50 INDUSTRY — VISIONSRÉEL DU 5 0 TH INTERNATIONAL FILM FESTIVAL NYON 5 13 APRIL 2019

MAIN PARTNER MEDIA PARTNER INSTITUTIONAL PARTNERS

EDITION NO 50 SUMMARY 3 5 6 8 15 79 93 59 115 127 137 132 129 133 139 136 142 138 134 103

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SUMMARY SPECIAL THANKS & PARTNERS & THANKS SPECIAL INDEX PROJECTS’ IMMERSIVE & INTERACTIVE & IMMERSIVE LIBRARY MEDIA NETWORKING EVENTS SPECIAL INFORMATION & MAP TEAM INDUSTRY PITCHING DU RÉELPITCHING DU PROGRESS IN DOCS LAB ROUGHCUT PERSPECTIVES RTS: PRIX DOC D’UN SWITZERLANDMEETS... LAB SCENES OPENING ART & DOC TALKS INDUSTRY EDITORIAL BY DAY DAY AWARDS & JURY EDITORIAL 5

------er our deep our er f GUDULA MEINZOLT GUDULA INDUSTRY OF HEAD be the occasion for coproduction meet coproduction for occasion the be selected by the Festival’s programmers; Switzerland meets… Québec, which will with their with projectsand films. Welcomeedition17ththeVisions to of du Industry!Réel We wish you a pleasant and veryNyon. in pro stay ductive ingsbetween producers and institutions aiming to network; the Opening Scenes Lab, a programme made for 16 filmmak ers taking part in the OpeningCompetition, Scenes that allows betterthem acquainted to with theget market and makers. decision Several conferences, panels, debates,work sessions and case studies will take collab to thanks possible are and place partnershipsandorations organisa with tions and institutions we are very happy and proud to be working with: On & For Production and Distributiondocumentaryinteractive - workshopw id (Brussels), (SUPSI), ACE, EAVE and Eurodoc, among others.allthem,of o weTo gratitude. est wouldWe likespecially to thank our jury, as well as our new and awarding sup porting partners, for their commitmentand generosity. Many thanks as well to our tutors,filmmak the to speakers course, of all, of most and And moderators. ersand producers who areentrusting us

- - - - cial cial selection be to

f erentsections: Pitching Réel,du Docs f EMILIE BUJÈS EMILIE DIRECTOR ARTISTIC that professionalsthat attendingIndustry the may find attractive cinematicand, hopefully, pieces initiaterep projects’ the with partnerships and collaborations resentatives. Visions du Réel Industry is a pivotal platform for future films to find supporting structures in every stage of their development. In addition to these three programmes, Visions du Réel 2019 Industrya large includesnumber of activities,the Mediasuch as: Library,more than giving 400 finished access films carefully to asworld premieres), the Industry aims to bear witness of richness and strength of cinemaonlyreal,todaynotthebutfor of also in the years to come. We have selected 27 strong, provoca tive and diverse projects for our three di in and Progress Rough Cut All Lab. the projects will be presenteddevel of stage herecurrent their at time forfirst the opment. Our ambition is to compose a wide and rich spectrumapproaches, ofcountries andpractices, subjects, so This year, the Festival is celebrating 50thits edition. Fifty yearsVisions duringdu Réel which has taken and manydirections, has played an formsessen tial role in the festival landscape, inboth Switzerland and abroad.and celebratingRevisiting history on the Festivalside and an with o presented films 90 than less (no of proud EDITORIAL 6 DAY BY DAY CF CH FOR TF LC LAB CLM CAF ML OS SR2 SR1 page 133 APRIL MEDIA LIBRARY FR 5 DAY BY DAY 14:00 14:00 - 20:00

Capitole Salle Fellini Nyon de Château Forum Village du Réel The Factory Village du Réel Club Le Village du Réel Lab Mobilière) (la Industry Cafétéria la Mobilière Mobilière) (la Industry Café Mobilière) (la Industry Media Library Mobilière) (la Industry Open Space Mobilière) (la Industry Screening Room 2 Mobilière) (la Industry Screening Room 1 Mobilière) (la Industry BY INVITATION ONLY INVITATION BY OPEN TO THE PUBLIC I ML I APRIL page 136 page 134 93 page page 133 FILMSTIFTUNG CINÉFOROM / ZÜRCHER ROMANDIE LUNCH DOC D’UN RTS:PRIX PERSPECTIVES MEDIA LIBRARY SA SA 6 17:30 - 19:00 12:30 - 14:00 09:00 - 12:15 09:00 - 20:00 INDUSTRY ACCREDITED ONLY ALL ACCREDITED WELCOME I LC LC I I SR1 I I CAF I I ML I page 134 page 129 page 133 APRIL page 134 page 134 page 136 page 79 page 129 page 115 OPENING SCENES LAB INTRODUCTION TO ARF/FDS APERITIF DOCUMENTARY FILMS THE MEDIA LIBRARY NEW GENERATION DRINKS INTERRELIGIEUX HOSTED BY MAGIC HOUR SWANSIGNING PLEDGE ROUGH CUT LAB PRODUCTION FILM GENDER EQUALITY IN SWISS SU 7 16:00 -16:00 18:00 13:30 - 14:30 10:30 - 13:30 09:00 - 20:00 20:00 - 21:30 18:30 - 19:30 17:30 - 18:00 16:30 - 18:00 -16:00 17:30 FUTURE OF CREATIVE FUTURE JURY I CAF I I FOR I I TF I I FOR I I SR1 I I LAB I I FOR I I SR2 I I ML I PREP page 115 page 130 page 79 page 133 APRIL page 134 page 134 page 130 page 79 FESTIVAL STRATEGY LAB: SCENES OPENING CAST YOUR STORY ROUGH CUT LAB 1 MEDIA LIBRARY HEAD - GENEVA HOSTED BY MAGIC HOUR MEET THE FESTIVALS DIGITAL FILM PUBLISHING ROUGH CUT LAB 2 MO 8 10:00 - 11:30 10:00 - 11:30 10:00 - 13:30 09:00 - 20:00 18:30 - 19:30 -16:00 18:00 15:00 - 17:00 15:00 - 18:30 I TF I I LAB I SR1 I I SR1 I I SR2 I I SR2 I I OS I I ML I

DAY BY DAY 7

I ML I SR1 I SR2 I CAF I OS I SR1 CHILEDOC 14:00 - 16:45 - 14:00 18:30 - 17:00 09:00 - 17:00 - 09:00 12:30 - 09:00 11:0012:30 - 17:00 - 13:45 FR 12 FR DOC & ART ARTISTS’ WORK WORK ARTISTS’ ART & DOC SESSION INDUSTRY AWARDS& DRINKS CLOSING BY HOSTED MEDIA LIBRARY MEDIA RÉELDUPITCHING DOC& ART: AMI PROJECTS PRODUCTION RÉEL DUPITCHING ONE-ON-ONE page 15 page 127-128 page 135 page APRIL 133 page 15 page 127 page I ML I SR1 I TF I CH I SR1 19:30 - 21:30 - 19:30 09:00 - 20:00 - 09:00 17:30 - 09:00 18:30 - 17:45 19:30 - 18:30 TH 11 TH HOSTED BY HOSTED TV POLISH RÉEL DUPITCHING RECEPTION MEDIA LIBRARY MEDIA RÉELDUPITCHING COPRODUCTIONCASE EAVE, WITH STUDYACE, EURODOC HOUR MAGIC page 134 page 135 page APRIL 133 page 15 page 131 page

I ML I LC I OS I SR2 I SR2 I FOR I OS I FOR I CAF I TF AFROROUTES AFROROUTES I SR1 16:30 - 18:00 - 16:30 19:30 - 18:30 22:00 - 20:00 14:00 - 18:00 - 14:00 16:00 - 14:00 18:00 16:00- 10:00 - 16:00 - 10:00 12:30 - 10:30 11:3015:30 - 09:00 - 20:00 - 09:00 10:30 - 09:00 WE 10 WE CANADA PARTY CANADA NEW FORMS OF IMMERSIVE IMMERSIVE OF FORMS NEW NARRATIVES HOUR MAGIC BY HOSTED FREESTUDIOS INDUSTRY AWARDS& / QUÉBEC CELEBRATING PITCHING DU RÉEL PREPRÉEL DUPITCHING PROJECT: VR PROGRESS IN DOCS ONE-ON-ONE SWITZERLANDMEETS 3 & 2 PART QUÉBEC PROJECT: VR PROGRESS IN DOCS MEDIA LIBRARY MEDIA LAB: SCENES OPENING THE WITH BREAKFAST EXPERTS FILM SHORT page 135 page page 132 page 134 page page 15 page 132 page & ROUGH CUT LAB: 59/79 page page 103 page 132 page 59 page APRIL 133 page 115 page

4& I ML I OS I SR2 I CF I CAF I OS I SR2 I OS I SR1 I TF AFROROUTES

18:30 - 19:30 - 18:30 16:30 - 18:00 - 16:30 16:00 - 18:00 16:00- 14:30 - 19:00 - 14:30 11:0013:00 - 16:00 - 18:00 16:00- 14:30 - 16:00 - 14:30 09:30 - 13:00 - 09:30 09:00 - 10:30 - 09:00 09:00 - 20:00 - 09:00 TU 9 TU MAGIC HOUR HOUR MAGIC BY HOSTED SWISSFILMS MARKETING PROJECT ANDFILMPROJECT VR PROJECT: PROJECT: VR SWISSFILMS MARKET PREVIEW DEBRIEFING ROUGH CUT LAB CUT ROUGH MEET THE DISTRIBUTORS THE MEET SWITZERLAND MEETS... 1 PART QUÉBEC ROUGH CUT LAB 3 LAB CUT ROUGH PRODUCERS OPENING SCENES LAB: SCENES OPENING THE WITH BREAKFAST MEDIA LIBRARY MEDIA APRIL page 134 page page 131 page page 132 page page 136 page page 79 page page 134 page page 103 page page 79 page page 115 page page 133 page 8 JURY & AWARDS AWARDS PITCHING DU RÉEL DU PITCHING DOCS IN PROGRESS Corner) (Doc Chevit Pierre-Alexis by Awarded pate in the Doc Corner to partici Film, du Marché the for tions awarded project receive two accredita the of producer and filmmaker The fees tuition covered participation workshop’s Script PROJECT AWARDDEVELOPMENT MFI SCRIPT2FILM WORKSHOPS di for files the of creation and grading Colour POSTPRODUCTION AWARD GENEVA – HEAD Acquisition of international rights DISTRIBUTION AWARD INTERNATIONAL FILM & DOC FESTIVAL DE CANNES AWARD - FILM DU MARCHÉ CORNER, DOC curation curation media social and marketing Digital DIGITAL MARKETING AWARD ASTERISK* f usion

- - Documentary Festival) (Thessaloniki Sarri Yanna by Awarded AGORA to access and winner the of 2020 TDF to accomodation and Accreditation FESTIVAL AWARD DOCUMENTARY THESSALONIKI Leipzig) (Dok O’Shea Brigid by Awarded access to DOK CO-PRO MARKET and project awarded the of producer and filmmaker the for 2020 Leipzig DOK to accomodation and Accreditation AWARD DEVELOPMENT TALENT LEIPZIG DOK Creation Creation of a DCP package DCP DELIVERY PACKAGE AWARD FREESTUDIOS JURY & AWARDS 9 CHRISTOPH TERHECHTE CHRISTOPH DIRECTOR ARTISTIC FILM INTERNATIONAL MARRAKECH FESTIVAL MOROCCO

DIRECTOR SWITZERLAND / CANADA PETER METTLER PETER

JURY: PITCHING DU RÉEL RÉEL DU PITCHING JURY: FRANCE DANIELAELSTNER CEO FILM & DOC JURY RÉEL DU PITCHING SPECIAL SUNDANCE INSTITUTE SUNDANCE USA BRUNI BURRES BRUNI PRODUCER /SENIOR CONSULTANT & DOCS IN PROGRESSINDOCS & 10 JURY & AWARDS JURY: VISIONS SUD EST SWITZERLAND FILMS DE FRIBOURG FESTIVAL DE INTERNATIONAL DIRECTOR THIERRY JOBIN AWARDS ROUGH CUTROUGH LAB DOCS IN PROGRESS PITCHING DU RÉEL DU PITCHING SWITZERLAND FESTIVAL FILM LOCARNO PROGRAMMER JULIAN ROSS the Caribbean the Middle East, Asia, Latin America or Africa, in country a from project Best 10’000 CHF VISIONS VISIONS SUD EST AWARD SWITZERLAND TRIGON-FILM PUBLIC RELATIONS, VOD MERET RUGGLE JURY & AWARDS 11 RAGGIOVERDE SUBTITLING AWARD SUBTITLING RAGGIOVERDE language one in creation Subtitle EDITOR FRANCE ISABELLE INGOLD ISABELLE

ROUGH CUT LAB ROUGHCUT

AWARD JURY: ROUGH CUT LAB CUT ROUGH JURY: GION-RETO KILLIAS GION-RETO EDITOR SWITZERLAND 12 JURY & AWARDS OPENING OPENING SCENES AWARDS OPENING SCENES Awarded by Eva Pervolovici Eva by Awarded film residency in Slon (Romania) creative to a invitation Residency, Slon META CULTURAL FOUNDATION AWARD Houten Ten Laurien & Nyrabia Orwa by Awarded included) dation and training activities (travel & accomo Industry IDFA the within program made tailor a in to participate edition next to IDFA’s invited be will section Scenes Opening the of directors film the of One IDFA TALENT AWARD - Mandereau & Eva Tourrent Alizée Barbe, Jean-Marie by Awarded residency editing and film one for rights broadcasting of Purchase AWARDTËNK JURY & AWARDS 13 PHILIPPA DE ROTEN DE PHILIPPA MUSICAL CULTURAL, OF HEAD PROGRAMS ENTERTAINMENT AND RTS SWITZERLAND HEAD OF DOCUMENTARY DOCUMENTARY OF HEAD COPRODUCTIONS RTBF BELGIUM ISABELLE CHRISTIAENS ISABELLE PRIX RTS PRIX 10’000CHF project film feature Best GASPARDLAMUNIÈRE COMMISSIONINGPRODUCER / EDITOR RTS SWITZERLAND

PRIXPERSPECTIVES RTS: D’UN DOC FILM CRITIC / JOURNALISTCRITIC / FILM TEMPS LE SWITZERLAND ANTOINE DUPLAN ANTOINE AWARD

D’UN DOC D’UN JURY: PRIX PERSPECTIVES PERSPECTIVES PRIX JURY: RTS SWITZERLAND STEVEN ARTELS STEVEN DOCUMENTARY THE OF HEAD UNIT

PITCHING DU RÉEL

THE PITCHING DU RÉEL IS VISIONS DU RÉEL’S INTERNATIONAL COPRODUCTION FORUM FOR CREATIVE DOCUMENTARIES INTENDED FOR THEATRICAL DISTRIBUTION AND TV BROADCASTING. IT OFFERS PARTICIPANTS THE OPPORTUNITY TO DISCUSS THE CONTENT AND FORM OF THEIR PROJECT AND TO FIND OUT WHICH CONTEXTS AND MARKETS MIGHT BE THE MOST RELEVANT FOR IT. IT ENCOURAGES INTERNATIONAL COPRODUCTIONS AND HELPS THE FUNDING OF OUTSTANDING FILM PROJECTS ADDRESSING AN INTERNATIONAL AUDIENCE.

BY INVITATION ONLY

ABOUT PITCHING DU RÉEL 17 PITCHING DU RÉEL SCHEDULE 18 MODERATORS 20 A THOUSAND FIRES 22 DREAMERS 24 EPIC OF A STONE 26 FOUR JOURNEYS 28 MERIL 30 NATIONAL PRIDE 32 OSTROV - THE ISLAND 34 PORNOMELANCHOLIA 36 REALM OF SATAN 38 SEGOVIA 40 THE FLAME 42 THE FLATS (ONCE WE WERE TERRORISTS) 44 THE MOTHER OF ALL LIES 46 TO SAIL CLOSE TO THE WIND 48 WHITEWASH 50 EXPERTS 52

PITCHING DU RÉEL 17 ------er (new) exciting awards: f project in project find order to out which con teamsandforcreating fertilea dynamic for the filmmakers. veryaremuch looking We thisforward to newedition ofPitching du Réel and wish you the most productive and pleasantpossible! days ticipate in their scriptwriting workshop, the Thessaloniki Documentary Festival Award and theDevelopment Award that both invite the Dok Leipzigwinners to further Talent expand their existing network, the Marché du Film - deFestival Cannes Award for which the winner receives two accreditations for the Doc theCannes.Corner frominteams Project globalSouth and East will be eligible for the Visions sud est Award. We are also pleased to announce that ACE Producers’ Director andStudies HeadJacobine of Van der Vloed,– EAVEEuropean Audiovisual Entrepreneurs’Head of Studies Lise Lense-Møller, and EURODOC’s Head ofBonsanti, Program will be scouting Maria for upcomingnew talentsand at this year’s Pitching du Réel. Finally, Alessandrawho is Speciale,in charge Venice Productionof Bridge,the will Finalalso take Cuta lookat at the projectsAfrican countries. from Arab and We wish to thank and ourmoderators for preparingwonderful the pitch jury textsand markets may be the most suit able for their project. smart the makers, decision 60 over With est producers, distributors, consultants, TV commissioning editors and institutionfunding and festival representativestohear their pitch and discuss their pro jects,hopewe provide to the filmmakers opportunityantheir withprojects take to a step further, withouttheir vision. compromising We are happy to continue our collab oration with very and Award, HEAD post-production HEAD–Geneva for o pleased to the the Doc & Film International Distribution Award, the INSTITUTE MEDITERRANEAN (MFI) ProjectthatAwardallowsproject par a team to Development FILM

------f By the Name

(PdR 2013), the Italianthe 2013), (PdR Flesh Out Flesh er. Much like the Festival’s o Festival’s the Much like er. f , directed by Bénédicte Liénard political political and social and relationships conflicts in a globalized world. We have selected 15 outstanding pro jects from Africa, Asia,North Latin AmerciaAmerica, and unique 3-step structure Europe.presentation, With our we wish to encourageof the ideas,exchange international and financing cooperations. During a partnerships10-minute pitch, the teams present their project. They then join conversationsin round-table and individual meetings to discuss the content and form of their has to o to has cial selection, Pitching du Réel’s pro jects provide reali personal past and of present descriptions and singularties through their formal and aestheticchoices in a committed and film sometimes selected year’s This way. humorous and incor genres appropriate makers porate a variety of stylistic approaches traditionalsuchas narrative,experimen tal or non-narrative, personal investigation, filmic dialogues or observation. Within a broad range of subjects, these unique projects are about personal, andproduced Vivoby Film wasselected in Berlinale Panorama inother 2019.end of theOn spectrum,the the Belgian in 2017 presented project of Tania andMary Jiménez andproduced Clinby d’Oeil Films was selected 2019. in Generation at Berlinale We stick to director driven projects: our 2019 selection once talentagain and ambitionshows of thefilmmakers and as well producers, as the and diversity broad horizons that cinema of the real du du Réel and 15 years of its coproduc tion forum, Pitching du Réel,acknowledged the mostpart of Visions Industrydu andRéel a real success story. About 80% of the projectsbeenfinished or arestill in production. presentedIn have Nyon,foundtheycoproduction partners, financing and distribution. The directors and producers built sustainable pro fessional relationships and began or continued their way and career on theinternational arena. Sometimes ittaketime: may project directed by Michela Occhipinti 2019 means 50 festival years of Visions ABOUT 18 PITCHING DU RÉEL SCHEDULE WEDNESDAY APRIL 10 THURSDAY 11 APRIL 08:30 - 09:00 09:00 - 09:15 14:00 - 18:00 14:00 18:00 - 19:00 14:00 - 15:00 14:00 13:00 - 14:00 - 13:00 10:30 - 12:45 10:30 - 11:30 10:15 - 10:30 09:15 - 10:15 - Pornomelancholia Pride - National - The Flame - The Flats Wind To The Close To - Sail - Pornomelancholia Pride - National - The Flame We Were Terrorists) (Once - The Flats To- To Close The Wind Sail Introduction of the Moderators & Industry Team Meinzolt & Gudula Bujès Emilie morning) Thursday on pitching projects for (only moderators) and members team pitch for (only - Whitewash - Meril - Ostrov -The Island AStone Of - Epic - Segovia afternoon) Thursday on pitching projects for (only SCREENING ROOM SCREENING 1 PITCH OF 5 PROJECTS CAFÉTÉRIA (LA MOBILIÈRE) LUNCH ROOM SCREENING 1 FOR PITCHCHECK TEAMS TECHNICAL ROOM SCREENING 2 & LAB ROUNDTABLE DISCUSSIONS CAFÉ BREAK COFFEE ROOM SCREENING 1 PITCH OF 5 PROJECTS ROOM SCREENING 1 WELCOME BY CAFÉ CROISSANTS AND COFFEE ROOM SCREENING 1 FOR PITCHCHECK TEAMS TECHNICAL ROOM SCREENING 2 & LAB PITCH PREPARATION by Victoria Verseau Verseau Victoria by by Diana María Escobar Bustamante Bustamante Escobar María Diana by

by Arfan Sabran Sabran Arfan by by Ahmet Necdet Cupur Cupur Necdet Ahmet by by Sven Augustijnen Augustijnen Sven by by Sean Wang Wang Sean by by Manuel Abramovich Abramovich Manuel by by Svetlana Rodina, Laurent Stoop Laurent Rodina, by Svetlana & Technical Check &Technical (10 minutes each) minutes (10 each) minutes (10 by Gregoris Rentis by Gregoris by Alessandra Celesia by Alessandra PITCHING DU RÉEL 19 (booked on site) by Asmae El Moudir

(10 minutes each)

by Saeed Taji Farouky by Scott Cummings

by Louis Hothothot

by Stephanie Barbey, Luc Peter

ChileDoc

BREAK

OPEN SPACE OPEN DRINKS CLOSING & AWARDS INDUSTRY CAFÉ PITCH OF 5 PROJECTS 5 OF PITCH DISCUSSIONS ROUNDTABLE LUNCH MOBILIÈRE)(LA CAFÉTÉRIA MEETINGS ONE–ON–ONE CAFÉ DISCUSSIONS ROUNDTABLE TECHNICALTEAMS CHECKPITCH FOR 1 SCREENINGROOM RÉELRECEPTION DU PITCHING All projects All by hosted - Four Journeys - Dreamers - The Mother Of All Lies - Realm Of Satan - A Thousand Fires SCREENINGROOM1 COFFEE CAFÉ - Four Journeys - Dreamers - The Mother Of All Lies - Realm Of Satan - A Thousand Fires LAB & SCREENING ROOM2 COFFEE BREAK - Segovia - Epic Of A Stone Island - The - Ostrov - Meril - Whitewash LAB & SCREENING ROOM2 (only for projects pitching on Friday morning) NYON DE CHÂTEAU 15:15 - 16:15 - 15:15 15:15 - 17:30 - 15:15 10:15 - 12:30 - 10:15 15:00 - 15:15 - 15:00 12:3013:45 - 13:45 - 17:00 10:00 - 10:15 - 10:00 19:30 - 21:30 - 19:30 17:00 - 18:30 - 17:00 09:00 - 10:00 - 09:00 FRIDAY 12APRIL FRIDAY 20 PITCHING DU RÉEL [email protected] [email protected] [email protected] GITTE HANSEN FRANCESCO GIAI VIA VIOLETA BAVA MODERATORS

distributor in Switzerland and a producer a and producer in Switzerland distributor every a agent, theatrical sales in an international is Films Hand story First everywhere. every medium for Distribution tailor-made and Production Dedicated Production Venice the of Collaborator and Venezia di Internazionale Cinematografica Mostra d’Arte the of sultant based Torino, critic inItaly. con He’s programming film and programmer tor, direc festival a is Via Giai Francesco Surge DomingaSotomayor (2018); following films: the recent others, among catalogue includes, Cine Ruda The films. driven in based company BuenosAires and dedicated to author- production film a Cine, Ruda at producer and Founder VISIONS VISIONS DU RÉEL - INDUSTRY ADVISOR ITALY VENICE FILM FESTIVAL WWW.VISIONSDUREEL.CH ARGENTINA WWW.FIRSTHANDFILMS.COM SWITZERLAND FIRST HAND FILMS , by Eduardo Williams (2016); Williams Eduardo by , Too Late to Die Young Die to Late Too The Human Human The , by by , The The - - Studies at Torino Film Lab. Lab. Film Torino at of Studies Head FeatureLab Macao. Awards & Program Festival Film Bridge. International at Consultant Production and Venice Festival Film International Venice at Consultant Program (2015). Rejtman and (2016) Idea of a Lake and A Thousand Girls Like Me. The - Imam Reformist A Survivors, Female line new our in include up Titles Zürich. in based trainer, trainer, reader, of and member the selec scout, a as TorinoFilmLab with works he and 2015 Since (France) (Italy). Festival of Film Carbonia Italien director Cinéma festival the Annecy is He Bridge. tion committee. committee. tion Dreams from the Outback, Outback, the from Dreams w So Fired Shot Two by Milagros Mumenthaler Mumenthaler Milagros by by Martin Martin by - PITCHING DU RÉEL 21 - - Binger Filmlab in Amsterdam for 12 years. 12 for Amsterdam in Filmlab Binger Among many films recent successesand from Marten’sproductions, venture in India include the acclaimed filmLunchbox, The the Indian Oscar submission TheGoodRoad and Cannes-Un Certain Regard film Titli. Rabarts is a member of the advisory board Kathmandu. Clinik and Lab DOX CPH: of TorinoFilmLab, important platform for directors to pres to directors for platform important She has also workedHolland Film Meeting asattheNetherlands head of the Film Festival, Head of Industry at Les and estab Festival, Film European Arcs ent their films to a public audiencethe firstfor time and the internationalindustry film comes togetherpromote develop,Industry to Programme at the DOK and distribute new films and Leipzig interactive DOK of edition 62nd The projects. will take place on 28th October2019. November to 3rd lishedthe Paris Co-production Village in 2014. As a programmer, she has worked for Sarajevo Film Festival, Paris-basedCinéma du Réel and CPH:DOX,she was also Headwhere of Studies within the CPH:LAB. workshop production ------EYE INTERNATIONAL EYE NETHERLANDS WWW.INTERNATIONAL.EYEFILM.NL DOK LEIPZIG DOK GERMANY WWW.DOK-LEIPZIG.DE UK WWW.MUBI.COM MUBI ing documentary andfestivals, uniquelyanimated combining these filmtwo genres in a festival historymore that thanspans 60 years. the end of TakingOctober each year, the fes place at tival attracts over 47,000 sharesvisitors more than 300 films andfrom around the globe. DOK Leipzig has become an headed Talks & Masterclasses section. lead world’s the one is of DOK LEIPZIG Vanja Kaludjercic works at SVOD formplat MUBI as Director ser streaming global curated a of is MUBI Acquisitions. specialis distributor theatrical and vice releasingingin visionary cinema. are We acquiring all-rights in the UK and US, as well as global online exclusives and dis tinctivelibraries. Beforejoining MUBI, she worked for the IFF Rotterdam where she Development Corporation) in Mumbai,India, in 2012; he was Artistic Director of Marten RabartsInternational. Eye International isdivision of Eye Film Museum Netherlands Head is the tasked with the ofworldwide promotion of Eye Dutch Films and Film culture. Previously, appointedDevelopmentwas heHeadof & Training of the NFDC (National Film

MODERATORS MARTEN RABARTS MARTEN BRIGID O’SHEA BRIGID VANJAKALUDJERCIC [email protected] [email protected] [email protected] 22 PITCHING DU RÉEL chance to escape the cycle of poverty. poverty. of cycle the escape to chance a and future better a him give to thing any do will they and school, to went never couple The school. through Aung Ko Zin son youngest their put to son: rea one for dig They karma. good with rewarded be will they so people honest they try their best toBuddhists, be good, devoutAs oil. andsweat mud, inered every spend Tin daydigging by hand; their bodies cov Twe wife his and He of Shwe. One Thein 55-year-old is miners these industry. itinerant and gerous dan illegal, an creating and covery, drivenoflatestthebyrumoursthe dis fields, new to flock miners of Thousands tools. manual and engine diesel a only almost found by of hundreds hand, meters deep, using dug wells Oil world. industry the in else nowhere an is there Myanmar, central province, Magway In one of the founders of OPEC. devil’s the is Alfonso, Perez Pablo it Juan - excrement” ruin... us bring will ‘‘Oil transformation, about film a is clashes. It generational soul. and and reincarnation, body the on leaves it marks the and Fires Thousand A REPRESENTATIVES IN NYON SYNOPSIS LOGLINE A THOUSAND FIRES [email protected] +44 79 6 307 92 03 writer Director, SAEED SAEED TAJI FAROUKY FRANCE, PALESTINE FRANCE, | 2020 | 90’ | BURMESE SAEED SAEED TAJI FAROUKY is a story about the human scale of the oil industry in Myanmar, Myanmar, in industry oil the of scale human the about story a is [email protected] 08 65 665 68 +33 Balibari du Films Les Producer ESTELLE ROBIN YOU - - - - -

tion potential and impact of the story. the of impact and potential tion coproduc explore Further sales). world international broadcasters, (funds, with partners financing discuss and Meet retirement. and age old into them support to able be actually might son Their a dream. just than more parents it’s realise his teams, youth professional Yangoon’s of one in selected is Ko Aung Zin when But dream. unrealistic an just is football professional playing of plan throughhisthinkTheyhimschool.put to do they work hard the all appreciate doesn’t he that hurt are and education, an at chance his squandering he’s that His by parents despair, heartbroken the fact that. like and looks TV, that on future a wants X-Factor the and videos music watches He life. prosperous fun and open, an of dream the - Myanmar by a new sold being one the is wants he future The player. football professional a be to wants He hard. working and ing But Zin Ko Aung isn’t interested in study- GOALS AT PITCHING DU RÉEL - 280’604 Balibari du Les Films Funding, Slate Europe Creative Monde, du Cinémas au Aide Alpes, Rhône Région Procirep, Loire, la de Pays Région CNC, 181’051 461’655 October 2020 Estelle Robin You, May Odeh Odeh Films (Palestine) (France), Balibari du Films Les 90’ HD - 2018 2020, months 18 Burmese Myanmar 4th (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 39 % 39 - € - 61% - PITCHING DU RÉEL 23 ------is an award-win an is PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S pany was nominated for the Procirep French TV producer award. Les Films du Balibari du Films Les Les Films du Balibari is apany withFrench solid roots in its home base, com and strong networks internationally.Two femalepro Nantes, in You producers Robin Estelle helm, are at ducer the and MD since 2005, and Clara Vuillermoz in Lyon since 2015. HavingFrancebroadcastersinTV with worked télévisions,France as suchabroad and also have we ORF, RTBF, YLE, ZDF, ARTE, ensured that our films travel to major festivals such as IDFA,Visions HOT DOCS, du Réel,Current or recent productions Cinéma include du Libres! Réel. (Arno (Maxime Bitschy),Faure), Zinder (Aïcha Macky) Debouttesand coproductions such Girlsas (TheresaOuaga Traore Dahlberg)Dolphin and Man (Lefteris Charitos). Estelle is an Ex ORIENTE and EAVE Producers Network alumni. Clara is a EURODOC graduate. 2014 com the 2019 and 2018 2017, 2010, In Saeed Taji Farouky Taji Saeed about film on focusing filmmaker ning human rights and colonialism for over ten years. In 2011, hea Senior wasTED Fellowship for hisawarded doc umentary work, and was namedpreviously Artist-In-ResidenceBritish Museum atand Tate theBritain. SpringTell Not to Comemost recent cinematic documen This Year, histary, premiered at the 2015 Berlinalewhere it was award Film awarded Rights Human the International Amnesty and the Panorama Audience Choice Award. His childhood in Bahrain andSaudi Arabia sparked his ainterest film aboutin the human scale oilof theindustry, the inspiration behindThousand Fires. A Tell Spring Not To (2015, Berlinale,Come IDFA Best ThisOf Fests) Year There Will Be Some Who Will Not Fear Even That Void (2013, Winner Trömse) The Runner (2013, IDFA Best Of Fests & Winner Trömse) ------) as script MAKALA from Creative Europe (slateRegionalFunds, CNC Aide funding),aux Cinémas du Monde, and our co-producers, and EAVE accomplices, willfor Arabbe andsearching ScandinavianDFI...). AFAC, SFI, (SVT, opportunities financing consultant. More than half remainsof to be shot.the film We have received financial support ent Emmanuel Gras ( Emmanuel ent Gras snaking their way through snaking the country their through way side,like adragon’s tail. The film’s audio will emphasise these organicdigestion, sounds: the rumbling creature. ofgiant a of agrowl belly, the although cir Thein Shwe’s Ultimately, cumstances are unique, I want audi encesrelate to simply his to desires and motivations.Likeany us,of he issinglea person at the mercy of structures much economics, pol fate, him: than greater andluck.itics ons: plumes of fire and smoke. Pipelines Six research trips wherehave taken place, Saeed amounts of filmed material,by our accompanied substantial invaluable Joshua (reporter assistant of Burma reporting VJ: directorfrom a closed country). We have taken tal French Cannes-awarded on board reincarnation. I am inspired by PabloAlfonzo,founderstheonePérezof a quote from Juanof OPEC: “Oil will bring us ruin...It devil’sis the excrement.” I begin to the earth asimagine a living beast. I see this beast as a dragon, another of thefilm’smotifs.dragon Therea shrineis near the oil fields, and locals worship sourcethe believing isdragonthere, the figurativedragmanysee We theiroil. of digs it out of the machines,machinesthoseground,withand digs powers his moreforoil. Hismoneycycle: asells he is oil, gives money to supportshrines, then praysBuddhist at those shrines for more oil and more money. Above all, he is concerned with life-cycles. He wants to be good in this life to ensure a better ------Tell ). views this is a feature-length A Thousand Fires PRODUCERS’ NOTE PRODUCERS’ DIRECTOR’S NOTE DIRECTOR’S our hearts. our mental, social, economic and political aspects. conversation throughfamily thethat has eyes become of very a close to The future of big oil is conversation, a touching major on global environ This is our second collaboration. Saeed brings poetry and a beautifully crafted visual style, tellto very harsh yet human stories. Saeed and I developed the project at the EAVE Producers Workshop 2016. A Thousand Fires audi Berlinale Panorama from project ence winner Saeed Taji Farouky ( 2015 Year, This Come To Not Spring I see Thein Shwe’s cycles.life He strugglesas a daily seriesto break the cycleof of poverty. His oil is a cycle: he education, and a better life. It’s about his dreams and fears, all seen throughreincarnation. of philosophy his Theoilindustry entrymyis point, butthe film is about Thein Shwe and his family. It’s about the love for his son that sees hisfather struggling daily give to him an try as a vast, inhuman machine, ShweThein has his handspre the of deeptraces for fingers inhis smelling the mud, ciousresources, living amongst wells.his der of oil, surviving crumbson the discarded of the While most commercialpeople imagine the indus industry. Myanmar, where I met toughThein manShwe, with a calloused handsa warmand smile. He remindedHefather. isthe lowest rung on the lad me of my My research brought me to Dahat Pin, a historical oil region in the centre of them. It is practically unavoidable. The story of this film begins with my to desireget beyond the industry and underoil. of humanscale the stand of nearly everything in our lives. It cre brings unimagina It anddestroys. ates ble wealth to countries, and decimates As a child,aAs Bahrainin andSaudi Arabia, I epicenterthegiant,atthe was globalof oiltrade. This behemoth is at the centre 24 PITCHING DU RÉEL immunity, a chance to be educated like were given they As minors, shadows. the in life a to condemned are they age, of come they day the However, US. the in up grown have Carlos, like who, people young 2 million around are there US, the in Today, Mexico. leave to decided ents par hisofafternine, age the since up grown has he where is It brothers. three his with years 20 over for US the in living been has Carlos confides. of he one own”, as its me of think doesn’t my country country, my America consider and American an as myself of think I though “Even he knows he lose could everything. as indicator, as a trivial faulty something for over pulled is he If life this. on his depends concentrated, is he frowns, He routine. a of part is This automatic. and precise are movements His indicators. breaks, tires, state of car. his Headlights, the checking is carefully a ing torchlight, hold handsome,tall thirties,andhis in of man A city snow. in young is covered ground the the 5am, of It’s USA. Illinois, in suburb Chicago a Island, Blue mented. The American Dream turns into a nightmare. day The family. he turns 18, Mexican his futurehis becomeswith uncertain: Chicago in thein eyes of theillegally law he isarrives now undocu 9,Carlos of age the At LOGLINE REPRESENTATIVES IN NYON SYNOPSIS DREAMERS stephanie@intermezzofilms.ch +41 79 324 58 08 Intermezzo Films screenwriter and Director STEPHANIE BARBEY SWITZERLAND | SWITZERLAND 2020 | 80’ | SPANISH ENGLISH, STÉPHANIE STÉPHANIE BARBEY, LUC PETER

luc@intermezzofilms.ch +41 76 26 438 30 Intermezzo Films Director and producer LUC PETER - -

presidency is turning intoTrump’s a nightmare. under which Dream, the American embody they because Dreamers, called are people young These in. foot origin, of which they have country perhaps never even set life, their of from way away far American have the and embraced American feel down deep who Youngsters jobs. badly-paid odd, the with by get fear they in deported, being of and shame in Living attention. medical emergency receive or drive to study, to don’t legally, work to they right the have that discover their be they should oyster, world the an At where down. age upside turned is 18, life turn their they exempt as But deportation. American, from young other any the distribution of the film. film. the of distribution the widen and target financing our meet to us enable would This film. the distribute and/or to and ners pre-buy co-produce try, we want topart European convince By participating in Visions du Réel indus GOALS AT PITCHING DU RÉEL - - - ©Jon Lowenstein 228’250 Intermezzo soutien deFonds Suissimage, culturel, Fonds complémentaire, Cinéforom sélectif, Cinéforom PICS, OFC sélectif, OFC 426’997 655’247 July 2020 Luc Peter Intermezzo Films (Switzerland) 80’ HD Oct 2019-April 2020, 6 weeks Spanish English, USA (Chicago, Ilinois), Mexico 2nd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 65 % 65 - - 35 % 35 - PITCHING DU RÉEL 25 ------has an MA from is a documentary filmmaker PRODUCER’S PROFILE PRODUCER’S DIRECTORS’ PROFILE DIRECTORS’ Award Best Film) RokhsarehSonitaby Ghaem Maghami (2016 SundanceDocumentary) WorldBroken Land by Stéphanie Cinema Barbey Luc& Peter (IFFR, Locarno, Guadalajara) Bloody DaughterArgerich (2013 FIPA) by Stephanie 2004 La Ribot Distinguida 2004La Films Intermezzo 1993 in founded was Films Intermezzo to produce feature and documentary films in a and of spirit freedom artis tic standards, to foster innovative and com is company The movies. creative mitted to be an independentproduces. it films the to close entity, With over 50films, Intermezzo Films isFrench-leading theSwiss of one today speakingcoproduc international with Designed production tionsalongside France company. orGermany, as well as an established European tele vision network (RTS, SSR, ARTE, France 2, France 3, WDR). Before Summer Goormaghtigh Ends by2018) (2017 Awards Films Swiss Showcase, Maryam Cannes ACID Sarah Plays A Werewolf by KatarinaWyss (Venice 2017 Critics’ Week, New Berlin Film Award 2018, Golden Taiga Stéphanie Barbey the London School of Economics and Political Sciences. She studied doc umentary film at Ateliers Varan, Paris. associate anbeen hasSince2006, she at Intermezzo Films. development) (in Traces 2018 and (research Greener Grass The 2018 collaboration on Peter Mettler’s new film) Land Broken 2014 Magic Radio 2007 Peter Luc and line producerFilms since 2000. He studied Political at Science Intermezzo at the University of Geneva,then attended school. the An assistant director Lausanneon many feature film films during the 90’s (Krzysztof Kieslovski, Christine Pascal, Jean-Luc doc many he directed has Godard), pro executive He also is umentaries. films. 30 over of 2000 since ducer Land Broken 2014 Magic Radio 2007 ------ers users f (Hungary, 2015) which total budget. We have € ers us the “outdoor setting” which represents 65 % of f € (20% of the budget)theorder of to in(20% € Son Son of Saul duction company that has been active yearsSwitzerland.lasttheinfor25 hasIt produced more than 50 cinemadocumentariesfilms, fictions,andwith mostly a focus on social, political and artisticvalues. Our editorial line defendsmade around filmsthe world withbold a and view. of point artistic of imagination. The film will be shot in sen the strengthen to white and black shadows.thein Blacklife anda sation of white reflects something that feelwe andsee, guess of the world. It enablestimelessfocusa on to us aesthetic unity. Whether night or day, summer or win ter, yesterday or today, under the pres idencyTrumporObama,of thedaily life of the people in the shadows does not change. nity. If it o nity. with its suburbs, snowstorms, highwayso house modest Carlos’ lake, and placea film“the to intimate world theof family”.“refugeisIta home” countryina that seems to reject him and his family. In order for the viewer to identifyCarlos, thewith camera will often be to hisclose face, his hands, his back. It will be calm and steady. We have in mind the film sticks to his character and makesviewer discoverthe the context around him sense our activates which way blurry a in ily takes place in the city of Chicago, a sanctuary city that applytries to a tol undocumentedpolicytheerant towards violence, of ground the remains which but racismandinequalities amongmost the importantofthe nation. Chicago is alsocommu Latino largest third the to home Intermezzo Films is an independent pro independent an is Films Intermezzo second camera along with the director of photography. The editing process is donetogether withan editor achieve to our artistic aims. Today, we have raised 425’000 the 655’000 received Swiss federalfunds and (OFC,regional Cineforom, and we are looking for Suissimage) a coproduction with the Swiss TV - RTS. Our goal is to getaEuropean coproduction for about 130’000 complete our financing plan and to get a larger audience in Europe. age. The daily life of Carlos and his fam his and Carlos of life daily The age.

