military academy in Mosow, where girls age 11-17 learn how to become the ideal Russian patriot and the ideal Russian woman. She does not interview anyone, but tells the story by placing as many as six different images on the screen at the same time. We see girls doing their hair, cooking, ironing, marching and learning to use weapons. The footage reveals various aspects of their personalities while simultaneously posing the question of how all those aspects can be seen independently of one another. While they sing the praises of the great Russian nation, we cannot help but notice the contrast between military indoctrination and youthful innocence. Does patriotism require us to renounce any form of independent thought and action? Do these girls really know what they are doing, and is that even possible at their age? ( Paradocs, IDFA 2010) A number of Cahens video snippets concentrate on girls braiding their hair. All cadets wear huge, fluffy, white ribbons that seem to be at odds w ith the austerity of their military uniforms. The contrast renders the ribbons reminiscent of gossamer-soft feathers attached to the girls backs. Suddenly, the girls transform into a flock of little w inged creatures: birds or perhaps even angels. This metamorphosis articulates the tension between the imposed image of a woman-warrior and the childlike innocence of boarding school wards. Videonale.13 Festival for Contemporary Video Art

173

Bucharest International Experimental Film Festival

Bridge
5, 2010, The Netherlands director: Martijn Veldhoen

With the support of / Cu sprijinul:

Director/REGIA: Martijn Veldhoen ScriPtwriter/SCENARIUL: Martijn Veldhoen CineMAtogrAPhy/IMAGINE: Martijn Veldhoen Producer/PRODUCTOR: Martijn Veldhoen

A bridge is a powerful and positive metaphor for approach and connectedness. It is FESTIVALS l AWARDS: FESTIVALURI l PREMII: Wroclaw Media Art Binennal Poland 2011/ Arti et Amicitiae Exhibition Amsterdam 2010/ Netherlands Media Art Institute 2010 etc the connecting element between two regions or worlds, a way to remove barriers formed by depths or wild rivers. But sometimes movement is relative. Sometimes connection is an illusion, and we seem to be perpetually involved in returning processes and tra jectories, without aim, meaning or goal. In existentialist descent, the video installation BRIDGE raises an unsettling question about human condition. Podul e o metafor puternic i pozitiv, ce exprim apropiere i legtur. Podul leag elemente aparinnd unor regiuni sau unor lumi separate i nltur barierele impuse de prpstii sau de fluvii nvalnice. Dar uneori se ntmpl ca micarea s fie relativ. Cteodat, conexiunea e doar o iluzie i a jungem captivii permaneni ai unor procese i traiectorii recurente, lipsite de scop si semnificaie. n descendenta existenialist, instalaia video BRIDGE ridic ntrebri tulburtoare despre condiia umana.

Dutch SPeciAL ProgrAM 174

WORLD SALES: Netherlands Media Art Institute NIMk Joke Ballintijn Keizersgracht 264 1016 EV Amsterdam The Netherlands E-mail: joke@nimk.nl Web: www.nimk.nl Tel: +31(0)20 6237101 Directors contact: info@martijnveldhoen.nl

CurAtors stAteMent Energetically and full of determination, a man walks over a bridge, among the busy traffic. The warm backlight and the sultry silhouettes of pedestrians, cars and buses suggest that this scene might be recorded in a southern country. However, the bits and pieces of conversation in the background are mainly in English, which gives a universal touch to the action. The camera follows the walking man in such a manner that he always finds himself exactly in the middle of the frame of the projection screen. The crisp, white screen is slightly sunken into the 1.80m high pedestal. In this way, the pedestal plays a role as a visual element in the image: the man always seems to walk right on top of the pedestal. T raffic and passersby, w ith bags and mobile phones, all seem to have a destination. But the anonymous protagonists appears to be immobile in his movements. After a while, traffic becomes more hectic. Ultimately, the flow of people and car stops. It becomes totally silent. Only the mans breathing can be heard. He has reached the end of the bridge and carefully walks towards the edge. On one side of the pedestal, theres a gaping void. Despairingly, the man peers into the abyss, then he panics and rushes back in the other direction. After a while he returns to his normal walking rhythm - until, on the other side, he also reaches the end of the trajectory, looks into the void, and runs back, caught in perpetual motion. Netherlands Media Art Institute CoMentAriuL curAtoruLui Cu pas energic i hotrt, un brbat pete pe un pod, prin traficul aglomerat. Lumina cald din fundal decupeaz voluptuos siluete de pietoni, maini i autobuze, sugernd c scena se petrece poate ntr-o ar sudica. Frnturile de conversaii care se aud sunt mai toate n englez, ceea ce da o nota universala actiunii. Camera urmrete brbatul care trece podul n aa fel nct omul e plasat mereu exact n mijlocul cadrului ecranului de proiecie. Acest ecran alb pare susinut de un piedestal nalt de 1.80 m poziionat la baza lui. Piedestalul dobndete astfel rol de element vizual n imagine: brbatul care merge pare s se afle mereu chiar n vrful piedestalului. T oate vehiculele din trafic i toi pietonii de pe trotuar, cu genile i telefoanele lor mobile, par s aiba o destinatie. Singur, protagonistul anonim pare imobil, n ciuda micrilor sale. Dup un timp, traficul crete n intensitate. La un moment dat, uvoiul de oameni i maini se oprete. T otul se cufund n linite. Se mai aude doar respiraia brbatului. A ajuns la captul podului si pete cu grij ctre marginea lui. La un capt al piedestalului se casc neantul. Brbatul privete cu disperare n gol, apoi intr n panic i pornete grbit n direcia opus. Dup o vreme revine la ritmul normal de mers - pn cnd, ajuns la cellalt capt al podului, n faa ochilor lui se casc din nou golul. Aa c, brbatul fuge napoi, captiv al unei micri perpetue. Netherlands Media Art Institute

