The Film Industry in the Russian Federation

Total Page:16

File Type:pdf, Size:1020Kb

The Film Industry in the Russian Federation THE FILM INDUSTRY IN THE RUSSIAN FEDERATION A report for the European Audiovisual Observatory by Nevafilm with contributions from RFilms, Groteck September 2010 The Film Industry in the Russian Federation Research by Nevafilm, with the collaboration of RFilms (Invest Collegium) for the European Audiovisual Observatory. Director of Publication: Wolfgang Closs, Executive Director of the European Audiovisual Observatory Supervising Editor: André Lange (European Audiovisual Observatory) Study carried out by: Oleg Berezin, Xenia Leontyeva, Svetlana Mudrova, Eleonora Kolyenen-Ivanova (Nevafilm Research); Konstantin Nafikov, Anastasia Tchudakova, Anastasia Bitkova, Tatiana Beliaeva (RFilms); Aleksander Vlasov, Anna Zavarzina, Daria Minakova (Groteck); with the participation of Alexei Sokhnev (Ministry of Culture, RF) Chief Editor: Xenia Leontyeva (Nevafilm Research) Translation, editing and proofreading of the English text: Eclectic Translations, [email protected] Publisher: European Audiovisual Observatory 76 Allee de la Robertsau – F – 67000 Strasbourg, France Tel.: +33(0)3 90 21 60 00, Fax: +33(0)3 90 21 60 19 E-mail: [email protected] URL: http://www.obs.coe.int Research Companies: Nevafilm 33-2B Korablestroiteley Street, St. Petersburg, 199397, Russia Phone: +7 812 449 70 70, Fax: +7 812 352 69 69 “Tsvetnoy, 30” Business Center, office 307, bld.1 30, Tsvetnoy Boulevard, 127051, Moscow, Russian Federation Phone / Fax: +7 495 694 2615 E-mail: [email protected] Web: http://www.nevafilm.ru http://www.digitalcinema.ru RFilms (Invest Collegium) Kalashny pereulok 14, Moscow, 125009, Russia Phone / Fax: +7 495 690 37 06 E-mail: [email protected] Web: http://www.rfilms.org Groteck 30 3-ya Magistralnaya st., Moscow, 123007. Russia Phone / Fax: +7 495 609-32-31 E-mail: [email protected] Web: http://www.groteck.ru The analyses presented in these articles are the authors’ own opinions and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members or of the Council of Europe. Data compiled by external sources are quoted for the purpose of information. The authors of this report are unable to verify either their means of compilation or their pertinence. © European Audiovisual Observatory, September 2010. 2 STUDY OF THE FILM INDUSTRY IN THE RUSSIAN FEDERATION CONTENT Chapter 1 THE FILM INDUSTRY IN RUSSIA: INSTITUTIONAL FRAMEWORK.... 5 1.1 An overview of state policy governing the film industry in Russia ......................................... 7 1.1.1. The activities of federal authorities in the film industry ......................................... 7 1.1.2 The activities of regional and local authorities in the film industry...................... 11 1.1.3 Overview of the regulatory acts governing the film industry ............................... 12 1.1.4 Analysis of the system of state support for cinema ............................................ 14 1.2 The system of professional film education in Russia........................................................... 20 1.3 Activities of state-owned cinema organisations ................................................................... 21 1.4 State support for international cooperation and co-production............................................ 24 1.5 Activities of Russian civil organisations in cinematography................................................. 25 Chapter 2 FILM INDUSTRY: AN OVERVIEW........................................................ 31 Chapter 3 DESCRIPTION AND ANALYSIS OF THE VARIOUS BRANCHES OF THE RUSSIAN FILM INDUSTRY .................................................... 43 3.1 Film and television production in Russia: producers and production companies ................ 45 3.1.1 Branch structure.................................................................................................. 45 3.1.2 Key players in film and TV production ................................................................ 61 3.1.3 Investment in film production .............................................................................. 68 3.2 Production facilities: studios, equipment rental and post-production services .................... 72 3.2.1 Industry structure ................................................................................................ 72 3.2.2 Principal players on the film production services market.................................... 83 3.2.3 Principal market trends and prospects for film production services in Russia.... 84 3.3 Exhibition.............................................................................................................................. 88 3.3.1 Industry structure ................................................................................................ 