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60th Berlin International Film Festival


February 11-21, 2010

Berlinale Talent Campus #8

press review
best of international
02/2009 03/2010

press office

Berlinale Talent Campus


Potsdamer Strae 5
D - 10785 Berlin

phone: +49 30 25920 518


fax: +49 30 25920 519
email: press.campus@berlinale.de
www.berlinale-talentcampus.de
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60th Berlin International Film Festival
February 11-21, 2010

press releases
04/2009 02/2010
60th Berlin International Film Festival February 11 21, 2010

Press release No. 9 Press contact:


boxfish events / Christiane Steiner
Thursday, February 18, 2010
Berlin International Film Festival
Berlinale Talent Campus
=
Potsdamer Strae 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
www.berlinale-talentcampus.de

Berlinale Talent Campus #8 focuses on collaborative filmmaking


Camilo Sanabria from Colombia wins the Score Competition

Thursday evening, February 18, in the Theater Hebbel am Ufer (HAU 1-3), the eighth edition of the
Berlinale Talent Campus successfully concluded with the Closing Ceremony and the Award Ceremony for
this year's Score Competition. For six days, 350 young filmmakers from 95 countries had the unique
opportunity to meet each other and the film industry's best, up close and personal. Over 100 events brought
the Talents together with more than 150 invited international experts and Berlinale guests. During
workshops, master classes and training sessions, they discussed the various facets of the trade under the
banner "Cinema needs Talent Looking for the Right People".
Filmmakers like Claire Denis (White Material), James Bond production designer Sir Ken Adam,
cinematographer Christian Berger (The White Ribbon), as well as directors Stephen Frears (The Queen),
Jasmila bani (On the Path, Berlinale Competition) and Yoji Yamada (About her Brother, Berlinale closing
film), plus many more, shared their wealth of experience with cinema's next generation. Young Filmmakers
from Mexico, Africa and Eastern Europe presented their films in which they conveyed a confident, political
and modern viewpoint, painting an impressive picture of their countries and societies. The Campus
explored cross media, digital storytelling, financing, distribution and 3D, addressing these themes in daily
events.
Collaborative filmmaking was the centre focus of the eighth Campus edition. "Filmmaking is something to
do together. It's about being generous and accepting the dignity of other people," emphasised Shutter
Island producer Mike Medavoy during the opening panel. Animation film director Merlin Crossingham
(Chicken Run) stated: "Have passion, have drive, and don't forget to look at the people around you. They
need you and you need them, essentially." Actor, director and producer Gael Garca Bernal (Revolucin)
added: "The support of professionals is essential to our own filmmaking. They will help you say what you
want to say."
In the hands-on trainings, Talents put collaborative filmmaking directly into action. In small, international
teams, they received intimate training with experienced mentors as part of the Script & Doc Station, Talent
Project Market, Talent Actors Stage, Talent Press and the Campus Studio for post-production and rough cut
editing.

The Score Competition came to a glamorous finish at the Closing Ceremony, during which the competition's
winner was announced and awarded. Finalists were asked to create a new score for a film excerpt from
David OReilly's Please Say Something (Golden Bear, Berlinale Shorts 2009). The first prize went to Camilo
Sanabria from Colombia, whose score was praised by jury members Klaus-Peter Beyer, Prof. Martin Steyer,
Martin Todsharow, Connie Walther and this years Score Competition mentor Alexandre Desplat (Fantastic
Mr. Fox, The Ghost Writer, Berlinale Competition) as an "imaginative well structured score which shows in
a detailed way its own personality". Sanabria won an invitation from Dolby to travel to Los Angeles for a
week-long visit to the city's sound studios. The second prize winner, Alexander Komlew (Germany), will be
granted an additional session with the German Film Orchestra Babelsberg to record another score.

Photos, information and up-to-date coverage can be found at www.berlinale-talentcampus.de and


www.talentpress.org

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.
60th Berlin International Film Festival February 11 21, 2010

Press release No. 8 Press contact:


boxfish events / Christiane Steiner
Wednesday, February 17, 2010
Berlin International Film Festival
Berlinale Talent Campus
=
Potsdamer Strae 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
www.berlinale-talentcampus.de

talentpress.org
Berlinale Talent Campus launches a new website for emerging international film critics

The Berlinale Talent Campus is launching a new internet portal for emerging international film critics:
www.talentpress.org. This new portal is open to young film critics who are current or former
participants of the Berlinale Talent Campus' Talent Press programme. It offers them a year-round
possibility to publish their film and festival reviews from anywhere in the world. "This new website
will provide a forum where young, talented international film journalists can publish their
independent views on their latest discoveries in international cinema," say Campus heads Christine
Trstrum and Matthijs Wouter Knol.

The Talent Press programme is one of the Berlinale Talent Campus' hands-on training opportunities to
which participants apply separately and exists since 2004.
The programme invites eight budding film journalists to the Berlin International Film Festival every
year and offers them an intensive look into the inner workings of an international film festival. During
the Campus week, they are guided by experienced film critics like Dana Linssen, Stephanie Zacharek,
Chris Fujiwara and Derek Malcolm. Their articles and reviews are published during the Berlinale at
www.talentpress.org, but also through the Goethe-Institut website (www.goethe.de) and FIPRESCI
(www.fipresci.org). In addition, select articles from these young film critics will be published in the
Berlinale edition of the trade magazine "The Hollywood Reporter", part of a cooperation that is now in
its second year.