. - - - - - Dreamers Magic Radio Magic Broken Land Broken in 2014. Both raises questions on culties. f Broken Land Broken Dreamers DIRECTORS’ NOTE DIRECTORS’ PRODUCERS’ NOTE PRODUCERS’ team, sharing all the important sions.deci But Stéphanie is usually leadingthe interviews and Luc is filming with a projects together, Stéphanie is projects together, dedi the to screenplay cated and Luc works on the production and financial parts.During the shooting, we work as a close films had RTS and Arteand were coproductionselected by A and B festivals. While researching and conceiving our erates a strong atmosphere. atmosphere. a strong erates is the third filmafter directedPeter, Luc and by Barbey Stéphanie in 2007 and level through a tensecin and a black-and-white narrative and emotional ematographic approach which gen the film immigration today. Starting from a very personal and intimate addressesstory, theissues filmof a more universal Throughthe intimate story familyofa of undocumented immigrants in Chicago, approach,discussions betweenandhim othermembers hisoffamily andentour- perception, and his reality.interpretation Carlos is our of main narratorwe butwill also solicit, in a documentary entourage, his three brothersmother, andare the hissecondary characters. The story of Carlos structuresand it theis narratedfilm through his voice, his He is a daily hero who di the all never despite gives up Carlos is our main character and his is something about him that touches us deeply: a combination of courage and resignationthatmakeshimverymoving. The The power of cinema is not in expla nation and numbers, but in feeling and empathy. Carlos has something unique Theretime.emblematicsame andthe at we believe we can measure the extent of of extent measurethe can we believe we immigrationthe tragedydisplayand the hypocrisy of the existing legal system. tell the story of Carlos and his family. Carlos embodies migrants, the but by putting fate a name of facetakingandtelloneby timestory, on to a many DACA program and his “zero tolerance policy” for those who cross the borderillegally that convinced us to urgently We met Carlos many years film, latest agoour for scouting while the of abolition Trump’s Donald is it But 26 PITCHING DU RÉEL go abroad, middle-class couples who who couples middle-class abroad, go never workers but souvenirs Chinese foreign make who crisis, financial during mine the marble Greek traditional the bought who businessman Chinese proud the as such and background, cultural classes social different resenting we rep capture characteristicspeople of chain”, “food economic global the sold Along be tourists. to Chinese the to eventually and capital commodities, world small as of known city Chinese theYiwu,tomerchants Greekcoming by Greece to back brought be will ucts prod these Mostly civilization. European symbolizeGreek/ and copythat ucts prod commercial into made and China to shipped is stone the Greece, in mined After stone. marble white a journey of Odyssey the follows story Our intensifies. tension US-China the when and buyer” “world has the China become rapidly when era new film the our reveals factory”, “world the as demonstrate China that films from Different twists at di and details meaningful through of “Chinanism”, depict to phenomenon attempts global film The underlying the journey Odyssey industrialization. its globalized of re-embarks chain” “food Greece the in along mined stone marble white of piece A REPRESENTATIVES IN NYON SYNOPSIS LOGLINE EPIC OF A STONE [email protected] +86 13 699 281 564 Director SEAN WANG NETHERLANDS, CHINA | 2020 | 85’ | CHINESE, ENGLISH,SHI SHIGREEK SHI (ORIGINAL TITLE) SEAN WANG f

erent levels along this chain. jia@muyifilm.com 58 87 348 65 +31 MUYI FILM Producer JIA ZHAO - - -

tors, funds. funds. tors, Coproduction,broadcasters, distribu goods”. “imported for world the and of markets self-consumption self-production largest the own who of Chinese worldview isolated often the and decades, last the in by Chinese consumed and diverted copied, being Westernwhyculturesand arehow on reflect and “Chinanisation” massive the against individuals tiny of fate the trast ‘foodchain’. Also we would like to con the breakdown of this commercial fragile captures film our down, slows increase (GDP) Product Domestic Gross Chinese the now When capitals. and market tic sumption driven by the Chinese domes con of chain global the investigate we stories, to their Through houses buyers… selling Chinese father their help to Chinese who learned have businessman estate real Greek a of daughters ings, come to Greece for their dream wedd- GOALS AT PITCHING DU RÉEL - - - - 201’000 201’000 Muyi Film, Black Fin Production 50’000 251’000 End of 2020June Jia Zhao , Zijian Wang (China) Production Muyi Film (Netherlands), Black Fin 85’ 4K 2019 - 2020, months 10 Greek English, Chinese, Greece China, 2nd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 20 % 20 - - 80 % 80 - PITCHING DU RÉEL 27 - - - is a Chinese Muslimdirec isChinesea producer based erences and express respect f er(IFFRVoices, Kabul,2019);City f PRODUCERS’ PROFILE PRODUCERS’ DIRECTOR’S PROFILE DIRECTOR’S MUYI FILM MUYI MUYI FILM on focuses international culembrace films that documentary tural di for human lives. Zhao Jia in Amsterdam. She Chinese,Japanese,speaks English andDutch fluently and is the founder for MUYI FILM and co-founder with AfghanAboozar filmmakerAmini for SALON. SILK Some of ROAD her recentFILM works include: Inner Landscape by Frank Sche (Opening Amin Aboozar by Wind the in film IDFA2018, Special Jury Award for First Appearance Competition); Lady of the Harbour by Sean Wang 2017, Dutch(IDFA competition); The Crow is Beautiful (IDFA2017, Masters); FlowersFallen Thick Schoofs (coproduction Leaves with ARTE/ZDF, by IDFA2016, Dutchcompetition; LaetitiaAngelus Novus, IFFR 2015 by Aboozar Amini; Mr Hu and the Temple by Yan Ting Yuen (2015, Dutch competition IDFA 2015). Sean Wang Sean torand screenwriter. He holds an MAin screenplayBeijingfrom FilmAcademy, tutored by famous commercially suc cessful director Xue Xiaolu, and an BA Communicationat University China.of His film graduate ‘‘Huis Away From Home’’ (2014) is a story about Chinese Muslim’s immigration in Northwestern China. It was awarded Best Student Film by theAcademy andAward was nominated China at DocumentaryLes Ecrans de Chine Documentary Festival in Paris. His short ‘‘Canvasser’’ documentary (2015) was at CCDF,nominated GZDOC and Chinese won the China Documentary Academy Award.film ‘‘The Stepmother’’The he edited, won Jurythe AUFF, of Jury Award Grandthe Festival Film Delhi the of Award Special and was selected Festival. His in first feature documentary 2016 Cannes ‘‘Lady of the Harbour’’ premieredIDFA2017. at ------er f Kabul, erent kinds of trade f (opening film IDFA2018, production company Black Finfor the production knownof Chinese indie films by young filmmakers, which are gaining internationalof recognition.planlots We to go into production by theof 2019Summer and to finish2020. Asin a Chinesethe producerSpring basedof Europe,in I strive in bringing the resources together (financing and expertise) fromfor did I as Europe, and Asia both Wind in the City alsoselected atVisions Du Reel 2019),in order to support this important story to a full end. nature the largest market of the world, while to a very high extend remainingisolated from the rest manyof ways. the world in duringtries.Sean,uppro suchgrown a cess, is the best person to take us on a refreshingjourney thisphenomenoninto from inside out. We have teamed up with the Chinese In order to bring the skeleton - that the two first layers constitute - will follow a to few individuals life, from di we ent social classes and cultural back groundsinto their lives. wouldWe like to takeclosera look atthe reasons why the Chinese are so fascinated by copies of Europeanculture, at what sacrifices the individualsmake, what they have win to con and to related is fate their how and trolled by the massive world economic chain, whether it be conscious or not. It reflects the peculiar values of Chinesepeople as a consequence ofowning by Europe; middle-class Chinese couples come to the heavily advertised dream island Santorini to fulfill their European dreams; the Chinese factorymake souvenirsworkers that culturecopy whileEuropean knowing littleculture about itself,the and Chinesesouvenirs to symbolize buy and demon these strate certain social value in whiletheir Greek/European merchantslife, make a living from the di China. and Greece between 3. Individual/human layer pany; a successfula Chinesepany;businessman in Greece vending starting from street Greekfamilyminethebuysthefromnow company; rich Chinese individuals buy real estate in Greece to immigrate to mixed uneasy feelings in Western coun Western in feelings uneasy mixed social and economic layers of this food chain. com For Chinese state-owned a example, by bought Piraeus port is ------Lady of the in Greece, I metGreece, inI (premiered at IDFA2017), which Ladyof the Harbour PRODUCERS’ NOTE PRODUCERS’ DIRECTOR’S NOTE DIRECTOR’S ing in Europe, I clearly “Chinanisation”sense is causingthat increasingly the nomenon “Chinanisation”, when China has grown in the past 15 years from its role as “world factory”, into the buyer”. As “world an overseas Chinese liv perspective of “symbiosis”. phethe deals with project The current ture-length ture-length documentary Harbour took a unique point of view about Europeanthe refugee crisis from a Chinese strong sense of humor! I worked with Sean on his first fea his unique viewpoint for storiesChina, andabout with his storytellingreal between on both micro-levels, and macro- ism and surrealism, and never devoid of Theyoung Chinese director Sean Wang (b. 1991) never ceases to surprise with We will capturethe of each theto belonging characteristics most interesting of humour. 2. Social/economic layer documentaries by Bernd & Hilla Becher, the film uses a static and precise cam era style to express the ‘dehumanized’ character, together with a strong sense over the world but after all based on the self-production and self-consump tion in China itself. Inspired by Austrian is to reveal the relationship producers, capitals, wholesalers, retail between ers and consumers in fora “importedhuge market goods” which is spread 1. Industrial layer Industrial 1. We will zoom in the industrial details of a stone: how it is mined, shipped, pro cessed, purchased back to China. This The structure of storytelling layershaswhich interweave eachintoother. three between the East and West, with whom whom with West, and East the between I share a certain embarrassmentcomplex and helplessness. feeling of of cultures and China in the transition.same time, it allows me to encoun At ter people who “wander” like the stone which is the symbol for the Western civ Western symbolthe the for whichis ilization. The journey of a stone threads up various themes that mostly interest me,including immigration, consumption bought bought the marble mines. I soon dis covered that there lies an unexpected industrialchainbehind marble the stone When I filmed my first feature documen feature first my filmed I When tary the Greek Chinese businessmen who 28 PITCHING DU RÉEL he cares much more about my sister sister alienated. my feel I me. about than about more much cares he care of him I at the find out that hospital. my time, This is father ill I and again. take China to back travel I 2018, In portrait. During Mao’s with picture a took birth. they trip, their my for place safe a find to miles 2,600 travelled sister older my and parents my me, with pregnant was mum my When Tiananmen. in 1986 May find one photo, family was which taken in memories, any with tono hint of I the past. do manage hold doesn’t that one Beijing, in apartment new a to moved have parents My 2017. in family my visit ily relationships. I travel back to China to and my repair of broken belonging fam sense my explore to guilt, this of myself free to desire the feel I Netherlands, the in living of years five after 31, of age the At career. political his ending salary, his to topay a equal forfeit 3 of years-worth had father my born, was I Child When One Policy. China’s to due illegal was I are pushing me to have children. parents, my towards feel I guilt who paid athe high price and for my birth. While I’m trying to childhood fix travel our I broken illegal relationship, theymy child. revisit to second-born home the back was I Policy. Child One China’s to due illegal was I FOUR FOUR JOURNEYS LOGLINE REPRESENTATIVES IN NYON SYNOPSIS [email protected] 17 95 507 64 +31 Director LOUIS HOTHOTHOTLOUIS NETHERLANDS | 2020 | 90’ | CHINESE LOUIS HOTHOTHOT LOUIS [email protected] 60 98 747 61 +31 Film Hyustee Van Peter Producer PIETER VAN HUYSTEE - my brother’s death. brother’s my of wound the closed birth my that way new more positive situation, in the samea create and problems these all resolve could child new a thinks family My own. my of children have to and to married get more and more me urge to started have They future. the about cares family only my Meanwhile, past. questions the new about to lead journeys but both trips, two these after better much graveyard. family I my understand family our in than rather forest, wild a in grave his find to manage I Finally, brother. my about stories gather and relatives, my traveltovisitIto forgettried him. and pain their to hide decided they died, he After two. of age brother, the at older drowned my who about more learn I national financing, pre-sales, world world pre-sales, sales. financing, national inter coproductions, for looking are We GOALS AT PITCHING DU RÉEL - 290’000 Fund Film Netherlands 65’000 355’006 November 2020 Hyustee van Pieter (Netherlands) Film Huystee van Pieter 90’ / 54’ 2K 2019, 8 months Chinese China 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 18 % 18 - € - 82 % 82 - PITCHING DU RÉEL 29 - - - -

is a multimedia art multimedia a is PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S he has produced many film projectsandinternational coproductions, most themdocumentariesof renownedwith Dutch filmmakers such as Johan van derKeuken, Heddy Honigmann, Renzo Helmrich,Retel,Martens, LeonardBoris Gerrets and young talented directors. and fea documentaries the of Many tures are screened at festivals all over receivedandhaveworldnumerousthe awards. Louis Louis Hothothot ist who combines curating, visual art, as part of his prac and art criticism tice. His research is politicsa concern and identity.with He comes Chinafrom and studiedAcademy at the of Central Fineenrolled Art.the Master In the of 2012,Dutch FineArt Institute.Arts he He at is entlypres studying in the Netherlands Film Academy. His work is regularly shown in and dance galleries, film festivals festivals. His work has been screened at: Seattle International video dance festival, Cinedans, Dansmakers, “Moving future” “UsingexhibitionAbbeMuseum,Van in Beijing the Museum” Yanhuang Art Museum. His exhibitioncurating “Urgent Care includedof Identity” works Bunting,Heathshownand by Jonas Staal such artists at A-Lab in Amsterdam as in 2015. PieterHuystee van Film In 1995, Pieter van Huystee started his own production company. Since then, - ect peoples’ personal lives. This f I have professional in work the experience fields non-narrative ofvideocinematic art.my In graphic designlanguage and research, I graphic aestheticssometimes within my cinematic use language. I will use visualandrepeating elements, close-ups metaphorsand shallowfocus.humorousstyleThebewill and playful. tics a is not exclusive to modern Chinese history, of course, but connectspolitical every regime in the world. I isfeel somethingthis that we tend to overlookor disregard. lives and characters of andLouis’s the filmmakerfather himself. Because hisof strong visual background,able to makeLouis a layered, isvisual film with a distinct signature. During the research period, Louis made his first two trips in 2017 and 2018.afteryear, securing Thisfinancing, intendwe to make the next two trips. We aimstart to post production in 2020, finishing the film in the latter part of the year. changing contrast is clear to see in the I pay much attention to the way poli - - FourJourneys DIRECTOR’S NOTE DIRECTOR’S PRODUCER’S NOTE PRODUCER’S society to a liberal, socially controlledsociety. While the West has developed from a social-democratic,individual, to consumerist a society. moreThis increasinglyChinesecontactwith.A into pastthese over evolvedsocietyhasthat decades, from a dictatorial, collective the world. It asks the question; how do politics influence the personalpeople? lives Itof gives us insightlife ininto Chinese family culture, that the West is Wethink that the story of is an urgent, universal film story that recognisableis to many people around imagination. is is dominated by men. I want to invite the audience into my family relation ship as intimate spectators, to see my storyfrom theinside, andinspire to their befocused on mymother and mysister, showing the two generations’voices female under a political system that This This film focuses strongly on how I observe my family. My relationship with my parents represents two generations incontemporary China. My lens will also my discoveries and thoughts during my research. Formally,this film is apersonal memoir; I camera and character narrator, the am man, my camera is like a pen, recording 30 PITCHING DU RÉEL to make things right? right? things make to body one’s correct to enough really it Is meaningless. is itself life when woman a ing of life, why she want does to become own her about operation. Athena questions the anxiety mean causes clinic reassignment to gender the close being Nami, For blurred. becomes present and past the between line the ney, soon, but ories as well as documenting their jour attempts to reconstruct Victoria’s mem trio The brochures. tourist the of well-known images the from far place terious She remembers it as a barren and mys Chonburi. Mueng itself: place the of ries memo her from and transition, of time the experience her narrate to seeks Victoria surgeries, their with through go who and are Athena, Nami to also about with Together process. changing life this during support her became Meril earlier. years six surgery reassignment gender her through went she where place the on based film a Victoria’s to on memory of her friend travel work Meril to and Athena Thailand and Nami Victoria, new and ideals. new bodies new is this voices, a about of story view of transpersons, Meril What are forthe conditions love and intimacy when you exist ofoutside the norm? LOGLINE REPRESENTATIVES IN NYON SYNOPSIS MERIL [email protected] +46 73 679 46 49 Director VICTORIA VICTORIA VERSEAU SWEDEN SWEDEN | 2021 | 72’ | THAI ENGLISH, SWEDISH, VICTORIA VICTORIA VERSEAU is of an the investigation statefluid of and Toldidentity. transition from the point

malin@herfilm.se +46 70 64 11 860 HER Film Producer MALIN HÜBER

- - - - - They talk about transitioning,con thetalk They about ducer, financing and distribution. aimOuristoEuropean finda co-pro belonging and means to them. meaning happiness, them leave of what question burning the with faced together time Their and love. intimacy for long They of alienation. feeling same the share Victoria Athena and Nami, projections? naive just wishes or are their fulfilled, become they Will intentions. their to regard in tainty Athena, and Victoria’suncer experiencescauses Nami For before. as just continues life that realize to come has In a way, she become. would life of what illusion the with collided has experience future her transition her are After not the same. the about had The Victoria are. dreams really you who know to hard it makes that change of process stant GOALS AT PITCHING DU RÉEL - - - 286’195 and Television/UN Women Sweden) Film in (Women Priset Anna Stockholm, Capital Film Institute, Film Swedish 92’632 378’827 2021End of February Hüber Malin HER Film (Sweden) 72’ HD days 17 2019-2020, Thai English, Swedish, Thailand Sweden, 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 24.5 % 24.5 - - 75,5% - PITCHING DU RÉEL 31 - - - - - is a director, screen director, a is PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S further other perspectives of our con temporary society. The company was founded in 2015 by producers Hedvig Lundgren, Ruth Reid and Malin Hüber and works internationally with feature, documentary and hybrid films. Recent (2018) films: Ryberg Ingrid dir. Lovers, of Army An Workers!, dir. Petra Bauer (2019). Victoria Verseau Verseau Victoria writer and artist. Her films move freely withingenresthe documentary,of fic tion and art film. Her work addresses subjects such as transition, memory, gender construction, the private and thepublic experience. In 2018, Victoria received ‘Anna-priset’, a ship scholar distributed by Woman In Film and Television Sweden, Sweden.UN She Womenhas directed and writ ten the short films(2016),‘‘The Session’’ (2014) and be ‘‘To ‘‘Exercise One’’ Unclear’’ (2013). ‘‘Exercise One’’ its international hadpremiere at Outfest Los Angeles, was alsoEncounters screened Film Festival, Gothenburgat International Filmfestival andIFF and hasTorino a Swedish film distribution theatres. in Film HER HER Film produces moving images in the intersection of film and art. HER new develop voices to seeks actively and new narratives with the aim to - - erent stages of f is a story that asks us to broaden want to create a story that asks ques tions about the conditions of life, veryrightcore. its at amI if I inhabit a body that is perceived by others as that of a man - when I feel woman? a am I like Perhaps through Athena this and I, all projectin di Nami,transition, can delve deeperunderstanding into of whatthe it means to transgender,be human and now women.Is it possible to picture the memorythe mostof important event of one’s life? What happens when one realizes that thememory placea oftimeand thea in past is not translatable through film? I tionfrommalefemale. to Whatinterests me is the time right before, during and after the surgery. The very momenttransition. of With the film I want toquestions raiseabout identity; Ikeep coming back to who am I? It is about the soul, physics,society andtheindividual. Who unique perspective expands the existing existing the expands perspective unique portrayals of the trans experience necessary- a perspective today. To what extent is your physical body allowed to are? you who dictate is striving towards new narratives whilst trulyexploring whatmediumthe be.can Meril the expectation of identity as a staticform - it invites usstate of searchingto for oneself.share Victoria’s the fluid who are now, just as I was then, in transi in then, was I as just now, are who - - - - I am seeking to investigate is is at an early stage of develop Meril, is a story of this place, this situa this place, this of story a is PRODUCER’S NOTE PRODUCER’S DIRECTOR’S NOTE DIRECTOR’S Most of my current projects circle aroundprojectscirclecurrent my of Most documentary strate with and interact moment the At tradition. its or gies thisthefieldis within moving image that to attach international partners to the project for the next stage. ment, we are planning our first research trip to Thailand with our devel secured have and Victoria,Nami. We Athena opment funding and are now looking Meril Meril form, together with Athena and Nami had not experienced before. experienced not had Meril people.hybridtheseandThroughtion a both fragile. We had both beenexposedboth had fragile. We both hardshipsthe life. Merilto longingof was for, as I was, the intimacy and love we cityemptyMueng.anplace. was Soon It I found other transgender people who therewereforthe same reasonwas. Ias were We Meril.know to got I Amongthem themselves again. Iarrived alone in the desolate and poor moment - the change, mental and the physical barrenthe dust of a landscape small industrial town and anda group of people losing and finding when I traveled to Thailand to undergo my gender reassignment surgery. I am seeking to convey the fluidity of that With With memory, loneliness and belonging. The film revolves around a period in 2012, 32 PITCHING DU RÉEL bines historical and personal consider- com that journey intoa connoisseurs and tions with arm revolutionaries former meetingswith historians tofrom conversa us lead will Balawi, Hassan acter, scarred char a main Our landscape.historical through tour guided a and oscillates notebook that visual detective’s a between grammar umentary NationalPride ANC. the and regime Apartheid African South the both by used also were were they how or who Jordan, of Belgians’ ‘the Fedayeen called Palestinian by used were they how the revolution, in Cuban weapons Belgian of role the as such forgotten, been have that events of series a light to bring to intends film the from The to present. the history seventies and sixties our through elogue trav a for thread main a as - FAL the - rifle assault Belgian famous most the the behind takes film the Instead, issues firearms. of trade the about it is nor d’Herstal, Nationale the Fabrique about National Pride Fabrique by built weapons Nationaleand d’Herstal Belgian have been mixedwhich upin revolutions with, to thishistory many day. by violent a - characterized counterrevolutions upheavals, geopolitical of travelogue a testimonials,re-enactments and Using LOGLINE REPRESENTATIVES IN NYON SYNOPSIS NATIONAL PRIDE [email protected] 8810959 2 +32 Auguste Orts Director SVEN SVEN AUGUSTIJNEN BELGIUM | 2021 | 100’ | SPANISH, FRENCH, FIERTÉ NATIONALEARABIC, HEBREW, (ORIGINAL TITLE)ENGLISH, DUTCH SVEN SVEN AUGUSTIJNEN is not a documentary film film a not is documentary will use a singular doc

[email protected] 8810959 2 +32 Auguste Orts distributor Producer, MARIE LOGIE

- - - - - National Pride National him the ideal person to follow across his the across unveil to tries he as follow world, the to person makes ideal the role him double This Luxembourg. and Belgium in Union, European the for also a in diplomat the Mission Palestinian but journalist a is Balawi Hassan ations. spaces. art contemporary and Television in ing mined. We are mainly looking for undeterfinanc still is financing our of 30% active across generations. stay these how and created, has it that scars and wounds the highlight to want I other, the on and history, shaped have trade use and of the rifle the production, how investigate to want I hand, one On twofold. is film the of leitmotiv a as FAL the using in aim My movements. ation alliancesbetweenthose di revealing simultaneously spectrum, ical builtFAL bothon sidesof theideolog Belgian- the of use the from resulted that fractures and connections torical GOALS AT PITCHING DU RÉEL takes the viewer along on on along viewer the takes f erentliber - - - - - 99’129 Image Bruxelles, CNAP, FCAC Wallonie Kunstenfestivaldesarts, filmmaker, participation Foundation, Mophradat & Willame museum, SMAK TV, VRT Fund, Audiovisual Flanders 224’171 323’300 May 2021 Logie Marie (Belgium) Orts Auguste 100’ 2K - 2018 2019, 70 days Dutch English, Hebrew, Arabic, French, Spanish, Israel Palestine, Africa, South Belgium, Cuba, 3rd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 30 % 30 - € - 70 % 70 - PITCHING DU RÉEL 33 - - - - - , lives and works in

PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S Auguste Orts is production and a distribution plat Brussels-based form founded ManonAugustijnen, Sven Asselberghs, by artists Boerdeand Anouk Clercq.De2006,In Herman these four artists, active primarilythe expanded in field of film and videodecided to join forcesplatform. Orts Auguste to found the The expertise is shared through guest productions and put in In collabora ways. in various context a discursive tion with Argos & Courtisane, Auguste Orts set up DISSENT!, a series of talks on politics and cinema. And Auguste Ortslaunched Production,ForOn& an initiativefacilitate to theproduction of level. international an on films artists’ Sven Augustijnen Brussels. His films, publicationsinstallations and on political, and chal social themes constantly historical lenge the genre of the documentary, reflecting a wider interest in historiog predilectionanda natureraphy the for of storytelling: ‘Historiography is by no means a natural phenomenon.usestories,weway images and fiction The to construct reality and history fasci hadHesoloWiels,shows at nates me.’ CentreforContemporary Art,Brussels; de Appel, arts centre,Malmö Amsterdam;Konsthall; CCS Montréal; Vox,contemporaine, l’Image Centre pour Bard, Annandale-on-Hudson. Spectres (2011) (2004) Entreprenante Femme Une Johan / François (2001-2003) Le Guide du Parc (2001) L’Ecole des Pickpockets (2000) AugusteOrts ------erent f erentcontinents, while his f French-speaking Belgium in coproduc tion with Cobra Films and we are look ing for TV sales and coproductions with contemporary art spaces. Partners involved in distribution a are con Belgian cinema sodistributor, far temporary art spaces in Gent,Geneva Zurich, and television. Mexico and Flemish fests itself in the here and now. ing is in place, and we finalized our first shooting session in Cuba at the end of 2018. We are applying for financing in bodies bodies and of the discourses protag onists and how these are being relived today in constructed film situations.is therefore not Thebuilt withmaterial. archival My position as a filmmakerby taking isthe cameradefined in my own hands. My presence with the camera, and extensionby alsothewhole cinematic pro cess that I set in motion, is the catalyst of what is being “playedcamera. out” Within for thisthe configuration, manihistory how understand aim is to my nalist makes him an ideal person to fol to person ideal an him makes nalist di across low background and expertise is usefulresearching thein use of FN weapons by various liberation movements. I found it striking that our “National Pride” couldbe “hijacked” Palestiniana by diplomat. films:specificmy amake usemethod I to transformI knowledgethe andnarrative yearsmanyover built haveup lines I that of research into ‘’created’’ historical how situations.revealing in interested am I and political events have entered the inedwith personala and contemporary focus. Today the di researchthe at and Herstal de onNationale the Fabrique financthe of 70% is finished, locations Guevara rebellion Israeli-Palestinian in conflict, and in South Congo, inAfrica,whereApartheidtheboth regime the and the freedom fightersFAL. the used of the ANC In 2016, I met Hassan Balawi in Brussels. jour and diplomat a as role double His

------Spectres NationalPride together, a film about the DIRECTOR’S NOTE DIRECTOR’S PRODUCERS’ NOTE PRODUCERS’ spective the filmmaker takes on, comb- on, takes filmmaker the spective because of the links and tensions that that and tensions links the of because are researched within the ideologicallandscape, because of the wide per today, because of its continuing relevance with respect to the andproductiondistribution of Belgian firearms and their use in conflicts around the world, shows, cinema release, areWeexcited TV,workto on VOD etc). because of its relevance for Belgium Specters assassination of Lumumbawhich won several in awards and Congotrav elled extensively (film festivals, solo produce and distribute the work of sev of work the distribute and produce includ Belgian artists-filmmakers, eral ing Sven Augustijnen. In 2011, we made Auguste Orts was founded in 2006 to This ironic observed, for turn example, during the Che in History can be covered that “the Right Arm of the Free World” was used, not only by the West andits allies, but also on the left side of the ideological spectrum. atically study magazines, such as Paris mid-1950s the from Life,TimeandMatch, tothe present. During my research I dis the weapons madeThis encouraged by me FNto startresearch. Herstal. To gainmy insightown into the distri system to I decided FAL, the of bution At the beginning of my research, I was surprised to find out that there did not exist a comprehensive study about well as many other Western allies. The nickname it was given was “the Right World”. Free the of Arm of the world’s largest producer of fire FAL the - FN the of jewelarms.crown The (FusilAutomatique Léger) became- the as armies, NATO for rifle 1960’s standard was established in 1889 in order to pro weap hand with army Belgian the vide ons. It has since grown to become one next film to the weapons made by the the made by weapons the to film next Fabrique Nationale. The Fabrique Nationale de Herstal (FN) independent Congo, was executed 1961 with ina FN-built FAL. This eventu ally led me to my desire to dedicate my During the making of my film film my of making the During (2011), I Lumumba, discovered the first prime minister that of Patrice 34 PITCHING DU RÉEL Roma to move back to the mainland. mainland. the to back move to Roma Tamargiz hopesshecanpersuade thereluctant Islam. adopted and secretly has Tamargiz, mainland, the from girl Muslim a married has Roma sea. to out togo started already has Roma, cousin and friend his with together Anton, and island, of the nature the loves Alina else. somewhere future a tobetter dren have harsh chil theirwant They the island. the of life chose and Ivan with love in fell but city the in studied Anna starves. he or caviar no the gets is either he – choice There again. sea to out goes he Yetjail. in whilst TB caught he and ing hasbeenimprisoned twice for poach Ivan island”. “poachers’ the as known is Ostrov mainland, the On police. or tors, no has gas or electricity,island it The has no jobs, no doc remain. fifty around Now, island. the on live to 3,000 used people banned. black was and extraction caviar destroyed, was farm the collective farm. After the fall of the USSR, fishing well-functioning a to home once was island the Sea, Caspian the in Lost restored the and Putin in believing on greatness carry of Russia, they even though the country poaching. ispropaganda, by becoming everTV increasinglyby survive isolated.state, the by Influenced abandoned islanders, The intertwine. often ity Island OSTROVThe - REPRESENTATIVES IN NYON SYNOPSIS LOGLINE OSTROV - THE ISLAND www. mayakfilm.ch [email protected] +41 79 542 55 83 Director LAURENT STOOP SWITZERLAND | SWITZERLAND 2020 | 90’ | GERMAN FRENCH, RUSSIAN, OSTROV - L’ÎLE TITLE) (ORIGINAL LAURENT STOOP, SVETLANA RODINA

is a metaphor for today’s Russia, where fantasy and real and fantasy where Russia, today’s for metaphor a is [email protected] +41 79 897 07 36 Co-director SVETLANA RODINA SVETLANA - - - found throughout the country. the be throughout found can sentiments and ideas illusions, dreams, same The Russia: of whole for the metaphor a also the is of Ostrov rest country. the with them propaganda connecting TV state and reception phone bad only with life, parallel an illegal live people where fog, the in ghost to asent isOstrov father? his likeand just prison caught be he will or true, come Anton’s dream Tamargiz? with Will stay write Roma on Will his letter? Ostrov Ivan Will work. legal need island the of write to him and explain that the people state to wants the and Putin in believes He watches news. Ivan electricity, is there When a fish. by giant rich catching get will he while day one that faith, dreams his Anton in support finds Roma to present the film to Swiss and inter national theatricaland and TV-distributors. Swiss to film the present to and Europe) on (focusing co-producers potential find to is goal main Our GOALS AT PITCHING DU RÉEL [email protected] +41 76 737 21 21 DokLab GmbH Producer SONJA KILBERTUS

- - 541’000 Investment Producers’ (Switzerland), Kuratorium Aargauer Funding Development (Switzerland), Filmförderung Berner Funding Development (Switzerland), Filmstiftung Zürcher Funding Development Funding, Producer’s Cinéma Succès BAK 89’000 630’000 April 2020 Kilbertus Sonja DokLab GmbH (Switzerland) 90’ HD 2019 - 2020, days 45 Russian Dagestan, Russia 1st (director) / 2nd (co-director) (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 14 % 14 - € - 86 % 86 - PITCHING DU RÉEL 35 - - - graduated in philol in graduated é (2017) f was born in Lausanne PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S Eritreas Young DesertersDunkel Jonas (2017), dir. Tibetian WariorHunziker (2015), Schnell Urs dir. (2012), dir.Life Bottled Dodo director. Selected filmography: Planeta (2018)Tuva (2017) 1917 Revolution (2014) Sea The with Gone GmbH DokLab At DokLab we are passionate about producing documentaryare focused on films geopolitical, social that or cultural topics. We aim to create films that stimulate thought but whichand also standaction, the test of time. Meticulous story development lie heart of at the engaging analysis and everything we do. Our goal is reach to an international audience by tapping into universal values. Filmography of recent films: Body of Truth (2019), dir. Evelyn Schels Wilfried dir. (2018), Dreams of End the To Meichtry Second HandKnorr Christian Heroes (2017), dir. Laurent Laurent Stoop in 1965. He has a degree in literatureand photography. for He many hasmajor workedEuropean stations.television As DOP he numberfilmed of a documentaries,great includingpoliticallyengaged dealwith thatfilms Chechnya, Anna Politovskaya, AungSan Suui andKyi, more. Selected filmography as DOP: Gyranthera, sur lesPittier (2018) traces d’HenriSyrie, le cri étou Citizen Khodorkovsky (2016) (2011). Life Bottled Svetlana Rodina ogy in and Kazan in later film direct ing She as in a has worked Moscow. reporter and host for various TV grammespro on the RTR channel. In 2011 she became editor-in-chiefdocumentary ofdepartment the of onethe largestof production companies in Russia; United Media 2006 she has Group.primarily worked on TV Since documentaries as script writer and - - - - - national arthouse audiences. Due to the the to Due audiences. arthouse national originalcameraconcept, expectwe the film to perform well at international film festivals, including the possibility to win bestcameraworkthefor prizes bestand film. withoutbias,neither Switzerland,herein world. the in else anywhere nor Svetlana Rodina, Co-director Despiteextreme isolation, these people surprisinglythink and say the very same things as most people living in Moscow cities. Russian other or We are going to make a film that isn’tjust about one island, but a dramatic,symbolic and poetic film about today’s Russia in miniature. Peopleare the representativesof ofOstrov the majority of Russians, who love their country, but have to survive in a empire,vast governedand bizarreby its own empirerules. whichAn is never truly discussed dom and democracy in these last elec last these in democracy and dom tions of 2018? Contrary to what people think here, it is not a question of politics or economics, since we all consume the very same products,pride. and emotions of butmatter above all a Then Laurent andamazing place. I At first, discovered I was intrigued by its mysterious this landscape. After that, I met the vibrant characters who livedthere, which in turn evokedrejec from me; in somefeelings contradictory very tionandpityadmiration to andrespect. grating to Switzerland. The remark of a colleaguehewhenthink, Swiss memade asked why Russian people did not take to the streets to demonstrate free against for fight didn’t they why and Putin, bring us closer to enabledthose Putin’speople record election who results past year, even though they have long since lost hope for their own future. This film will show who Putin’s voters are and interandSwiss both speak thereforeto Russia, but what is rare, are films that The desire to make Russiana filmmentality, aboutabout the notoriousthe soul” “Russian came to me after emi ------erently f (2012) and in Bottled Life Bottled DIRECTOR’S NOTE DIRECTOR’S PRODUCERS’ NOTE PRODUCERS’ cept promises a hypnotic journey theinto microcosm of the islandinsights and new into about films many understandingare There Russia. modern Russian Co-director, Svetlana Rodina, charac the to unique access provides ters and an authentic angle. The con approached us sophisticated with high an concept ideahas a film strong ofthatcinematic a potential an geopolitical agenda. important The and Laurent Stoop, DOPproduction in the several DokLab documentaries about Russia, with a great humanity. Laurent Stoop, Director in Ostrov. What if it represents another another What if it represents in Ostrov. form of freedom? I would like to let my cameradiscover this dramatic world, to create a film that is poetic and imbued social system? All bring us at well-being home, comfort these things that di and perceived freedom, are of these Russians today? How can we imagine livingsalary, withoutwithout a insurance, without any superpower, even if it means being iso it if even superpower, surroundedandlated enemies.by What arethe expectations, fears and dreams ocrats in the western sense, adhereand to the neo-Sovietwho values. Those who dream of a becomingRussia once a respectedagain and feared This film aims to majority of give Russians who are neither a voice dem not to certainly spies, nor mobsters the anteed, but a new ideological and psy and ideological new a but anteed, chologicalwall,invisiblean beingone,is us. between erected conflict with the West and turning into an island; detached fromthe world? theFor the timerest being, of mobility rights for Russian are still citizens guar Yet twenty-seven years later, re-elected. beenVladimir has autocrat, an Putin, Why is Russia once again coming into the Soviet era was immense. The entire total countrysenseimmersedof wasa in taboos. any without freedom, enormous challenges, the sense of being enormous of challenges,sense the re-energisedand the desire opento up, to change, to get out of the isolation of In the I and cameras, two earlywith armed Moscow, 90’s I foundhaveneverreallyleft since then. Despite myself in 36 PITCHING DU RÉEL www.manuelabramovich.com [email protected] 879+549 115 56 65 Director MANUEL MANUEL ABRAMOVICH The movie they’re shooting serves as a as serves shooting they’re movie The scenes? more having to actor porting actor? How do you go porn from being a possible sup best the become to How moviethe of unfolds, Lalo making weaves the his As own plot:shoot. real a into talent digital acquired this translate to wants Lalo life, everyday his staging of Trained replies. by in media social the art he pleasure.” fake to love “I in audition. him his ask they thing first the make is to porn?” want you do “Why films. gay specializes in amateur Mexican-themed and Films Mecos called is company tion auditionfor apornmovie. Theproduc dreds of online followers. He is o an exhibitionist object of desire for hun into turns he night, Every family Mexico. rural in class working his with lives Lalo sex in a world where the forself isothers performed in an ever-connected reality.discuss to context the is Porn show. a as intimacy of construction the about reflect liketoI fake pleasure.” “Why do you want “Because to asks his Lalo audition. make during porn?” somebody REPRESENTATIVES IN NYON SYNOPSIS LOGLINE PORNOMELANCHOLIA ARGENTINA | 2020 | 80’ | SPANISH (ORIGINALPORNOMELANCOLÍA TITLE) MANUEL MANUEL ABRAMOVICH

Pornomelancholia gema@gemafilms.com 879+549 115 56 65 Gema Films Producer GEMA JUÀREZ ALLEN f ered ered an - - - takes pornography as a starting point to point starting a as pornography takes a porn actor turns his sexuality into a into show, wheresexuality does he find his true pleasure? turns actor porn a If spectacle? into pleasure turn to How him. infiltrates that subjectivity the and he narrative on his own based experience the constructs two: in reality splits Lalo’s film the of shooting The staged. while his own sexuality feels increasingly directions. and he Lalo resource uses has every at hand, training framing, into channeled becomes feels longer no he pleasure the which in Lalo for stage a as well as in terms.financial in creative project, in the to get involved an with interest of industry the members other and funds producers, with Discuss GOALS AT PITCHING DU RÉEL 95’231 95’231 Mecenazgo GCBA (Argentina) (Spain), Festival Film Sebastián San / Berriak Ikusmira (Argentina), INCAA 74’769 170’000 May 2020 Allen Juàrez Gema Gema Films (Argentina) 80’ 4K 2019, 4 months Spanish Mexico (Oaxaca, Mexico City) 4th (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 57 % 57 - - 43 % 43 - € PITCHING DU RÉEL 37 - - - - (b. Buenos Aires, PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S Gema Films is a Buenos Aires basedproduction company founded in 2009 by Gema Juárez Allen dedicatedfilms. arthouse and documentaries to Among her mostTheatre Of recentWar (2018, Lola filmsArias), Cama La are(2018, Monica premiered at Berlinale FORUM 2018; Lairana) both Ruben Blades Is Not My Name (2018,Abner Benaim) premiered Soldadoat SXSW; (2017, Manuel Abramovich)premiere at Berlinale, Oscuro Animal (2016, Felipe Guerrero) premiere at the TigerCompetition atthe IFFR; Camino A La Paz (2015, Francisco Varone); 327 pre Tella) Di Andres (2014, Cuadernos IFF. Sebastian San at miered Previous filmsAntipodas! (Victor includeKossakovsky, 2011), Corta Vivan(Felipe Guerrero, LasIFFR 2012),Ojo Del ElTiburon (Alejo Hoijman, Roma 2012). Manuel Abramovich Abramovich Manuel 1987) is a filmmaker photography.and director His of work exploresperformativity the of everyday life. In films, ordinary people become charhis acters. Combining observationstaging, and he calls norms of intowhat is considered ‘docu question the as a He graduated cinema’. mentary ENERCPhotographyDirectoratofand Berlinalea isandSummerIDFA Talents alumni.School impor at shown been have His films tantfestivals (Berlinale, Venice, MoMA, Cinéma du Réel, IDFA, Sebastián,Tribeca, San Film BAFICI)receivedhaveand NYC, Center Society of Lincoln numerous awards. In 2019 he has been awarded with the fellowshipprestigious DAAD-Artists-in-BerlinProgram. His latest film Blue Boy won the Silver Bear at the Berlinale Shorts 2019. Competition Films Gema ------demands cour demands is not a pornographica notis Pornomelancholia desire. Manuel developed the atproject the prestigiousTabakalera Artist of the SanProgram Sebastián Festival in of the Film fall of 2018. The project was supported by the Argentinean film fund INCAA and MecenazgoBuenos Aires). We are (Cityplanning to startof production in the second semester2019 for a period ofof 3-4 months. We are and financial part creative looking for par in further interested are that ners ticipating in the film. resulting from that shooting but on the creative process itself, in “meanwhile”. the thatof state twilight sonal and public identity. Theof making age and the development of a cine matographic device involving a certain elegance to deal with a universe rarely approached in documentary films that involves pornography, sexuality and there is not a single explicit sex (theactsexitself). scene Allseewebodies, are faces. We hear the sound of sex hap interest The frame. the of outside pening is in what is around the sexualrituals act,and details, but notits the act itself. How to make a film about pornography without showing explicit The shooting sex of the scenes? film-within-the- rep a creates corruption, Mexican film, resentational space within the film andexaggerat by reality Mexican parodies politicalitsing economicaland aspects. The emphasis will not be on the images nected and with immediatePornomelancholia access. film: it’s a film about pornography as a form of representation. About how sex becomes fiction, sex as performativity. However, the representation of sex will be set in the background, in this film ions ions about the construction of per on on social media, to be con . ------by Theatre of War Pornomelancholia is a unique project , I plan to go deeper , that premiered in 2017 at Soldier DIRECTOR’S NOTE DIRECTOR’S PRODUCERS’ NOTE PRODUCERS’ his ideas to develop develop to ideas his Pornomelancholia kaleidoscopethemesproposesathat of dicuss- contemporary of center the at spective at the MexicospectiveCityCineteca,thehe at met Lalo and Diablo, the protagonists of this project and he shared with me creative participation as a directorphotography. of The film also premieredat the Berlinale Forum one year later. In 2018 during a trip to present his retro the Berlinale Generation. We also col film the on laborated Lola Arias in which he had an important nical sobriety and the originalitywhich he frames contemporary withsub jects. documenI his produced feature tary This is my second Manuel,collaboration an author withwho tech his fascinatestalent, singular his of because me order to exist you have to be seen, to be to seen, be to have you exist to order as a great mise-en-scène, as a tableau. a as mise-en-scène, great a as I am interested in the porn industry as a context to discuss sex in a world where theself isfabricated forothers, where in works: tradition, the construction insti for of the others, character gaze of a tutional pressure on individuals, society following a script that will betheir close experience, to with a few ques unfamiliar generates story Lalo’s elements. tions in vein with those of my previous of these limits. The final result will have a hard-to-classify tone. Actors filmin willthis be people playing themselves documentary observation with staged elements, somePornomelancholia mise-en-scène.into the work In method, the exploration tary approach. I work with real people, non-actors, on their ownexperiences, stories and combining elements of My work explores the frontier between realityandfiction. previousmyHowever, films have been a closer to documen 38 PITCHING DU RÉEL developed through a long pre-produc- are vignettes These Palsy). Cerebral has (who Robert Warlock and man), (a black and David Michaelanthony Witch Warlock Heather, Magister couple kinkster Blanche partner), LaVey’s Maga Anton (founder Barton vignettes: in appear Church the of members man: Other a Gilmore. into then and Baphomet, into morphs which altar, an of front in goat a of birth the with begins film The wide. world Satanism in figure central the Gilmore, Peter Priest High feature which at the five points of this pentagram, all of pentagram). inverted events Major occur an in head goat’s (a Baphomet of Sigil the mirrors film the of form The scenes. Satanof Realm in. engage they rituals magical the and lives everyday their surroundings, their today: exist they as Satanists explores film The figure. as central its takes Satan cated that to and individualism carnality of Church the Satan; of half-centurya religionold dedi portrait non-fiction Satan of Realm most and diabolical countercultureoldest organisations -America’s the Churchof of Satan.one of celebration and exploration experimental An REPRESENTATIVES IN NYON SYNOPSIS LOGLINE REALM OF SATAN www.stormtigermountain.com scottcummingsfi[email protected] 0215 714 661 +1 Director SCOTT CUMMINGS USA | 2020 | 67’ | NO DIALOGUE SCOTT CUMMINGS consists of 66 staged staged 66 of consists is an experimental experimental an is