88 3.3.2 Principal trends and development prospects...................................................... 98 3.3.3 Principal players................................................................................................ 100 3.4 Theatrical distribution ......................................................................................................... 102 3.4.1 Industry structure .............................................................................................. 102 3.4.2 Principal trends and development prospects.................................................... 116 3.4.3 Principal players................................................................................................ 122 3.4.4. Distribution of Russian Films Abroad................................................................ 127 3.5 DVD Distribution................................................................................................................. 129 3.5.1 Industry structure .............................................................................................. 129 3.5.2 Principal trends ................................................................................................. 140 3.5.3 Principal players................................................................................................ 143 3.6 Video on demand services in Russia................................................................................. 146 3.6.1 Structure of the VoD market.............................................................................. 146 3.6.2 Technological state of infrastructure for development of the VoD market........ 149 3.6.3 Assessment of VoD market volume.................................................................. 151 3.6.4 Primary video-on-demand services in Russia................................................... 157 3.6.5 Estimation of the level of Internet piracy in Russia ........................................... 158 3.6.6 Conclusions regarding the current state of the VoD market in Russia ............. 163 3.6.7 Trends and predictions...................................................................................... 164 List of tables .......................................................................................................... 168 List of graphs......................................................................................................... 170 Research companies............................................................................................. 173 STUDY OF THE FILM INDUSTRY IN THE RUSSIAN FEDERATION 3 Chapter 1 THE FILM INDUSTRY IN RUSSIA: INSTITUTIONAL FRAMEWORK1 1 This chapter is prepared by RFilms, with contributions from the Ministry of Culture of the Russian Federation. 1.1 AN OVERVIEW OF STATE POLICY GOVERNING THE FILM INDUSTRY IN RUSSIA 1.1.1. The activities of federal authorities in the film industry At the federal level, regulation of cinema in the Russian Federation is a function of the Ministry of Culture. Its structure includes a Department of Cinema, which consists of five units.2 As an executive authority, the Ministry of Culture supports the production and distribution of National Films in the Russian Federation and organises various events, such as film festivals within Russia and Russian film weeks in other countries. It also provides support for the representation of the Russian film industry at international film festivals and film fairs (through Russian films taking part in major international film festivals, stands and pavilions for Russian films at film fairs, etc.), an international forum for film co-production in Russia, special conferences, and roundtable discussions. In addition, the Ministry of Culture:3 - issues distribution certificates for film products released for distribution across Russia (including cinema, DVD and video distribution, and TV broadcasting in every format4); - issues National Film certificates [for films where at least half of the actors are Russian citizens5]; - maintains the Central State Registry of Cinema and Video Films;6 - administers state subsidy programmes, including support for the production and distribution of National Films. As part of its restructuring in 2008, the Ministry of Culture was merged with the Federal Agency for Culture and Cinema (which was initially formed in 2004 during reforms to the structure of the Russian Government7). Thus the functions of developing and implementing state policies for cinema were once again united under a single umbrella executive authority. The controlling and supervising functions exercised by the Federal Supervisory Service in Legislation on Protection of Cultural Heritage have, however, remained under a separate structure.