The Berlinale Talent Campus' successful Talent Press programme, which supports independent and
high-quality film criticism, has now been picked up by the other international Talent Campus
initiatives. For the first time, a Talent Press programme for young Central American film journalists
will take place during the Talent Campus Guadalajara, which runs from March 1115, 2010, during the
Guadalajara International Film Festival in Mexico. The up-and-coming film critics of the Talent
Campus Guadalajara will also be able to take advantage of and publish articles through the new Talent
Press website.

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.
60th Berlin International Film Festival February 11 21, 2010

Press release No. 7 Press contact:


boxfish events / Christiane Steiner
Sunday, February 14, 2010
Berlin International Film Festival
Berlinale Talent Campus
=
Potsdamer Strae 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
www.berlinale-talentcampus.de

Opening Ceremony of the Berlinale Talent Campus & Award Ceremony


for the Berlin Today Award
Jonah and the Vicarious Nature of Homesickness by Bryn Chainey wins the Berlin
Today Award 2010
Festival Director Dieter Kosslick, together with the heads of the Campus, Matthijs Wouter Knol and
Christine Trstrum, director Isabel Coixet and film composer Alexandre Desplat, opened the Berlinale
Talent Campus 2010 on Saturday evening (13.2.) in the Theater Hebbel am Ufer. Until February 18,
350 Talents from 95 countries will meet with renowned international experts at the Hebbel am Ufer
for countless workshops, master classes and panels, and to exchange views and experiences on a wide
array of filmmaking topics related to this year's Campus motto "Cinema Needs Talent: Looking for the
Right People". For these approx. 600 guests, the event's climax was the world premiere of the five
Berlin Today Award nominated short films. The Talent Campus Short Film Competition which
addresses this year the theme "Straight to Cinema" is supported by the Medienboard Berlin-
Brandenburg.
Berlin Today Award 2010: And the winner is
The Berlin Today Award 2010 was awarded on Sunday evening (14.2.) during the festive "Dine & Shine
Talents Rendezvous". After a welcome by the Federal Government Commissioner for Culture and the
Media Bernd Neumann and Festival Director Dieter Kosslick, the award was presented to the short film
competition winner by Medienboard's managing director Kirsten Niehuus together with the three jury
members Heike Makatsch, Stephen Daldry and Peter Rommel. The seventh Berlin Today Award goes to
Bryn Chainey from Australia for the film Jonah and the Vicarious Nature of Homesickness. The
romantic science fiction tells the story of Jonah, who left his family and blasted-off in a homemade
spaceship. The Jury was impressed by the "the truly creative inventiveness of this film. We are []
curious about what this talented filmmaker will come up with next". The film was produced by Anna
Wendt Filmproduktion. A public screening of the Berlin Today Award short films will take place during
the Berlinale Kinotag (Sun 21.2.) in CinemaxX 6 at 4 pm.
Soon after the Berlinale 2010 comes to a close, the five finalists for the Berlin Today Award 2011 will
be announced. Their short film ideas will be realised in collaboration with five production companies
and address the theme "You are Leaving the Familiar Sector". More information and photos from the
award ceremony at www.berlinale-talentcampus.de/berlin-today-award.
150 international experts at the 8th Berlinale Talent Campus
Until Thursday, February 18, about 150 internationally renowned filmmakers and Berlinale guests are
anticipated to join the Campus during the six event days. Amongst them are director Stephen Frears
(The Queen), production designer, architect and two-time Oscar winner Sir Ken Adam, director and
actor Gael Garca Bernal (Revolucin, Berlinale Special), film composer Alexandre Desplat (The
Ghost Writer, Berlinale Competition) and cinematographer Christian Berger (The White Ribbon), both
nominated for an Oscar, director Claire Denis (White Material), director Yoji Yamada (About Her
Brother, Berlinale closing film), director Tom Tykwer (The International) and many more.
The complete Campus programme can be found at: www.berlinale-talentcampus.de.
Tickets for the general public or for accredited Berlinale guests are available at the corresponding
Berlinale Ticket Counters, or online at www.berlinale.de.

