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52nd Edition Summary 3 Editorial 5 Jury & Awards 11 VdR–Pitching 49 VdR–Work in Progress 71 VdR–Rough Cut Lab 85 VdR–Film Market 87 Opening Scenes Lab 99 VdR–Industry Talks 101 Documentary and Audiovisual Forum 103 In Between 111 Observers Projects 115 Switzerland Meets... Italy 123 Prix RTS: Perspectives d’un Doc 135 SWISS FILMS Previews 154 Industry Team 155 Special Thanks 156 Partners 160 Projects’ Index 2 Editorial 3 Editorial Madeline Robert Head of Industry And here we are, one year later... In April 2020, we thought the situation was exceptional. We then proudly accepted the challenge to adapt our activities online, thus redefining the Industry section of Visions du Réel. It was intended to address a unique and global crisis, one we believed to be temporary. That seems gently naive to us now, one year later, as we prepare to welcome the majority of you online, once again. The consequences of the health crisis on the film industry’s international landscape have not yet necessarily been felt by everyone. However, certain more radical changes are already affecting the branch, beginning with the closure of cinemas for months, which is disrupting the films’ distribution and their economy, or the calendar of the festivals and their online organisation, making it even more complicated to launch films. Other professional categories seem to have been spared, less affected or have managed to pursue their activities in new forms. The effects of this paradigm shift over the long term thus remain inevitably uncertain… These transformations also have an impact on us at Visions du Réel, since we are part of this chain. Accustomed to the needs of those who make the films, produce them, sell them or show them, and to best address our role as a Festival that launches films, we must adapt our platform and activities. We have therefore developed our efforts to help the films in Visions du Réel official selection to access the market by completely revising our video library for professionals, renamed VdR–Film Market for the occasion. At the same time, we will highlight the films in our programme available for sales agents and for distributors with a new activity, the VdR–Showcase. We invite you then to note, together, across the nine days of this rather unusual edition of VdR–Industry, all the changes that have taken place so far and those yet to come in the film industry. This year again, our professional platform will be a privileged vantage point over contemporary documentary production, a space for reflection in which the future of the industry will be sketched out. We will observe how the wealth of the genre has not weakened through the discovery of a selection of projects reflecting the diversity and vitality of contemporary creations, presented in the VdR–Pitching, the VdR–Work in Progress, the VdR–Rough Cut Lab, but also in In Between, the Prix RTS: Perspectives d’un Doc, the SWISS FILMS Previews or even in the projects emerging from the directors participating in Opening Scenes Lab. Filmmakers, far from being discouraged by this turbulent reality, seem to have strengthened their approach. We will also attempt to understand, and perhaps foresee the evolutions in the industry, through a series of discussions and round tables, with our now recurrent activities such as the VdR–Industry Talks, Switzerland Meets Italy and the Documentary & Audiovisual Forum. Despite the challenge, we have always believed in the possibility of bringing you an on-site version of VdR–Industry. Now more than ever, after a year of lockdowns, it seems important to us to physically meet each other again. We are therefore offering an alternative to the fully online format by inviting those who can join us in Nyon to continue to exchange and work together. For all of those who cannot be present, we will welcome you in a newly created and tailored online space: an innovative, community-centred platform that will attempt to recreate the unique atmosphere of Visions du Réel as closely as possible. Finally, I would particularly like to thank our financers and partners for their unfaltering support. It is they who enable us to continue to propose a relevant offering. Thank you to our jurors who will have the difficult task of meeting all the project holders remotely and to the decision makers whose valuable commitment nourishes the projects. Thank you all for your involvement in creating the future of film together and welcome to the VdR– Industry 2021! 