Martijn Veldhoen (1962, Amsterdam) studied at the Gerrit Rietveld Academie from 1979 till 1984. Since the mid1980s he has been active in many multidisciplinary projects involving music, sculpture and installations, performances, video and later also film. His work focuses on the human condition and on philosophical questions about life and contemporary society gender, progress and technology, love and relationships; his most recent films are short and poetic film loops in which the viewer is taken adrift through a brief narration or reflection on reality. Veldhoens work has been exhibited internationally and has received several awards and nominations. He lives and works in Amsterdam. Martijn Veldhoen (n. 1962, Amsterdam) i-a fcut studiile la Gerrit Rietveld Academie ntre 1979 i 1984. A fost activ nc din anii 1980 n numeroase proiecte pluridisciplinare, care combina muzic, sculptur si instalaii, performance, video i, mai trziu, film. n creaiile lui, exploreaz condiia uman i formuleaz ntrebri filozofice despre viata i societatea contemporana sexualitate, progres i tehnologie, dragoste i relaii interumane; lucrarile lui recente sunt scurte filme poetice care ruleaza n loop, ce pun spectatorul ntr-o stare dubitativa, prin scurte naraiuni sau reflectii asupra realitii. Creatiile lui Veldhoen au fost expuse pe plan internaional i au obinut premii i nominalizri numeroase. Martijn Veldhoen locuiete i lucreaz la Amsterdam.

175

Bucharest International Experimental Film Festival

Dawn & Dusk


12, 2010, the Netherlands director: Erwin Olaf

With the support of / Cu sprijinul:


DUSK: CAST/distribuia: Ovo Drenth, Donell Osei Director/REGIA: Erwin Olaf ScriPtwriter/SCENARIUL: Erwin Olaf CineMAtogrAPhy/IMAGINE: Steve Walker Art direction/SCENOGRAFIA: Floris Vos Editing/MontAj: Annelies Scheepens SOUND/SUNET: Reinder van Zalk Production: Studio Erwin Olaf DAWN: Director/REGIA: Erwin Olaf Scriptwriter/SCENARIUL: Erwin Olaf Producer/PRODUCTOR: Studio Erwin Olaf

Dutch SPeciAL ProgrAM

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Rencontres Internationales Paris - Centre Pompidou, Madrid Reina Sofia National Museum, Berlin - Haus der Kultur der Welt/ Rotterdam IFF 2010/ Videoex Experimental IFF Zurich 2010/ Video Art Festival Rome 2010/ Beirut Art Center Lebanon 2011/ Lodz Art Center Poland 2011/ Hermitage Amsterdam 2010 etc FILM WEBSITE: www.erwinolaf.com WORLD SALES: Netherlands Media Art Institute NIMk Joke Ballintijn Keizersgracht 264 1016 EV Amsterdam The Netherlands E-mail: joke@nimk.nl Web: www.nimk.nl Tel: +31(0)20 6237101 Directors contact: info@erwinolaf.com

Usually presented as a dual-channel color video and an accompanying photographs series, a conceptual, emotional and formal investigation at the same time, DUSK and DAWN reveal intimate interiors from the beginning of the 20th century where a drama seems to hang in the air. A totally black universe surrounding an African- American family in Dusk which contrasts with the indisputably white space of Dawn. And yet the scenes are perfectly paired and synchronized. As always in Erwin Olafs work, theres an underlying tension to the narratives within his images that makes them unsettling. What is going on beneath the glossy surface of an Olaf image is left for the viewers to figure out. Prezentat de obicei ca un video color dual-channel insotit de o serie fotografica, DUSK & DAWN e o investigaie n acelai timp conceptual, emoional i estetic. Prezint un interior intim de la nceputul sec. 20, n care tragedia pare s pluteasc n aer. Un univers negru n jurul unei familii afro-americane n Dusk contrasteaz cu spaiul foarte alb din Dawn. Secvenele sunt cuplate i sincronizate perfect. Ca n toate creaiile lui Erwin Olaf, exist o tensiune ascuns sub firul narativ, ce face ca imaginile s devin nelinititoare. Ce se ntmpl de fapt sub suprafaa strlucitoare a imaginilor lui Olaf, rmne ca spectatorul s descopere.