Recommended publications
  • IMPORTANT NOTICE IMPORTANT: You Must Read the Following Before Continuing
    IMPORTANT NOTICE IMPORTANT: You must read the following before continuing. The following applies to the document following this page, and you are therefore advised to read this carefully before reading, accessing or making any other use of the attached document. In accessing the attached document you agree to be bound by the following terms and conditions, including any modifications to them any time you receive any information from us as a result of such access. NOTHING IN THE FOLLOWING DOCUMENT CONSTITUTES AN OFFER OF SECURITIES FOR SALE IN THE UNITED STATES OR ANY OTHER JURISDICTION WHERE IT IS UNLAWFUL TO DO SO. ANY SECURITIES TO BE ISSUED WILL NOT BE REGISTERED UNDER THE U.S. SECURITIES ACT OF 1933, AS AMENDED (THE ‘‘SECURITIES ACT’’), OR THE SECURITIES LAWS OF ANY STATE OF THE UNITED STATES OR OTHER JURISDICTION, AND THE SECURITIES MAY NOT BE OFFERED OR SOLD WITHIN THE UNITED STATES OR TO, OR FOR THE ACCOUNT OR BENEFIT OF, U.S. PERSONS (AS DEFINED IN REGULATION S UNDER THE SECURITIES ACT), EXCEPT PURSUANT TO AN EXEMPTION FROM, OR IN A TRANSACTION NOT SUBJECT TO, THE REGISTRATION REQUIREMENTS OF THE SECURITIES ACT AND APPLICABLE STATE OR LOCAL SECURITIES LAWS. THE FOLLOWING DOCUMENT MAY NOT BE FORWARDED OR DISTRIBUTED TO ANY OTHER PERSON AND MAY NOT BE REPRODUCED IN ANY MANNER WHATSOEVER, AND IN PARTICULAR, MAY NOT BE FORWARDED TO ANY U.S. PERSON OR TO ANY U.S. ADDRESS. ANY FORWARDING, DISTRIBUTION OR REPRODUCTION OF THIS DOCUMENT IN WHOLE OR IN PART IS UNAUTHORISED. FAILURE TO COMPLY WITH THIS DIRECTIVE MAY RESULT IN A VIOLATION OF THE SECURITIES ACT OR THE APPLICABLE LAWS OF OTHER JURISDICTIONS.
    [Show full text]
  • Annual Report 2011
    possibilities ANNUAL REPORT 2011 CONTENTS About the company ............................................................................... 2 Key financial & operational highlights ............................................. 12 Key events of 2011 & early 2012 ...................................................... 14 Bright upside potential from the reorganization ............................. 18 Strong market position ................................................................... 20 Up in the “Clouds” ........................................................................... 22 Chairman’s statement ........................................................................ 24 Letter from the President ................................................................... 26 Strategy .............................................................................................. 28 M&A activity ........................................................................................ 31 Corporate governance ........................................................................ 34 Board of Directors & committees .................................................... 34 Management Board & committees ................................................. 37 Internal Audit Commission ............................................................. 40 Remuneration of members of the Board of Directors and the Management Board ............................................................. 40 Dividend policy ................................................................................
    [Show full text]
  • PROVISIONALLY APPROVED by the Board of Directors of OJSC Rostelecom May 19, 2014 Minutes No 01 Dated May 22, 2014
    PROVISIONALLY APPROVED by the Board of Directors of OJSC Rostelecom May 19, 2014 Minutes No 01 dated May 22, 2014 APPROVED by the Annual General Shareholders’ Meeting of OJSC Rostelecom June 30, 2014 Minutes No___ dated June __, 2014 ANNUAL REPORT OPEN JOINT STOCK COMPANY LONG-DISTANCE AND INTERNATIONAL TELECOMMUNICATIONS ROSTELECOM BASED ON YEAR 2013 RESULTS President of OJSC Rostelecom s/s S.B. Kalugin Acting Chief Accountant of OJSC Rostelecom s/s N.V. Lukashin May 22, 2014 Moscow, 2014 ANNUAL REPORT TABLE OF CONTENTS CAUTIONARY STATEMENT REGARDING FORWARD-LOOKING STATEMENTS ....................................... 3 INFORMATION CONTAINED IN THIS ANNUAL REPORT .............................................................................. 4 ROSTELECOM AT A GLANCE ......................................................................................................................... 5 THE PRESIDENT’S MESSAGE ......................................................................................................................... 6 2013 HIGHLIGHTS ............................................................................................................................................ 8 OPERATING AND FINANCIAL RESULTS ...................................................................................................... 10 COMPANY’S POSITION IN THE INDUSTRY ................................................................................................. 12 COMPANIES IN ROSTELECOM GROUP ......................................................................................................