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.
60th Berlin International Film Festival February 11 21, 2010

Press release No. 6 Press contact:


boxfish events / Christiane Steiner
Thursday, January 21, 2010
Berlin International Film Festival
Berlinale Talent Campus
=
Potsdamer Strae 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
www.berlinale-talentcampus.de
Berlinale Talent Campus #8
The Future of Film: Intercontinental, Collaborative and Cross-media
In the Limelight: French Director and Screenwriter Claire Denis

Cinema Unlimited Intercontinental Connections


One of the Berlinale Talent Campus' most fundamental goals is to support collaborative filmmaking
that goes beyond national and cultural boundaries. When it comes to successful collaboration,
however, the right contacts are necessary, especially when working in regions where there is no major
support from the regional film industry to work internationally. The panel "Cinema Unlimited -
Intercontinental Connections" brings together four filmmakers from four continents who successfully
worked outside the borders of their respective countries and were able to become part of an
international network: the Iranian director Rafi Pitts (The Hunter, Berlinale Competition 2010), the
Cameroonian director based in France, Jean-Marie Tno (Clando, Le Malentendu colonial), the
Argentinian director Natalia Smirnoff (Rompecabezas, Berlinale Competition 2010) and the two-time
National Film Award winner Madhusree Dutta, one of India's leading documentary filmmakers, whose
installation Cinema City will be presented as part of the Forum Expanded programme. The panel
participants will discuss, amongst others, what is important when creating a team and what shape a
successful international collaboration may take (Monday, 15.02.3010, 11:00 - 12:30, HAU 1).

The Indie Filmmakers Guide to Cross Media


For one hundred years of cinema, film stories have been restricted by running times and distribution
formats and platforms. However, new technologies are having a profound impact on film production
and storytelling: how does the art of storytelling change when audiences can engage with the
production process across multiple platforms and move from a passive viewing experience to active
collaboration? How does one develop stories and characters that speak to audiences across different
screens and devices? The Berlinale Talent Campus' series "The Indie Filmmakers Guide to Cross Media"
will examine these questions. Pioneers of the cross media movement and experts from interactive and
immersive storytelling will describe how to build story worlds that span multiple platforms and engage
audiences in powerful new ways. Additionally, these experts will address issues like how to access new
financing sources, marketing strategies and distribution possibilities that take into account cross
media models. The series will be moderated by Liz Rosenthal, a pioneer in digital film production and
marketing who works as the Digital Distribution Strategy Advisor of the UK Film Council and founded
"Power to the Pixel" (from 14:00 - 15:30 on Monday, 15.02.2010, HAU 2, Tuesday, 16.02.2010. HAU 3,
and Wednesday, 17.02.2010, HAU 3).

In the Limelight: Claire Denis


On Monday, February 15, 2010 (17:00, HAU 1), the acclaimed French director and screenwriter Claire
Denis will give Talents personal insight into her work as part of the Campus' "In the Limelight" series.
Denis' first film, Chocolat, brought her straight to Cannes, screening in competition in 1988. In 1996,
Denis won the Golden Leopard in Locarno for Nnette et Boni and in 2005 she presented Towards
Mathilde in the Forum section of the Berlinale. Her latest films are 35 Shots of Rum and White
Material, which was screened in competition at the Venice International Film Festival in 2009.

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.
60th Berlin International Film Festival February 11 21, 2010

Press release No. 5 Press contact:


boxfish events / Christiane Steiner
Monday, November 30, 2009
Berlin International Film Festival
Berlinale Talent Campus
=
Potsdamer Strae 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
www.berlinale-talentcampus.de

Federal Government Commissioner for Culture and the Media to support


the 8th Berlinale Talent Campus 2010
Actress Kerry Fox to mentor the new Talent Actors Stage

The Berlinale Talent Campus (February 13-18, 2010) has secured its financing thanks to the project
funding of the Federal Government Commissioner for Culture and the Media (BKM). Minister of State
for Culture and the Media Bernd Neumann has said: "Dieter Kosslick's idea to establish a platform for
aspiring film talents during the Berlinale has proved very valuable. Not only the Festival - which has
successfully presented a number of films by former Campus participants - but also all of Germany as a
location for culture and film production profit from this initiative. The Campus successfully acts as a
sustainable network for international talents in the local film business; this was most recently evident
at the Campus Short Film Competition Berlin Today Award, whose youngest award-winner Wagah is a
joint project by India and Germany, and received the German Short Film prize in Gold."
The Campus team, Project Manager Christine Trstrum and Programme Manager Matthijs Wouter Knol
are very happy to welcome the BKM as one of its funders, alongside the MEDIA - Training programme
of the European Union and the founding partners Medienboard Berlin-Brandenburg and Skillset/UK
Film Council.

Actress Kerry Fox to mentor the new Talent Actors Stage


The eighth Berlinale Talent Campus is broadening its hands-on programme and will, for the first time,
offer training in acting with the new Talent Actors Stage.
The Talent Actors Stage provides a wide variety of training opportunities in acting technique, working
with dialogue, casting and camera acting. This Hands-On Training is not only intended for actors: it
also focuses on interdisciplinary collaboration with directors, producers, screenwriters and
cinematographers in order to encourage exchange between different areas of filmmaking.
The mentor of Talent Actors Stage will be the New Zealand actress Kerry Fox, who made an
international breakthrough in 1990 for the film An Angel at My Table directed by Jane Campion. In
2001, she was awarded the Silver Bear at the Berlinale for her role in Patrice Chrau's sensational film
Intimacy. She has appeared in a number of compelling roles, including in Danny Boyle's dark comedy
Shallow Grave and Hans-Christian Schmid's Storm, which brought her back to the Berlinale in February
2009. Currently, Kerry Fox is starring in the hit West End play Speaking in Tongues at the Duke of
Yorks Theatre (London) and appears on screen in Jane Campion's Bright Star.