176

Erwin Olaf (b.1959) is a Dutch visual artist whose trademark is to address social issues, taboos and bourgeois conventions in a highly stylized and cunning mode of image making. In his carefully staged and lit, perfectly constructed compositions and his flawlessly conceived scenarios, Olafs work questions the preconceived judgements about our life, shamelessly confronting us with the incongruities of common norms and values. Since 1991 he also makes films and videos drawing upon a visual language that is very similar to his photography. During the last years, he has increasingly concentrated on autonomous video and installation work playing with the traditions of art, fashion, television and cinema. His highly controversial oeuvre has received many awards and has been shown in galleries and museums all around the world: Maison Europenne de la Photographie, Paris; Chelsea Art Museum, New York; Kunsthalle, Winterthur, Switzerland, Museum of the City of New York, Stedelijk Museum, Amsterdam, Modern Art Gallery of Bologna, Italy; Museum of Modern Art, Moscow; The Hague Museum of Photography; Institut Nerlandais, Paris;Hermitage, Amsterdam; Rijksmuseum, Amsterdam etc. Erwin Olaf (n.1959) e un artist vizual olandez, care i-a fcut un renume din a adresa controverse sociale, tabu-uri i convenii burgheze ntr-un stil vizual rafinat si inteligent. n compozitiile sale regizate si luminate cu grij, perfect construite, si scenariile fr fisuri, Olaf pune sub semnul intrebarii ideile preconcepute confruntndu-ne fr mena jamente cu absurditatea normelor i valorilor acceptate de societate. Din 1991, Olaf face si filme al cror limba j vizual are multe n comun cu fotografiile sale. n ultimii ani, s-a concentrat din ce n ce mai mult pe crearea de instalaii si filme autonome care se joaca cu traditiile din arta, moda, televiziune i cinema. Lucrrile lui extrem de controversate au obinut numeroase premii i au fost expuse n galerii i muzee din toat lumea: Maison Europenne de la Photographie, Paris; Chelsea Art Museum, New York; Kunsthalle Winterthur, Elveia; Museum of the City of New York; Stedelijk Museum, Amsterdam; Modern Art Gallery Bologna, Italia; Muzeul de Art Modern, Moscova; The Hague Museum of Photography; Institut Nerlandais, Paris; Hermitage, Amsterdam; Rijksmuseum, Amsterdam, etc.

CurAtors coMMent DAWN is almost literally the negative pendant of Erw in Olafs video work and photo series DUSK. Both videos portray an upper middle class family in a stylized home interior dating from the early 20th century. As in so many of Olafs works, DAWN and DUSK are characterized by an oppressive, almost suffocating atmosphere and an extreme degree of artificiality the characters appear to be hiding behind a faade of suppressed emotions. T ogether, DUSK and DAWN confront the viewer w ith feelings of unease and prejudice. In DUSK, Erw in Olaf portrays a black family as upper middle class at the beginning of the 20th Century. Their bourgeois appearance is in contrast to conventions and expectations about their skin color, which puts the historical and social consciousness of the viewer severely to the test. A tableau vivant of a social paradise or an oppressive prison, a story of disdain or of hope? Erw in Olaf made DUSK in 2009, inspired by photos of Frances Benjamin Johnston, who portrayed young black American students in 1899. Their life story at that time was still overshadowed by their lot as freed slaves. Through her sophisticated aesthetic style, Johnston shows that, despite their dark past, a bright future might be w ithin these pupils reach. Yet, her clean aesthetics could also be seen as subtly contemptuous. In DAWN, made 1 year later, Olaf shows the same scenes, only this time the setting is Russia at the beginning of the twentieth century and, moreover, the palette is entirely pale. The inspiration for DAWN came to Olaf one morning in Moscow where he was staying in a five star hotel. A white woman and her son entered the opulent breakfast room. Both of them were blond and dressed in white clothes. Seated on white chairs, at a table covered w ith a white cloth, and surrounded by high, blank white walls, Olaf saw the counterpart of DUSK take shape before his eyes. And so DAWN became the emotional and visual inverted mirror to DUSK. Netherlands Media Art Institute CoMentAriuL curAtoruLui DAWN este pandantul negativ al lucrarii video si seriei fotografice DUSK, a lui Erw in Olaf. Ambele lucrri portretizeaz familii nstrite din clasa mijlocie, plasate n decoruri de nceput de sec. 20. Ca multe din creaiile lui Olaf, DAWN i DUSK se remarca printr-o atmosfera copleitoare, aproape sufocanta, i un grad extrem de artificialitate - personajele par s se ascund n spatele unei fatade de emoii suprimate. Impreun, DUSK i DAWN i confrunt spectatorul cu propriile anxieti i prejudeci. n DUSK, Erw in Olaf face portretul unei familii de afro-americani de la nceputul sec. 20, aparinnd clasei de mijloc. Infatisarea lor de burghezi instariti contrasteaz cu conveniile sociale i asteptarile legate de culoarea pielii lor, ceea ce e de natur s supun contiina istoric i social a spectatorului la un test sever. E un tablou vivant al unui paradis social sau o nchisoare? O poveste despre dispret, sau despre speran? Erw in Olaf a realizat DUSK n 2009, inspirndu-se din fotografiile lui Frances Benjamin Johnston, care nfiau tineri studeni negri din anul 1899. La vremea respectiv, povestea vieii lor era marcat de statutul de sclavi eliberai. Cu estetica ei sofisticata, Johnston arat c, n ciuda unui trecut ntunecat, aceti studeni ar putea avea un viitor luminos. Dar estetica sa imaculata poate fi privita i din alt punct de vedere, i anume dintr-o perspectiv subtil-dispreuitoare. DAWN a fost realizat un an mai trziu. Olaf prezint aceleai secvene, plasate, de aceast dat, n Rusia, tot la nceput de sec. 20. Paleta coloristic este, de aceast dat, alba. Ideea pentru DAWN a fost inspirat de o diminea petrecut la Moscova, ntr-un hotel de cinci stele. n salonul opulent destinat micului dejun i-au fcut apariia o femeie nsoit de fiul ei, amndoi blonzi i mbrcai n alb. S-au aezat pe scaune albe, n faa unei mese acoperite cu fa de mas alb, inconjurati de pereii inalti, goi si albi ai ncperii. Olaf a vazut pandantul lui DUSK lund form chiar atunci, sub ochii lui. Aa a devenit DAWN o oglind vizual i emoional invers a DUSK. Netherlands Media Art Institute

