2017 Special Acknowledgments to all the directors, producers and distributors whose films are screened in BIEFF 2017 and to the following persons and institutions: THEME PROGRAMS

6 Concept 64 ARSENAL INSTITUT FOR FILM AND VIDEO ART AND Alessandro Raja – Festival Scope Emanuela Cuciuc-Nacu – Agercont Matt Carter – LUX Artists’ Moving Image BERLINALE FORUM Alina Cantacuzino – Cervantes Institute Emil Truță – Journey Pub Miguel Dias – Agência da Curta Metragem Alexander Nanau – Film Monitor Association Eric Poppe – Wallonie-Bruxelles International, Miguel Valverde – Portugal Film & IndieLisboa 8 Festival Board EXPANDED: NOSTALGIA FOR THE FUTURE Alexandre Peyre-Dutrey – Embassy of Sweden in Bucharest Delegation International Independent Film Festival Bucharest Evelin Hust – Goethe-Institut Bucharest Mihai Chirilov – Transilvania International Film 10 Festival Team 70 ROTTERDAM FILM FESTIVAL: PAINTING WITH HISTORY Adina-Ioana Șuteu – French Institute Bucharest Ezio Peraro – Italian Cultural Institute Festival Ana Mișu – Hotel Venezia François Bonenfant – Le Fresnoy Studio National Mihai Ciubotariu – Canopy 11 UNATC / UNARTE Presentation 76 CINEDANS AMSTERDAM: EMOTIONAL BODIES Anca Brezeanu – Sky Tour des Arts Contemporains Mihai Crăiță – Eventbook Anca Damian – Film Monitor Association Gabriela Albu – Peasant’s Museum Cinema Mihai Leontescu – Embassy of Sweden in Anca Mitran – Romanian National Film Center Gabriela Dobre – Wallonie-Bruxelles Bucharest 12 Partner Festivals 84 GOLDEN SHORTS: BEST FILMS IN MAJOR FESTIVALS Andra Bellu – SCPA Pârvu și Asociații International, Bucharest Delegation Mihai Orășanu – MDV Film Andreea Chindriș – Romanian Ministry of Culture Gabriela Petre – Italian Cultural Institute Mihály Zoltán Nagy – Romanian Cultural Institute 19 International Competition Jury Andreea Tincea – Journey Pub Hilke Doering – Oberhausen International Short Natalia Andronachi – Austrian Cultural Forum SIDE EVENTS Andrei Lixandru – Eventbook Film Festival Natalia Trebik – Le Fresnoy Studio National des Andrei Rus – Film Menu Ioana Diaconu – MUBI Romania Arts Contemporains 20 Opening Gala 90 Panel: The Lifespan of Cinematic Experimentation - Festival Angelika Ramlow – Arsenal Institute for Film and Ioana Dragomirescu – Le Pacte Nicolae Mandea – UNATC National University of Strategies and Beyond / BIEFF on MUBI Video Art Ioana Nastea – Agercont Theatre and Film Bucharest 22 Closing Gala Anca Pandrea – Lente & Șotron Ioana Turcu – Eventbook Nora Molitor – Berlinale Forum Expanded Anna Abrahams – EYE Film Institute Netherlands Irina Cios – Administration of the National Oana Iancu – Film Monitor Association Bianca Oana – Manekino Film Cultural Fund Paolo Moretti – Festival of Documentary Film INTERNATIONAL COMPETITION Brigitta Burger-Utzer – Sixpackfilm Irina Petrescu – French Institute Bucharest FIDMarseille Boglarka Nagy – French Institute Bucharest Jonathan Pouthier – Centre Pompidou Pauline Ginot – Autour de Minuit 24 THE POLITICS OF THE BODY Camelia Ciucă – Romanian National Film Center Joost Daamen – IDFA International Documentary Peter Greenaway International Competition I Carmen Constantin – Administration of the Film Festival Amsterdam Peter van Hoof – International Film Festival National Cultural Fund Juhani Alanen – Tampere International Short Film Rotterdam Carmen Niculescu – Canopy Festival Radu Boroianu – Romanian Cultural Institute 34 SEARCHING FOR TRANSCENDENCE Carmen Stejeroiu – Romanian National Film Jukka Pekka Laasko – Tampere International Rémi Bonhomme – Semaine de la Critique, INTERNATIONAL COMPETITION II Center Short Film Festival Cannes Film Festival Carsten Spicher – Oberhausen International Lars Henrik Gass – Oberhausen International Roxana Trestioreanu – UNARTE National 42 YOU ARE ANOTHER ME Short Film Festival Short Film Festival University of Arts Bucharest Caroline Seebregts – Embassy of the Kingdom of Laura Abrihan – Peggy Production Salette Ramalho – Agência da Curta Metragem INTERNATIONAL COMPETITION III the Netherlands Laurențiu Brătan – Anim’est International Sergi Steegmann – The Match Factory Călin Dan – MNAC Bucharest Animation Film Festival Simona Pop – Embassy of Sweden Baucharest 50 THE ALCHEMY OF THE FRAME Cătălin Bălescu – UNARTE National University of Laurențiu Damian – Romanian Filmmakers’ Union Stefanie Schulte Strathaus – Berlinale Forum INTERNATIONAL COMPETITION IV Arts Bucharest Liliana Costa – Agência da Curta Metragem Expanded Christoph Terhechte – Berlinale Forum Liliana Ciurea – Embassy of Switzerland in Ștefan Bradea – Transilvania Film Christophe Gigaudaut – French Institute Romania Ștefana Mărmureanu – Romanian Cultural 58 CUTTING THE CORD Bucharest Liliana Passima – National Museum of the Institute INTERNATIONAL COMPETITION V Christophe Leparc – Quinzaine des Réalisateurs, Romanian Peasant Thania Dimitrakopoulou – The Match Factory Cannes Film Festival Lisa Linde Nieveld – EYE Film Institute Theo Pârvu – SCPA Pârvu și Asociații Claudia Tocilă – Aqua Carpatica Netherlands Theo Tsappos – Swedish Film Institute Claudiu Sfirschi-Lăudat – Greek Cultural Lucian Pricop – Romanian Filmmakers’ Union Theus Zwakhals – LIMA Amsterdam Foundation Lucie Guérin – French Institute Bucharest Toril Simonsen – Norwegian Film Institute Cornelia Popa – Cinelab Romania Marina Neacșu – Goethe-Institut Bucharest Tudor Ciortea – NouMax Cristian Ignat – Canopy Marion Poeth – Cinedans Dance on Screen Ulrich Ziemons – Berlinale Forum Expanded Cristina Niculae – Peggy Production Festival Amsterdam Urs Herren - Embassy of Switzerland in Romania Daniel Mareș – Lente & Șotron Martijn te Pas – IDFA International Documentary Valentina Mușa – Administration of the National Dietmar Schwärzler – Sixpack Film Film Festival Amsterdam Cultural Fund Edith van der Heijde – EYE Film Institute Martin Scheuring – German Films Vesa Puhakka – AV-arkki Netherlands Martine Dekker – Cinedans Dance On Screen Yvonne Irimescu – NexT International Short Film Elisabeth Marinkovic – Austrian Cultural Forum Festival Amsterdam Festival and to all BIEFF 2017 volunteers. Bucharest International Experimental Film

Festival BIEFF - Concept BIEFF is also honored to collaborate with some of the major international film festivals and institutions in the area Copel Moscu, Festival Director of avant-garde cinema and visual art, Moreover, BIEFF has started in 2010 a wonderful collaboration with one of the leading Adina Pintilie, Artistic Director recognized worldwide for their consistent experimental filmmakers of our time, PETER GREENAWAY. He made an unforgetable creative support of innovative, radical official opening at our festival in 2010 with an impressive Masterclass, addressed Created under the patronage of creative background, BIEFF comes as a filmmaking and visual art: QUINZAINE especially wto our core audience, Romanian film and visual art students and professionals; the National University of Theatre and natural complementary reaction, its main DES RÉALISATEURS - Cannes Film Festival, and in 2011 he brought his groundbreaking LIVE CINEMA VJ PERFORMANCE Film “I.L. Caragiale” and the National goal being to broaden perception, to open BERLINALE Forum Expanded - Berlin LUPERCYCLOPEDIA, a highly innovative audio-visual experiment, intended to challenge University of Arts Bucharest, with the a whole new artistic territory, both for International Film Festival, ARSENAL the borders of filmic language and offer the audience a totally new cinematic experience, support of the Administration of the the general and the specialized audience, Institute for Film and Video Art Berlin, performance which was immensely successful all over the world. National Cultural Fund and the Romanian particularly for film and visual art students International Film Festival ROTTERDAM, National Cinema Center, BUCHAREST and professionals. Le FRESNOY – Studio National des Starting with 2012, PETER GREENAWAY has become the HONORARY PRESIDENT of INTERNATIONAL EXPERIMENTAL FILM Arts Contemporains, CINEDANS - the Bucharest International Experimental Film Festival BIEFF, generously joining us in our FESTIVAL BIEFF has as its main focus the Therefore we present films which Dance on Screen Festival Amsterdam, educational initiative. PETER GREENAWAY is one of the key voices of contemporary avant- courage to experiment in cinematic are lessons in cinema, emblematic SIXPACKFILM Austria and EYE Film garde cinema, one of the most ambitious and controversial experimental filmmakers of language. pieces, eye-openers with regard to Institute Netherlands, who bring to our time. Trained as a painter and heavily influenced by theories of structural linguistics, the unlimited possibilities offered by Bucharest a selection of highly innovative ethnography, and philosophy, PETER GREENAWAY’s films often traverse unexplored BIEFF is the first showcase of avant- the cinematic medium, the ways to multi-awarded films from their last year’s territories, rejecting conventional narrative structures in favor of awe-striking garde cinema and visual art in Romania, transcend any possible borders between selections. imagery, constantly testing the limits of the cinematic medium. Regularly nominated a non-commercial event with educational fiction, documentary and visual art, the in prestigious film festivals such as Cannes, Venice and Berlin, he has an impressive purpose, aimed at bringing to the transgression of boundaries on every level As for each of our editions, we are body of work, consisting of 13 feature films and 50 short films and documentaries, plus audience highly innovative films and ranging from concept, structure, rhythm, honored to welcome in our International exhibitions, visual installations, VJ performances, paintings, books, opera librettos. filmmakers with strong personal views on to the construction of the shot. Competition Jury prestigious films contemporary reality, which also daringly professionals such as: ANGELIKA Furthermore, following its previous years’ success, BIEFF will dedicate again its 2017 explore the boundaries of cinematic RAMLOW — Representative of BERLINALE Opening and Closing Ceremonies to the most recent works of some major names of BIEFF is also the first event in Romania dedicated to promoting artistic productions at language. A cinema of total creative Forum Expanded and ARSENAL Institute the contemporary cinema. In 2010, BIEFF presented, for the first time in Romania, the border area between cinema and visual art, offering increased visibility to cutting freedom and lack of compromise. For Film and Video Art Berlin; PAOLO the latest film of the master of experimental cinema Jan Švankmajer, right after its edge visual artists, whose work is mainly accessible in museums and in the art gallery MORETTI — Member of the Selection premiere in Venice. In 2011, BIEFF screened the Romanian premiere of the most circuit and rarely on cinema screen. We do this because we believe this border area We believe BIEFF is a highly necessary Committee, Festival of Documentary Film recent work of Alexander Sokurov, his impressive FAUST, winner of the Golden Lion in is an extremely rich, creatively nourishing territory, from where unique artistic voices event, particularly for Romania, whose FIDMarseille; CĂLIN DAN — Visual artist Venice 2011. In 2012, BIEFF presented the Romanian premiere of Peter Greenaway’s have constantly emerged over the years, such as Peter Greenaway, David Lynch, Derek cinema has proved its impressive and Director of MNAC - National Museum impressive latest feature, GOLTZIUS AND THE PELICAN COMPANY, while in 2013 the

Jarman, Andy Warhol, Stan Brakhage and others. BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL power in recent years, through the of Contemporary Art Bucharest. film to open the festival was Terry Gilliam’s most recent feature, THE ZERO THEOREM.

\\ outstanding voices of Cristi Puiu, Corneliu In 2014, BIEFF opened with the Golden Lion winner from that year, Roy Andersson’s \\ BIEFF presents on one side an INTERNATIONAL EXPERIMENTAL SHORT FILM Porumboiu, Cristian Mungiu, Radu Jude A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE and closed with Ulrich COMPETITION, consisting of some of the most intriguing and innovative visual and others, yet mainly in the area of realistic Seidl’s fascinating hybrid documentary, IN THE BASEMENT. The 2016 festival opened experiments from the last few years, titles awarded and screened in prestigious narrative fiction. On this flourishing with Aleksandr Sokurov’s sophisticated and absorbing FRANCOFONIA, and it closed festivals, museums and galleries all over the world, such as Cannes, Berlin, Venice, with Peter Greenaway again, who brought to Bucharest his amazing and provocative Rotterdam, Oberhausen, Toronto, Centre Pompidou etc. EISENSTEIN IN GUANAJUATO.

6 7 FESTIVAL BOARD

PETER GREENAWAY COPEL MOSCU ADINA PINTILIE DAN ANGELESCU

HONORARY PRESIDENT FESTIVAL DIRECTOR ARTISTIC DIRECTOR FESTIVAL MANAGER

Since 2012, Peter Greenaway has been the Copel Moscu is the director and main founder Adina Pintilie is the artistic director and Thessaloniki, Warszaw, Bilbao etc. In 2008 Dan Angelescu is the festival manager and Honorary President of Bucharest International of Bucharest International Experimental Film co-founder of Bucharest International she co-directed Sandpit #186, with George associate curator of Bucharest International Experimental Film Festival Bucharest BIEFF. Festival BIEFF. One of the key authors of the Experimental Film Festival BIEFF. Filmmaker Chiper, which premiered in Locarno, won Experimental Film Festival BIEFF. He holds One of the key voices of contemporary Romanian Documentary New Wave from the and curator, - recent graduate of the National a Runner-Up Award in Miami International a Master’s degree in Comparative Arts and avant-garde cinema, Peter Greenaway is ‘80s (together with Ovidiu Bose Paștină, Tereza University of Theatre and Film in Bucharest, Film Festival and a Special Mention in Trieste Media Studies from VU University Amsterdam, one of the most ambitious and controversial Barta, Laurențiu Damian, Sabina Pop) he was a Directing Department, - she has a particular in 2009. Her latest short, Diary #2, won the with a study on the self-representation of film experimental filmmakers of our time. Trained pioneer in challenging the borders of cinematic focus on cinematic experimentation, working ZONTA Award for Best Woman Filmmaker at festivals across different media. Thoroughly as a painter and heavily influenced by theories language in controversial, subversive films, at the border between fiction, documentary Oberhausen International Short Film Festival interested in working with and around the of structural linguistics, ethnography, and which concealed, under daring conceptual and and visual art. Her films are very particular in 2013. moving image, he was project coordinator philosophy, Peter Greenaway’s films often formal experimentation, a fierce criticism of the new Romanian cinema landscape, standing at the Centre for Visual Introspection traverse unexplored territories, rejecting the communist regime, many of which were out through a highly personal visual style, and contributing editor for Film Menu conventional narrative structures in favor of banned by the establishment’s censorship. innovative approach to cinematic language between 2010 and 2012. Since 2010, Dan an awe-striking imagery, constantly testing Copel Moscu created over 50 short and and an uncompromising exploration of human also collaborates with other film festivals the limits and canons of the cinematic medium. feature films (The Evening School, On the Ozana psychology. In 2007, her mediumlength Don’t in Romania – Transilvania International Regularly nominated in prestigious film Shore, My Beloved School, The Bronze Age, A Get Me Wrong – produced by Aristoteles Film Festival, One World, Les Films De festivals such as Cannes, Venice and Berlin, Day Will Come, I Chose Freedom), as director Workshop, with the support of ARTE France Cannes à Bucarest, Cinepolitica – in various he has an impressive body of work, consisting and scriptwriter, for which he was awarded and the Romanian National Television, was departments. In 2011 he co-founded the of 13 feature films and over 50 shorts and over 25 international and national prizes. He world premiered in Locarno - Filmmakers of the AAA+ curatorial collective, which organized documentaries, plus exhibitions, visual presently teaches film directing at the National Present Competition, included in IDFA 2007 - debates and video art screenings. He has installations, VJ performances, paintings, University of Theatre and Film “I.L. Caragiale” Best of Fests selection, awarded Golden Dove collaborated with Kunstverein Amsterdam, books, opera librettos. His first narrative (UNATC) and video art at the National Best Documentary Award at DOK Leipzig 2007 the Czech Centre in Bucharest, White Night of feature film, The Draughtsman’s Contract, University of Arts Bucharest (UNARTE) and and selected/awarded in 50 international film the Art Galleries Romania and Outernational BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ completed in 1982, received great critical is referred to as an artistic consultant for festivals such as: Thessaloniki, Montpellier, Days on several projects. In January 2016, \\ acclaim and established him internationally television and cinema. In 2010, consistent Trieste, Namur, Munchen, Moscow, Sarajevo, he was a member of the International Short as an original filmmaker, a reputation with his free innovative vision and educational IndieLisboa, Warszaw, Krakow etc. Her latest Film Competition Jury at the 29th edition of consolidated by his following films, such as The commitment, he took the challenge to offer medium-length, Oxygen, was screened in Stuttgarter Filmwinter – Festival for Expanded Cook, the Thief, his Wife, and her Lover, The Romanian audiences, and particularly cinema the Tiger Awards Short Film Competition Media. Pillow Book and The Tulse Luper Suitcases. and visual arts students, the first International of Rotterdam International Film Festival Experimental Film Festival in Romania: BIEFF. 2010, Buenos Aires BAFICI, Montpellier, 8 9 FESTIVAL TEAM THE NATIONAL UNIVERSITY OF THEATER AND FILM “I.L. CARAGIALE” BUCHAREST ARTISTIC DIRECTOR & CHIEF CURATOR GUEST DEPARTMENT FESTIVAL POSTER Adina Pintilie Cristina Bîlea – coordinator Carmen Gociu Teona Galgoțiu – jury assistant FESTIVAL MANAGER & ASSOCIATE GRAPHIC PRODUCTION The NATIONAL UNIVERSITY OF THEATER AND FILM “I.L. CARAGIALE” BUCHAREST (UNATC) counts among the most prestigious European film CURATOR VIDEO DEPARTMENT Bogdan Cătălin Cazacioc schools, together with the Film And TV School Of Academy Of Performing Arts in Prague (FAMU), and the National Film School in Lodz. The Dan Angelescu Alice Gheorghiu – coordinator history of UNATC begins as early as 1864, the year when the first Theatre School was founded in Bucharest. In 1954, the old school merged with Cristina Bodnarescu, Alice Furdui, Nicolae CATALOGUE DTP the Institute of Film Art, to become UNATC, the National School of Theatre and Cinema. EXECUTIVE PRODUCER Gaburici, Ionuț Gighileanu, Valentin Claudiu Ioana-Luiza Ghiță Carla Fotea Goran, Mihai Marin, Flavia Negoescu, Alberto Great names of Romanian cinema are UNATC alumni; among them: Cristian Mungiu, Corneliu Porumboiu, Cătălin Mitulescu, Radu Muntean, Niculae, Delia Oniga, Daniel Popa, Silviu WEB DEVELOPER Tudor Giurgiu. CURATORIAL DEPARTMENT Suciu, Cosmin Tița, Andreea Udrea – interns Tiberiu Andrișan Adina Marin – coordinator and curatorial texts PHOTO DEPARTMENT Diana Mereoiu – curatorial texts Ionuț Dobre – coordinator THE NATIONAL UNIVERSITY Andrei Tănăsescu – curatorial texts Diana Păun, Anda Stăncescu – interns Ioana Florescu – intern OF ARTS BUCHAREST Ruxandra Ghițescu – translations SUBTITLING DEPARTMENT Roxana Marin – coordinator CATALOGUE EDITOR Anna Berza, Raluca Davicenco, Rareș Grozea, Adina Marin Teodora Leu, Alina Rădoi, Alina Vlad – interns Founded in 1864, the NATIONAL UNIVERSITY OF ARTS BUCHAREST (UNARTE) proposes, through the creative work of its students, a cultural

model that links universal art forms to the contemporary cultural space. The specificity of the curriculum offered by UNARTE, and bythe MARKETING MANAGER VOLUNTEER COORDINATOR Photography and Video Department in particular, relies in the fostering of a flexible thinking, and in promoting themes related to contemporary Delia Marcu Andrei Jakab issues, and a variety of approaches that avoid conservatism and dogma.

PR & PRESS DEPARTMENT LOCATION MANAGERS UNARTE promotes the works and ideas of its students in symposia, exhibitions, and press conferences, and offers them opportunities of Roxana Dănăilă – coordinator Ștefania Iorga exchanges and collaborations with art universities all over Europe. Among its most celebrated professors and alumni, UNARTE counts Constantin Romina Banu – intern Simona Alecu Brâncuşi, Theodor Aman, Gheorghe Tattarescu, Ştefan Luchian, Alexandru Ciucurencu, Corneliu Baba.

PRINT TRAFFIC & TECHNICAL DEPARTMENT BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ Elena Găgeanu – coordinator \\ Bogdan Benea – assistant

10 11 QUINZAINE DES RÉALISATEURS CANNES PARTNER FESTIVAL PARTNER FESTIVALS / INSTITUTIONS PRESENTATION

QUINZAINE DES RÉALISATEURS CANNES

ARSENAL INSTITUTE FOR FILM AND VIDEO ART Parallel section of Cannes Film Festival, created by the French Directors Guild in the wake of the events of May ’68, QUINZAINE DES RÉALISATEURS (the DIRECTORS’ FORTHNIGHT) seeks to aid filmmakers and contribute to their discovery by the critics and INTERNATIONAL FILM FESTIVAL ROTTERDAM audiences alike. From its initial program in 1969, it cast its lot with the avant-garde (the glorious seventies), as well as it created a breeding ground where the Cannes Festival would regularly find its prestigious auteurs.

Since its inception, QUINZAINE DES RÉALISATEURS has showcased the first films of Werner Herzog, Rainer Werner Fassbinder, CINEDANS DANCE ON SCREEN AMSTERDAM Nagisa Oshima, George Lucas, Martin Scorsese, Ken Loach, Jim Jarmusch, Michael Haneke, Chantal Akerman, Spike Lee, Luc et Jean- Pierre Dardenne, Sofia Coppola, Robert Bresson, Manoel de Oliveira, Stephen Frears, Jerzy Skolimowski, William Friedkin, Francis INTERNATIONAL SHORT FILM FESTIVAL OBERHAUSEN Ford Coppola... among others. Among the various sections at the Cannes Film Festival, QUINZAINE DES RÉALISATEURS is distinguished by its independent- mindedness, its non-competitive nature and its concern to cater to non-professional Cannes audiences, which can buy a subscription for the entire Fortnight program or purchase tickets for individual screenings. Striving to be eclectic and receptive to all forms of cinematic expression, QUINZAINE DES RÉALISATEURS pays particular attention to the annual production of fiction features, short films and documentaries, to the emergence of independent fringe filmmaking, and even to contemporary popular genres, provided these films are the expression of an individual talent and an original directorial style.

CHRISTOPHE LEPARC Managing Director of QUINZAINE DES RÉALISATEURS, Festival de CANNES.

Has been working in the film industry since 1994 as prospector, member of the selection RÉALISATEURS (DIRECTORS’ FORTHNIGHT), 1990, specialized in the organization of committee, elaborating retrospectives. the other sidebar of Cannes Film Festival. BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ film festivals; has notably worked for the Between 2000 and 2008, he has worked He’s currently working with Edouard \\ International Women Directors’ Film Festival as Program Manager for the International Waintrop, the new Artistic Director of the of Créteil during 10 years as “prospector” Critics’ Week, sidebar of Cannes Film Festival Fortnight. of films. He has begun to work for devoted to new talents. Since 2007, he Mediterranean Film Festival of Montpellier in is Managing Director of QUINZAINE DES

12 13 ARSENAL INSTITUTE FOR INTERNATIONAL FILM FESTIVAL FILM AND VIDEO ART ROTTERDAM PARTNER INSTITUTION PARTNER FESTIVAL PRESENTATION PRESENTATION

Communicating international film culture in a lively manner is both the aim and mission of ARSENAL Institute for Film and Video Art Berlin. Working at the point where practice and theory come together, the institute comprises a space for thinking outside the box International Film Festival Rotterdam (IFFR) offers a high quality line-up of carefully selected fiction and documentary feature in (film) cultural terms, a cinema whose attention is focused on independent and experimental film and a communication platform films, short films and media art. IFFR is one of the largest audience and industry-driven film festivals in the world. Famously, only for promoting dynamic exchange between film, academia and art linked to a whole network of different organizations. seventeen people attended the opening night of the first Film International Rotterdam on 28 June 1972. Presently, during twelve

Its work encompasses the running of the two-screen Arsenal cinema, putting on the BERLINALE FORUM and FORUM EXPANDED, festival days, hundreds of filmmakers and other artists present their work to a large audience (2014: 287.000 admissions) and over distributing films as Arsenal Distribution and collecting and communicating works of independent and experimental cinema as well 2.000 film professionals. The festival’s Official Selection includes some 220 feature films and 320 short films out ofountries. 60c as avant-garde film history. Presenting video art and experimental films at the Filmhaus, at festivals, and in art and gallery spaces all plays a part in the ongoing investigation of what the conditions that constitute cinema actually are.