www.caitlinmaeburke.com [email protected] 0525 529 609 +1 Producer CAITLIN MAE BURKE - - for surgery as he fights his body’s dete body’s his fights he as surgery for prepares Robert lives: their from drawn and participants the with process tion missions by artistic or documentary documentary or platforms. artistic by missions finishing potentialcom agents, sales post services, European partners, ing financ and producing International “Hail Satan!”. as Peter proclaim: and the congregation break spell the and film The altar. an on the of in Devil front of names a reclining woman naked the invokes Peter Here, featuring many of the and led subjects by Gilmore. a sequence, in ritual Mass crescendos Black film as The supernatural non-fiction. the and presenting magic both psychedelia, pushes into second deeper the reality, to adheres film closely the of half first the While material. fetish produce Heather worker sex- night and David a castle; a at as watchman working whilst rent his to pay struggles Michaelanthony rioration; GOALS AT PITCHING DU RÉEL - - - 107’694 107’694 Visual FX Grant Films/Edgeworx Rooftop LLC, Shores Paradise participation, director’s Grant, Non-Fiction of Art Sundance 70’000 177’694 2020 February Burke Mae Caitlin n / a 67’ HD 2019, 2 months September - May / days 5 2019, March No dialogue (Toronto) Canada (Geneva), Switzerland (London), UK Orleans), New State, York (New USA 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 39 % 39 - - 61 % 61 - PITCHING DU RÉEL 39 Pick f is an Emmy alo Juggalos’’ f is a New York-based alo Juggalos (2014) Juggalos alo f PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S Caitlin Mae Burke award-winning producer,Talents Berlinale alumna,inductee to DOC NYC’s and40 UNDER 40 inauguralfeaturespremieredshe two 2019, In list. in competition at Berlinale, including ‘‘Anbessa’’ (Glashutte DocumentaryAward nominee). Caitlin produced the (Special ‘‘Nuts!’’ features documentary ‘‘Obit’’. and 2016), Sundance Prize Jury (Tribeca 2016) one of EntertainmentWeekly’s “Ten Best Moviesas ofwell 2017.” as ‘‘Feast of(Film the Epiphany’’Comment’s “BestFilms 2018), ‘‘We Could Be King’’ Unreleased(2015 Sports Emmy, Outstanding Sports Documentary) and ‘‘Approaching the Elephant’’, a nominee at the Gotham Awards, Cinema Independent Eye Spirit Honors, Awards. Her short andfilm work currently making the festival roundsincludes ‘‘Adversary’’ Scott(dir. Cummings)Vision,awardedFieldof for Best Documentary ShortInternational Film Festival. at Dallas Scott Cummings Cummings Scott at shown been has work His filmmaker. MOMA, The Centre Pompidou, Visions du Reel, IFF Rotterdam,BAMcinemaFEST, Rooftop CPH:DOX, Films, ‘‘Bu film and2014 His more. won the GrandFest and at Bucharest Jury International PrizeExperimental atFilm Festival, AFIas well as receiving the Cinema Eye Honors forOutstanding AchievementNon-fiction in Short Filmmaking.named one of Filmmaker Magazine’s 25 HeNew Faces of Independent was Film in 2014 and Berlinale Talents latest 2016.film, ‘‘Adversary’’,His produced by Field of Vision, was a Vimeo Sta and won Best DocumentaryDallas atInternational the Film 2017, heFestival. received an ArtIn of Nonfiction for Institute Sundance the from grant ‘‘Realm of Satan’’. Adversary (2016) Bu Spacemonkey (2012) Launderman (2008) The Hesher (2006) - - - - - set by small, subtle red and green f designing, with an anticipated finish in early 2020. mer 2019, we will shoot the bulk of the bulk the of the shoot we will mer 2019, film, and then begin editing and sound and animal throughout, symbolismusinggoats, snakes,crow, a will andlion.a The film also includes featuresmalla amount of CGI - for instance, creating a Baphomet-like version of High Priest Peter Gilmore - and will includepractical otherFX, such as a burning altar. church an on birth goat a and The resulting film will oscillate between two styles: rigorous formal andfilmmaking experimental psychedelia, meantin large part to mirror the experience of a Satanic Ritual. ism ism will constantly be undermined. To loca no is there this, emphasise further cre soundisinsteadall soundshot,tion ated in post-production with a sounddesigner. There willbeyond the use of beritual language. no This “music” only the as dialogue act will design sound in the film. There will be noscore. traditional As secrecy is central to Satanism, many characters will appear in cowled robes or lending masks, wearing the impres sion that Satanists surround us. Animals andwill also film the birth ofthe goat to create one of the main VFX shots in the becomingfilm(Peter Baphomet). will We concept of proof a into footage this edit sample raiseto additional funds. In late spring 2019 we will branch out to high-rankingboth internationaland collaborate withSatanists, them over a short sum in Finally, visuals. create to period of black, red and silver, which will infuse film.theLighting subtlywilltheatrical,be with prominent use of strong reds andblue-greens, as well Outdooras scenes litChiaroscuro. with natural light will only be shot during magic hour and will o be lighting touches. Naturalism and real ------– a mixture is a rigorously formal, will resemble my pre my resemble will , and the opportunity to alo alo Juggalos I was so glad to find that f Bu Adversary PRODUCER’S NOTE PRODUCER’S DIRECTOR’S NOTE DIRECTOR’S Satanists in New York in early spring 2019, earlyspring2019, in York NewSatanists in The film is currently in pre-production.We plan to shoot with several ranking Realm of Satan of Realm intoxicat an such to artistry his employ ing subject as the Church of Satan has challenge. exciting an been tors, as I think he is one of the most bril liantcontemporary filmmakers today.of I was totally bewitched by his vision for After the pleasure of working together on Churchhas highly a codified aesthetic The visual language will draw from theas well as itself,Satanism iconography of referencing classic paintings by Goya, Bosch, Delacroix and Caravaggio. The nography central to Satanism and then acted out by the subjects. frequent, but a production designer will “enhance” these spaces. These scenes will be developed with the participants ico and from lives personal their from interviews interviews and no observational foot age. Instead, situations will be heavilystaged and choreographed. All scenes will take place in spaces the characters in a single, rigidly controlled shot,mathematical and editing gives the wholefilm a hypnotic quality. There will be no Realm Realm of Satan vious film of sixty-six tableau portraits and intri cate steadicam shots. Scenes unfold of the filmmaker submerges itself in the subjectivity of the participants. and detached point of view more com more view of point detached and filmmak This filmmaking. fiction in mon ing style embraces collaborationthe with subjects, in which the objectivity notorious outsider religions.rejectsthestandard tropes Americanof The film documentary in favour of a sardonic Realm Realm of Satan experiential non-fiction film that play fully explores one of pop culture’s most Scott and I are compatible collabora and compatible Scott I are 40 PITCHING DU RÉEL ciated life. And the uncensored images who no longer feared death, nor appre those night; at streets the walked punks and prostitutes criminals, only Medellín, In my died. of hometown me that people to clear became it world, the of aware at 1987, as old, seven In years I becomming started ‘90s. and 80’s the between countrymyof reportsnews theinated ments; a collection of images that frag dom of mass single a looped; are they as if It’s blood. more and of bodies, piles faces, blood, gunshots, shouting, tear-stained people more of images over: di andblood, di it’s same: the not are they yet appear, images Similar in Colombia. crisis: country a for hope of symbol who a was Galán, Carlos Luis candidate tial nessingthe assassination of presiden wit am I and old, years 9 I’m1989, It’s NEWS. BREAKING EXTRA, screen: TV the on up flashes Text shouting, gunshots. are are there People stage. the from dripping blood see and eyes my close I images. these of face the in violence to normalised up grew who – generation my - generation a to a linked story from and the 90’s. news It 1980’s archives reconstructs from Colombian Segovia REPRESENTATIVES IN NYON SYNOPSIS LOGLINE SEGOVIA [email protected] +57 313 349 0012 Burning Blue Director DIANA MARIA BUSTAMANTE ESCOBAR COLOMBIA, MEXICO COLOMBIA, | 2020 | 90’ | SPANISH DIANA MARÍA BUSTAMANTE ESCOBAR is a collage of images, repetitions, and memories, assembled with content content with assembled memories, and repetitions, of images, a is collage f erent people. Over and and Over people. erent f erent erent - - - - - financing. international and To a co-producer find images. of generation the tion: togenerajourneyexplore aour on us indi and cism population the ofapathy,senseinstilleda and scepti on mark its left which time, that from footage news stock the ation. gener a as a particular, in as and society us to happened what of the in context memories my understand to I try device”. “mneumonic unprocessed of sort a as images stock through despair, to response angry an as harshness and town at that time, from my its in precariousness appeared that punk of aesthetic visual the to speaks which core a only infront of theTV. up grew that generation a of minds the ia only served to rea by the med- projected constantly being GOALS AT PITCHING DU RÉEL Segovia f erence. The images take take images The erence. is a reinterpretation of of reinterpretation a is Segovia f rm this, pervading pervading rm this, has no north, north, no has - - - 76’515 76’515 Caracol TV XIII, Interior Fund, Film Colombian 59’408 135’923 2020 February Escobar Bustamante María Diana Burning Blue (Colombia) 90’ Archives 3 months 5 years, None None 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 56 % 56 - € - 44 % 44 - PITCHING DU RÉEL 41 ------ective pro ective f PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S Founded in 2010 by DianaBustamante, by 2010 Foundedin Burning Blue focuses on cine that con expressions matographic stantly push boundaries, advancing formal developments in audiovisuallanguage. With a distinctive editorial burn line ethic, and work a rigorous ingblue has positioned films its on the con markets, world most important solidating a viable and e duction model, coproduc bothtakes which nationallyinternationally, and tion models to a higher level. Burning Blue aims to with projects possessingwork strong aes primarily thetic or narrative an emphasis on devel new talents, proposals, with oping high-quality films foraudiences. specific Diana María Bustamantegraduated in Film and TelevisionEscobar from the National University of Colombia,foundertheandis Burning of Blue. She has developed and producedthan more fourteen for remarkable the also is She cinema.Colombian films for International the of Director Artistic mer FilmFestivalCartagena of (FICCI) 2014 - 2018. She has directed the filmdocumentary “Opposition-Fusion,” the basedacousmatic musicianon Jacqueline Internationalthe releasedandat Nova Documentary Film Fest of Bogota2009. in Focusing on production during these past few years, she has been involved and process produc in the creative tion of several films, including and Shade” by Cesar Acevedo and “Land Forero. Jorge by “Violence” Blue Burning - - - - - has all the Segovia Segovia ingthe image and sound design; which, creatively and technically, is one of theprocess. the of stages delicate most subject subject of deconstruction. I am mix ing different layers, playingand mainlywith timewith repetitions, “harsh”using soundthe of the physical materialvoice the createexploring andsilence to over sections. At the beginning creativeof this process I rejected the idea of a voice over, but I am now conscious of theneed forvoice a inthe film. This part of the process is still in progress. from the punk movement of that- are timealso important elements in cre ating a discourse, which moves beyond the recounting of the events of a spe cific time, to explore the trivialisation of violence and the generation that raisedwas on these images. Mixing images, loops, times, repetitions collagesearchingasounds, amand for I that creates the sensation of fear that surrounded our lives as Colombians for decades,andcontinues dotoday.so to a is also as Sound, part archive, the of tion, these images are witness to what is referred to as “the truth”.that A givescollage shape to thesenselessness dead, of the imageswhere speaks for itself. Repetitions, flashes of shots and a constant change in rhythm - taken In practical terms, In terms, practical required materials, a first cut, andnecessary the elements to movewith an forwardeditor who can provide a fresh point of view. I still need to achieve finalis 50%editing, cover ofwill which thebudget, total untry. However, the time spent onhas this resulted film. the for materials archive in incredible licensed This type of work doesn’t onlytime, butrequire also the ability to stepand seeback the bigger picture. I have had theopportunity stop to and see what is happeningmaterials,theexchange with ideas and do other things in the middle of the process in order clearto my mind andfreshprovideperspectiveawith me film. the on and used as explicit demonstrations of their own fragility; through their altera ------Segovia is a film essay composed DIRECTOR’S NOTE DIRECTOR’S PRODUCER’S NOTE PRODUCER’S negotiate its usage, some thing linked linked thing some usage, its negotiate co- thememory in of kind system a with findtheright images butalsofind theto copyright of my material. to It has than taken a material the find to time more lot making films and makingoptimise complicatedthis film processes to theinvestigationassuch archival of material. In this case, I used this time not only to Being a producer and directorchallenge, was a but at the ofsame my strengths.time one I have used this time meaning of time, of my previous experi previous my of time, of meaning particu a such of needs the and ences lar creative process. when I started developingrealised that thisthis time wasfilm, not wasted. I This project helped me understand the ing several projects, programming and carrying out curatorialthe notion that work, I wasresearch I and postponing artistic projects. held However, my During the ten years that I have worked in cinema, developing and produc that are repeated, spread, re-framed look look at the camera and cry out in an attempt to avoid what was practically unavoidable: death. These are images part of our social and individual mem individual and social our part of which of language a as image use I ory. I take ownership as part of my gener ation, the same generation that would same way that our memories and mnememoriesand our that way same creat editing, us: alter processes monic ing biases and recomposing. I examine images and explore how they became It is in my nature, as a film professional, to intervene. I like to alter images in the stock footage, of what it released and what it set aside. It moves beyond the violencethoseimagesexploreof how to this violence was trivialised. thetic No Future generation. does not attempt to be a historiogra exerciseanisit reinterpretingin phy, this building the identity that ofwas raised aon television:generation A passive witness of a dense reality, timewhich has transformed overus into an apa Colombia. It is primarily a reflection on image through image itself and on how these images are inextricably linked to Segovia Segovia entirely of stock media the footage‘80s from and the 90’s in my country: 42 PITCHING DU RÉEL is always the most crucial aspect. The burningThe season comes more often now,aspect. crucial most the always is Time else. everyone like money the take should he believes Ardianto station. ing rubberfarmer to buildinga water-refill a being from goes he time, same the in But acts. father’s of his approve doesn’t him ArdiantoIber’sson,out. help (41years old), to willing organization an search for in is Iber why reason the is This government has no intention to approve the his proposal. that realizes thus He government. the by legalized it have to He all collects of the required documents of a company. oil the from invasion palm land his prevent to forest customary his Iber (77 Djamal years old), tries to legalize up. to give refuses Iber Nevertheless, narrow. and very are fight success of the chances the for that old too is he that believes family Iber’s forest. ancestral and land his take to of threatening years companies oil palm remaining the the against up stand to risking order is in He life his Djamal. Iber year-old 77 about story a is This REPRESENTATIVES IN NYON SYNOPSIS LOGLINE THE THE FLAME [email protected] +628 11 461 81 41 RIM Cine Production Director ARFAN SABRAN INDONESIA | 2020 | 70’ | INDONESIAN TITLE) BARA (ORIGINAL ARFAN SABRAN

[email protected] +628 128 111 90 32 Cineria Films Producer GITA FARA - and the impact of the haze is vastly vastly is haze (Kalimantan)rain entire the covering the of impact the and festivals. tors, Co-producers,broadcasters, distribu to the about forest.know everything eager is who Demetri grandson old year- 5 his into hope his of all puts Iber He wisdom. worse. getting is health his that and realised strength his remaining of all with promptly, action take to decides he and danger impending this Iber is and aware Singapore. Malaysia of like countries nearby including city, the to come will haze the Soon, forest. GOALS AT PITCHING DU RÉEL

- - 26’000 26’000 Indonesia) (Jakarta, Films Cineria Indonesia), (Makassar, Production Cine RIM 11’000 37’000 Mid-February 2020 Fara Gita (Indonesia) Films Cineria (Indonesia), Production Cine RIM 70’ 4K 2019, 2018, 2014, 6 months Indonesian Indonesia (Kalimantan) 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 30 % 30 - - 70 % 70 - PITCHING DU RÉEL 43 ------’s endeavor in the world PRODUCERS’ PROFILE PRODUCERS’ DIRECTOR’S PROFILE DIRECTOR’S tional awards, from Berlinale’s Grand Prix Awards for Generation TokyoKplus Filmex.to RIM Cine Production is a productioncompany located Eastern inIndonesia. Makassar,Producing several net broadcasting for documentaries in works, NGOs and other international institutions. RIM Cine Production also supports a few international film pro Netherlands, the (Germany, ductions Indonesia. in etc.) USA, CineriaFilms Cineria Films is an independent pro duction company based in Jakarta,Indonesia. Cineriaa hub aims for collaboration commu at film independent Indonesian being within thenity. The company has works within a wide range of film production, always looking for distinctive ways of telling a story. Fara Gita hasFaraproducedGita featurefilms2 that have been circulating within the International Film Festival circuit. She has also produced several short films. by UnseenandSeen The film, latest Her Kamila Andini won numerous interna Arfan Sabran Arfan of documentary filmmakingwhen hebegan entered the EagleDocumentary Awards Competitions in 2006. Eagle Awards is the biggest docu mentary competition held in Indonesia, by a Metro TV. His prominent first short documentary, TV SUSTER APUNG, Station, won three awards in competition,that respectively bestfor cinematography, favorite film and the BestFilm. for award documentashort five made has Arfan length feature first hisFlame is The ries. documentary film. Arfan is currently a program manager for Rumah Ide,communityfilmIndonesia Makassar, in a that actively seek to develop the film industry in Easternalso made some Indonesia. documentaries NGOsfor Heand became a line with producersome international documentary coproduction. Production Cine RIM ------is an important inside Iber. By present By Iber. inside The Flame involves more static visuals, The Flame ing trips, and we are tolooking another oneforward to finally complete this story. We are looking forward to internationalhave collaborationsaccept tothat accompany willfilm. this of voice the thiswiden to order project in in regard to the balance of the Deforestationworld. has led to massiveforestandclimatefires change. soil erosion, A fight that we have to win, in order to future. the save theaudience feelwhat to Iber feeling. is Our sound design is more atmospheric - especially during the burning parts. willI use a lot of natural forest sounds in thesound design aswell. In some parts, the film will be silent, in order to cap ture I hope personal ing family’s story, Iber’s thisfilm,willopenour government’s eyes so that they may create a great policy to save Indonesia’s Indigenous Forest.Iber’s family is a part Kalimantan.of us, a Ifpart Kalimantanof saved,will it notwill becreate a domino impact long time of research, in 2018 I startedto focus my filming on Iber’s family.three-genera his and Iber about This is film tion family. Iber is struggling to save his palm the oil com from land and forest pany, but his children aren’t concerned about this and think that justthey take theshould money like everyone else. Meanwhile, the next generation (Iber’s grandson) is starting to ask about everythingandforest already thelostisthat and will soon be. My visual concept for The Flame especially for Iber, giving more time for ferent connections between the forest and three generations Iber,in his son,one and family:his grandson. After a mirror on the society, in which they willlearn to see, accept and take actionsabout themselves, the livelihoodcreate and the worldthey they live in. At this moment, we have done three shoot and environmental issues through films. believeI that documentary project,Indonesian especially people. It will for be our small I am really interestedconnection to explore between the humans,the generationforest afterand generation.I am developing my story notthe sake of Iber, but also only seeto the dif for ------as The Flame , we want to The Flame DIRECTOR’S NOTE DIRECTOR’S PRODUCERS’ NOTE PRODUCERS’ in need for an act of change.biggestof actMy anneed for in passion is to work on the social, cultural still very high until it ultimatelly became inspiration.of sourceDeforestationouris a serious problem in Indonesia. And it is ship. ship. Through shares our voice and concern throughIber Jamal, the guy who standbyisfortheforest whosefire, spirit alwaysis on tary filmmaker in Indonesia is definitely not an easy path. Heof problems, from encountersfinancing to censor lot ArfanIndonesia’soneofis documentary whose voice director, I think is impor tant to be heard. Being a documen and wisdom. cially if we don’t take action to save it. I respectIber because henever gave up, evenwithhis declining health condition. The forest is a symbol of life , balance, I askedI about the Mega Rice Project, as he would be thinkingespe about whatfuture, couldthe in forest the to happen ‘The Flame’ inside him, ananger agonythat still andpresent. This is also one thereasonpickedof I why atitle for the film. He always cried when the thousands of victims of Indonesia’s Mega Rice Project.traumaandalwaysI picture that hehas He experienced acter Iber Djamal and make a deeperconnection with him. I started buildingthe story of Iber’s personal story.did Why I choose Iber? Iber is one among 2015,but I think I am not done exploring this subject yet. I decided to continuethe journey on this topic to make a film based on the story of my main char had to make a film about this. My previ My this. about film a make to had ous film about forest fires in Kalimantan of end the in completed was Papua and conditions of my country’s rainforests. The exploitation of the rainforests of my countryhas become out ofcontrol for a whilewasItnow.the moment thoughtI I mate change. At that time, in I visitedalso but not Kalimantan, in rainforests only thesaw firsttimeIthat thePapua.was It matic tensions. But at that time, I didn’t followIber Djamal particularin because storyaboutfocusedmakinga the I on of cli onand fires forest theimpacts theof ated by the forest fires also caused dis caused also fires forest the by ated ruptions and economic losses to many causing diplo countries, neighboring I met Iber Djamal in starting filming 2014 the burning season whenin I was Kalimantan.The smoke and haze gener 44 PITCHING DU RÉEL beaches, which o believealso in packageThey holidays and back. foreign come to attempt and soon too lost were who departed the in living, the among wander who dead the in believe They them. is the worst behind that now can, they to kicks out get what time taking occasionally afloat, munity New Lodge stay busy to keep the com in women of the generations Several years. through them by stood have who for with old boozy reunions friends, defiantly together coming destiny, at noses their thumb to emerge still they health, poor and nights world. restless by have Tormented outside they the by where forgotten been flats their leaving rarely pyjamas, their in days their spend These one-time “heroes” unemployment. and disillusion by undermined are IRA), the as for soldiers (foot hailed fighters” were “freedom 15 age at who those, of lives daily the Today Lodge. New community of small the on a impact had huge Ireland Northern in conflict The us, hopes. of our and all failures our represent to fears, our them with enables that theatre of touch a with going, keep and upright stood have characters larger-than-life these Miraculously, residents? its of become has what cease-fire, the after years twenty than More Ireland. Northern in conflict for the dearly paid of Belfast, in area heart the Catholic a small Lodge, New REPRESENTATIVES IN NYON SYNOPSIS LOGLINE THE THE FLATS [email protected] 93 85 725 62 +33 France Director ALESSANDRA ALESSANDRA CELESIA (ONCE WE WERE TERRORISTS) TERRORISTS) WERE WE (ONCE FRANCE, NORTHERN IRELAND, IRELAND, ITALY IRELAND, | IRELAND, 2021 NORTHERN | 90’ FRANCE, | ENGLISH ALESSANDRA ALESSANDRA CELESIA f er a momentary momentary a er production@films-de-force-majeure.com 65 00 376 68 +33 de Force Majeure Films Delegate Producer JEAN-LAURENT CSINIDIS - memories in Ireland. Then there are are youth there their With Then people. young the Ireland. in memories escape from cloud-laden skies and sad domestic distributors and broadcasters. and distributors domestic We are for looking a world sale agent, for Smirno of force Peter persuasive the and cakes, of power Christine’s sunbed, the the joys of Mrs wit, Foyle’s Joe’s of ferocity underestimate the not let’s But ideals. of devoid is future the and losers of glory the be to an appears heroism which in through era, way their struggling them of all identity, their seeking men young and widows war generations, new and Old of liberty. love and shows, of fashion dream They Lodge. New of streets the on prevalent is still that disease wasting a Troubles”, the for “nostalgia to end put an to determination their announced and warrior, male the of archetype the overturned have they insouciance, ful GOALS AT PITCHING DU RÉEL f .

- 431 000 Gra Dumbworld, Screen, Ireland Northern MEDIA, (France), PACA Région 000 59 000 490 Mid-May 2021 Jeremiah Cullinane, Capra Enrica Jean-Laurent Csinidis, John Mc Ildu Gra (Ireland), Korda Planet (UK), Dumbworld (France), Majeure Force de Films 90’ HD June - Aug 2019, 2 months English Northern Ireland (New Lodge, Belfast) 3rd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY ECPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION f ti Doc € € - 12 % 12 - € - 88 % 88 - f ti Doc ti (Italy) Doc f , PITCHING DU RÉEL 45 ------was born in Italy PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S of Venice (Lebanon, France, Germany). (Lebanon,France,Venice of company based in Marseille, France. Marseille, in based company Sincecreation its 2010,inouractivity is films, with mainly art-house focusedon a keen interest in documentaries and international collaborations. We are keen on ments strong and projects commit which transcend boundaries. Films de Force Majeure is part of sev eral European networks such as EAVE and EURODOC. On the national level, we are involved in the SPIdes (SyndicatProducteurs indépendants)UniFrance. of part andare In 2018, we completeda Game featureGirls, documentarySkrzeszewska which by Berlinale 2018. premiered Alina at We have also presented successful coproductions Imagined such by as Yeo Siew A Hua, LandLeopard Golden at France, Netherlands), LocarnoStill Recording (Singapore,by Saeed Albatal & Ghiath Ayoub, awarded 5 times at the Critics’ Week Alessandra Celesia Alessandra Celesia (Aosta) in 1970 and lives between Paris contem studying After and Belfast. porary literature and theater, she began a career as stagean director,actress promotingand experi mental and collective2006, she directed creation. the documentary InLuntano, which marks her first collabproducerthe Michelwithoration David (Zeugma Films). In 2011, she directedThe Bookseller of Belfast coproduced by ARTE France, the film wasin shown particular at Lussas… InVisions 2013, Italian Mirage had du its Réel, premierein at Cinéma du Réel. In co-produced del miracolo, Anatomia 2017, by ARTE France as well, was selected in Locarno and received a “Star of the Scam”. In parallel, she also filmsdirectedincollaboration withthe“Théâtre de Chaillot”. Since 2015, she has been Flats. The developing FilmsForcede Majeure FilmsdeForceMajeure productionisa ------er thater f ti Doc). Finally, we f I have applied to Monde)CNC and (CinémasI will applydu where I toam based the(PACA Region), whichregion has already provided supportdevelopment for of thethe film. In parallel, we are introducing the project to domestic sales distributors, agents and broad casters, aiming to distributionbuild strategy and,a subsequentlytheatrical a television and digital distribution. presented as cinematic heroes. cinematic as presented tary. Thus, I would like to finance it a cinemaa film and have it premieretop-tier internationalin a film festival. I am also planning a coproduction deal with the Republic of Ireland (Planet and (Gra with Italy Korda) intend to apply to Eurimages. In France, studiouslyavoidsfreneticthe rhythms of reportage or Direct Cinema. I wantfilm in scope.to First, to be able to film the char the film to ceasing without setting acters. o Second, to want I And because“cinema”. means this format theto residents ofNew Lodge. This isnot only a question of style, it is a politicalchoice. These charactersbe frameddeserve in a to way that showsimmediately they are actors in their own lives, as opposed passive to victims of spe cific circumstances. The aim is for them to be magnified, for they deserve to be mately understand them better. Filming will be structured around shot-se quences that leave space for the slow intrusion of events. I have use decideda shoulder-mounted to camera so as to remain agile around the subject. I will mannerthata action, in the followslowly film that combines an explosive mix of Italian comedy and auteur documen to reveal beauty in a place that has longhasplacethat beauty a revealin to been perceived to be devoid of visual charm. I will use an unfussy aesthetic that derives from concrete and shades of grey. I want to create joyful neon-lit portraits.Beauty simplea is matter, and when colours are desaturated, we ulti granted. For me, documentary making isa slow descent towards the truth that occurs in the course of a long presence in the field. I intend to spend a lot more time in New Lodge before, during, and after the shooting, because onlyhas the powertime to open the doors of the imagination and the heart. I would like ------orts to immerse , New Lodge and f Flats

The . My husband’s great-grandfa f DIRECTOR’S NOTE DIRECTOR’S PRODUCER’S NOTE PRODUCER’S and to release the film in 2021. thisFor project isme intended as a big-screen beenwriting anddeveloping thisfilmfor 3years. areWe now in the last phase of development, we want to shoot in 2019, historical background in a very way. She subtlewants to show how a collec tive trauma can be revealed individualseveral lives. Alessandra has through step in a very unique world, full of emo fullof uniquevery world, a in step tions, humor, and humanity.Alessandra deals withBesides, the political and something fictional about them. This is something I connect strongly with, as a In producer. ‘largeritsthan life’inhabitants mademe is is her talent as a ‘documentary sto ry-teller’. At the same time, her films are deeplyrooted in the reality, and there is The thing I love in Alessandra’s work In addition to this, when I said thatpassportLiam,my was nameis first my son’s accepted. In my bid to integrate, I had a secret weapon: my McIldu married name, ther was a shoemaker in New Lodge. myself in the neighbourhood were both man finally I But cautious. and patient aged to win their confidence and to be this film for 3 years, travelingas Ias can oftento New Lodge for discussions, improvisation and writing sessions with the characters. My e their ability to laugh at their own trag Chubby, Joe, love to meled has that edy Christine and the Newother Lodge. residents I have of been developing ant response to despair, their humour,their human fragility. In thisis It comedy. dark a as sense, seen be can film this ruins of a battlefield.every form of my characters’I’m resistancescrutinizing to the void in order to find a recipe defi their me is for interests survival. What the ravages of time. My ultimateis to understandgoal this attachment to life, which assumes its full meaning in the depressed and spendpyjamas,they still have childlikea spark days in their in their eyes. This inner space of inno cence and life which is impervious to of everything else. is what Onceattracted me to the charac again that ters I met in New Lodge. They may be There is a obsessional recurrent theme in andmy films: spite in going keep to capacity beings’ human somehow 46 PITCHING DU RÉEL family members to and members family historical ground family. Casablanca di Using a of secrets the unravels that investigation an of point starting the be will subject sensitive This either. believe doesn’t she that stories other tell to photograph strange the of is picture nother.the willShewithplay this incident in But girl the knows childhood. Asmae her of has she dence the in background.girl Thisis the only visual evi little a out make barely we can which in time, by damaged graph, her one only mothercouldprovide isoldanphoto The child. a as pictures herself any of have doesn’t filmmaker, Moroccan a female 29-year-old Asmae, contemporary Morocco. toand connections out personal drawing Riots, fuses Bread 1981 the on Asmae reflects she as history filmmaker, national and daughter a As lies of history. web a family in her entangled from becomes truth for search woman’s Moroccan young A REPRESENTATIVES IN NYON SYNOPSIS LOGLINE THE MOTHER OF ALL LIES THE MOTHER [email protected] 295 169 644 +212 Insight Films Morocco Director and producer ASMAE EL MOUDIR MOROCCO, FRANCE, BELGIUM | 2021 | 90’ | ARABIC ASMAE ASMAE EL MOUDIR f erent personal stories of her her of stories personal erent

[email protected] 31 73 03 21 6 +33 Hutong Productions Producer LUCIE LUCIE REGO - - but of Moroccan society as well. family, of her a portrait drawing only not is Asmae memories, grandmother’s and father’s mother’s, her Through story. the into riots the weaving by Riots” violent “Bread 1981 the on focus to move and events bigger expose will that leitmotiv plot’s the be will This facts. how invented of number a shows contain stories their Asmae of each events, political who would enable us to move forwards. forwards. to move us enable would who and film the in supporting are interested financing who we for process, partners are looking our of start the at Currently GOALS AT PITCHING DU RÉEL [email protected] 50 18 33 49 +336 Hutong Productions Producer PAULINE TRAN VAN LIEU LIEU VAN TRAN PAULINE 165’000 Fund Bertha IDFA Documentary, AlJazeera Productions, Hutong Films, Insight 65’000 230’000 January 2021 Asmae El Moudir Tran Rego, Pauline Lucie Van Lieu, (Belgium) Film Savage (France), Productions Hutong (Morocco), Films Insight 90’ / 52’ 2K 2020, 3 months Arabic Morocco (Casablanca) 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 28 % 28 - € - 72 % 72 - PITCHING DU RÉEL 47 ------(director, editor and PRODUCERS’ PROFILE PRODUCERS’ DIRECTOR’S PROFILE DIRECTOR’S Insight Films is a production company that was created in 2014 by Asmae El Moudir. The companychan TV hasfor produceddocumentaries numerous nels of the Middle East and Maghreb Documentary,AlJazeera SNRT, assuch BBC and Al Araby TV. The producedalsoMoudir’s AsmaeElshortcompany films. Hometown (2019) Hometown The Forgotten War (2019) Light and Shadow (2018) (2015) Harma Rough Cut (2015) Thank God It’s Friday (2013) Silence of (2011) Colors Productions Hutong Pauline Tran Van Lieu and Lucie Rego met in China in 2015 while theyworking were in Beijing. Theyfound Hutong Productions decidedfewa years to later, to launch emerging artists, and offer them long-term support.aim Theyto promote films themes contemporary and thataesthet question ics across fiction, documentary, and experimental idioms. Since its found ing, the sup company has received port from French Regional funds, the CNC’s Video Innovation Fund, writ ing and music grants,FIDLab. Marseille’s Eurodoc and Films Insight Asmae El Asmae Moudir has producer) been working in cin ema and audiovisual since 2010. She has directed documentaries for SNRT, AlJazeera Documentary, BBC and Al TV. Araby on director assistant beenfirst hasShe multiple Moroccan feature films. She has directed three short fiction filmsand studied at La Fémis (French film school) where she produced ‘’Thank God It’s Friday’’ her film with the most awards: Sao Paulo Short Film Festival, Mostra FF, Malmo, Arab Beirut,Film Festival, Fameck Tangier IFF, Movie Africa Academy National Awards and many others. Staging her family in a chronicle about Friday couscous and the story of her communist uncle with engaging of a way was Merzouk the political repressionregime of king under Hassan II the country’s during the darker years. project,Her ‘’The Mothercurrent Of All Lies’’, is a new step in her career as it will be her film. feature first ------The MotherThe I used Russian she transforms her will find recognition from a major festival, and thereby contribute contribute and thereby festival, major to the birth of a new Moroccan talent. ing ing months we will apply for produc tion grants, such asCinémas du Monde.CNC’s On another note, Aide aux we are looking to secure support fromMoroccanthe Cinematographic Centre, which previously supportedshortstronglywe believefilms. ifthatWe Asmae’s gathermanagebroadcasters to around the project, it willartistic best give the us thetogether financingbring to means team and give us time to prepare the pos best in the editing filming and the subsequently, And way. sible of All Lies of a country that is still stuck in its own contradictions. needthisfilmmakewe able be to ing.To time;for research, shooting and editing. And this constraint has a cost. Now we need to find other financing sources to be able to pursue the making of this film. France is particularly supportive of of this kind, projects so in the upcom nents and democratic trans activists. begunto hasking new though the Even form the country, I want to understand howthe 1981 ‘’Bread Riots’’ can embody the fragility of the current regimethe resonance andthey have with contem porary Morocco. In my formerThank GodProject It’s Friday dolls to embody my familyNow, withmembers. my first replace feature,them with what they reallyI are: want compellingto characters. Their memories become a productive cinematographic hopesdisillusionsandthe into dig to tool tiplicityofpoints ofview and plurality of interpretations that coexist withinsame intimatethe space, regarding family, national stories and history. My to associatedesire our family stories with the context of the ‘’Bread Riots’’in highlightingconsists the overallMorocco. Darksituation years correspond to inthe 1970-1999 period under King Hassan II.This era was synonymous with violence and repression against political oppo ThankGod It’s Friday intimate world into something playful filmmak through metaphorical deeply suppress.Inthis sense, goalmy isnot so much to try to mul document the about the film reala storymake to rather but the memories imagined by members,the thefamily very stories that built my own imaginary world. Little by little, this narrative choice will allow me to ask my parents about the 1981 and “Bread how they lived through this dark Riots”, and little-known eventhistory that the government of decided to Moroccan ------cult it is to build one’s identity f PRODUCERS’ NOTE PRODUCERS’ DIRECTOR’S NOTE DIRECTOR’S in the way the director uses storytelling modalities and creative use of archive footage. Just like in her previous film, ductionwithBelgium company; Savage Film; and we recently won supportdevelopment for from IDFA BerthaThe film hasFund. a strong artistic potential casterAlJazeeraDocumentary decided to join the project as a co-producer. In copro a startedhave meantime, we the pated in development programs such programs in pated development as Eurodoc, IDFAcademy, Robert Bosch Stiftung, DFI Producer’s Lab, broad Africadocthe year, this Early Fidadoc. and working closely on artistic and financ ing strategies togetherFilms in Morocco. The film has partici with Insight tor and producer.for a French She co-producer. was SinceHutong looking then, Productions have and co-produceddeveloped Asmae’s film and are programme programme for developing author- driven documentary films. Asmae selected with washer film, as both direc Asmae and Lucie first metproducer’s during the training with Eurodoc, a my parents and grandmothertold alwaysme. My character tries - dailythrough life in the house - to reinterpret story story but rather to foster the appear ance of intimate stories. My film will be marked by my will to unravel the stories thatI heard as a little girl, the ones that film will be punctuatedtesti collect to not is idea byThe theprovoke. crises I establishmoniesobjectiveorder to anin whenevery memory we have is brought into doubt. Holding asking disturbing my questions, tensions camera and will appear, and the movement of the My questions, as well as my fantasized memories, stuck between reality,fiction between truth and lies, willand show di how themselves. This is me - half-child and half-adult - looking back at the stories which created the person I am today. love,anger, negotiations, hostilities and investigate I decide to First, objections. my childhood stories, to put them wordsinto and to make them contradict relationships, I create a common space for the filmmaker I am and the people I film: the house, a space of complicity, are political and I have decided to ask them now. My point of viewa daughter,is that whoof interacts closestwith to her. From thosethese most familiar Casablanca. As a film director, manyI carry unanswered questions to withthis meday. Some are personal, some The film takes place in the familyhouseElmy houselocated- -the in Moudir’s in Mohammadi, Hay of neighbourhood 48 PITCHING DU RÉEL uneventful passage, he dreams of o another yet by Disillusioned beach. the and a who surfer loves pacifist, to by chill a himself yet, declares he guns, to shoot loves (30) Costa manhood. into shift his The Lanka. Sri up end his before transit days becoming Galle, of port the near guards experienced of full house munal at real a world of security com maritime into the he Area, is Risk initiated the High into transit first his before Just violence. in refuge of kind some find to seems (18) Yorgos manifest. never may that threat lives waiting to face an threat; external a their of part grey better the the spending in zone, live who characters three security. a maritime found new have niche: naries panies have made fortunes and merce yet never contained, resolved. Instead,been insurance has com that cations impli political countless of issue tional has strived for decades. It is an interna piracy maritime coastline, On the Somali manifest. never may that threat a to face waiting lives of their part the better in live who the grey spending zone, evil, characters and following good of narrative a explores film The region. the in itself installed security Since the peak in piracy incidents o REPRESENTATIVES IN NYON SYNOPSIS LOGLINE TO SAIL CLOSE TO TO CLOSE THE WIND SAIL grentis.com [email protected] 010 770 939 +306 Director GREGORIS RENTIS GREECE, FRANCE | 2020 | 90’ | ENGLISH, GREEK, SINHALA, TAGALOG GREGORIS RENTIS

To Sail Close to the Wind Wind the to Close Sail To vicky@asteriskfilm.gr 796 795 938 +306 asterisk* Producer VICKY VICKY MIHA follows follows f f the coast of Somalia, the business of maritime of maritime business the of Somalia, coast the -

- - - - - after his last transit, he finds a mun a finds he transit, home last his after Returning field. this into him led salary higher a and status higher a for of need half His Area. Risk than High the in year more the spends (56) anymore. Victor enough seem doesn’t hand his in gun a with around the Running to world. importance of something ering and constructive feedback. feedback. constructive and agent sales world a broadcasters, ing, financ international for looking are We “safe”. calls society what of edge the on live to means it what tions Documenting ques film the sea, at and land on them providers. and tectors Wind the to lives, their in stages ferent guards atdif these maritime Following bravery. of song swan his becomes try indus the into him Mentoring him. train to begins and recruit young a meets he Meanwhile,Athens.in job office dane GOALS AT PITCHING DU RÉEL reflects on their role as pro as role their on reflects To Sail Close Close ToSail ------172’000 172’000 Greek FIlm Centre, ERT 118’000 290’000 May 2020 Vicky Miha, Clément Duboin Good Fortune Films (France) (Greece), asterisk* 90’ 4K 2019, 3 months Greek English, (Athens) Greece Lanka, Sri Ocean, Indian 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 40 % 40 - - 60 % 60 - PITCHING DU RÉEL 49 - - - PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S asterisk* is produc an asterisk* Athens-based tion company and consulting agency founded in 2017 by Eave and Eurodoc graduate Vicky Miha. Vicky has been working as a producer under various labels in Greece and Sweden for the past 10 years. Her featuredfilms at festivals suchhave as Cannes, been Berlin, Toronto and Sanwhile Sebastian,they have been internationallyco-produced Germany, with France, Latvia, Albania Italy, Estonia, and Cyprus and Serbia, havesupported by beennational and interna tional funds (among which CE Media and Eurimages). The consulting arm of the has collaboratedcompany with 20+ companies overcountries15from developmenton strategies, funding applications net world-wide a and building marketing, work and international know-how. Gregoris Rentis Gregoris After studying electrical engineeringat Imperial College London, Gregoris shifted to film directing and received his MFA from California Institute of the Arts with honors. His thesis Rotterdam film premiered Film(Spectrum). at Festival He the startedfilmmaking in in working various 2010 roles;editor in he’sof thefour feature films Boy including Eating the Food Bird’s (Toronto IFF 2012, winner of Special Mention in Hellenic IFF, AcademyFilmVary Karlovy Award for Feature Film 2013) 2016). IFF Vary and(Karlovy Gus Larry Friend My Currently, he is considered one of the most successful branded content directors in Greece havingnumerous directed TV commercials and music videos, which have locallybeen and internationallyawarded with morethan 30 awards, including Award in 2016.an Epica ------enlists the er an experientialaner narrative wherethe f manhood today, which is a discussionthat we need to foster further. The project isof development in advanced domes and most secured Having financing. early stages stages of ticfunding, nowarelooking we forpos sibilitiesinternationally. importantlyMost we want to bring worlddiscussthisandlike-minded with pro project to the fessionals what will be the best ways to help it grow into a fully-fledged, potent film. viewer gets lost in a storylinea lostinviewernohasthatgets cleartimeline. Without any interviews or journalistic exposition and with a rather stylized camera work, the aims to departfilmmaking from the pragmatic and reach what Werner “ecstatic truth”. Herzog calls an porary themes, such as the definition of towards solving an international issueandperpetualsafethe towards but flow of goods. To Sail Close to backdropthe of Windmaritime piracya portrait of societyto on a treadmill,draw cir hope back, and war to crisis from cling lesslywaitingsomethingfor break the to pattern. The film aims at a lyrical approachan oninternational issue. The intento is to low endeavour as their fight is against a non-enemy, or rather an circum stantial enemy. The guards don’t work absolutely compelling withand full precision;executed thirdly, I believe that the project touches on very contem of men decided to go into the industry for the money and, more forimportantly, the pride it would theirbringlives; areclaiming ofmanhood backin a hol into a be to proves this film, the In sense. ------is Gregoris Waiting for the , describes it eloquently:’the DIRECTOR’S NOTE DIRECTOR’S PRODUCER’S NOTE PRODUCER’S me, I felt immediately attracted aes and value to theproduction its material: thetics was surprising, to say the least; secondly, the director’s vision was hood today. When the project was presented to thesame time, goesit further explore to the so called ‘ambient fear’ - a general feeling of insecurity inflicted in societies - as well as the re-alignment of man coast as a backdrop, the film explores thenewtype businessof that wassetin the region, that of maritime security. At To Sail Close to Rentis’the firstWind feature film project.the Using piracy incidents on the Somali early days of the Greek crisis, when a lot a when crisis, Greek the of days early is aligned,is making politicalthisa act,an demagogy. of act Maritimesecurity becamepopular the in trast to a visible foe, such an intangible fear creates a perpetual state of anxi ety.This dispersion offear intothe envi ronment finally shapes the way society insocio-political terms asambient fear; invisible,analmost psychological, threat con Insociety.manifestsaround thatall barbarians don’t show up?’ show don’t barbarians For societies exist we to need the con barbarians,theofcept knownwhatoris lawmakers cease makelaws to and the they them,for assemblygreet gathers to coming.happenswhatareBut thewhen an almost systemic threat. Thepoet Cavafy’s C.P. in Greek Barbarians citystrives in fear of the barbarians; the citizen, citizen, you will have a problem-free, fulfilling life. If not,have worked allfor willthe be taken thingsaway by you Our economy is built onfunctions fear. Society on the model be a try and to rules the premiseby play that if you 50 PITCHING DU RÉEL ily, Mahmut’s adolescent sister, sister, adolescent Mahmut’s ily, being a burden to him. for In her the hate same then fam might Mahmut but tle bat her won have wife.Nezahatwould his with live to how learn of and idea divorce a the up give may Mahmut nity, commu the from pressure Under wife. second a take to wants who man an older for wait and again mother her with to live house parents’ Mahmut’s to leave for Nezahat. She consequences will have tragic have will separation their divorce, to decides If Mahmut year. twice her ing his parents while he works in Kuwait, see with Nezahat left has Mahmut their marriage, Since together. time more spend she can believes they if her, to love him convince can She decision. against Mahmut’s fights Nezahat marriage. civil a for young too was Nezahat, wife, the because ceremony religious a just was wedding their married; officially even not is couple The marriage. this end to how know doesn’t he guilt, with Ridden the married. wife divorce he recently has to wants Mahmut man, young a munity, Middle-Easternclosed a ArabIncom a in Turkeyrebels, emerges. marriage child and values family generation of traditional portrayal factual younger the As factory. a in job a gets and engagement her he haswife the recently divorce to married.wants At Mahmut the man, same young Turkey,time, a his southern in sister, village a Zenep, In a teenager, decides to end LOGLINE REPRESENTATIVES IN NYON SYNOPSIS WHITEWASH [email protected] 635 384 761 0 +33 writer and Director AHMED AHMED NECDET CUPUR FRANCE FRANCE | 2020 | 75’ | TURKISH ARABIC, AHMET AHMET NECDET CUPUR [email protected] 114 677 698 0 +33 PRODUCTIONS TS Producer DELPHINE MOREL - - - - -