    [Show full text]
  • On the Good Faith
    On the Good Faith Zoroastrianism is ascribed to the teachings of the legendary prophet Zarathustra and originated in ancient times. It was developed within the area populated by the Iranian peoples, and following the Arab conquest, it formed into a diaspora. In modern Russia it has evolved since the end of the Soviet era. It has become an attractive object of cultural produc- tion due to its association with Oriental philosophies and religions and its rearticulation since the modern era in Europe. The lasting appeal of Zoroastrianism evidenced by centuries of book pub- lishing in Russia was enlivened in the 1990s. A new, religious, and even occult dimension was introduced with the appearance of neo-Zoroastrian groups with their own publications and online websites (dedicated to Zoroastrianism). This study focuses on the intersectional relationships and topical analysis of different Zoroastrian themes in modern Russia. On the Good Faith A Fourfold Discursive Construction of Zoroastrianism in Contemporary Russia Anna Tessmann Anna Tessmann Södertörns högskola SE-141 89 Huddinge [email protected] www.sh.se/publications On the Good Faith A Fourfold Discursive Construction of Zoroastrianism in Contemporary Russia Anna Tessmann Södertörns högskola 2012 Södertörns högskola SE-141 89 Huddinge www.sh.se/publications Cover Image: Anna Tessmann Cover Design: Jonathan Robson Layout: Jonathan Robson & Per Lindblom Printed by E-print, Stockholm 2012 Södertörn Doctoral Dissertations 68 ISSN 1652-7399 ISBN 978-91-86069-50-6 Avhandlingar utgivna vid
    [Show full text]
  • Notes on Moscow Exchange Index Review
    Notes on Moscow Exchange index review Moscow Exchange approves the updated list of index components and free float ratios effective from 16 March 2018. X5 Retail Group N.V. (DRs) will be added to Moscow Exchange indices with the expected weight of 1.13 per cent. As these securities were offered initially, they were added without being in the waiting list under consideration. Thus, from 16 March the indices will comprise 46 (component stocks. The MOEX Russia and RTS Index moved to a floating number of component stocks in December 2017. En+ Group plc (DRs) will be in the waiting list to be added to Moscow Exchange indices, as their liquidity rose notably over recent three months. NCSP Group (ords) with low liquidity, ROSSETI (ords) and RosAgro PLC with their weights now below the minimum permissible level (0.2 per cent) will be under consideration to be excluded from the MOEX Russia Index and RTS Index. The Blue Chip Index constituents remain unaltered. X5 Retail Group (DRs), GAZ (ords), Obuvrus LLC (ords) and TNS energo (ords) will be added to the Broad Market Index, while Common of DIXY Group and Uralkali will be removed due to delisting expected. TransContainer (ords), as its free float sank below the minimum threshold of 5 per cent, and Southern Urals Nickel Plant (ords), as its liquidity ratio declined, will be also excluded. LSR Group (ords) will be incuded into SMID Index, while SOLLERS and DIXY Group (ords) will be excluded due to low liquidity ratio. X5 Retail Group (DRs) and Obuvrus LLC (ords) will be added to the Consumer & Retail Index, while DIXY Group (ords) will be removed from the Index.
    [Show full text]
  • Friendly Fire Project Examines How a Country Views Itself by How It Tells Its War Story, We Are Also Very Interested in What Other Countries Consume for Entertainment
    00:00:00 Music Music Soft, melancholy, somewhat eerie music. 00:00:01 Adam Host If it feels like there are a lot of films about Stalingrad, you’re not Pranica wrong. A quick search in your movie streaming service of choice—or if you’re so lucky, a brick-and-mortar video store—will reveal ten of them. Although only one, to our knowledge, has a scene depicting a Rachel Weisz hand job. It’s enough film content to spin off a podcast of its own, and I’ve already pitched Earwolf a show about German/Russian World War II films with an emphasis on fighter plane aerodynamics/equestrian cavalry enclosures hosted by fifth-year college seniors from acting school with limb fractures called The Stalingrad Stall Stall Stallin’ Grad Cast Cast Cast. For comparison, there are only five more films made about Pearl Harbor, and that’s if you don’t disqualify the Michael Bay movie, which we do. This Stalingrad film is the most successful Russian film of all time, earning 51 million domestically in Russia and $68 million globally. And while the Friendly Fire project examines how a country views itself by how it tells its war story, we are also very interested in what other countries consume for entertainment. Stalingrad accomplishes both. But does that say anything about the importance of this battle in the story of World War II, and the historical record? Well, in our experience watching war films, sometimes quantity doesn’t equal quality. And this is a film that tries very hard to project quality.