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.
60th Berlin International Film Festival February 11 21, 2010

Press release No. 4 Press contact:


boxfish events / Christiane Steiner
Tuesday, November 3, 2009
Berlin International Film Festival
Berlinale Talent Campus
=
Potsdamer Strae 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
www.berlinale-talentcampus.de
Campus draws Talent
Record applications to the Berlinale Talent Campus
Stephen Daldry to chair the Berlin Today Award jury, French composer Alexandre
Desplat will mentor the Score Competition

"Cinema Needs Talent: Looking for the Right People" is the theme for the upcoming Berlinale Talent
Campus. The Campus itself is far from lacking talent: In its eighth year of existence, the Campus has
once again reached record numbers of applications from young international filmmakers. The interest
has never been stronger: 4773 applications from 145 countries, nearly a thousand more than last year.
Applications came in from 13 new countries as well, including Burundi, Guinea, Montenegro and Saint
Lucia. 350 filmmakers will be selected and invited to attend the Campus from February 13-18, 2010,
during the 60th Berlin International Film Festival. The six-day-long event at Theater Hebbel am Ufer
offers them the opportunity to examine various aspects of their fields of work and to promote the idea
of 'collaborative filmmaking'.
Stephen Daldry to chair the Berlin Today Award jury
Five short films on the theme "Straight to Cinema" were created with the support of Medienboard
Berlin-Brandenburg as part of the current Berlin Today Award cycle. They will celebrate their world
premiere at the opening of the Berlinale Talent Campus on February 13, 2010. The winning film will
be selected by a jury headed by British director Stephen Daldry, three-time Oscar-nominee for the
films The Reader, The Hours and Billy Elliot. The Berlin Today Award will be awarded during the "Dine
& Shine Talent Rendezvous" on February 14, 2010.
Meanwhile, the Berlin Today Award 2009 winning film Wagah is celebrating recent distinctions: The
film received the German Short Film Award in Gold for documentaries, awarded by the Federal
Government Commissioner for Culture and the Media Bernd Neumann on October 29, 2009, including
30,000 Euro in prize money, as well as the 25,000 US Dollar-endowed Black Pearl Award for Best
Documentary Short at the Middle East International Film Festival (MEIFF) in Abu Dhabi (directed by
Supriyo Sen, produced by Detailfilm).
Alexandre Desplat will be the Mentor of the Score Competition
French composer and Golden Globe winner Alexandre Desplat has committed to mentor the Score
Competition. Desplat, born 1961 in Paris, is one of the most versatile and sought-after composers of his
generation. He made his international breakthrough in 2004 with the remarkable composition for The
Girl With the Pearl Earring. Since then, Desplat has composed the award-winning scores for films such
as Syriana, The Queen and The Curious Case of Benjamin Button. He has received numerous awards, as
well as two Oscar nominations and in 2005 a Silver Bear for the film score to The Beat That My Heart
Skipped (directed by Jacques Audiard).
The Score Competition offers three young composers or sound designers the opportunity to compose
new scores for a pre-selected short film and record them with the German Film Orchestra Babelsberg,
with final mixing at the Film and Television Academy (HFF) "Konrad Wolf". The scores will premiere
during the Campus, and the best score will be chosen by a jury and awarded during the Closing
Ceremony. The winner will receive a trip to the finest sound studios in Los Angeles, sponsored by
Dolby.

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.
60th Berlin International Film Festival February 11 21, 2010

Press release No. 3 Press contact:


boxfish events / Christiane Steiner
Tuesday, July 21, 2009
Berlin International Film Festival
Berlinale Talent Campus
=
Potsdamer Strae 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
www.berlinale-talentcampus.de

Cinema Needs Talent: Looking for the Right People


Berlinale Talent Campus #8, February 13 18, 2010

From February 13-18, 2010, the Berlinale Talent Campus will open its doors at the Theater Hebbel am
Ufer and welcome 350 young filmmakers from all over the world during the Berlin International Film
Festival.
The eighth Berlinale Talent Campus will address the theme "Cinema Needs Talent: Looking for the
Right People". For many filmmakers, teaming up with the right people to inspire and support them and
to create a collective vision is the essential element of successful filmmaking. The upcoming Berlinale
Talent Campus will tap into these thoughts and ask how the development of personal craftsmanship
and the experience of choosing the right people intertwine to build gainful long-term creative
collaborations. "Teamwork is the key to success. It's about daring to ask the vital questions together in
order to exceed your own limits and to keep that one essential goal in sight: to make a great film. This
theme also reflects the Campus, which has, since the beginning, strived to connect young
international filmmakers with their colleagues and established professionals, always in the spirit of
encouraging collaborative filmmaking, says Programme Manager Matthijs Wouter Knol.

The application deadline for the Berlinale Talent Campus #8 is October 7, 2009. Producers, directors,
actors, cinematographers, screenwriters, editors, production designers, film composers, sound
designers, film journalists and visual artists from all over the world are invited to apply online through
the Campus website, www.berlinale-talentcampus.de.
The Campus application also includes applications for the numerous additional hands-on training
programmes: Talent Press, Score Competition, Doc- and Script Station, Talent Project Market, Campus
Studio and Berlin Today Award.