Zeynep enrols in an open secondary nt. e secondary m e open g school and finds a a an job g in a n factory, in e work enrols r Zeynep e h ds n village,theof e outDeterminedget to p e n Zey ducers with a creative impact. impact. creative a with ducers sales, funding and international co-pro pre-Europeanfor looking arewe and soon very production start to need We and life. of mode new own, its create marriages child escape to trying generation emerging aims this on in film focus to the light, to come and dilemmas resentments As village. the to leave desire daughter’s his and against divorce fights for plans his over son his with reason to tries father the authority, family histousecommunity.Ready their and their within conflict real a of tre cen the at be to come Zeynep and Mahmut brother, their by Filmed versity. uate, leave the village and study at uni tois grad plan Zenep’s wishes, her father’s Against Zeynep. for of journey step long a first the was engagement her ing by by day and studying Ending night. GOALS AT PITCHING DU RÉEL - - - - - 210’500 210’500 support-FAI ) development and writing ( CNC 22’500 233’000 June 2020 Delphine Morel TS PRODUCTIONS 75’ 52’ / HD 2019 - 2020, 3 months Arabic, Turkish (Keskincik) Turkey 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 10 % 10 - € - 90 % 90 - PITCHING DU RÉEL 51 ------was born in a ray and the audiovisualtheand prize ray f PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S fiction and documentary films since 1986. The company has pro already produc TS documentaries. 55 duced tions has received the gold FIPA 2018 for the film “En équilibre” by A.BassisP.Au and SCAM 2018 for “ productions its Cityof Two ofS.Faigenbaum. Dreams” by were recently screened at the Visions du Réel festival; “Home Sweet Home” by Nadine Naous and “De Cendres et Ott. Marion by Braises” de Delphine Morel Delphine Morelsciences studied at the screenwriting in political I.E.PLos-Angeles at UCLA. of ParisA producer andand filmmaker since 1997, for uni Delphine has a record track versal stories told by foreign directors. documen 35 over produced She has taries for TV and Cinema which have as IDFA, in been such festivals shown DokLeipzig,Cinema duRéel, Viennale, IFF Rotterdam...and she has directed 5 documentaries.Productions in 2009 and collaborates She joinedwith the producer C. Loiseau. TS Ahmet Ahmet Necdet Cupur bor Syrian the village to next located der in HeTurkey. left home at the age of thirteen and moved to Antakya to pursue his schooling. He obtainedcivil engineeringa diploma years and three worked for Afghanistan and Iraq in during the war. On one of his journeys, he shot a short film and He his left engi become a filmmaker. decided to neering job and moved to Paris. Two years after his arrival,funding from he CNC obtained and a film, pre-pur short his for 2 France from chase « Latin Babylon » (SACD award 2017 ). Hereturnedbackvillage the to hewas born in, after a twenty-year absence, with the project of shooting a docu managedHe family. abouthismentary to obtain national funds from France (le CNC, la Scam) to write this docu mentary. He speaks Arabic,English andTurkish, French. TS Productions TS Productions has been producing ------by ects on the indi on the ects f has the potential Une Une Separation cer. I do cer. not to want f with the e the with Whitewash f by Fatih Akin in Germany and intend to develop two versions; a char versions; two develop to intend acter-drivenlong-feature documentary television. for version shorter a and minorities as well as to Europeans. This it is why European backing thisis documentaryvital forgiven its human and cultural interest. There is also a childquestiontheof strong in European interest marriages and separation, asthe issue of culturalwell values in traditionalas Muslim societies. instance, for France, in success amazing We remember theof the Iranian film acclaimto givenAsghartheFarhadi and On Head in France. to garner international interest and we their own meanings.theirown Principally, to want I place myself from my siblings’, Mahmut and Zeynep’s perspective as they try to find solutions whilst trying to keepfamily tiesthe intact. outcome tragic likelyvery the to upleads for Nezahat, Mahmut’slooking for Europeanwife. partners becauseWe are a large Turkish minority lives in andEurope this issue is relevant to Turkish I want to create a fluid storytellingfluid a struc create to want I ture in the film. I want to follow a logicof revealing information, that’s to starting o say; viduals and zooming out towardscauses. The structurethe of the events is to use the separation as the driving force of the story and then move to the par ents, to other examples in the theimam, village;the lawyer, the hospital nurse and the police o cast any moral judgments insteadon events;I want to let the events reveal They work twelve hours a day and their salaries go into their parents’ pockets. As I film Mahmut and Zenep in the vil lage, I also wish to capture the women of all ages, from children to the elderly, doing their daily jobs, vege growing tables, cultivating tobaccochatting orgroves villagetheon andstreets. olive I want to film the old men praying in the mosque, the young men working hard, the fathers gathering in a courtyard to take a decision about a serious matter of their community. cal. Underage girls are exploited in this factory and they sometimes wish get to married even sooner because of that. Turkey’s moves towards EU integration resulted in a programme for young girls who had to leave schoolagein order prevent to child atmarriages. an early paradoxi turned has situation the But

------he presents his first is timelyis because capturesit Whitewash ects of Mahmut’s actions on himself, f DIRECTOR’S NOTE DIRECTOR’S PRODUCER’S NOTE PRODUCER’S the story, forming a powerful line that conflicts and their struggle against the conservative figures of the community. The separation will be the backbone of the inner force that transforms a soci insider’setyfroman Ahmetpointview.of priv a from kinsmen and family his films ileged position, capturing their interior new generationnew whichlookspersonal for happiness and education. The story of Whitewash cal changes occurring in Turkey. Ahmet is certainly one of tradi and tribal Muslim how with deals them. The project tions are challenged by the arrival of a Turkey. There is a strong need to supportstrongneed to a There is Turkey. young, emerging Turkish directors who have a of vision the social and politi Ahmet Ahmet has already directed a short film Latin Babylone (award SACD 2017) with and documentary, about child marriage in his wife, their parents, and the villagers. Whilesistermy Zenep herlife makesofa own, I intend to expose the factory job her. surrounding marriages child the and but never divorce her. In this process of separation, my intention is e to film the extremely rare event in that manregion. can A have four wives,gone for hetwenty can years beand not wisheswifeseehishe withas docan he wife, his fell on Mahmut’s shoulders. Mahmut’s divorce declaration is an the absence of the father, the eldesttheson father, theabsence the of is responsible for the family. My was alwaysfather away, working abroad. And when I left home, all the responsibilities We were born into a closed community in a village in Southeastern way Muslim Turkey. traditional The a follow still locals Afterlife.comesGodfathertheofinand filmedfilmmaker’sreallife,notbutawas fantasy world. intention was to film myseeking family a whilstsolution. atI themthought through thelooking lens of a wouldcamera make things easier, as if what I wouldbe going through a similar battle to myself, before them, I took my cam era and headed back to the village. My brother, Mahmut, decided the wife to he had divorcerecently married, and my sister wanted to end her engage ment to her cousin. Knowing that they to return there regularly, but I any stillreal emotional lost connection with my relatives. Everything began when my I consider myself as bothsomeone an who insideris the of,village andin whichoutsider I was born. to,I used 52 PITCHING DU RÉEL EXPERTS Producer AKKA FILMS BADINIER PALMYRE [email protected] producers.Swisswithducing public Swiss coproalsobroadcaster and the of channel German-speaking the for CE Editor Commissioning SRF URS AUGSTBURGER [email protected] public broadcaster. speaking French Swiss RTS, at Unit Documentary the of Head and producer and director Film Unit Documentary the of Head / Editor Comminssioning RTS STEVEN ARTELS [email protected] worldwide. speakers over Russian for world the all from documentaries creative length feature Actual silvia@aquaticfilms.net documentaries. for sales International company Head of Sales & Aquisitions FILMS AQUATIC SILVIA ANGRISANI [email protected] documentaries. feature of tion produc the in specializes she of Films, Louverture Co-founder Producer FILMS LOUVERTURE p.badinier@akkafilms.ch high-profile art-house docs. to parallel formats ence-driven coproductions, exploring international audi through Mostly C CURRENT TIME TV NATALIA ARSHAVSKAYA JOSLYN BARNES ommissioning Editor - - - French government agency agency government French Institut Français BÉROFF-GALLARD GABRIELLE com kbenkirane@dohafilminstitute. programme. grants our through films, tional interna and regional local, of funding include Institute’s The INSTITUTE FILM DOHA KHALIL BENKIRANE the film department 3sat for in Mainz. editor commissioning 2000 Since “Deutschlandfunk”. Tagesspiegel”, “Der for nalist jour a as worked German Literature, and French Studied Editor Commissioning ZDF, NICOLE BAUM [email protected] contemporary society. which in rooted viewpoints represent projects audiovisual ambitious implement to Aims Producer BUSSMANN GABRIELA [email protected] early stage of development. films, debut or second films from fiction art-house & mentaries docu creative in Specialized Sales Agent / Distributor / Producer FILMS, SLINGSHOT BUONO MANUELA [email protected] festivals and film in commissions. member jury and programmer as cinema tary Bonsanti documen of field the in works Maria 2000, Since of Program Head EURODOC, MARIA BONSANTI tutfrancais.com gabrielle.beroffgallard@insti cultural exchanges. international and worldwide culture French promotes that GOLDEN EGG PRODUCTION - - - - - PITCHING DU RÉEL 53 - - - SWEET SPOT DOCS VALERIE FOUQUES AUTLOOK FILMSALES AUTLOOK Agent Sales / Distributor are we LA, and Vienna in Based agents sales leading the of one for feature documentaries and series. doc sales@autlookfilms.com Al Jazeera Documentary Cha- Documentary Jazeera Al mainthe is nnel Qatar, basedin MENA the inbroadcaster Arabic region (coproduction). [email protected] BERTHOLLET FILIPOVA ANNA Sales and Distribution Marketing, agency based in Switzerland, committed to powerful docu storytelling. mentary [email protected] CNC Documentary financing for TV platforms. French and [email protected] FÜRNKRANZ KATRIN ries to broadcasters and dis tributors around the world. [email protected] EL-MONGY MOHAMED JAZEERA, AL DOC CHANNEL CommissioningEditor MARTA DUZBABEL MARTA TELEWIZJA POLSKA S.A ComissioningEditor TVP is aBroadcaster, the Polish biggest and the Publicmost popular TV station in TV the country. [email protected] DZIERSK ANJA SHINE AND RISE Agent Sales / Distributor Rise And Shine marketssells outstanding documenta and -

THIERRYDETAILLE VISIBLEFILM DOC & FILM INTERNATIONAL FILM & DOC DISTRIBUTION DECKERT KINGSWAY thierry.detaille@visiblefilm.com Deckert Distribution is a world sales company for excellent,director-led, award-winningdocumentaries. [email protected] World pre-sales and sales Ranking International sales & presales company. Associated with Docs Onlinedocumentary for marketing online pre-sales. and ESTELLE DE ARAUJO DE ESTELLE Sales Executive International sales of fea and featuredocumentaries length ture films. e.dearaujo@docandfilm.com DECKERT HEINO Director Managing promoting an between hybrid art and cinema. genre [email protected] CHRISTIAENS ISABELLE RTBF of Head / Editor Commissioning Documentary Coproductions since february 2016. Filmmaker since 1985 at RTBF, director of reports and documentaries. [email protected] ANTON CALLEJA ANTON Producer Film production and consulting services (incl. financing, legal, strategiccreative)& forfilm and creative industries. [email protected] CORINNE CASTEL LES VOLCANS Producer She is producer of installations,films encouraging and and EXPERTS EXPERTS 54 PITCHING DU RÉEL EXPERTS Distributor / Sales Agent NEW DOCS ELINA KEWITZ [email protected] films. documentary Europe’s HBO of the production and for development producer Executive EditorComissioning HBO [email protected] coproductions. series & films fiction international and Lucarne” “La slot documentary night late ARTE for ZDF for CE EditorCommisioning / TV buyer ZDF DORIS HEPP [email protected] appeal. international an with mentaries alogueofhand-picked docu cat representsa Docs & Cat International Distributor CATDOCS & MAËLLE GUENEGUES [email protected] 2016. in lished a estab company production is Sales and sales world Torontobased Film Syndicado Distributor / Sales Agent SYNDICADO ALEKSANDAR GOVEDARICA [email protected] drama. TV premium and tures feaarthousecreativedocs, on focused company TV boutique and film based Warsaw A Producer [email protected] market. tional series for produced the interna agency looking for one-o sales documentary a are We HANKA HANKA KASTELICOVA TELEMARK STUDIO TELEMARK MACIEJ KUBICKI f s or or s - - - - - Comissioning EditorComissioning ARTEG.E.I.E. LANGE SABINE [email protected] broadcaster. public Swiss the of channel the speaking French is Suisse Télévision Radio RTS, & Producer Buyer Editor, Comissioning RTS LAMUNIÈRE GASPARD iris@witfilm.nl and art house feature films. documentaries national llm@magichourfilms.dk market. international the for and arthouse documentaries creative produces and develops MHF Producer FILMS HOUR MAGIC alice@michiganfilms.be production. of process the through them helps and cinema about ate welcomes passion are who Films filmmakers Michigan Producer [email protected] TV. and cinema for documentaries, international and Belgian financing Fund Selection Committee WALLONIE-BRUXELLES CENTRE DU CINEMA LEGUEBE WILBUR [email protected] Strasbourg. in headquarter ARTEs depart of ment Culture the of tor Bi-mediacommissioning edi Creativedocumentaries, inter Producer WITFILM IRIS LAMMERTSMA LISE LENSE-MØLLER LISE MICHIGAN FILMS ALICE LEMAIRE - - - - PITCHING DU RÉEL 55 - - - - - , Producer nternational Distributors FABRIZIO POLPETTINI BÊTE LA LENARAMMOU MFI RECK FRANZISKA FILMPRODUKTION RECK RUTH FILMS LTD. I La Bête is a Paris-based pro JANROFEKAMP FILMS INC. INTL. TRANSIT Agent Sales / Distributor Films Transit (founded in 1982) is one of the longest sales runningagencies of high quality documentaries. jan@filmstransit.com FoundedFilms2001,Ruthhasin been a leader in inde quality of world marketing and sales worldwide. films pendent hadar@ruthfilms.com organiza training Specialized tion, focusing on script & pro ject development forfilms. TV and documentaries fiction, [email protected] Producer Involved in the world of film for over twenty years, promoting independent filmmakingSwitzerland. in franziska.reck@reckfilm.ch duction companyambition with of the innovative experimenting forms in the field of filmmaking. documentary [email protected] PONTARELLI RAFFAELA PLACEMENT FILM COCCINELLE Co-managingdirector Specialized in sales International of different tent from con fiction feature documentaries. to rpontarelli@coccinellefilm.com PORUBANOVA HADAR -

ComissioningEditor KONSTANTINOS PAPAGEORGIOU DOGWOOF TV5 MONDE TV5 TV UG FILM MICHEL LIPKES MICHEL FICUNAM YANICK LETOURNEAU PERIPHERIA [email protected] Founded in 2000,based. HamburgSpecial stories with strong visuala approach as well as social grievances. [email protected] Acquisitions & Sales distribution UK sales. Worldwide and invest in the production of docu-series. and docs creative DELPHINE MANOURY DELPHINE Responsible forprograms. documentary TV5MONDE delphine.manoury@tv5monde. org MANTHEY DIRK Filmmaker, Producer director of the FICUNAMthe directorfestivalof 2019. since Mexico in [email protected] LYYTINEN ERKKO YLE Buyer TV / ComissioningEditor We are looking documentaries for creative withview-point, uniquestrong cinematicstorytelling and universal themes. erkko.lyytinen@yle.fi The company specializes in director driven features films, documentaries and interna tional coproductions. [email protected] director Artistic Co-founderAxoloteCinéthe of artistic thebeen has He society. EXPERTS EXPERTS 56 PITCHING DU RÉEL EXPERTS Producer sonder@ensemblefilm.ch cal aspects of film production. practi and artistic all in tence and combines creative compe is Film in based Zurich Ensemble manager Production [email protected] film funding institution. of Office Culture is Switzerland’s national Federal Swiss The LA DE Head of distribution CULTURECinéma FÉDÉRALE Séction - OFFICE JELA SKERLAK [email protected] ARTE slots. for etc., nature, history, politics, culture, subjects: (45’/52’/90’), Coproductions, documentaries Commissioning Editor, TV Buyer BERND SEIDL [email protected] broadcaster. at gramme the Franco-German Lucarne’sproLa writer, managing freelance and curator Film Editor, Commissioning TV nale.org nale.org alessandra.speciale@labien industry workshop. countries programmer/ Arab film and Africa soerent@dfi.dk ish culture. film and promotion of Funding dan THE DANISH FILM INSTITUTE FILM DANISH THE SØREN TARP FRANZISKA SONDER ARTE – LA LUCARNE RASHA SALTI FINAL CUT IN VENICE VENICE CUT IN FINAL LA BIENNALE DI VENEZIA SPECIALE ALESSANDRA - - - - - ACE Producers is a network network a is Producers ACE PRODUCERS ACE [email protected] Documentaries. Culture and SVT,Arts Editor Commissioning SVT [email protected] Docs markets for Sale and IDFA the Forum. at opportunities network excellent with taries [email protected] docs in 10 plus programs. creative 700 plus releasing and promoting on focused tions Beldocs IDFF through its 11 edi [email protected] broadcasting organisation VRT. theFlemishpublicofpart nel, chan tv Belgian a is Canvas Editor Commissioning CANVAS SIMON VREBOS handfilms.com fiction and films.esther.van.messel@first of sales documentaries world for Berlin and Zurich in Films Hand First pany In1998 founded herown com FILMS HAND FIRST ESTHER VAN MESSEL @ace-producers.com beyond. jacovinevandervloed for and Europe from producers film platform independent experienced training and Key launch pad for documen for pad launch Key IDFA JACOBINE VANVLOED DER JACOBINE THERESA TRAORER DAHLBERG LAURIEN TEN HOUTEN BELDOCS IDFF MLADEN VUSUROVIC - - - - -

LATITUDES SECTION GRAND ANGLE SECTION Swiss Premiere Swiss Premiere

OUR DEFEATS MIDNIGHT TRAVELER by Jean-Gabriel Périot by Hassan Fazili & Emelie Mahdavian

UPCOMING DOCS

THE GRAPES OF WRATH: HOUSE OF CARDIN THE GHOST OF MODERN AMERICA by P. David Ebersole & Todd Hughes by Priscilla Pizzato

INTERNATIONAL SALES

DOC & FILM INTERNATIONAL DANIELA ELSTNER ATTENDING ESTELLE DE ARAUJO ATTENDING 13 rue Portefoin CEO Sales - TV, Digital & Series 75003 Paris France + 33 6 82 54 66 85 Tel + 33 6 37 01 74 07 www.docandfilm.com d.elstner@docandfilm.com e.dearaujo@docandfilm.com DOCS IN PROGRESS

DOCS IN PROGRESS PRESENTS A SELECTION OF EIGHT FEATURE DOCUMENTARY FILMS IN THEIR FINAL STAGES. WITH A 20-MINUTE SLOT FOR EACH PROJECT, AN EXCERPT IS SCREENED FOR FESTIVAL REPRESENTATIVES, DISTRIBUTORS, PRODUCERS AND TV COMMISSIONING EDITORS.

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ABOUT DOCS IN PROGRESS 60 DOCS IN PROGRESS SCHEDULE & MODERATOR 61 A MACHINE TO LIVE IN 62 GREEN JAIL 64 HOME 66 KOMBINAT 68 LAS RANAS 70 LIFT LIKE A GIRL 72 SALT FROM BONNEVILLE 74 THIS IS ITALIAN WARSHIP 76 60 DOCS IN PROGRESS ABOUT the Panorama Teddy Award for Best Best for Award Documentary / Essay Film. Teddy Panorama the won and Berlinale 2019 the at was selected Producciones Solita by produced and Reposi Joanna by Colombia) (Chili, winner, Award Audience Engagement Alphapanda 2018 and Boys Picture Briones Moving The by produced Pablo and director by Spain) USA, Panorama 2019: and respectively Generation Film Festival’s Berlin in selected been have jects pro Progress in Docs previous our of two year, this Just elsewhere. and sales world festivals, film in careers impressive had have editions from previous projects Progress in Docs selected our of Several distribution, festivals, sales, etc. for look to and post-production finalize and/or start to partners suitable find to holders projects the allowing organized, are meetings individual etc.) and specific buyers, TV distributors, facilities, duction funds post-production, supporting post-pro representatives, (festival sively exclu professionals film for screening A eight feature films in their stages. finishing presents 2012, in created du Industry, Réel Visions of part as Progress, in Docs Baracoa (Switzerland, (Switzerland, Lemebel - - -

and North America. America Latin Europe, Asia, Africa, from directors emerging as well as directors experienced selected projects’ have we the holders, Among audience. tional successful stay. a and viewings exciting all you wish We be eligiblewill for the visions sud East est Award. and South global the from teams Project Award. Marketing Visual a Package DCP a Delivery, asterisk* in from Athens will o provide will Freestudios Geneva partners: new and two awards announce to happy are We a theatrical potential on international marketsinternational and,thataddress internaan on potential theatrical a with as intended creative documentaries The are presented projects quality. visual high with ambition artistic combine that and approaches and practices of and original projects that o singular selected have we 2019 In f er a wide range range wide a er f er er - DOCS IN PROGRESS 61 - ce of Culture and f the Centre Pompidou, the CinémaCahiers and du the Forum des Paris.Images She was inan appointed expert for the Swiss Federal O the Geneva Film Commission. President of Pro Short, the Swisspro associate an also is association She films. short for ducerSwitzerlandin France.andinSince 2013, she has collaborated closely with Réel. du Visions

- by Valentina by Pellitteri by Simon by Mozgovyi by Yoni Goldstein, Yoni by Meredith Zielke by Mayye by Zayed by Yin-yu by Huang by Edgardo by Castro by Gabriel by Tejedor by Radu by Ciorniciuc NETWORKING COFFEE NETWORKING SPACE OPEN MEETINGS ONE-ON-ONE SPACE OPEN TECHNICALTEAMS CHECKPITCH FOR COFFEECROISSANTS & 1 PRESENTATIONS PROJECT LUNCH 2 PRESENTATIONS PROJECT - Salt From Bonneville SCREENINGROOM1 projects All SCREENINGROOM1 SCREENINGROOM1 - This is Italian Warship - A Machine to Live in Ranas- Las - Lift Like a Girl SCREENINGROOM1 (LAMOBILIÈRE)CAFÉTÉRIA - Kombinat - Green Jail - Home VISIONS DU RÉEL - INDUSTRY - RÉEL DU VISIONS SWITZERLAND WWW.VISIONSDUREEL.CH/INDUSTRY the Centre for the Barcelona,Image La theVirreina CroatianCenter, Audiovisual the French Cinémathèque, Film historian and Artscurator, in Cinema.Master She of haswith several festivals,collaborated in Switzerland and abroad. She has curated various ret rospectives and has collaborated with the Geneva University of Arts & Design(HEAD), the Cinemathèque of Tangier, 11:00 - 11:30 - 11:00 16:00 - 16:15 - 16:00 11:30 - 13:00 - 11:30 09:30 - 11:30 - 09:30 14:0015:30 - 13:00 - 14:00 16:00 - 18:00 - 16:00

WEDNESDAY 10APRIL WEDNESDAY

MODERATOR SCHEDULE JASMINBASIC [email protected] 62 DOCS IN PROGRESS of UFO cults, new religions, cults, and and cults, religions, new concentration cults, UFO of densest the to became home Brazil of region this followed, that decades the Over future. the of visions powerful own by their possessed themselves were hinterlands the in ject who arrived to witness this utopian pro the people the Yet order. machine-like a in produces design harmoniously citizen, living ultra-rational urban tional of the A future. where future an ultra-ra vision sci-fi outdated a some in moonpad resembles city the “superblocks,” ric geomet and pyramids,crete domes, con massive with of state power. Lined mentto anobsessively rational dream monu crumbling a ismegaproject, sixties-era a outposts.Brasília, utopian scape of UFO cults, spiritist temples, and Brasília to the vast and flourishing land of city space-age from hyper-designed, the moves film the outsiders, ghostly of heart and four the Following Brazil’s remote wilderness. at dreams architecture cosmic mystical about feature in Live to Machine A SYNOPSIS dental spaces. the backdropthe in ofcrumbling a spaceagecity andflourishing against landscape ofset transcen myth and Communities poetry life, of portrait Religious complex a provides film Esoteric The and world. UFO of concentration densest to rise in Liveto Machine A REPRESENTATIVES IN NYON LOGLINE A MACHINE TO LIVE IN [email protected] 7219 277 734 +1 Films Ornament Mass Director YONI GOLDSTEIN GOLDSTEIN YONI USA | 2020 | 90’ | PORTUGUESE, RUSSIAN, MISCELLANEOUS YONI GOLDSTEIN, MEREDITH ZIELKE MEREDITH GOLDSTEIN, YONI

is a documentary documentary a is examines how the hyper rational modernism of Brasilia gave gave Brasilia of modernism rational hyper the how examines ------

projects. future our introduce and industry the in Visibility distributors. and agents sales producers, fundraising tion and finishing, Raise additional funds for post-produc dreams.” my of core very the at be to place this recognize I “but writes, Lispector world.” the in it like anything seenneverhaveencountered “I them: of as these spaces they the uncanniness captures film The interviews. and songs, portraits, through stories their tells and ruminations and chronicles their of Machine to Live in first female truck driver and cult leader. guage Esperanto; and Tia Neiva, lan Brazil’sutopian L.L. the of inventor Gagarin; Zamenhof, Yuri cosmonaut Russian history:thewriter Clarice Lispector; the at who were in keypresent this moments the through eyes of witnesses four iconic periods utopian these examines film The in the world. movements transcendental GOALS AT DOCS IN PROGRESS assembles fragments fragments assembles A - - - 280’640 Camera Production Kit Red Digital, Benz Microphones, Shure Finishing, Productions A Cultural of Department Chicago of City University, Northwestern SFFilm, Productions, Canal Foundation, Rainin Kenneth Fund, Filmmaker The Foundation, Graham The Lynn, Maida / Pictures Article Genuine 132’500 413’140 January 2020 producer) (executive Benz Andrew Alvarez, Sebastian Benz Digital (USA) (USA), Films Ornament Mass 90’ 4K 2013 -5 2018, months Miscellaneous Russian, Portuguese, Brazil 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION f airs, individual contributions, Espera Espera contributions, individual airs, € € €

- 32 % 32 - - 68 % 68 - DOCS IN PROGRESS 63 ------is a documentary film has been working pro PRODUCERS’ PROFILE PRODUCERS’ DIRECTORS’ PROFILE DIRECTORS’ Mass Ornament Films Mass Ornament Films is a Chicago & LA based art house film and videoproduction company createdpartnership as a of filmmakersCho, Zoe Anahita Sua Yoni GhazvinizadehGoldstein. Mass Ornament Films develops and and produces documen tary, fiction and hybrid films focusing on emerging artists and filmmakers.Their short film “Needle” directedAnahita wasby awarded the first prize in the Cinéfondation competition at the Festival de Cannes in 2013, and as a resulttheir featurefilm in development “They,” premiered at Cannes in 2016. In 2019, Mass Ornament“House of Hummingbird” premiered at Berlin Film Festival, winning the Grand Prix. Yoni Goldstein fessionally as a director, editor, cine matographer, and video installation artist since 2004. His cinematog raphy works have been selectedthe Cannesat Film Festival,Southwest, South Theby Oslo Whitney Architecture Triennale, Biennial, and Criterionthe online collection. In 2018, he was selected as one of Filmmaker “25 of New inde Faces” Magazine’s cinema. pendent Zielke Meredith maker and educator. Her directorial, editorial and cinematographic works have been exhibited at The Whitney Biennial, New Media Festival in Korea, Hot Springs DocumentarySydney Latino Festival, Film Festival,International Festival du Film Ethnographique du Québec, Hot Shop, DocsGlobians Doc Fest Berlin, andDigital is Doccollected in the US National Library of Science. Zielke was recently selected as one of Filmmaker cinema. Magazine’s independent of Faces” New “25 - - - - - orts that rede that orts f erent visions and futures collide, f civil civil society. To me, this project pro videsnewnarrativea nationonhowa is constructed. and dreamed Theresearch, development, andaccess phase of our film is complete. wasThe film presented at SummerIn2018. Documentaries& IFP’s2015 in Spotlight on 2016,the film waspart Dok.Incubator.of The project is now at an early finestage. cut Alvarez Sebastian intodirecta confrontational address by its characters; songs and poetic illu minations erupt at inter unexpected ludes; 3D architectural animations and reenactments add depth and historical comment. Yoni Goldstein fine the meaning of collective space in vers by nomadic visionary outsiders, ais collective account of a encounteringspace and its concretized As di dreams. so does the cinematic syntax: theplayfullymoves filmessayisticanfrom mode participate in creative e creative in participate arian world. Their story, throughas multipleexpressed overlapping voiceo ------A Machine to Live in ort is made to capture f orts - to secure a vital living space in f PRODUCER’S NOTE PRODUCER’S DIRECTOR’S NOTE DIRECTOR’S Working with the directorsenrichingbeenyearshasan experience. for over 6 expe are we turmoil political the Given riencingto essential America, find it in I have endeavored to strengthendemocracy. their scholarship to attend I devel years, the do Sul. Over Grande college in Rio oped an sense intimate of the strug gle that Brazilians have faced as they I hold many personal Brazil,connections its art, music and culture.to During my upbringing I visitedtimes Brasilia to many see family and received a tion. It depicts peripheral protagonists who exhibit heroic - at times Sisyphean e authorit- oftentimes and uncertain an late modernism stands in for sleek and futures), controlled imagina utopian the to poem video a is film, a critical e a film, critical this sense of architecture as extrater restrial imposition. Borrowing the visual language of 60’s and 70’s sci-fi (where gone awry. The cultural context is diver is context cultural The awry. gone gent but the experience of living in this space is uncanny. As we assemble this I was raised in a planned city in the mid the plannedincity a in raised was I dleeast, established in the same eraas Brasília and with similar social designs 64 DOCS IN PROGRESS Sometimes she thinks of trivial stories stories from trivial 10 yearsof ago; sometimes thinks she recalls she Sometimes day. by day older grow her makes tude soli- The back. came never and the island left who sons lost her recalls often She children? Grandma’s sea”. about the What on “jail the near lived, family her where a house in wooden old alone battered, living old, years 92 is She already era. pre-war the in period mine coal the experienced who Yang Tien-fu, miners, Taiwanese colonial of head the daughterofthe is HashimaGrandma malaria. from died many and there work to forced were them of Most Korea. and as Japan, of Taiwan colonies of as well the Japanese parts other from and miners Kyushu of which thousands imprisoned Imperialism, Asia East Greater under Jail” village mining “Green large-scale a was the II, War Japan. World Okinawa, Before Island, Iriomote on Jail” “Green the in remains silence Only of a to essential are colonisation that secrets and Japan’s necessary debate in today’smemories during world. hidden of Jail’’, tale a is film were ‘’Green The who the Taiwan. into labourers and forced Okinawa Taiwanese to of brought survivor last the is Hashima Grandma LOGLINE REPRESENTATIVES IN NYON SYNOPSIS GREEN GREEN JAIL TAIWAN, FRANCE, JAPAN | 2020 | 100’ | TAIWANESE, JAPANESE TAIWANESE, | 100’ | 2020 | JAPAN FRANCE, TAIWAN, MIDORI NO ROUGOKU (ORIGINAL TITLE) HUANG YIN-YU huang@moolinfilms.com +88 697 834 8598 Moolin Films Ltd. Director, producer HUANG YIN-YU

[email protected] 91 69 047 62 +33 24images Co-producer ANNIE OHAYON DEKEL

carried with her for more than 80 years. has she that story miserable mine’s the anger; pain, of crime, memories the with life,Hashima’sGrandma of years last the portrays film This secrets. kept those alone Grandma Imperialism? Japanese under a victim or a collaborator he Was jail... the leave and Taiwan to them return to allowing not Jail”, “Green this to miners of Taiwanese hundreds recruited Tien-fu Yang time, a For mine? coal the inside What happened ruin. abandoned an into crumbled slowly has Island” anymore. Man’s “Dead days so-called the Jail”, “Green mine coal the about talked one no war, the After foreigners”. the they days were as teased “coal mine cial support), broadcasting, pre-buy pre-buy and distribution. broadcasting, support), cial ductioninEurope (technical andfinan Internationalpost-procoproduction, GOALS AT DOCS IN PROGRESS - - 78’036 78’036 Films, Ltd. Moolin Crowdfunding, images, 24 Award, Doc City Taipei New Taiwan, of Foundation Arts and Culture National 134’653 212’689 May 2020 Yamagami Tetsujiro Dekel, Ohayon Annie Yin-yu, Huang (Japan) Co. Siglo (France), 24images Japan), (Taiwan, Ltd. Films Moolin 100’ HD 2014 - 2019, 70 months Japanese Taiwanese, Taiwan Okinawa), Island, (Iriomote Japan 2nd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 37 % 37 -

- 63 % 63 - DOCS IN PROGRESS 65 - - was born in Taiwan, PRODUCERS’ PROFILE PRODUCERS’ DIRECTOR’S PROFILE DIRECTOR’S Berlinale and other international filmfestivals. Moolin Films Ltd. Founded by Huangdoc of Yin-yuseries a produced in recently 2015. has It umentaries about pre-war Taiwanese immigrantsin the Okinawa region and colonialismruins between Taiwanand Japan. 24images Founded in 1988, 24images has a rich catalogue of documentaries,and feature films shortproduced in France and internationally. Our desire is notonly to express the sensitivity we but authors work with, ofalso their the robust challenging of our contempo rary realities. Our works are regularly selected for French and international festivals. Co. Siglo Founded by YAMAGAMI 1986.Tetsujiro It hasin produced overincluding 80 films, works John by JUNKERMAN, SATO Makoto, HIGASHINow it produces 4-5 Yoichi.films every year. Thesefilms werepremiered in Cannes, Huang Huang Yin-yu achievinginFilmanMA Major inTokyo, Okinawa. in based now is and His documentary“Wuguwang N. St. worksto Taipei”“Temperature at (2010);Nights” include (2013), which has been selected by Visions du Réel; “The Men Who Protect the Mountains” (2014), produced by Naomi KAWASE; and “After Spring, the Tamaki Family…” (2016), which has releasedbeenandTaiwanJapan.in “Green theatrically Jail” has been selected for the “DocStation” of Berlinalereceived the “Pitching Talents, du Réel” HEADPost-production and Award at Visions du 2015. in Réel Inaddition tofilmmaking, Huang is also the art director of CinemaSea- Ishigaki at Island International Film Festival, which will2020 forbe its 1stheld edition, in focusing on outdoorVR experiences in Japan, with a compellingfilms. fiction and documentary selection of ------versaltopic will resonate with people all world. the around The most important factor in our endeavour is the director’swhen it comes to ambitionexploring thememo the artistic letting storytelling; of aspect riesandspacethe behind realitythe tell thestory themselves. believeI cre heis strongatingthisfilmwithtopic,a part of archives. and story History, blame,and thetruth whatof happened the1930’s,inleading audiences through theliesfogof and theinto island withits secrets. hidden and haunting. The haunted setting (the house, the coal mines, the ruins,jungle, and thethe islands) creates the flow of this film: the film follows the rhythm of Grandma,wellastheinvisibleas rhythm surroundings.these of Grandma’smem ory takes us to “GreenJail”:darkhouse,thecolonialthethe world inside time,the the mines, her family history, andher mind. Through the combinationdocumentary filiming, of precious archives, dis to like would we re-enactment, and cover Grandma Hashima’s contradic tory memories of guilt, forgiveness and towards her family and children, which hidden, she but occasion usually kept ally she would make brief reference to it. However, during 4 years of shooting with her on this isolated island, I grad ually went deeper inside her mind, and discovered the realprosperous but miserable truthcoal mine era about theshe had lived through. On March 2018, Grandma passed away peacefully at the age of 92, to be finally reunitedwith her parents in another world.recorded We the last years of her life. atmosphereThe of the film is silent, indirect, resents the intrinsic link between iden tity and nationality and speaks country, through Taiwan, the spiritual of my journey she of that someone’s noticed I tragic her, memories. with filming During would occasionally mention her anger hind a hidden History, but also a glimpse glimpse a also but History, hidden a hind ideologyanhow of turnedcoalminethe into an economic system, exploiting its workerswhile keeping themstrange ina world.In the past fewyears, discussions about these colonisers from this We uni believe have resurfaced. the past rule. Little by little,rep it as is, story Grandma’s important I discovered how ------AfterSpring, the Temaki is the 2nd film of the trilogy . Memorythe. stillidentity and are PRODUCERS’ NOTE PRODUCERS’ DIRECTOR’S NOTE DIRECTOR’S Thetragic stories ofthe protagonist are universal,as I believe it is not just about humanitythe memoriesand be-liethat survivor, who has no survivor, choice for but to forget. or give Japanesecolonisation andimperialism; storyeconomicofa exploitation; storya in which some played ambiguous roles; a story buried in the memory of the last forced workers in Japanese coal mines linger. It’s amongst an the history important of Taiwan under fragment his previous film film previous his Family... maintopics. The memories Grandma,of where the miserable era of Taiwanese Green Jail Green project of Yin-Yu Huang. It comes after dynamics dynamics in island Okinawa as “state less” people who were under Japanese a special territory, ruled under laws.foreign Grandma’s family was one of the civilians who experienced the historical to another time, and another country,that no longer exists. When of theJapanese wave imperialism reachedshores the of Taiwan, the island became time seems to have tranquil stoppedtropical island. Her house itself on this is at odds with today’s world: it belongs me, on some level, to her deepest mem deepest her to level, some on me, ories. She lives on the island which used infamousthehomebe to to “Green Jail”. Sunlight never touches her house, and lives lives alone and doesn’t get along well with her neighbours. I am the only whoone visits her because I can speak the Taiwanese language, which connects Hashima, in a battered wooden house house wooden in a battered Hashima, that appeared almost as if it was time less. She is a cranky old woman who grants grants suffered from the burden of History throughout their whole lives: the lonelinessof belonging no to country. In 2014, I found my protagonist, Grandma disappeared from History 70 years ago. On the island, at the borderTaiwan between and Japan, the pre-war immi no longer exists intraces lingerour in some parts of theworld, world. but “Yaeyamaits Taiwanese” are actuallylong-ignored group of a people who just how peoples’ memories reflect on their their on reflect memories peoples’ how current spiritual past life,impacts their and future. Colonialism how their I am always curious about the rela tionship between theworld contemporary and peoples’ memories, and 66 DOCS IN PROGRESS any danger. Then, one day, the state state the day, one Then, danger. any against united together, work and stay always they Their that is rule stones. survival golden and sticks of out traps made with hunting at and hands bare their with at fishing are they masters but electricity, or water running have don’t They fish. and playmates birds turtles, Their snakes, are trees. the amongst and lakes the in are nature. playgrounds with Their harmony total in but ety, have who children, grown up isolated from the rest of soci nine The have life. family peaceful a live to that need they everything provide surroundings green vast the plants, and fish of animals, species of hundreds by Surrounded Delta. Bucharest The world: the in tems ecosys natural most urban the spectacular of one over rule members ily fam more Enache the for decades, two than reservoir communist doned aban an of wilderness the in Living years, twenty for Delta until they wereBucharest chased out ofthe their paradiseof and forced to adapt towilderness life in thethe city. in lived family Enache The LOGLINE REPRESENTATIVES IN NYON SYNOPSIS HOME [email protected] +40 747 242 079 Director RADU CIORNICIUC ACAS ROMANIA, ROMANIA, NORWAY | 2019 | 80’ | ROMANIAN RADU CIORNICIUC Ă (ORIGINAL TITLE) (ORIGINAL monica.manifestfi[email protected] +40 749 958 100 Manifest Film Producer MONICA LAZUREAN-GORGAN - - - -

tributors, international financing, and and festivals. from interest financing, international tributors, dis agent, sales a for looking are We city. the in life to over of a from three wildlife years: period family Enache the of life the in changes physically ill. Acas him make and despair with him fill dren stantchil rebelliousnow fightswithhis con the andwilderness the inlife his modern for longs father slick, their However, the haircuts. for hair messy and long their and smartphones, for hunting children The happilyswap fishing for maths lessons, aspirations. their pursue and individual discover soon and they independent, socially become to them pressuring now is Civilisation city. the in live to forced and out paradise its of cast is family Enache the and tion naturalreservaDeltaa declaresthe GOALS AT DOCS IN PROGRESS

ă follows the dramatic dramatic the follows - - - -

70’000 70’000 Cinelabs. Award Broadcaster),Postproduction National (Romanian TVR Fund, Film Romanian Film, Manifest Fund), Cultural National of AFCN(Administration support, development (MEDIA) Europe Creative 122’127 192’127 November 2019 Lazurean-Gorgan Monica Manifest Film (Romania) 80’ HD 2016 - 2019, 5 months Romanian (Bucharest) Romania 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 64 % 64 - DOCS IN PROGRESS 67 ------is the director and PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S with significant impact to the screen. docu feature recent Film’s Manifest mentary ‘’Timebox’’, by Nora wasAgapi, awarded in Best 2018 for Between the Seas sec Documentarytion in Jihlava IDFF. ‘’A Mere Breath’’by Monica Lazurean-Gorgan, fea ture documentary coproducedHBO with Europe, received TheSarajevo/ Heart of Best Documentaryin Sarajevo IFF Film (inAward 2016), (Nationalthe Gopo Best Film Romanian Awards) 2017), the Best Documentary for DocumentaryAward in LET’S CEE IFF (inVienna, Best Romanian Documentary atDirector ASTRAat DocuArt IFF, selectedFF; for the Visions Bestit du Reel (2016), was also Chicago IFF, Docs Against Gravity IFF, Message to Man IFF, ZagrebDox etc, Amazon.and 2017 Mubiinscreenedon Radu Ciorniciuc pro (Home)’’ ‘’Acasa the of co-writer ject. In 2012, he co-founded theindependent first media organisation (http:// Romania - Jurnalistului Casa in a com casajurnalistului.ro/eng/); munity of reportersin-depth, long-form specialised and multimedia reporting. in Since then, Radu has been working as a long-formundercover investigativewriter reporter. His and research is focused on human rights, animal welfare and issues across the globe. His environmentalinvesti gative and reporting work has published in of major the inter most been national media organisations across the globe: The Guardian, Al-Jazeera, Channel 4 News, as well as receivingawards. international and national Manifest Film Manifest Film is production an award-winningcompany, which focuses on doc making daring and creative umentaries that bring inspiring stories ------f ers the oppor the ers f film project, we would ă Acas We are at an advanced stage, with plans with stage, advanced an at are We 2019. autumn late for film the complete to With the like to raise awarenesssupport forabout citizens in socialneed. We wouldhighlight like to theneed forbetter child welfare services and to encourage the audience to better understand and support minorities. We want to engage viewers in pushing for laws to change.Our aim is to schedule screenings and panel discussions, to invite lawmak ers and policy makers to engage out about the writing I was discussion. in a reach campaign because I believe it is veryimportant think to interms social of change, of putting pressure on ine cientsystemsafter - all, onethemain of challengesdocumentaryandgoalsa of film is to provoke change! And finally, seeitI as chancea wehave witness to a fascinatinggroup humanof beings who were born into the wilderness and who it. in living still are ceed as socially-integratedceedas citizens.The film is built around two adjoining layers, dilemmaquesathat andfamilydrama tions our modern-day society and way of life: Whether to go backwhere tolife nature,is free but harsh, without the benefitscivilisation?of whetherOrbe to o that society a part of tunity of a comfortable life, but only to those who are willing to embracepressures the and constraints thiscomfort. with that come together and being united as one. It was one.Ittogetherbeingand unitedas theirshield against thedangers coming from inside and outside the Delta. independenceBut is a core valueour societyof howsees the social integrationprocess. Very soon after moving to the city, the family members learn that the opportunity of having lifea cancomfortable only be reached by becomingindependent. Living workingor together is not an option anymore, especially for family’stheyoungsters.eas it find They ierthantheir parentsadaptthe to to do suc to willing more are and reality new ralenvironment. When the family moves into the city, the key scenes are shot on tripod,a and the compositions become rig the illustrate to order in linear, more ours and formalities of life in civilisation. The family were only able to survive the workingwilderness harshenvironment by sense of being grounded in the natu ------project already ) is well known in ă (Best non-fiction book