Within the educational partnership with Bucharest International Experimental Film Festival BIEFF, ARSENAL Institute for Film and The Shorts section of International Film reflect in advance on what experimental Video Art present a selection of thought provoking works from BERLINALE FORUM EXPANDED program. Festival Rotterdam has no fixed agenda, or innovative means. We’re interested in boundaries or statement, but aims work that challenges generic designations to show films that are experimental, (including the traditional “avant-garde”, innovative and contemporary, with “underground” or “video art” ones). Work BERLINALE FORUM EXPANDED a maximum length of 60 minutes. It may also draw on documentary, narrative, contains, besides the regular competition animation or any other tradition – or no and spectrum programs, special thematic tradition at all. So, what is experimental, Avant garde, experimental works, and feature films are given equal and solo programs, and also holds a series what is contemporary in the eyes of IFFR essays, long-term observations, consideration. The films in the Forum of MindThe Gap-nights with live audio- Shorts? I’m hoping this program (partly) political reportage and yet-to-be- straddle the line between art and cinema. visual events. The selection committee gives the answer. discovered cinematic landscapes: the In 2006 BERLINALE FORUM EXPANDED of the IFFR Shorts doesn’t thoroughly INTERNATIONAL FORUM OF NEW was launched. Presenting film, video, BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ CINEMA, FORUM in short, is the most installation and performative works on \\ daring section of the BERLINALE. varying themes and in multiple venues across Berlin, works in FORUM EXPANDED There are few formal limitations when it provide a critical perspective and an comes to the selection of films, resulting expanded sense of cinematography. in even greater freedom. Documentaries

14 15 CINEDANS DANCE ON SCREEN INTERNATIONAL SHORT FILM AMSTERDAM FESTIVAL OBERHAUSEN PARTNER FESTIVAL PARTNER FESTIVAL PRESENTATION PRESENTATION

CINEDANS DANCE ON SCREEN Festival is unique – in the Netherlands and in the world. The central focus of the festival is on At its 63rd edition in 2017, the Internet” in 2013, a program that dance film. CINEDANS sees the ideal dance film as a true synthesis between the two media of dance and cinematography. At International Short Film Festival looks at the future of cinematographic CINEDANS the emphasis lies on choreographies created specifically for the camera and on special film adaptations of existing OBERHAUSEN is one of the major production. The 2014 thematic dance performances. international crossroads for the short programme (“Memories can’t wait: Film

In the ever-changing media landscape, creators are increasingly seeking different ways to tell their stories. New media and modern form, unique in the range of forms and without Film”) focused on the current shift of moving image and sound from cinemas technology have entered the scene bringing new possibilities and insights. Dance film is no longer “movement on the black screen”, genres it presents to the public, and to galleries and museums world-wide. The festival also operates a well-stocked Video with new forms being developed such as installations, video clips, interactive projects and more. Contemporary dance films are particularly well known for its spotlight Library, a non-commercial short film distribution branch and a unique archive of short often autonomous art works with a language of their own and an expressiveness that cannot be pigeonholed. CINEDANS closely on experimentation. In the course of films from more than 50 years of festival history. follows these movements. In addition to the film programme, the festival focuses on various forms of crossover projects and media more than five decades, filmmakers and installations that involve movement. artists ranging from Roman Polanski to “Short film is a great first step for a budding filmmaker. That’s how I made my beginnings Cate Shortland, from George Lucas to and OBERHAUSEN was an important step on my path to become a Director.” Roman For this film-program, Bucharest International Experimental Film Festival BIEFF has selected a range of films from the CINEDANS Pipilotti Rist, have presented their first Polanski latest selection. In these films surprising stories are told through movement, composition and choreography, dances that can only works in OBERHAUSEN. exist by the use of film. “I smoked my first cigarette here. For years, I saw every single film at the Westdeutsche The Festival organizes an International Kurzfilmtage, looking forward to those days in OBERHAUSEN every year. These events Competition, a Children’s and Youth were important for me, for my decision to become a filmmaker.” Wim Wenders Films and a German Competition and the MARION POETH MuVi Award for the best German music “There can be no doubt that the OBERHAUSEN Short Film Festival has written film Artistic Programmer, Producer, CINEDANS DANCE ON SCREEN FESTIVAL, Amsterdam. video as well as the NRW Competition history... The short film has kept itself young, and so has OBERHAUSEN. This atmosphere, for productions from North Rhine- this creative power are what still distinguishes short films today.” Gerhard Schröder, MARION POETH is both artistic programmer and producer for CINEDANS. She gained her Masters in Theatre Studies from the Westphalia. In addition, OBERHAUSEN German Chancellor 1998-2005 University of Utrecht with a study on screen dance, having previously studied dance at Amsterdam School of the Arts, and audiovisual is known for its strong line of thematic BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ design and film in the Netherlands and England. Next to CINEDANS, she works as a freelance editor and media designer. programmes such as “Provoking Reality” \\ in 2012, dedicated to the 50th anniversary of the OBERHAUSEN Manifesto from 1962, or “Flatness: Cinema after the

16 17 INTERNATIONAL COMPETITION JURY

NORA MOLITOR PAOLO MORETTI CĂLIN DAN

Representative of Member of the Selection Committee, Visual artist and Director of the BERLINALE FORUM EXPANDED AND ARSENAL FESTIVAL OF DOCUMENTARY FILM NATIONAL MUSEUM OF CONTEMPORARY ART INSTITUTE FOR FILM AND VIDEO ART BERLIN FIDMARSEILLE MNAC BUCHAREST

NORA MOLITOR, born in 1982 in Aachen, Since 2001 PAOLO MORETTI worked for CĂLIN DAN is a visual artist with a background studied Intercultural Communication, several film festivals and film institutions in art history and theory. He reached Modern History and Spanish Philology at in Europe, including the Pompidou Center international recognition with his work in the University of Saarland, Germany and in Paris, the ​​États Généraux du Film the group subREAL, and independently the Institute of Political Studies Paris, Documentaire (Lussas), Filmoteca Española for the long-term project Emotional France. Since then she has been working for in Madrid, Leeds International Film Festival Architecture. After 1989 he acted as advisor international film, theater, and literature (UK), Cinemateca Portuguesa in Lisbon, One to the Mondriaan Fund and Pro Helvetia, festivals as well as independent theater World in Prague and Cinéma du Réel in Paris. and as a leader to cultural institutions like productions. In 2010 she began to work From 2008 to 2011, he was program advisor of “Arta” magazine, and the Soros Centre for at the Arsenal - Institute for Film and the Venice Film Festival, focusing in particular Contemporary Art, Bucharest. Currently Video Art in the scope of Berlinale Forum on short and medium length films (Orizzonti). he is the director of the National Museum Expanded and Arsenal distribution. She In 2012 and 2013 program advisor for the of Contemporary Art – MNAC Bucharest. is a co-founder of transdemo e.V. and has Rome Film Festival (CinemaXXI). Since 2012 His video work was showcased at: Ars curated and implemented experimental Selection Committee member of FIDMarseille Electronica, Linz; DEAF (Dutch Electronic film & performance programs at 48 Stunden and program advisor for ​​Visions du Réel. Arts Festival), Rotterdam; Media, film and Neukölln, Berlin. He is the director of the ​​La Roche-sur-Yon video festival Osnabruck; Internationale International Film Festival since 2014. Kurzfilmtage Oberhausen; OSTranenie Video Forum an der Stiftung Bauhaus, Dessau; Videonnale Bonn etc. BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL \\ \\

18 19 ENDLESS POETRY OPENING GALA 128’, France, Chile, 2016 DIRECTOR: ALEJANDRO JODOROWSKY

CAST: Adan Jodorowsky, Pamela Flores, Brontis Jodorowsky MUSIC: Adan Jodorowsky OPENING GALA SCRIPTWRITER: Alejandro Jodorowsky PRODUCER: Alejandro Jodorowsky, Moises Cosio, Abbas Nokhasteh, CINEMATOGRAPHER: Christopher Doyle Takashi Asai EDITOR: Maryline Monthieux EXECUTIVE PRODUCER: Xavier Guerrero Yamamota SOUND: Sandy Notarianni, Guadalupe Cassis PRODUCTION COMPANY: Satori Films, Le Soleil Films, Le Pacte

WITH THE SUPPORT OF:

ALEJANDRO JODOROWSKY

The second in the artist’s proposed cycle of five cinematic memoirs Now, well into his 80s, JODOROWSKY has managed to reinvent himself DIRECTOR’S STATEMENT: I’m not hypnotizing you to make you believe DIRECTOR’S BIO-FILMOGRAPHY: ALEJANDRO JODOROWSKY (the first was The Dance of Reality, screened at BIEFF 2014 in the in the most spectacular and unlikely way. ENDLESS POETRY [...] is a work you’re facing reality. I’m showing you a film, and I try constantly to remind (b.1929) is a Chilean-French film and theatre director, screenwriter, Jodorowsky Focus Programme), ENDLESS POETRY portrays ALEJANDRO of transporting charm and feeling. It’s the most accessible movie the you of the fact. That’s also why I used ninjas, those silhouettes totally playwright, actor, author, poet, producer, composer, musician, comics JODOROWSKY’s young adulthood, set in the 1940s and 50s, in the director has ever made, and it may also be the best. dressed in black who move props when the characters need them to be writer, and spiritual guru. Best known for his avant-garde films, he has electric capital city of Santiago. There, he decides to become a poet and moved, like in Kabuki Theater. There’s an expression that says, ‘I sell you a been venerated by cult cinema enthusiasts for his work which is filled (Owen Gleiberman, Variety) is introduced, by destiny, into the foremost bohemian and artistic circle cat when you asked for a hare.’ That’s fake realism. I can’t stand hyperrealist with violently surreal images and a hybrid blend of mysticism and religious of the time. He meets Enrique Lihn, Stella Diaz Varín, Nicanor Parra and painting, a poor imitation of photography. With real painting, there’s a provocation. Jodorowsky concocts psychology, mysticism, symbolism, many others of the country’s young, promising and unknown artists who pleasure about knowing you’re in front of a painting. With film, there’s the politics and other elements to create memorable and peculiar cinematic Cult filmmaker and psychomagic ‘guru’ ALEJANDRO JODOROWSKY would later become the titans of Latin America’s literature. ENDLESS pleasure of knowing you’re in front of a film, a real film, with its personal visions. His proverbial movies include such masterpieces as The Holy lives up to his reputation with ENDLESS POETRY, a film that crosses POETRY is a tale of poetic experimentation; the story of a unique youth aesthetic. I don’t want to settle for following actors who speak in front of a Mountain (1973), El Topo (1970) and Santa Sangre (1989). His latest over the border from surrealism to action without ever deviating from that lived as not many before them had dared: sensually, authentically, camera, like all those films that are merely a little theater of ersatz reality. movie, Endless Poetry (2016), is a direct sequel to The Dance of Reality his central thread, and speaks to people who are new to symbolism just freely, madly. No, for me cinema is an Art: it’s the frenzy of filming, the craze of colors, (2013). The two films create an autobiographical story about the multi- as well as it does to the crowd that is well-versed in the structures and not chatter among actors. talented Jodorowsky. strange characters it produces.

FESTIVALS/AWARDS: Quinzaine des Realisateurs - Cannes Film Festival (Fabien Lemercier, Cineuropa) (ALEJANDRO JODOROWSKY) 2016/ Locarno International Film Festival 2016 / Nomination - Best International Film, Munich Film Festival 2016 / Jerusalem Film Festival 2016 / Helsinki International Film Festival 2016 / Festival International de cinema ALEJANDRO JODOROWSKY has found a terrific new surge of energy in de Morelia, Mexico 2016 / Mostra - São Paulo International Film Festival his 80s with a richly enjoyable autobiographical movie trilogy, as crazy

QUINZAINE DES RÉALISATEURS CANNES RÉALISATEURS DES QUINZAINE 2016 as a laudanum dream. BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ (Peter Bradshaw, The Guardian) \\

WORLD SALES: LE PACTE FILMMAKER’S WEBSITES: Ioana Dragomirescu - Festivals & Marketing Coordinator W: http://www.poesiasinfin.com/ T: +33 1 44 69 59 59 E: [email protected] W: http://www.le-pacte.com/

20 21 MANIFESTO CLOSING GALA 95’, 2017, Germany DIRECTOR: JULIAN ROSEFELDT

CAST: Cate Blanchett PRODUCER: Julian Rosefeldt CLOSING GALA CLOSING SCRIPTWRITER: Julian Rosefeldt PRODUCTION COMPANY: Bayerischer Rundfunk (BR), Ruhr Triennale, CINEMATOGRAPHER: Christoph Krauss Schiwago Film EDITOR: Bobby Good SOUND: David Hilgers, Fabian Schmidt, Markus Stemler, Tschangis Chahrokh WITH THE SUPPORT OF:

JULIAN ROSEFELDT

MANIFESTO pays homage to the moving tradition and literary beauty MANIFESTO is an art film in the truest sense: It is conceptual in nature, of artist manifestos, ultimately questioning the role of the artist in nontraditional in form, and perfectly esoteric in appeal. [...] What few society today. It draws on the writings of Futurists, Dadaists, Fluxus could foresee walking into the experience is how an often-contradictory artists, Suprematists, Situationists, Dogma 95 and other artist collection of dogma might inspire the artistically open-minded. Whereas DIRECTOR’S STATEMENT: A while ago, during the research for another DIRECTOR’S BIO-FILMOGRAPHY: JULIAN ROSEFELDT (b. 1965) groups, and the musings of individual artists, architects, dancers and a single manifesto rigidly demands creativity within constraints, this project, I came across two manifestos by the French Futurist poet and is a German film and video artist who lives and works in Berlin. His filmmakers. Passing their ideas [...] through his lens, visual artist JULIAN maelstrom of competing rules and regulations encourages viewers to take a choreographer Valentine de Saint-Point and was immediately set on fire. work consists primarily of elaborate, visually opulent film and video ROSEFELDT has edited and reassembled thirteen collages of artists’ stand and consider their own aesthetic. [...] I read any manifesto I could find including theatre, dance, film and installations, often shown as panoramic multi-channel projections, manifestos. Performing these ‘new manifestos’ as a contemporary (Peter Debruge, Variety) architecture manifestos. [...] These manifestos were not only texts which ranging in style from documentary to theatrical narrative. His work call to action, while inhabiting thirteen different personas, Australian were intended to turn art – and eventually the whole world – upside down reflects the artist’s fascination with day-to-day reality, and the actress Cate Blanchett imbues new dramatic life into both famous and and revolutionise it; at the same time they are testimonials about the search stereotypes, clichés and mindless repetitions that suffuse popular lesser known words in unexpected contexts. ROSEFELDT’s work reveals If the art world gave out Oscars, Cate Blanchett should win for her tour de for identity, shouted out into the world. [...] The writing was beautiful and culture. His films and installations includeManifesto (2016), The Creation both the performative component and the political significance of force of starring roles in MANIFESTO. mesmerizing; I could hear the words as if they were spoken. I realised that (2015), Deep Gold (2013/2014), My Home Is A Dark And Cloud-Hung Land these declarations. Exploring the powerful urgency of these historical ( THE NEW YORK TIMES) they weren’t just historical art documents, but the most lively, performable (2011), American Night (2009), The Shift (2008), The Ship of Fools (2007), statements, which were composed with passion and conviction by text material. They reminded me more as theatre, and so I began to imagine Lonely Planet (2006), Requiem (2007), The Perfectionist (2005), Stunned artists many years ago, MANIFESTO questions whether the words these manifestos as a performance, liberated from the dust of art history Man (2004), The Soundmaker (2004), Trilogy of Failure (2004/2005), and sentiments have withstood the passage of time (...) and how the A confirmation of both Blanchett’s sheer presence and acumen and and re-located in the present time. Asylum (2001/2002). Having shown extensively in museums and dynamics between politics, art and life have shifted. Rosefeldt’s shrewdness and intellect, MANIFESTO is worth every minute – A festivals worldwide, Rosefeldt’s work is now a part of several renowned (JULIAN ROSEFELDT) remarkable exploration of cultural and cinematic tropes and expectations. collections, such as Berlin’s Neue Nationalgalerie, London’s Saatchi (THE SYDNEY MORNING HERALD) For me [the film itself] is a manifesto, absolutely. [...] It shows you that Gallery, and New York’s Museum of Modern Art.

ARTIST’S STATEMENT: Art history is a derivation of history and we learn from artists can be seismographs of their time with a utopian kind of prophetic BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL history. Artists, as well as writers, philosophers and scientists, have always been view on life. They can’t prove what they say, but they risk saying it and \\ the ones who have dared to formulate thoughts and visions whose consistency What matters in MANIFESTO isn’t what is said but the way it’s said, and speak it loud with intelligence. That’s what makes them so different from \\ FESTIVALS/AWARDS: Sundance Film Festival 2017 / International Film had yet to be proven. (...) We seem to be well advised to read artist manifestos ROSEFELDT has found a way to shrinkwrap the ambitious spirit and poetry the stupid populists of our times, right? They are speaking up, but with Festival Rotterdam 2017 as seismographs of their age. And in a time where neo-nationalist, racist of these texts into humble everyday actions. A manifesto is a schoolteacher, something to say or use such a poetic language that there’s space enough and populist tendencies in politics and media threaten again democracies instructing a new generation. A manifesto is a ballet teacher, choreographing to read it in a new way. It’s a lesson in political articulation as well and all over the world and challenge us to defend our allegedly achieved values bodies rather than minds. A manifesto is a mourner, eulogising not the death encouragement to listen to artist. WORLD SALES: THE MATCH FACTORY GmbH of tolerance and respect, MANIFESTO becomes a clarion call for action. of a person but the death of an idea. Sergi Steegmann (JULIAN ROSEFELDT, Interview by Marshall Shaffer for T: +49 221 539 709-0 | E: [email protected] (Toby Fehily, The Guardian) 22 (JULIAN ROSEFELDT) Movie Mezzanine) W: www.the-match-factory.com 23

DIRECTOR’S CONTACT: E: [email protected] W: http://www.julianrosefeldt.com/ DANGERTHE POLITICS IS MY OF BUSINESS THE BODY: The Performative Self PRESENTATION INTERNATIONAL COMPETITION IVI

Curatorial presentation by: BIANCADIANA MEREOIU BĂNICĂ

“A word is not a simple and separate entity but part of other words”, says Virginia Woolf in her last known recording, as used in MAN by MAJA BORG, one of the shorts films in this programme. Seen as such, a word turns to be more than just a cluster of graphic signs put together, a signifier referring to a certain signified; it becomes an organic part of an intricate cobweb, carrying within itself not only the sense it is intended to convey, but also the entire history both of the meaning itself and of the usage of the respective word over time.

The same holds true with visual language. becomes a safe-zone for each individual neon coloured heels and a reflective between web users, determining the way viewer in a sensual act of artistic voyeurism. RINO STEFANO TEGLIAFIERRO returns to Popular culture and the media are the story, where prejudice is faced head-on, mask make up the armour performance we show ourselves. The film is the final BIEFF with PEEP SHOW, animating classical paintings as in his previous, BEAUTY, this most relevant shapes taken by the values, discussed and ultimately dismantled, in artist SIGNE PIERCE dons, as she struts result of a series of short pieces (from time narrowing his focus on the sensorial pleasures of erotic art. Balancing between neuroses and struggles for power in our favor of open mindedness, tolerance and down an esplanade at night-time, posing 3 to 5 minutes) conceived for a video- suggestive and explicit, in this mesmerizing homage to the history of art the director society. Hence, words and images reveal inclusion.” (Andrei Tănăsescu) provocatively. Her androgynous presence installation.” (Festival Scope) explores sensuality across time and cultures, masterfully building and releasing the themselves to be inherently political. Change the way you show the body and incites curiosity, disgust and confusion. pleasurable tension of voyeurism. Since language creates the reality it you change all ideas related to it. However, as the audience grows, their A mix of documentary and animation, TWO describes, the alteration of the signifier feelings swiftly turn from probing to SNAKES is the personal essay of a person Screened at the International Film Festival Rotterdam, NIGHT SOIL - ECONOMY OF will alter the signified. Intelligently playing with this notion, entitled aggression and disregard for unrooted from their native land, striving to LOVE portrays “a Brooklyn-based movement of female sex workers, regarding their in MAN, MAJA BORG re-enacts cliché others. Powerful and chilling, this short reconcile expat feelings of otherness with work as a way for women to reclaim power in a male-dominated pleasure zone; their THE POLITICS OF THE BODY: The depictions of manliness while pregnant, film reveals the darkest side of mob fragments of different cultural heritages. mission being to rearrange sexual conventions and ideas about intimacy itself. Vivid Performative Self theme programme thus bleeding the images and the mentality and a disturbing readiness in Screened at Oberhausen, in this short imagery is accompanied by a spoken score, revealing BONAJO’s vision on contemporary recognizes this essential idea, analysing stereotypical ideas they represent dry finding justification for violence. film legends and personal history dissolve spirituality and expectations surrounding gender roles, by playful, sensual, and the basic assumptions held about of their initial connotations. The mix of into each-other as the popular Chinese feminist-driven means. (…) BONAJO questions the complex relationships that exist our bodies and their presentation, super 8mm footage and watercolour- Screened at IDFA Amsterdam, “(SELF) story of the two snakes is interpreted, within and without the natural world, challenging the traditional notions that divide representation and self-presentation. negative animation makes for a poignant EXHIBITIONS is a found footage deconstructed and rearranged, in search nature, people, and technology.” (Galerie AKINCI) NTERNATIONAL COMPETITIONNTERNATIONAL I I Carefully distinguishing between what is and innovative parallel between the documentary film made with home of an identity built from fragments of BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ natural and what is normal (i.e. culturally- body’s ability to create new life to the movies that approaches to new forms memories and re-appropriated narratives. Cheeky and whimsical, FLOWERS AND BOTTOMS relies on the charmingly nonsensical \\ constructed), “these empowering films artist’s ability to create new meaning. of self-representation and exhibition of Self-deprecating and self-aware, TWO in order to relax the audience into enjoying what is ultimately an erotic and delightful deal with topics ranging from questioning our intimacy on the internet and in social SNAKES ultimately raises a question: can love letter. In a dark room, an anonymous viewer watches a film made solely with shots societal norms of beauty and gender, to the Screened at the International Film Festival networks. Con-fessional and private there ever be such a thing as belonging? of flowers and (/in) buttocks, a melancholic birthday present from what we understand search for personal identity and freedom, Rotterdam, AMERICAN REFLEXXX is experiences, turned public and exposed on is a former lover. Beyond its assumed absurdity and surrealism, the film skilfully juggles together offering a common voice to a social experiment pushing the limits the web, giving rise to new self- narratives Fingers languorously part the lips of book multi-layered observation and exhibitionism, bringing the audience to the blushing disenfranchised, politicized minorities. between passive voyeurism and active that become part of a spontaneous circuit pages, the straps of dresses fall off of realization that what is often publicly labeled as vulgar is what we intimately find 24 The curated space of the program thus participation. A revealing tight blue dress, of imitations, recurrences and replies milky skins, sensuous gazes entice the sensuous and endearing. 25 AMERICAN REFLEXXX MAN 14’, 2013, USA 13’, 2016, Sweden, UK DIRECTOR: ALLI COATES DIRECTOR: MAJA BORG

CAST: Signe Pierce CAST: Maja Borg PRODUCER: Signe Pierce SCRIPTWRITER: Maja Borg CINEMATOGRAPHER: Maja Borg & Tobias Feltus EDITOR: Maja Borg SOUND: Mario Adamson MUSIC: Ela Orleans THE POLITICS OF THE BODY CHOREOGRAPHER: - PRODUCER: Maja Borg & Ruth Reid PRODUCTION COMPANY: Maja Borg Filmproduktion WITH THE SUPPORT OF:

ALLI COATES & SIGNE PIERCE MAJA BORG

FILM PRESENTATION: Screened at the International Film Festival PRODUCER’S STATEMENT: A lot of people leave the film feeling dejected FILM PRESENTATION: “A word is not a simple and separate entity but part DIRECTOR’S STATEMENT: As soon as I had this iconic female body, when Rotterdam, AMERICAN REFLEXXX is a social experiment pushing the and disgusted with humanity, and that’s not what I want them to take of other words”, says Virginia Woolf in her last known recording, as used pregnant, it became even more important to use male attributes to show limits between passive voyeurism and active participation. A revealing away. We want people to leave this film feeling inspired by the opportunity in MAN by MAJA BORG. Since language creates the reality it describes, a kind of otherness to my female being. I have never had any desire to be tight blue dress, neon coloured heels and a reflective mask make up to challenge adversity and to use their voices to stand up for what’s right. then no aspect of reality “is a simple and separate entity”. Intelligently a MAN, but this otherness or queerness is a fundamental part of my sense the armour performance artist SIGNE PIERCE dons, as she struts down Being fearless in voicing your convictions against injustice is how change playing with this notion, the director re-enacts cliché depictions of of self. I think gender identity is much more complex than just identifying an esplanade at night-time, posing provocatively. Her androgynous happens. manliness while pregnant, thus bleeding dry of their initial connotations with one of two genders no matter what sex you were born into. My sister presence incites curiosity, disgust and confusion. However, as the the images and the stereotypical ideas they represent. The mix of super is trans and has a much more traditional feeling towards her female gender (SIGNE PIERCE) audience grows, their feelings swiftly turn from probing to entitled 8mm footage and watercolour-negative animation makes for a poignant than I do; we both identify as 100% woman and I don’t think that’s a aggression and disregard for others. Powerful and chilling, this short and innovative parallel between the body’s ability to create new life to contradiction. film reveals the darkest side of mob mentality and a disturbing readiness the artist’s ability to create new meaning. There are also things that became more complicated when I pictured myself in finding justification for violence. CURATOR’S COMMENT: AMERICAN REFLEXXX is reminiscent of Marina (Diana Mereoiu, BIEFF 2017) as a parent: for example, the rebel [quoting an image of Marlon Brando], is Abramovic’s famous “Rhythm 0” project, where she stood motionless by a (Diana Mereoiu, BIEFF 2017) an image of the right to die young, or to be free and take risks. But I had to selection of objects with which the public could do whatever they desired. promise myself: if I choose to have a child, I deny myself the right to take As with this performance, “Rhythm 0” started with curiosity and ended with my life. And also the image of the egotistical artist – using the woman, the violence: “What I learned,” Abramovic said later, “was that if you leave it other, as a lampshade, which fits very badly in my idea of parenthood. up to the audience, they can kill you.” In this case, the process is helped by the fact that Pierce is wearing a mask. She is literally faceless; anyone (MAJA BORG, Interview for raisingfilms.com) INTERNATIONAL COMPETITIONINTERNATIONAL I FESTIVALS/AWARDS: International Film Festival Rotterdam 2016 / Art looking at her face sees only their own visage staring back at them. The fact FESTIVALS/AWARDS: Edinburgh International Film Festival 2016 / BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ Basel Miami Beach 2013 / Signes Award - Signos de Noite, Portugal 2016 that her face is a mirror means that it literally reflects their own aggression Uppsala International Short Film Festival 2016 \\ / Award for Best Short - Xposed International Queer Film Festival 2016, back at them. Pierce does nothing to provoke anyone — she gyrates in a Germany / The Night Award - Signs of the Night International Festival, suggestive way at times, but mostly she just walks. To the people who Germany 2016 harass her, though, her very existence seems to be an act of aggression. So it goes with pretty much any minority or oppressed group, of course — mere visibility is enough to provoke violence. WORLD SALES: SWEDISH FILM INSTITUTE Theo Tsapos WORLD SALES: ALLI COATES, SIGNE PIERCE (Tom Hawking, Flavorwire) T: +46 8 665 11 33| E: [email protected] 26 E: [email protected] W: www.filminstitutet.se 27

DIRECTOR’S CONTACT: E: [email protected], [email protected] DIRECTOR’S CONTACT: E: [email protected] W: http://allicoates.studio, http://signepierce.tumblr.com/ W: majaborg.com NIGHT SOIL - ECONOMY OF LOVE (SELF)EXHIBITIONS 32’, 2015, USA, Netherlands 14’, 2015, Spain, Argentina DIRECTOR: MELANIE BONAJO DIRECTOR: FLORENCIA ALIBERTI

SCRIPTWRITER: Melanie Bonajo SCRIPTWRITER: Florencia Aliberti CINEMATOGRAPHER: Melanie Bonajo EDITOR: Florencia Aliberti EDITOR: Orly Nurany SOUND: Coser y Cantar Estudio SOUND: Michael Beharie PRODUCER: Florencia Aliberti

POLITICS OF THE BODY MUSIC: Joseph Marzolla PRODUCTION COMPANY: Nanouk Films PRODUCER: Melanie Bonajo THE POLITICS OF THE BODY

WITH THE SUPPORT OF:

MELANIE BONAJO FLORENCIA ALIBERTI

FILM PRESENTATION: Screened at the International Film Festival DIRECTOR’S STATEMENT: In a place where a swipe right on a smartphone FILM PRESENTATION: Screened at IDFA Amsterdam, “(SELF)EXHIBITIONS CURATOR’S COMMENT: The very first YouTube video back in 2005 was Rotterdam, NIGHT SOIL - ECONOMY OF LOVE portrays “a Brooklyn- can grant access to supermarket sex, where politicians hire prostitutes just is a found footage documentary film made with home movies, that pretty tame: it had Jawed Karim, one of the online video channel’s founders, based movement of female sex workers, regarding their work as a way for to be cuddled, where loneliness increases in a disconnected physical world approaches to new forms of self-representation and exhibition of our at the San Diego Zoo. Its title, however, was revealing: “Me at the Zoo.” And women to reclaim power in a male-dominated pleasure zone; their mission and where some modern medicines are harming sexual desires, these young intimacy on the internet and in social networks. Con- fessional and private it’s that first little word that’s the giveaway. Over the subsequent 10 years, being to rearrange sexual conventions and ideas about intimacy itself. women advocate for intentional erotic touch and a shifting vocabulary experiences, turned public and exposed on the web, giving rise to new YouTube has become the go-to tool of the self-promotion era. The billion Vivid imagery is accompanied by a spoken score, revealing BONAJO’s vision around sex work. Their voices narrate the film, which is a product of the self- narratives that become part of a spontaneous circuit of imitations, viewers per month milestone was passed in 2013, and some 60 hours of on contemporary spirituality and expectations surrounding gender roles, artist MELANIE BONAJO’s vision on the subject, combining the spoken recurrences and replies between web users, determining the way we show footage is currently uploaded every minute. And it’s not all home videos of by playful, sensual, and feminist-driven means. (…) BONAJO questions score with vivid imagery. The protagonists propose an alternative model in ourselves. The film is the final result of a series of short pieces (from 3 to 5 cats, bloopers in the backyard or birthday parties. The predominant subject the complex relationships that exist within and without the natural a world of commodified sexual desires (...). They address the ways monetary minutes) conceived for a video-installation.” is “me.” For her video installation, Florencia Aliberti collected videos made world, challenging the traditional notions that divide nature, people, and exchange might be questioned in an ultra-capitalist and increasingly sterile by YouTube users in intimate, vulnerable moments: fretting about their (Festival Scope) technology.” public and private sphere by bringing forward a contemporary spiritual weight or coming out of the closet to their parents. The line between approach to the body, a receding of the gender roles and the controversial self-expression and exhibitionism seems thin on the Internet, where these (Galerie AKINCI) healing potential of orgasms. (…)Though their work remains illegal, they videos’ pretence of domesticity and familiarity contrasts starkly with their see it as a necessary step; this community represents the mobilization worldwide dissemination. This blurring of the lines between private and of women’s joint power and empathy towards a place where sex is not public inevitably evokes feelings of shame, amazement and irritation. The obscene, but empowering, not pornographic, but a place of mutual respect most striking thing is how uniform the scenes we see are. Vloggers respond and a deeper understanding of one’s spirit and body. to and imitate one another. YouTube – home of the most individual form of BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL INTERNATIONAL COMPETITIONINTERNATIONAL I FESTIVALS/AWARDS: International Film Festival Rotterdam - Tiger FESTIVALS/AWARDS: International Documentary Film Festival of expression – becomes the great leveler. (MELANIE BONAJO)

\\ Awards for Short Film Competition 2016 / Hong Kong International Film Amsterdam IDFA 2015 / Go Short Nijmegen 2016 / Hamburg International \\ (IDFA Amsterdam) Festival / Videoart at Midnight Berlin / Athens Digital Arts Festival / Short Film Festival 2016 / Kassel Documentary and Film Festival 2016 / Shortfilmfestival Hamburg / Sarajevo Film Festival / Berlinische Galerie ZubrOFFka International Short Film Festival 2016 / London Film Festival 2016.

WORLD SALES: LIMA WORLD SALES: FLORENCIA ALIBERTI Theus Zwakhals T: +33 6 11 34 71 57 | E: [email protected] T: +31(0)20 389 20 30 | E: [email protected] W: http://www.floraliberti.tk/ 28 W: www.li-ma.nl 29

DIRECTOR’S CONTACT: E: [email protected] DIRECTOR’S CONTACT: E: [email protected] W: http://www.melaniebonajo.com/ W: http://www.floraliberti.tk/ FLOWERS AND BOTTOMS TWO SNAKES 6’, 2016, Greece 10’, 2015, Canada DIRECTOR: CHRISTOS MASSALAS DIRECTOR: KRISTIN LI

SCRIPTWRITER: Christos Massalas CINEMATOGRAPHER: Clayton Beugeling, Kristin Li CINEMATOGRAPHER: Christos Massalas EDITOR: Kristin Li EDITOR: Christos Massalas SOUND: Kristin Li SOUND: Christos Massalas, George Ramantanis MUSIC: Julie Matson

POLITICS OF THE BODY PRODUCER: Christos Massalas PRODUCER: Kristin Li PRODUCTION COMPANY: Groupe Intervention Vidéo (GIV) THE POLITICS OF THE BODY

WITH THE SUPPORT OF:

CHRISTOS MASSALAS KRISTIN LI

FILM PRESENTATION: Cheeky and whimsical, FLOWERS AND BOTTOMS DIRECTOR’S STATEMENT: FLOWERS AND BOTTOMS is a film that FILM PRESENTATION: A mix of documentary and animation, TWO DIRECTOR’S STATEMENT: This is my first time working explicitly in relies on the charmingly nonsensical in order to relax the audience into defies classification. It plays on the middle ground between nonsense and SNAKES is the personal essay of a person unrooted from the native autobiography. I usually critique or make fun of things but wanted to try a enjoying what is ultimately an erotic and delightful love letter. In a dark sensibility. It is a film which idealizes what is commonly perceived as banal. land, striving to reconcile expat feelings of otherness with fragments personal project. Maybe it’s because I started therapy. room, an anonymous viewer watches a film made solely with shots of It owes something to Duchamp’s urinal; or Almodóvar’s floral patterns. of different cultural heritages. Screened at the International Short Film I organized a night called OEDIV CISUM with Slut Island, a group that puts flowers and (/in) buttocks, a melancholic birthday present from what But, at the same time, it is a film rooted in modern-day life and practices; Festival Oberhausen, this short film explores how legends and personal on queer and feminist music events in the city. We paired up eight artists we understand is a former lover. Beyond its assumed absurdity and it is a film about the culture of chat roulette, online hookups and the history dissolve into each-other as the popular Chinese story of the with eight musicians or bands, and each pair spent a month making a video surrealism, the film skilfully juggles multi-layered observation and fetishism of social media. The surreal, here, arises from an observation of two snakes is interpreted, deconstructed and rearranged, in search accompanied by live score. Some of the artists were working in video for exhibitionism, bringing the audience to the blushing realization that our technologically enhanced lives. FLOWERS AND BOTTOMS is, in a way, of an identity built from fragments of memories and re-appropriated the first time. Julie Matson, who also performs under Echo Beach, scored what is often publicly labeled as vulgar is what we intimately find a comedy of errors which takes place in this parallel cyber universe that we narratives. Self-deprecating and self-aware, TWO SNAKES ultimately my video, TWO SNAKES. I heard it for the first time on the night of the sensuous and endearing. have created to encapsulate our fantasies. raises a question: can there ever be such a thing as a sense of belonging? screening. (Diana Mereoiu, BIEFF 2017) (CHRISTOS MASSALAS) (Diana Mereoiu, BIEFF 2017) The TV show came to me when I was scrambling to figure out what to do for the live score event. I wanted to make something about myself and suddenly remembered the legend of the white snake and its hilarious homosexual overtones. I initially just wanted to reenact the story, which would’ve been CURATOR’S COMMENT: FLOWERS AND BOTTOMS is something between a video about finding a self in reclaimed ancestry and finding a home in an Avant-Garde extravaganza and a postmodern parody, where the Greek reappropriated narratives, but of course that’s too easy. So I made a video

Christos Massalas invites us to see a film composed exclusively of shots BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL FESTIVALS/AWARDS: Best Short Film Audience Award - Milan Film FESTIVALS/AWARDS: Oberhausen International Short Film Festival about the impossibility of doing those things. featuring flowers and bottoms, with a result that is both perplexing and

\\ Festival 2016/ Tampere Film Festival 2016/ Locarno Film Festival 2016/ 2016 / WNDX Festival Winnipeg, Canada / Queer City Cinema 2016 \\ hilarious. (KRISTIN LI) Riga International Film Festival 2016/ Uppsala Film Festival 2016/ Canada Thessaloniki International Film Festival 2016/ Timishort Film Festival (Jorge Rivero, Cortosfera.es) 2016/ São Paulo International Short Film Festival 2016/ FEST New Directors/New Films 2016

WORLD SALES: CHRISTOS MASSALAS WORLD SALES: GROUPE INTERVENTION VIDÉO (GIV) E: [email protected] T: +1 514 271 5506 | W: givideo.org/ 30 31

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] PEEP SHOW 8’, 2016, Italy DIRECTOR: RINO STEFANO TAGLIAFIERRO

SCRIPTWRITER: Rino Stefano Tagliafierro CINEMATOGRAPHER: Rino Stefano Tagliafierro EDITOR: Rino Stefano Tagliafierro SOUND: Enrico Ascoli MUSIC: Enrico Ascoli PRODUCER: Rino Stefano Tagliafierro THE POLITICS OF THE BODY

WITH THE SUPPORT OF:

RINO STEFANO TAGLIAFIERRO

FILM PRESENTATION: Fingers languorously part the lips of book DIRECTOR’S STATEMENT: The term Peep Show comes from Peeping pages, the straps of dresses fall off of milky skins, sensuous gazes Tom, the sneaky Coventry tailor who, disobeying the proclamation of the entice the viewer in a sensual act of artistic voyeurism. RINO STEFANO count, made a hole in the shutters to see Lady Godiva riding naked through TEGLIAFIERRO returns to BIEFF with PEEP SHOW, animating classical the streets of the city; he was so impressed that he was struck blind. The paintings as in his previous BEAUTY, this time narrowing his focus on Peep Show, also known as a peep show box or raree (rarity show), can the sensorial pleasures of erotic art. Balancing between the suggestive be traced back as early as the 15th century in Europe with Leon Battista and the explicit in this mesmerizing homage to the history of art, the Alberti. In 1894 the first machines that reproduced slides of naked women’s director explores sensuality across time and cultures, masterfully movement were built. A few years later, during the early years of ‘900, building and releasing the pleasurable tension of voyeurism. even Thomas Alva Edison, the inventor of the light bulb, made some movies depicting erotic situations in common contexts. Subsequently, starting (Diana Mereoiu, BIEFF 2017) from this idea, in 1972 in New York the first live Peep Shows opened. Unlike the classic striptease, the viewer could see women in dishabille through windows. Though less common, the Peep Show still came to be used inside certain establishments. The female performer, placed in the center of a circular stage around which were arranged the private cabins, strips and often has sexual relations with another artist. The viewer enters the money in the machine and the window is opened for a predetermined time. The INTERNATIONAL COMPETITIONINTERNATIONAL I FESTIVALS/AWARDS: Interfilm Berlin / New Chitose Animation Film time of a dream. BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ Festival, Japan / Invideo, Milan / Milano Film Festival / Anim’Est / \\ \\ (RINO STEFANO TAGLIAFIERRO) Video Art & Experimental Film Festival, New York / Shnit International Shortfilmfestival / Animatou Festival International du Film d’Animation, Switzerland / Kansk International Video Festival, Russia / Cineteca Québécoise.

WORLD SALES: RINO STEFANO TAGLIAFIERRO T: +39 3495783345 | E: [email protected] 32 W: www.rinostefanotagliafierro.com 33

DIRECTOR’S CONTACT: E: [email protected] W: www.rinostefanotagliafierro.com DANGERSEARCHING IS FORMY BUSINESS TRANSCENDENCE: Spirituality in the Digital Age PRESENTATION INTERNATIONAL COMPETITION IVII

Curatorial presentation by: BIANCAANDREI TĂNĂSESCUBĂNICĂ

All throughout mankind’s evolutionary leaps, the restless search for meaning stays at the core of human condition. Our soul strives to experience what lies beyond the veil, to come face to face with that which exists outside of our Cartesian reality. BIEFF’s International Competition program titled SEARCHING FOR TRANSCENDENCE: SPIRITUALITY IN THE DIGITAL AGE curates six films which exist into that liminal realm which connects us to the metaphysical. On the elusive border between the real and the virtual, the films selected bring the viewer to the threshold of transcendence, via recollected (or immediate) experiences.

A computer animated rendition of a assumes its perspective’s omniscience, dance music (EDM) festivals, DE VRIES encouraged (kiss if you please!). The wilder with the arrival of a mysterious South Korean soldier’s patrol along the beginning as a series of quotidian overlaps disembodied (organic and further we go down the rabbit-hole at young boy and rumours of a beached country’ demilitarized border (DMZ) with assemblages of a-day-in-a-life of the artificial) narrations reciting dictums the whispered nudging of the narrator, whale. Fueled by the bayou’s pregnant North Korea, 489 YEARS, by HAYOUN global citizens, embraced by a voice-over inspired from Gilles Deleuze’s work. the faster associations build up, atmosphere of superstition, they devise KWON, deals with the (im)possibility retelling of the Sisyphus myth. With deep Preaching for the recognition of the spiralling into a focal point of sublime. a plan to sacrifice the newcomer as their of representing and experiencing the humanism and sensibility, PÂRVU and amorphous unification of crowds as a This deceivingly simple whirlwind of offering to the mammalian deity. What liminal space of borders - as limits PEIU question the meaning of the search, collective experience of the sublime, art-naïf takes us to the backstage of they witness instead will carry them dividing more than simple geographies. as man-made violence and natural CRITICAL MASS: PURE IMMANENCE artistic creation, giving enough rope past the threshold of adolescence, the Employing a gamer’s FPS (first-person- cataclysms - the other side of humanity’s becomes a rallying call for dancefloor to cerebrally and sensorially play with, universe and reality as they know it, perspective), with photo-realistic essential creative impulse - jolt the daily transcendence, a Deleuzian take on rave- until it pulls us toward the light of giving them a glimpse into the divine. accuracy of CGI and the vivid imagery existence of the surveilled humans. In culture’s P.L.U.R. mantra (Peace.Love. transcendence. of storytelling, the narrator walks us the end, faith overcomes fatalism, the Unity.Respect). through his routine path along the search becomes the meaning itself, and Subtle and assured, KONSTANTINA DMZ under the cloak of darkness and the film’s closing, noble gesture, cradles IF IT WAS is a lo-fi intervention of LAURE KOTZAMANI’s award-winning LIMBO is Welcome to JORGE JACOME’s FIESTA FOREVER, a virtual moon-lit stroll through the growing tension at the unseen enemy. us to the lullaby of hope. PROUVOST’s playful and childlike a meditative fable of Biblical resonance post-clubbing landscape haunted by the spectral memories of nightlife experiences. Until a moment of terror strikes him still, subconscious into the museum space, that operates at the outer fringes of Visiting the computer-generated ruined terrain of four clubs, we move freely within NTERNATIONAL COMPETITIONNTERNATIONAL II I becoming an instant of serendipity and What lies between that euphoric before- reimagined here as a landscape for the reality. It introduces us to the shared their walls, bathed in their abandoned tranquility. These walls can talk, reminiscing BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ wonder, of experiencing beauty in the and-after of the collective ritual of the visitor to give in to his/her impulses camaraderie of a group of twelve young about declarations of love, furtive glances and fleeting emotions, pick-up strategies \\ least likely of places. dancefloor ‘drop’ ? ANNE DE VRIES looks and desires. This democratization is boys living among a floating marsh- and fateful meetings between soulmates. This sacred ground of the party becomes for the answer, in a high-octane visual and rendered through PROUVOST’s usual land village, their daily wanderings and both a space of solitary refuge and of social gathering and human connection, marked Drawing on Albert Camus’ eponymous cerebral assault that brings academia to montage of free-association and playfighting. Raised under the observant by the experience of its past inhabitants. What we bring, leave behind or take away, as text, LUIZA PÂRVU and TOMA PEIU’s the dancefloor in an exquisitely fitting haptic visuals, where inventiveness eye of religion and unseen adults, the viewers, is entirely up to us. Because by the time the sun comes up, all that remains of SISYPHUS 2.0 is a visual compendium of pairing of Deleuzian theory and hard- and mischievousness smooth out kids’ blossoming imagination grows it is but a fleeting memory, floating in the realm of humanity’s search for bliss. humanity’s search for meaning. Made trance. Using CGI and cut-up footage of architectural corners, bring zumba 34 of real surveillance footage, the film the lavish spectacle that are electronic lessons in the museum and touching is 35 489 YEARS SISYPHUS 2.0 11’, 2016, France 7’, 2016, Romania, USA DIRECTOR: HAYOUN KWON DIRECTOR: LUIZA PÂRVU & TOMA PEIU

SCRIPTWRITER: Hayoun Kwon CAST: Brett Stiller SOUND: Sylvain Buffet SCRIPTWRITER: Toma Peiu MUSIC: Pierre Desprats EDITOR: Luiza Pârvu PRODUCER: Balthazar Auxietre SOUND: Luiza Pârvu PRODUCTION COMPANY: Innerspace PRODUCER: Toma Peiu, Luiza Pârvu PRODUCTION COMPANY: Root Films SEARCHING TRANSCENDENCE FOR

HAYOUN KWON LUIZA PÂRVU TOMA PEIU

FILM PRESENTATION: A computer animated rendition of a South Korean CURATOR’S COMMENT: Through this title, we enter into a universe of FILM PRESENTATION: Drawing on Albert Camus’ eponymous text, DIRECTOR’S STATEMENT: Video surveillance has penetrated virtually soldier’s patrol along the country’s demilitarized border (DMZ) with North unreality in which the imaginary is immediately summoned. It’s this specific LUIZA PÂRVU and TOMA PEIU’s SISYPHUS 2.0 is a visual compendium of every space inhabited by humans. Tragedies, excitement, catastrophes, Korea, 489 YEARS, by HAYOUN KWON deals with the (im)possibility of mental space that HAYOUN KWON works on, stages and reconstructs. In humanity’s search for meaning. Made of real surveillance footage, the film moments of bliss, and the everyday life of the common person are representing and experiencing the liminal space of borders - as limits this zone that is the product of human insanity, a world of fiction emerges: assumes its perspective’s omniscience, beginning as a series of quotidian nowadays documented on an unprecedented scale. Countless hours are dividing more than simple geographies. Employing a gamer’s FPS (first- it will remain an uninhabitable space in which nature has taken over. Today, assemblages of ‘a day in a life’ of the global citizens, embraced by a voice- recorded daily in an endless narrative of the spectacle of human existence. person-perspective), with photo-realistic accuracy of CGI and the vivid almost sixty years later, the mines are covered with vegetation and wild over retelling of the Sisyphus myth. With deep humanism and sensibility, The content is usually available to private eyes, and the universal meaning imagery of storytelling, the narrator walks us through his routine path animals have invaded the area. The soldiers that maneuver in that area PÂRVU and PEIU question the meaning of the search, as man-made obscured by the apparent disconnect between the various individuals, along the DMZ under the cloak of darkness and growing tension at the are thus exposed to both military and natural risks. In the soldier’s story violence and natural cataclysms - the other side of humanity’s essential spaces and activities recorded. Made entirely out of surveillance footage unseen enemy. Until a moment of terror strikes him still, becoming an recorded by the artist, he makes reference to an anecdote that combines creative impulse - jolt the daily existence of the surveilled humans. In the available online, SISYPHUS 2.0 is meant to mirror existentialist philosopher instant of serendipity and wonder, of experiencing beauty in the least both dread and poetry. HAYOUN KWON materializes this story, as it faces end, faith overcomes fatalism, the search becomes the meaning itself, Albert Camus’ text, originally published in 1942, in present day’s reality. It is likely of places. 489 YEARS, through sculptures, a recorded story and digital images. and the film’s closing, noble gesture, cradles us to the lullaby of hope. a bookmark we are trying to place, in an attempt to capture the particular Sensorial, perceptible and subjective memory are what interest her most. mark of a certain moment in the evolution of the post-industrial era, doing (Andrei Tănăsescu, BIEFF 2017) (Andrei Tănăsescu, BIEFF 2017) our best not to obscure the timeless, tireless and resilient nature of the (Jérôme Diacre, galeriedohyanglee.com) manifestations of human spirit.

