WHEN EAST MEETS WEST january 24-26, 2016 organized by with the support of under the patronage of in partnership with 2016 partners LST partners #FEEDback partners in cooperation with in collaboration with with the technical support of Savoia Excelsior Palace CONTENTS 4 FOREWORD 6 WEMW SELECTED PROJECTS 94 WEMW GUEST PROJECTS 106 LAST STOP TRIESTE 124 FIRST CUT LAB 134 ITALY/BRAZIL CO-DEVELOPMENT FUND AWARDED PROJECTS 148 inDEX PARTICIPANTS 272 WEMW PARTNERS 278 STAFF 280 OLFFI - FUNDING OPPORTUNITIES IN THE SPOTLIGHT COUNTRIES 3 FOREWORD This is the sixth edition of WEMW, although, in fact, in 2010 we the Continent is a source of richness to exploit - not a limitation but a organised an event in Trieste which already included the themes which resource to be harnessed, to encourage growth for all”. would then be developed in the following years. Above all, that was an occasion which made us realise that the conditions were right for WHEN EAST MEETS WEST is organised by the Friuli-Venezia- our programme to exist. Giulia Audiovisual Fund together with the Trieste Film Festival, That “pilot” edition, which sometimes makes it seems as though we EAVE, Antenna Media Torino and MAIA WORKSHOPS. It enjoys have reached our seventh anniversary, included Catalonia as our the support of: Creative Europe - MEDIA Programme; Direzione special "Western" guest. Therefore, it is with special pleasure that Generale per il Cinema – MiBACT; CEI (Central European Initiative); this year we are inviting Spain and Portugal and countries from Latin Confartigianato Udine; and is under the patronage of Eurimages. America, as a sign of our continued interest in those cultures and The 2016 edition of WEMW will be a three-day event dedicated languages - an interest shared by our more 'traditional' friends from to producers, commissioning editors, representatives of markets and the “East”. The figures confirm this interest: if in 2014 we received regional funds from Italy, Eastern Europe and from Spain, Portugal 200 applications from 29 countries (a record number since WEMW and Latin American countries. We aim to host an event that will began) and in 2015 applications shot up to 285, this year we have generate close ties between the participating regions and countries. reached 301, from more than 30 countries. Cinema professionals from many different geographical backgrounds But beyond the numbers, it is the quality of the projects which is testament to will gather in Trieste for a series of round-tables, master-classes and the ever-growing international appreciation enjoyed by our co-production case studies organised to facilitate opportunities for collaboration market, and it shows that the level of participants and production between Eastern European producers and Western companies, and companies choosing to come to Trieste is getting higher every year. vice-versa. This makes the Friuli-Venezia-Giulia Region a unique point Further proof of the interest that WEMW attracts is shown by the of reference for such initiatives. Film and documentary producers success of the two new sections which were launched last year: from Albania, Argentina, Armenia, Azerbaijan, Belarus, Bosnia and First Cut Lab and Last Stop Trieste. The first is a workshop dedicated Herzegovina, Brasil, Bulgaria, Chile, Colombia, Croatia, Cuba, to fiction features in their editing phase; whereas the latter offers a Cyprus, the Czech Republic, Estonia, Georgia, Greece, Hungary, precious opportunity to present documentaries in an advanced stage Italy, Kazakhstan, Kosovo, Latvia, Lithuania, Macedonia, Mexico, of editing to a restricted audience of sales agents, film festival officials Moldova, Montenegro, Poland, Portugal, Romania, Russia, Serbia, and TV commissioning editors. Applications for these sections have Slovakia, Slovenia, Spain, Turkey, Ukraine, and Uruguay will meet risen too, while we can already see the first results of last year's work. with commissioning editors, distributors and representatives of funding This paints a very positive picture of our work, and our aim is to find even bodies and markets, in order to present the whole range of production more ambitious goals for 2017. We are already working towards this, and distribution opportunities, as well as financial resources, available with the same commitment that has characterised these first six years. to the industry. We are confident that the 2016 edition of WHEN EAST In wishing every participant a happy stay in Trieste, I would like to MEETS WEST will again prove very popular with industry insiders and repeat - and please excuse me for doing so - a concept that I already consolidate what is, in our opinion, an essential networking opportunity included in my introduction in previous years and which I believe is for the development of audiovisual companies of the New Europe. the very basis on which WEMW is founded: “Culture is an economic factor of prime importance; it is above all what brings