Home Acas ( ă

ă ; Augmented Reality with ă Acas Acas Acas DIRECTOR’S NOTE DIRECTOR’S PRODUCER’S NOTE PRODUCER’S app build for the book and interactive web videos that areshortly. to be released Romania, not only because of the beau the of because only not Romania, book book injustice. Talking about the potential, cross-media includes multi-platforms such as: the 2017 at Superscrieri Awards, Romania), but also because of Radu’s full ded ication to the topic and to creatingpositive change, a fighting against social Project tiful book ness and then the extreme changecivilization to in a powerful documentaryfilm. specialpeople. The Enache family used to live almost in thewilder the witness lucky to are wild viewers, and we, the of the project because ofdimensions this and becausestory’s of the unique access Radu has been granted to gain an insight into the lives of these very I believe in the international potential wilderness, the are hand-heldused for filming, but cameras with slow steadyand camera movements to create a In the first two parts of the film,most where of the action takes place in the arity and home, the film is shoteye-level atof thethe characters on-screen, and close-up, particularly during highly events. emotional thanseven years reportingof onhuman issues. andenvironmental rights, In order to create a sense of famili theEnache family. That decidediswhyI to make the change from journalism to feature-length filmmaking, after more picture of this complex life experience. I knew how to tell this story, butmean deepI the didn’tall convey to how know by me to taught being lessons and ings and by the realisation that none of the journalistic techniques wouldI hadenable learned me to draw an honest catapulted into life in one ofmost Europe’s highly-populated I capitals.was very Butsoon overwhelmedmany layers I bydiscovered the whilst filming wanted to film a report about what life noth knows who someone for like looks ingabout civilisation and isabout be to I started filming with the EnachestartedfilmingthefamilywithI in 2016 with the overconfidence of a naive and ambitious 28 year-old reporter. I 68 DOCS IN PROGRESS the Kombinat’s board of directors. directors. of board Kombinat’s the Vlad when he husband was a of member her met Kombinat Miss former This ions. SUV, she is envied bynew her shiny salsa her compan and smoke” factory’s the from away “well city, the above uated sit that’s villa her With riche”. “nouveau forty-something lively a Nina, is there his give dancers, the Among a to break. body tired way a and escape, exotic an as salsa sees he and family second a like are dancers other The Kombinat. the by owned club salsa a of is member a Aleksandr pollution. less with town a to move and Magnitogorsk leave to not mental He tries todisability. his brother convince niece’s the his as by such plant, caused steel problems health and environmental the despite now, years proudly has workersthosetwentyoffor one been Aleksandr 24 day. a running hours factory 50,000 the keep Kombinat”. workers “The called plex, nectedtoits vast IronSteel and com con tightly is that town A Moscow. of east miles 1,000 over just Magnitogorsk; Russia, between hopes and broken today’s dreams, into in theinsight an shadow of provide rusting smokestacks. characters three These dancers. salsa also are they steel but plant; the gigantic Kombinat; and are Maria in metallurgists Magnitogorsk’s Nina Aleksandr, Russia. of heart the in town industrial and a mining is Magnitogorsk REPRESENTATIVES IN NYON SYNOPSIS LOGLINE KOMBINAT [email protected] +44 79 634 79 99 Director GABRIEL TEJEDOR GABRIEL SWITZERLAND | SWITZERLAND 2019 | 80’ | RUSSIAN GABRIEL TEJEDOR GABRIEL xderigo@idipfilms.com +41 78 731 54 04 IDIP Films Producer XAVIER DERIGO - - - - He bought shares when it was privawasit shareswhenbought He national visibility and exposure of the the of project. exposure and visibility national interextendtheour and financinggap cover to co-producer determined a and agent sales enthusiastic an Find bigMetal party: town’s Workers’ the Day. during everything forget all they But Russia. in political) and nomic carries its own set of tensions eco (ecological, which plant, steel gigantic the to connected each are Maria and Nina Aleksandr, heated. very the get can within family discussions Political him. to opposed fiercely is husband Putin her whilst Vladimir of supporter is ardent she an communists; are They workers’ “metal dynasty”. a as known Magnitogorsk is in what are parents grandparents Her and teachers. dance the are husband her and Maria obstacles. legal of to number a despite visitors, apartments Kombinat rents now Nina tised. GOALS AT DOCS IN PROGRESS - - - 73’400 (Switzerland) Suissimage Cineforom, Suisse, Télévision Radio RTS SSR, 225’600 299’000 November 2019 Derigo Xavier IDIP Films (Switzerland) 80’ 4K Jan 2018 - May 2019, 3 months Russian Russia 3rd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 24.5 % 24.5 - € - 75.5 % 75.5 - DOCS IN PROGRESS 69 - - - - - , director and journal PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S for cinema and TV channels. Un Tsunami sur le Lac Léman, dir. Laurent Graenicher (2018) dir. Gabriel Rue Tejedor Mayskaya, (2017) (2016) Hiroz Pierre-Antoine dir. Altitudes, Chiesa Christophe dir. bien, va Tout Si La Part de l’Autre, Christophe Chiesa (2013) Gabriel Tejedor Gabriel forSwissworksist, Radio Television, as co-diHepersonal projects.for aswell rected, shot and edited released“La inTrace”, festivals (Visions du Réel, RIDM…) and in Swiss theatres in spring 2015. In 2016 he directed “MayskayaStreet”,shot in Belarus. Ithad world its premiere at Visions du Réelspecialmena received film the where in Nyon, tion, going on to be screened in festi vals including IDFA, Artdocfest… Films IDIP Xavier Derigo studied Sciences Politicalat the University of Geneva and obtained a Master of Arts in Film Studies at the New School, New York University in New York. He worked Davisat Entertainment at 20th Television CenturyM6 for Angelesand Los in Fox in Paris before accumulating various on filming. experiences In production produc a Films,IDIP founded he 2008, tion company based in Geneva that focuses on fiction and documentary ------ered over f erent light on f on to begin shooting footage and to fol to and footage shooting begin to on lowourprotagonists thosein aspects of their lives that were relevant to the film. We shot again in March 2019to coverin ordera whole year in use the visual thepossibilities o city and all four seasons in Magnitogorsk. This extended period of time will also allow seeeachhowtheourviewer charof to acters’ stories unfold. at the character’s home, with a tripod camera. will We ensure that these inti mate moments of confidentialityintrospection and are filmed in a calm andtrusting atmosphere. tions. It was very important for the pro ject to be able to see how everyday life is in Magnitogorsk. We therefore moved fixedcamera will allow expressus to the grandeurtown’s along with its industrial landscapes through extended, in shots, a structured fictional or picto highly rial style. We always prefer interaction between characters and everyday situations to interviews. Nevertheless, it might be necessary to include sequencesa to cast a fewdi interview an issue, to put something into context In these a scene. to add distance or to cases, interview sequences will be shot take place in modestly rooms.proportioned In this respect, scenes from the characters’ everyday life usingwill be shouldershot light camerainorder beasresponsive to and as and naturalnon-intrusive as possible. In contrast, the town of Magnitogorskis built in the monumental Soviet style:identicalofapartment rows blocks,wide avenues named after Soviets,Karl Gagarin… Marx,that lead on theto vast squares. The Kombinat is also builtthe onsame colossal scale. The use of a neys that tower towards the sky. homes characters’ the way, same the In are small, yet very heavily Similarly,decorated. the dance school’s classes There was an extensive scoutingprocessextensive an was There to find the characters and to understanding of their in-depth situa gain an the residential part, painted in white andresidentialwhite the part,in painted theblack, sooty andsmoky Kombinat. A chim the with contrasts landscape flat ------, I want to examine the Kombinat DIRECTOR’S NOTE DIRECTOR’S PRODUCER’S NOTE PRODUCER’S we draw between thewhole. a as society KombinatRussian and element element of all where our the narrative protagonists converge, we strengthen interactionsthe betweencharactersour and we highlight the comparison that its omnipresence its frightening. is By making the salsa club the central togorsk,enthralledwas I and convinced: The there. out made be to film a was there fascinationinstant of thing a Kombinatis is overwhelming, and power Its disgust. When Gabriel told me about Magni- The The visual concept is focused on con trasts and oppositions: Magnitogorsk is divided into two visually distinct areas: mon feature; a shared narrative device; to all the characters of my film. By basing my narrative on these metal these on narrative my basing By lurgists,Iam able achieve to an original take on the Kombinat and contempo raryRussiancom society.alsogivesa It want a country that is polluted, corrupt war? at and ing Communist sympathies. As a young mother, Maria knows thatfirmstancea the kindontakecountry of she has to she wants for her child. Does she really renovation and rental business, despite legalobstacles. considerable pro-Pu politicala Maria,dilemmaA for • tin activist in a family with long-stand • An economic dilemma for changedNina, herwho social class by apartmentstartedhasVladanwhoand marrying on the Kombinat; an industrial complex that pollutes the town and poisons inhabitants,its like his mentally niece. disabled • An environmentalAleksandr, whose livelihood depends dilemma for rules (cronyism rules a (cronyism is a terrible scourge in Russia). The narrative is constructed around three main charactersdilemma: particular own whotheir have all ment (pollution, noise, competitiveness, extremelylimitedprofessional options…), to intractable political power, arbitrary In In human capacity to endureFrom adapting hardship: to a hostile environ 70 DOCS IN PROGRESS Sex and love intertwined with Greater Buenos Greater Aires. with intertwined love and inside. on Sex the on solitude solitude his her outside; the visits; Prison vagina. her inside hides she that phones ile him love, she smuggles in drugs or mob- gives she food, him brings She member. family a not is who and inmate an visits who woman a burgling “Rana”, a is for She houses. time doing penitentiary, He is at Aires. Chica an the Sierra inmate Buenos Greater the from both are merchandise. They door-to-door sells She A 19-year-old girl and a 23-year-old boy. her during “Rana” inside. a for looking is follow she We what out find to prison. visits prison Aires Buenos a in bars behind story love A REPRESENTATIVES IN NYON SYNOPSIS LOGLINE LAS RANAS [email protected] +54 9 113 147 01 39 El Pampero Cine Director, producer EDGARDO CASTRO ARGENTINA | 2019 | 90’ | SPANISH EDGARDO CASTRO Las Ranas Las , a love story. , alove We are looking for funds for the film’s film’s the post-production.for funds for looking are We GOALS AT DOCS IN PROGRESS 31’000 distribution) (France, Dogs Stray Castro, Edgardo (France), Arte KINO Premio 39’000 70’000 June 2019 Castro Edgardo El Pampero Cine (Argentina) 90’ 4K 6 2018, months Spanish Argentina (Buenos Aires province) 3rd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 45 % 45 - - 55% 55% - DOCS IN PROGRESS 71 - - was born in Buenos PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S making cinema in Argentina. As partof the formidable rebirthNuevo Cineknown Argentino, as bringingit with films like Trapero, Mundo La libertad Grúa by andby Lisandro PabloLos Alonso, muertos and Los guantes output theRejtman, Martínmágicos by of El Pampero Cine has seen some of themost original and celebrated films of the last ten years; films which have brought innovation to virtually filmmaking. of aspect every Edgardo Edgardo Castro Aires in 1970. Hedirector, has worked actor asFounding membera of the andKRAPP com visualpany (dance-theatre) in 2000. artist. KRAPP company plays were major festi and several at Argentina presented in vals in Latin America, Europe and the United States. His debut as a director, La noche, won the grand jury prize at the 18th edition of BAFICI. He starred in, directed and produced the film. He recentlypublished bookthe“Como en la noche” about stories of the Buenos Aires nightlife that could not be in toldthe film. The book was edited andpublished by Editorial Planeta in 2018. NocheLa (2016) El Pampero Cine El Pampero Cine was founded in 2002 in Buenos Aires, Argentina. More than just a simple productionit is a groupcompany, of people keen to experimentationbringandinnovation the to procedures and practices involved in , - - - - Las Ranas . In . La Noche rm that love can still exist, in these er from, on the margins of society, in f f love that can rise out of this brutal soli brutal this of out rise can that love tude, are my obsessions and the theme filmssincemy of we not only show a love story, but we rea inhos most the in even times, modern places. pitable We are at the rais post-production continue to producer, as stage, plan, I and ingfunds through festivals andgrants in order to finish the film. The distributionwill be managed by NathanStray Dogs (France). Fisher of there. There is a careful and thoroughprocessthat precedes each scene. The camera adjusts to the movementsthe characters at the of same time that it urges them to move through the space, almost in an unconscious manner, like a partner. her with would dancer su the outskirts of Buenos Aires. The confinement and isolation, and the robe consists belongs of the to clothing thethemselves on the fictional plane. characters There that is playingno pre-set text or dialogue,ideafor the scene justand markers that the an characters need to get to. justThis improvisingis not and capturing what is of documentary and fiction. The ward

------erentiatesthis project f PRODUCER’S NOTE PRODUCER’S DIRECTOR’S NOTE DIRECTOR’S as well as to denounce characters the opportunities of lack the and prejudice very involved in the film; it runs through shedemotional my to trylandscape, I as light on the hostile surroundings and unfairness of my characters’ situations, the characters and the crew. becameI producer,directorand both As uations, which di which uations, from more typical, formal productions.have We smalla team, asweneed beto able to create a strong bond between This is important to me because of the project,the specialformatof andnature vul and poorvery are who subjects with sit and locations dangerous in nerable, As in my previous two films, film.producerdirectorthetheandthe of I am both breathes truth, a directing style that find find that style directing a truth, breathes intersection the at moment, the in form its tic lens, always through an artistic one, creating a personal characterspass through.poetry stagingA that that the held camera brings us right up close to the reality. The locations are real.lighting The and physical spacesnaturalis a through seen never are but are real, inmate. There is no morality; there is no spatialno judgingcamerais them.There A handit is one division; single reality. With this film, my third, I wanted to inves to wanted I third, my film, this With specialtherelation realityof the tigate ship between a ‘‘Rana’’ and a prison 72 DOCS IN PROGRESS because when she first came to the the to small; and tiny so came was she yard training first she when Arabic), because in Raisin (meaning Zebiba her nicknamed who he It’s unconditionally. loves she whom father-figure a but her, captaintoship.The coach a notjustis relation special very two a share the them of since - not maybe or - name last same the sharethey that cidence a coin just is It daughter. Captain’s the name is Asmaa Ramadan, but she is real notthe Zebiba’s in thrives. Zebiba crack pavement; a of out growing daisy a Like survive. to will the about story a is It 2018. in Championships Junior African the in medals gold three wins she when 18 of age first the till championship, local her for prepares she as 14, of age the from in Zebiba issues following by class Egypt and social gender, les observationaldocumentary thattack form. di be todares Zebiba society, male-dominated its by are defined roles female where In Egypt, training Alexandria. dusty of a streets in the day amongst each nestled yard, training odds, all against to dream tries she unusual this Ramadan, pursue Captain coach her of help the With weightlifter. champion A a Zebiba; about girl story who Egyptian coming-of-age young wants to be a world REPRESENTATIVES IN NYON SYNOPSIS LOGLINE LIFT LIFT LIKE A GIRL EGYPT, GERMANY | 2019 | 90’ | ARABIC EASH YA KABTIN (ORIGINAL TITLE) MAYYE ZAYED anke@jyotifilm.de JYOTIFilm Coproducer ANKE PETERSEN Lift Like a Girl Like Lift f erent and to not con notto anderent is a character-driven is a character-driven - - - -

impact impact professionals. social and distributors agents, sales ing, fund post-production for looking am I losing. and winning both about is life that and time the all win can’t she that learns she as growth emotional continued Zebiba’s see we film, the of minutes 90 the Throughout event, but the sporting loss of her coach. in a or loss championship a not is biggest life Zebiba’s the And loss. of ance accept therather but winning about isn’t that a story follows narrative sports traditional The focus. main its actually Girl a Like using masculine pronouns. Although everyone to speaks he Yet, this. about families their and girls the all lecture loves to He equality. gender and erment believes women’sin Ramadan empow Captain go tohimself, didn’t man 65-year-old school the Although raisin. a like GOALS AT DOCS IN PROGRESS is a film about sports, it is not not is it sports, about film a is Lift Lift - - - 35’952 Masterschool’s Scholarship Campus Documentary Grants, Travel Institute, Goethe Festival, Film Arab Malmo Grant, ARRAY Images Getty Fund, Blue-Ice Docs Hot (AFAC), Culture & Arts for Fund Arab 126’626 162’578 September 2019 Zayed Mayye Peterson, Anke JYOTI Film (Germany) Rufy’s Films (Egypt), 90’ HD 2014 - 2019, months 48 Arabic (Alexandria) Egypt 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 22 % 22 - - 78% - DOCS IN PROGRESS 73 - - - erent f is an Egyptiananisfilmmaker PRODUCER’S PROFILE PRODUCER’S DIRECTOR’S PROFILE DIRECTOR’S Rufy’s Films Rufy’s Films is an Egyptian inde pendent film production housea collective and of 5 filmmakers based qual on the focuses that in Alexandria, ity, and the process of making a filmand not just its commercial value and beenproducinghas It andprofitability. co-producing award winning features and shorts in all genresthat have sincebeen screened 2010, in di venues and film festivals all overworld, thesuch as the Berlinale, IDFA, AFI Fest, Cinemed, Tampere, São Paulo,festivals. film Dubai and Our selection of film awards has the Best DocumentaryExperimental (Sharjah andFilm2019), as well as the Best PlatformArab Feature Best Tripoli Documentary (El-Gouna2017, FF ShortDocumentaryBest 2018), FF(BBC Arabic FF 2017), the Special of prize Mentionthe Jury University (MedFilm 2016) and the Best Short Film (Malmo Arab FF 2015). Mayye Zayed Mayye and a co-founder of Rufy’s Films; anindependent film production com pany and a collective of 5 filmmakers in Alexandria, Egypt. She is a Fulbright scholar who studiedmedia studies cinemain Wellesley and and Innovations College in DocumentaryMIT in 2011/2012 in in the US. She isrecipient the of the Getty Images ARRAY Grant in 2018 and Film 2017 Independent’s in Fellowship Makers Media Global and an alumna of BerlinaleDocumentary Talents, Campus Masterschool, DOX BOX and Showcase the documentary American programArts. Cinematic of School USC in Film In 2013 she co-directed, co-produced and co-shot the collaborative feature “The Mice Room” (Dubai FF 2013, Sao Paulo FF 2014) with 5 other filmmakers. In 2016 she made the award-winning short “A Stroll Down Sunflower Lane” (Berlinale 2016, AFI Fest 2016). ------ectZebibait waythe f matically. It’s a story about the accept the about story a It’s matically. winning. about not loss, of ance The plan is to have a picturepost-produc locked the by finish to and 2019 June tion in August 2019. is all grown up and no longerThis a symbolismchild. also Ramadan’sechoes Captain words toscene, when he talks about how Zebibapeople in oneare like plants; you have to them iflook you want them grow. to after through each scene, which is an impor tantelement giveto sensea ofthe pas time. of sage There are also some visual motifs, such as the plants. Thesequence filmof shots of thestarts training yard, withwhich isa basically a plot of wasteland.ThenCaptain Ramadan begins plant to some plants, and at the end of the film, after his death, we see the wastelandhas been transformed into what couldtran is Zebiba park. a called be almost quilly watering these plants when she acceptance of loss. Andbelieve Ithat personallygrowing up is the process of accepting loss, whether it is a per son, a championship or even a special moment. The story mainly trainingtakes yard,place which atis Zebiba’stheWe don’tworld. see her house, her schoolthator outsideaspect herlifeitany ofof or othercharacteranylike offilm. isthe in It wholethebroughtworldthis smallisinto corner of Alexandria. The visual aspect of the training yard changes gradually ters of Zebiba’s life, with championshipsweightlifting being the pivot endingpoints one chapter andchild are: chapters The four one. new starting the hood’s playfulness and spontaneity; losing and its consequences; the hardwork that brings victory and finally the Despitethe sad events of the Captain’s death,playedit animportant roleinthe story we’re telling. We didn’t know that a would death his dra changed has story the now So did. and Captain Ramadan. and we why That’s Captain are now looking at the footage againandwill re-edit the film with this inmind. The The story is structured four into chap

- - - - LiftLikeGirla PRODUCER’S NOTE PRODUCER’S DIRECTOR’S NOTE DIRECTOR’S realised that we need to focus more on the strong relationship between Zebiba with the sports narrative, which I comehave to realise is not so importantthestory telling.we’re Whilst to editing, we a first cut but we need to work more on thefirst twothirds theofstory. When we began start the film, editing we were ing from a point that was concerned film to be made. be to film The film is currently in editing. We have Therearealmost no producers in Egypt. That is why I had to produce the film myself because it’s the only way for the as she grows up and becomes stronger all the time. However, as I come from a fiction background, the scenes are shot and edited as a narrative film. throughZebiba’sTheaudienceeyes. will her and lift and all cry laugh with both these weights with her. They watch her dedication regardless of gender norms. gender of regardless dedication style, vérité cinema in Shot weightliftingexploresworldtoughofthis the idea of equality between men and women, refusing to favour one over the other, and celebrating hard work and Ramadan, who is trulyfor women’s an rightsadvocate and canmodel befor othera menrole in the whole Arab world and elsewhere. The film explores and who go for it. for go who and Despite the male-dominated society in Egypt, there are a few men like Captain in both Egyptian and international cin and international Egyptian in both ema female that have charac strong ters, who know exactly what they want but also all acrossmost documentariesthe comingglobe. out of the Unlike region,thewomen inthis filmare notvic tims. And I believe it is time to see films promotes women’s empowerment, as it breaks the stereotypes about women, not only in Egypt or the Arab world, thattheydon’t princesses needbe to or thatthemtells that film pink. A indress to they can be whoever they want to be. A film that questions gender roles and andplaying boys,sheneverbutthewith seemed to approve of that. That’s why I decided to make a film that tells girls When I was a child,made my memum wearalways dressesdidn’t like.that I I preferredreally wearing shorts 74 DOCS IN PROGRESS all their time assembling their bike in a in bike their assembling time their all spend Max Nazar and champion. racing speed next the become to quest their on dollars of the millions over spend who all world, from people of hundreds for point meeting the is desert This salt dry USA. Utah, in at Flats Salt record Bonneville speed world the beat to and themselves set - they goal bike ambitious the soviet old an and Ukraine from is guys two - drama Max and Nazar about adventure this of story The modifIed old cracked, it an turns out to be a realwith test of their friendship. record speed is the record nevertheless when And world in USA. Utah, Flats Salt the bike at Bonneville soviet break to try Kyiv from friends Two LOGLINE REPRESENTATIVES IN NYON SYNOPSIS SALT FROM BONNEVILLE [email protected] 20 57 987 097 +38 Director, producer, editor SIMON MOZGOVYI UKRAINE | 2020 | 115’ | ENGLISH, UKRAINIAN,СІЛЬ RUSSIAN, SPANISH SIMON MOZGOVYI FROM BONNEVILLE (ORIGINAL TITLE) (ORIGINAL BONNEVILLE FROM

[email protected] 603 +48 4135 51 Mainstream Pictures LLC Producer Executive MAKSIM LESHCHANKA small garage on the outskirts of Kyiv, Kyiv, over and of miles of hundreds travelling outskirts the on garage small distribution, post-production funding, distributors. funding, post-production distribution, financing, international Co-producers, there. are they why realise to come both they world, the of side other make to their dreams come true. And then, on the obstacles countless coming GOALS AT DOCS IN PROGRESS - 61’000 61’000 Council British Group, Media Atlant Sp, Stewpol LLC, Pictures Mainstream Agency, Film State Ukrainian 117’000 178’000 2020 February Artem Koliubaiev, Anton Khilman Bosak, Taras Leshchanka, Maksim (Ukraine) Group Media Atlant (Ukraine), LLC Pictures Mainstream 115’ / 2 x 52’ 4K 2016 - 2019, 7 months Spanish Russian, Ukrainian, English, USA (California, Utah), Ukraine (Kyiv) 2nd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 34 % 34 - - 66 % 66 - DOCS IN PROGRESS 75 - - - film director, editor, PRODUCERS’ PROFILE PRODUCERS’ DIRECTOR’S PROFILE DIRECTOR’S documentaries, feature film and tele feature documentaries, visionmoviesproduction. Kruty 1918 (2019) The Winter Gardens Tale (2018) Fight Rule (2017) (2017) Day Chrysanthemum Simon Simon Mozgovyi actor. He was born in 1992 in Kharkiv, Ukraine. In 2009 entered Kharkiv State Cinemaof Faculty Culture, ofAcademy and Television Arts. In 2013 he finished 2012- In Kyiv. to moved and studies his 2013 he studied dramaturgy in “Inter” TVChannel School. In 2013, he started acting at the “DAKH” theatre. He now asworks a freelance director. The Winter Garden’s Tale (2018) (2017) Day Chrysanthemum Mainstream Pictures LLC Mainstreamis aUkrainian Pictures LLC film production company specialising in international coproduction,a mandate to make quality, with com mercially viable films for the global marketplace. Based in Kyiv, Ukraine,Mainstream Picturesfocuses ontelling stories in unique ways and in a variety of genres to make movies that reso nate with audiences, both at home andabroad. Our focus ison theatrical - - - - - documentary film. film. documentary to tell the world a simple, but extraordinary, Ukrainian viewers. of story,range wide a by understood which will be nelswhich specialisedare thisintype of tionsand order.isalsoIt rather a critical a which shows reality, Ukrainian of view huge gap between the opportunitiesthere and the opportunities in America. We want to edit the film in such a way that the team spirit as they move ever- closer towards their goal, and the way they act as a team, despite their dis agreements and own personal desires, anotherhelpwillcreateimportant lineof comingthefilm-the together people of greaterconvincedcause.aamfor I that the approach to these themescreativeadocumentary formof will help in the edlyreceiveseverything thoughevenhe has no money, only talent. It’safilm about accepting your place in world,despitecircumstances,the tradi ieres we will build a festival strategy up until 2020 and secure pre-sales of the film,possible.if Then national and world theatrical release would be scheduled for selected countries of in2020. From Octoberthe 2020 forsummer TV and VOD, the film can be released on chan testing the strength of their friendship, as the two friends beginwith eachto competeother. The third ismore thatphilosophical of a context, as the film raises metaphysical questions, such as the fact that the one recordwho wants thethis most, achieve will it. And never the one actuallywho expectdoes miracles not to happen unexpect other. Nazar has the ability and skills to Whereasmoney. no hasbut record, a set Max has the money but lacks the skills. There will be film. The several first, and most layersobvious, longis the toand difficult this journeyrecord-breakers. toThe secondbecome is that of ------culties, and f isfestival a film with cultbutimportant decision stay to f PRODUCERS’ NOTE PRODUCERS’ DIRECTOR’S NOTE DIRECTOR’S Weare interested in the film’s great fes tival potential, and after all main prem- film is in English, it will be well-received in North America, and the audience of largeUkrainian diasporas Europein and Canada will also provide an audience. Salt from Bonneville from Salt a great potential for cinema distribu tion. Due to the fact that 60% of the changed their attitudes towards each a world champion. From when we beganfirst filming them, we have observed inevitablean processgraduallyhasthat Max is the second pilot and the owner of of owner the and pilot second the is Max motorcycle.thesmall hasHea business, which finances their participation in the competition. His dream is to become jobandhishouse, anddevotesallhehis time to upgrading the motorcycle.himselfbelieveagain.in to way Fora it’shim, victories, as well as engi a chief and pilot first the is fatefulNazar decisions. neer. He stakes his record.whole His wife lifeleaves him, onhe loses thishis Kyiv garage, where rustpower extremely the to and birth give ends odds-and- ful and vast universe of North America. It is a story full of ditravel, dreams and own personal growth. The film combines two worlds - a small made this bike in order to prove that he is worth something. Therefore, this is film about a the challenges that a per his/her of sake the for on mustson take a di a true to himself and his calling; to live in Americabrand-newMaxlife.startanda ence reflection throughout the film.firstglance, ourAtstory classic ais story of success. Nazar, who had nothing left in his homeland except his parents, made behind any important choices that are madethroughout life.Thefilm scratches beyond the surface and audi invites This film is record. not justThis aboutis behind a a film speed the about record. what Aboutis what lies 76 DOCS IN PROGRESS unknown world, in an attempt to portray to in an attempt world, portray unknown almost an on view penetrating but nal exter An Africa. and in East Middle the missions training and promotional, humanitarian about talked carrier and tant aircraft impor most the of one during Italian “Cavour” journeys the filmmaker aboard female young A peace evil, and and war.kind A bitterbad, and human comedy hidden behind theand representation good of war. between life: of conflicts incessant the strate The iconography and symbolism deriving from the portrait of Italian SEALs, demon REPRESENTATIVES IN NYON SYNOPSIS LOGLINE THIS IS ITALIAN THIS WARSHIP [email protected] 79 82 737 339 +39 writer Director, VALENTINA PELLITTERI VALENTINA ITALY | 2019 | 85’ | ITALIAN, ENGLISH VALENTINA PELLITTERI VALENTINA serenagramizzi@bofilm.it 71 84 265 349 +39 Bo Film Producer SERENA GRAMIZZI - - aspects of a world controlled by strict rules. strict by controlled world a of aspects profound and intimate human, most the International Sales Agents interest. and Festivals support; Post-production GOALS AT DOCS IN PROGRESS [email protected] 406 30 62 338 +39 InClouds Producer CRISTIAN CRISTIAN CAPPUCCI - 132’125 132’125 Italian Tax Shelter Argentieri), (Maurizio Pot Pepper Production Post Sound InClouds, Production Film, Bo Production 76’000 208’125 July 2019 Serena Gramizzi, Cristian Cappucci Bo Film (Italy), InClouds (Italy) 85’ HD 2013 - 32014, months English Italian, Union Arabic Emirates Oman, Arabia, Saudi Cavour), Carrier Craft Air (Italian Italy 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 63,5% - - 36,5% 36,5% - DOCS IN PROGRESS 77 ------was born in PRODUCERS’ PROFILE PRODUCERS’ DIRECTOR’S PROFILE DIRECTOR’S acquired / co-producedbroadcasters (PressTV, RAI, by SKYARTE, some FranceTélévisions).Calabria” “Un (watched paese 55,000 by people more diin Italy) and than“ALMOST NOTHING” (theatrically Italyin 103halls) bothwon Visions a released du in Réel Award and were internationallydistributed. InClouds mul and audio-visual an is InClouds timedia production company. It pro ducedmovieroadOtherwise”;a “ITalk to Western from Danube river the along Europecountries(8 and lan9 Eastern trans-me a “InDanube” and guages) dia anthology project connectedseveral to European countries, acquired by Istituto Luce. Our mission is to cre ate a link between analogic pictures anddigital culture withthe creation of a new digital language. Valentina Pellitteri Catania in 1981. After studying dance, she began exploring other art lan guages focusing experimentation her attention and new media. on 2012 she gainedIn a degree at Palermo Documentary Centro Sperimentale di with Cinematografia the docu mentary entitled “Terra del Ritorno”, a portrait of the photographer Giovanni Chiaramonte. Aftershe finished her studies, she col a docu in “Palermo Pride” laborated – produced Bros Manetti by mentary by Anele and RAI. She directed some permanent video-performancesSicilian on archaeology for both PaoloMuseo Orsi, Siracusa, and Museo della Ceramica, Caltagirone (CT). Bo Film creative and issues social a is Film Bo documentaries production company. It has produced films that have been selectedinternationalby festivals and - - - - - erent f erent radio f erent levels of f erent languages / registers: f interest potential in themarkets. international The film is in post-production stage and its release is planned for the end of July 2019. artistic interpretation of strongerreality aspectis the of the withitsincredible film,visual elements. Once together Valentina defined a timeline followingher poetic idea, we projectentered as intoproducers the and startedproper editing.the Because of its delicate and be the keep content to linto sure guistic and artistic freedom of the film, we decided not to involvepartnersup until this point, now anythat we other contentshavealllocked. Visions RéelDu is our first real exposition the to indus try market: we feel the film has a high the complexthe humannaturetheof being, call who Those kill. also but love can who home to say, “I love you, Mum,” are also those who work with weapons, who sail the oceans to sell torpedoes“black shark”. named duced to this film andfrom to anysteer judgmental,away or currentpolitical affairsimplications. We think the choice; as an overview general,on humans on thein nonsensical,and insaneamazing world we inhabit. The news is taken from real publications /broadcasts. radio The experience of the film deeplyaims subjective to but equallybe universal, di to leading viewer the reflection, as if they werea symphony. My desirelistening is for the audi to ence to experience what I experienced myself: the intimate awareness (without unnecessaryhelpof the explanations) of 2. 2. Use di the official one; theintroducing one me ofand my theobservation titles of the Navy system; the surreal one used by some of the radio news. design: sound particular very a Create 3. The sound of the electroniccontinuous war, as a buzz dangerous reaching points highin precise andoperations,practical will be a protagonist of the film,just like the ship itself. In addition to this, the many voices of di broadcasts received along the trip will be added as very precise narrative nificant walk out and the Istituto CinecittàLuce Footage includingand mines’parades explosions: the war game in all its pompousness, through di decades). the artisticintro Valentinahasthelookthat ority of the edited hiddenmaterial), phone footagemy in Saudiown Arabia short for a when went the crew but sig ------airs side of the story. f erent video footage: my own f DIRECTOR’S NOTE DIRECTOR’S PRODUCERS’ NOTE PRODUCERS’ into and draw its own conclusionsown itsthis ondraw and into world. areWe very determined keep to tionalportrait overlapped with apoetic multi-vocal symphony of suggestions.audio/news The audience can travel and the relationship she has built withthe main characters, allows us to reveal the most intimate dual aspects of human being. The thefilm is an observa to which to shehadincrediblean exclusive access. We think the way Valentina has integrated such an inaccessible world, in a very regimented environmentover three months,for while shooting. Weare intrigued about theparticularvery showinga humanhabitat possibility of working together in Bologna. Today we are invested in supporting the intensework Valentina Pellitteri has carried out The The relationship between the produc ers and the director has been built over studiedyears:lastthe15we and started HD footage on the ship (the large maj- large (the ship the on footage HD unconscious. To create this experience I will: 1. di Use tion to be a non-informative audio- visual experience. The intent of the film is to awaken and impact the collective andthe to deeper meaning of the word “nonsense”. “This is Italian Warship” has as its ambi sional athletes or theatreduring performers these drills. This led direction to my postmodern artistic philosophy NavySEALs’ everyday life. They perform repetitive training exercises, doing the same actions day after day, like actors They become play. in profes a theatre war appeared to me as a fiction, as mise-en-scène. The a most fascinat ing and symbolic sidebehaviour of isthe that ofmilitary the rituality of the ship in its greatness. its in ship Veryoften thelife those of paidmake to their complete confidence in my work, I mainly used hand camera to film them, preventing the use of fix frames - used to shoot the engines and the enormous talking and interacting with the ous varicharacters. To underline the strong relationship I developed with them and My presence is (almost) never declaredin never (almost) is presence My image/sound even though I spent most of the time exploring the Cavour ship; the Navy SEALs, as an insider, by explor by Navyinsider,theSEALs,an as ing the human aspect rather a thancurrent purely the After a short period on the Italian air craft carrier “Cavour”, observe the mission I sharing with was I decided to

ROUGH CUT LAB

AS PART OF VISIONS DU RÉEL INDUSTRY, THE ROUGH CUT LAB INVITES FOUR FILM TEAMS, WITH A FEATURE-LENGTH CREATIVE DOCUMENTARY IN ITS FINISHING STAGE, TO PRESENT THEIR ROUGH CUT TO INDUSTRY PROFESSIONALS IN ORDER TO RECEIVE SPECIFIC FEEDBACK AND ADVICE.

BY INVITATION ONLY

ABOUT ROUGH CUT LAB 80 ROUGH CUT LAB SCHEDULE 81 TUTORS 82 AFTER YOUR REVOLT, YOUR VOTE 84 OUR DARK 70’S 86 THE DEVIL’S DRIVERS 88 URBAN AMAZONS 90 80 ROUGH CUT LAB ABOUT partners. partners. distribution and financing potential with connect to teams project the allow ings meet one-on-one by a tutor. Attending moderated for hours, three professionals film cinema the selected and editors with two teams, together screened discussed be and will cut rough each sion, ses non-public a In films. their finish to way best the finding in filmmakers port in sup to is idea films The stage. on editing their working are who teams for access makersdecision to advice privileged expert and gives 2012, in ated cre Réel, du Visions atLab Cut Rough - - - - We wish to warmly thank our jury and and jury feedback! tutors generous for their our thank warmly to wish We Award. est sud visions the for eligible be will East and South global the from teams Project the project. for winning subtitles the provide will Verde Raggio that to announce happy We are ROUGH CUT LAB 81 by Kiswendsida by Parfait Kaboré (booked on site) 30 min technical check before session) before check technical min 30 30 min technical check before session) before check technical min 30 30 min technical check before session) before check technical min 30 30 min technical check before session) before check technical min 30 by Mohammed by Abugeth, Daniel Carsenty ( ( ( ( by Thaïs by Odermatt by Ali by Essafi

ROUGH CUT LAB 3 3 LAB ROUGHCUT 2 SCREENINGROOM 4 LAB ROUGHCUT 2 SCREENINGROOM 2 SCREENINGROOM MEETINGS ONE–ON–ONE ROUGH CUT LABPREPARATION ROUGHCUT SCREENING2 ROOM 1 LAB ROUGHCUT 2 SCREENINGROOM 2 LAB ROUGHCUT 2 SCREENINGROOM - The Devil’s- The Drivers - Urban Amazons LABROUGH DEBRIEFINGCUT projects All SPACE OPEN (only for Rough Cut Lab team members and tutors) - Our Dark 70’s - After Revolt, Vote Your Your

15:00 - 18:30 - 15:00 16:30 - 18:00 - 16:30 14:30 - 18:00 - 14:30 10:00 - 13:30 - 10:00 16:00 - 18:00 - 16:00 18:00 - 19:00 - 18:00 09:30 - 13:00 - 09:30 SUNDAY 07 APRIL 07 SUNDAY TUESDAY 09 APRIL 09 TUESDAY MONDAY 08 APRIL 08 MONDAY WEDNESDAY 10APRIL WEDNESDAY SCHEDULE 82 ROUGH CUT LAB [email protected] [email protected] MARINA DROZDOVA MARIA BONSANTI TUTORS [email protected] MATTHIEU DARRAS MATTHIEU

researcher for European documentaries. documentaries. European for researcher Moscow archivesfilm and critic film from a as career long a enjoyed since has and University, graduated Marina 2017, Bonsanti was artistic director of of director artistic was Bonsanti 2017, to 2012 From 2007. and 2006 in section Forward Play the instance, for dinated, the Locarno Festival, where she coor she where Festival, Locarno the forworkedfrequently also She 2011. in co-director appointed was Florence, she worked in where Popoli she dei Festival years the for twelve For since 2000. film documentary of world the in MariaBonsantiestablished has herself WWW.FLARTIANA.RU RUSSIA FLAHERTIANA INTERNATIONAL FILM FESTIVAL WWW.EURODOC-NET.COM FRANCE EURODOC of San Sebastian Film Festival in charge charge in Festival Film Sebastian San of delegate currently is and Week, Critics’ Cannes for worked notably he grammer, pro festival a As Lab. Cut First West’s Meets East When as such initiatives ents tal film various with collaborates He tor. MatthieuDarras isFirst Cut Lab’s direc WWW.FIRSTCUTLAB.EU SLOVAKIA FIRST CUT LAB - - - - tival juries around the globe. the around juries tival Russia). of co-director tic artis the is and documentaries torical hasalsoShewritten producedand his hasalready served on a number of fes Bonsanti Maria worldwide. countries 60 than more from producers documentary 1,000 over for network and programme training of leading a head Eurodoc, for the Program been has she 2017, Since Paris. in Pompidou Cinéma Centre the at réel du festival film documentary the He recently founded the Pop Up Film Film Up Pop Residency. the founded recently He MASA. NISI Cinema of Young Network the European directed & founded he Positif; magazine film the to contributor a is He Europe. Eastern of Flahertiana IFF (Perm, (Perm, IFF - - - ROUGH CUT LAB 83 ) - - The Almost La idea de un lago (doc./2019) Jacqueline(doc./2019) (fic./2015) MichaLewinsky,(fic./2015) (orig.: (fic./2015)Xavier Koller, (doc./2016) Jacqueline Zünd, Fund selection. MasterfilmtheatDutchof film Academy She teaches atAmsterdam and the was lecturer for seven years at the University of Amsterdam at Film and Media studies. At the Sarajevo Film Festival, Rada heads the docu mentary competition and co-heads the Docu Rough Cut Boutique. With friends, she tarted a film festival in The- EasternHague Neighbours -where she is the director. artistic Cohen, Jean-Charles of the documen Several Julia Pinget. Massera And Nichts passiert Nichts Schellen-Ursli Lake A of Idea (fic./2016) Milagros Mumenthaler, There BelongWhereWe Zünd tary and fiction features she has edited have been selected inas: FestivalsVenise, Cannes, such Toronto, Sundance,Berlinale, Locarno, Lussas, VisionsRéel. du - - - dr Das Day (fic./2012) erent direc erent f Eine wenig, (doc./2011) Thomas Imbach, (fic./2006) Andrea Staka, Staka, Andrea (fic./2006) is on a viewing comity and IDFA Bertha Rada is a documentary filmmaker, criticfilm and lecturer, festival programmer. She was born in Croatia, lived in Bosnia and Herzegovina (Sarajevo), lives in The Netherlands. She nowcollabo she rates on the program of two biggestfilm festivals in Theadvi program a Netherlands is she where Rotterdam - IFFR sor and on the selection of Hubert Bals Fund and IDFA Amsterdam where she EDITOR FRANCE WWW.ISABELLEINGOLD.COM EDITOR SWITZERLAND BOSNIA HERZEGOVIA BOSNIA WWW.SFF.BA SARAJEVO FILM FESTIVAL / DOCU ROUGH CUT BOUTIQUE CUT ROUGH DOCU / FESTIVAL FILM SARAJEVO 1994-1999. Film 1994-1999. editor (including): Fräulein Is Done Abrir puertas y ventanas Milagros Mumenthaler, Dällebach Kari (fic./2012) Xavier Koller, Born in 1970, in Zurich. ZHdK Film Zürich Horackova, Itvan Kebadian, Renaud Isabelle Ingold in isa major with alumni Femis a La She is a freelance editor.editing. Since her graduation, workednumberwitha shediof has tors, among others, such as Amos Gitai, Vincent Dieutre, Vivianne Perelmuter, Toshi Fujiwara, Barmak Akram, Bojena