(LUIZA PÂRVU & TOMA PEIU) BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL INTERNATIONAL COMPETITIONINTERNATIONAL II FESTIVALS/AWARDS: Prize of the Ecumenical Jury - Oberhausen FESTIVALS/AWARDS: Allucinema Student Film Festival, Mexico 2016 /

\\ International Short Film Festival 2016 / Clermont-Ferrand International Romanian Short Waves - Cannes Film Festival - Short Film Corner / Night \\ Short Film Festival 2017 / San Sebastian International Film Festival 2016 of the Cultural Institutes, Bucharest / Experimental Category Semi- / Message to Man Film Festival / Uppsala International Film Festival / Finalist - Student Academy Award Winterthur International Short Film Festival / Berlin International Short Film Festival WORLD SALES: HAYOUN KWON WORLD SALES: ROOT FILMS T: +33 (0)6 78 20 24 83 Luiza Pârvu E: [email protected] T: +1-347- 703-7086 | E: [email protected] 36 W: www.rootfilms.org 37

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] W: www.rootfilms.org CRITICAL MASS: IF IT WAS 8’, 2015, UK PURE IMMANENCE DIRECTOR: LAURE PROUVOST 11’, 2015, Germany DIRECTOR: ANNE DE VRIES SCRIPTWRITER: Laure Prouvost PRODUCTION COMPANY: LUX MOVING IMAGE SCRIPTWRITER: Anne de Vries CINEMATOGRAPHER: Anne de Vries and Q-Dance EDITOR: Anne de Vries and Q-Dance SOUND: Anne de Vries MUSIC: Phill Niblock, Thomas Ankersmit, Pye Corner Audio, Incredible String Band, Nils Frahm, Aqua Dome and others SEARCHING TRANSCENDENCE FOR WITH THE SUPPORT OF: WITH THE SUPPORT OF:

LAURE PROUVOST

FILM PRESENTATION: What lies between that euphoric before-and- CURATOR’S COMMENT: The recent video CRITICAL MASS: PURE FILM PRESENTATION: IF IT WAS is a lo-fi intervention of LAURE CURATOR’S COMMENT: The FIPRESCI Jury awards the International after of the collective ritual of the dance floor drop? ANNE DE VRIES IMMANENCE is inspired by the last essay by French philosopher Gilles PROUVOST’s playful and childlike subconscious into the museum Critics’ Prize to the British film IF IT WAS by LAURE PROUVOST for its looks for the answer, in a high-octane visual and cerebral assault that Deleuze: Life: Pure Immanence (1995), a text that articulates the ultimate space, reimagined here as a landscape for the visitor to give in to his/ overwhelming cinematographic transition of a popular contemporary brings academia to the dancefloor in an exquisitely fitting pairing of integration between all elements and oppositions, presented within her impulses and desires. This democratization is rendered through internet technique to the big screen, pushing it up into highly poetic Deleuzian theory and hard-trance. Using CGI and cut-up footage of the the form and limitations of dance music. It resonates with the recurring PROUVOST’s usual montage of free-association and haptic visuals, dimensions and linking it with a profound essayistic reflection on the lavish spectacle that are electronic dance music (EDM) festivals, ANNE sentiment in electronic dance music that calls for unity, for altered states where inventiveness and mischievousness smooth out architectural freedom of art. Daringly playing with images and language and constantly DE VRIES overlaps disembodied (organic and artificial) narrations of consciousness and experience beyond society’s divisions. Motivational corners, bring zumba lessons in the museum and touching is encouraged seducing the audience with its subversive charm, LAURE PROUVOST’s reciting dictums inspired from Gilles Deleuze’s work. Preaching for speaking has become an important element in the relatively recent genre of (kiss if you please!). The further we go down the rabbit-hole at the multi-media inspired film lines out in an aesthetically complex and the recognition of the amorphous unification of crowds as a collective Electronic Dance Music, Hardstyle. It is part of a mostly Dutch phenomenon whispered nudging of the narrator, the faster associations build up, accomplished manner that art knows no boundaries. In a style that is quite experience of the sublime, CRITICAL MASS: PURE IMMANENCE that represents the next step in dance events, creating whole environments spiralling into a focal point of sublime. This deceivingly simple whirlwind her own, LAURE PROUVOST sets out to create an impact on the audience becomes a rallying call for dancefloor transcendence, a Deleuzian take which are, according to ANNE DE VRIES, celebrations of the artificial and of art-naif takes us to the backstage of artistic creation, giving enough that is intellectual as well as emotional. on rave-culture’s mantra of Peace, Love, Unity, Respect (P.L.U.R.). synthetic in sound and visuals. rope to cerebrally and sensorially play with, until it pulls us toward the (FIPRESCI Award - Jury Statement, Oberhausen light of transcendence. (Andrei Tănăsescu, BIEFF 2017) (Art Agenda) International Short Film Festival 2016) (Andrei Tănăsescu, BIEFF 2017) BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL INTERNATIONAL COMPETITIONINTERNATIONAL II FESTIVALS/AWARDS: 2nd Prize Ecumenical Award & FIPRESCI Award -

\\ Oberhausen International Short Film Festival 2016. \\ FESTIVALS/AWARDS: Berlin Biennale 2016

WORLD SALES: ANNE DE VRIES WORLD SALES: LUX MOVING IMAGE T: +31645612144 | T: +4915780268503 Matt Carter E: [email protected] T: +44 (0)20 3141 2961 | E: [email protected] 38 W: http://annedevries.info W: www.lux.org.uk 39

DIRECTOR’S CONTACT: E: [email protected] DIRECTOR’S CONTACT: W: http://annedevries.info W: www.laureprouvost.com LIMBO FIESTA FOREVER 30’, 2016, Greece, France 20’, 2016, France DIRECTOR: KONSTANTINA KOTZAMANI DIRECTOR: JORGE JÁCOME

CAST: Felix Margenfeld, Aggelos Ntanos, Lucjano Cani, Haris CAST: Daniel Pizamiglio, David Cabecinha, Deborah Kristal, Fountas, Hristos Psihramis, David Szymczak Ewan Golder, Joana Varajão, Jorge Jácome, Marta Félix, SCRIPTWRITER: Konstantina Kotzamani Shirley Bruno, Xenon Cruz CINEMATOGRAPHER: Yorgos Karvelas SCRIPTWRITER: Jorge Jácome EDITOR: Yannis Chalkiadakis EDITOR: Jorge Jácome SOUND: Lionel Guenoun SOUND: Simon Apostolou MUSIC: Lawrence English MUSIC: Luis Giestas PRODUCER: Ron Dyens, Maria Drandaki PRODUCER: Eric Prigent PRODUCTION COMPANY: Sacrebleu Productions, PRODUCTION COMPANY: Le Fresnoy SEARCHING TRANSCENDENCE FOR Homemade films WITH THE SUPPORT OF:

KONSTANTINA KOTZAMANI JORGE JÁCOME

FILM PRESENTATION: Subtle and assured, KONSTANTINA KOTZAMANI’s DIRECTOR’S STATEMENT: The first images that I had 5 years ago when FILM PRESENTATION: Welcome to JORGE JÁCOME’s FIESTA FOREVER, DIRECTOR’S STATEMENT: The dance floor has been a potent symbol as award-winning LIMBO is a meditative fable of Biblical resonance that LIMBO was actually getting born, were some kids playing a violent unusual a virtual moon-lit stroll through the post-clubbing landscape haunted by well as a performative enactment of a world better than this one. The floors operates at the outer fringes of reality. It introduces us to the shared game somewhere in a beach, while the night was falling. In the beginning the spectral memories of nightlife experiences. Visiting the computer- of dance venues have been repeatedly invoked by the denizens of nocturnal camaraderie of a group of twelve young boys living among a floating what interested me more was the unflinching and unafraid childhood generated ruined terrain of four clubs, we move freely within their walls, party-worlds as places of self-invention, experimentation, escape, comfort, marsh-land village, their daily wanderings and playfighting. Raised that is kept hidden inside us. But gradually these kids transformed bathed in their abandoned tranquility. These walls can talk, reminiscing refuge, transformation and connection. Inasmuch as nightclub dance under the observant eye of religion and unseen adults, the kids’ into something else in my mind. I figured them as the Protoplasts in an about declarations of love, furtive glances and fleeting emotions, pick- spaces can serve as rehearsal spaces for modes of being-together that are blossoming imagination grows wilder with the arrival of a mysterious abandoned paradise, as raw material – people who try to solve primordial up strategies and fateful meetings between soulmates. This sacred better, more just, more caring, more fulfilling, or simply less harmful, they young boy and rumours of a beached whale. Fueled by the bayou’s questions. They became the 12 boys, the 12 Apostles, vulnerable and lost, ground of the party becomes both a space of solitary refuge and of are also spaces of utopianism. pregnant atmosphere of superstition, they devise a plan to sacrifice the trying to confront the new and unknown. We did almost 4 months of social gathering and human connection, marked by the experience of its (JORGE JÁCOME) newcomer as their offering to the mammalian deity. What they witness rehearsals...and the process was quite a psychoanalytical one. We tried past inhabitants. What we bring, leave behind or take away, as viewers, is instead will carry them past the threshold of adolescence, the universe to remember experiences, dreams, fears, memories, and react on them as entirely up to us. Because by the time the sun comes up, all that remains and reality as they know it, giving them a glimpse into the divine. false characters. It was really purifying for me and for the kids. Actually of it is but a fleeting memory, floating in the realm of humanity’s search there is a whole world hidden inside kids that we ignore as adults. I also feel for bliss. (Andrei Tănăsescu, BIEFF 2017) that the film works also as an allegory, an allegory that I re-discover each (Andrei Tănăsescu, BIEFF 2017) time I watch it...that whatever is out there, whatever we people cannot put into words, whatever scares us in the universe, is equally the source of life and death, a source of wonder and a part of us… Last time I saw it in Cannes BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL INTERNATIONAL COMPETITIONINTERNATIONAL II FESTIVALS/AWARDS: Semaine de la Critique, Cannes Film Festival/ I felt that I was telling the audience that God is dying alone.” FESTIVALS/AWARDS: Festival Premiers Plans d’Anger 2017

\\ Future Filmmaker Award - Palm Springs International Short Films 2016 \\ / Best Fiction Film Prize - Curtas Vila do Conde / Sarajevo International (KONSTANTINA KOTZAMANI, Interview for Specchio Scuro) Film Festival / Stockholm Film Festival / Festival du Nouveau Cinéma, Montréal / Milano Film Festival etc

WORLD SALES: SHORTCUTS WORLD SALES: LE FRESNOY - Studio National Des arts Contemporains Louisa Taabni Natalia Trebik T: +33 7 69 11 10 07 T: +33 20 28 38 64 | E: [email protected] 40 E: [email protected] W: www.lefresnoy.net 41

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] DANGERYOU ARE ISANOTHER MY BUSINESS ME: On Exile and Shifting Borderscapes PRESENTATION INTERNATIONAL COMPETITION IVIII

Curatorial presentation by: BIANCADIANA MEREOIU BĂNICĂ

How does one deal with the reality of another human being? Is it at all possible to escape the inner bubble of our own minds in order to understand something we have no direct experience of? These are questions which have become even more pressing in the light of recent social and humanitarian struggles. The burdens of others reach us in the form of stories, narratives which reduce and replace the complexities of life. Most of the times, we are not even aware of their being no more than that - mere fictions filtered through our inherently biased and distant perspective.

Created under the token of the and equalizer of human experience? a true story, the short film uses wide, another character appears. Laboriously Despite all the marks carrying the remembrance of what has happened, the breath- Mayan greeting “In Lak’ech Ala K’in” Inevitably, refugees get caught in the fixed frames alternating with hand-held making their way out of the waters, a taking landscape remains impassible and unscathed. In the end, the short film (which translates into English as “You cannibalizing nature of history in the close-ups to actively involve the viewers group of refugees crawl to the uncertain recognizes the futility of trying to find logic in the senselessness of torture. The only are another me”), this competition making, in the mixture between reality in deciphering and reconstructing a safety of the beach, escaping a near- solace that can be found is the notion that human memory is as fragile as the body, programme consists of films which defy and fiction. The hybrid documentary WE mysterious death told in reverse. But certain death. Premiered at the Berlinale and that bit by bit all will be forgotten. the idea of borders, while exploring the ALL LOVE THE SEASHORE, nominated understanding the thread of events 2016 and inspired by a photograph by issues of otherness and the limitations for the European Film Awards, doesn’t confer any of the comfort of a Juan Medina, the short is an ingenious If individual blanking out can have therapeutic benefits, collective forgetfulness of empathy. Tackling the problem head adopts the refreshing perspective of solved puzzle. Instead, the shocking, and sharp political commentary on the is something we must fight. Raw footage shot from a window, hastily made on, these innovative and emotionally- immigrants as co-creators rather than almost surreal ending leaves us with ongoing humanitarian crisis. photographs and a voice-over narration reconstructed post-factum from diary powerful works dissolve the barriers characters in a story. Unveiling the the question, “how could this have notes paint a gruelling picture of a war in first person. Awarded the Best Short towards our understanding of the imaginary nature of imposed narratives happened”, too stunned to dare give an In the midst of all this danger and Film Prize by the European Film Academy, 9 DAYS - FROM MY WINDOW IN ALEPPO others’ plight. Once you become me, and fictional boundaries, this poetic answer. uncertainty, the wounds of the past, both is a harrowing documentary that counters the romanticized view on the Syrian there is nothing left to separate us. short film plays out like a balancing act physical and psychological are not easily Civil War as presented by the Western press. Through minimalistic means, Syrian Both inner and outer walls fall in a between the candid and the esoteric. Nonetheless, there are the lucky ones, appeased. The topic constitutes the core photographer ISSA TOUMA, at the same time filming and being filmed, shows how cinematically enticing encounter. albeit their good fortune can prove of SEBASTIAN MEZ’s REMAINS FROM a warfare becomes an integral part of the normalcy of everyday life. As gunshots Picking up from where the previous film illusory from a certain point on. By THE DESERT, the chilling tale of a young rattle freely from the window, art becomes the only remaining survival mechanism. NTERNATIONAL COMPETITIONNTERNATIONAL III I In order for this to happen, one must left off, OVER shows that unfortunately, mixing 3D modelling and 16mm footage, Eritrean refugee captured, tortured and BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ first become aware of the conflict more often than not, the refugees’ SUMMER reveals how liberating it can mutilated for money. As a sober voice- \\ between reality and imposed narratives. journey does not end with salvation. be to have your struggles acknowledged over recounts the horrors experienced, In the case of refugees, the mess Engaging its audience in a game of and, conversely, how limiting black and white close ups of the thrashed originated in colonial times and is kept attention and patience, it adopts a photographs are in telling the stories we body intertwine with images of the desert vivid to our attention by means of simple, yet impactful formula to gaze at so readily consume. A beach frozen in where it all took place. continuous newscasting. After all, what the stories of those seeking in Europe a time, as if in a snapshot: people enjoying is history if not the grandest fictional promised land of salvation. Nominated the sun, a child eating ice-cream, a father 42 narration of them all, the great simplifier for the BAFTA Awards and inspired by taking his picture. But in the frame 43 SUMMER WE ALL LOVE THE SEASHORE 8’, 2016, France, Belgium 18’, 2016, Spain DIRECTOR: RONNY TROCKER DIRECTOR: KEINA ESPIÑEIRA

CAST: Umaru Jibirin CAST: Mohamed Diakité, Aliou Diallo, Boubacar Barry, SCRIPTWRITER: Ronny Trocker Abdoulaye Diallo CINEMATOGRAPHER: Artur Castro-Freire SCRIPTWRITER: Keina Espiñeira, Samuel M. Delgado EDITOR: Ronny Trocker CINEMATOGRAPHER: Jose Alayón YOU AREYOU ANOTHER ME SOUND: Anouschka Trocker, Enrico Ascoli EDITOR: Samuel Delgado MUSIC: Autistic Daugthers / Seby Ciurcina SOUND: Raul Espiñeira PRODUCER: Nicolas Schmerkin, Erik Lampert PRODUCER: Lourdes Pérez PRODUCTION COMPANY: Autour de Minuit Productions, PRODUCTION COMPANY: El Viaje Films Stempel Films WITH THE SUPPORT OF:

RONNY TROCKER KEINA ESPIÑEIRA

FILM PRESENTATION: A beach frozen in time, as if in a snapshot: people DIRECTOR’S STATEMENT: We’re consuming tons of images all day and, FILM PRESENTATION: Reality and fiction intermingle in WE ALL LOVE DIRECTOR’S STATEMENT: I was interested in portraying a place where enjoying the sun, a child eating ice-cream, a father taking his picture. But most of the time, we don’t even realize what we’re seeing. There are also THE SEASHORE, a hybrid documentary nominated for the European human trajectories are spatially and temporally suspended. WE ALL LOVE in the frame another character appears. Laboriously making their way many images documenting the tragedy of migrants in the Mediterranean Film Awards that tells the story of a group of refugees stuck in-between THE SEA SHORE delves into a border experience that takes place in the out of the waters, a group of refugees crawl to the uncertain safety of Sea, but I think we’re not used to take our time to look at the photos borders. Adopting the refreshing perspective of immigrants as co- city of Ceuta, at the crossing of the Atlantic Ocean and the Mediterranean the beach, escaping from near-certain death. Premiered at the Berlinale anymore. So, what a film can offer is another way of observation; the creators rather than characters in a story, the director explores the idea Sea. This is a territory limbo for some travellers. By crossing contemporary 2016 and inspired by a photograph by Juan Medina, SUMMER is an audience is invited to explore the photo by following the film and its of imposed narratives and fictional boundaries. Hypnotic images of the nomadic landscapes, the film explores this mundane threshold. ingenious and sharp political commentary on the ongoing humanitarian duration. sea confer an allure of poetic unreality to the cinematic experience. Spontaneous conversations from the present collide with African legends crisis. By mixing 3D modelling and 16mm footage, it contrasts stasis and Myths of the colonial past intertwine with daily conversation and from the colonial past. (RONNY TROCKER, Interview for Yellow Bread Short Film movement, moment and duration and reveals how liberating having your aspirations for the future in a short film like a balancing act between the Magazine) (KEINA ESPIÑEIRA) struggles acknowledged is and, conversely, how limiting photographs candid and the esoteric. are in telling the stories we so readily consume. (Diana Mereoiu, BIEFF 2017) CURATOR’S COMMENT: In SUMMER, RONNY TROCKER creates a hybrid, (Diana Mereoiu, BIEFF 2017) elastic time, which borrows from both the art of photography as well as CURATOR’S COMMENT: The film you will shoot – did you write it or that of cinema. In this short, the idea of the snapshot (the 3D body models did you not?” asks one of the refugees in the film’s first few minutes. An frozen in time) and that of duration (suggested through the soundscape, apparently simple question, it brings to the fore just how accustomed we materialized in the rhythmic movement of the waves) coexist. Together are to having our realities shaped by the narratives imposed by others FESTIVALS/AWARDS: Clermont-Ferrand International Short Film FESTIVALS/AWARDS: International Film Festival Rotterdam 2016 they become an eloquent discourse about the refugee situation: although upon us. Using stories of the colonial past which inadvertently mix in our BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL INTERNATIONAL COMPETITIONINTERNATIONAL III Festival 2017 / Berlin International Film Festival Shorts 2016 / Sarajevo / Short Film Nominee for European Film Awards 2016 / IndieLisboa we are witnessing a singular moment, it is part of a wider humanitarian minds with present-day news pieces, director Keina Espiñeira makes exactly Film Festival 2016 / Winterthur International Short Film Festival 2016 International Film Festival 2016 / Milano Film Festival 2016 / FID Marseille

\\ crisis spanning decades. The act of seeing and being seen is that which this point, but also unveils the very fragility of these narratives. Outside \\ / Hong Kong International Film Festival 2016 / Fantasia International 2016 / Palm Springs International Film Festival 2016/ Encounters Short animates the protagonist’s body, the immigrant inching towards the beach of a recognizable definition of time and space, the refugees become the Film Festival 2016 / Chicago International Film Festival 2016 / VIS Vienna Film and Animation Festival 2016 / Hot Docs Canadian International from the sea. Once seen, he gains autonomy and can move freely. But when living symbol of the abolishment of these constraining narratives, thus Independent Shorts 2016 / Milano Film Festival 2016 Documentary Film Festival 2016 he is captured in a photograph, he freezes once more, imprisoned in the demystifying the fictional nature of borders. By making the refugees not image created by the photographer, in the story that the picture, rather characters, but co-creators of the film, it becomes obvious that ultimately, than he himself will say about him. the greatest form of revolt is collaboration. WORLD SALES: AUTOUR DE MINUIT WORLD SALES: EL VIAJE FILMS T: +33 1 42 81 17 28 | E: [email protected] (Diana Mereoiu, BIEFF 2017) T: 615 193 321 | E: [email protected] (Diana Mereoiu, BIEFF 2017) 44 W: http://blog.autourdeminuit.com/ W: www.elviaje.es 45

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] OVER REMAINS FROM THE DESERT 14’, 2015, UK 21’, 2016, Germany DIRECTOR: JÖRN THRELFALL DIRECTOR: SEBASTIAN MEZ

SCRIPTWRITER: Jörn Threlfall CINEMATOGRAPHER: Sebastian Mez CINEMATOGRAPHER: Richard Mott EDITOR: Sebastian Mez EDITOR: Amanda James SOUND: Sebastian Mez SOUND: Lennert Busch PRODUCER: Sebastian Mez YOU AREYOU ANOTHER ME MUSIC: Lennert Busch PRODUCER: Jeremy Bannister, Jörn Threlfall PRODUCTION COMPANY: Lenaray Films LTD

WITH THE SUPPORT OF:

JÖRN THRELFALL SEBASTIAN MEZ

FILM PRESENTATION: Engaging its audience in a game of attention CURATOR’S COMMENT: Economical and precise in form, OVER subtly FILM PRESENTATION: Director SEBASTIAN MEZ returns to BIEFF CURATOR’S COMMENT: When talking about refugees, empathy is and patience, OVER adopts a simple, yet impactful formula to gaze at manages to actively involve the audience into different but equally with REMAINS FROM THE DESERT, the chilling tale of a young Eritrean often invoked - our capacity to intuit another’s reality through emotional the stories of those seeking in Europe a promised land of salvation. engaging types of viewer experience. As it always seems to be the case, refugee captured, tortured and mutilated for money. As a sober identification. But given our privileged position, to what extent can we Nominated for the BAFTA Awards and inspired by a true story, the the mild serenity of London’s suburbs proves deceiving, leaving it up to voice over recounts the horrors lived, black and white close ups of truly comprehend Osman, a young Eritrean refugee, tortured and mutilated short film uses wide, fixed frames alternating with hand-held close- the audience to discover in which exact way. Static, wide frames offer a the thrashed body intertwine with images of the desert where it all for money? This seems to be the question that guides the short-film. On the ups to actively involve the viewers in deciphering and reconstructing myriad of possibilities of what to concentrate one’s attention on and in the took place. Despite all the marks carrying the remembrance of what one hand, the horror of the story is not minimized. The camera doesn’t shy a mysterious death told in reverse. But understanding the thread of first few minutes this guessing game makes one’s eye dart from corner to has happened, the breath-taking landscape remains impassible and away from close-ups of the young man’s scars and mutilated hands while he events doesn’t confer any of the comfort of a solved puzzle. Instead, the corner in search of clues. The physical distance triggers a heightening of unscathed. In the end, the short film recognizes the futility of trying to tells of his torture through a voice over narration. On the other hand, the shocking, almost surreal ending leaves us with the question, “how could concentration and also implies an emotional distance (which however is find logic in the senselessness of torture. The only solace to be found is director intuits the fact that common ground between viewer and character this have happened”, too stunned to dare give an answer. short-lived). As the task is not only to understand what happened, but also the notion that human memory is as fragile as the body, and that bit by is to be found in the question that the protagonist himself poses, “what whom it happened to, the director seamlessly incorporates an understated bit all will be forgotten. have I done to deserve this?”, a question aimed at a world which seems (Diana Mereoiu, BIEFF 2017) emotional involvement through his hand-held close-ups. But the bits of to not abide to the laws of cause and effect. Wide pictorial shots of the (Diana Mereoiu, BIEFF 2017) what we believe to know are challenged in the swift moment of the film’s desert landscape, almost unfittingly breath-taking given the context of the surrealist climax. Instead of the satisfying feeling of an investigation well film, and scenes in which the camera wanders through the wilderness are done, the audience is left with a baffling lack of comprehension, being a visual reiteration of this question. As many as the testimonies of torture faced with the inevitable knowledge of the fact that suburban serenity will are on Osman’s body, the landscape remains impassive. The pursuit for an shortly cover up the tragedy just witnessed. answer is definitively an absurd one, but it is what manages to create this BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL INTERNATIONAL COMPETITIONINTERNATIONAL III FESTIVALS/AWARDS: BAFTA Awards Nominee 2016 / European Film FESTIVALS/AWARDS: Best International Short Documentary - Festival searched-for sense of empathy, to put the viewer in the character’s place of (Diana Mereoiu, BIEFF 2017)

\\ Awards Nominee 2015 / Grand Jury Award – Palm Springs International dei Popoli 2016 / DokuFest Prizren 2016 / Belo Horizonte International wondering, “how could this come to be?” \\ Short Film Festival 2015 / Sundance Film Festival 2016 / Tampere Film Short Film Festival 2016 / Curta Cinema International Short Film Festival (Diana Mereoiu, BIEFF 2017) Festival 2016 / Telluride Film Festival 2016 / Grand Prix - Uppsala 2016 / RIDM Montreal International Documentary Festival 2016 / International Short Film Festival 2015 / Silver Award - Chicago Camerimage 2016 International Film Festival 2015 / DokuFest Kosovo 2016

WORLD SALES: C/O LENARAY FILMS LTD WORLD SALES: SEBASTIAN MEZ E: [email protected] E: [email protected] 46 W: www.sebastianmez.com 47

DIRECTOR’S CONTACT: E: [email protected] DIRECTOR’S CONTACT: E: [email protected] W: www.jornthrelfall.com W: www.sebastianmez.com THE STORY OF LITTLE HANS 9 DAYS - FROM MY WINDOW 7’, 2015, Romania DIRECTOR: DANIEL NICOLAE DJAMO IN ALEPPO 13’, 2016, The Netherlands, Syria CAST: Sana Ghobbeh, Sujin Lim, Huda Takriti, Wu Wei, Daniel DIRECTOR: FLOOR VAN DER MEULEN, THOMAS Nicolae Djamo, Tatev Sahakyan VROEGE, ISSA TOUMA SCRIPTWRITER: Daniel Nicolae Djamo CINEMATOGRAPHER: Daniel Nicolae Djamo, Sana Ghobbeh, Issa Touma YOU AREYOU ANOTHER ME SCRIPTWRITER: Huda Takriti CINEMATOGRAPHER: Issa Touma EDITOR: Daniel Nicolae Djamo EDITOR: Thomas Vroege, Floor van der Meulen PRODUCER: Daniel Nicolae Djamo SOUND: Tom Jansen PRODUCER: Jos de Putter PRODUCTION COMPANY: Deepfocus Webdocs & Paradox WITH THE SUPPORT OF:

DANIEL NICOLAE DJAMO FLOOR VAN DER MEULEN THOMAS VROEGE ISSA TOUMA

FILM PRESENTATION: Dry-humoured, purposefully childish and CURATOR’S COMMENT: National identity is often perceived as a static FILM PRESENTATION: Raw footage shot from a window, hastily made CURATOR’S COMMENT: When Syrian photographer ISSA TOUMA unapologetically critical, THE STORY OF LITTLE HANS marks Romanian affair. It’s a given, the ideal material for jokes and swear talk. DANIEL photographs and a voice over narration reconstructed post-factum from decided to pick up his camera and film events from his window in Aleppo, visual artist DANIEL DJAMO’s third return in the BIEFF competition. DJAMO unveils precisely this preconception, that is the permanence of diary notes paint a gruelling picture of a war in first person. Awarded he did not know whether he would be alive to finish the filming. Not only Loosely inspired by the eponymous story collected by the Brothers identity, and deliberately borders on the ridicule to show identity as a work the Best Short Film Prize by the European Film Academy, 9 DAYS - FROM does his documentary show what one person, one camera and a restricted Grimm, the short makes use of the deceitfully naïve tone of fairy-tales in progress, even more so in the light of the recent humanitarian crisis. The MY WINDOW IN ALEPPO is a harrowing documentary that counters view of an alleyway can do to reveal something as complex, confusing, to investigate how national identities are changing in light of the current film is based on the fairy-tale collected by the Brothers Grimm, in which the romanticized view on the Syrian Civil War as presented by the and terrifying as a civil war, but it also demonstrates the power of film to political climate. A young golden-locked Austrian boy (played by Djamo the protagonist, ironically named Clever Hans, loses all the gifts from his Western press. Through minimalistic means, Syrian photographer ISSA reach the wider world, and make those of us more fortunate re-assess the himself) skips along the woods, unaware of the fiendish immigrants and fiancée, eventually her as well, because he doesn’t know how what to make TOUMA, at the same time filming and being filmed, shows how a warfare freedom we take for granted. refugees out to devour him. Depriving us of a saving plot twist, the short of them. At the same time, knowingly or not, the film recalls Sigmund Freud’s becomes an integral part of the normalcy of everyday life. As gunshots (British Film Institute statement) delivers a cynical punchline, drawing attention to the absurdity of the case study in which a boy, Hans, develops a fear of castration (manifested rattle freely from the window, art becomes the only remaining survival stories we choose to tell about current events and how they inherently as a fear of horses), as well as the Clever Hans Effect, wherein researchers mechanism. shape who we are. can involuntarily influence their subjects’ behaviour according to their (Diana Mereoiu, BIEFF 2017) expectations of the outcome. Therefore, DJAMO’s ironic reinterpretation (Diana Mereoiu, BIEFF 2017) unveils a fear towards a loss of potency, an incapacity to appreciate and manage the gifts i.e. privileges received and a tendency to involuntarily FESTIVALS/AWARDS: Best Short Film at the European Film Awards imprint patterns of behaviour on others, proving itself as a multi-layered 2016 / International Film Festival Rotterdam 2016 / Best Short Film and incisive political commentary. BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL INTERNATIONAL COMPETITIONINTERNATIONAL III Award - BFI London 2016 / Clermont-Ferrand International Short Film FESTIVALS/AWARDS: International Premiere Festival 2016 / Special Merit for Documentary & Honorable Mention

\\ (Diana Mereoiu, BIEFF 2017) \\ International Competition - Tampere Film Festival 2016 / DokLeipzig 2015 / Winterthur International Short Film Festival 2015 / GoShort Nijmegen 2016 / VIS Vienna Shorts 2016 / Hamburg International Short Film Festival 2016 / DokuFest Kosovo 2016 / New Directors New Films - The Museum of Modern Art MOMA 2016 / Gent Film Festival 2016 / WORLD SALES: ANCA POTERASU GALLERY Uppsala International Short Film Festival 2016 / São Paolo International WORLD SALES: SOME SHORTS T: +40 744 342 944 | E: [email protected] Short Film Festival 2016 T: 0031 6 22076717 | E: [email protected] 48 W: www.ancapoterasu.com W: www.someshorts.com 49

DIRECTOR’S CONTACT: E: [email protected] DIRECTOR’S CONTACT: W: http://djamo.weebly.com/ E: [email protected], [email protected], [email protected] DANGERTHE ALCHEMY IS MY OFBUSINESS THE FRAME: Deconstructing the Image PRESENTATION INTERNATIONAL COMPETITION IV

Curatorial presentation by: BIANCAANDREI TĂNĂSESCUBĂNICĂ

The pleasure of burrowing deep within the cinematic frame makes for awe-inspiring discoveries. Once we step beyond the ‘what- you-see-is-what-you-get’ threshold and actively participate in investigating and directly experiencing the endlessly unpredictable encounters between images, sounds, emotions, ideas within the film frame, we enter the ever-spellbinding world of cinematic language and its seemingly infinite possibilities.

The theme program THE ALCHEMY OF placement - and engagement with - which captures the ethereal weight YOU WANT A STORY? ANTONIN PERETJATKO’s answer is a clear affirmation of life What do John Travolta, Olivia Newton THE FRAME: Deconstructing the Image in museums. If cinema operates as a of absent presence, muffled whispers and of cinema’s associative power of storytelling. Telegraphed to the viewer by a John, Karl Marx, Jean Baudrillard, brings under scrutiny the (un)expected canvas for our projected desires, the and softened exhalations. Dilating the mysterious man heard through a distorted telephone, we’re told all you need to American Apparel and Bob Dylan all have elements of cinematic discourse and abstinence observed in ABRANTES’ instant, VANAGT’s camera allows each unravel a narrative are two female characters on a train. The rest, as they say, is in common? They’re cultural signifiers their creatively charged fusion. The typically subversive, juvenile humour child’s human essence to reveal itself history - or in this case, a visual scrapbook of an unseen flâneur’s memories, whose looking for a common narrative in MAX conceptual chemistry at work in these is a poignant, humble tribute to the with arresting tenderness. Beckett travels around the globe are rendered with enough wit, sensuality, mystery and joie- GRAU’s contagious essay film. Cornering films serves as inspiring example of the human frailty that all art hides behind once said that the role of objects is to de-vivre to rival early-Godard and Alain Robbe-Grillet’s labyrinthine storytelling. the viewer in a locked groove, GRAU creative potential found within, and its courageous surface. restore silence; VANAGT’s cinematic Accompanied by an eclectic soundtrack that spans swingin’-spy standards and isolates a musical-narrative motif from beyond, the cinematic frame. gaze restores transcendence to the real, contemporary pop, our synaptic travels through the over-active imagination the 1970s film GREASE and repeats Inspired from the 19th century and we, in turn, become participatory of PERETJATKO’s film become a straight-arrow shot through the core of our it ad-infinitum, as he opens up a frank Ever the provocateur, leave it to photographic practice of Invisible witnesses. subconscious desires. discussion of pop-culture’s infiltration GABRIEL ABRANTES to make a tongue- Mothers, visual artist SARAH VANAGT in mass-consciousness. Once CRAVING in-cheek phallic story about Constantin investigates the very act of seeing. In FOYER, art takes to the streets, as ISMAÏL BAHRI walks through Tunis with his FOR NARRATIVE’s kernel of culture Brâncuși’s sculpture Princess X. A If photography was in the beginning camera, capturing the city and its inhabitants. The subversive element of this artistic is planted, we’re winding through BRIEF HISTORY OF PRINCESS X is perceived as witchcraft, stealing the travelogue lies precisely in the white piece of paper that obscures the lens, creating GRAU’s rhizome of thought, taking precisely that: a cursory, episodic soul of its subjects, STILL HOLDING in effect an unexpected representation of reality, which changes in shade and tone NTERNATIONAL COMPETITIONNTERNATIONAL IV

I detours at every reference point (be it BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL chronicle of Brâncuși’s (in)famous, STILL manages to capture that according to the whimsy of the wind. BAHRI’s barrier-curtain invites new discourse personal, political, social or cultural) and

\\ work and the erotically-charged precise moment of magic when the on ways of seeing, in effect offering new take on Plato’s cave, where the screen \\ understanding our individual tendencies narrative threads that tie together image is born, when the soul transfer becomes the agora of ideas and opinions and everything from art to economy and of cultural consumption, assimilation and its inception in Brâncuși’s atelier, its happens between the real and the politics come under debate. Simplicity is beauty, and in FOYER’s case, poetry as well, regurgitation. By the time we’re kicked model (Princess Marie Bonaparte), the photographed. Infant subjects gazed for what is more powerful than seeing our world compressed onscreen in its purest out of GRAU’s eternal return, nothing will latter’s revolutionary studies in female at with gentle observation and form, as light waves blend together onto cinema’s canvas to form an abstract-yet-so- ever look, read or hear the same. sexuality and ultimately, the sculpture’s attentive hearing, a hushed lullaby familiar representation of reality?

50 51 A BRIEF HISTORY OF PRINCESS X STILL HOLDING STILL 7’, 2016, Portugal, France, UK 10’, 2015, Germany DIRECTOR: GABRIEL ABRANTES DIRECTOR: SARAH VANAGT

CAST: Filipe Vargas, Francisco Cipriano, Joanna Barrios SCRIPTWRITER: Sarah Vanagt SCRIPTWRITER: Gabriel Abrantes CINEMATOGRAPHER: Artur Castro Freire (assisted by Son Doan) CINEMATOGRAPHER: Jorge Quintela EDITOR: Effi Weiss EDITOR: Margarida Lucas SOUND: Philippe Ciompi SOUND: Carlos Abreu PRODUCER: Sarah Vanagt PRODUCER: Gabriel Abrantes, Justin Taurand, Benjamin Cook PRODUCTION COMPANY: Balthasar

THEALCHEMY OF THE FRAME PRODUCTION COMPANY: Hermaphrodite Films, Les Films du Bélier, LUX/ICO

WITH THE SUPPORT OF:

GABRIEL ABRANTES SARAH VANAGT

FILM PRESENTATION: Ever the provocateur, leave it to GABRIEL CURATOR’S COMMENT: A BRIEF HISTORY OF PRINCESS X focuses as FILM PRESENTATION: Inspired from the 19th century photographic CURATOR’S COMMENT: SARAH VANAGT compiled this collection of truly ABRANTES to make a tongue-in-cheek phallic story about Constantin much on the perception of the sculpture, as on the history and beauty of it. practice of Invisible Mothers, visual artist SARAH VANAGT investigates odd photos of children and babies, taken recently using a 19th-century Brâncuși’s sculpture Princess X. A BRIEF HISTORY OF PRINCESS X is Similarly, the eye of ABRANTES’ spectator needs to focus as much on what the very act of seeing. If photography was in the beginning perceived photographic practice known as Invisible Mothers. Photographer Jeroen precisely that: a cursory, episodic chronicle of Brâncuși’s (in)famous, can be fascinating about the story being told, as on what can be formally as witchcraft, stealing the soul of its subjects, STILL HOLDING STILL de Wijs employs a technique from Victorian times, back when taking a work and the erotically-charged narrative threads that tie together its beautiful in the work, and on how ABRANTES perceives it: as something manages to capture that precise moment of magic when the image photograph of your child was a complex enterprise – an exceptional event inception in Brâncuși’s atelier, its model (Princess Marie Bonaparte), generalizable regarding shape, but not to be underestimated just because is born, when the soul transfer happens between the real and the that could easily fail. Capturing an image required a 30-second shutter the latter’s revolutionary studies in female sexuality and ultimately, of the misunderstandings made over the centuries. An immature child who photographed. Infant subjects gazed at with gentle observation and time, and it was almost impossible to get an entire family perfectly still for the sculpture’s placement - and engagement with - in museums. If strikes a pose pretending that Princess X is his penis cannot change the attentive hearing, a hushed lullaby which captures the ethereal weight that long. So photographers came up with a little trick to get around that cinema operates as a canvas for our projected desires, the abstinence history of sculpture, the history of Brâncuși and cannot change the story of absent presence, muffled whispers and softened exhalations. Dilating problem. They got the mother to sit cloaked from head to toe in a blanket observed in ABRANTES’ typically subversive, juvenile humour is a of the film. But the film yes, maybe the film can awaken something, can the instant, VANAGT’s camera allows each child’s human essence to so that she could keep her child quiet while not appearing in the picture poignant, humble tribute to the human frailty that all art hides behind bring to life the exchange of signifier and signified within the sculpture and reveal itself with arresting tenderness. Beckett once said that the herself. But the mothers aren’t entirely invisible. In fact they are rather its courageous surface. through it into the film. And this film can do it in just 7 minutes, with a role of objects is to restore silence; VANAGT’s cinematic gaze restores spooky apparitions, looming behind their expressionless children. In her unique and infallible humor. transcendence to the real, and we, in turn, become participatory film, VANAGT uses the long exposure times to enter into De Wijs’s photos (Andrei Tănăsescu, BIEFF 2017) witnesses. of children. (Nicola Settis, Cinelapsus) (Andrei Tănăsescu, BIEFF 2017) (IDFA - Paradocs 2015) BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL INTERNATIONAL COMPETITIONINTERNATIONAL IV FESTIVALS/AWARDS: Best Portugese Director - Curtas Vila do Conde

\\ International Film Festival 2016 / Toronto International Film Festival \\ FESTIVALS/AWARDS: IDFA International Documentary Festival / New York Film Festival / Locarno International Film Festival / Milano Amsterdam - Paradocs 2015 / EMAF - European Media Art Festival 2016 Film Festival / Curtocircuito Santiago de Compostela Short Film Festival / Biennale de l’Image Possible / Festival International Jean Rouch / / Uppsala International Short Film Festival. Imagine Science Film Festival. WORLD SALES: AGENCIA - PORTUGUESE SHORT FILM AGENCY WORLD SALES: ARGOS CENTRE FOR ART AND MEDIA T: +351 252 646683 | E: [email protected] Laurence Alary W: http://www.curtas.pt T: +32 2 229 00 03 | E: [email protected] W: www.argosarts.org 52 53

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] W: www.balthasar.be «[…] CRAVING FOR NARRATIVE» YOU WANT A STORY? 15’, 2015, Germany 11’, 2014, France DIRECTOR: MAX GRAU DIRECTOR: ANTONIN PERETJATKO

SCRIPTWRITER: Max Grau CAST: Pauline Ghersi, Lucie Borleteau EDITOR: Max Grau SCRIPTWRITER: Antonin Peretjatko SOUND: Max Grau CINEMATOGRAPHER: Antonin Peretjatko PRODUCER: Max Grau EDITOR: Antonin Peretjatko SOUND: Antonin Peretjatko, Martial de Roffignac PRODUCER: Alix Pennequin

THEALCHEMY OF THE FRAME PRODUCTION COMPANY: Le Septième Continent

WITH THE SUPPORT OF:

MAX GRAU ANTONIN PERETJATKO

FILM PRESENTATION: What do John Travolta, Olivia Newton John, DIRECTOR’S STATEMENT: The video is almost exclusively based on found FILM PRESENTATION: YOU WANT A STORY? ANTONIN PERETJATKO’s CURATOR’S COMMENT: Vous voulez une histoire? (YOU WANT A STORY?) Karl Marx, Jean Baudrillard, American Apparel and Bob Dylan all have footage. Besides found imagery, there’s a text based narration happening in answer is a clear affirmation of life and of cinema’s associative power is an incitement to evasion and fiction presented as a kind of travel diary, in common? They’re cultural signifiers looking for a common narrative the lower region of the screen (or projection), where normally the subtitles of storytelling. Telegraphed to the viewer by a mysterious man heard where once again ANTONIN PERETJATKO (La fille du 14 juillet) enjoys in MAX GRAU’s contagious essay film. Cornering the viewer in a locked would be. This narrative...has a beginning and an end. The clip from GREASE through a distorted telephone, we’re told all you need to unravel a himself and amuses the audience with an assumed pastiche calling cinephile groove, GRAU isolates a musical-narrative motif from the 1970s film is continuously looped throughout the whole piece. Those two modes of narrative are two female characters on a train. The rest, as they say, quotes (the Nouvelle vague), postcards or home movies in a humorous GREASE and repeats it ad-infinitum, as he opens up a frank discussion temporality – linearity and the loop – might be one of the basic concerns of is history - or in this case, a visual scrapbook of an unseen flâneur’s collage where the taste for provocation is notorious. PERETJATKO achieves of pop-culture’s infiltration in mass-consciousness. Once CRAVING the video. All the footage is assembled in a digital white non-place...A clip memories, whose travels around the globe are rendered with enough a lighthearted thin line between the intellectual and the grotesque, FOR NARRATIVE’s kernel of culture is planted, we’re winding through like you’ll find gazillions more on youtube. Each one uploaded by a person wit, sensuality, mystery and joie-de-vivre to rival early-Godard and Alain between the cinematic essay and the comedy. GRAU’s rhizome of thought, taking detours at every reference point (be for whatever reason...Also there’s the whole thing about seductiveness... Robbe-Grillet’s labyrinthine storytelling. Accompanied by an eclectic (Miguel Dias, Curtas Vila do Conde International Film it personal, political, social or cultural) and understanding our individual Since the video is trying to make sense of this seductiveness, it’s important soundtrack that spans swingin’-spy standards and contemporary Festival) tendencies of cultural consumption, assimilation and regurgitation. By to keep it going. Not dismembering it completely, but to cool it down a pop, our synaptic travels through the over-active imagination of the time we’re kicked out of GRAU’s eternal return, nothing will ever little. So you can get a chance to behave yourself differently towards it, PERETJATKO’s film become a straight-arrow shot through the core of look, read or hear the same. than the movie wants you to. The animated text in the lower region of the our subconscious desires. video tries to make sense of that...The animation emulates the unfolding of (Andrei Tănăsescu, BIEFF 2017) (Andrei Tănăsescu, BIEFF 2017) words in time, varying it’s tempo to give it a slight touch of an actual person speaking. I thought it would be necessary for the narrator to be there and not there at the same time...An absent presence...But then again, how INTERNATIONAL COMPETITIONINTERNATIONAL IV FESTIVALS/AWARDS: Special Jury Mention, German Competition - much void can there be, when John Travolta sings I got chills.... FESTIVALS/AWARDS: Thessaloniki International Short Film Festival BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ Hamburg International Short Film Festival 2016 / Videorama Award 2016 / Telerama Press Prize - Clermont-Ferrand International Short Film \\ (MAX GRAU) - Timishort Film Festival / Uppsala International Short Film Festival Festival 2015 / Vila do Conde International Short Film Festival / Shnit / IndieLisboa / WNDX Festival of Moving Image Winnipeg / shnit International Short Film Festival. International Shortfilmfestival Basel / Winterthur International Short Film Festival / Short Wave Festival, Poznan 2015. WORLD SALES: MAX GRAU WORLD SALES: LE SEPTIEME CONTINENT T: +49 176 678 46 377 Alix Pennequin E: [email protected] T: +33 6 52 80 12 98 W: www.max-grau.de E: [email protected] 54 55

DIRECTOR’S CONTACT: E: [email protected] DIRECTOR’S CONTACT: W: www.max-grau.de E: [email protected] FOYER 32’, 2016, France, Tunisia DIRECTOR: ISMAÏL BAHRI

SCRIPTWRITER: Ismaïl Bahri CINEMATOGRAPHER: Ismaïl Bahri EDITOR: Ismaïl Bahri SOUND: Thierry Bertomeu PRODUCER: Olivier Marboeuf PRODUCTION COMPANY: Spectre productions & La Fabrique Phantom THEALCHEMY OF THE FRAME

ISMAÏL BAHRI

FILM PRESENTATION: In FOYER, art takes to the streets, as ISMAÏL DIRECTOR’S STATEMENT: FOYER is a film resulting from experiments in BAHRI walks through Tunis with his camera, capturing the city and filming with a sheet of white paper placed in front of the camera, a few its inhabitants. The subversive element of this artistic travelogue lies centimetres from the lens. The intention behind it, very simple at first, was precisely in the white piece of paper that obscures the lens, creating in to take the camera onto the streets of Tunis and observe the way that this effect an unexpected representation of reality, which changes in shade dividing element taints itself with the surrounding light, vibrates according and tone according to the whimsy of the wind. BAHRI’s barrier-curtain to the movements of the air, darkens with the passage of a cloud or when invites new discourse on ways of seeing, in effect offering new take on a person or object gets too close… This experiment shifted when passers- Plato’s cave, where the screen becomes the agora of ideas and opinions by, attracted by this device, approached me to question me and talk. I and everything from art to economy and politics come under debate. then understood that these words and voices filled this blank paper both Simplicity is beauty, and in FOYER’s case, poetry as well, for what is more with poetic and political content, as subtle as it was unexpected. The film powerful than seeing our world compressed onscreen in its purest form, appeared somewhat in the way a roll of film is impressed by light when as light waves blend together onto cinema’s canvas to form an abstract- exposed to it: it was progressively affected by what happened to it, the yet-so-familiar representation of reality? environment in which it was shot.