2nd Talent Campus Durban, South Africa


The second edition of Talent Campus Durban will take place from 24-28 July, 2009, during the 30th
Durban International Film Festival. For five days, young African filmmakers will examine the
theoretical and practical approaches to filmmaking under the motto "Roots and Shoots: Creating a
New African Cinema". Particular focus will be given to developing new partnerships within the African
filmmaking world. "We are very happy about the success of the Campus Abroad projects that we've
organised in cooperation with film festivals in Durban, Sarajevo, Guadalajara and Buenos Aires. The
Berlinale Talent Campus is one of the Berlinale's strongest exports," says Campus Project Manager
Christine Trstrum. More information is available at: www.cca.ukzn.ac.za/talentdiff2009.htm

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.
60th Berlin International Film Festival February 11 21, 2010

Press release No. 2 Press contact:


boxfish events / Christiane Steiner
Thursday, July 2, 2009
Berlin International Film Festival
Berlinale Talent Campus
=
Potsdamer Strae 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
www.berlinale-talentcampus.de

Shooting begins for the Berlin Today Award 2010 "Straight to Cinema"
The Astronaut on the Roof by Spanish director Sergi Portabella starts off the next
round of the Campus short film competition.

On July 7, 2009, shooting begins in Berlin for The Astronaut on the Roof, a comedy about two young
screenwriters torn by the trials and tribulations of developing a screenplay who end up shamelessly
quoting the films of their director idols. The film is one of five short film project finalists for the
Berlin Today Award 2010, the short film competition of the Berlinale Talent Campus. 250 young
filmmakers from 65 countries submitted projects ideas inspired by the competition's motto "Straight to
Cinema".
Sergi Portabella's short film will be realised with the production company Penrose Film: "The
experience of shooting in Berlin with a German production company and meeting all these new people
is so exciting. Im learning a lot and having a great time. And I'm absolutely sure we're going to do a
great film," says Sergi Portabella about his project. The shoot will take place until July 12 in Funkhaus
Berlin in Berlin-Koepenick and other locations.

On July 16 the first clap will be heard in the CCC studios of Berlin-Spandau for Jonah and the Vicarious
Nature of Homesickness by Bryn Chainey. This science-fiction romance about Jonah, who leaves his
family to glide through space and time in a cardboard spaceship, will be produced by Anna Wendt
Filmproduktion.
Shooting for the third project to be realised in Berlin, By Night by Juan Diaz B. from Columbia, will
begin August 1. The romantic love story of Martin and Camille and their life in a wondrous parallel
universe will be produced by Knudsen and Streuber Filmproduktion.

The shoot for Hum will begin in Ireland on July 18. The project, by director Rebecca Daly, will be
realised near Dublin by Lichtblick Media.
The final project for this year's competition will be the documentary film Reflection by Giorgi
Mrevlishvili from Georgia, produced by the production company A-FILM until the end of August in the
Caucasus (Georgia).

The five short films will be realised until the end of 2009 with support from Medienboard Berlin-
Brandenburg and in-kind contributions from the film industry. The five finalist films will celebrate
their world premiere during the opening of the Berlinale Talent Campus 2010 (February 13 18, 2010).
A jury composed of prominent filmmakers will select the winning film and bestow it with the Berlin
Today Award. More information at www.berlintoday.de.

If you would like to interview or follow the finalists during their film shoots, please don't hesitate to
contact us: boxfish events, Christiane Steiner, Tel.: 030 25920-518, email: press.campus@berlinale.de.

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.
60. Berlin International Film Festival February 11 21, 2010

Press Release No. 1 Press contact:


boxfish films / Christiane Steiner
Tuesday, April 28, 2009
Internationale Filmfestspiele Berlin
Berlinale Talent Campus
=
Potsdamer Strae 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
www.berlinale-talentcampus.de

Berlin Today Award 2010: Short film projects from Georgia, Australia,
Spain, Ireland and Colombia are headed "Straight to Cinema"
While the five Berlin Today Award 2009 short films on the theme "My Wall" successfully travel to
festivals around the world, the new round of the Berlinale Talent Campus' short film competition is
underway. 250 young filmmakers from 65 countries responded to the call for project ideas on the
motto "Straight to Cinema". The motto for the Berlin Today Award 2010, which is supported by
Medienboard Berlin-Brandenburg for the eighth year in a row, encourages young filmmakers to take
inspiration from the power and possibilities of cinema and develop a short film for the big screen. In
addition to Campus Talents, producers from the Berlin-Brandenburg area interested in realising a short
film project could also apply. 15 pre-selected Talents and 10 production companies were invited to
present their projects at a "Producers Meeting" during the Berlinale Talent Campus. The Talents and
producers then voted, providing a basis for the jury's deliberation, in which representatives from the
Berlinale Talent Campus, Medienboard Berlin-Brandenburg, KurzFilmAgentur Hamburg and the Berlin
Today Award e.V. participated.