ISABELLE INGOLD ISABELLE GION-RETO KILLIAS GION-RETO RADA SESIC RADA [email protected] [email protected] [email protected] 84 ROUGH CUT LAB of this transition period. This is the first first the is This period. transition this of end the for set are election an of dates The up. set was government a transitional uprising, 2014 October the After film. previous my in I filmed that period this is It fled. president the protest, of week a After weakening. is place in regime The power. of out Compaoré drive to ering gath are people oflater, thousands years Twenty-seven 1987. in Blaise Compaoré by overthrown being up ended achieved Faso He production. food in independence Burkina his Under presidency, corruption. Sankara end to things. wanted change to ambition the with 1983, in power to came who Sankara, of Thomas the legacy claiming together people young It brings society. do not the hesitate flaws to of denounce they this, For resources. its from can benefit everyone where and fair is justice where duties, same the and rights same the have citizens all which in become country a to Faso Burkina wants ment, Citoyen, Balai The movesociety civila boxes. ballot the via government of change a first witnessing the is is country the time this generation, historic a Burkina to young the by commits lead Faso movement a to Burkina Thanks vote. 2014, October in uprising popular a Following REPRESENTATIVES IN NYON SYNOPSIS LOGLINE AFTER YOUR REVOLT, YOUR VOTE [email protected] 52 60 564 60 +33 Director KABORÉ KISWENDSIDA PARFAIT BURKINA FASO, FRANCE | 2019 | 90’ | FRENCH,APRÈS TAMORÉ, RÉVOLTE, DIOULA, TON BISSAVOTE (ORIGINAL TITLE) KISWENDSIDA PARFAIT KABORÉ [email protected] 00 90 056 63 +33 Valseurs Les Producer JUSTIN PECHBERTY - -

I paint the various changes that have have occurred that in the political life changes of my coun various the paint I camera, my With insurrection. the after obtained gains the a preserve to as sentinel positioned youth this of strength This the measuring of way a is elections. documentary the for proposed date was Another putschists. the reinforce to came army regular the later, weeks Two by bullets. were killed people young erected, were Barricades hostage. a as President of the Transitional the Government 2015, the took Regiment Security Presidential September the On via box. government ballot of change a to access had has Faso Burkina that time Sales Agent. International an for Looking production. post for partners financial new Finding an inspiration to continue the fight. as serve can for that come, to memory generations a also is work this but try, GOALS AT ROUGH CUT LAB [email protected] 696 666 677 +22 BRANDIMAGE Producer SERGE DÉSIRÉ OUEDRAOGO

- 50’000 50’000 Films, Les Valseurs Etalons - Images Brand Francophonie, la de Internationale Organisation Création Francophone, Jeune Fonds 65’000 115’000 September 2019 Justin Pechberty, Serge Ouedraogo BRANDIMAGE (Burkina Faso) (France), Valseurs Les 90’ 2K 2015 , months 10 Bissa Dioula, Moré, French, Burkina Faso 2nd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 57 % 57 - - 43 % 43 - ROUGH CUT LAB 85 ------knownas PRODUCERS’ PROFILE PRODUCERS’ DIRECTOR’S PROFILE DIRECTOR’S want to allow the emergence of new pro They of on view world. the points fic films, short mixing duced twenty tion,animation anddocumentary, and featurestwo documentaries. Their lat est films travelled from Venice to IDFA and Toronto and they recentlythe Césarwon for Best direc Turkish Shortthe VILAINE by with FILLE Animation tor Ayce Kartal. As distributors,theatrically they released Eugène Green’s (CinémaRéel)andPAROLE du LA FAIRE RAMBLERS MIDNIGHT Ballester’s Julian (special mentionWorld, Best First Work Competition at at FIDBA). ThisMiradasDoc, Human Kiswendsida Parfait Kaboré Kaboré Parfait Kiswendsida Ouagadougou in 1984 in born Galadio, opted for visit a and regularly Imagine Institute fitter traininging film atsets. Spotted theby the director Guy Désiré Yaméogo, he to work wason his feature.hired He undertakes training with directors such as Gaston JM Kaboré and Jamel Tahi. In 2012, he documen in Masters a with graduated tary creation in Saint-Louis, Senegal. films, short documentary produced He including “Demain L’Afrique”,showcases his vision of whichthe panafri can ideal and “À double Tranchant”shot during the summer school of La Fémis. “Place à la révolution”, his first feature-lengthdocumentary, received prizesat the International Film Festival the at Saint-Louis, Humanat Rights,of Ouagadougou Ciné Droit Libreat the andPanafricain Documentary Film Festival of Yaoundé. Valseurs Les Les Valseurs do not shy away from any genre or format, and above all they ------Place à la . This strategy is subtle and ers a committed vision from f icalism can convince andlarge number of spectators to sensitizethese a questions. screen again. screen without great influence on my com rades. It’s a device that does not dis sociate the camera from me. discussions It allowed film to and participate to me placethedebateswhere isarise,since it and the moment where the strategiesof protest are being discussed. I shoot, often in close-ups, these sometimes heated, between the mem exchanges, mere acoordination. thenot amofbers I observersuggestionsmake Iand myself. sit current the is it process, this Through uationcountry,my ofhistory progress,in that I would like to be able to show on The sound is alwaysparticipating a direct in sound,the immersionOn spectator. the other hand, I used of the at certain momentsmusic composedof in a studio, theby Samsk, film,BalaimembersValian,the Smockeyor of the Citoyen.Butmusicmostthe offilmthe in diegetic. is The camera I used allowed me withoutto film disrupting the same meetings.camera used in This Révolution is tine radio had been put impor an regained in have which media, place. The tant place in the society after the 2014 insurrection, have a significant place in my film. We want to resources give to push his cinematographic Parfait aesthetics time as and far as facilitatepossible the access ofand his workto to the world. Parfait o inside that helps recent ushistory of understandBurkina Faso. His rad the strategy to report the mood during this periodresistance.of The radios wereno longer broadcasting, but a clandes

- - - - - After cult to film, f , on political and is thesecondis part PRODUCERS’ NOTE PRODUCERS’ DIRECTOR’S NOTE DIRECTOR’S about the radicalism of his cinema and his point of view. We met Parfaitmet We during Documentarythe Film Festival of Saint-Louis in Senegal.We were immediately enthusiastic elections, in spite of in the elections, financial spite pre cariousness, in order to testify of whatwas happening. of themovieof andpossessionin is rare of and rich images. They to werecapture on essentialthe spot the presidential Parfaitcompletedhasnow shootingthe ance did set up. To better understanddigitalusedrevolution, theI of stakes the messages concerning the resistance During the coup, it was di was it coup, the During the media being targeted.I was able to capture However,how the resist capture the point capture of view of spectators and young people coming to partici event. the in pate Balai Citoyen to raise awarenessconvince and people toelection time,vote I was on theduring podium, but thealso I putmyself timesat inthe crowdto of sequences, the camera becomesitself. character a During the concerts organized by the often choose tighter frames or close- ups. Behind my camera, Iat timesparticipate in discussions. In the majority why I do not hesitate to use my camera to testify on what is happening. I use a hand held camera to film, and dentedevent inBurkina Faso. The same question arose during the coup d’état. Filming is for me a way to resist. That’s It was impossible for me to remain inacremain to meimpossible for was It tive in the face of history being written. The 2015 elections were an unprece Your Revolt, Your Vote Revolt,YourYour trilogyfollowsBalaiathat theCitoyenof group. In 2012, I startedfeatureIa2012,documentary, In Place à la Révolution social challenges in Burkina Faso. 86 ROUGH CUT LAB the rest of the world. Collective dreams dreams Collective world. the of rest the across wave was sweeping a libertarian free Atwill. the an time, same individual’s of expression the was art Moroccan tory, very little exposure.received For the first time artists in its his Moroccan cians, musi the for except period, colonial the during and Before conditions. new these in thrived artists Moroccan lonial supreme the post-co ofgeneration first was Thechief. he which of police, the and army the by controlled system infernal an place in putting power, lute Hassan II, chose to award himself abso War. of king, new Cold the The struggles power the in up caught became quickly it but independence, gained just recently had Morocco production. cultural and importantly, artistic change in best the saw Most period this for surface. to dreams began and when history struggles post-colonial its in time first the were seventies the Morocco, In story of this very period unique in Morocco’s history knownthe as “The Yearstell will of Lead”.film the protagonists, the of interviews with together sound) photo, (film, works of fragments Assembling censored. been long has that era an of production Our Dark 70’s REPRESENTATIVES IN NYON SYNOPSIS LOGLINE OUR OUR DARK 70’S [email protected] 751 598 600 +212 Cinemaat Productions Director, producer ALI ESSAFI MOROCCO, FRANCE | 2019 | 80’ | ARABIC, FRENCH AL DHAKIRA 70 (ORIGINAL TITLE) ALI ESSAFI is an archival footage project which reveals the mood and the artistic artistic the and mood the reveals which project footage is an archival [email protected] 66 64 77 08 6 +33 Productions Laterit Producer MARIE-CLÉMENCE MARIE-CLÉMENCE PAES - - - - The film will tell the story of these tumul rulers. despotic country’s the of wrath toand began projects the form, invoking ence. Meet partners to complete the the complete financing. to partners Meet ence. the audi internationalto an meaningful is during story the if evaluate to advice process editing external have To narrative. the throughout be will scattered citizens anonymous or artists famous from tions narrative. Amid these archives, intervenvisual parallel a build will years these of production artistic the from archive fragments of collage The film. first his ing ond will recount the adventure of direct sec theand 21,of agethe activityat political first his of turns and twists the us tell will first The protagonists. two of years tuous the through interviews audio GOALS AT ROUGH CUT LAB - - - - - 84’600 (France), (Morocco). 2M TV OIF (Qatar), Institute Film Doha 107’119 191’719 June 2019 Ali Essafi, Marie-Clémence Paes (France) Productions Laterit (Morocco), Productions Cinemaat 80’ Archives None / Archival footage Arabic, French Morocco 4th (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 56 % 56 - - 44 % 44 - ROUGH CUT LAB 87 - - -

was born in Morocco. He PRODUCERS’ PROFILE PRODUCERS’ DIRECTOR’S PROFILE DIRECTOR’S of Nature”, “Mahaleo” haveawards allat Cinémawon du Réel,Leipzig... Dok Popoli, dei Festival Cinemaat Prod by 2006in created was Cinemaat Prod independenttwo filmmakers, Ali Essafi and Hakim Belabbes, to address the sup to lack of structures production cinematicgenresnew for research port experi non-fiction, (Doc, in Morocco. “Crossing production, last Its mental...) the Seventh Gate”, was premiered at the Berlinale (Forum). productions Laterit An independent production company film by 1988 in created Paris, in based films to produce for a makers better cross-cultural understanding. “Fahavalo, MadagascarMarie-Clémence 1947” A. the by Paes World received Documentary Montréal World award Film at festival,currently showingand in theatres;is “Songs for Madagascar” by Cesar Paes; “Ady Gasy” by Lova Nantenaina. Previous films “Angano... Angano... Tales fromMadagascar”, “Songs and Tears Ali Ali Essafi studied psychology in enteredFrance, the thenworld of filmmaking.works Hisas a director include “General, here we are”, Beet “The Fields”, “Ouarzazate SilenceMovie” and of“Shikhat’s the Blues”, whichwidely havescreened beenand praised on internationalthe circuit.Morocco in Returning2003, helengthy embarked to research on into visualfilmNorth& archives. Thesehavebeen African transformed into films and “HalaqatNord- Artworks,and “Wanted” as such Africaines” which have been shown at various Modern Art worldwide. Events (2017) Gate Seventh the Crossing Wanted! (2011) Casablancaen rouge Le Blues des Shikhats (2004)(2002-2003)‘ voices arab Jazira’s Al (2000-2001) Movie Ouarzazate Paris mois par moi (1999) Le Silence des Champs de Betterave (1998) (1997) Voilà Nous Général, ------is a film that is madeis that film a is Our Dark 70’s Dark Our The remainingpost-production. budget Colourcrucial willas we have grading a huge go diversity poorqualityandsourcesoriginals, we so is of to need HD restoration. Sound and music this enhanceimpact of the to central are rare footage, and should be recorded and mixed in a professional studio. The original language is both Arabic,French so andsubtitling is essential.single Every detail is important to story bringto the world in thisthe best quality inter an reach can film the so possible, almost entirely from archive material. It has achieved 56% of its financing. are and budget the complete to need We interestedpre-buysTVinchannelsby or distributors. international national audience. rently theatrically released in France. It is important that our imagesown historical are widely sharedworld. in today’s comic strips, among others... not serve the to audio illustrate Theysto do ries. I use them more asa lay for allows which an track, additionalnarration eredreading theofevents. Theynot are and do shown in an context, objective notclaim any historical objectivity. I use them as pieces of a puzzle to be fitted together. The diversity of thematerial “collages”.inworkBymakesme archival crea of value intrinsic the emphasising tivityenhancethatgoaltime,at to myis my own vision and style. allow us to identify to allowusthem, whilst blending the images. into archive Their empha strength sised storytelling (voice-over) ens their presence withoutgeneraltheasperceptioncontext theof disturbing conveyedbythe other archive material. The serve archives as a main protago frag and disparate represent They nist. ile material. Some come from censored or destroyed works, of which I was able to find bits and pieces that remained.They consist ofmusic, visual films, arts, graphic photographs,design, and the story of my elder brother. So I had to find a way to make sure that particularthese accounts would be heard, as they represent the course of an generation,entireI whyThatentireera! anis of charac the film to not choice the made ters and why I refrained from visualising them. The photographs taken in situ Montréal World Film Festival, and is cur is and Festival, Film World Montréal

------, about including

Général Nous , made,1971, in andthe Memory 14 Memory !, a film about colonial veteran

Fahavalo, Madagascar 1947 PRODUCERS’ NOTE PRODUCERS’ DIRECTOR’S NOTE DIRECTOR’S witnessaccounts and archives, wonthe Documentary of the World Award at available on VOD and DVD. Our latest film the story of the struggle for independ ence in Madagascar through first hand broadcasters as Arte, WNYC, SVTCanal+, or Taiwan public beenTV. theatrically Some released,have and all are created1988.in Previous documentaries were screened at documentary festi vals, such as Cinéma du Réel, such by andFestivalPopoli,deiLeipzigIDFA,Dok LATERIT productions is an independent production and distribution company, cate ourselves to projects onthat thefocus transmissionand challengeof the usualoral clichés memoryaboutCountries”. “Developing comefrom French ex-colonies, we have a shared history and had an imme diate artistic connection. We dedi We first discovered, and work Essafi’s in 1997 admired,with Ali Voilà soldiers from the French army. We both upon the country. are characters my of stories the However, similar hundreds to of others, ing their own little anecdotes, the char the anecdotes, little own their ing acters bring us closer atmosphereto the generalthat weighed so heavily The content of the narrative doesestablishhistorical truths.Rather, to seek not it focuses on the human dimension and relat by so, Even experiences. personal the archives in an unusual way, and to rescue the memory of that dark period oblivion. from of 1 hours 48 minutes to just 24 minutes! in even its work, cen This experimental sored state, inspired me to approach his career! his film His fruition10ofyears work,of wasreduced by censorship from the original version Bouanani,whothewasfirst and thelast tryhishandmaking atto archive anfilm, has paid the price for it all throughout Archives from the colonial era are more readily available in France and Spain. At the end of the Sixties, Ahmed by a few institutions closely relatedthe Royalto Cabinet. Audiovisual archives are always under political control. In In Morocco, there are no National Archives! These haveneglected bestandmisappropriatedat been at worst 88 ROUGH CUT LAB group of nine smugglers. In parallel, parallel, In smugglers. nine of group a of leader the becoming to up way his the worksslowly he as years fiveof over course him follow We 2012. in filming been released from jail when we startedjust had cousin older The darkness. into descends you around world the when person good a be to how of that is ters charac our oflivespreoccupyingthe question main The conflicts. armed ning run today’slongestof one in survival had it 2017 By developedinto grimnarrativea side. about wild the on living gangsters young tale about flamboyant o started man, other of the sister the to married each - - cousins smugglers two about film Our Israel. in sites construction on as workers migrant living a make to seek Bedouins the conflict, of years many from Exhausted hilltops, the on o people thecutting villages fortified built have settlers Israeli midst, their In lation. is proportions hometo anindigenous Bedouin popu biblical of landscapes vastitswith Hebron of southarea The men about years five living of on the edge in one of the mostcourse fragile regions the of the world. over filmed portrait intimate An desert. Negev the through workers Palestinian smuggle cousins by army, the Bedouin two Pursued REPRESENTATIVES IN NYON SYNOPSIS LOGLINE [email protected] +4917681916414 Co-director, co-producer MOHAMMED ABUGETH GERMANY, QATAR, LEBANON, FRANCE, PALESTINE | 2019 | 90’ | ARABIC MOHAMMED ABUGETH, DANIEL CARSENTY THE THE DEVIL’S DRIVERS f from their land. land. their from [email protected] +49 173 83 86 186 Co-director, producer DANIEL CARSENTY CARSENTY DANIEL f in 2012 as a as 2012 in - - - he has always been the best driver, driver, best the withblessedchilneverbeen has but been always has told: is he cousin younger his of story the campaign. outreach an start to companies reach out distribution; international and from world-sales acquisition; TV distributors Switzerland, and Co-producers world. the of regions fragile most the of one in edge the on living men of story A jail. in and protagonists our of one with begins ends film Our murder. abetting arrest the younger cousin for aiding forces and Special responsibility. claims which ISIS for Aviv Tel in attack an is there over day next The drive time. more to one border the offered is he night, One livelihood. his loses he and zero to falls territories Palestinian the in investment out, breaks Intifada’ ‘Third the business. when But construction local the in ing his when son is work he is born, happily 2015, In wife. his with clinic fertility a visit and smuggling to quit decides He dren. GOALS AT ROUGH CUT LAB - - - 43’000 Arte and RBB, AFAC, Doha Film Institut 127’000 170’000 September 2019 Mohammed Abugeth Carsenty, Daniel n/a 90’ HD 2012 - 2017, 12 months Arabic Israël (Palestinian territories) 2nd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 25% - - 75% 75% - ROUGH CUT LAB 89 - - - - - Mohammedwas directed his first fea first his directed both work as independent PRODUCERS’ PROFILE PRODUCERS’ DIRECTORS’ PROFILE DIRECTORS’ their first feature length collaboration, produced with the foun - Arab the and supportAFAC Germany of Arte Culture. and Arts for dation Mohammed Abugeth Abugeth Mohammed born 1986 in Jerusalem. He works as a TV freelancer in Ramallah and Berlin. ‘‘The Devil’s Drivers’’ is his first feature film. length Carsenty Daniel ture film ‘After Spring ComesGötheburginGIFF atpremiered It 2015. Fall’ in and was awarded Best Feature at the Zsigmond sec his VilmosDrivers’’, Devil’s Festival‘’The Hungary. in Sziget,post-production in currently is film, ond and will be finisheddocumen a on working is he in Currently summer 2019. tary about the German philosopherand social activist, Philipp Ruch. Mohammed AbugethCarsenty and Danielfilm and video producers in the fields of documentary and they Recently, produced musicmusic vid videos. including artists, based Berlin for eos Jonahand Acoid&Modem which have been published on internet platforms such as VEVO. ‘‘The Devil’s Drivers’’ is - injustice surrounding them. ters,as people with flaws and strengths who make mistakes and struggle hard survive, to who even commit crimes and dare to make money – as never – but heroes anti-heroes as often more and as mere victims. mastersThe of their smugglersown destiny and withfighttheir areown means against worlda of mer of 2019. Once we have rough-cuta we willfinished start negotiating with worldsales and distribution companies. We are planning a theatrical release in and and Switzerland Austria Germany, Belgium,France,hopefully inHolland too countries. Nordic and in portraying Palestinians the way they are generally shown in the media, and oftenPalestinianby activists andartists themselvestoo; as victims. They believe in showing Palestinians three-dimensionalas reallyare: the charac way they is is responsible for the cinematography, ‘fly-on-the-wall’developedmethod of a documentarywithmicro-team, a inwork a very small hand-held 4K-camera and an almost non-existent the of director’s back-seats the on ego.almost sit They smuggler’s jeeps and tail along behind them, so that the protagonists virtually forget that they are there managedthey after so, doing by minutes.And a few to create images of raw intensity about a group of young individuals living a life of crime. As filmmakers with Arabic and Israeli backgrounds they don’t believe hard-earned moneybuilding on their groceries,their houses cars. And the next day they do and it repairingall over again: without a rest,a break, withoutthey walk continuously on the edge with one foot in prison, hospital or even the cemetery. Mohammed, who is also a sound engineer, and Daniel, who ------Lessons of in the cinema together on PRODUCERS’ NOTE PRODUCERS’ DIRECTOR’S NOTE DIRECTOR’S ing for 17,500 Euros, which wouldus finish the rough-cuthelp and possibly the whole editing process. We are planning to complete the rough-cut by the Sum- cut. In parallel, we are working on financ on working are we parallel, In cut. ing the last part of the editing process. We just submitted to Bertha Fund ask Currently we are finishing the first rough- first the finishing are we Currently they put themselves in danger of being shot or arrested, just theirfamiliesevening to spendandtheir to return in the against the powerful and found himself chained to a rock, condemned to relive the same painful day, over and over. By crossing the border during the daytime tiny. Inthistiny. sense, thesmugglers appear as modern day versions of the ancient rebelledPrometheuswhoof figure Greek any imaginable future without an eight metre-high Separation Wall,the impression that constant createsimprison des Palestinian the become has ment freedom, always living in fear of beingcaught and punished. Regardingsituationtheof Westbank today with its the political stalemate and the absence of people committing crimes as a way to earn money for survival and living a life constantly on the edge, searching for to work in dangerous jobs are the twomain focal points of their documentary work. They are drawn tolive peoplein situations who of moral ambiguity – the spur of the moment. They went toon to become friends and tors.co-direc Imprisonment and being forced quickly discovered that they were both big fans of Werner Herzog and Hubert Sauper and went to watch Darkness machine of the FilmuniversityWolf’ ‘Konradin Potsdam-Babelsberg,Daniel was studyingwhere at that time. They The The co-directors and co-produc ers Mohammed Abugeth and Daniel Carsenty met in 2011 at the coffee 90 ROUGH CUT LAB since birth. The orphan from Dhaka, Dhaka, from her lifearound turned orphan Bangladesh, The birth. fighter a since been has She herself. on rely only to learn to had Sara) Fucking That Sara of for (a.ka. a victory. in fight pursuit a become to looking is constantly She weapon. body fierce her trains she as strength and combativity unexpected the world – three years ago. She finds an in art martial violent most the – MMA in training started she when herself within Amazon the discovered and Maryna beliefs. victories struggles, their into look lives to allow battle us to take a close-up their dedicated have who weapons? women Three chosen their are what and for fight they do what found, be they modern of a story tells and perceptions, traditional redefine to looking Berlin, to journey a Amazons of director Swiss The war. was life in concern main whose aggressive, and brutal warriors, a women of were tribe Amazons mythology, Greek In and humanity. This is a call for Amazons to stand together. victory in a martial arts cage; a fight for love and A on. for respect;fight pushing a always fight forno compromise, fellow su No justifications, beliefs. for their fight UrbanAmazons LOGLINE REPRESENTATIVES IN NYON SYNOPSIS URBAN AMAZONS www.thaisodermatt.com [email protected] +41 79 457 21 65 Director THAÏS THAÏS ODERMATT SWITZERLAND, GERMANY GERMANY | SWITZERLAND, 2019 | 80’ TURKISH | KURDISH, ENGLISH, GERMAN, AMAZONEN GROSSSTADTEINER (ORIGINAL TITLE) THAÏS THAÏS ODERMATT , Thaïs Odermatt, embarks on on embarks Odermatt, Thaïs , UrbanAmazons are fierce heroines who have the power to conquer hearts. They They hearts. conquer to power the have who heroines fierce are

[email protected] +49 17 630 327 868 Babelsberg Filmuniversity Producer SOPHIE SOPHIE AHRENS . Where can can Where . Urban Urban

oa se gt wtot sn weap using without fights she ago. years Today Kalashnikov her down laid Zilan Kurds. the of rights the for fighting Ararat, Mount on army matriarchal a in at the age of and twelve ten spent years was trained to a fighter become guerrilla of over. Zilan woman quite never is fight her colour, gay a DJ. being Nevertheless, highly-respected a become her helped up give never to determination and self-confidence spirit, Her Hop. Hip and to Rap herself devoted and around resentatives for pre-sales. for resentatives rep TV as well as and sales, global secure programmers festival meet back, feed creative obtain to looking are We and unite to stand together. call director’s the follow they and Amazons other of those with cross paths their city the around move threewomenthe Asworld. thearound rights women’s for and people their of recognition for refugees, war for – ons GOALS AT ROUGH CUT LAB f erers erers - - - 15’000 Babelsberg KONRAD WOLF University Film Foundations, Dok, SRF (BAK), Kultur für Bundesamt 149’692 164’692 June 2019 Brigitte Hofer, Sophie Ahrens (Germany) WOLF KONRAD Babelsberg Filmuniversity (Switzerland), GmbH maximage 80’ 2K 2017 -12 months 2018, German (Winterthur) Switzerland (Odense), Denmark (Bergen), Normway (Casablanca), Morocco Germany (Berlin), Ukraine (Kiev), 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 9 % 9 - - 91 % 91 - ROUGH CUT LAB 91 - - - was born in Stans PRODUCERS’ PROFILE PRODUCERS’ DIRECTOR’S PROFILE DIRECTOR’S Since 1997, producers Brigitte have been and Seitler suc Cornelia Hofer cessfully creatingand feature films for the documentaries international cinema and television market.collaboration Their with highly writersinnovative and directorsinternational has awards. received They Germanwon theFilm Prize „Lola“ forAnd Below’’,‘’Above the Canadian Film Prize „Genie Award“ for ‘’Gambling, AndGods Lsd’’ and 5X the Swiss Film Prize“Quartz” for ‘’Köpek’’,Below’’, ‘’Above ‘’Du&Ich’’, And Tribe’’. ‘’Heimatklänge’’‘’Accordion and maximage has co-produced a range of international projects, includ ing ‘’Raising Resistance’’ byBorgfeld Bettina andSabinaIsName ‘’My Marton’s Elisabeth David BernetSpielrein’’. and maximage was recognised in 2010 by the city of Zurich for their dedicated work as producers. Thaïs Odermatt (Switzerland). She studied Design and Art, department University video of at Applied Lucerne Since 2009 she has been (HSLU). Arts Sciences and working as a filmmaker, video editorartist, and teacher in Switzerland and Berlin. She has carried workout for the contractArt Museum Lucerne and LucerneUniversitythe amongst others. In 2014 Thaïs enrolled degreein coursethe in Masterfilm directing at the Film University Babelsberg KONRAD Germany.WOLF, Four Beauties (2017) Zufall (2016) (2015) Welt Bewegte Kurt und der Sessellift (2012) (2012) Schafmacher Die (2009) CHO HEI NID Wir Kinder von der Huob (2006) maximage maximage is an independent pro duction company based in Zurich. ------erent styles of foot of styles erent f er from er the documen from was shot with a small . f film exceeds average University pro University average film exceeds jects and is therefore in need of a more substantial support. Thaïs has recently resumed editing by herself and we are at the stage of a 3rd rough cut. We are 2019. June by film the finish to aiming of what it really means risksto fight, it what involves andtakes to whatbe an itAmazon. actuallyThese tionsques form the basis for myvoiceover for Amazons Urban lectedsubstantiala amount footage,of Morocco, Switzerland, in shot Germany, Denmark, Norway and Ukraine. The thematically and in the way it is struc combiningdi tured, homogenousfilm. a into music and age I had a baby girl shootingjust and now I am a proudas mother, we finishedworking on a film about daugh my only not women motivate will hope that I ter, but everyone who watches the film, to stand up and fightcauses. Now, duringfor the lengthy editingworthwhile in my new home process, back in cozy Switzerland, my daughter asleep at my side, I am confronted with the question tary footage as they underline a light heartedaspect that isimportant me. to The film is harsh, like thewomen’s stories,city and yet conveys andtheir with thework to wanted I energy. boundless existing footage of Berlin, the inputfellow Amazons of and smartphone-re corded footage of the representationof women in the publicthefilmentertain to and challenge realm.both I want Urban Amazons Urban over studentsfellow of crew intimate and the period of one year. We have col conquer the streets of Berlin, andfinal in a take theyenergetic are images look The hilltop. a from out over the city and di strongly the metropolis of Berlin. The interviews with the three Amazonswith them moving, fightingare and walkingintercut around the city. Secondary characters link their stories. A girl punk band gives a street concert and a woman dances on a rope. I included dreamlike, playful scenes showing an army of Amazons - - - and Sophie has an episodic style. . Kurt und der Sessellift PRODUCERS’ NOTE PRODUCERS’ DIRECTOR’S NOTE DIRECTOR’S project Thaïs will present her Amazons her Amazons Thaïs will present project to us in a lively film, capturing intimate moments with a subtle, poetry.soft, yet wild short and Thaïs know each other fromstudies. their In this debut feature length very sensitive manner. She has an intui humour,workingplayful with of tive, way images and sound. already produced her longtime-seller maximage has Thaïs is able to approach people in a Urban Amazons Urban The three main storylines intersect in shot a huge amount of footage during the year and developed a close bondwith the protagonists. thankful for the immensewomen placed in me duringtrust the year of these shooting and continue to place in me withthe further work on this project. We Impulsive. Impulsive. Finding the right protago nists and convincing them to take part inthefilm was noteasy andamdeeply I The film is a colourful, fresh homage to the impertinence of strongfemininity. Self-determined.divergent Consistent. who would share their storiesbattles and tell ofme about theirthe weapons they use. The Amazons Amazons Urban of our time – Inspiredby my childish imagination I set out in Berlin to find women whobeliefs, my forfightandactwould inspire to me billboards – sadly inwomen are vain.mostly decorative. Happily Images of smiling, in pink shoes; Alluring. study study and work as a and director edi tor in Berlin. Walking through the citylooked I for female artists on the huge my first attempts to scratch. Anda fewonly years back, I was obsessed with getting a gold tooth. I left my quiet and conservative Swiss hometown to live, into every possible fight to win. Later, I punkbandfantasisedaboutsinginga in and ruined my parents’ record player in I used to imagine that I was an warriorIndian riding a mustang gotand wrestleand to lovedagainst Ievil. all fighting

PRIX RTS: PERSPECTIVES D’UN DOC

INITIATED BY RADIO TÉLÉVISION SUISSE (RTS), THIS COMPETITION AIMS AT PROMOTING CREATIVE DOCUMENTARY FILMMAKING IN FRENCH-SPEAKING SWITZERLAND.

OPEN TO THE PUBLIC

ABOUT PRIX RTS 94 PRIX RTS SCHEDULE & MODERATOR 95 ACTING PAIN 96 AFTER THE COLLAPSE 97 BLOODHOUND 98 GARÇONNIÈRE 99 HOMELESS BABIES 100 MUEZZIN BLUES 101 NIGHT 102 94 PRIX RTS : PERSPECTIVES D’UN DOC ABOUT project is based on its financing needs needs financing its on based is award-winning project the of choice the and team award-winning the of choice The public. general the and professionals of jury a to projects selected their present filmmakers and Producers stage. ment develop its in project documentary a promoting at aims session pitching this (RTS), Suisse Télévision by Radio Initiated - prize is worth 10’000 Swiss francs. Riethauser.TheStéphane by directed film the of screening before the RTS” “Soirée the at announced be will project awarded The project. the of creativity and interest the potential, team’sour the i.e. criteria, on selection usual as well as development, cated in the prospect of a long and compli and long a of prospect the in Madame, Madame, - PRIX RTS : PERSPECTIVES D’UN DOC 95 at f as commissioning editor and buyer. His long experience aswon the a respectfilmmaker of independent directors,Swisshas with whom the RTS is in close contact. The documentary unit involvedis also in many pre-purchasesinternational producers, that withdo usually run in the best festivals awards. andsubstantial often win by Stéphane Riethauser (20 minutes each) (20 minutes each) by Frédéric by Cho by Fred Baillif Fred by Madame Madame by Pierre-Yves Borgeaud Pierre-Yves by by Céline by Pernet by Yamina Zoutat by by Elena by Avdija erent parts of the f ered by RTS by ered f by Orane by Burri ered by RTS by ered f ROMANDIE LUNCH AWARD CEREMONY & SOIRÉE RTS MARENS DE THÉÂTRE SCREENING ROOM 1 SCREENINGROOM TECHNICALTEAMS CHECKPITCH FOR COFFEEAND CROISSANTS BY WELCOME PROJECTS 4 OF PITCH COFFEEBREAK PROJECTS 3 OF PITCH O CAFÉ Award Ceremony World Premiere of o Apéritif Emilie Bujès & Gudula Meinzolt, Lamunière Gaspard by Introduction - Acting Pain - Garçonnière - Bloodhound - After the Collapse - Night - Muezzin Blues - Homeless Babies erent films. In 2004, he joined RTS’s f RADIO TÉLÉVISION SUISSE TÉLÉVISION RADIO RÉALISATEURPRODUCTEUR / SUISSE world and in Switzerland. Interestedall in kinds of topics, di he has made very Documentary unit, where he now works Gaspard Gaspard Lamunière has worked 20 years in the field as a journalist for RTS’s televisionPrésent”Overprogram. “Temps the years, he has directed more than 50 in di documentaries 11:15 - 12:15 - 11:15 11:00 - 11:15 - 11:00 12:3014:00 - 19:30 - 22:30 - 19:30 09:40 - 11:00 - 09:40 09:30 - 09:40 - 09:30 09:00 - 09:30 - 09:00 08:00 - 09:00 - 08:00

SATURDAY 06 APRIL 06 SATURDAY

MODERATOR SCHEDULE GASPARDLAMUNIÈRE [email protected] 96 PRIX RTS: PERSPECTIVES D’UN DOC in Paris. At the end of her stunt school, action into back get to Nyon in woman the age of 30, she her left job as a sales At one. Audrey’s crosses path Virginie’s killer? a escape to car a under jumps who person physical the is who screen, the on characters the Behind violence? exalted this of weight the carries who But crying. blood, tion, mutila sexual cuts, on The focuses camera victims. mostly are cinema in action women of roles the quickly: change to order in entrenched too are women of representations the cinematographic tions specific to the film industry. However, rela ofsexist todenunciations tum the in initiated Hollywood in 2017, movement, o #MeToo The 30 almost stuntwoman. a been has for she years, smile: a with up always stands and stairs, the down thrown is pulled, hair her gets beaten, is Virginie REPRESENTATIVES IN NYON SYNOPSIS ACTING PAIN ACTING and how they shape them in the world of cinema. in bodies are anchored genders between hierarchy and of power relationships how world, in a A of of changing series stuntwomen portraits LOGLINE ELENA AVDIJA ELENA SWITZERLAND | SWITZERLAND 90’ | 2020 | FRENCH JOUER LE MAL (ORIGINAL TITLE) [email protected] +41 21 311 34 90 Director ELENA AVDIJA [email protected] +41 21 311 34 90 Bande à Part Films Producer USULA MEIER f ers a new momen - - - - aramu@bandeapartfilms.com +41 21 311 34 90 Bande à Part Films Producer Executive AGNIESZKA RAMU RAMU AGNIESZKA has developed avoidance strategies strategies inappro and jokessexistregardto in who avoidance Virginie developed has Unlike women? between two the meeting a trigger will What up. give doesn’t Audrey but long is road The imagined. she what aren’t girl stunt Swiss the by signed contracts the eral festivals. Théâtre D’ici ou de là-bas documentaries, two directed She tant. director’sager,assisandproduction man location a as Cinema, and TV for projects several on worked Avdija Elena and bodies shape them in the in world of cinema. anchored are genders between hierarchy and relations power Pain Acting eyes. our Under everything. learn to has still Audrey gestures, priate DIRECTOR’S BIOGRAPHY (26’, 2017) both presented in sev in presented both 2017) (26’, offers a glimpse at how how at glimpse a offers Acting Pain (29’, 2013) and and 2013) (29’, ml.pahud@bandeapartfilms.com +41 21 311 34 90 Bande à Part Films Producer Executive MARIE-LOU PAHUD o f ers a look at a look ers Option: Option: - - - - 315’300 (complémentaire) Cinéforom Films, part à Bande 34’700 350’000 September 2020 Ursula Meier Bande à Part Films (Switzerland) 90’ 2K 2019, 6 months French Malaysia (Kuala Lumpur) (Nyon), Switzerland (Paris), France 1st (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 10% - € - 90% - PRIX RTS: PERSPECTIVES D’UN DOC 97 at f

- 95 % € - 5% € €

CONFIRMEDFINANCIAL SOURCES AMOUNT REQUIRED FILMING LOCATION FILMING LANGUAGE SHOOTING DURATION & DATE SHOOTING FORMAT SHOOTING RUNTIME EXPECTED COUNTRY - NAME PRODUCTION PRODUCER(S) RELEASE EXPECTED BUDGET TOTAL CONFIRMEDAMOUNT 15’000 15’000 LesFilms duTigre Sàrl 315’000 (NO) FEATUREFILM (NO) 4th Switzerland,France, Cuba, USA, Mali, Greece... French,English, Spanish... months 3 2019, 4K 90’ (Switzerland) Tigre du Films FrédéricCho Early2020 330’000 ©Christian Lutz ©Christian - - , for Canal Dirty Gold Dirty QUENTIN CHEVALLEY QUENTIN Productionassistant Les Films du Tigre 10 64 420 77 +41 quentin@lesfilmsdutigre.com DIRECTOR’S BIOGRAPHY DIRECTOR’S BIOGRAPHY JOURNALIST’S Gilles Labarthe is the author of several investigative journalism books anddocumentaries. TV2014, Inheco-authored and co-directed Plus channel’s Specialprogramme. Investigation at the heartlives? our the of at Frédéric Choffat, independent film maker. Founded with Les Julie Gilbert Filmsin 2009. Received the du “Prix Tigre Louise Weiss” inJournalist 2016, Award. European VraieLa Vie Est Ailleurs (2006), (2011) Mangrove OneMy Little (2019) A reporter and academic researcher, ing us? Should we reinvent everything, put the social link, the connection to an “earth-system”, creativity, fantasy, back urgently develop a new conscience ofand ourselves, of the world surround

- - - - GILLES LABARTHE GILLES Co-writer, journalist Co-writer, 38 98 457 77 +41 [email protected]

FRÉDÉRIC CHOFFAT FRÉDÉRIC fred@lesfilmsdutigre.com Director, cinematographer, writer Les Films du Tigre 42 72 542 76 +41 FRÉDÉRIC CHOFFAT FRÉDÉRIC APRÈS L’EFFONDREMENT (ORIGINAL TITLE) (ORIGINAL L’EFFONDREMENT APRÈS FRENCH,ENGLISH, SPANISH | 2020 | 90’ SWITZERLAND | LOGLINE

Theshock willbehard. Thesimultaneous collapse climate,of economic andenergy systems will create crisis, shortages, starvation, migrations, diseases, mysonconflicts... told me: “You were afraid As of leaving me into a shitty world? But don’t worry, we’ll vanish together!” AFTER THE COLLAPSE THE AFTER REPRESENTATIVES IN NYON IN REPRESENTATIVES SYNOPSIS new model will we choose? Should we Do we accept or deny keep the will announcedwe Three, act in Then, collapse? an open mind for all next options: what will we need to rebuild, and how, which survivalists, politicians, students, econo students, politicians, survivalists, mists,farmers… Howwillwe deal withan ever present essential, painful question: makes documentedspecific cases, in researches Europe, America, and Africa. In Act onwe willTwo meet with col lapsologists, scientists, philosophers, The film is made of three acts. Act One checks the facts, investigates and new paradigms and myths, in order to replace those who keep us from seeing and understanding the big changes in action. I looked for answers to my son’s ques tions, so we could exploreideas, newand set ways,up new actions. Explore This film takes you to the likely collapse perthefrom it,know we worldasthe of spective of collapsology, the “scienceof collapse”. Within this new discipline, 98 PRIX RTS: PERSPECTIVES D’UN DOC fluid goes from one person to the other? mysterious What exactly? exchanged is that is what other, to the body one from passes blood that when And veins? our through silent, and invisible flows, that her and blood is the What doctor a chimera… daughter, a conveyor, blood a teeth, vampire with boy young a others: of stories the nestled are meanderings In its together. film the holds that thread is the story My the city. personal through blood of and humans of circulation the today, Paris film I quest. point cinematic a of starting the is It event. the after from came my years elation forty mother people who thus saved my life. This rev of or several toone blood me the with fill empty me entirely of my ; blood the other to one holes: two punctured was they I born, When exsanguinated. been I’ve REPRESENTATIVES IN NYON SYNOPSIS BLOODHOUND Director ZOUTAT YAMINA mysterious fluid goes from one person to the other? to the person one from goes fluid mysterious What exactly? exchanged is that is what toother, the body one from passes blood that when And veins? our through silent, and invisible flows, that blood the is What LOGLINE SWITZERLAND, FRANCE FRANCE | SWITZERLAND, 2021 | 90’ | FRENCH LE DE CHIEN ROUGE TITLE) (ORIGINAL YAMINA ZOUTAT YAMINA joelle@closeupfilms.ch +41 78 12 05 665 Close Up Films Producer JOELLE BERTOSSA - symbol of life and death at the same con same unexpected me to the reveals – time at death and substance, life of symbol ambivalent – blood The then turned into an opera. into an turned then was film The 2011. Réel du Visions Award Lessiveuses Les in both Switzerland and France Released 2017. Réel du Visions Sesterce RetourPalaisau Dutroux. Marc and Papon Maurice of trials the on others, among reported, She school. film her was court Yamina Zoutat has that said the criminal years, 10 over for reporter law of A court us. and and secrets, the between nections world DIRECTOR’S BIOGRAPHY (Laundry), 45’, Creation Creation 45’, (Laundry), (6999 Doors), 87’, Silver Silver 87’, Doors), (6999 - 9’500 antenne passage Succès Cineforom, 25’000 400’000 2021 February Joëlle Bertossa, Richard Copans (France) d’ici Films Les (Switzerland), Films Up Close 90’ HD 2020, 6 months French Europe 2nd (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 2,5 % 2,5 - - 6 % 6 - € PRIX RTS: PERSPECTIVES D’UN DOC 99 - 82% € -18% € € CONFIRMEDFINANCIAL SOURCES AMOUNT REQUIRED FILMING LOCATION FILMING LANGUAGE SHOOTING DURATION & DATE SHOOTING FORMAT SHOOTING RUNTIME EXPECTED COUNTRY - NAME PRODUCTION PRODUCER(S) RELEASE EXPECTED BUDGET TOTAL CONFIRMEDAMOUNT OFC,Succès Cinéma, Cineforom, Cllimage 246’000 (NO) FEATUREFILM (NO) 1st Switzerland French months 2 2020, - 2019 4K 80’ Climage(Switzerland) StéphaneGoël October2020 of End 300’000 54’000 - - DIRECTOR’S BIOGRAPHY DIRECTOR’S Lausanne. nessesallowing graduallyme to unravel part of the masculine puzzle. Born in 1986 in Nyon, Céline Pernet is Swissanthropologista andfilmmaker. She studied anthropology and journalism in Neuchâtel and Québecfilm a between as works 2005 she 2013, Since 2011. and assistantmaker, directorand editorwith the Climage Audiovisuel association in troublingawareness, sharetheymewith theirdoubts, their fearsand their weak and a lot astonishment of a touch With of curiosity, humor and kindness immerseI fully myself in the male factoryexploring by the life stories of these Betweenmen. resistance to change and - - - STÉPHANE GOËL STÉPHANE Producer Climage 89 71 622 78 +41 [email protected]

CÉLINE PERNETCÉLINE [email protected] Director Climage 60032 78 92 +41 PERNET CÉLINEPERNET

SWITZERLAND | 2020 | 80’ | FRENCH | 80’ | 2020 SWITZERLAND | GARÇONNIÈRE LOGLINE REPRESENTATIVES IN NYON IN REPRESENTATIVES SYNOPSIS belong anymore. to impossible standardsin the cultthey and oflike powerfeel locked don’t and generation performance, my of men beenwidely abused some.by But being dom the of circle exclusive the part of inants also comes with a price to Encouragedpay. since childhood to reach a man in the 21st century. Being born a man is still a privilege in ouran inherentsocieties, position of power that has club ideology. Love, sex, desire, seduc desire, sex, Love, club ideology. tion, fatherhood… so many themes that question the men around me. They are starting to wonder what it means to be them whispering their despair and dis comfort, claiming to be stuck between the #MeToo movement and the boys’ I am a woman in my early thirtiesan urge to makewith sense of the confusion that seems to be tormenting most men of my generation. I can hear some of This film is a woman’sinvestigationa Thisis filmmen. patientlyworld the Byof in gathering words of several men, closelyconvictions. deepest men’s shattering observing and certainties down breaking theiroccurring, world, she witnesses the social mutation 100 PRIX RTS: PERSPECTIVES D’UN DOC ae pae i i ncsay o id a the find is priority to the baby; the for solution necessary is it place, taken has reception emergency the Once professionals. of network the with meetings and institution the within mentof their child, aspart of their visit parentsplace thethe during support and accompany welcome, They basis. daily a on needs psychological and cal physiologi their meeting of care taking by of children at the service its skills puts team educational the time, this During possibility of extension up to one year. a with month, a to days few a from vary can stays the of duration The ronment. envi family’s their in situation crisis a from protected temporarily be to Youth O theof services the by placed are to They five. of birth age the from children for home gency In Geneva, the Piccolo home is an emer The institutional path possible. of the placed child rarely begins. is this but family, the to return a is priority the place, reception taken has emergency the Once environment. family’s their in situation crisis a from from 0 children In to the welcomes Geneva, Foyer Piccolo 5 years old to protect them LOGLINE REPRESENTATIVES IN NYON SYNOPSIS HOMELESS HOMELESS BABIES [email protected] +41 78 745 48 10 Freshprod producer Director, FRED BAILLIF SWITZERLAND | SWITZERLAND 2020 | 90’ | FRENCH BÉBÉS SDF (ORIGINAL TITLE) FRED BAILLIF

f ce of Childhood and and Childhood of ce [email protected] +41 79 240 06 25 Ecran Social Producer MAURO LOSA

- - - - return to the family but this is unfortu is this but family the to return of more than ten documentaries and and two feature films. documentaries ten than more of author the is He lives. their to close role a play often who characters, of his tions and allows him to get closer to the emo sensitivity a his films worker gives certain lights the His characters. past as a social naturalist a high which in directstyle witha cinema, specialized Baillif Fred old. years 18 turn they will until toanother children home one from go even Sometimes begins. child of path the placed institutional classical the then and of reception place another to extended is placement the result, a As rare. extremely are reception the for candidates the nevertheless, services; social the for solution is desired the family then host A possible. rarely nately DIRECTOR’S BIOGRAPHY [email protected] +41 76 434 16 05 Ecran Social Assistant Production BARTEK SOZANSKI - - - 120’000 120’000 (Switzerland) Freshprod 10’000 130’000 Mid-January 2020 Losa Mauro Baillif, Fred (Switzerland)l Freshprod (Switzerland), Social Ecran 90’ / 52’ HD 2019, 3 months French (Geneva) Switzerland 6th (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € € - 7,6 % - - 92,4 % 92,4 - PRIX RTS: PERSPECTIVES D’UN DOC 101 - 93 % € - 7 % € € CONFIRMEDFINANCIAL SOURCES AMOUNT REQUIRED FILMING LOCATION FILMING LANGUAGE SHOOTING DURATION & DATE SHOOTING FORMAT SHOOTING RUNTIME EXPECTED COUNTRY - NAME PRODUCTION PRODUCER(S) RELEASE EXPECTED BUDGET TOTAL CONFIRMEDAMOUNT Foundations,funding private 560’000 (NO) FEATUREFILM (NO) 4th Tunisia, Switzerland French,Arabic months 2 2020, - 2019 4K 90’/ 52’ (Switzerland) Production Momentum Borgeaud Pierre-Yves 2020 October 600’000 40’000 - - - : A : was distrib was Viramundo ; his most recentmosthis ; Return to Goree to Return DIRECTOR’S BIOGRAPHY DIRECTOR’S videos, installations, VJ performances, films).Golden Leopard video Locarnoat doc award-winning his 2007, In 2003. in umentary, as; well as worldwide, uted Gil Gilberto with Journey feature film (2013). tion of cultural identity,between the culturesdialogue and the questshared living space.for ForMoncef, it’salso a anemotional return his to roots, or what remains of them, with a desire to better understandthereasons thatpushed his biological family to send him away. And to find out how the call heard in a song deeply. so him touch could Musician, journalist, studiedfilmmakingat NYU (New University).York Arts and Various works with musicians (music In this trip, Moncef is guided by Dhafer Youssef who was ableto tocreate defy musicdogmas thatopen, isdespite modernbeing deeplyand ques thetradition.music playswithThe rooted in - - . Together they imaginetheya Together .