(Andrei Tănăsescu, BIEFF 2017) (ISMAÏL BAHRI)

INTERNATIONAL COMPETITIONINTERNATIONAL IV FESTIVALS/AWARDS: Toronto International Film Festival - Wavelengths BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ / Rotterdam International Film Festival/ FID Marseille/ Kassel Dokfest, \\ \\ Germany / New York Film Festival/ FILMADRID Festival Internacional de Cine, Madrid 2017 / Jeonju International Film Festival, South Korea / Courtisane Festival, Film and Media Art, Belgium / Transcinema Festival of Non-Fiction, Lima 2016 / Les Rencontres du Cinéma Arabe, Marseille. WORLD SALES: LA FABRIQUE PHANTOM Lou Jomaron T: +33 180 060 834 E: [email protected] 56 W: www.lafabrique-phantom.org 57

DIRECTOR’S CONTACT: E: [email protected] DANGERCUTTING ISTHE MY CORD: BUSINESS Family Love and Its Discontents PRESENTATION INTERNATIONAL COMPETITION IVV

Curatorial presentation by: BIANCAADINA MARIN BĂNICĂ

We come to this world attached to a cord. Not just the plain, physical, umbilical cord, but a metaphorical one as well - made of family ties and social strands -, with a decisive role in conditioning who we are and what we can be. Family bonds start before birth - it is presumed, and are rarely completely broken. We can push for more room of manoeuvre; the cord may stretch but it will never cut us loose completely. The films in the programme CUTTING THE CORD:Family Love and Its Discontents explore human experiences along an elongated metaphorical cord which defines a space where family ties and legacies can be a blessing, a curse, or anything in-between.

These films explore the profound Having the place to themselves, they techniques. I MADE YOU I KILL YOU, which When the family fails to satisfy basic put up to break free when the gaming by means of a highly intelligent emotional contradictory nature of our affective are free to indulge in naïve explorations translates - literally - in the power of life psychological needs, computer games goes beyond fun. The real world with all montage. I suppose he is beginning to bonds, which on one side nourish, protect of lovemaking. It soon transpires that and death held by the paterfamilias over may step in, offering - albeit only in a its imperfections is out there, waiting, understand human interaction - Frederico’s and support us in our growth, while at the Lucas is quite familiar with sex images. the members of his family, is the ultimate virtual version - rewards, freedom and a provided you are strong enough to log out. mother reckons. How to shape himself to same time can limit our personal freedom His absent father, a notorious director motto for the patriarchal society that connection to other individuals sharing forge the world around him. It’s something and our natural impulse to explore life, of x-rated videos, exists in his son’s life rules the life in the author’s native village. the same interests. Escaping occasionally The Golden Bear winner of the Berlinale we all have to do, with every step that through more or less conscious patterns of solely through his video productions. The A collage of family photos and children’s to some parallel world and morphing Shorts 2017, DIOGO COSTA AMARANTE’s drifts us away from the safety of the womb. behaviour and thought deeply ingrained in violence of crude pornography and the drawings mix with animation and with into a daring, powerful and highly self- SMALL TOWN is an endearing cinematic our psyche. (Adina Pintilie, BIEFF) tenderness of teenage first love are bound a touch of surrealism in an arresting confident hero can be refreshing. Yet, stream of consciousness about that together by childlike fantasies in a loss-of- cinematic whole. Voice-overs take turns to refusing to return to real life spells frightful moment when a human being Musing over sex, love and the Internet and innocence story told in reverse. The film complete the grim picture of a childhood destructive dependence. JONAS ODELL becomes aware of its own mortality. meandering through the classic themes leaves space for everyone to experience it lived in a toxic family. As in reverberation, uses the very imagery of the gaming world Six-years old Frederico’s refusal to go of father-son relationship and coming in their own way - says Caroline Poggi. That the father’s account tells of beatings to deliver the personal narratives of three to sleep after being taught at school of age, by crossing, in their unique way, is, according to one’s own personal legacy. and abuse he had suffered himself as a people who have experienced computer that people die when their hearts stop the line between video game and digital child, which leads to the dispassionate game addiction. Under the shape of beating triggers an emotional journey. cinema, JONATHAN VINEL and CAROLINE conclusion that he is not a monster; he their avatars and wandering through the Protagonists are the boy and his mother, NTERNATIONAL COMPETITIONNTERNATIONAL V I POGGI create in OUR LEGACY a strange In an exercise of self-exorcism, simply has no knowledge of another landscape of their respective games, the as well as the director himself, who BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ environment where reality is somewhat ALEXANDRU PETRU BĂDELIȚĂ gives way of life. I MADE YOU I KILL YOU casts characters tell uncanny stories of a to revisits his childhood fears. The sensations \\ displaced to make room for another, more a moving personal account of his a poignant uncompromising look at a and fro motion between the real and the they experience make a mix of horror and disturbing universe. With his parents traumatized childhood with a rich disturbing world where such experiences illusory, and of the struggle you need to tenderness translated into film language away from home, Lucas invites Anäis over. profusion of narrative layers and artistic are not the exception, but the norm.

58 59 OUR LEGACY I MADE YOU I KILL YOU 24’, 2015, France 14’, 2016, France / Romania DIRECTOR: JONATHAN VINEL in collaboration with DIRECTOR: ALEXANDRU PETRU BĂDELIȚĂ CAROLINE POGGI CAST: Drehluță Ecaterina, Covasa Petru, Sandu Frătăuțeanu CAST: Lucas Doméjean, Sarah-Megan Allouch SCRIPTWRITER: Alexandru Petru Bădeliță SCRIPTWRITER: Caroline Poggi, Jonathan Vinel CINEMATOGRAPHY & ANIMATION: Alexandru Petru Bădeliță

CUTTING CORD THE CINEMATOGRAPHER: Mathieu Gaudet EDITOR: Alexandru Petru Bădeliță EDITOR: Jonathan Vinel SOUND: Alexandru Petru Bădeliţă, Martin Delzescaux SOUND: Romain Poirier, Jean-Charles Bastion PRODUCER: Alexandru Petru Bădeliță PRODUCER: Lou Chicoteau PRODUCTION COMPANY: Le Fresnoy PRODUCTION COMPANY: La Fémis

WITH THE SUPPORT OF:

JONATHAN VINEL CAROLINE POGGI ALEXANDRU PETRU BĂDELIȚĂ

FILM PRESENTATION: Musing over sex, love and the Internet and DIRECTOR’S STATEMENT: I don’t remember the first porn I watched. I FILM PRESENTATION: In an exercise of self-exorcism, ALEXANDRU DIRECTOR’S STATEMENT: I think that this film is necessary for me, in this meandering through the classic themes of father-son relationship and think it comes bit by bit, with every picture you see on the Internet and PETRU BĂDELIȚĂ gives a moving personal account of his traumatized moment of my life. I have always been ashamed to talk about my childhood coming of age, by crossing, in their unique way, the line between video in magazines. But I remember the odd feeling one experiences when childhood with a rich profusion of narrative layers and artistic and I think that this caused me a lot of sadness. As a child, I would dream game and digital cinema, JONATHAN VINEL and CAROLINE POGGI discovering the porn world. For me, porn is really very much connected to techniques. I MADE YOU I KILL YOU, which translates - literally - in the about an American movie star who would come and take me away from create in OUR LEGACY a strange environment where reality is somewhat video gaming, because it’s something you go into at the same age, in your power of life and death the paterfamilias holds over the members of the hell I was living in. I am sure I wasn’t the only one who had this dream. displaced to make room for another, more disturbing universe. With his teens, at puberty. At that age you’re sort of lost, because on the one hand his family, is the ultimate motto for the patriarchal society that rules In my case, doing art and making films became my way of dealing with parents away from home, Lucas invites Anäis over. Having the place to there’s this imagery of romantic love you come across in video games and the life of the author’s native village. A collage of family photos and trauma. I also made this film for the people who don’t dare to talk about themselves, they are free to indulge in naïve explorations of lovemaking. movies, and on the other hand there are the crude images of pornography. children’s drawings mix with animation and with a touch of surrealism their childhood maltreatment. It soon transpires that Lucas is quite familiar with sex images. His absent And you suddenly find yourself in the middle of this galaxy... OUR LEGACY in an arresting cinematic whole. Voice-overs take turns and complete (ALEXANDRU PETRU BĂDELIȚĂ) father, a notorious director of x-rated videos, exists in his son’s life solely talks about how you can reclaim your own way of loving and of love making the grim picture of a childhood dominated by domestic violence. As in through his video productions. The violence of crude pornography and having grown up surrounded by all those images. reverberation, the father’s account tells of beatings and abuse he had the tenderness of teenage first love are bound together by childlike suffered himself as a child, which leads to the dispassionate conclusion fantasies in a loss-of-innocence story told in reverse. The film leaves (JONATHAN VINEL, Interview by Lola Margrain for that he is not a monster; he simply has no knowledge of another way of space for everyone to experience it in their own way - says Caroline Poggi. Manifesto XXI) life. I MADE YOU I KILL YOU casts a poignant uncompromising look at That is, according to one’s own personal legacy. a disturbing world where such experiences are not the exception, but the norm. (Adina Marin, BIEFF 2017) NTERNATIONAL COMPETITIONNTERNATIONAL V

I (Adina Marin, BIEFF 2017) BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL FESTIVALS/AWARDS: Berlin International Film Festival 2016/ Special

\\ Mention of the Young Jury - Curtocircuíto International Film Festival \\ 2016 Spain / Special Jury Mention - Norwegian Short Film Festival 2016 Grimstad/ Internationale Kurzfilmtage Winterthur 2016 / Geneva International Film Festival Tous Ecrans 2016 / Festival International FESTIVALS/AWARDS: Grand Prize for Short Film (ex-aequo) - RISC WORLD SALES: LA FÉMIS du Film Indépendant de Bordeaux 2016 / International Film Festival Marseille 2016 / Official selection - Clermont-Ferrand International WORLD SALES: LE FRESNOY - Studio National des Arts T: +33 1 53412116 Message to man 2016 St.Petersburg / Festival Européen du Film Court Short Film Festival 2017 / FIPA - Festival International de Programmes Contemporains E: [email protected] de Brest 2016 / Sydney Underground Film Festival 2016 / Guanajuato Audiovisuels - Biarritz, France 2017 / International Documentary Film Natalia Trebik W: http://www.femis.fr T: +33 3 2028 3800 | E: [email protected] 60 International Film Festival 2016 IDFA Amsterdam 2016 / Poitier Film Festival 2016. W: www.lefresnoy.net 61

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] W: www.alexbade.com I WAS A WINNER SMALL TOWN 14’, 2015, Sweden 19’, 2016, Portugal DIRECTOR: JONAS ODELL DIRECTOR: DIOGO COSTA AMARANTE

SCRIPTWRITER: Jonas Odell & Richard Dinter CAST: Frederico Costa Amarante Barreto, Mara Costa Amarante ANIMATION: Niklas Lundgren SCRIPTWRITER: Diogo Costa Amarante SOUND DESIGN: Frippe Jonsäter CINEMATOGRAPHER: Diogo Costa Amarante

CUTTING CORD THE PRODUCER: Johan Edström EDITOR: Diogo Costa Amarante PRODUCTION COMPANY: Apparat filmproduktion AB SOUND: Diogo Costa Amarante, Miguel Cordeiro MUSIC: F. R. David PRODUCER: Diogo Costa Amarante, Miguel Dias PRODUCTION COMPANY: Curtas Metragens C.R.L.

WITH THE SUPPORT OF: WITH THE SUPPORT OF:

JONAS ODELL DIOGO COSTA AMARANTE

FILM PRESENTATION: When the family fails to satisfy basic DIRECTOR’S STATEMENT: There were two starting points for the idea FILM PRESENTATION: The Golden Bear winner of the Berlinale Shorts DIRECTOR’S STATEMENT: One day, my sister told me that Frederico, my psychological needs, computer games may step in, offering - albeit for the film. One was something I remembered from years back, when 2017, SMALL TOWN is an endearing cinematic stream of consciousness 6-year-old nephew, learned about the human body at school from a teacher only in a virtual version - rewards, freedom and a connection to other we used to have a Playstation game console set up in the place where I about that frightful moment when a human being becomes aware of its who explained to him that people die when their hearts stop. That evening, individuals sharing the same interests. Escaping occasionally to some worked. People used to play for a while and then get back to work. The own mortality. Six-years old Frederico’s refusal to go to sleep after being Frederico didn’t sleep. He woke my sister up several times throughout parallel world and morphing into a daring, powerful and highly self- game they played was usually Grand Theft Auto, where the main character taught at school that people die when their hearts stop beating triggers the night complaining he had a pain in his chest. Hearing this story, I confident hero can be refreshing. Yet, refusing to return to real life is this quite aggressive guy who pulls people out of cars and drives off. an emotional journey. Protagonists are the boy and his mother, as well immediately recalled being his age and receiving a collection of books for spells destructive dependence. JONAS ODELL uses the very imagery When the player left the game, this very self confident character suddenly as the director himself, who revisits his childhood fears. The sensations children that happened to include one titled “Why did grandfather die?”. of the gaming world to deliver the personal narratives of three people just stood there hanging his head and taking a few aimless steps back and they experience make a mix of horror and tenderness translated into Although the book was very colorful, populated by warm characters and who have experienced computer game addiction. Under the shape of forth. Somehow, I found that image quite moving – the usually confident film language by means of a highly intelligent emotional montage. communicating its educational message for children with sweet metaphors, their avatars and wandering through the landscape of their respective hero of the game suddenly looking quite lost…The other starting point was I suppose he is beginning to understand human interaction - Frederico’s I found it absolutely terrifying. The emotional parallel I saw in my childhood games, the characters tell uncanny stories of a to and fro motion me reading about game addiction. It struck me that, although there were mother reckons. How to shape himself to forge the world around him. It’s memories and my nephew’s experience inspired me to make this film. What between the real and the illusory, and of the struggle you need to put up quite a number of articles on the subject, you never heard the stories of the something we all have to do, with every step that drifts us away from the I really wanted to represent in SMALL TOWN was not a recreation of events to break free when the gaming goes beyond fun. The real world with all addicts themselves. safety of the womb. but an expression of the emotions I felt reading that book as a child and its imperfections is out there, waiting, provided you are strong enough the tenderness I felt hearing the story of my nephew’s similar experience. (Adina Marin, BIEFF 2017) to log out. (JONAS ODELL interviewed at the International Short Film Festival Clermont-Ferrand 2017) (DIOGO COSTA AMARANTE Interviewed by Andrew (Adina Marin, BIEFF 2017) Wilkin for FilmFestivalLifeLine) NTERNATIONAL COMPETITIONNTERNATIONAL V I FESTIVALS/AWARDS: Golden Bear Award for Best Short Film - Berlin BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ International Film Festival 2017 / Punto de Vista - International \\ FESTIVALS/AWARDS: International Short Film Festival Clermont- Documentary Film Festival of Navarra, Spain 2017 / International Film Ferrand 2017 / Tribeca Film Festival 2016 / Göteborg Film Festival 2016 Festival in Guadalajara, Mexico 2017 / Rencontres Internationales New / Pravo Ljudski Film Festival 2016 / DocPoint – Helsinki 2016 / Uppsala Cinema and Contemporary Art, France 2017 / Curtas Vila do Conde International Short Film Festival 2016 / Palm Springs International Film WORLD SALES: APPARAT FILMPRODUKTION AB International Film Festival, Portugal 2016 WORLD SALES: AGENCIA – PORTUGUESE SHORT FILM AGENCY Festival 2016 / DokuFest 2016; Animateka 2016 Johan Edström CURTAS METRAGENS CRL T: +46 70 716 2221 T: +351 252 646683 | F +351 252 638027 E: [email protected] E: [email protected] 62 W: http://apparatfilm.se W: http://www.curtas.pt 63

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] W: http://www.diogocostaamarante.com/ NOSTALGIA FOR THE FUTURE: Manufactured Histories PRESENTATION THEME PROGRAM: In partnership with ARSENAL INSTITUT FOR FILM AND VIDEO ART Selection from BERLINALE FORUM EXPANDED program

Curatorial presentation by: ANDREI TĂNĂSESCU

Within the ongoing inspiring partnership history, following the personal struggle culture and politics, the saboteur of protagonist enters the city’s downtown What do you get when a modern-day- with ARSENAL - Institut for Film and to stand against the collective torrent history engages her therapist - and us sprawl with wide-eyed wonder. Passing Méliès is hired to produce a making-of Video Art Berlin, BIEFF offers again the and subverting the old adage of History along with them - in breaking down the through this socially-hostile urban of a big-budget war film? A rollicking Romanian audience the rare opportunity Always Favours the Winners. construction of national identity and babylon and its ghettoizing checkpoints, satire, probing deep into cinema’s heart to see some of the most thought- dominant historical narratives. In a film she reaches her destination: the banking of darkness. Financially and creatively provoking titles from BERLINALE In a barren desert landscape, a lone where silence and words fall with the headquarters of society’s stored data, drained, cult experimental filmmaker FORUM EXPANDED selection, in the figure walks among the memories of same gravity of fragility as porcelain finances and memories. Inside, as the GUY MADDIN becomes an artist-for- theme program NOSTALGIA FOR THE civilization, while on voice-over we hear bombs, transcendence turns emotions institution’s virtual manager guides hire on the set of Canadian movie star FUTURE: Manufactured Histories. her participate in an open and intimate to abstraction and the personal becomes her access to the account, body turns Paul Gross’ Hyena Road, filming behind- therapy session. She is a narrative political. performative and shared memory and the-scenes on the Jordanian desert From the polemic manifesto of the terrorist, whose intervention in the history dissolve in virtual pointilism. standing in for Taliban-held Afghanistan. archeological terrorism for imagined future throws a spanner in the cog- Set in the near-future of a dystopian Beneath her expressive emotions lies Creativity and sun strike at once, and peoples in IN THE FUTURE THEY ATE machine of historical determinism and metropolis, ESIOD 2015, by visual a deeper secret, hidden away from the what’s meant to be a straightforward FROM THE FINEST PORCELAIN, to entitlement by depositing archeological artist CLEMENS VON WEDEMEYER, is singularity’s algorithms - an intended promo, internally combusts into a the sci-fi envisioning of the future artifacts for future generations to a lyrical envisioning of an impending subversion meant to bring about the fever-dream of artistic subversion. Via corporatisation of collective memories uncover and legitimize their existence financial singularity, where a centralized revolution from within. manipulated footage and narrated

BERLINALE FORUM EXPANDED in ESIOD 2015 and ending on BRING as a disappearing people. In visual commodification has monetized musings on Canadian pop-culture and BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL ME THE HEAD OF TIM HORTON’s multi- artists LARISSA SANSOUR & SØREN everything, from urban spaces, the epistemology of cinema, BRING ME \\ layered and deeply droll visual essay on LIND’ film IN THE FUTURE THEY ATE social structures to ultimately, our THE HEAD OF TIM HORTON conflates \\ cinema’s subjective role in portraying FROM THE FINEST PORCELAIN, in an collective memory. Greeted by the the ego’s in/eternal battles of art vs. history, the works in this program place otherworldly CGI dreamscape of cut- quiet sterility of modern architecture commerce, with bloated patriotism and under scrutiny our relationship with out figures of Western and Eastern and disembodied voices, the film’s the ethics of representation. Hilarious and sombre, but deeply sincere in its contradictions, this is pop-art cine- manifesto at its finest. 64 65 IN THE FUTURE THEY ATE ESIOD 2015 40’, 2016, Austria, Germany FROM THE FINEST PORCELAIN DIRECTOR: CLEMENS VON WEDEMEYER 29’, 2015, Palestine, UK, Denmark, Qatar DIRECTOR: LARISSA SANSOUR & SØREN LIND CAST: Stephanie Cumming, Sven Dolinski SCRIPTWRITER: Clemens von Wedemeyer CAST: Pooneh Hajimohammadi, Anna Aldridge, Leyla Ertosun CINEMATOGRAPHER: Frank Meyer SCRIPTWRITER: Søren Lind EDITOR: Janina Herhoffer CINEMATOGRAPHER: Thomas Fryd SOUND: Herbert Verdino EDITOR: Daniel Martinez, William Dybeck Sørensen MUSIC: Birke J. Bertelsmeier, Ryoji Ikeda

NOSTALGIA FOR THE FUTURE THE FOR NOSTALGIA SOUND: Tom Sedgwick PRODUCER: Florian Brüning, Thomas Herberth MUSIC: Aida Nadeem PRODUCTION COMPANY: Horse & Fruits Filmproduktion PRODUCER: Ali Roche PRODUCTION COMPANY: Spike Film and Video WITH THE SUPPORT OF:

CLEMENS VON WEDEMEYER WITH THE SUPPORT OF:

LARISSA SANSOUR SØREN LIND FILM PRESENTATION: Set in the near-future of a dystopian metropolis, CURATOR’S COMMENT: Vienna 2051. After many years, a customer ESIOD 2015 is a lyrical envisioning of an impending financial singularity, comes back to the city to close her bank account. Not only data about FILM PRESENTATION: In a barren desert landscape, a lone figure walks CURATOR’S COMMENT: In a temporal twist, as suggested by its title, IN where a centralized commodification has monetized everything, from money, but also memories and other personal data are digitally stored in among the memories of civilization, while on voice-over we hear her THE FUTURE THEY ATE FROM THE FINEST PORCELAIN tells the story of urban spaces, social structures to ultimately, our collective memory. this account. The customer is not recognized by the computer system. She participate in an open and intimate therapy session. She is a narrative an intervention into the future perception of a territory’s political history. Greeted by the quiet sterility of modern architecture and disembodied has to undergo a memory check, during which they observe how she reacts terrorist, whose intervention in the future throws a spanner in the voices, the film’s protagonist enters the city’s downtown sprawl with to data, videos, and images from the account. She is looking for a way to A self-proclaimed narrative resistance group makes underground deposits cog-machine of historical determinism and entitlement by depositing wide-eyed wonder. Passing through this socially-hostile urban babylon access the virtual safe in order to travel back in time and to send a message of elaborate porcelain – suggested to belong to an entirely fictional archeological artifacts for future generations to uncover and legitimize and its ghettoizing checkpoints, she reaches her destination: the banking to our present. civilization. Their aim is to influence history and support future claims to their existence as a disappearing people. Settled among her otherworldly headquarters of society’s stored data, finances and memories. Inside, their vanishing lands. Once unearthed, the buried tableware will prove the In ESIOD 2015, CLEMENS VON WEDEMEYER creates a layer of dystopian CGI dreamscape of cut-out figures of Western and Eastern culture and as the institution’s virtual manager guides her access to the account, existence of this counterfeit people. By implementing a myth of its own, science fiction, projecting the current financial crisis and the virtualization politics, the saboteur of history engages her therapist - and us along body turns performative and shared memory and history dissolve in their work becomes a historical intervention – de facto creating a nation. of work, life, and capital in the architecture of the First Campus – a with them - in breaking down the construction of national identity and virtual pointilism. Beneath her expressive emotions lies a deeper secret, construction project of the Austrian Erste Bank – into the not all too distant dominant historical narratives. In a film where silence and words fall The film takes the form of a fictional video essay, combining live motion hidden away from the singularity’s algorithms - an intended subversion future. His protagonist gets visibly lost in the border zone between real and with the same gravity of fragility as porcelain bombs, transcendence and CGI, and taking clues from archeology, politics, and science fiction. A meant to bring about the revolution from within. virtual space, and the film itself continues to disintegrate into a cloud of turns emotions to abstraction and the personal becomes political. voice-over based on an interview between a psychiatrist and the leader of (Andrei Tănăsescu, BIEFF 2017) pixels, becoming transparent. the narrative resistance group about her thoughts on myth and fiction as (Andrei Tănăsescu, BIEFF 2017) constitutive for fact, history, and documentary reveals the philosophy and BERLINALE FORUM EXPANDED (Forum Expanded, Berlin International Film Festival 2016) BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL ideas behind the group’s actions. \\ \\ (Forum Expanded, Berlin International Film Festival 2016) FESTIVALS/AWARDS: Berlin International Film Festival - Forum FESTIVALS/AWARDS: Berlin International Film Festival 2016 / Expanded 2016 / Dubai International Film Festival 2015 Videonale 16, Bonn / European Media Art Festival - Osnabrück