The following five Talent-producer teams were selected by the jury to continue to the Berlin Today
Award 2010 finals:
Sergi Portabella from Spain will realise The Astronaut on the Roof together with Penrose Film. The
comedy follows two young screenwriters torn by the trials and tribulations of developing a screenplay
who disrespectfully quote the films of their favourite directors. By Night, by Juan Diaz B. from
Colombia, will be realised in collaboration with Knudsen und Streuber Filmproduktion. The film tells
a love story about Martin and Camille, a couple living happily in a world where night never falls, until
Martin discovers that Camille is living a second life in an alternate reality. The Georgian filmmaker
Giorgi Mrevlishvili will realise his documentary film project Reflection with A-Film Productions.
Giorgi will organise an outdoor film screening in the remote Georgian village Ushguli during which he'll
make a portrait of the village's residents. In the film Hum, Rebecca Daly from Ireland tells the story of
a woman who flees her daily life and searches for perfect silence in an abandoned house. The project
will be produced by Lichtblick Media. Finally, Anna Wendt Filmproduktion will produce Jonah and
the Vicarious Nature of Homesickness by Bryn Chainey from Australia. The film is a science-fiction
romance about Jonah, who has left his family and glides through space and time in a cardboard
spaceship.

The five short films will be realised until the end of 2009 with support from Medienboard and in-kind
contributions from the film industry. The five finalist films will celebrate their world premiere during
the opening of the Berlinale Talent Campus 2010 (February 13 18, 2010). A jury composed of
prominent filmmakers will select the winning film and bestow it with the Berlin Today Award. More
information at www.berlintoday.de.

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.
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60th Berlin International Film Festival
February 11-21, 2010

best of
international
02/2009 03/2010
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Adevarul.ro
23.02.2010

Berlinala i iubete pe romni

George Pitereanu, Florin erban i Ada Condeescu

Oamenii de film din Romnia au


participat la ateliere de lucru i
au luat trei premii la
prestigiosul festival din
Germania. Ediia aniversar(a
60-a) a Festivalului
Internaional de Film de la
Berlin (11 - 21 februarie) a fost
cea mai primitoare i mai
generoas cu cineatii romni
din ntreaga istorie a acestui
important eveniment.

Nu pot ti cu exactitate ci romni au participat anul acesta la Berlinal, ns numrul lor


este de ordinul zecilor. S ne gndim numai la cele patru producii romneti selecionate
de Festival: dou lungmetraje (Eu cnd vreau s fluier, fluier" de Florin erban, n
competiie i Portretul lupttorului la tineree" de Constantin Popescu jr n seciunea
Forum") i dou scurtmetraje (Colivia" de Adrian Sitaru i Derby" de Paul Negoescu n
seciunea Berlinale Shorts").

Cum fiecare dintre aceste filme a fost reprezentat la Berlin, pe lng regizor, de mai muli
membri ai echipei (uneori aceiai: de pild, actria Clara Vod a avut roluri n trei din
patru), deja trecem de 20.

Studeni festivalieri
Nu trebuie s neglijm, ns, Berlinale Talent Campus, care reprezint, de opt ani, o
academie creativ i o platform de networking". De-a lungul a ase zile de festival, 350 de
tineri cineati i critici de film din ntreaga lume particip la ateliere, cursuri i dezbateri
cu nume mari ale industriei cinematografice.
Anul acesta, au fost acceptai n Campus, pe baza experienei lor anterioare, ase romni:
Mihai Bauman (regizor), Radu Gorgos (operator), Mircea Nestor (regizor), Cristian Nicolescu
(monteur i sound designer), Erzsebet Plajas (critic) i Letiia tefnescu (monteur i
productor).

De asemenea, regizorul Paul Negoescu, selecionat la a treia ediie consecutiv n festival,


a fost invitat, alturi de confratele su britanic Paul Wright, la o discuie cu studenii"
despre scurtmetraj, moderat de ctre Maike Mia Hoehne, curatoarea seciunii Berlinale
Shorts".

Talent Campusul se vrea mai mult un program de networking", observ regizorul Mihai
Bauman. Singura parte din program cu finalitate este Berlin Today Award: aici sunt
selecionate cinci scurtmetraje, al cror buget de producie va fi asigurat integral de ctre
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Festival. ns procesul e complicat i se ntinde pe durata a doi ani. Participantul romn


adaug: n rest, sunt foarte multe workshop-uri - panel-uri, cum le zic ei - discuii,
ntlniri, conversaii de tot felul, un fel de ateliere practice, dar care nu sunt practice
deloc etc. E bine c poi ajunge la Festival i poi intra n principiu gratis la filme dup ora
18.00, dac prinzi un bilet."

Programul celor ase zile de Campus era acelai: dimineaa ateliere i cursuri, plus excursii
la Piaa European de Film (asociat cu Berlinala), iar seara - filme (la proieciile de pn
la ora 18.00, biletul nu era gratuit pentru studeni"). Pe scurt, nu era nimic obligatoriu",
adaug Mihai Bauman. Dac un om voia doar s stea sau s umble prin muzee, era liber s
fac doar asta, c nimeni nu i inea socoteala".