    [Show full text]
  • An Overview of Boards of Directors at Russia's Largest Public Companies
    An Overview Of Boards Of Directors At Russia’s Largest Public Companies Andrei Rakitin Milena Barsukova Arina Mazunova Translated from Russian August 2020 Key Results According to information disclosed by 109 of Russia’s largest public companies: “Classic” board compositions of 11, nine, and seven seats prevail The total number of persons on Boards of the companies under study is not as low as it might seem: 89% of all Directors were elected to only one such Board Female Directors account for 12% and are more often elected to the audit, nomination, and remuneration committees than to the strategy committee Among Directors, there are more “humanitarians” than “techies,” while the share of “techies” among chairs is greater than across the whole sample The average age for Directors is 53, 56 for Chairmen, and 58 for Independent Directors Generation X is the most visible on Boards, and Generation Y Directors will likely quickly increase their presence if the impetuous development of digital technologies continues The share of Independent Directors barely reaches 30%, and there is an obvious lack of independence on key committees such as audit Senior Independent Directors were elected at 17% of the companies, while 89% of Chairs are not independent The average total remuneration paid to the Board of Directors is RUR 69 million, with the difference between the maximum and minimum being 18 times Twenty-four percent of the companies disclosed information on individual payments made to their Directors. According to this, the average total remuneration is approximately RUR 9 million per annum for a Director, RUR 17 million for a Chair, and RUR 11 million for an Independent Director The comparison of 2020 findings with results of a similar study published in 2012 paints an interesting dynamic picture.
    [Show full text]
  • Preservation and Changes of Russian Culture from the Perspective of Film Language — Taking Attraction As an Example
    Preservation and Changes of Russian Culture from the Perspective of Film Language — Taking Attraction as an Example Wenhan Yang Heilongjiang University, Harbin 116085, Heilongjiang, China Email: [email protected] Abstract: The changes of Russian literature and film language, to some extent, mirror the historical process of changes of Russian culture. In the history of cultural development in several centuries, Russia has critically absorbed the achievements of Eastern and Western civilizations on the premise of preserving its own cultural background, thus forming a Russian civ- ilization with national characteristics. Taking Attraction as an example, this paper analyzes the preservation and changes of modern and contemporary Russian culture from the perspective of film language, so as to discover the changes of modern and contemporary Russian civilization. Keywords: film language, Russian culture, preservation and change, Attraction Introduction Attraction is a science fiction based love affair film directed by Fyodor Bondarchuk with the love track of the heroine Yulya as the clue, and it depicted various contradictions and tensions in social life as the earth was collapsing. In the film, there are few descriptions of battles and invasions, but love, kinship, friendship and other elements are vigorously rendered with relatively slow pace. The doomsday soft science fiction film Attraction gives a large proportion on the discussion of human nature, conveying the director and screenwriter's unique world view and cosmology, and conveying the anti-war spiritual core. 1. The preservation of Russian culture in the film language of Attraction 1.1 Preservation of love culture Love is the eternal theme of Russian films and world films.
    [Show full text]
  • Internet Freedom in Vladimir Putin's Russia: the Noose Tightens
    Internet freedom in Vladimir Putin’s Russia: The noose tightens By Natalie Duffy January 2015 Key Points The Russian government is currently waging a campaign to gain complete control over the country’s access to, and activity on, the Internet. Putin’s measures particularly threaten grassroots antigovernment efforts and even propose a “kill switch” that would allow the government to shut down the Internet in Russia during government-defined disasters, including large-scale civil protests. Putin’s campaign of oppression, censorship, regulation, and intimidation over online speech threatens the freedom of the Internet around the world. Despite a long history of censoring traditional media, the Russian government under President Vladimir Putin for many years adopted a relatively liberal, hands-off approach to online speech and the Russian Internet. That began to change in early 2012, after online news sources and social media played a central role in efforts to organize protests following the parliamentary elections in December 2011. In this paper, I will detail the steps taken by the Russian government over the past three years to limit free speech online, prohibit the free flow of data, and undermine freedom of expression and information—the foundational values of the Internet. The legislation discussed in this paper allows the government to place offending websites on a blacklist, shut down major anti-Kremlin news sites for erroneous violations, require the storage of user data and the monitoring of anonymous online money transfers, place limitations on 1 bloggers and scan the network for sites containing specific keywords, prohibit the dissemination of material deemed “extremist,” require all user information be stored on data servers within Russian borders, restrict the use of public Wi-Fi, and explore the possibility of a kill-switch mechanism that would allow the Russian government to temporarily shut off the Internet.