177

Bucharest International Experimental Film Festival

Everyone Has to Get Over His Biography


20, 2008, the Netherlands director: Yael Assaf

With the support of / Cu sprijinul:

CAST/distribuia: Yafit Taranto, Adam Beni, Ehud Neuhaus, Anne Frine-Strieger, Lohizi Director/REGIA: Yael Assaf ScriPtwriter/SCENARIUL: Yael Assaf CineMAtogrAPhy/IMAGINE: Yael Assaf Editing/MontAj: Yael Assaf Music/MuzicA: Jroen Loohuys, Adam Beni Producer/PRODUCTOR: Yael Assaf

Dutch SPeciAL ProgrAM

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Winner TENT Academy Awards 2008 (the best recently graduated Dutch visual artist)/ Netherlands Film Festival 2008/ Filmmuseum Amsterdam 2008/ IFF Rotterdam 2009/ Breda IFF 2009/ Impakt Festival Utrecht 2009, KINO.LAB Warszawa 2010/ Media Art Friesland 2008 etc.

A poetic multi-disciplinary journey, as Yael Assaf calls it, EVERYONE HAS TO GET OVER HIS BIOGRAPHY is constructed of many layers, fragments woven into a collage, into a bigger image. Like a quilt, where each piece is an entity in itself, yet when combined, the different pieces create a new entity. The fragments are made using various film techniques and styles, like documentary and Super8 home movie footage and stop-motion and collage animation. The film investigates the subjective visual structures of which personal experiences are made. On this journey, we come across people, stories and moods and lose them again. The leading characters recollections and stories are sometimes really theirs and sometime they could be anybodys. O cltorie poetic pluri-disciplinar, cum isi numeste Yael Assaf filmul, EVERYONE HAS TO GET OVER HIS BIOGRAPHY e construit pe multe niveluri, din fragmente ce se ntrees ntr-un cola j care d imaginea de ansamblu. E ca o cuvertur fcut din petice: fiecare petic i are propria identitate, dar mpreun creeaz o entitate nou. Pentru fiecare fragment sunt folosite alte stiluri i tehnici de filmare: documentar, home film pe Super8, animaie stop-motion, animaie-cola j. Filmul analizeaz structurile vizuale subiective care compun tririle personale. n aceasta cltorie ntlnim oameni, poveti i stri sufleteti, apoi le pierdem din nou. Unele dintre amintirile i povetile protagonitilor sunt uneori ntr-adevr ale lor, iar alteori ar putea fi ale oricui.

178

WORLD SALES: EYE Film Institute Netherlands Vondelpark 3, 1071 AA Amsterdam Marta Jurkiewicz Distribution Experimental Film International Festivals E-mail: marta jurkiewicz@eyefilm.nl Tel: 020 - 7582351 (direct) Fax: 020 - 683 3401 Directors contact: mail@yaelassaf.com; yaelassaf@yahoo.com

CurAtors coMMent Yael Assaf makes films of very high quality, films made w ith a craftsmanship that is seldom encountered these days. She experiments w ith the story and w ith the shape of the image. She tells her story w ith a very unique film form, abstracted shapes, documented film material w ith real images from the past and acting footage from the present, combined w ith animation techniques that describe the future, the dream. A filmmaker who truly masters her skill, she creates the most wonderful and beautiful films w ith a kind of ease. Psychedelic films, that transport the viewer to other spheres, like a drug. Dreamy images, mixed w ith stop motion animations w ith are then alternated w ith slow motion super-8 footage of youth memories, all this mounted w ith a very particular style to create her story. Her subjects are her life experiences, emotions and questions, she makes herself vulnerable and it lets so much in. Her surroundings are her script. Poetic gold on film is what she makes. Harry Heynik, visual artist, EEA European Exchange Academy, teacher Gerrit Rietveld Art Academy

