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20 19 with the support of Supported by Creative Europe – MEDIA Programme of the European Union, LIM | Less is More is led by Le Groupe Ouest (France), developed with Control N (Romania), Vlaams Audiovisueel Fonds – VAF (Belgium), Krakow Festival Office – KBF (Poland), and the Transilvania International Film Festival – TIFF (Romania), with in partnership in partnership with the Lithuanian Film Centre, the Norwegian Film Institute, as well as North Macedonia Film Agency. developed with developed The European development programme for limited budget feature films by created created by developed with in partnership with with the support of2 — 3 Supported by Creative Europe – MEDIA Programme of the European Union, LIM | Less is More is led by Le Groupe Ouest (France), developed with Control N (Romania), Vlaams Audiovisueel Fonds – VAF (Belgium), Krakow Festival Office – KBF (Poland), and the Transilvania International Film Festival – TIFF (Romania), in partnership with the Lithuanian Film Centre – LFC, the Norwegian Film Institute – NFI, as well as North Macedonia Film Agency. LIM is supported by Creative Europe – MEDIA Programme of the European Union LE GROUPE OUEST | European Film Lab was founded on the coast of western Brittany (France) in 2006. In thirteen years, over 700 filmmakers have received residential coaching, making Le Groupe Ouest leader in Europe in this field. In 2016, after founding the Cross Channel Film Lab and on the back of ten years experience hand in hand with TorinoFilmLab, Le Groupe Ouest launched LIM | Less is More. Le Groupe Ouest is LIM’s managing partner and coordinator. www.legroupeouest.com Founded in 2009 by two screenwriters and a director, CONTROL N is a cultural association, whose projects center around training workshops, film courses and seminaries, dedicated to both amateurs and film professionals. Although its projects touch different areas of culture (theatre, dance, photography, media exhibitions), Control N’s main focus is screenwriting, script development and film related events. Its declared purpose is to discover and promote young talented film enthusiasts and to push for cinema education in Romania. www.controln.ro The Flanders Audiovisual Fund (VAF) is the cultural public funding body of Belgium’s Flemish Community. VAF aims to stimulate and support the independent audiovisual creation in Flanders through an integrated approach. VAF also offers the Flemish professional sector the necessary framework along with a wide range of accompanying activities and support measures in the area of Talent Development, Research, Film Activities and Sustainability – the latter known as ’e-Mission’. www.vaf.be Krakow Festival Office (KBF) is one of the most active institutions in Polish cultural life, responsible for Krakow’s biggest festivals and spectacular events heralded in Poland and across Europe in the fields of music, theatre, film, fine arts and literature since 2000. Via the activities of Krakow Film Commission and Krakow Regional Film Fund, KBF supports the development of the audiovisual industry in the Malopolska Region (film funding, production support, professional training and industry events). www.biurofestiwalowe.pl Transilvania International Film Festival (TIFF) is the biggest international feature film festival in Romania and has grown rapidly to become one of the most spectacular annual events in the region. The main goal is the promotion of cinematic art by presenting some of the most innovative and spectacular films of the moment that feature both originality and independence of expression, that reflect unusual cinematic language forms or focus on current trends in youth culture. www.tiff.ro 8 — 8 The Lithuanian Film Centre (LFC) contributes to the designing of the effective film sector policy and to foster the sustainability of the Lithuanian film industry. Aiming to encourage the development of the Lithuanian film sector, LFC provides funding for film development, production, distribution and promotion. LFC supports the promotion of Lithuanian film at various film festivals, as well as supporting and sponsoring film education initiatives. The Centre is also responsible for preservation and dissemination of the Lithuanian film heritage. www.lkc.lt The Norwegian Film Institute (NFI) is the Norwegian government’s administrative body for the film sector and advises on film policy issues. 