PIERRE-YVES BORGEAUD PIERRE-YVES SWITZERLAND | 2020 | 90’ | FRENCH,ARABIC | 90’ | 2020 SWITZERLAND | PIERRE-YVES BORGEAUD PIERRE-YVES

Director, producer Production Momentum 80 87 320 76 +41 [email protected] MUEZZIN BLUES MUEZZIN REPRESENTATIVES IN NYON IN REPRESENTATIVES SYNOPSIS LOGLINE mystical universe of his country of origin.countrymysticalhisuniverseof of bining Western and Maghreb culturesup until its first public performance2020. This film tellsin the story of Moncef Genoud’s discovery of the cultural and new musical and cinematographic pro cinematographic and musical new ject that would follow the adventure of com repertoire band and a a creating director Pierre-Yves whom Borgeaud, he conceived with the 2007idea for award-winning the Gorée à Retour documentary; in an attempt cureto his blindness, and taken in by his adoptive family. Moncef Genoud discusses this moment with one of the great names in today’s jazz scene, resonates like a mysterious callfor this pianist, who left Tunisia at two years old, having been sent to Geneva that connects with Moncef Genoud on deepera level.heart-breakingThe song theof former muezzin, who has become In 2018, Swiss pianist, Moncef Genoud,plays with Tunisiansinger Dhafer oudYoussef for the playerfirst time. Dhafer and embarks on an improvisation With oud playeroudWithformerand guide,muezzinhisblind DhaferthejazzasSwiss Youssef pianist,Moncef Genoud,explorethrough Tunisiato musicreturns to what remains of his roots and understand to what prompted his parents send to him Switzerland to whenyearstwoold. he was 102 PRIX RTS: PERSPECTIVES D’UN DOC rethink the night. Laurent Debrot is a is Debrot Laurent night. the rethink to attempting are people few Yet cial. cru are questions these planet, our of survival the to ever challenges biggest the of one poses economy energy where the time a At consequences? what it will go with And for and purpose? what How far and environment. but our health living, of way our only not impacts and to erase night is race not without consequences, never-ending this But spaces. noisy or crowded avoid to way a also is night by Living restaurants… shopping, sport, transport, it is daytime: as though 24/24 live to want people Internet, the and apps by possible made philosophy population the now” and “here the and cities, in With growth changing. are things today but - night by place took plots political and emergencies parties, only Yesterday history. human in ments develop important most the of one been has darkness of enlightening The night? the with relationship our is What return. to darkness for fight and consequences ecological its against warn voices few night, lit for money-making the brightly pushes ever.than quicker capitalism While pearing Nightisthelastpeaceful space/time overcrowdedourin society. itisdisapBut LOGLINE REPRESENTATIVES IN NYON SYNOPSIS NIGHT www.oraneburri.com [email protected] +41 76 65 00 788 Director ORANE BURRI SWITZERLAND | SWITZERLAND 2020 | 90’ | ENGLISH FRENCH, NUIT (ORIGINAL TITLE) ORANE BURRI

[email protected] +41 49 38 22 300 Framevox Producer AGNES BOUTRUCHE AGNES - - and zoologists who confront him with with night. of vision own him their confront who zoologists and architects, tourism o policemen, artists, workers, researchers, other meet also and darkness, on views to people their change cities, convincing to villages from him follow We will stars… the reclaim and darkness to back go to century 21st the of people convince to tried has he years several For a change. lights is way tothe make simplest quickly o switching thinks who ecologist Swiss ing on her first feature film. film. feature first her on ing Citizen Resistance documentary est absurd lat her released society’s recently She values. liberal our against ( acters Cleaners War Tabou, ( realenlighteningly films, ing OraneBurriwrites directsand engag DIRECTOR’S BIOGRAPHY

Amor, Non, Dublin Non, Amor, and is currently work currently is and The Price of Gas – A – Gas of Price The f ) or fictional char fictional or ) cers, ethnologists ethnologists cers, ), who fight fight who ), Penaber f - - - - - ,

319’926 319’926 Framevox 13’330 333’256 October 2020 Agnes Boutruche (Switzerland) Framevox 90’ / 52’ 4K 2019 - 2020, 6 months English French, Paris Brazil), or (Asia Dubai, Switzerland, 5th (NO) FILM FEATURE REQUIRED AMOUNT SOURCES FINANCIAL CONFIRMED AMOUNT CONFIRMED TOTAL BUDGET EXPECTED RELEASE PRODUCER(S) PRODUCTION NAME - COUNTRY EXPECTED RUNTIME SHOOTING FORMAT SHOOTING DATE & DURATION SHOOTING LANGUAGE FILMING LOCATION € € - 4 % 4 - € - 96 % 96 - SWITZERLAND MEETS... QUÉBEC

SWISS PRODUCERS AND REPRESENTATIVES OF PUBLIC FINANCING AND TELEVISION MEET A DELEGATION FROM A REGION HAVING A COPRODUCTION TREATY WITH SWITZERLAND, TO ENCOURAGE COPRODUCTION, NETWORKING AND COLLABORATION.

ALL ACCREDITED WELCOME

ABOUT SWITZERLAND MEETS... QUÉBEC 104 SWITZERLAND MEETS... QUÉBEC SCHEDULE 105 MODERATOR & GUESTS 106 PRODUCERS: QUÉBEC 108 PRODUCERS: SWITZERLAND 111 104 SWITZERLAND MEETS...QUÉBEC ABOUT mission on the theme of “Switzerland “Switzerland of Meets Québec.” This theme activity will the encour on mission the thank Quebec-based to a hosting for like organizers would we year, This filmmakers. up-and-coming for a and makers springboard documentary recognized most the for event must-see a is and documentaries showcases that festival a Réel, du Visions in part take to des entreprises culturelles (SODEC) is pleased développement de Société The a company and project presentation of of presentation project and company a by followed is It experiences. and edge studies that will case allow and to exchange knowl information through Canada and Switzerland a between of coproduction investigating opportunities and about challenges is the part first The Canada. in nity the francophoneQuébec, and commu Switzerland between meeting duction copro bilateral Canada, a organize we year this with recent the agreements mind in Eurimages having and tions, coproduc concrete several in resulted which Bruxelles Wallonie Fédération the bilateral the meeting weplaceputinlast of year with success the Following tional coproduction and acquires an an acquires and coproduction tional interna in experience extensive has Quebec projects. long-term or ongoing for relationships coproduction form sibly one- in on-oneprofessional from activities, part posand take other, six each know to Quebec; to get network and meet Switzerland—to from professionals—six producers documentary age ------Berlin and the Canadian Embassy in in Embassy OFC, the Switzerland: From Switzerland. Canadian à the and Québec du Berlin Antenne the as well as of Canada board Film ONF, the National oppement des entreprises culturelles and President and CEO, SODEC CEO, and President Lantagne Louise Enjoy the festival! trigger discussion. and that thought works notable explore to opportunity the us giving programming, and quality artistic its for festivals best the among for the is event placed lished, screening. special estab is well reputation du Réel’s Visions a competition for and festival’s stream the in chosen been have makers documentary based Quebec- that delighted also are We film. for documentary co-producing tools financial foreseeable and ble Industry Réel du Visions of Head Gudula Meinzolt the Affairs, RTS.the and Cinéforom Cultural of Office Federal We warmly thank our partners from from partners our Canada: the SODEC - Société thank de dével warmly We meetings. one-on-one in exchange and meet also Switzerlandrespectively.willand They Québec from producers experienced 6 undisputable attractionstaundisputablethrough - - - SWITZERLAND MEETS...QUÉBEC 105 booked on site) on booked ( Maison Neuve (in production) (10minutes each) & 1999 - Wish You Were Here (2018) Here Were You Wish - 1999 L’Apollon de Gaza (2018) ilms (CH): (CH): ilms F

kka PRODUCERS PRESENT THEIR COMPANY PRESENTTHEIRCOMPANY PRODUCERS LUNCH NETWORKING & MEETINGS ONE-ON-ONE PARTY QUÉBEC/CANADA CELEBRATING & AWARDS INDUSTRY LUNCH SCREENING ROOM 1 SCREENINGROOM COFFEEAND CROISSANTS WELCOME OPENING DEVELOPMENT & PRODUCTION FINANCING IN SWITZERLAND AND QUÉBEC BREAK STUDY CASE A and possibly pitch a project in development, looking for co-producers for looking development, in project a pitch possibly and SCREEENINGROOM2 SPACE OPEN CLUB LE - RÉEL DU VILLAGE Beauvoir Films (CH): (CH): Films Beauvoir Information & discussions & Information

11:00 - 11:10 - 11:00 11:10 - 12:00 - 11:10 12:15 - 13:00 - 12:15 12:0012:15 - 10:30 - 11:00 - 10:30 10:00 - 12:30 - 10:00 13:00 - 14:00 13:00 - 14:00 14:0016:00 - 20:00 - 22:00 TUESDAY 09 APRIL 09 TUESDAY WEDNESDAY 10APRIL WEDNESDAY SCHEDULE 106 SWITZERLAND MEETS...QUÉBEC CANADA SODEC BUSINESS RELATIONSHIPS MICHEL ST. PIERRE INSTITUTIONAL GUESTS: QUÉBEC [email protected] SAMARA SAMARA CHADWICK MODERATOR

Documentary Festival (RIDM) and the the and (RIDM) Festival Documentary International Montreal the HotDocs, for conferences and films programmed has Samara US. the in Maine, of coast ged rug the on September every globe the around from films short and feature tion non-fic creative showcases CIFF world, the in festivals film documentary top the of One (CIFF). Festival Film International Camden the and Institute North Points for the Programmer is Senior the Samara POINTS NORTH INSTITUTE / CAMDEN INTERNATIONAL FILM FESTIVAL FILM INTERNATIONAL CAMDEN / INSTITUTE NORTH POINTS WWW.POINTSNORTHINSTITUTE.ORG/CIFF CANADA, USA CANADA ONF STUDIODOC FRENCH NATHALIE CLOUTIER - - Moving Image in New York City. City. York New in Image Moving of the as as well the Museum BAFICI, and DokuFest festivals HotDocs, in including worldwide played since and Réel, du Visions at 2018 in premiered Canada of Board Film National the and (CH), Films ducedby Parabola Films (CA), Beauvoir mentary, 1999 Occupied Berlin Biennale (2012). Also a filmmaker,Also Samara’s featurefirst docu (2012). Biennale Berlin Occupied - Wish You Were Here , pro - - SWITZERLAND MEETS...QUÉBEC 107 GASPARDLAMUNIÈRE DIRECTORPRODUCER / RTS SWITZERLAND

GÉRARD RUEY GÉRARD SECRETARY GENERAL CINÉFOROM SWITZERLAND

SWITZERLAND INSTITUTIONALGUESTS: MATTHIASBÜRCHER KULTUR FÜR BUNDESAMT / OFC PICS / FISS SWITZERLAND 108 SWITZERLAND MEETS...QUÉBEC [email protected] [email protected] MÉLANIE CARRIER RICHARD BROUILLETTE QUÉBEC PRODUCERS: FILMOGRAPHY: FILMOGRAPHY: FILMOGRAPHY: FILMOGRAPHY:

PRODUCTION: PRODUCTION: FILMS IN FILMS IN debates and issues of our times through through times our of issues and debates the to contribute to is objective Canada, whose City, Québec in based pany com production film a is FILMS MÖ has he artist where Obscura, Casa La centre self-managed the founded 1993, he In (1989-1999). Libre Cinéma pany com distribution independent the for worked then and critic a as out started He editor from and programmer Quebec. director, producer, is Brouillette Richard WWW.MOFILMS.CA QUÉBEC MÖ FILMS WWW.FILMSDUPASSEUR.COM SAINT-PAULIN LES FILMS DU PASSEUR Prends Garde à la Douceur des Choses des à la Douceur Garde Prends Brouillette - 2015 Oncle Bernard – A Counter-Lesson In Economics Cachée Rivière La Dépossédés Les Soleils Noirs Prière pour une Mitaine Perdue Liu à Lettres Bouclage à Charlie Bang Big Tank Think Asiemut Glace de L’Homme Rencontres Québékoisie production in August 2019 Soi en Porte Monde le Ce que Errance sans retour (short fiction) by Mélanie Carrier & Olivier Higgins -2007 Higgins &Olivier by Carrier fiction) (short Mélanie (documentary) by Mélanie Carrier & Olivier Higgins -2011 Higgins &Olivier by Carrier (documentary) Mélanie (documentary) by Julien Elie -2018 Elie by Julien (documentary)

(documentary) by Mélanie Carrier & Olivier Higgins -2014 Higgins &Olivier by Carrier (documentary) Mélanie (documentary) by Jean-François Lesage - development - Lesage Jean-François by (documentary) (documentary) by Mathieu Roy -2017 Roy by Mathieu (documentary) (documentary) by Jean-François Lesage -2017 Lesage by Jean-François (documentary) (documentary) by Mélanie Carrier & Olivier Higgins - post-production - Higgins Olivier & Carrier Mélanie by (documentary) (fiction) by Mélanie Carrier & Olivier Higgins -2011 Higgins &Olivier by (fiction) Carrier Mélanie

(documentary) by Richard Brouillette - development - Brouillette Richard by (documentary)

(documentary) by Richard Brouillette - development - Brouillette Richard by (documentary) (documentary) by Mélanie Carrier & Olivier Higgins

(documentary) by Jean-François Lesage - post-production Lesage by Jean-François (documentary) - - (essay) by Richard Brouillette -2011 Brouillette by Richard (essay) Tënk Québec and Québecine. and Québec Tënk Politica, Cinema RIDM, Film, Main mars, 3 du Films LesLibre, Cinéma including of centres and organizations, many artist boards the on served has and world film He in has involved been the independent since. ever club film weekly a organised are all subjects that inspire our projects. justice social and environment territory, fabric, social identity, to projects. related Issues film documentary various its (documentary) by Richard SWITZERLAND MEETS...QUÉBEC 109 - - - . by Laura Bari,Laura by Wilcox by Bruno Mourral, Mourral, Bruno by Primas Kidnapping inc. duction with Bansheeand Films Wassakara (France) Coast), Productionsalong with the feature-length film (Ivory Lacôte, a minority Canadian copro in coproduction with Promenade (France)Films and Muska Group (Haiti). winner of the Montgolfière d’or at Festival at d’or Montgolfière the of winner des 3 Continents and the Grand Prix at2017; Montreal RIDM compeInternational in premiered which tition at IDFA, won the Audience Award at Mar de Plata and was the recipientof 2018’s True Life Fund at the prestig ious True/False Film Fest. GreenGround is excited to be working with Denis Coté film forthcoming his on , - - - - by Philippe (documentary) by Zayne Akyol (documentary) - 2016 by Taming the Horse (fiction) by Jesse Klein (fiction) - 2016 by (fiction)Laura Bari by - development (documentary) by Tao Gu - 2018 Tao (documentary) by (fiction) by Xiaodan He - 2018 (fiction) by (documentary) by Benedict (documentary) Moran by - development (documentary) by Sophie (documentary) Fortier by - 2017 (documentary) by Erik Cimon (documentary) - 2016 by (fiction) by Jimmy Larouche - 2016 (fiction) by (documentary) by Marie-Pascal (documentary) Dubé - 2019 by (documentary) by Jacquelyn (documentary) Mills by - 2017 (fiction) by Anjali Nayar - production (fiction) by (fiction) by Ioana Uricaru (fiction) by - 2018 (documentary)Yanick Létourneau by - development La Nuit des Rois (documentary) by Laura Bari (documentary) - 2018 by (fiction) by Denis - post-production Coté (fiction) by (fiction) by Juan Andrès Arrango (fiction) by - 2016 (documentary) by Sebastien & Francis (documentary) Delfour Tétrault by - development MTL New Wave Man Of The Year The Of Man KHL Panafrica Gorge Rouge Lemonade West Far Au Exil X500 Roses des Terre Gulistan, PERIPHERIA MONTRÉAL WWW.PERIPHERIA.CA include Yanick Létourneau is the president and co-founder of Périphéria, a production company supporting filmmakcreative ing, which was founded in 2000,Montréal in and focusedcoproduction. on international Current productions In the Waves the In Dino Ami Mon We are Still Together Wilcox Water & Oil Babies Montreal’s Primas Taming the Horse A Touch of Spring GREENGROUND PRODUCTIONS GREENGROUND MONTRÉAL WWW.GREENGROUND.CA GreenGroundmajorbeenatshownhave film festivals, such as Rotterdam,Sundance, Karlovy TIFF, Vary, IDFA, du Réel, and Mar Visions del and Plata, have pro Recent awards. numerous garnered Gu’s Tao include jects mentary and fiction films with an inter with films and fiction mentary national appeal. Films produced by GreenGround GreenGround Productions is focused on producing docu director-driven FILMS IN IN FILMS FILMS IN IN FILMS PRODUCTION: PRODUCTION: FILMOGRAPHY: FILMOGRAPHY:

YANICKLETOURNEAU [email protected]

QUÉBEC PRODUCERS: ANDREAS MENDRITZKI ANDREAS [email protected] 110 SWITZERLAND MEETS...QUÉBEC [email protected] [email protected] STÉPHANIE VERRIER LUCIE TREMBLAY QUÉBEC PRODUCERS:

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Les Productions Flow is a film produc film a is Flow Productions Les jects are run by committed creative sta pro Our world. the toresonance and light brings and content reflection, inspires original that creating of intention the with Verrier, Stéphanie producer by 2011, January in founded company tion successful a has Lowik documentaries. to social in Switzerland specialised is Lowik team India, from Brazil, to France from States, United the to Québec From society. of portrayals detailed and ased un-bi provide which films umentary doc producing on focuses Media Lowik WWW.PRODUCTIONSFLOW.CA MONTRÉAL LES FLOW PRODUCTIONS INC. WWW.LOWIKMEDIA.COM QUÉBEC LOWIK MEDIA The Empire Theof Empire the Scents Istanbul Echoes Brasilia: Life after Design Depossession Au pays de Desjardins Révoltées Mon Père Et Sa Mélancolie Ina Litovski Au Revoir Ma Lou Alphée des Étoiles Vaches des Plancher Le Académie Police Surveillance Sous Police Créateur deFrançois Barbeau, Costumes Je Suis La Police Génocidaire Résiliente Voix (documentary) by Barbeau-Lavalette (documentary) Anaïs (short fiction) by Anaïs Barbeau-Lavalette, André Turpin -2012 André by Barbeau-Lavalette, fiction) Anaïs (short (documentary) by Benedict Moran - development development - Moran by Benedict (documentary) (documentary) by -2018 Roy (documentary) Mathieu (fiction) by (fiction) -development Vali Fugulin (documentary) by -2017 Fratti (documentary) Giulia (web documentary) by Nicolas Saint-Cyr, Zéro-un, Hugo Latulippe - 2014 - Latulippe Hugo Zéro-un, Saint-Cyr, Nicolas by documentary) (web (documentary) by Charles Gervais -2018 by Gervais (documentary) Charles (documentary) by Mélissa Beaudet -2015 by Beaudet (documentary) Mélissa (documentary) by Christine Doyon, Isabelle Darveau -2013 Darveau Isabelle by Doyon, (documentary) Christine (documentary) by Lisette Marcotte Marcotte by Lisette (documentary) (documentary) by P. -2014 (documentary) Emile Cloutier (documentary) by Charles Gervais -2016 by Gervais (documentary) Charles (documentary) by -2015 Nguyen (documentary) Kim (documentary) by Bart Simpson- 2017 by Simpson- (documentary) Bart (documentary) by He (documentary) Xiaodan f - - - -

(documentary) by Jean Beaudry -2018 by Beaudry (documentary) Jean has coproduction partners around the world. the around partners coproduction has Media Lowik documentaries, of opment age projects. projects. age iatedcompanycreated in2012 to man media markets. Les Films Flowdigital isand an a film television, theatrical, for designed are projects Our projects. tion international expertise and desire to to desire and develsocio-culturalthe to contribute expertise its international With films. exporting in record track approach in both documentary and fic compassionate a by motivated are who f l - - - - SWITZERLAND MEETS...QUÉBEC 111 - year’s edition of VisionsRéel.editionGabrielayear’sduof Bussmann previously worked as director theDocOutlook-Internationalof Market of Visions du Réel. She developed the busi one of the important into Market ness events of theindustry. international film EuropeanSwissCinematheAcademy,of Academy, of ACE (Ateliers Européen),du Cinémaand of the Swiss AFAT. and ProducersGARP Associations - - - ), selected), for this (fiction) Marie by de Maricourt - 2018 (documentary) by Vadim (documentary) Jendreyko - 2018 by (documentary) Simona by Canonica (documentary) by Vitaly (documentary) Mansky by - 2018 (documentary) by Mélanie (documentary) Pitteloud by - 2017 (documentary) Marina by Belobrovaja (documentary) by Mathieu (documentary) Roy - 2017 by (documentary) by Pierre-Yves Vandeweerd Pierre-Yves (documentary) by (fiction) by Alice Rohrwacher (fiction) by - 2011 (fiction) by Alice Rohrwacher (fiction) by - 2018 (documentary) Melano by Sokhadze (fiction) by Alice Rohrwacher (fiction) by - 2014 (fiction) Maxime by Rappaz (documentary) Simone by Giampaolo (fiction) by Leonardo Di (fiction) - 2012 Costanzo by (fiction) by Philbert (fiction) by Aimé Mbabazi (fiction) by Leonardo Di (fiction) - 2017 Costanzo by (documentary) by Monika (documentary) Borgmann, by Lokman Slim - 2016 (fiction) by Klaudia (fiction) Reynicke by - 2016 The Dispossessed (documentary) Andrea by Pellerani In the River’s Bed River’s the In Tadmor Menschenskind! Les Messagers Laissez-moi Republika Witnesses Putin’s Dis Me Tu Où Fais Je Obvious the Beyond Les Dépossédés GOLDENEGG PRODUCTION GOLDENEGG GENEVA WWW.GOLDENEGGPRODUCTION.CH a film by Canadian filmmakers Mathieu ( Roy GoldenEggProduction aims GoldenEggProduction to imple ment ambitious audiovisual projects for cinema,TVand transmedia formats, put forward by innovative filmmakersrepresent viewpointswho rooted in contem porarysociety. Their catalogue includes Il Nido Il Le Meraviglie L’Intervallo CorpoCeleste Il Respiro del Canto del Respiro Il Red I Am With You Child a Only Lazzaro Felice L’Intrusa AMKA FILMS PRODUCTIONS FILMS AMKA SAVOSA WWW.AMKA.CH Amka Films Productions was founded in 1987 by Tiziana Soudani. The companyis active in cinema and TV of feature productionlength fiction and documen taryfilms. Amka Films ismember a ofthe

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GABRIELABUSSMANN [email protected]

SWITZERLAND PRODUCERS: GABRIELLEGARADE [email protected] 112 SWITZERLAND MEETS...QUÉBEC [email protected] [email protected] FRANZISKA RECK DAVID FONJALLAZ SWITZERLAND PRODUCERS:

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and production of documentary films films documentary of production and development the on focuses company in production The founded Reck. Franziska by was 2000 Filmproduktion RECK and film essays for cinema and televiand cinema foressays film and released on DVD or via VoD platforms. VoD via are or DVD on films released all launches, programme cial spe and to television festival, theatrical, addition in projects; her of tribution dis the on lies focus Her films. 30 than more produced has Reck Franziska sion. cinema for films produce We post-production facilities. extensive including infrastructure, production important an seven full-time and employees is home to and has company the today Mataré Fonjallaz, David Louis by 2001 in Founded tion based in company Bern, Switzerland. produc film is an independent Lomotion WWW.RECKFILM.CH ZÜRICH RECK FILMPRODUKTION ZURICH WWW.LOMOTION.CH BERN LOMOTION AG Let the Old Folks Die Folks Old the Let Roped Up Schneuwly Experiment -Kinder Abenteuer machen Energy Pioneers Naïma Zimmerwald Fighter The Heimliche Liebe Beyto Peace & War Subotika Anniversary Film For Zurich Central Library Hairy In My Childrens Land Subito! TradersFair Vis-A-Vis Toreras Las Mahatah Not Vital (anima-doc) by Anka Schmid -2017 by Schmid Anka (anima-doc) (fiction) Gitta Gsell Gitta (fiction) (documentary) by Tamara Milosevic -2019 by Tamara Milosevic (documentary) (documentary) by Peter Volkart - 2018 2018 - Volkart Peter by (documentary) (documentary) by Pascal Hofmann by Pascal (documentary) - (short fiction) Peter -2015 Volkart fiction) -(short (documentary) by Sandra Gysi by Sandra (documentary) (fiction) by Schmid Anka (fiction) (documentary) by Frédéric Favre -2017 Favre by Frédéric (documentary) (fiction) by Juri Steinhart Steinhart Juri by (fiction) (fiction) by Jackie Brutsche by Jackie (fiction) (documentary) by Nino Jacusso -2019 Jacusso by Nino (documentary) (documentary) by Valeria Stucki by Valeria (documentary) (documentary) by Massimo D’Anolfi & Martina Parenti Parenti Martina & D’Anolfi Massimo by (documentary) (documentary) by Annina Furrer Furrer Annina by (documentary) (documentary) by Samuel Stefan -2018 by Samuel (documentary) (fiction) by Juri Steinhart -2017 Steinhart by Juri (fiction) (documentary) by Dario Aguirre -2018 Aguirre by Dario (documentary) - - - - (documentary short) by Anka Schmid - 2016 Schmid by Anka short) (documentary ductions services as well as ambitious ambitious commercial works. as well as services ductions with a special award for her work as a as producer. work her for award special a with Reck Filmfestival Franziska honoured IFFI Innsbruck International the 2017 In 2005. in documentary best for Prize Film Swiss the for nominated was Liechti short. best for Prize Film Swiss the won Volkart Peter national film festivals. productions, coproductions and pro and coproductionsproductions, independent includes years 18 past the of portfolio more Our than 500 projects completed form. over and content to with a commitment strong television and Herfilms are shown atprestigious inter (TV series) by Juri Steinhart -2018 Steinhart Juri by series) (TV Namibia CrossingNamibia Terra incognita Terra by Peter Peter by by by - - SWITZERLAND MEETS...QUÉBEC 113

at Advocate premiered TIFFat I Am Not Your Negro (fiction) Karim Sayad by - 2017 Of Sheep And Men And Sheep Of in in Cannes, and directed by Raoul Peck, which won the best documentary Cesar and BAFTA in 2018 and was nominated Oscars.for the More2017 recently, film Karim Sayad’s docs in 2017, as did Rachel Leah Jones and Phillippe Bellaïche’s Sundance. , - - In The The In (documentary) Elene by Naveriani - 2017 (documentary) Callisto by McNulty - 2019 (documentary short) Elene by Naveriani & Volta A Terra (documentary) Ivo Zen - production by (documentary) Raoul by Peck - 2016 by Philippe Garrel, (documentary) by Dieudo Hamadi - 2018 (documentary) Karim Sayad by - production , Cannes in 2015; Cannesin , (short fiction) Filippo by Demarchi - post-production Acid (documentary) Robin by Harsch - post-production (fiction) Pauline by Julier - production (documentary) Michele by Pennetta - shooting (fiction) Nicole by Borgeat - 2017 (TV documentary) by Fisnik Maxhuni & Benoit Goncerut - development (documentary) Maya by & Sergio Kosa Da Costa - post-production (short fiction) Mure-Ravaud Lora by - 2017 (fiction) Rachel by Leah Jones & Philippe Bellaïche - 2019 (fiction) Germinal by Roaux - development (fiction) Carmen by Jacquier - production Foudre Advocate Hommes) Des Et Moutons (Des Men And Sheep Of I Am Not Negro Your Terrapelata English My Cousin Black Kite Atlantis New Challandes Cosmos Valet Noir I am a Drop Truly of Sun on Earth Sous la Peau la Sous La Place Libre Samedan da Tschêl Il Insoumuses Carole, et Delphine Lantsky Papa de BoeufVolé Le 2018 Thomas- Reichlin Kinshasa Makambo Boomerang CLOSE UP FILMS UP CLOSE GENEVA WWW.CLOSEUPFILMS.CH ALVA FILM ALVA GENEVA WWW.ALVAFILM.CH directed by Joao Pedro Placido, which premiered at Visions du at Réel presented and was Shadow Of Women which opened the Directors’ Fortnight Founded in 2012 in Geneva,Films Closehas Up produced acclaimed several documentary and critically fic tion films. These include Alva Film is a film production companyGeneva,Switzerland.basedin Producing documentary and fiction, features and shorts, Alva Filmrelated to migration,focuses democracy, minor on themesandidentity. ities

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SWITZERLAND PRODUCERS: FLAVIA ZANON FLAVIA BRITTA RINDELAUB BRITTA [email protected] [email protected] PRODUCERS: SWITZERLAND DIPLOMA BACHELOR MASTER

42-44 Av. Cardinal-Mermillod www.sae.swiss 1227 Carouge | Genève

[email protected] +41 22 800 3000 OPENING SCENES LAB

OPENING SCENES LAB IS A SPECIAL PROGRAMME FOR THE 16 FILMMAKERS INVITED TO THE OPENING SCENES SECTION OF THE FESTIVAL, DEDICATED TO FIRST SHORT FILMS OR STUDENT FILMS. ACCOMPANIED BY 2 TUTORS, THE FILMMAKERS GET THE OPPORTUNITY TO GET BETTER ACQUAINTED WITH THE INTERNATIONAL MARKET FOR DOCUMENTARIES AND ITS DECISION MAKERS, TO LOOK FOR DISTRIBUTION FOR THEIR SHORT FILM AS WELL AS TO MEET POTENTIAL PARTNERS FOR THEIR NEXT PROJECT.

ABOUT OPENING SCENES LAB 116 OPENING SCENES LAB SCHEDULE 117 PARTICIPANTS 119 TUTORS 125 EXPERTS 126 116 OPENING SCENES LAB ABOUT on their specific project. project. specific their on the for to filmmakers meet at the based Festival, contacts key researched then tutor The future. term medium and diate imme fortheplans and needs specific their discussed and Nyon in arrival their before filmmakers the contacted tutor A potential partnersmeet for their to next projects. as well as film short makers,to lookfor distribution fortheir decision key the and documentaries for market with the international themselves familiarise to opportunity the get they tutors, 2 by Accompanied needs. vidual indi their toadaptedactivities, sional profes developed industry-related of programme specially a in participate also will filmmakers Scenes Opening The also meet but the Festival’s other programmers. each meet to Selection O Talks the of filmmakers all allow Morning that the attends and venue cinemathe insession Q&A a inpates publicly,film partici hispresents / her director Each premieres. international or as world presented films, or student short films first to dedicated Festival, the of section Scenes Opening the to invited filmmakers 16 the for programme 4-day special a is (OSL) LAB SCENES OPENING f cial cial - - - - connect with other film students from from students film other with connect can they where Aperitif Generation New the are events Such tutors. their by nied accompa and guided always events, networking several in part take will They people. right the meet to how and it through navigate to how event, an such how to best prepare their participation into insight in general a and market, tional of short films. films. short of distribution the for challenges and nities been invited in order to have discuss festivals opportu and distributors film short specialised several least, not but Last project. new a for partner a find maybe and - editing and production development, – production documentary about questions specific discuss to them enable will festival attending the producers with breakfast A film. their for strategy festival a developing of methods to tion Festivals”,introduc receivean willthey the “Meet at world the over all from tives Beforefestivaltheymeetrepresenta daily Magic Hours. the and Switzerland and Italy Germany, Upon arrival the filmmakers will get an an get introduction to the Festivalwill and interna filmmakers the arrival Upon - - - - - OPENING SCENES LAB 117 - Sweet Salty Wind / +6 Gain (see page 134) / A Driver’s License

/ Ravens /

et supper and drinks. A space for networking and exchange! f MORNING TALKS MORNING SCREENING - OPENINGSCREENING SCENES1 - FESTIVALS THE MEET OPENINGSCREENING SCENES2 - PRODUCERS THE WITH BREAKFAST INTRODUCTION DRINKS GENERATION NEW STRATEGY FESTIVAL Come and meet the filmmakers who presented their films the day before. day the films their presented who filmmakers the meet and Come FORUM - RÉEL DU VILLAGE programmer at Camden International Film Festival (USA) for a discussion discussion a for (USA) Festival Film International Camden at programmer Strategy. Festival on LAB Children of City COLOMBIÈRE Meet the film festival representatives from around the world. A special group of Short Film Festival Programmers are invited as well. SPACE OPEN Lits Défaits LEONE CAPITOLE invited producers with breakfast have participants Lab Scenes Opening by Visions du Réel. SPACE OPEN LucianoBarisone OpeningandNadjatheTennstedt, oftutors Scenes Lab welcometheparticipants andintroduce theprogrammethem to andthe Industry as well. LAB The New Generation Drinks welcomes all Opening Scenes Lab partic ipants, international and Swiss cinema studentsbu and delegations for a FORUM - RÉEL DU VILLAGE Opening Scenes Lab participants meet Samara Chadwick, senior

13:45 - 15:15 18:15 - 19:30 - 18:15 10:00 - 11:30 - 10:00 10:30 - 12:30 - 10:30 16:00 - 18:00 - 16:00 16:00 - 18:00 - 16:00 20:00 - 21:30 09:00 - 10:30 - 09:00 SUNDAY 07 APRIL 07 SUNDAY MONDAY 08 APRIL 08 MONDAY TUESDAY 09 APRIL 09 TUESDAY SCHEDULE 118 OPENING SCENES LAB SCHEDULE WEDNESDAY APRIL 10 THURSDAY 11 APRIL 20:00 -22:00 20:00 20:45 -22:00 20:45 09:00 - 10:30 18:30 - 20:00 10:30 - 12:00 10:30 - 12:00 15:45 - 17:00 Come and meet the filmmakers who presented their films the day before. Opening Scenes awards will be announced at this occasion. COLOMBIÈRE Pacific Pacific VILLAGE DU RÉEL - FORUM Come and meet the filmmakers who presented their films the day before. OPEN SPACE Visions du Réel. fromdi experts film short with breakfast have participants Lab Scenes Opening COLOMBIÈRE Dead Sea Dying COLOMBIÈRE Found One Make Three Untitled(Burned Rubberon Asphalt, 2018) MORNING TALKS VILLAGE DU RÉEL - LE CLUB INDUSTRY AWARDS & CELEBRATING QUÉBEC / CANADA PARTY VILLAGE DU RÉEL - SCREENING - 5 SCENES SCREENING OPENING MORNING TALKS BREAKFAST WITH THE SHORT FILM EXPERTS - 4 SCENES SCREENING OPENING - 3 SCENES SCREENING OPENING / f Mars, Oman Oman Mars, erent fields of activity (distributors, media, training) invited by by invited training) media, (distributors, activity of fields erent / Socialist Monopoly Monopoly Socialist FORUM / Angor Pectoris Pectoris Angor / Chasseurs / Here and Everywhere / Lost OPENING SCENES LAB 119 - follows Tiago &

Kasato-Maru and writing a fea a writing and Both documentaries explore

. End Of Summer ture documentary called Christian recordshistory.of Opening spacesup to questions about the rewriting of history, political resistance and the imagination of plausible pasts that can lead to new futures. Carvalhaes’ next projectfilm co-directedis with Japanesea director feature AtsushiKuwayama. historicalthe storyship’swhileasking the ship? sunken a of remains What question: the theme of adolescence.