Yael Assaf (b. Venezuela, 1976) is a visual artist and stage designer, living and working in Amsterdam. She graduated from the School of Visual Theatre in Jerusalem and the Gerrit Rietveld Art Academy in Amsterdam, and she is presently attending the Master of Film at the NFTA, National Film and TV Academy Amsterdam. EVERYONE HAD TO GET OVER HIS BIOGRAPHY , her graduation film from the Gerrit Rietveld Art Academy won the TENT Academy Awards 2008 for the best recently graduated Dutch visual artist. Yael Assaf (n. Venezuela, 1976), artist vizual i scenograf, triete la Amsterdam. A absolvit cursurile Institutului de Teatru din Ierusalim i Gerrit Rietveld Art Academy din Amsterdam. n prezent, urmeaz cursuri de masterat la NFTA, Academia Naional de Film i Televiziune din Amsterdam. EVERYONE HAD TO GET OVER HIS BIOGRAPHY, filmul ei de absolvire a Gerrit Rietveld Art Academy, a obinut Premiul TENT Academy n 2008. TENT Academy Awards premiaz cele mai bune filme de absolvire realizate la institutele de film si arte vizuale din toat Olanda.

Bucharest International Experimental Film Festival

CoMentAriuL curAtoruLui: Filmele lui Yael Assaf sunt de o calitate excepional. Sunt realizate cu o miestrie care rar mai poate fi ntlnit n zilele noastre. Experimenteaz cu subiectul i cu forma imaginii. Spune povestea ntr-un mod cinematic unic, combinnd forme abstractizate cu imagini documentare din trecut, cu filmri regizate actuale si cu tehnici de animaie ce descriu viitorul sau visul. E o regizoare stpn pe capacitile ei artistice, n stare s creeze filme de o extraordinar frumusee cu un fel de uurin. Filme psihedelice, care i transport spectatorul ctre alte sfere, ca un drog. Imagini de vis, combinate cu animaie stopmotion, alternate cu amintiri din tineree filmate pe Super8 i redate n slow motion, totul se conjug cu un stil foarte particular al autoarei de a spune povestea. Subiectele filmelor ei sunt propriile experiene, emoiile i cutrile personale. Artista se deschide privirilor spectatorului, devenind prin aceasta foarte vulnerabil. Ceea ce o nconjoar se transform n scenariu. Aur poetic pe film e ceea ce Assaf creeaz. Harry Heynik, artist vizual, EEA European Exchange Academy, profesor Gerrit Rietveld Art Academy

179

Five Walks. Hercynia Silva


16, 2008, the Netherlands director: Anna Abrahams

With the support of / Cu sprijinul:


Director/REGIA: Anna Abrahams ScriPtwriter/SCENARIUL: Anna Abrahams CineMAtogrAPhy/IMAGINE: Jan Frederik Groot Art direction/SCENOGRAFIA: Alicia Estrella Editing/MontAj: Stella van Voorst van Beest SOUND/SUNET: Edwin Bakker Production: Rongwrong Foundation

In the northern region is the vast expanse of the Hercynian forest, untouched by the FESTIVALS l AWARDS: FESTIVALURI l PREMII: Rotterdam IFF 2008/ Oberhausen ISFF 2008/ Hamburg ISFF 2008/ Courtisane Gent IFF 2008/ Premio Asolo Best Harmony and Territory Film at Asolo Art Film Festival 2009/ Filmmuseum Experimenteel Amsterdam 2008/ Antimatter Festival Victoria Australia 2008/ 25FPS Experimental IFF Zagreb 2008/ Nederlands Film Festival Utrecht 2008/ Corona Cork IFF 2008 etc. ages and coeval with the world, which surpasses all marvels by its almost immortal destiny. (Pliny, Natural History 23-79 AD) The horror and grandeur of the last remnants of Northern European primary forest conjure up a history of hunting, fleeing and meetings with magical creatures. Screened in Rotterdam, Oberhausen, Hamburg and many others, 5 WALKS. HERCYNIA SILVA is the first part of a series of films on the cultural meaning of landscape. n nord, de-a lungul Rinului, se afl regiunea ntins a Pdurilor Hercinice, neatinse de trecerea timpului, vechi de cnd lumea, depasind orice miracol prin destinul sau fr moarte. (Pliniu cel Btrn, Naturalis Historia, 23-79 AD). ntr-o combinaie de oroare i grandoare, ultima relicv a pdurilor primordiale din nordul Europei evoca o ntreag istorie a vntorii, a evadrilor i a ntlnirilor cu fpturi magice. Prezentat la Rotterdam, Oberhausen, Hamburg i n multe alte festivaluri, acest film este primul dintr-o serie dedicata semnificaiilor culturale ale peisa jului.