Luarea unei decizii privind programul personal era destul de dificil. Participanii i
alegeau workshopurile dup tem i/sau invitai, ns puteau s nu mai gseasc bilete sau
s nu fie acceptai, iar atelierul nu se ridica mereu la nlimea ateptrilor: De cele mai
multe ori, o gazd i invitaii aveau o discuie despre tema respectiv, dup care urma
sesiunea de ntrebri i rspunsuri, dar uneori era totul att de suprarealist n acel
moment, nct muli i vedeau de ale lor prin alte pri".

n opinia regizorului romn, pentru a profita la maximum de Campus, un cineast trebuie s


aib abilitatea de a alege ntre multe lucruri care se ntmpl n acelai timp".
Mihai Bauman observ c, pe durata festivalului, a avut dou momente n care chiar a
nvat ceva. Mai nti, la Film Market, care este un organism viu": Acolo se ntmpl tot
timpul ceva i este imposibil s nu intri n vorb cu cineva, cunoscut sau necunoscut". Apoi,
la o ntlnire cu Michel Reilhac, director general al ARTE France Cinma; acesta a abordat
subiecte de interes pentru participani, precum transmedia", relaia dintre internet i
film sau noi tendine n spaiul media.

Regizorul romn i mparte pe colegii si de Campus n dou categorii: Unii erau


superentuziati, alii foarte blazai. Primii erau superactivi, socializau puternic, ntrebau,
chestionau, alergau; ceilali erau mult mai relaxai, nu mergeau la workshop-uri, i
alegeau cteva filme i, n rest, se distrau. ntre toi tia erau tot felul de oameni
confuzi, care ncercau s scoat sensuri i idei din ce se ntmpla n jurul lor. Regulile i le
stabilea fiecare, nu a stat nimeni s trag talentul de mn i s i zic: uite, f aia, f
aialalt, ntlnete-te cu la i cu llalt i gata, i-am asigurat viitorul. Nemii ne-au dat
terenul, depindea de fiecare cum l cultiva".

Mihai Bauman se
declar mulumit de
experiena sa:
Talent Campusul a
fost pentru mine ca o
pist de lansare. Am
cunoscut oameni
care la un moment
dat vor avea
contribuia lor n
cariera mea i asta
este ceea ce
conteaz. Cnd a
aprut primul om cu care am stabilit un contact despre care eu cred c poate s fie serios,
atunci Campusul i-a dovedit sensul pentru mine".
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De la pia la petrecere
Ca i la ultimele dou ediii de Berlinal, Romnia a avut un stand de prezentare, foarte
vizibil i vizitat, n cadrul Pieei Europene de Film, de care s-a ocupat Asociaia pentru
Promovarea Filmului Romnesc (APFR). Mihai Gligor, directorul adjunct al APFR, remarc:
Cred c anul acesta a fost unul foarte bun. Dup ce n 2009 criza s-a simit att la Berlin,
ct i la Cannes, unde a fost un numr mai mic de acreditri din industrie, anul acesta am
simit c lucrurile par s-i fi revenit.
Am avut un numr mare de vizitatori la stand, lucrul acesta fiind generat i de prezena
consistent a filmelor romneti n Festival. Astfel, cred c standul i-a atins scopul, acela
de promovare i susinere a cinemaului romnesc, a industriei de film din Romnia,
precum i a filmelor romneti de la Berlinal."
Dintre vizitatori, selecionerii de festivaluri erau interesai de ce mai e nou" n
cinematografia romneasc, de filmele nou-aprute sau care urmeaz s apar; fiecare
cerea recomandri n funcie de festivalul pe care l reprezenta. Jurnalitii cereau n
special informaii despre filmele romneti selecionate la Berlinal, dar i date specifice
despre anumite producii autohtone. Iar productorii strini solicitau informaii despre
companii de producie romneti i despre oportunitile de a filma n ara noastr.
Tot APFR a organizat i petrecerea romneasc, care, ca i anul trecut, a avut loc n
Salonul Rou" i s-a bucurat de mare succes printre participanii la Festival. Au fost peste
500 de invitai: cineatii, jurnalitii i criticii romni prezeni la Berlin, alturi de nume
importante ale industriei de film - selecioneri, productori, reprezentani ai fondurilor de
finanare strine, ageni de vnzare, distribuitori sau regizori strini. Cred c 2010 a fost
cel mai bun an pentru romni la Berlinal, o dovad fiind i premiile obinute de filmele
romneti", conchide Mihai Gligor.