WORLD SALES: MEC FILM WORLD SALES: Horse & Fruits T: +49 30 66766700 | E: [email protected] Florian Brüning 66 W: www.mecfilm.de E: [email protected] | W: www.horseandfruits.com 67

DIRECTOR’S CONTACT: E: [email protected] DIRECTOR’S CONTACT: W: www.larissasansour.com W: [email protected] BRING ME THE HEAD OF TIM HORTON 31’, 2015, Canada DIRECTOR: GUY MADDIN, EVAN JOHNSON, GALEN JOHNSON

CAST: Paul Gross, Michael Kennedy, Karl Campbell, Allan Hawco, Rossif Sutherland, Guy Maddin, Richard O’Brien-Moran SCRIPTWRITER: Guy Maddin, Evan Johnson & Galen Johnson CINEMATOGRAPHER: John Gurdebeke & Jody Shapiro NOSTALGIA FOR THE FUTURE THE FOR NOSTALGIA EDITOR: Evan Johnson SOUND: Galen Johnson PRODUCER: Niv Fichman & Jody Shapiro

WITH THE SUPPORT OF:

GUY MADDIN EVAN JOHNSON GALEN JOHNSON

FILM PRESENTATION: What do you get when a modern-day-Méliès CURATOR’S COMMENT: Internationally renowned film director GUY is hired to produce a making-of of a big-budget war film? A rollicking MADDIN finds himself lying on his back on a movie set in the dust of the satire, probing deep into cinema’s heart of darkness. Financially and Jordanian desert, posing as a dead Taliban soldier in the far background creatively drained, GUY MADDIN becomes an artist-for-hire on the of an action sequence. Originally hired to shoot a making-of documentary set of Canadian movie star Paul Gross’ Hyena Road, filming behind- about the film in production – Paul Gross’s Afghan war drama Hyena Road – the-scenes on the Jordanian desert standing in for Taliban-held Maddin, flat broke and discontented, takes to musing about his role on the Afghanistan. Creativity and sun strike at once, and what’s meant to be set, Canada’s role in Afghanistan, and cinema’s role in political and violent a straightforward promo, internally combusts into a fever-dream of conflict. Part cine-essay and part behind-the-scenes documentary, BRING artistic subversion. Via manipulated footage and narrated musings on ME THE HEAD OF TIM HORTON repurposes footage captured on the set of Canadian pop-culture and the epistemology of cinema, BRING ME THE Hyena Road into a psychedelic, darkly comical tale of alpha men, cartoonish HEAD OF TIM HORTON conflates the ego’s in/eternal battles of art vs. violence, and one forlorn artist’s quest for meaning. commerce, with bloated patriotism and the ethics of representation. (Forum Expanded, Berlin International Film Festival 2016) Hilarious and sombre, but deeply sincere in its contradictions, this is pop-art cine-manifesto at its finest. BERLINALE FORUM EXPANDED (Andrei Tănăsescu, BIEFF 2017) BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ FESTIVALS/AWARDS: Berlin International Film Festival 2016 - Forum \\ \\ Expanded / Toronto International Film Festival - Wavelengths / New WORLD SALES: WINNIPEG FILM GROUP York Film Festival / Barcelona International Auteur Film Festival Monica Lowe 2016 / IndieLisboa International Independent Film Festival / Jeonju T: 1.204.925.3456 ext. 103 International Film Festival / Wisconsin Film Festival / Onion City E: [email protected] W: www.winnipegfilmgroup.com Experimental Film and Video Festival / True/False Film Fest. 68 69

DIRECTOR’S CONTACT: W: www.guy-maddin.com PAINTING WITH HISTORY PRESENTATION THEME PROGRAM: INTERNATIONAL FILM FESTIVAL ROTTERDAM

Curatorial presentation by: IOANA FLORESCU and ADINA MARIN

Taking further the inspiring collaboration with the innovative International Film Festival Rotterdam (IFFR), BIEFF offers the Romanian cinephile audience the rare opportunity to see few of the most interesting 2016 Tiger Awards for Short Films Nominees.

Focusing on cinema’s role in the re- a fair measure of technology and pop Focusing on the concept of national of Un Deux Trois, the club that was once presentation of history, the thought- culture merge in a composite of hip-hop representation, the artist Vincent home (...) of the artistic modernity in provoking theme program PAINTING music video and religious ad lookalike, Meessen represented Belgium, at the the Congo, offers the perfect setting WITH HISTORY, curated by Peter van in a film that examines the place of 56th Venice Biennale, in dialogue with for a musical dérive. Transformed into Hoof, Head of the Short Film Selection spirituality in the age of globalization and another ten artists from different – an experimental space by musicians, the Commitee of IFFR, relativizes notions digitalization, at a time when heaven is a many African – countries who share club becomes an echo chamber for the such as reality and fiction, falsehood and simplified version of the world recorded his research practice and interest in impasses of history and the unfinished truth, analysing the ways subjectivity and in high definition and spirits have been colonial history. Central part of the promises of revolutionary theory. And objectivity intertwine in constructing replaced by drones. exhibition ‘Personne et les autres, while M’Belolo Ya M’Piku rediscovers our personal and collective memory and Vincent Meessen & guests’, ONE.TWO. the song he had lost, popular uprisings identity. In the end, history’s narratives THREE revisits the largely unknown role break out in Kinshasa just outside of the are always relative constructs, according of Congolese intellectuals within the walls of the rumba club. In spite of the to the perspective they are seen from. Situationist International. The starting cycle of violence and the militarization of Moving from documenting the production - in a Dutch studio - of a lifelike statue point is the discovery of the lyrics to a everyday life, a space is created for play, A full of energy and color (self-)potrait portraying a white, middle-aged man, to interviews with Asmat people in Papua New protest song that Congolese Situationist polyphony and dance. The rendition that of the artist traveling freely between Guinea, THE DOUBLE, by visual artists Roy Villevoye and Jan Dietvorst, deals with Joseph M’Belolo Ya M’Piku composed in matters in ONE.TWO.THREE is perhaps

INTERNATIONAL FILM FESTIVAL ROTTERDAM FILMINTERNATIONAL FESTIVAL past and present, fiction and reality, the process of fabrication - of the individual and of its re-presentation - in its double May 1968. Working with M’Belolo and less the recovery of the song than the BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL science and dream, PAINTING WITH meaning. While we witness the disturbingly accurate physical construction of the young musicians in Kinshasa, Vincent rendition of emancipation itself, which, \\ HISTORY IN A ROOM FILLED WITH statue, voice-overs offer divergent narratives regarding the identity and personality Meessen has produced a new rendition of irresolute by nature, remains condemned \\ PEOPLE WITH FUNNY NAMES 3, by of its muse. Through their various degrees of fabrication, rather than revealing, these the song.(...) The multi-colored labyrinth to an ‘untimely repetition’. Korakrit Arunanondchai, explores sometimes contradicting perspectives preserve the mystery around who this man (Text by Jubilee-art.org) the artist’s search for identity, at the really was. THE DOUBLE thus questions our capacity to ever grasp the true essence meeting area between the East and the of a human being, therefore inquiring in an ingenious way into the relationship West. Thai Buddhism and Animism and between cultures, between us and them, as part of the artists’ longtime interest in post-colonialism. 70 71 PAINTING WITH HISTORY IN A THE DOUBLE 21’, 2016, The Netherlands ROOM FILLED WITH PEOPLE DIRECTOR: ROY VILLEVOYE, JAN DIETVORST WITH FUNNY NAMES 3 CAST: Remie Bakker, Vince Cole, Welem Pupís, Sabina Totiniáp, 25’, 2015, Thailand Adam Ndo DIRECTOR: KORAKRIT ARUNANONDCHAI SCRIPTWRITER: Jan Dietvorst, Roy Villevoye CINEMATOGRAPHER: Jan Dietvorst, Roy Villevoye CAST: Chutatip Arunanondchai, Korakrit Arunanondchai, Korapat EDITOR: Jan Dietvorst, Roy Villevoye PAINTING WITH HISTORY Arunanondchai, Suvit Arunanondchai, Varachit Nitibhon SOUND: Jan Dietvorst, Roy Villevoye SCRIPTWRITER: Korakrit Arunanondchai PRODUCER: Roy Villevoye, Jan Dietvorst CINEMATOGRAPHER: Alex Gvojic, Rory Mulhere EDITOR: Korakrit Arunanondchai SOUND: Harry Bornstein WITH THE SUPPORT OF: MUSIC: Harry Bornstein PRODUCER: Olivier Babin ROY VILLEVOYE JAN DIETVORST PRODUCTION COMPANY: CARLOS/ISHIKAWA

KORAKRIT ARUNANONDCHAI FILM PRESENTATION: Documenting the production - in a Dutch studio - DIRECTOR’S STATEMENT: The nature of our material means that we of a lifelike statue portraying a white, middle-aged man and then moving are almost automatically classified as part of the documentary genre. somehow unexpectedly to interviews on location with Asmat people of However, by no means do we wish to identify ourselves with [it]. The FILM PRESENTATION: A full of energy and color (self-)potrait of the DIRECTOR’S STATEMENT: Chantri is you and Chantri is me, so is the Papua New Guinea, THE DOUBLE deals with the process of fabrication - point is precisely to free ourselves from a number of conventions that artist traveling freely between past and present, fiction and reality, Garuda and the Naga. These are all qualities that exist in us and in the of the individual and of its representation - in its double meaning. While characterize the documentary. […] We don’t want to answer questions, we science and dream, PAINTING WITH HISTORY IN A ROOM FILLED WITH world we live in. After four years of ‘collecting’ memories and endless we witness the disturbingly accurate physical construction of the statue, want to raise them. […] Our films don’t tell neatly rounded-off stories that PEOPLE WITH FUNNY NAMES 3 explores the artist’s search for identity, collaboration with my family and friends, I ended up with this 24 minute voice-overs offer divergent narratives regarding the identity and the unwind at a rapid tempo. We specifically aim to keep the speed down. In our at the meeting area between the East and the West. Thai Buddhism and video. I got a lot from this experience and it has been one of the best things personality of its muse. Through their various degrees of fabrication, films, images and sequences are slow, drawn-out and vague. The editing is Animism and a fair measure of technology and pop culture merge in a that had happened to me so I hope you will enjoy it. rather than revealing, these sometimes contradicting perspectives solid; the sequence of images is not necessarily logical or meaningful in a composite of hip-hop music video and religious ad lookalike, in a film preserve the mystery around who this man really was. THE DOUBLE comparable sense. The editing is not used to condense the time. We have that examines the place of spirituality in the age of globalization and KORAKRIT ARUNANONDCHAI questions our capacity to ever grasp the true essence of a human being, noticed that the idea of presence is reinforced by the sensation of real time. digitalization, at a time when heaven is a simplified version of the world therefore inquiring in an ingenious way into the relationship between As a viewer, just like the filmmakers, you have questions that remain, but recorded in high definition and spirits have been replaced by drones. cultures, between us and them, as part of the artists’ longtime interest you really have experienced something when the film comes to an end. (Ioana Florescu, BIEFF 2017) in post-colonialism.

(Ioana Florescu, BIEFF 2017) (ROY VILLEVOYE, ARGOS Centre for Art and Media)

INTERNATIONAL FILM FESTIVAL ROTTERDAM FILMINTERNATIONAL FESTIVAL FESTIVALS/AWARDS: 20th Biennale of Sydney 2016 / International Film BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ Festival Rotterdam 2016 - Tiger Competition for Short Films / The Jim \\ FESTIVALS/AWARDS: International Film Festival Rotterdam 2016 - Thompson Art Center Bangkok 2016 / Ullens Center for Contemporary Tiger Awards Competition for Short Films Art Beijing 2015.

WORLD SALES: CARLOS/ISHIKAWA WORLD SALES: LIMA MEDIA ART PLATFORM Vanessa Carlos Theus Zwakhals E: [email protected] T: +31(0)20 389 20 30 | E: [email protected] W: www.carlosishikawa.com W: http://www.li-ma.nl 72 73

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected], [email protected] E: [email protected] W: http://www.jandietvorst.com , https://www.royvillevoye.com/ ONE.TWO.THREE 35’, 2016, Belgium DIRECTOR: VINCENT MEESSEN

CAST: M’Belolo Ya M’Piku, Raoul Vaneigem SCRIPTWRITER: Vincent Meessen CINEMATOGRAPHER: Vincent Pinckaers EDITOR: Inneke van Waeyenberghe SOUND: Laszlo Umbreit PAINTING WITH HISTORY MUSIC: Vincent Kenis PRODUCER: Vincent Meessen, Katrien Reist PRODUCTION COMPANY: Normal, Jubilee

VINCENT MEESSEN

FILM PRESENTATION: Focusing on the concept of national CURATOR’S COMMENT: The viewer will be able to discover a whole host representation, ONE.TWO.THREE revisits the largely unknown role of of untold stories that occurred outside, beyond, or beneath the vertical Congolese intellectuals within the Situationist International movement. relationships of power imposed by colonialism, stories that point to a Used as an experimental space for the rendition of a protest song that relationship between Europe and the colonies that was not only grounded the Congolese situationist M’Belolo Ya M’Piku composed in may ‘68, the in negative experiences — of exploitation or violence, for example — but mythical ‘Un.Deux.Trois’ rumba club in Kinshasa becomes an echo chamber also in positivities and in fruitful outcomes. for the impasses of history. (...) While the lost song is being rediscovered, (Katerina Gregos) popular uprisings break out in Kinshasa just outside of the walls of the rumba club. In spite of the cycle of violence and the militarization of everyday life, a space is created for play, polyphony and dance.(...) The rendition that matters here is perhaps less the recovery of the song than the rendition of emancipation itself, which, irresolute by nature, remains condemned to an ‘untimely repetition’.

(Text by Jubilee-art.org)

INTERNATIONAL FILM FESTIVAL ROTTERDAM FILMINTERNATIONAL FESTIVAL FESTIVALS/AWARDS: Tiger Awards Competition for Short Films BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ - International Film Festival Rotterdam 2016 / 56th Biennale di \\ \\ Venezia, 2015.

WORLD SALES: JUBILEE E: [email protected] W: http://www.jubilee-art.org 74 75

DIRECTOR’S CONTACT: E: [email protected] W: www.normal.be DANGERCINEDANS IS AMSTERDAM MY BUSINESS - EMOTIONAL BODIES: PRESENTATION Anxiety,INTERNATIONAL COMPETITIONDesire and IV Solitude in the Post-Internet Urbanscape Curatorial presentation by: BIANCA BĂNICĂ Curatorial presentation by: ADINA MARIN

The special programme dedicated to dance films returns to the Bucharest International Experimental Film Festival BIEFF due to our inspiring partnership with Europe’s main dance-film festival, Cinedans - Dance on Screen Festival Amsterdam. In the ever-changing media landscape, creators are increasingly seeking different ways to tell their stories. Contemporary dance

films are often autonomous art works array of emotions and circumstances with relics of their formerly populated the same time fragile and enduring, and A banking blog, ten dancers from top ballet companies in the Netherlands and with a language of their own and ranging from the bitter experience of lives. Their bodies squirm as the wave capable of telling stories not only when in England, and the realistic setting of London of today as backdrop proved to be a an expressiveness that cannot be loneliness to the hyper-active modern of dispair rises in a crescendo masterly motion, but also at a standstill. winning combination. The awarded docu-dance film VOICES OF FINANCE is named pigeonholed. Cinema and dance are jungle of the financial world, and from conducted by NELLIE CARRIER up to after and based on the former Guardian’s Banking Blog, in which its author, Joris brought to synthesis reactions resulting intergenerational family relationships an anticlimax. In the end, we see four If Jung’s theory is true and Every mother Luyendijk, looked at finance from an anthropological perspective. In a succession in pure artistic gems. to post-internet communities. Are people wiping away the traces of their contains her daughter in herself and every of danced monologues, the performers play bankers and others across the financial dancing bodies capable of conveying all moment of distress and resuming their daughter her mother, small wonder that a sector, who speak about their lives and describe a typical working day. CLARA VAN BIEFF 2017 is proud to present the that? Yes, they are. All that and much now futile existence. Until the next fall. mother-daughter relationship is anything GOOL captures the energy of their dance which she expertly blends with spoken selection entitled EMOTIONAL BODIES: more. The human body is a miraculous but smooth and rosy, since apart from an text. The result is a singular glimpse into the glamorous and stressful culture of the Anxiety, Desire and Solitude in the invention. Its physical part can twist Lie on your back, arms along sides and inherent conflict between generations financial world. Post-Internet Urbanscape with five and spin or can be reduced to paralyzed pretend you cannot move from neck there is a permanent confrontation with outstanding works whose authors motionlessness, while the psychic side down. Does it get uncomfortable? Would one’s own self. With SHE / HER, SONJA With NOVACIÉRIES, the artists of the (LA)HORDE collective put forward their have chosen to embark on the ever can be tormented in every way, and still you like a pillow? Do you have an itching WYSS goes deep into the anatomy of reinterpretation of a post-internet dance staged in what looks like an abandoned fascinating journey to the infinite it will find resources of endurance and nose? You’ll have to wait until someone such a relationship, unwrapping layer workshop. Jumpstyle, a dance emerged from the mainstream Hardcore, owes its territories of human experience. With creativity to go on dancing alone, with comes along. Does it feel like you’ve after layer of feelings of resentment, existence to online self-broadcasting and although its coming into being is captivating each film in the selection, we face a new other humans, or even with machines. already waited for hours? (There haven’t disapproval, rebellion, and self- in its own right, the authors choose not to loiter on the subject. Instead, the film CINEDANS FILM FESTIVAL type of physical language, designed to been more than 5 minutes). Welcome consciousness until she reaches a hidden combines performance and cinema to make a choreographed and metaphysical portrait BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ engage the emotions of the viewer to an There’s absence and then there’s to the world of the quadriplegic. With core of delicate affection. Restrained of the post-industrial world. Masked dancers perform the characteristic jumps in empty \\ extend no other art but dance possesses. emptiness, and with NÉANTS the PARALYSIS, visual artist KAREL VAN LAERE movements portray a middle-aged, spaces. Two forklifts join in with gracefully synchronized movements, and humans and And when combined with cinema, the distinction between the two is made submits himself to such an experiment middle class comme il faut mother, defied machinery dance together to the sound of the Hardcore anthem “Hardcore to the bone” area of artistic exploration becomes so excruciatingly clear in four convincing and documents his (physically) painful by the daughter’s rebellious outbursts. turned into a lyrical lament. Meanwhile, videos shared on youtube and other platforms vast that the inspiration may originate and cinematically disturbing studies of and (mentally) disturbing 24-hours Eventually, her frantic dance fades into interwine, announcing a post-cinematic era. from the most unexpected sources. loneliness. The characters endure loss journey to the world of the paralysed. The reconciliation. After all, her mother is Small wonder therefore that the dance in spaces once familiar and now devoid outcome is a powerful statement about nothing but a future version of herself. 76 films in our programme speak about an of any other human presence, but filled the multivalence of the human body, at 77 NÉANTS PARALYSIS 10’, 2015, Canada 24’, 2015, The Netherlands DIRECTOR: NELLIE CARRIER DIRECTOR: KAREL VAN LAERE

CAST: Patricia Gagnon, Claudia Chan Tak, Greg Selinger, CAST: (Performer) Karel van Laere, (Surveillance) Iain Léo Coupal-Lafleur Hoeffnagel, Peter Hendrikx, John de Weerd, Joerie SCRIPTWRITER: Nellie Carrier Widdershoven, Dominique van Loosdrecht

EMOTIONAL BODIES CINEMATOGRAPHER: Hugo Gendron CINEMATOGRAPHER: Mink Pinster EDITOR: Philippe Gariépy EDITOR: Mink Pinster SOUND: Ivann Uruena SOUND: Mink Pinster MUSIC: Charles B. White PRODUCER: Charlotte Sickle CHOREOGRAPHER: Nellie Carrier PRODUCER: Audrey Laroche PRODUCTION COMPANY: Travelling, les films qui voyagent

NELLIE CARRIER KAREL VAN LAERE

FILM PRESENTATION: There’s absence and then there’s emptiness, and DIRECTOR’S STATEMENT: I like to explore turning points in life and to FILM PRESENTATION: Lie on your back, arms along sides and pretend DIRECTOR’S STATEMENT: When I started my preliminary research for with NÉANTS the distinction between the two is made excruciatingly look into the subtleties of the feelings related to those moments, as if the you cannot move from neck down. Does it get uncomfortable? Would Paralysis, I was planning interviews with people who live with paralysis. clear in four convincing and cinematically disturbing studies of loneliness. time had been suddenly frozen. NEANTS is an exploration of a specific you like a pillow? Do you have an itching nose? You’ll have to wait until To prepare for these talks, and to understand what these people really go The characters endure loss in spaces once familiar and now devoid of any moment in life, when you find yourself alone after a rupture, when you’re someone comes along. Does it feel like you’ve already waited for hours? through, I wanted to experience myself what it means not to be able to other human presence, but filled with relics of their formerly populated confronted with the sudden absence of meaning. (There haven’t been more than 5 minutes). Welcome to the world of move from neck to toe, and what it is like to need constant care. Screwing lives. Their bodies squirm as the wave of dispair rises in a crescendo the quadriplegic. With PARALYSIS, visual artist KAREL VAN LAERE my clothes with bolts onto a table, I could not move. I was determined to (NELLIE CARRIER) masterly conducted by NELLIE CARRIER up to an anticlimax. In the end, submits himself to such an experiment and documents his (physically) remain in this position for 24 hours. It is bizarre how fast your body tells we see four people wiping away the traces of their moment of distress painful and (mentally) disturbing 24-hours journey to the world of the you: this is not normal, stop! My heart had to work really hard to pump all and resuming their now futile existence. Until the next fall. paralysed. The outcome is a powerful statement about the multivalence the blood around. At first, the pain was something mental. When I put my of the human body, at the same time fragile and enduring, and capable mind to something else, time went faster and I felt less pain. But the longer (Adina Marin, BIEFF 2017) of telling stories not only when in motion, but also at a standstill. I was on the table, the harder it was to focus on other things, and the more the pain started to gain control. I absolutely did not experience what it is (Adina Marin, BIEFF 2017) like to be paralyzed. But thanks to this research, I came across questions I would never have thought of behind my computer.