    [Show full text]
  • Download Thesis
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991.
    [Show full text]
  • Conference Program Registration of Participants. Welcome
    Conference program Registration of participants. Welcome coffee 08:00-09:15 Official opening ceremony. Plenary session “Cooperation Between Business and the State: Outcomes and Outlook” 09:15-11:00 Moderator: Veronika Strizhak 5 TV Channel Anchor Head of the analytical program Speakers Valery GOLUBEV Deputy Chairman of Gazprom's Management Committee Elena MIKHAILOVA Member of the Gazprom Management Committee, Head of Department Vladimir MARKOV Member of the Gazprom Management Committee, Head of Department Olga DERGUNOVA Deputy Minister of Economic Development of the Russian Federation – Head of the Federal Agency for State Property Management Vladimir AFONSKY Deputy Chairman of the State Duma's Property Committee Irina BABUK Chairwoman of Committee for Investment of St. Petersburg Government Alexey STRUCHKOV Permanent Representative of the Republic of Sakha (Yakutia) under President of the Russian Federation Vitaly TUSHINOV Deputy Governor of the Vologda region Elena DYUKAREVA Vice-President of the Leningrad Chamber of Commerce and Industry 11:00-11:45 Coffee break Plenary session “Land-and-Property Relations: New Frames of Reference” 11:45-13:00 Moderator: Alexey Kharlamov Director General, Non-Profit Partnership for Efficient Asset Management Corporate Owners’ Club Speakers: Elena Chuguevskaya, Head of the Department for strategic and spatial planning at the RF Ministry for Economical Development Pavel Potapov Deputy Director of RF Federal Agency for State-Property Management Alexander Puzikov Deputy General Director for
    [Show full text]
  • Filmography & Vita Judith Benedikt
    FILMOGRAPHY & VITA JUDITH BENEDIKT, AAC Lindengasse 49/1/8 1070 Wien Phone: 004369910895955 Mail: [email protected] „Judith Benedikt’s well-composed lensing is tops“, Variety „The images that flow before our eyes ... are almost like paintings, rigorously composed“ Cineuropa „Impressive camera work“ Stefan Grissemann, Profil „The perfectly composed images and the edgy controversion could be signed by Jacques Tati and Harun Farocki.“ CPH:DOX 1998 – 2007 studies at The University of Music and Performing Arts in Vienna, Department film and television: imaging technology and camera with Prof. Christian Berger and editing 2014/2015 photographer for illustrated book Unberührte Schönheit and Die Kuh – Eine Hommage Since 2003 camera women for documentary- and fiction film WORK EXPERIENCE ABROAD China, North Korea, Zimbabwe, USA, Ethiopia, Uganda, Ukraine, Japan, Thailand, Nepal, India, Indonesia, Brazil, Germany, France, Portugal, Spain, Italy, Poland, Slovenia, Belgium, Netherlands, Hungary, Bulgaria, Sweden FILMOGRAPHY CAMERA (SELECTION) Was eine Familie leistet (in progress), essay film Dir: Sybille Bauer, Cam: Judith Benedikt Keutschach (in progress), cinema-documentary Dir: Andrina Mračnikar, Cam: Judith Benedikt, Prod: Soleil Film Zusammenleben (in progress), cinema-documentary Dir: Thomas Fürhapter, Cam: Judith Benedikt, Prod: Mischief Film We Conduct (in progress), cinema-documentary Dir: Bernadette Wegenstein, Cam: Shana Hagan, Judith Benedikt, Prod: waystone productions Backstage Wiener Staatsoper (2019), cinema-documentary Dir: Stephanus
    [Show full text]