Dutch SPeciAL ProgrAM 180

WORLD SALES: EYE Film Institute Netherlands Vondelpark 3, 1071 AA Amsterdam Marta Jurkiewicz Distribution Experimental Film International Festivals E-mail: marta jurkiewicz@eyefilm.nl Tel: 020 - 7582351 (direct) Fax: 020 - 683 3401 Directors contact: annaabrahams@eyefilm.nl anna@rongwrong.net

CurAtors coMMent The forest itself is not threatening, mysterious, resplendent or idyllic. We are the ones that fill it w ith meaning using stories and images. Culture annexes nature by animating it. Forest histories differ little from country to country and era to era. They are always stories about wandering, hunting, meetings w ith magical creatures, fertility cults and tree worship whereby desecration of the tree can only be put right w ith a sacrifice. He who knows natures laws w ill see wonderful places whilst roaming the forest. Those that dont belong, w ill become hopelessly lost. It is conspicuous how resilient landscape myths are. While the primeval forests dw indle away - only a few dozen square kilometers remain in Europe - the myth of the w ild forest seems to have adapted itself. Motorways are our new forest paths w ith neon signs as the ignis fatus and drivers on the wrong side of the road as its fauns. The speed and strength of machines have taken the place of the w ild beast. The chaos of the primeval forest and societys order are two sides of the same leaf. Eye Film Institute Netherlands

CoMentAriuL curAtoruLui Pdurea n sine nu e nici amenintoare, nici misterioas, nici minunat ori idilic. Noi suntem cei care i adugm semnificaii, cu ajutorul povetilor i al imaginilor. Cultura i altur natura, atribuindu-i acesteia din urma un suflet. Cu minime diferene, povetile pdurii sunt cam aceleai, indiferent de ara sau epoca n care se petrec. Ele sunt ntotdeauna despre rtciri, despe vntoare, ntlniri cu fiine supranaturale, ritualuri de fertilitate sau adoraia pentru vreun copac sacru, a carui desacralizare poate fi reparata doar printr-un ritual de sacrificiu. Cel care cunoate legile naturii va gsi n mijlocul pdurii locuri pline de farmec. Pentru ignorani, pdurea e un spaiu n care se vor rtci iremediabil. Flexibilitatea miturilor peisajului e remarcabil. Chiar dac pdurile primordiale sunt pe cale de dispariie - cele care au rmas mai ocup doar cteva zeci de kilometri ptrai din suprafaa Europei, totui, mitul pdurii virgine continu s existe, adaptat noilor condiii. n ziua de azi, noile noastre poteci prin pdure sunt autostrazile, cu semne de neon n chip de oracole i oferi neglijeni n rol de fauni. Viteza i puterea mainilor au luat locul slbticiunilor. Haosul pdurii primordiale i cel al ordinii sociale sunt faete ale aceleiai monede. Eye Film Institute Netherlands

Anna Abrahams (Oslo, 1963) studied film, art history and mass communication studies at the University of Amsterdam. Abrahams works as a producer, director and editor of films concerning cultural and social subjects for the independent production foundation Rongwrong, which she founded with her partner filmmaker Jan Frederik Groot in 1989. Abrahams has lectured at art academies in The Hague, Rotterdam, Tilburg, Maastricht, Utrecht and Amsterdam, and was author and editor for several magazines on film, television and architecture. She was (co) author of a number of books on avant garde film, and coordinator of distribution and curator for the Filmbank. She now works as Project Leader Programming at the EYE Film Institute Netherlands in Amsterdam and teaches film at the Royal Art Academy in The Hague. Selective filmography: Desert 79(2010), 5 Walks. Hercynia Silva (2008), Cadavre Exquis(2004), Rowing (co-director Jan Frederik Groot) (2003), Resort (co-director Jan Frederik Groot) (2002), Grave in the Tropics (1998), Notes from the Underground (1998), Sotsgorod. Cities for Utopia (1995). Anna Abrahams (n. Oslo, 1963) a fcut studii de film, istoria artei i comunicare la Universitatea din Amsterdam. Lucreaz ca productor, regizor i editor pentru proiecte de film cu subiecte din sfera culturalului i a socialului pentru Fundaia independent Rongwrong, fundaie pe care a nfiinat-o n 1989, mpreun cu partenerul su, regizorul Jan Frederik Groot. Abrahams a susinut cursuri la universitile de arta din Haga, Rotterdam, Tilburg, Maastricht, Utrecht i Amsterdam i a fost autor i redactor la cteva reviste de fim, televiziune si arhitectura. A fost (co) autor de cri despre filmul de avangard si coordonator de distribuie si curator pentru Filmbank. n prezent, este Project Leader Programming la EYE Film Institute Netherlands in Amsterdam i preda cinema la Royal Art Academy din Haga. Filmografie selectiv: Desert 79(2010), 5 Walks. Hercynia Silva (2008), Cadavre Exquis (2004), Rowing (co-regizor Jan Frederik Groot) (2003), Resort (co-regizor Jan Frederik Groot) (2002), Grave in the Tropics (1998), Notes from the Underground (1998), Sotsgorod. Cities for Utopia (1995).