people together; it is a catalyst which will manage to destroy the last few existing PAOLO VIDALI barriers. As Europeans we must believe that the cultural diversity of FRIULI VENEZIA GIULIA AUDIOVISUAL FUND WEMW SELECTED PROJECTS An international committee led by Danijel Hocevar (Vertigo) and Leena Pasanen (Dok Leipzig), and composed by Manuela Buono (SlingShot Films), Agustina Chiarino (Mutante Cine), Fernando Epstein (Mutante Cine), Alessandro Gropplero (WEMW) and Alex Traila (WEMW consultant), has selected 22 projects in development from 18 different countries. The 2016 final line-up includes 12 fiction feature films and 10 documentaries selected amongst 301 applications from 30 different countries. The WEMW jury, including Matthieu Darras (TorinoFilmLab), Nikolaj Nikitin (SOFA) and Kristina Trapp (EAVE), will award three different prizes: the WEMW Development Award, the EAVE scholarship for the European Workshop and the brand new Flow Postproduction Award, a prize consisting in 10.000 EUR in postproduction facilities. All feature-length projects budgeted at over €1M will also be eligible for the TRL Espresso Award, an automatic selection at Rome’s New Cinema Network and at Film London PFM in October 2016. In addition to the projects selected for the pitching forum, WEMW invited 3 additional Latin American guest projects (1 documentary and 2 fiction features) previously presented at one of the partners platforms: DOCSP, BAM – Bogotà Audiovisual Market and IFP – New York Independent Filmmaker Project. 10 1989 | CREATIVE ARTISANS MEDIA CUBA 14 A HOME | CAMPO CINE ARGentINA/ITALY 20 AmanDA & CaiO | LACUNA FILMES BRAZIL 24 AngEL in THE WaLL | TUCKER FILM ITALY 28 AT THE SiDE OF THE MOON | LIBRA FILM ROMANIA/SPAIN/BULGARIA 32 BALANTA: THE TiDE PEOPLE | NACNE ITALY 34 ExEMPLARY BEhaviOUR | ERA FILM LITHUANIA/BULGARIA/sloVenIA 36 FOam AT THE MOUTH | TASSE FILM LATVIA/LITHUANIA/polAND 40 FOR WOMEN OnLY | BIR FILM TURKEY/GermANY 44 FuguE | ARTCAM CZECH RepUBLIC/ARGentINA/frAnce 48 HER JOB | HOMEMADE FILMS Greece 8 52 HISTORY OF LOVE | MONOO sloVENIA/IcelAnd/croATIA 56 KENTannOS | MOTONETA CINE ARGentINA/ITALY/SPAIN 60 MR Jan anD HIS 40 GIRLS | GRANIZA POLAND 62 MY Way OR THE HighWay | DÍA FRAGMA FÁBRICA DE PELÍCULAS colomBIA 66 SOUR SPRingS | ATZUCAC FILMS BosnIA HerZEGOVINA/SPAIN/netHerlAnds 70 STANCES AND STATUES | KOI STUDIO POLAND 74 ThE CREATOR OF UnivERSES | GERARDO CASTELLI URUGUAY 78 THE FaTHER | ABRAXAS FILM BULGARIA/ITALY 82 ThE LabuDOviC FILES | DRIBBLING PICTURES serBIA/ALGerIA 86 ThE TREE | C.R.I.M. portUGAL/BosnIA HerZEGOVINA 90 WhaT havE WE DONE WROng? | MISS WASABI FILMS SPAIN/ITALY/MEXICO 9 SYNOPSIS 1989 Havana, Cuba, 1989. It has been three years since the nuclear explosion in Chernobyl, USSR. Cuba has offered to provide medi- Genre Drama cal treatment to the victims of the disaster. The patients are known Directors Sebastian Barriuso, Rodrigo Barriuso as “The Chernobyl Children.” Writer Lindsay Gossling Malin, a young Russian professor at The University of Havana, Producer Sebastian Barriuso couldn’t be further removed from the tragedy. Life for Malin is gold- Company Creative Artisans Media en, until one day Fidel Castro suspends all Russian classes and Looking for Financing orders the professors to work as translators between sick children, their parents, and Cuban medical staff. Forced out of the abstract world of academia and into the real world of medicine, Malin struggles to cope as he finds himself caught in the middle of emotionally charged situations. One day, a boy tells Malin the story of the Chernobyl disaster from his point-of-view. Malin is amused by the child’s tale, until he realizes that the story is actually about the explosion. The boy then asks Malin to tell him a Cuban story. Malin does, and as he tells it, he realizes that he has helped the child to escape the reality of his situation. As his relationship with the kids develops, he finds a Sebastian Barriuso way to cope with the horrors of the hospital. But just as Malin starts to navigate the nights, he becomes discon- nected from his family. To make matters worse, while Malin has been working nights and sleeping through days, the iron curtain has fallen and with it, the USSR’s financial support for Cuba. Overnight, the cost of living has skyrocketed and it’s a struggle to put food on the table. Contact details Lost in the nighttime world of the Chernobyl Children, Malin fails Creative Artisans Media to see how much his family needs him. One day, it’s suddenly an- Havana, Cuba nounced that new translators will be arriving from the USSR and the T: +1 647 500 9070 professors are sent back to the university. Malin is relieved but also [email protected] overwhelmed with sadness for what he has been privileged to be 10 part of. After seeing so much suffering and loss, his faith in humanity that we find familiar regardless of our nationality. This film will also is stronger than ever. Malin now sees the world in a new way.