85% of the NFI’s budget (EUR 76 million in 2019) is earmarked for audiovisual development, production and distribution. The Institute also offers personal grants for training and talent development for the film industry. The NFI represents and promotes Norwegian films, games and drama series at festivals and film cultural events nationally and abroad. www.nfi.no The North Macedonia Film Agency goals are to provide annual financial support for national film production, international co-productions and national film festivals. It aims to provide continuous support for script development, support for young film professionals participating in international film workshops and training programs and to organise international events providing opportunities for networking of national film professionals. It also aims to promote national cinematography at renowned international film festivals and events. http://filmfund.gov.mk Brittany stands out for its wealth of production in cinema and the audiovisual arts. The region supports a wide variety of creative works while ensuring that related sectors remain considerably strong and well structured. Cinema and the audiovisual arts actively help paint the image of a region that is creative, attractive, dynamic and open. The FACCA fund for supporting creative works in cinema is Brittany’s main source of financial assistance in cultural production, widely helping develop and structure a community of entrepreneurs and jobs in this sector. www.bretagne.bzh manifesto by Antoine Le Bos — Artistic Director and Anna Ciennik — Project Manager Massimiliano Nardulli — Talent Manager LIM | Less is More has been set up to empower a generation of filmmakers intent on opening new avenues and finding new audiences by tackling new issues. Our motto is Igor Stravinsky’s “The more art is bound by limitations, the freer it is”. We live in an age of over-consumption and deep ecological concern. Humanism is in trouble and society is struggling to create meaning. Stories lie at the heart of what makes us human. Cinema is one of today’s powerful storytelling tools directly connected to our dreams and nightmares. It restores our ability to create meaning for present and future generations. LIM uses limitations as a creative tool. Its spirit and ambition far exceed the facile business of restricting budgets. Self- imposed limitations help dig deep into character and emotion. They are a catalyst for boundary-breaking film experiences. Artful limitation strategies help bring out a filmmaker’s unique vision, giving his or her work a strong advantage in an overcrowded market. Obviously also, introducing limitations early in the writing processes increases a film’s chances of being made rapidly. The screenwriter’s job is to streamline apparent complexity. A well-understood limitation strategy triggers strong artistic choices which can help make the engineering of an individual’s imagination meaningful to all. table of content 14 — 15 projects 48 — 49 development angels 16 — 17 Exiled Paradise 50 Patricia Drati Raed Andoni 51 Marina Gumzi 18 — 19 Psychedelicatessen Harry Ayiotis 52 Aleksandra Kostina 20 — 21 Accidents 53 Karla Lulić Michał Bielawski 54 Patrice Nezan 22 — 23 The Mind Patrol Tudor Botezatu 55 Héloïse Noé 24 — 25 Blue Banks 56 Michał Oleszczyk Andreea Borțun 57 Alki Politi 26 — 27 The Vision Brian Deane 58 Céline Pourveur & Bob Kelly 59 Susana Santos 28 — 29 Collateral Effects Rodrigues Wessam Hachicho 60 Joanna Solecka 30 — 31 God Sister Nelicia Low 61 Elena Stanisheva 32 — 33 Birdie Jasna Nanut 62 — 63 tutors 34 — 35 When they all vanish 64 Pierre Hodgson Mark Noonan 65 Răzvan Rădulescu 36 — 37 Mami Wata C.J. Obasi 66 Yann Apperry 38 — 39 In the Belly of a Tiger 67 Claire Barré Jatla Siddartha 68 Séverine 40 — 41 Tremble Cornamusaz Tracy Spottiswoode 69 Matthieu Taponier 42 — 43 Swap Gjorce Stravreski 70 Antoine Le Bos 44 — 45 Clean Koen Van Sande 71 LIM’s team & Temina Kiasinian & partners 46— 47 Silver Island 72 — 73 events Zara Zerny & Tommy Oksen 14 — 15 projects Exiled Paradise Raed Andoni — Palestine [email protected] M + 33 6 79 15 95 15 Synopsis 16 — 17 During the filming of a historical movie on the life of Christ, the main actor André is injured. While the producers search for an alternative actor for the role of Christ, André and a local marginal actor called Ziad, experience an event in a real situation resembling one of the legends. They are its real heroes. Director’s notes EXILED FROM PARADISE recalls the legend of Christ and its connection to our collective memory of the values of love, giving, sacrifice and non-violent struggle. Yet it is situated in a contemporary narrative dealing with competition and domination. This analogy reveals questions about our deep desires and the options available for mankind today. Raed Andoni, a Palestinian filmmaker, began his career in 1997 as a producer. He produced a number of films acclaimed in international festivals and markets. In 2006 he directed his first 60 minute documentary IMPROVISATION which was screened in various international festivals and TV channels. His feature FIX- ME premiered in the official competition at the Sundance Film Festival in 2010, was in the ACID selection at Cannes festival 2011 and many others festivals and was released in theaters in France and Switzerland. Andoni’s latest film GHOST HUNTING premiered at the Berlin International Film Festival 2017 and won the Glashütte Original Documentary Award and the people’s choice award. Ghost Hunting took part in over 150 festivals and won 20 prizes before it became Palestine’s Official ticket to the OSCARS in 2019. Psyche- delicatessen Harry Ayiotis — Cyprus [email protected] M + 49 17677613320 Synopsis 18 — 19 This is a story of grief, memory and atonement.
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