181

Bucharest International Experimental Film Festival

Forever For A While


8, 2009, the Netherlands director: Sara Ra jaei

With the support of / Cu sprijinul:

Director/REGIA: Sara Ra jaei ScriPtwriter/SCENARIUL: Sara Ra jaei CineMAtogrAPhy/IMAGINE: Sara Ra jaei Editing/MontAj: Sara Ra jaei SOUND/SUNET: Sara Ra jaei Producer: Sara Ra jaei A young woman enters the living room, a little later looks in the mirror as an old woman and sits down in the chair as a little girl. Being lost in moments in between past, present and future, constantly traveling from one to another, floating in different stages of life, back and forth between flashbacks and flash-forwards, the main character ages and rejuvenates. The changes of the space let the viewer follow the story with the help of the silent language of the objects. Dreams and memories tell an abstract story in which time does not pass; rather, different moments meet each other for a few seconds and evoke a feeling of eternity. Recorded in one take, FOREVER FOR A WHILE is a film about the working of time and memory. O tnr intr n living. Dup cteva clipe i vede n oglind imaginea de femeie btrn. Apoi se aaz pe un scaun ca feti. Ratacita ntre trecut, prezent i viitor, micndu-se permanent n timp, plutind de la o etap a vieii la alta, nainte i napoi, ntre amintiri i proiecii n viitor, protagonista mbtrnete i ntinerete. Transformrile spaiului l a jut pe spectator s urmreasc povestea prin limba jul tcut al obiectelor. Vise i amintiri spun o poveste abstract, n care timpul nu trece. Sunt, mai degrab, momente diferite care se ntlnesc pentru cteva secunde, crend astfel un sentiment de eternitate. Filmat ntr-un singur cadru, FOREVER FOR A WHILE e un film despre mersul timpului i al memoriei.

Dutch SPeciAL ProgrAM 182

FESTIVALS l AWARDS: FESTIVALURI l PREMII: Rotterdam IFF 2010, Cairo Video Art and Experimental Film Festival 2010, Fundada Artists IFF 2010 UK, Go Short IFF The Netherlands 2010, Netherlands Film Festival 2009, De Balie Amsterdam 2009 etc

WORLD SALES: Netherlands Media Art Institute NIMk Joke Ballintijn Keizersgracht 264 1016 EV, Amsterdam, The Netherlands E-mail: joke@nimk.nl Web: www.nimk.nl T: +31(0)20 6237101 Directors contact: sara jaei@yahoo.com

Sara Ra jaei on FOREVER FOR A WHILE T ime is my main subject: deconstructing and reconstructing time by narrating, whether its about a past incident, a moment of present or an idea of the future. One can make magic of a simple everyday life situation just by recalling it, forgetting and remembering it, adding to it his/her own imagination, and so creating a whole new story, given no beginning and no end. In a filmic work we face different divisions of time. T ime as the duration of a film and time which exists in one story. No matter how many films I have watched until now, it still fascinates me that the story of ones life can be told during the 90 minutes of one film. In my work I look for ways of playing w ith these two divisions, search for different solutions of telling a story through visuals. My works are neither films nor videos, because I both like the aesthetics of film and the free achievement of video. I like the floating magic of poetry, the strong ties of storytelling, the touchable texture of a piece of craft and music. In my work I try to combine all these. Writing is an essential part of my work. My writings focus on specific moments, emotions and details, simply what might not seem to be very important. I often use a traveling camera in order to see and to show things w ithout putting an accent on a specific subject. This way every object is viewed in its details and at the same time w ith enough distance. It remains as secretive as it can be. What is most important for me in creating a work of art is to create a moment that would make the beholder stand still, in order to relate and reflect.

Sara RAJAEI (1976, Iran) was educated at the University of the Arts in Tehran and at the Royal Academy for Visual Arts in the Hague (1998-2002) where she specialized in 3D art. She also was a resident artist at the Rijksacademie for Visual Arts in Amsterdam (2003-2004). Since 2004, her work (installations, performances and video art) has been shown at various festivals and exhibitions around the world, like Rencontres Internationales Paris- Centre Pompidou, Madrid - Reina Sofia National Museum, Berlin - Haus der Kulturen der Welt, Sao Paulo International Short Film Festival, Sundance Film Festival etc. Filmography(all shorts): A Day of Amnesia (2004), Charismatic Fates & Vanishing Dates (2005), Shahrzad (2009), Forever for a While (2009). Sara RAJAEI (n. 1976, Iran) a urmat cursurile Universitii de Arte din Teheran i cele ale Royal Academy for Visual Arts din Haga (1998-2002), specializndu-se n arta 3D. A fost artist rezident la Rijksacademie for Visual Arts din Amsterdam (2003-2004). ncepnd cu 2004, creaiile ei (instalaii, performance i art video) au fost prezentate la multe festivaluri i expoziii din toat lumea, precum Rencontres Internationales: Paris- Centre Pompidou, Madrid - Reina Sofia National Museum, Berlin - Haus der Kulturen der Welt, Sao Paulo International Short Film Festival, Sundance Film Festival etc. Filmografia ei include scurtmetra jele: A Day of Amnesia (2004), Charismatic Fates & Vanishing Dates (2005), Shahrzad (2009), Forever for a While (2009).