4 5 Jury and Awards VdR–Industry is very pleased to welcome every year various juries, composed of eminent personalities of the documentary and filmmaking world. Together, they will award important prizes offered by our valued partners to the selection of presented projects. Moreover, this year we are enthusiastic to announce that three new cash awards will be added to our list. 6 Jury: VdR–Industry 7 Jury: visions sud est 8 Awards 6 Jury & Awards Jury & Awards 7 Jury: VdR–Industry Jury: visions sud est Roberto Minervini Roberto Olla Rasha Salti Sebastiano Conforti Daniela Persico Meret Ruggle Film Director Executive Director Commissioning editor for La Lucarne Distributor / Programmer Programmer and Film Critic Director and responsible for Italy, United States Eurimages Arte France Outside the Box / FIFF, VIFF Locarno Film Festival the acquisitions France Lebanon, Canada Switzerland Italy, Switzerland trigon-film Switzerland Roberto Minervini is an Italian-born film director, Roberto Olla is the Executive Director of Rasha Salti was born in Canada, in 1969, to After his university studies in Lausanne, in Daniela Persico is film critic and programmer, After completing her film and development who lives and works in the U.S. His latest film, the Eurimages, the Council of Europe’s film Lebanese and Palestinian parents. She was Cinema, History and Italian Literature, he worked based in Milan. She is the Head of special events studies in Zurich, Geneva and Paris, Meret award-winning What You Gonna Do When the fund. A lawyer by training, he holds a Ph.D. in raised in Beirut, earned a B.A. in Fine Arts from for several Film Festivals, such as Locarno, NIFFF, and she is part of the selection committee has been working for several NGO's in the World’s on Fire?, premiered in competition at entertainment law from the European University Georgetown University (Washington D.C,) FIFF and VIFFF as coordinator and programmer. at Locarno Film Festival. She's a founder development sector before changing to the film the 2018 Venice Film Festival, and has garnered Institute of Florence. Roberto joined Eurimages in 1992, and a Masters in the Arts from The Since 2017, he has been working for the and editor-in-chief for the online quarterly industry, where she joined trigon-film as a public worldwide appreciation. After completing a in January 2002 as a project manager and in Graduate Faculty and the New School University independent distribution company Outside the Filmidee (www.filmidee.it) and she manages relations manager for several years. Master’s Degree in Media Studies at the New 2008 became its Executive Director. Before this, (New York) in 2002. Box (Le Milieu de l’horizon, Ceux qui Travaillent). the Filmidee Summer School. She's in the Since 2020, Meret Ruggle is the director of School in New York City in 2004, he moved to the he was a researcher in media law, worked for the She is a researcher, writer and curator of art selection's committee of International Film trigon-film and is responsible for the acquisition Philippines to teach Documentary Filmmaking MEDIA Programme of the European Union and and film, working and living between Beirut and Festival Mannheim Heidelberg (Germany), she is of new titles for distribution as well as the release at the university level. In 2007, he moved to was a legal adviser on audio-visual matters to the Berlin. She co-curated several film programs consultant for Nara Film Festival (Japon), Festival strategies in the local market. trigon-film is a Texas, where he directed three feature films, European Commission in Brussels. including The Road to Damascus, with Richard dei Popoli (Florence, Italy) and ISreal – Festival Swiss film distribution that has been releasing The Passage, Low Tide and Stop the Pounding Peña, a retrospective of Syrian cinema that di cinema del reale (Nuoro, Italy). She wrote carefully selected films from Latin America, Asia, Heart, a Texas Trilogy that played at renowned toured worldwide (2006-2008); Mapping essays for various collective books and edited Africa and Eastern Europe since 1988. The film film festivals including Cannes, Venice, Toronto Subjectivity: Experimentation in Arab Cinema books on the work of Claire Simon (2008), Wang foundation also runs its own DVD edition and the and Rotterdam, among others. In 2014, Stop from the 1960s until Now, with Jytte Jensen Bing (2010), Ross McElwee (2013) and Emmanuel video-on-demand platform filmingo. the Pounding Heart won the David di Donatello (2010-2012) showcased at the MoMA in New York Carrère (2014). Award (Italian Academy Award) for Best and Saving Bruce Lee: African and Arab Cinema Documentary. The Other Side (aka Louisiana), his in the Era of Soviet Cultural Diplomacy with Koyo fourth film, premiered at the 2015 Cannes Film Kouoh at the Haus der Kulturen der Welt (2018). Festival, competing in the Un Certain Regard Rasha Salti has also collaborated with different Section. festivals as a programmer, including the Toronto International Film Festival (2011-2015). At present she is the commissioning editor for La Lucarne, the experimental documentary program for Arte France. 8 Jury & Awards Jury & Awards 9 Awardsvisions sud est VdR–Pitching VdR–Work in Opening Progress Scenes Awards visions sud est Award VdR-Pitching Award VdR-Work in Progress Award IDFA Spotlight Award 10’000 CHF in cash for the best 5’000 CHF in cash for the most 3’000 CHF in cash for the most The winning director will be invited project from the South (Africa, promising project promising project to IDFA’s next edition to participate Latin America and Asia) or from in a tailor-made programme within Eastern Europe (excluding EU The Party Film Sales Award Lightdox Award the IDFA Industry.
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