- cial f Hunters - 18:30, CO - 20:45, CO - 20:45, CO - 19:30, CF - 19:30, CF - 19:30, CO 09.04 12.04 09.04 10.04 09.04 10.04 (2017), received 15 awardsreceived 15(2017), A Gis A ect the construction of the o the of construction the ect f

HERE AND EVERYWHERE (30’) EVERYWHERE AND HERE 2018 CHILI, SOCIALIST MONOPOLY (20’) MONOPOLY SOCIALIST 2019 BRAZIL, / HUNGARY SWITZERLAND,2019 CHASSEURS (17’) CHASSEURS SCREENINGS: SCREENINGS: SCREENINGS: Benjamin Bucher was born in Lucerne in stud film his completed he 2018, 1991.In ies at ECAL. His gradution film was premiered at Visionsis ducurrently Réel. editingHe his mid-length film Flavia has specializedstudies and film theory. Her audiovisual in investigationsbiographicalhow onfocus aesthetic fables and cinematographic narratives a can in Anthropology and an MADocumentary degree in (DOCNomads). film, short His first Clermont-Ferrand. at screened was and Thiago Carvalhaes holds a BA degree

PARTICIPANTS FLAVIA CONTRERAS DE LA PARRA LA DE CONTRERAS FLAVIA THIAGO CARVALHAES THIAGO BENJAMIN BUCHER BENJAMIN [email protected] [email protected] [email protected] 120 OPENING SCENES LAB [email protected] [email protected] [email protected] VANESSA DEL CAMPO GATELL CAMPO DEL VANESSA MARIA DAVINA SOPHIE DASCAL PARTICIPANTS

of Arts (Brussels), EICTV (Cuba) and BÀP BÀP and (Cuba) EICTV (Brussels), Arts of School LUCA at film studied She herself. and with hence, and understand world the to with connect way a is making short first her directed She philosophy. and studies film in degree a with de Beirut Joseph Saint Université from grad uated She Beirut. in based tographer pho filmmakeranda is Maria Davina film, graduation PectorisAngor Her artist. video filmmaker and independent an as working city, the in remained Dascal Sophie Geneva, at HEAD, cinema studying After Vanessa del Campo is a Spanish film film Spanish her,directorFor a Belgium. infilm based is Campo del Vanessa SCREENINGS: SCREENINGS: SCREENINGS: ANGOR PECTORIS (29’) LEBANON, LEBANON, 2019 LITS DÉFAITS (20’) 2019 SWITZERLAND, BELGIUM, 2019 MARS, OMAN (20’) , reflects on the issues of of issues the on reflects , 12.04 10.04 12.04 10.04 11.04 08.04 - 17:00, CF 17:00, - - 10:00, CO 10:00, - - 10:00, CO 10:00, - - 15:45, CO -15:45, - 15:45, CO -15:45, - 15:45, CL -15:45, - - - contemporary society. society. in contemporary adulthood towards passage of rites the by exploring research this continuing andidentity.memory At present, sheis Oman way to film latest her personal very a in her links engineer aerospace an as (2018) and directed has and (Barcelona) documentary, self, love, intimacy and sexuality.for quest the around revolves work Her second her and 2016 (2019). Pepita Fragments d’un amour d’un Fragments (2019). Her background background Her (2019). Lits défaits Lits in 2019. in Lollies Lollies Mars, in in OPENING SCENES LAB 121 - - City

Sweet What to do While which won My Street portrays the youth of a hous a of youth the portrays follows a young Colombian (2019) is her first professional tegrateinto civil life. Her second film Children of England. of north the in estate ing That I Can ex-guerrillaman,attemptsheasrein to school FAMU in made the short Prague.film At FAMU Trainshe Pass By Films, and was in competition at Jihlava InternationalDocumentary Film Festival, others. among As As director and producer at Ecran- Mobile since 2017, workshops. film Super-8 sheanimates produces and Wind Salty shortfilm. - Now Survey - 13:45, CO - 18:15, CL - 13:45, CO - 17:45, CF - 17:45, CF - 17:00, CF 08.04 10.04 08.04 11.04 08.04 10.04 (2016) has been selected at several CITY OF CHILDREN (16’) CHILDREN OF CITY 2019 UK, SCREENINGS: Arantxa has recentlyMA at the completed National Film herand TelevisionSchool, UK. She is interested in how the circumstances one is born the rest intoof one’s shapelife. Her first film UK, 2019 UK, RAVENS (25’) RAVENS SCREENINGS: Born in 1989, focuses Karl Karl on Forchhammer issuesyouth led by strong personal narratives. around EuropeanKarl graduated from The National andTelevision FilmSchool, UK,Before in2019. NFTS he was enrolled at the Czech film SWEET SALTY WIND (20’) WIND SALTY SWEET SWITZERLANDCUBA,2019 / SCREENINGS: makingatHEAD inGeneva (Switzerland) and EICTV (Cuba). Her short film 62 festivals and won the public FILMETSInternationalaward(Badalona).festival at Laura GabayLaura studied documentary film

ARANTXA HERNÁNDEZ BARTHE HERNÁNDEZARANTXA [email protected] KARL FORCHHAMMER KARL [email protected] LAURA GABAY LAURA [email protected] 122 OPENING SCENES LAB [email protected] [email protected] [email protected] ANGIE ANGIE OBEID GIOVANNI GAETANI LISEO KUWAYAMA ATSUSHI PARTICIPANTS

surroundings through the lens of a cam his of stories the telling began Giovanni social movie social Italian first the of co-director be to sen era from an early age. In 2014 he was cho film develops currently He at DocNomads. MA his obtained he for documentaries, producer assistant as and rapher videog freelance a as working After University. Kyushu from B.A.S a with ated Bornin Fukuoka, Japan. Atsushi gradu Rai Cinema, lndiana Production and 0L 0L and Production lndiana Cinema, Rai several documentaries. Her first feature feature first Her documentaries. on several producer/director as working been DOC (2018). NOMADS 2009,Since she has Filmmaking, Documentary in MA an and (2010) Lebanon NDU from Directing Film in BA a has Angie 1988, in Beirut in Born SCREENINGS: SCREENINGS: SCREENINGS: LOST THREE LOST MAKE THREE ONE (26’)FOUND ITALY, 2019 (41’) LICENSE A DRIVER’S PORTUGAL / JAPAN / BELGIUM / HUNGARY, 2019 BELGIUM / LEBANON, 2019 (23’) PACIFIC ltaly in a Day a in ltaly 12.04 09.04 12.04 10.04 10.04 08.04 - 12:00, CO 12:00, - - 10:00, CO 10:00, - - 15:45, CO -15:45, - 18:30, CO 18:30, - - 13:45, CO -13:45, - 17:45, CF - 17:45, , produced by by produced , - - - - world premiere at HotDocs 2017. its HotDocs at premiere world had and the Academy Film from 2016 Portuguese Award Sophia the won short first His masseur. a as working while umentary, second feature-length documentary BABA!. documentary YALLA, feature-length second projectsdoc animationand including 2017. Angie is currently preparing for her her for preparing currently is Angie 2017. FIDMarseille at mention special a won doc Italy’s CSC; National the Film School. attend to on Arts, went Fine he of Academy the at studying After Salvatores. Gabriele winner Award Distribution,directedand byAcademy ue t Sep n h Rooftop the On Sleep to used I A Friendship in Tow/Toe Tow/Toe in Friendship A -

OPENING SCENES LAB 123

- - - She has founded the pro the founded has She

Helsinki (Aalto University). In addition to filmmaking, Ruusuvuori also works as visual a artist and for screenwriter chil studying documentary film direct dren’s TV programmes. ing at the University of Film Munich. Television and duction company “taro films” alongside RebbecaZehr. mechanisms of youth culture, hardcore and the boredom which in of lifenarrative in a abstract rural an area.creates He documentary and fiction blend into one singularform. - - - , 2018), - 18:15, CL - 18:30, CO - 20:45, CO he observes the - 19:30, CF - 12:00, CO - 17:00, CF 09.04 12.04 09.04 10.04 08.04 11.04 +6 +6 GAIN, UNTITLED (BURNED RUBBER ON ASPHALT, 2018) (20’) 2018) ASPHALT, ON RUBBER (BURNED UNTITLED FINLAND,2019 DEAD SEA DYING (30’) DYING SEA DEAD 2019 GERMANY, BELGIUM, 2019 BELGIUM, SCREENINGS: SCREENINGS: SCREENINGS: mentary filmmakerasphalt on basedrubber (burned in Untitled Glasgow. SchoolFilmElograduation her from film is tryside and at later the German University of Literature went on Vienna. to During studyher studies she had first of her experiences and theatre film Since productions. 2016, she has been Jorn Plucieniczak is electronica filmmaker musician.and focuses on transcending His genre as filmmaking well as experimential cinema in the con temporary context of image culture. film In his latest +6 GAIN (22’) GAIN +6 Tinja Tinja Ruusuvuori is a Finnish docu Katharina grew up in the Austrian coun

TINJA RUUSUVUORI TINJA KATHARINA RABL KATHARINA JORN PLUCIENICZAK JORN [email protected] [email protected] [email protected] 124 OPENING SCENES LAB [email protected] REBECCA ZEHR PARTICIPANTS

ying Documentary Filmmaking at the the at Filmmaking Documentary ying stud in been has Rebecca 2016, Since lived worked Zehr di for and years several for Rebecca Ecuador Munich, Anthropology in Cultural studying After SCREENINGS: DEAD SEA DYING (30’) GERMANY, 2019 f erent international film festivals. festivals. film international erent 10.04 09.04 - 19:30, CF 19:30, - - 20:45, CO -20:45, - festivals. film international various at shown and 2018 in “Next Program” Film Short Films’ Generation German the for selected documentary short Her Munich. Film and Television of University Epithese was was OPENING SCENES LAB 125 - - and acquisitions at Milestone Films.Zeitgeist Films,At a boutique distributor of US and independentinternational fea festivals, including Locarno and Venice. In 2002 he created the Infinity Festival in Alba and remained of director the fes tures and documentaries,director marketing.of SheNadja designed and was led the marketing campaigns for works such as Up the Yangtze. In 2011returned Europe to andNadja collaborated for 5 years with the Locarno2012. since Berlinale for Filmworking is She Festival. tival up until He2007. joined the Festival dei Popoli in Florence as on artistic went director he 2011 In 2010. and 2008 between to become the Artistic Director of Visions du Réel, up until 2017. He currently works as an artistic producer and consultantfor various markets and international film festivals. - - -

EFM (EUROPEAN FILM MARKET) - BERLIN INTERNATIONAL FILM FESTIVAL FESTIVAL FILM INTERNATIONAL BERLIN - MARKET) FILM (EUROPEAN EFM GERMANY WWW.EFM-DOCSALON.COM ITALY JOURNALIST / FILM CRITIC FILM / JOURNALIST form of the European Film Market (EFM) promoting networking andamong exchange buyers, sellers,producers directors of and documentaries.studiedNewProduction FilminTennstedt NadjaYork City. After a tion,short she workedstint for manyin years produc distribution. She in was director of filmsales Cinéclub organiser, journalist criticand (Filmcritica,film Cineforum, La Stampa, Duellanti,Il Manifesto), in 1990 Luciano Barisone helm the at remained and Panoramiques, founded up theuntil 2010. He is the author of mon magazineographs on Catherine Breillat, Guédiguian, and Clint d’Ici Robert Eastwood, Films Naomi Les Philibert, Nicolas Kawase, he 2010, and 1997 Between Pollack. Sydney film international several with collaborated of DocSalon, the documentary plat Nadja Tennstedt is the Coordinator

TUTORS NADJA TENNSTEDT NADJA LUCIANO BARISONELUCIANO [email protected] [email protected] 126 OPENING SCENES LAB FRANCE FESTIVAL DE CANNES SHORT PITCH/EUROPEAN DEPARTMENT / PROGRAMMER HEAD OF THE SCRIPT WIM VANACKER 3BOXMEDIA GERMANY PRODUCER / ACQUISITIONS / DIRECTOR BENITEZ LORENZO UK THE GUARDIAN ONLINE DISTRIBUTOR CHARLIE PHILIPS EXPERTS

SWITZERLAND WINTERTHUR INTERNATIONALE KURZFILMTAGE ARTISTIC DIRECTOR JOHN CANCIANI FRANCE MARCHÉ DU COURT MÉTRAGE / CLERMONT-FERRAND FESTIVAL INTERNATIONAL COORDINATOR TIM REDFORD NETHERLANDS SOME SHORTS AGENT / FESTIVAL SALES DISTRIBUTOR JANSEN WOUTER NETHERLANDS IDFA INDUSTRY SERVICES COORDINATOR DOCS FOR SALE & GUEST LAURIEN TEN HOUTEN DOC & ART 127 ------Kaunas Nordland Kunst- og , a European coopera , and erent from the ones used in f ). In collaboration with curators, freelance or institution based; representatives of museums or galler tution based; residency organizers, and forth. so ies; private collectors; representativesof foundations; grants representatives; cinema producers; film funds adminis programmers,trators; freelance or insti uses economies, critical narra equipment, technical apparatuses,durations, tives, professionals and methodologies that are di the cinema industry or in the art market. roundA table and Artist2 Work Sessions will shed light on betweengaptheopportunities bridgethe to challenges and those two worlds. image is produced. What are the institu the are What produced. is image tionsand potential partners collabo to withthroughoutrate thewhole process? combine fundingto How distribution and opportunitiesfrom both the film industry scene? art contemporary the and - - - - - Auguste Orts (BE On & For Production and Distribution and Production For & On . With the support of the Creative Europe Programme of the - Curator Hunterian of Art Gallery, University Glasgow of - UK - Producer, Les Volcans - France - Producer, arp: - Belgium / UK - Curator artists’ of film, Tyneside Cinema - UK - Producer, Auguste Orts - Belgium ARTISTS’ WORK SESSION The Artists’ Work Session is an industryevent for artists, producersprofessionals and other from both the visualand artsfilm context to come together and work on the developmentmoving image projects. Two artistsof and artists’their producer /curator have one to hourconvene with a table of 5-6 indus try professionals, which may include ABOUT Movingdominantthenowimages by are form of cultural narration and commu nication in our world, both everydayin people’slives and in the artisticartists’ moving imagefield. (AMI) has become a blooming territorynarratives and criticalfrom positions towards which new mainstream audiovisuallanguagethisbroughtforward. However, culture are ROUNDTABLE: PRODUCTION OF ARTISTS’ MOVING IMAGE PROJECTS Filmfagskole (NO) European Union. A collaboration with tive project that is conceived to advance and strengthen the field of artists’ mov by ing On image. initiated is & For (UK) Scotland LUX/LUX (LT), Festival Film International cational or institutional contexts.producers Four will contribute to a broaderunderstandingartists’waymovingthe of ferences and similarities between pro duction and distribution edu cinema, inand image moving theartists’ field of CorinneCastel Logie Marie Paterson Dominic Katrein Reist AdamPugh An exchange of experiences on the dif on the experiences of An exchange

SPEAKERS: MODERATOR:

12 APRIL2019 12 ENGLISH THE TO OPEN PUBLIC SCREENING ROOM 1 ROOM SCREENING 11:00 - 12:30 - 11:00 ONLY ENGLISH INVITATIONBY SCREENING ROOM 2 ROOM SCREENING

14:00 - 16:45 - 14:00 DOC & ART & DOC 128 DOC & ART [email protected] PRODUCED PRODUCED BY DOMINIC PATERSON [email protected] PRODUCED PRODUCED BY KATRIEN REIST SESSION: PROJECTS ARTISTS’ WORK ARTIST’S WORK: ARTIST’S WORK:

90’ upon Salmon’s interest in intuitive, under builds It Glasgow. of city the across tion dle-aged, single mother with 2 children. children. 2 with mother single dle-aged, mid British, a is X, heroine, Its fantasy. blending - existentialwith realismobservational narrative speculative a is Toa storytelling. feminist and experimentation analogue duction, groundapproachesto proartist’sfilm feature-length artist’s film shot on loca on shot film artist’s feature-length independent an is project the Salmon, by and filmed Margaret directed Written, MARGARET SALMON TO A GOD UNKNOWN 90’ (2018, 2016, 2014). 2016, (2018, Festival Film London (2007) Biennale Venice and (2010) Biennale Berlin the exhibitions, including survey international major and festivals film in featured been has work the Her examine forms. representational often and interactions films of social dynamics emotive Salmon’s gendered, Margaret ethnography, and animal, and autobiography human or subject, and camera between those as such relations, of tion project, the of material the archeological archive and footage own Biscotti’s both containing montage, video and audio multi-layered a In excavations. the ing dur community living and working the documented and site on time spent ist world. the Over of the course of centres several years,urban the art first the of as one is regarded ago years 9,000 here founded settlement Turkey. Neolithic The in Çatalhöyük of about site story archaeological the a narrates subtly film The Margaret Salmon lives and works in Glasgow. Concerned with a shifting constella ROSSELLA ROSSELLA BISCOTTI THE CITY Gstaadfilm Festival, Gstaad (CH). the at prize 2nd and 2007 in (CH) Geneva 12, Mouvement en prize l’Image de 1st and Biennale at (2010), Rome in Museum Maxxi Italia, Premio the several including received awards She art (2012). 9 Manifesta and (2012), 13 Documenta (2013), Biennale of Her work at shown 13th has been the state Istanbul 55th backdrop Venice Biennale, institutions. the against often times, recent from moments obscured reconstructs toand narratives relation their society. In her she practice, cross-media and explores individual revealing for technique a as montage uses She sculpture. and formance Rossella Biscotti, born in 1978 in Molfetta, Italy, works with video, photography, per God UnknownGod ------

to empowerment and rebirth. and empowerment to X lead eventually they sooth; and ebrate story, X’s in and, criminal abuse. These spirits caress, cel suppressions tional emo determinisms, class behaviour, gendered dictate social which Orders orders. dominant to resistance inative analogue ghosts made as in camera camera in as double-exposures - personify an imag made ghosts – visions analogue heroine’s our isolation, urban and care of a poverty within Suspended community. that of forms and relations structures social determine power the now, and highlighting here the to back us brings It in coup Turkeymilitary attempted in 2016. the after site excavation sudden the of the closure by interrupted abruptly narration is the of timelessness The site. archeological this at community porary very early form of society to form of early the society contem very the way and of of life a the structure links that narrative a together weaves artist ------INDUSTRY TALKS 129

- - - - ce fédéral de la culture - Switzerland - culture la de fédéral ce f will outline the present and future land equality. The discussion will be followed by a Q&A session with the public. scape of gender equality advancesSwiss inaudiovisual productions, draw ing upon data and studiespersonal as wellexperiences.Through as opportunities,hiringas suchissues,wage central inequalityenvironment,workthe thisand roundtable wishes to raise awareness and foster both reflection and debateon this topic within the industry, in order achievesolutionsnew to with comeup to tion chain could look like. on investigate how supporting We institu will also tionscantheseadapt to changes within the creative documentary world. of importance documentary films have withinsociala discourse. WithTV editors and financial backers, we willnew imagineways in which we may collaborate together. Finally, we hope to howfeatureevaluate documentary films may find their audience and what their produc - - - DOCUMENTARY AND AUDIOVISUAL FORUM AND AUDIOVISUAL DOCUMENTARY erence to f ered by ARF / FDS. / ARF by ered f - CommissioningDocumentary-Head of Coproductions,/ Editor

-Scriptwriter and co-president, SWAN - Switzerland - Tënk - France - Tënk - Sound engineer - Switzerland - Documentary Coproduction Manager, RTS SSR Pact - Switzerland - Producer - Switzerland - Producer, Close Up Films - Switzerland - Producer, Point du Jour - France - Film Director, Representative of Lithuania, Eurimages - Lithuania - Artistic IDFA - Netherlands Director, - Documentary Unit Manager, - Switzerland RTS - Head diversity of & distribution, OFC - Switzerland - Author, Director, Producer & member of AGDOK committee - Germanycommittee - AGDOK member of & Producer Director, Author, - - General Cinéforom Secretary, - Switzerland - Program Manager, Neugass Kino SA - Switzerland - Director of the Cinema Section, O Section,Cinemathe of Director - - Deputy Director General, Zürcher Filmstiftung - Switzerland WHERE ARE THE WOMEN? GENDER EQUALITY IN SWISS FILM PRODUCTIONS Where Where are the women (apart from cos gender equality? Do you have a diverse crew? SSFV (Swiss Syndicateand Video) andfor SWAN (SwissFilm Women’s Audiovisual Network) have partnered to organise a roundtablepositionrepresentatheandfocused on discussion tion of women in technical crewsand post-production).(sets Over one hour, a roundtable with professional speakersAudiovisualSwiss thewithinIndustry from tume and script)? Why di does a itmake parity matter? gender Does Doesfilmyourset?production a support StéphaneMitchell Joëlle Bertossa Joëlle Roussy Marianne Skerlak Jela DOCUMENTARY FILMS THE FUTURE OF CREATIVE CREATIVE OF FUTURE THE Today, the most media important platforms for the as our well typesas films (cinemas, platforms), web and TV of viewers’ habits are changing. theseHow changeswill affect creative docu mentaries and how can documentaryfilmmakers respond to studythem? these Weissues will in three steps.representatives With of define thiswhat kind of films we field, wish to see weand make willand to figure out what kind This panel is part of Visions du Réel’s initiative. An annual event that allows theexchange Swiss on important film issues. industry In collaboration with FOCALto & Aropa.get together anddrink a Followed o by In collaboration with SSFV & SWAN. & SSFV with collaboration In Steven Artels Steven Augstburger Urs Barbe Jean-Marie Bertossa Joëlle FrankBraun Christiaens Isabelle RTBFBelgium – Gousset Martin Katz Susa Kummer Ivo Nyrabia Orwa Ruey Gérard Audrius Stonys BernetDavid

SPEAKERS: SPEAKERS: MODERATOR: MODERATOR:

07 APRIL 2019 07 APRIL 2019 OPEN TO THE THE TO OPEN PUBLIC VILLAGE DU RÉEL - FORUM - RÉEL DU VILLAGE FRENCH OPEN TO THE THE TO OPEN PUBLIC ENGLISH, FRENCH, GERMAN FRENCH, ENGLISH, SCREENING ROOM 1 ROOM SCREENING 16:00 - 17:30 - 16:00

10:30-13:30 INDUSTRY TALKS INDUSTRY 130 INDUSTRY TALKS INDUSTRY TALKS 10:00 - 11:30 PUBLIC OPEN TO THE ENGLISH SCREENING ROOM 1 15:00-17:00 15:00-17:00 PUBLIC OPEN TO THE ENGLISH SCREENING ROOM 1 08 APRIL 2019 08 APRIL 2019 MODERATOR: MODERATOR: MODERATOR: SPEAKERS: SPEAKERS:

Céline Guénot Guénot Céline Alexe Poukine María Onis Julier Pauline Buchwalder Aurelio CAST YOURSTORY CAST what point does one decide to resort resort to decide one does point At what them? around story a build a to tor encounter an direc the inspire protagonists the with does Or for protagonists? look potentially will he or she which for tell, to wants filmmaker a that story a In origins? its find film a does Where ing a more complex content which can can which content complex more a ing new creat and about communication of forms learning languages, new learning means This as text. media only not well, video and audio include to reviews the image form of rethink moving that resources the too has digitalpublishing use to want we If dimensions. cross-media and multimedia these ing consider least at without erathe digital in publish to impossible almost is It platforms? internet on even texts, long read still people many How magazine? print read still people many it How film? a does What day? today mean to a review publish critical of every already user publishing media social every Isn’t Initiated by Filmexplorer & Visions du Réel, in collaboration with Cinébulletin. Cinébulletin. with collaboration in Réel, du Visions & Filmexplorer by Initiated to make active, we content to our wish keep If film. the of experience expanded an becomes review film The discussion. ofobjectan asbetter approachfilms DIGITAL FILM PUBLISHING OF CHALLENGES THE CLICKS: CRITICAL Pascaline Sordet Pascaline - Switzerland SalvatoreDiGiuseppe - France NadinMai Co-editor, Merkur magazine - Germany EkkehardKnörer RISS – Switzerland JohannesBinotto - founder - the Art of Slow Cinema platform / Tao Films VoD platform platform VoD Films Tao / platform Cinema Slow of Art the - founder - - director of -director - director of -director - director of - director - selection comittee, Visions du Réel -Switzerland Réel du Visions comittee, - selection - Cultural scientist and film critic / Co-editor, Cargo magazine / magazine Cargo Co-editor, / critic film and scientist Cultural - - Co-editor in chief – Cinébulletin -Switzerland –Cinébulletin chief in -Co-editor - cultural and media scientist, Filmbulletin / extended editorial, editorial, extended / Filmbulletin scientist, media and cultural - - director of -director - Insula

Philosopher, co-founder & co-editor from Filmexplorer Filmexplorer from co-editor & co-founder Philosopher, Naturales Historiae f That Which Does Not Kill Not Does Which That er,mustwe -Argentina Isola - Switzerland Switzerland - - - - and their experiences. o Festival’s of the part (all films own their about talking by subject are narrative? tothe invited filmmakers Four discuss a of spectrum the to broaden order in actors non-professional to more than one outlet for our content: content: our digital for outlets (social media, shared outlet con one than more use should we time, over seen is it sure more important than ever. than important more is films of discussions and reception ical images are in hyperproduction, the crit moving where world a In light. to ing urgentdigitalreflectionpublish anon bring to aims discussion this fessionals, proofexperienced help With theject. sub the on discussion open an foster to are order in Réel Cinébulletin du with collaborating Visions identity, and “avant-garde” Filmexplorer their to True cross-media. of definition very the is appear. One content, several outlets: this may it wherever content, in-depth long, our defend to together, order in outlets ensemble, an as these use to be will era digital the in challenge biggest the Furthermore, discussions). cinema and (festival outlets physical and etc.) tent, -Switzerland - Belgium, France -Belgium, f cial selection) selection) cial - - - - - INDUSTRY TALKS 131 - - -

of the film leading to a broader dis cussion cussion on today in coproduction col of and laboration with representatives the three main Europeantraining initiatives, ACE Producers, EAVE producers’ (European Audiovisual EURODOC. and Entrepreneurs) and distribution. A comprehensive list of checkpointsserveas exampleswillalong the path of adding value to yourpoten maximum filmits reach into it for order tial and its ultimate goal: The audience. Because, ultimately, marketing is really just about sharing our passion and love for cinema. - - - - VOLD Ž - Cinémotif Films Republic - Czech - ACE Producers - ACE - Netherlands - Films de Force Majeure - France tová ě - EAVE - Luxembourg - EURODOC - France erent stages: From develop From stages: erent f - asterisk* - Greece na Michálek Kv Michálek na - 16:00, GS - 20:30, CF ý COPRODUCTION CASE STUDY: THE SOUND IS INNOCENT BY JOHANA O financing?coproductionA study caseon the film The Sound is Innocent screened in the Burning Lights Competition of the Official Selection with the producers How to find the rightwork together?partner How to coordinateand tothe demand and input of expertise and MARKETING: CHECKPOINTS AND AND CHECKPOINTS MARKETING: PITFALLS THE ROAD TO PROJECT AND FILM FILM AND PROJECT TO ROAD THE In collaboration with ACE, EAVE, EURODOC. EAVE, ACE, with collaboration In It is never too early for time-stretched about thinking start mar to producers keting their projects. Yet thesesions aredeci usually lead made pressure, at thegreat under very and lastmoment ing missed to opportunities. Through a series of case studies, we will theillustratewaymarketing can impact projecta di its during ment throughout production to delivery Vicky Miha Vicky Maria Bonsanti Maria Csinidis Jean-Laurent Krist Vloed der van Jacobine Lense-Møller Lise 10.04 11.04

SPEAKERS: SPEAKERS: SCREENINGS: MODERATOR: 11 APRIL 11 2019 09 APRIL 2019 APRIL 09 ENGLISH ACCREDITED ALL WELCOME OPEN SPACE OPEN 16:30 - 18:00 - 16:30 OPEN TO THE TO OPEN PUBLIC SCREENING ROOM 1 ROOM SCREENING ENGLISH 17:45 - 18:30 - 17:45 132 IMMERSIVE & INTERACTIVE IMMERSIVE & INTERACTIVE 10:30 - 12:30 10.04 16:00 - 18:00 09.04 14:00 - 16:00 10.04 CAFÉ PUBLIC OPEN TO THE VILLAGE DU RÉEL - 16:30 - 18:00 PUBLIC OPEN TO THE ENGLISH VILLAGE DU RÉEL - FORUM 09-10 APRIL 2019 10 APRIL 2019 FORUM MODERATOR: MODERATOR: WORKSHOP: WORKSHOP: SPEAKERS: PROJECT:

of Visual Culture SUPSI: development of 4 virtual and immersive projects. projects. immersive and virtual 4 of development SUPSI: Culture Visual of workshop documentary interactive w id production. (20’) Afroroutes In collaboration with id w interactive documentary workshop (SUPSI). More info at: www.idw.supsi.ch of heart the in being of feeling physical almost that recreate to medium strong heritagesalive,realityusingvirtuala as oraland traditions to keep and memories Tangier by passing (Morocco), highlighting the power of (Brazil) music Bahia do to Salvador (India) Karnataka from roads... unfamous those roads, slavery diverse ori gins. It´s an immersive journey through and the cultures, stories, their discover to special meet to places unexpected to you ing experience,VRtransportbased music a is AFROROUTES roundtable. the after and before time, first the to for public available the be will SUPSI. headsets by VR Eight co-hosted Harbi), Sélim by an organized immersive project also presentation ( have we year, This AFROROUTES: Benjamin Magnin Mathias Noschis Khelifa Ben Karim Sélim Harbi Cattan Pierre Michael Brönnimann linked to AR/VR are omnipresent within within omnipresent themes are AR/VR to certain linked Today, TV AR/VR departments. and institutions public from partners with dialogue will “Afroroutes” project and documentary VR the writer of director Harbi, Sélim and company production Bang Small the of CEO and VR” “Fugue Rheilac’s Michel of producer French Cattan, Pierre Enemy’’, “The ject Khelifa, pro award-winning the Ben initiated who Karim reflection. an ongoing for play of state a outline may debate that a light to bring to wish we ing, VR), non-linear and interactive storytell about (AR/ Reality Reality/VirtualAugmented roundtable a having By PRODUCTION AND DISTRIBUTION? DISTRIBUTION? AND PRODUCTION FOR UP BROUGHT ARE WHATISSUES STORYTELLING, AND NARRATIVES SIVE IMMER OF FORMS NEW ROUNDTABLE:

persons, living witnesses of time, time, of witnesses living persons, - Photographer, VR & multimedia storyteller - Tunisia, Germany -Tunisia, storyteller &multimedia VR -Photographer, - Producer, CEO, Small Bang -France Bang CEO, -Producer, Small by Sélim Harbi (Tunisia, Germany) - Work in progress, finishing - Film Marketing Strategist, Alphapanda - Switzerland, UK -Switzerland, Alphapanda Strategist, Marketing -Film -Editor, -Switzerland SRF - AR/VR projects creator, Photojournalist - Tunisia, Belgium -Tunisia, creator, Photojournalist projects -AR/VR - Buyer, Programming Executive, SRF -Switzerland SRF Executive, -Buyer, Programming VR PROJECT SHOWCASE PROJECT VR

Afroroutes I

09-10 April - - - - - Closed Workshop by the Laboratory Laboratory the by Workshop Closed - events, a way to say WE ARE HERE. ARE WE to say way a events, poric history: praising, allthedi crystallizes that memory, non-tangible a identity, and heritage, well-conserved and still-alive, that of manifestation real a actually is It ceremony? a Why emony. of their world, before inviting you to you a cer inviting before world, of their chose them to open for us that magic door that I met personally, spent time with and oneby one di You meet will immersion. and narrationof Music and sounds are the central elements again. rooted and displaced been have topic to connect those dots where humans the and issues the serves just technology where experience, intuitive simple, a is people,places andhistory. with connected and close community, a have to support these new types of of types new storytelling? alternative these support to have broadcasters” “new do role What tion? produc a web-only and production tary the main di are What industry? the of protagonists television by perceived and public experienced channels of reality the is How gent core issues linked to AR/VR arise. formats. Through these new recurring themes, contin and writing of kinds new patterns, the consumer media of audience, evolution new a to out reaching screens, dual convergence, vector rials: the public distribution channels’ edito channels’ distribution public the

f erentlayers of the African dias f erences between documen f erent persons, charismatic

celebrating di

AFROROUTES f - erent ------

MEDIA LIBRARY 133 - - f includes more than 300 titles recom mended by the selectioninternational committee, distributorso the from films all as andwell as partners regional selection. cial Theselected filmsavailableare aboutin 17 screening booths Festival and, will be available, after the throughout festival, the for another three months on our digital platform (see link below). At the end of the Festival, each LibraryMedia film holder will receive includinga report the contact detailsaccredited of eachindustry from reports More film. professional their viewed has who the digital platform will follow, until its three-month period has expired. - - - - - Doc Market - Greece er. The Media Library f - Germany - France - Taiwan - Germany - Krakow Film - Krakow Foundation - Poland - Czech Republic - Czech ABOUT approximately 450 new European andinternational documentaries from 2018to 2019, allowing accredited profession als to grasp the diversity that cinema of the real has to o The Media Library provides an opportu an provides Library Media The promotedbe selected theto filmsnity for and sold by getting the attention of key pro (festival professionals accredited LibraryMediaThe etc). buyers,grammers, also provides extra visibility for the films by giving each film its own web page in the Online Media Library Catalogue. Please note that, as the platform is only profession film accredited to accessible als,the premiere status of Media Library change. not does films The Media Library puts the spotlight on www.visionsdureel.ch/industry/media-library Andana Films Andana Leipzig DOK Silver East Films German Polish Docs Taiwan Docs ThessalonikiDocumentary Festival

LINKS: PARTNERS:

05 - 12 APRIL 2019 APRIL 12 - 05 INDUSTRY ACCREDITED ONLY MEDIA LIBRARY MEDIA 09:00 - 20:00 - 09:00 12.04 17:00 - 09:00 05.04 20:00 - 14:00 11.04 - 06.04 MEDIA LIBRARY MEDIA 134 NETWORKING NETWORKING 20:00 20:00 - 21:30 BY INVITATION ONLY BY INVITATION VILLAGE DU RÉEL - FORUM 16:00 - 18:00 14:30 - 16:00 WELCOME ALL ACCREDITED OPEN SPACE WELCOME ALL ACCREDITED OPEN SPACE 18:30 - 19:30 WELCOME ALL ACCREDITED THE FACTORY VILLAGE DU RÉEL 12:30 12:30 -14:00 WELCOME ALL ACCREDITED CAFÉ 13:30 - 14:30 WELCOME ALL ACCREDITED CAFÉ 09 APRIL 2019 08 APRIL 2019 07 APRIL 2019 APRIL 07 06 APRIL 2019 07 APRIL 2019 APRIL 07 07 - 11 APRIL 2019 APRIL 11 - 07 HOSTED BY: MAGIC HOUR are available for meetings (scheduled on-site). (scheduled and meetings for work available their are and themselves duce fromdi programmers and directors festival Film NEW GENERATION DRINKS MEET THE DISTRIBUTORS THE MEET Polish TV Polish Geneva Freestudios FILMS SWISS HEAD - Geneva Jury Interreligieux rdcin drcig n eiig a editing and directing production, film in students Swiss and as international well as filmmakers the Scenes offers Opening Drinks Generation New The space for networking and exchange. MEET THE FESTIVALS THE MEET are available for meetings (scheduled on-site). (scheduled meetings for available are and work their and themselvesduce distibutors fromdi international and National field of activity.and company country, by categorized professionals accredited will all of list you a find catalogue, the In website. our on catalogue festival, Who Who’s the the out check at be will who out find To other meet to professionals drinks in a casual atmosphere. daily for us Join Radio TélévisionRadio Suisse. exchange. andnetworking community: national partsof Switzerland andfrom theinter low production colleagues from di felwithyourmeal sharea and Come ARF / FDS APERITIF ROMANDIE LUNCH ROMANDIE exchange. exchange. aperitif Creative an of Documentary Film’’ Future to seminar to share ‘‘The and you the after right invite FDS / ARF f f erent parts of the world introworldthe of erentparts erent parts of the world introworldthe of erentparts - 11 April -11 Romandie Lunch Romandie is o - 09 April -09 - 08 April -08 -07 April - 10 April - 10 f ered by f erent erent - - - - account on My VdR. personal your via page, Here Who’s our out our check also on can you guests, Industry information detailed more For 10 APRIL 2019 INDUSTRY AWARDS & CELEBRATING QUÉBEC / CANADA PARTY Join us for a Canadian evening! Wine A night sponsored by the Embassy of and delicious dishes will be served while Canada, the Québec Government discovering the awarded projects of the Ofce and SODEC. Docs in Progress, Rough Cut Lab and films of the Opening Scenes Section. A lovely occasion to celebrate our guests from Québec and the closing of VILLAGE DU RÉEL - LE CLUB Switzerland meets... Québec coproduc- 20:00 - 22:00 tion event.

BY INVITATION ONLY

11 APRIL 2019 PITCHING DU RÉEL RECEPTION

Ø The Ville de Nyon invites the project teams and international guests partici- pating in Pitching du Réel, to a reception NETWORKING at the Nyon castle.

CHÂTEAU DE NYON 19:30 - 21:30

BY INVITATION ONLY

12 APRIL 2019 INDUSTRY AWARDS & CLOSING DRINKS

Join us for the Industry Closing Drinks while discovering the awarded projects of Pitching du Réel and visions sud est.

Hosted by ChileDoc.

CAFÉ 17:00 - 18:30

ALL ACCREDITED WELCOME

135 136 SPECIAL EVENTS SPECIAL EVENTS 16:00 - 18:00 17:30 - 18:00 17:30 - 19:00 THE PUBLIC OPEN TO ENGLISH VILLAGE DU RÉEL - FORUM ONLY BY INVITATION ENGLISH & FRENCH VILLAGE DU RÉEL - LE CLUB ONLY BY INVITATION ENGLISH CAPITOLE FELLINI 09 APRIL 2019 06 APRIL 2019 07 APRIL 2019 APRIL 07 REPRESENTATIVES: MODERATOR: MODERATOR: PARTNERS: PARTNERS: LINK: The list of projects is available on Visions du Réel’s website and in the SWISS FILMS FILMS SWISS the in brochureand (distributedwebsite on-site).Réel’s du Visions on available is projects of list The are about to be launched on the fes the on launched be to about are which production, in films documentary Swiss SWISS six FILMS presents promising Réel, du Visions with collaboration In www.swanassociation.ch Mitchell Stéphane Gabriel Baur Ruey Claude Emilie Bujès The international signing. Pledge this of is Godmother tor Meier the Pledge Isabel edi Film Network. Audiovisual Women’s the sign Swiss the by to SWAN, initiated was Pledge decision The festivals. film within diversity and equality gender for Pledge international the Bujès signing be will Émilie Director Artistic Claude and Ruey President Executive year, This Filmstiftung Zürcher Cinéforom, works. visual audioregionaloftheofsupportfield the in operation their of sphere the ent pres to gathering are the Fund, Film and Zürich Switzerland) of part French- speaking the (the of support Cinéforom film regional Switzerland, film in regional funds important most two The Andreas Bühlmann festival and distributors international Market The Preview o distribution. worldwide and circuit tival Swiss Women’s Audiovisual Network Network Audiovisual Women’s Swiss the by represented is movement the the by In Switzerland, x movement. 2020’’ ‘’5050 Festival Cannes at 2018 May in DiversityinFilm Festivals SWISS SIGNING EQUALITY FOR PLEDGE SWAN FILMSTIFTUNG ZÜRCHER & CINEFOROM - Artistic Director, Visions du Réel -Switzerland Réel du Director, Visions -Artistic - Executive President, Visions du Réel -Switzerland Réel du Visions President, -Executive - Co-President, SWAN -Switzerland -Co-President, FILMS MARKET PREVIEW MARKET FILMS P ledge for Equality and for Equality ledge - Co-President, SWAN -Switzerland -Co-President, - Consultant for Film & First Feature, SWISS FILMS - Switzerland - FILMS SWISS Feature, First & Film for Consultant - f ers sales agents, agents, sales ers

was launched launched was - - - - and a Q&A with the director/producer present. director/producer the with clips Q&A a a and selected with during session presented 20-minute be will film Each event. exclusive an in works new these discover to opportunity the delegates ration with SWAN (see page 129). 129). page (see SWAN with ration for in Film and Video, collabo Syndicate Swiss – SSFV the by organised ductions, on gender equality within Swiss film proroundtable a by preceded is event The to Festival sign in the Pledge Switzerland. fourththeisappointed.Réel du Visions are members their when regulations sity that gender statistics be compiled, compiled, be statistics gender that requires Equality for Pledge The (SWAN). in due time, respect parity and diver and parity respect time, due in must, committees selection and bodies governing Furthermore, concerned. are films submitted of number the and films especially where the number of selected

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2 R 138 INDUSTRY TEAM HOSPITALITY JULIE RACINE ACCREDITATIONS ÀDRIA PUERTO ARTISTIC ADVISOR MADELINE ROBERT ARTISTIC DIRECTOR EMILIE BUJÈS INDUSTRY TEAM INDUSTRY ADVISOR VIOLETA BAVA INTERN - MEDIA LIBRARY YBARRA MATEO HEAD OF INDUSTRY GUDULA MEINZOLT INTERN - INDUSTRY CATALOGUE ALESSANDRA JEANNERET INDUSTRY COORDINATOR ANTIGONI PAPANTONI INDUSTRY PROJECTS ADVISOR BASIC JASMIN SPECIAL THANKS & PARTNERS 139 - - Stéphane - Yanna Sarri - Yanna - Nadin Mai - Alessandra Speciale - Rebecca Jane Arthur - Lena Rammou ć i - Gabriele Capolino š e Š - Ivo Kummer, Matthias Bürcher - Eva Pervolovici - Eva - Katarzyna Wilk - Rada - Julian Ross - Krzysztof Gierat & Barbara Orlicz - Susa Katz - Francesco Giai Via - Maria Gradowska-Tomow - Charles-Antoine Courcoux - Bruni Burres - Corinna Marschall & Florian Pfingsttag - Adam Pugh - Louise Lantagne, Élaine Dumont, - Christoph Terhechte - Luc Martin-Gousset - Piero Clemente - Frank Braun - Catherine Ann Berger, Selina Willemse, Daniel - Buenos Aires - Marek Hovorka - Corinne Castel - Nicolas Abegg - Meret Ruggle - Élodie & Émilie Flachaire - Eva Sangiorgi- Eva -Sven Wälti & Alina Wälti -Sven Corradi - Julien Lüthi - Buenos Aires -Jean-Pierre Candeloro & Elisabetta Lazzaroni & - Vanja Kaludjercic - Nicole Barras & Valérie Rohrbach - Jean-Marie Barbe & Alizée Mandereau - Urs Augstburger - Steven Artels & Gaspard Lamunière – Gabriele Capolino ce ce Federal de la Culture f Tyneside Cinema Venice Film Festival Venice Production Bridge / Final Cut Ventana Sur Viennale est sud visions ZürcherFilmstiftung Special thanks to our colleagues, moderators and tutors,the to Jury members, to the lodgers and the volunteersFestival. of the Polish Docs Polish Film Institute RaggioVerde RéseauCinémaCH Montréal RIDM RTS Festival Film Sarajevo Société de développement des(SODEC) Québec entreprises culturellesSt-Pierre Michel & Dubeau duJosé SRF SSFV SRG SSR Institute Sundance SUPSI Lotz Susanna SWAN – Swiss Women’s Audiovisual Network Mitchell Swiss Agency for Development and Cooperation Aebischer Barbara SDC & Zeuner Géraldine SWISS FILMS Fuchs,Andreas Bühlmann Aida & Suljicic Taiwan Docs SlowCinema of Art(s) Thefilms tao & Tënk Independent The IFPProject Film ThessalonikiInternationalFestival Film trigon-film IFP IFP Imersis INCAA Interlignes IngoldIsabelle IDFF Jihlava Binotto Johannes Katrin Reist Festival Film Krakow Foundation Film Krakow volcans Les Festival Film Locarno IFF Marrakesh Suisse Desk MEDIA (MFI) Institute Film Mediterranean Foundation Cultural Meta MUBI Kino Neugass O & Jela Skerlak Distribution & Production For & On Lab Film Ouaga ParisZürich Peter Mettler Point du Jour - – Jérôme - Thierry Jobin - Christoph Zen tová ě - Stéphane Chartrand - Marten Rabarts - Manuel Feifel - Christophe-Margareth Decurtins& - Daniela Elstner zslavChovanec na Michálek Kv Michálek na - Jean-Laurent Csinidis ě ý - Dominic Paterson - Arthur Liebhart - Kristina Trapp & Lise Lense-Møller - Loïc Desmon - Khalil Benkirane - Ekkehard Knörer - Vít - Raquel & Fernanda Hallak

- Amelia Hapsari - James Fry - Philippe Kuratle - Gitte Hansen - Marion Sanchez Deblue - Krist - Marina Drozdova -Joëlle Bertossa - Jean-Baptiste Hemmer - Mariette Rissenbeek & Bernhard Simek - Stéphane Riguet - Marie Logie - Matthieu Darras - Mathias Noschis - Giuseppe Di Salvatore & Ruth Baettig - Pascaline Sordet & Kathrin Halter - Brigid O’Shea - Samara Chadwick - Giorgo D’Imperio - Sylvia & collaborateurs Tracchia

- Gérard Ruey& Patrizia Pesko - Maria Bonsanti - Tomas Prasek & Ales Fuchs - Diego Contreras Pino & Flor & Loreto Rubina - Robert Richter - Nadja Tennstedt - Vicky Miha - Jérôme Paillard & Charlotte Hurni - Pierre Agthe & Edgar Hagen -Mario Durrieu Tiepelmann & Walter - Jacobine Der Van Vloed nen & Michaël Garnier Michaël & nen f SPECIAL THANKS SPECIAL IDFA, International Documentary Film Festival Amsterdam Festival Film Documentary International IDFA, Hokken Jasper & Houten ten Laurien & Nyrabia Orwa Hôtel La Barcarolle La Hôtel Real Hôtel Gallery Art Hunterian Hôtel Chavannes-de-Bogis Best Hôtel Chavannes-de-Bogis Western Ru l’Ange de Hôtel Alpes des Hôtel hemmer.ch SA hemmer.ch Siècle XVIe du Hostellerie Nyon Base Hôtel Festival International de Films de Fribourg FIFFFribourg de Films Internationalde Festival Films German Kilias Gion-Reto (HEAD) Genève design de et d’art école Haute FlahertianaIFF FOCAL Freestudios Filmexplorer FilmsForcede Majeure FirstLabCut FirstHand Films Eventival Film Eye Institute, Amsterdam FIDBA East Silver East Luxembourg EAVE, ECAL EURODOC Paillard & Pierre-Alexis Chevit Institute Film Doha Leipzig DOK Docs Against Gravity Against Docs Doc Alliance Sea The By Docs de Marché Cannes du - Festival Film Doc Corner, David Bernet David Festival Film Documentary International Korean DMZ International Film & Doc CinémotifFilms Closeup Films CollectifElena Sionisim Czech Film Center Cinando Cinébulletin Cinéforom Cinélibre CamdenIFF Merkurand Cargo ChileDoc Audrius Stonys AugusteOrts Berlinale Mundi Cine Brasil ARD Design, Vevey Design, ARD ARF/FDS asterisk* Ambassade du Canada en Suisse en Canada du Ambassade Suisse en France de Ambassade Films Andana Berlin à Québec du Antenne ACE Alphapanda INSTITUTIONAL PARTNERS SPECIAL THANKS & PARTNERS & THANKS SPECIAL

SUPPLIERS

140 PARTNERS SPECIAL THANKS & PARTNERS

141 142 PROJECTS’ INDEX PROJECTS’ INDEX A MACHINE TOA MACHINE LIVE IN ACTING PAINACTING FIRES A THOUSAND AFTER THE COLLAPSE THE AFTER FOUR JOURNEYS JOURNEYS FOUR ASTONE OF EPIC DREAMERS BLOODHOUND YOUR REVOLT,AFTER YOUR VOTE LIFT LIKE A GIRL AGIRL LIKE LIFT RANAS LAS KOMBINAT BABIES HOMELESS JAIL GREEN GARÇONNIÈRE OUR DARK 70’SOUR OSTROV ISLAND -THE NIGHT NATIONAL PRIDE BLUES MUEZZIN MERIL HOME PORNOMELANCHOLIA PORNOMELANCHOLIA THE DEVIL’STHE DRIVERS CITY THE SEGOVIA SATAN OF REALM THE FLAME THE THE MOTHER OF ALL LIES ALL LIES OF MOTHER THE FLATSTHE TERRORISTS) (ONCE WE WERE SALT BONNEVILLE FROM TO CLOSE SAIL TO WIND THE TO UNKNOWN AGOD ITALIAN IS THIS WARSHIP WHITEWASH AMAZONS URBAN

102 128 128 100 101 40 30 44 90 50 84 48 64 46 34 88 68 86 38 66 99 70 98 36 24 42 28 22 96 62 26 32 97 72 74 76 50 INDUSTRY — VISIONSRÉEL DU 5 0 TH INTERNATIONAL FILM FESTIVAL NYON 5 13 APRIL 2019

MAIN PARTNER MEDIA PARTNER INSTITUTIONAL PARTNERS

EDITION NO 50