Bucharest International Experimental Film Festival

Sara Ra jaei despre FOREVER FOR A WHILE T impul e subiectul meu principal: deconstruirea i reconstruirea timpului prin naraiune, fie c ne referim la un moment din trecut, ceva ntmplat n prezent sau o proiectie a viitorului. O simpla situaie cotidian poate deveni magic prin simplul fapt c o rememorezi, o uii i apoi i-o aminteti, adugndu-i propria ta imaginaie i crend astfel o poveste cu totul nou, fr nceput i fr sfrit. ntr-o creaie cinematografic, exista mai multe diviziuni de timp. T imp ca durata a unui film sau timp ca durata reala a unei poveti. Oricte filme a fi vzut pn acum, m fascineaz n continuare faptul c povestea vieii unui om poate fi spus n doar 90 de minute. n creaia mea, caut modalitati de a ma juca cu aceste doua feluri de timp, caut noi soluii de a povesti vizual. Creaiile mele nu sunt nici filme, nici proiecte video, pentru c m simt n egal msur ataat de estetica cinematografica i de libertatea oferita de arta video. M pasioneaz magia poeziei, rigorile naraiunii, texturile, muzica. n lucrrile mele, ncerc s combin toate acestea. De asemenea, pentru mine, scrisul e esenial. Atunci cnd scriu, m concentrez asupra unor anumite momente, emoii sau detalii care pot prea lipsite de importan. Folosesc adesea travelingul pentru a descrie anumite lucruri fr s accentuez ceva anume. Aa pot s vizualizez fiecare obiect n detaliu i n acelai timp cu suficienta distanta, protejndu-i astfel misterul. Pentru mine, cel mai important e s creez momente care s faca spectatorul s se opreasc, s empatizeze i s reflecteze.

183

The Healers
10, 2010, the Netherlands director: Tim Leyendekker

With the support of / Cu sprijinul:

CAST/distribuia: Michiel Bijmans, Gijs Nollen, Willem Schouten Director/REGIA: Tim Leyendekker ScriPtwriter/SCENARIUL: Tim Leyendekker CineMAtogrAPhy/IMAGINE: Adri Schrover Editing/MontAj: Tim Leyendekker, Matte Mourik SOUND/SUNET: Ab Grooters Producer: Tim Leyendekker Production: Absent Without Leave

The gay party scene presented in a triptych: the thrills of the night, the location, the date. With a surgeons ambition, director Tim Leyendekker dissects a social environment held together by illusions. THE HEALERS is a deconstructive reconstruction of a memory set in the 90s nightlife. Layers that normally form a cinematographic entity by merging together are stripped bare and served separately in order to provoke the boundaries of the constructed narrative. The pre-process of making the film becomes in an unusual way the film. Viata de noapte gay, prezentata ntr-un triptic: fiorul nopii, locul, data. Cu precizie de chirurg, regizorul Tim Leyendekker face disecia unui mediu social bazat pe iluzii. THE HEALERS e o reconstituire deconstruita a unei amintiri din viaa de noapte a anilor 1990. Straturi care n mod normal se contopesc ntr-o entitate cinematic ne sunt servite, n cazul acestui film, separat, n forma lor frust, fornd graniele construciei narative. Procesul premergtor realizrii filmului devine, ntr-un mod neobinuit, filmul nsui.

Dutch SPeciAL ProgrAM 184

FESTIVALS l AWARDS: FESTIVALURI l PREMII: IFF Rotterdam 2010/ Breda IFF 2010/ European Media Art Festival Osnabrck 2010/ The International Experimental Cinema Exposition Lincoln 2010/ Impakt Festival Utrecht 2010,/Split Film Festival Croatia 2010/ Nashville Film Festival 2011 etc.

WORLD SALES: EYE Film Institute Netherlands Vondelpark 3, 1071 AA Amsterdam Marta Jurkiewicz Distribution Experimental Film International Festivals E-mail: marta jurkiewicz@eyefilm.nl Tel: 020 - 7582351 (direct) Fax: 020 - 683 3401 Directors contact: tim@absentwithoutleave.org

Tim Leyendekker (b. 1973, the Netherlands) worked for several years as an art director for short films and decided in 2000 to attend the Willem de Kooning Academy for Fine Arts, Rotterdam, with the intention to become a video artist/ filmmaker. During this educational program he developed an oeuvre that is not so much medium based, but always uses the concept as a starting point. He explores the conceptual and formal boundaries of cinema as a narrative medium. His work- consisting of video, film and audio works, using of drawings, silk screens, sculptures and performances - is presented at a wide range of film festivals, galleries and museums. Filmography ( all shorts): (hectaren) (2001), Survival (prayer #1 prayer #2) (2002), How the West Was Won and Where It Got Us (2003), still (2006), Opening Night (2009), the Healers (2010).

Tim Leyendekker (n. 1973, Olanda) a lucrat civa ani ca scenograf pentru o serie de scurtmetra je. n 2000, s-a nscris la Academia de Arte Frumoase Willem de Kooning din Rotterdam, cu intenia de a deveni artist vizual i regizor. Pe parcursul anilor de studiu, creaia lui s-a concentrat nu att pe mediul de exprimare utilizat, ci mai ales pe concept, folosit ntotdeauna ca punct de plecare al lucrrilor sale. Artistul exploreaz limitele conceptuale i formale ale cinema-ului ca mediu narativ. Lucrrile lui, creaii video, filme, creaii audio, desen, serigrafie, sculptur i performance, sunt prezentate n numeroase festivaluri de film, galerii de art i muzee. Filmografia lui cuprinde scurtmetra jele (hectaren) (2001), Survival (prayer #1 prayer #2) (2002), How the West Was Won i Where It Got Us (2003), still (2006), Opening Night (2009), the Healers (2010).

185

Bucharest International Experimental Film Festival

186