FESTIVALS/AWARDS: Creation Award - Fiver Dance Competition, Spain (KAREL VAN LAERE) 2016 / Special Mention - Festival de Cinéma de la Ville de Québec 2015 CINEDANS FILM FESTIVAL / Cinedans, Amsterdam 2016 / Thessaloniki International Short Film BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL FESTIVALS/AWARDS: Forum on the Rights of Disabled Performance Festival, Greece 2016 / Dance on Camera, USA 2016 / Women Make

\\ 表演人權論壇 Taiwan 2017 / CaDance Festival Korzo, The Hague, The \\ Waves Film Festival, Taiwan 2016 / Hong Kong Jumping Frames 2016 Netherlands 2017 / Cinedans Amsterdam 2016 / Contemporary Dance / Screendance Stockholm, Sweden 2016 / Loikka Dance Film Festival, & Performance Festival Why Not, Amsterdam 2016 / International New Finland 2016 / Grande Rencontre des Arts Médiatiques en Gaspésie, Media Arts Festival Longli, China 2016 Québec 2016 / Bestias Danzantes Film Festival, Chili 2016 / Festival Internacional de Video & Danca, Brasil 2016 / Bucharest International WORLD SALES: TRAVELLING DISTRIBUTION WORLD SALES: KAREL VAN LAERE Dance Film Festival 2016 / San Francisco Dance Film Festival 2015 / Leeds T: + 1 514 467-8160 | E: [email protected] T: +31 063 8293617 Film Festival, United Kingdom 2015 W: http://www.travellingdistribution.com E: [email protected] 78 W: www.karelvanlaere.com 79

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] W: www.karelvanlaere.com SHE / HER VOICES OF FINANCE 11’, 2015, The Netherlands 35’, 2015, The Netherlands DIRECTOR: SONJA WYSS DIRECTOR: CLARA VAN GOOL

CAST: Jorijn Vriesendorp, Lineke Rijxman, Bart Harder CAST: Jozef varga, Kim Jomi Fisher, Ankur Bahl, Joseph SCRIPTWRITER: Sonja Wyss & Cecilia Moisio Millson, Medhi Walerski, Nadia Yanowsky, Jordi Cortés Molina, CINEMATOGRAPHER: Diderik Evers Sarah Reynolds and Dane Jeremy Hurst

EMOTIONAL BODIES EDITOR: Axel Skovdal Roelofs SCRIPTWRITER: Clara van Gool SOUND: Bouk Bouwmeester CINEMATOGRAPHER: Nils Post MUSIC: Joni Vanhanen EDITOR: Kevin Whelan CHOREOGRAPHER: Cecilia Moisio SOUND: Alex Booy PRODUCER: Floor Onrust PRODUCER: Hanneke Niens & Hans de Wolf PRODUCTION COMPANY: Family Affair Films PRODUCTION COMPANY: KeyFilm WITH THE SUPPORT OF: WITH THE SUPPORT OF:

SONJA WYSS CLARA VAN GOOL

FILM PRESENTATION: If Jung’s theory is true and Every mother contains DIRECTOR’S STATEMENT: On the surface everything seems normal FILM PRESENTATION: A banking blog, ten dancers from top ballet DIRECTOR’S STATEMENT: The film Voices of Finance immerses us in her daughter in herself and every daughter her mother, small wonder and logical, until a little incident changes the relationships profoundly. companies in the Netherlands and England, and the realistic setting the heart of the financial world: the City of London. Dancers using both that a mother-daughter relationship is anything but smooth and rosy, A passing moment creates a decisive turn. Hidden frictions manifest of London of today as backdrop proved to be a winning combination. movement and dance, text and voice-over, embody and articulate the words since apart from an inherent conflict between generations there is a themselves, friction and misunderstanding put the seemingly harmonious The awarded docu-dance film VOICES OF FINANCE is named after and of various players from the financial sector. These ‘portraits’ are each based permanent confrontation with one’s own self. With SHE / HER, SONJA situation in a totally different light. None of the protagonists has control based on the former Guardian’s Banking Blog, in which its author, Joris on a monologue and shot on a single realistic location. During 24 hours the WYSS goes deep into the anatomy of such a relationship, unwrapping over the mood change. Everything is coloured by an irreversible strain. My Luyendijk, looked at finance from an anthropological perspective. In 10 solos guide us through the City, building up to a chainreaction within layer after layer of feelings of resentment, disapproval, rebellion, and stories revolve around dilemmas of ambivalence and different perspectives. a succession of danced monologues, the performers play bankers and an extremely frantic, competitive, exhausting, insecure, glamorous, and self-consciousness until she reaches a hidden core of delicate affection. They always deal with different viewpoints within or about a story; their others across the financial sector, who speak about their lives and stressful surrounding, where every day can be your last. Restrained movements portray a middle-aged, middle class comme il characters could also be seen as different views of one single person. I’m describe a typical working day. CLARA VAN GOOL captures the energy The monologues in the film are based on the ‘banking blog’ Voices of faut mother, defied by the daughter’s rebellious outbursts. Eventually, interested in how minimal shifts in moods or behaviour influence the acts of their dance which she expertly blends with spoken text. The result Finance by author and publicist Joris Luyendijk in the English newspaper her frantic dance fades into reconciliation. After all, her mother is between people. All the characters’ actions are based on an emotion which is a singular glimpse into the glamorous and stressful culture of the The Guardian. He focused on the people working in the City of London after nothing but a future version of herself. is ultimately universal. financial world. the credit crunch and he chose a very concise form: a monologue with an (Adina Marin, BIEFF 2017) (SONJA WYSS) (Adina Marin, BIEFF 2017) anthropologic perspective. The monologues paint an extraordinary insight in the ‘banking elite’ and these are the inspiration and foundation for a film that expresses an urgent issue in an artistic and stylised form: the anxiety of bankers, their “Angst”, as a perfect matrix for choreography. Instead

CINEDANS FILM FESTIVAL of analysing the financial markets it shows working days, the ups and BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL FESTIVALS/AWARDS: Cinedans Film Festival Amsterdam 2016 / FESTIVALS/AWARDS: Main Award of the Short Film Competition - downs, the future dreams, the relationships with co-workers, the pressure

\\ International Short Film Festival Oberhausen 2016 / Stories We Dance, Signes de Nuit International Film Festival Paris/Berlin \\ on workers to excel, the stress and rush that comes with the job, and the Genova, Italy 2016, IndieCork Film Festival 2016 / Leeds International always present fear of insecurity. Film Festival 2016 / AESTHETICA Short Film Festival York, United Kingdom 2016 /Dance Camera West Film Festival Los Angeles 2016 / (CLARA VAN GOOL) Message to Man, St. Petersburg, Russia 2016 / Riga International Film Festival, Latvia 2016 WORLD SALES: FAMILY AFFAIR FILMS WORLD SALES: KEYFILM T: +31 (0)20.70.71.713 | E: [email protected] Chloë Latoel W: http://www.familyaffairfilms.nl T: +31 204 232596 | E: [email protected] 80 W: http://keyfilm.nl 81

DIRECTOR’S CONTACT: E: [email protected] DIRECTOR’S CONTACT: E: [email protected] W: http://sonjawyss.com/ W: http://www.claravangool.nl NOVACIÉRIES 17’, 2015, France DIRECTOR: (LA)HORDE

CAST: Garance Coquart, Ylva Falk, Loïc Vinciguerra, Théo GOLDEN SHORTS: Michallet, Edgar Scassa SCRIPTWRITER: (LA)HORDE : Brutti / Debrouwer / Harel /

EMOTIONAL BODIES Signoret CINEMATOGRAPHER: Kaname Onoyama BEST FILMS IN MAJOR EDITOR: Édouard Mailaender SOUND: Baptiste Marie MUSIC: Richard Frances, Maxime Daoud, Adrien Daoud SINGER: Ève Coquart FESTIVALS PRODUCER: (LA)HORDE DIRECTOR’S STATEMENT: We wanted to explore the notion of PRODUCTION COMPANY: Cité Du Design, Biennale surpassing, of breathing new life into the way dance is being filmed. There Internationale du Design de Saint-Étienne, Saint-Étienne is a significant opening towards dance, it is given a strongly advertised Métropole, Commune de Saint-Chamond, (LA)HORDE presence, but things stop at the simplified, spectacular level. With this film, we decided to put together a performance for the self-taught, teaching them how to concentrate their energy and keep it there for as long as (LA)HORDE possible. SPECIAL PROGRAM ((LA) HORDE: MARINE BRUTTI, JONATHAN DEBROUWER, FILM PRESENTATION: With NOVACIÉRIES, the artists of the (LA)HORDE ARTHUR HAREL) collective put forward their reinterpretation of a post-internet dance staged in what looks like an abandoned workshop. Jumpstyle, a dance DIRECTOR’S STATEMENT: We owe the earliest youtube jumpstyle videos emerged from the mainstream Hardcore, owes its existence to online to young dancers who made webcam recordings of themselves dancing self-broadcasting and although its coming into being is captivating in in their rooms. The usage, the come-and-go between real and virtual, its own right, the authors choose not to loiter on the subject. Instead, and between online and offline, is a fascinating question: the jumpers’ the film combines performance and cinema to make a choreographed communities were born on the Internet before their members actually came and metaphysical portrait of the post-industrial world. Masked dancers face to face. The Internet has opened ways for these dances to circulate and perform the characteristic jumps in empty spaces. Two forklifts join in to be taught and learned completely independent of any institution. with gracefully synchronized movements, and humans and machinery ((LA)HORDE’s Marine Brutti for Libération) dance together to the sound of the Hardcore anthem “Hardcore to the bone” turned into a lyrical lament. Meanwhile, videos shared on youtube and other platforms interwine, announcing a post-cinematic era. FESTIVALS/AWARDS: Cinedans - Dance on Screen Festival EYE CINEDANS FILM FESTIVAL Amsterdam 2016 / Festival du court métrage de Clermont-Ferrand BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL (Adina Marin, BIEFF 2017)

\\ 2016 / International Film Festival Rotterdam 2016/ Silver Lynx Award \\ for Best Experimental Short - FEST New Directors | New Films Festival Portugal 2016 / Choreoscope - Festival Internacional de Cine de Danza de Barcelona, Spain 2016 / Dance Film Festival Vol.4! Kiev, Ukraine, 2016/ Festival Screedance Scotland at Centre for Contemporary Arts WORLD SALES:(LA)HORDE Glasgow, Scotland 2016 / Festival international des programmes T: + 33 7 81 24 04 18 | E: [email protected] audiovisuels Biarritz, France 2016 / POOL 16 - INTERNATIONALES W: http://www.collectiflahorde.com 82 TanzFilmFestival Berlin / Festival Tous Écran Genève, Switzerland 2015 83

DIRECTOR’S CONTACT: E: [email protected] W: http://www.collectiflahorde.com/ THE FULLNESS OF TIME TIMECODE 15’, 2016, Spain (ROMANCE) DIRECTOR: JUANJO GIMÉNEZ 14’, 2016, Belgium, France DIRECTOR: MANON COUBIA CAST: Lali Ayguadé, Nicolas Ricchini, Vicente Gil, Pep Domenech SCRIPTWRITERS: Pere Altimira, Juanjo Giménez

GOLDEN SHORTSGOLDEN CAST: El Barkani Malika, Annie Alonso, Gaillard Danièle, CINEMATOGRAPHER: Pere Pueyo Mallory Georges EDITOR: Silvia Cervantes SCRIPTWRITER: Manon Coubia SOUND: Xavi Saucedo CINEMATOGRAPHER: Nicolas Rincon Gille MUSIC: Iván Céster EDITOR: Manon Coubia PRODUCER: Juanjo Giménez, Daniel Villanueva, Arturo Méndiz SOUND: Aline Huber PRODUCTION COMPANY: Nadir Films, ECIR PRODUCER: Nicolas Rincon Gille PRODUCTION COMPANY: Voa, Cba, Les ruines de WITH THE SUPPORT OF: WITH THE SUPPORT OF: cartague, Le Fresnoy

MANON COUBIA JUANJO GIMÉNEZ

FILM PRESENTATION: Juliet’s fate might have been crueller still, had DIRECTOR’S STATEMENT: The film works with an obsessive, unlikely FILM PRESENTATION: Though the first shots might mislead us into DIRECTOR’S STATEMENT: This short film is also a school project. I she not been able to see dead Romeo with her own eyes. This what-if image, that of a love come back undamaged after seventy years of absence. expecting a realistic workplace drama or a stale thriller, Oscar nominee discussed every decision with my students and every step in the production scenario is a plausible introduction to MANON COUBIA’s cinematic A lifetime spent waiting. A love is sealed forever in the ice. THE FULLNESS TIMECODE switches tonality early enough to avoid becoming either. process. There is some use of ellipsis and concepts we were discussing in our impression of a forlorn life. A woman has spent most of her lifetime OF TIME (ROMANCE) also takes a look at that ‘Eternal Return’ of the Diego and Luna, who take shifts as security guards in a parking’s class during that time. I told them that what’s not shown is more important waiting for the eternal snows to melt and return the body of her mythical lovers. Cinema makes the resurrection possible. It can circumvent surveillance room, find a way to evade their insipid tasks when Luna and has more impact with the audience than what is shown. In the time husband, a mountain climber who had died in an accident during an time and times. Time is linear, vertical, times are mythical. The cinema, accidentally comes across security footage showing her night shift between the timecodes, the love story is in the head of the spectators, and ascent of the Mont Blanc. Under the gaze of the camera, creased bed its chemistry is also the imprint of time on the artwork. An apparition. A colleague Diego dancing in the empty parking lot. Inspired by the that’s more powerful than showing specifically how the story is developing. sheets, complemented by the sound of wind, turn into mountains disaggregation. That is why it was necessary to shoot on film in order to tell discovery, she leaves him in return a recording of her own dance. And there’s always a sense of being the “voyeur,” watching something covered in snow. The wife lies on her bed perpetually, her dreams of the / experience this story. The surreptitious choreographic dialogue builds up to a moment of you’re not allowed to. There is always a character between the spectator passing of seasons shown in accelerated time-lapse. With its temporal encounter, when their gracefully harmonized movements become and the CCTV screens that acts as reinforcement. That’s one of the essences perambulation through times gone by and states of the soul, THE (MANON COUBIA, Interview Festivalrisc) a statement of freeing from boredom, alienation and constraints. of cinema: entering other people’s lives and knowing their secrets without FULLNESS OF TIME (ROMANCE) is fundamentally a film about eternal JUANJO GIMÉNEZ cleverly employs a surprising twist of perception by being noticed. love and about the endless power of cinema to get to the deepest core turning one-way directed prying surveillance cameras into instruments of human experience. of communication and of liberation, implying that people can create (JUANJO GIMÉNEZ interviewed by Cristina Lule for spaces for the fulfilment of their spiritual needs in the most hostile of www.awardscircuit.com) (Ioana Florescu, BIEFF 2017) places. BEST FILMS IN MAJOR FESTIVALS (Ioana Florescu, BIEFF 2017) BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL

\\ FESTIVALS/AWARDS: Pardino d’Oro for Best Short Film - Locarno FESTIVALS/AWARDS: Palme d’Or for Short Film - Cannes Film Festival \\ International Film Festival 2016 / Special Mention Leopards of Tomorrow 2016/ Oscar Nomination - Academy Award for Best Short Film (Live - Locarno International Film Festival 2016 / Nominated for the European Action) 2017/ Goya Award for Best Fictional Short Film 2017/ Best Film Awards - Wroclaw 2016 / Dok Leipzig 2016 / Film Fest Gent 2016 / WORLD SALES: MARVIN & WAYNE Short Film - Film Fest Gent 2016/ UR Award and Audience Award Short Trips Warsaw 2016 Pablo Menéndez, Josep Prim - Uppsala International Short Film Festival 2016/ Audience Award T: +34 934863313 WORLD SALES: LE FRESNOY E: [email protected], [email protected] - 24fps International Short Film Festival, USA 2016/ Audience Award - Natalia Trebik W: http://marvinwayne.com CinemaForum Poland 2016/ Best Live Action Short Film - Gaudí Awards T: +33 20 28 38 64 | E: [email protected] 84 W: www.lefresnoy.net Spain 2016 85

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] THE LOST VOICE THE ARTIFICIAL HUMORS 11’, Paraguay, Venezuela, Cuba, Argentina, 2016 29’, 2017, Portugal DIRECTOR: MARCELO MARTINESSI DIRECTOR: GABRIEL ABRANTES

CAST: Librada Martínez, Cinthia Quiñonez, Raulito Cáceres CAST: Margarida Lucas, Amanda Rodarte, Gilda Nomacce, SCRIPTWRITER: Marcelo Martinessi Ivo Müller, Jeann Segundo, Mateus Rolim Rodrigues, Rafaela GOLDEN SHORTSGOLDEN CINEMATOGRAPHER: Luis Arteaga Rocha, Patrícia Soso EDITOR: Marcelo Martinessi SCRIPTWRITER: Gabriel Abrantes SOUND: Catriel Vildosola CINEMATOGRAPHER: Jorge Quintela PRODUCER: Marcelo Martinessi EDITOR: Margarida Lucas PRODUCTION COMPANY: La Babosa Cine, Villa del Cine, SOUND: Marcel Costa, Carlos Abreu Alba Cultural MUSIC: Aamourocean PRODUCER: Gabriel Abrantes WITH THE SUPPORT OF: PRODUCTION COMPANY: Herma Films, Fundação de WITH THE SUPPORT OF: Serralves, Bienal de São Paulo, Colección Inelcom MARCELO MARTINESSI GABRIEL ABRANTES

FILM PRESENTATION: Dealing, like many of MARCELO MARTINESSI’S DIRECTOR’S STATEMENT: In 2013 I went to Curuguaty because I wanted FILM PRESENTATION:Among the Yawalapiti tribe in the Amazon CURATOR’S COMMENT: GABRIEL ABRANTES explores cinematographic previous films, with the recent history of Paraguay, THE LOST VOICE is to be with the people there, to listen to them. By ‘be with the people’ I mean Basin, Claude Laroque and a young indigenous woman named Jo language in his production of films and videos – he writes, directs, and based on original interviews about the 2012 Curuguaty massacre which that I wanted to connect to them, to sincerely try to get closer to them. research ways in which to convey emotions to robots. Together they produces and often acts in them. He addresses historical, political and triggered political chaos and the removal of the acting president. The We didn’t use any cameras, we only asked them - the women we had been teach Coughmann, the robot, a guide for identifying a variety of human social matters while discussing postcolonial, gender and identity issues. His hand-held camera follows an old woman with a heavily creased face of talking to - to allow us to place a microphone near to them. And then we let emotional states. Coughmann’s intelligence recognises the advantage works create layers of unlikely readings by altering traditional narratives awe-inspiring beauty through her daily chores. She is the mother of one them talk for as long as they wanted to. Each one of those interviews lasts of remaining polite when failing to understand something and to at and touch upon the absurd, folklore, humour and politics. of the victims. During her spoken recollections, the screen turns black an hour, two hours, and sometimes even more because they all contain least feign comprehension. And: the grasping of the fundamental as if showing respect, and the radio broadcast from the time of the those long silences that say so much more than any words. It was in that nature of humour helps one understand another. Coughmann falls in (32nd Bienal de São Paulo - Incerteza Viva [Live Uncertainty]) massacre, a constant background sound throughout the film, cuts out. process, and especially during one of the interviews, that we realized we love with Jo. The power of their love overcomes every reboot. In grand Shifting between speech and image and almost never allowing them to were witnessing a simple but enormous human experience. Unlike films pictures, ABRANTES tells of this love. Life’s great questions cannot be sync, the film evades the conventional interview format and functions that take an idea or an image as a starting point, this story was born of discussed without humour, he quotes Ludwig Wittgenstein and in THE much as memory itself, fragmentary and abounding in blind spots. The sound, sound with the strength of a scream, but that of a whispered scream. ARTIFICIAL HUMORS, merges thoughts on anthropology, the indigenous massacre itself is openly suggested only in one shaky shot of the frantic community’s way of life and the idiosyncrasies of artificial vintelligence. movements of panic-stricken chickens with gunshot sounds from the (Berlinale Shorts presentation) radio in the background. The rest is about the frightening calm after an (MARCELO MARTINESSI interviewed for Faro di Roma) - emotional and political - storm. BEST FILMS IN MAJOR FESTIVALS (Ioana Florescu, BIEFF 2017) BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL \\ \\

FESTIVALS/AWARDS: Best Short Film (Orizzonti) - Venice IFF FESTIVALS/AWARDS: Short Film Nominee for the European Film Awards - Berlin International Film Festival 2017

WORLD SALES: MARVIN & WAYNE WORLD SALES: PORTUGAL FILM Pablo Menéndez Filipa Henriques T:+34 93 486 33 13 | E: [email protected] T: +351 213 466172 | E: [email protected] 86 W:www.marvinwayne.com W: www.portugalfilm.org 87

DIRECTOR’S CONTACT: DIRECTOR’S CONTACT: E: [email protected] E: [email protected] temporar (din catalog 2016) EDEN’S EDGE (THREE SHORTS ON THE CALIFORNIAN DESERT) 19’, 2014, Austria DIRECTOR: GERHARD TREML, LEO CALICE SIDE EVENTS:

GOLDEN SHORTSGOLDEN SCRIPTWRITER: Gerhard Treml CINEMATOGRAPHER: Eike Zuleeg EDITOR: Gerhard Treml, Leo Calice Panel: The Lifespan of Cinematic Experimentation - Festival SOUND: Ronit Kirchmann, Gerhard Treml, Leo Calice MUSIC: Max Schneider Strategies and Beyond PRODUCER: Gerhard Treml PRODUCTION COMPANY: O.N.L.S.D (The Office for Landscape Design), The University of Applied Arts Vienna, WITH THE SUPPORT OF: The Austrian Science Fund BIEFF on MUBI

GERHARD TREML LEO CALICE

FILM PRESENTATION: Metaphorically turning their backs on DIRECTOR’S STATEMENT: Our preparatory research for the movie stereotypes of form and narrative and focusing their attention - and production claimed that the perception and use of landscapes are widely camera - on the ‘gloomier’ side of California, GERHARD TREML and LEO determined by the stories enacted in them. So we tested this by immersing CALICE distance themselves from more prudent ways of approaching in a landscape that was already quite prominent for its iconic stories about this American territory in cinema. The three stories feature characters the Wild West, the new frontier or the land of opportunity. Within the who have moved to the desert to escape the anxieties inflicted by an powerful influence of the Western world these myths have long become increasingly disturbing society. The schizophrenic shaman of native part of global industries of film, advertising, tourism, and tightly connected Indian background, the mother worried sick about the danger of her to ideas of freedom and wilderness. So we wanted [...] to take a closer look daughter’s falling victim to pedophiles, and the woman who runs a at the actual lives of people who live there to eventually paint a portrait wormfarm and claims to lead a self-sufficient life, are depicted in of the landscape based on their stories. [...] There were several reasons to minimalist scenes shot in disconcerting static bird’s eye view while their choose the desert. First of all it is a landscape icon within Hollywood’s film stories are spoken in voice-overs of tranquil tone but troubling content. industry that has become exemplary for the increasing influence of the The authors have chosen a most improbable angle for the shooting and medium film on the design of human landscape-relations. And then the telling of profound human stories with a unique blend of intimacy and desert also has a long standing tradition as a hotbed for counter-culture- distance. communities exploring the critical potentials of the narrative approaches to uncover hierarchies in the governance of the land, undo mythologies and BEST FILMS IN MAJOR FESTIVALS (Ioana Florescu, BIEFF 2017) BUCHAREST EXPERIMENTAL INTERNATIONAL FILM FESTIVAL hegemonic language or to question dominant power relations. \\ \\ FESTIVALS/AWARDS: Grand Prix Lab Competition Award - Festival de (GERHARD TREML and LEO CALICE, Interview published Court Metrage Clermont-Ferrand 2016/ Special Mention by EXPLORA & by Deutsches Haus: The Stories Inside) CAMIRA Jury - Curtocircuito, Santiago de Compostela 2016/ Film Critic´s Award and Audience Award - 25fps Film & Video Festival, Zagreb 2015/ Local Artists Award - Crossing Europe Linz 2015 / Jury Prize - International WORLD SALES: SIXPACKFILM Short Film Festival Busan 2015/ Erste Bank MEHRWERTPREIS for Shorts Dietmar Schwärzler T: +43.1.526.09.90.0 | E: [email protected] 88 Award - Viennale 2014 W:www.sixpackfilm.com 89

DIRECTOR’S CONTACT: E: [email protected], [email protected] W: http://www.edens-edge.org/ Panel: The Lifespan of Cinematic Experimentation Festival Strategies and Beyond SIDE EVENT The panel is conceived as a meeting platform for the international PARTICIPANTS: professionals invited at the festival, the main Romanian NORA MOLITOR – Representative of Berlinale Forum Expanded and educational institutions in the field of cinema and visual arts – the Arsenal Institute Berlin National University of Theatre and Film Bucharest and the National University of Arts Bucharest – and film / visual arts students and PAOLO MORETTI – Member of the Selection Committee, Festival of professionals. The seminar is an opportunity which should not be Documentary Film FIDMarseille missed by young Romanian filmmakers and artists, functioning as CĂLIN DAN – Visual artist and Director of the National Contemporary an introduction to the international cinema and visual arts markets. Art Museum MNAC Bucharest The seminar is open to all those interested to learn directly from and to gain insight in the experience of experts in major festivals members of the BIEFF 2017 Jury. and institutions, such as Berlinale Forum Expanded, Arsenal – Institute for Film and Video Art, FIDMarseille, Visions du Réel and MNAC Bucharest, regardless of their creative genre or experience.

BIEFF on

Seminal Works in the History of Experimental Film THE FILMS ARE:

MESHES OF THE AFTERNOON, by Maya Deren & Alexander Hammid (14’, BIEFF 2017, in collaboration with MUBI, offers a series of films 1943, USA) created by seminal auteurs from the history of experimental cinema, to be streamed on MUBI for a month, starting with the VENOM AND ETERNITY, by Isidore Isou (120’, 1951, France) 23rd of March, 2017. On each day until the 27th of March a new BROADWAY BY LIGHT, by William Klein (12’, 1958, France) work is made available, and each of them can be streamed for 30 days. MUBI is a curated online cinema bringing you cult, classic, ‘RAMEAU’S NEPHEW BY DIDEROT’ (THANX TO DENNIS YOUNG) BY independent, and award-winning movies. Available in over 200 WILMA SCHOEN, by Michael Snow (270’, 1974, Canada) countries around the globe and on multiple devices, a subscription LOST, LOST, LOST, by Jonas Mekas (180’, 1976, USA) to MUBI is a passport to the world of cinema. SIDE EVENTS MESHES OF THE VENOM AND ETERNITY \\ AFTERNOON

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