Opiniile unui premiant


n ceea ce-i privete pe cineatii romni premiai, am discutat cu Adrian Sitaru, al crui
scurtmetraj Colivia", foarte apreciat la festival, a intrat n palmares. Cineastul, aflat
pentru prima dat la Berlinal, se declar uimit de eveniment: E un festival mult mai
prietenos dect mi imaginam pentru un eveniment de aceast amploare i cu att de
mult industrie implicat. Este asemntor cu Sundance la numrul spectatorilor: doar
acolo i la Berlin am mai vzut sli aa de pline la scurtmetraje, indiferent de or".
Adrian Sitaru a avut i ntlniri cu coproductori, actuali sau poteniali ai noului su
lungmetraj, pentru care nc strnge bani, aa c nu a vzut dect dou dintre cele cinci
grupaje de scurtmetraje din competiie: cel din care fcea parte filmul su i cel care
includea Derby" de Paul Negoescu. Cineastul romn observ: Mi-a plcut mult filmul care
a ctigat Ursul de Aur, dar de celelalte dou nu sunt convins. Chiar dac sunt bune, filmul
lui Paul l consider mai bun. Eu sunt mulumit n general cu orice premiu, e un feedback
pentru ceea ce faci, chiar dac tiu c este unul subiectiv."
Deplasarea criticului de film Mihai Fulger la Berlin a fost sprijinit de Institutul Cultural
Romn.
Nou record de audien
n general, pentru un romn, nu doar cineast, aflat pentru prima dat la un festival de
clasa A (cum mai sunt cele de la Cannes sau Locarno), Berlinala este eclatant. Timp de
zece zile, indiferent de filmul prezentat i de seciunea n care este acesta inclus, toate
slile, de la Berlinale Palast, inima" festivalului, pn la cinematografele de la periferia
metropolei, sunt pline i arhipline, cum foarte rar vezi la evenimentele din Romnia. Chiar
i la proieciile rezervate presei, de multe ori, trebuia s atepi la coad nainte de a
intra i nu era deloc exclus ca, dintre sutele de scaune ale slii de cinema, s nu gseti
niciunul liber.
Conferinele de pres, cu echipele filmelor din selecia oficial, au loc n general la puin
timp dup vizionrile de pres. ns n cazul produciilor cu regizori i/sau actori din
categoria staruri" (Martin Scorsese cu Leonardo DiCaprio, Ewan McGregor i
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Pierce Brosnan fr Roman Polanski etc.), jurnalitii care doreau s prind un loc n sala de
conferine, deseori nencptoare, trebuiau s renune s vad i finalul filmului; altfel,
erau nevoii s urmreasc vedetele din picioare sau, i mai ru, pe ecranul imens din
pia.
La ora cnd scriu aceste rnduri, nu cunosc nc numrul total al biletelor vndute la
ediia aniversar a Festivalului, ns acesta era aproximat, nainte de ultima zi, la 300.000,
ceea ce reprezint un nou record de audien pentru Berlinal, unul dintre cele mai iubite
festivaluri de film ale lumii. Lucru nemesc", ar fi comentat Nenea Iancu, care tia el ce
tia atunci cnd a ales s se mute la Berlin...

Premiile romnilor la Berlin


Romnia a ctigat trei premii la Festivalul Internaional de Film de la Berlin. Ursul de
Argint - Marele Premiu al Juriului i Premiul Alfred Bauer", destinat filmelor inovatoare,
au revenit peliculei Eu cnd vreau s fluier, fluier", regizat de Florin erban, iar Premiul
DAAD, oferit de Serviciul German de Schimburi Academice, a fost decernat scurtmetrajului
Colivia", de Adrian Sitaru.
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Africavenir.org
Feb 2010

Monday, February 15th, 11:00 / HAU 1: Cinema Unlimited:


Intercontinental Connections

Madhusree Dutta (Cinema City, Berlinale Forum Expanded), Rafi Pitts (The Hunter,
Berlinale Competition), Natalia Smirnoff (Puzzle, Berlinale Wettbewerb), Jean-
Marie Teno (Sacred Places). Moderated by Vincenzo Bugno. In cooperation with
Berlinale Forum expanded and World Cinema Fund.

Looking for the right people gets trickier when one isnt on home ground. A range
of international film professionals discuss and share their experiences on how they
prefer to connect and collaborate in their region or abroad. They will talk about
how they built up networking platforms and co-productions, especially when there
is no major support from the regional film industry. Jean-Marie Teno (Sacred
Places, The Colonial Misunderstanding), Cameroonian filmmaker, has been
producing and directing films for over twenty years. Joining him on the panel is
Iranian filmmaker Rafi Pitts, whose latest film The Hunter features in this years
Berlinale Competition. The panel includes Madhusree Dutta, Indian filmmaker,
curator and activist, whose interdisciplinary installation project Cinema City,
exploring questions about the relationship between urban space and cinema, will
be presented at the 2010 Berlinale Forum expanded. Last but not least, Argentinian
filmmaker Natalia Smirnoff, who took the step up from assistant to the directors
position with Puzzle, presented in this years Berlinale Competition.
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Africavenir.org
Feb 2010

Wednesday, February 17th, 14:00 / HAU 1: Shotgun Stories: African


Cinema Attacks

Kunle Afolayan (The Figurine), Oliver Hermanus (Shirley Adams), Caroline Kamya
(Imani, Berlinale Forum), Tom Tykwer (Produzent von Soul Boy, Berlinale
Generation Special). Moderated by Dorothee Wenner. In cooperation with Heinrich
Bll Foundation, Berlinale Forum and Berlinale Generation.

Theres a whole new generation of African filmmakers ready to shoot films which
might blow our minds away: as they dont match the image of African cinema that
we are used to. Many young directors choose urban Africa as a location to tell
stories of love and hate; they prefer hip hop to traditional drums in their scores
and are eager to portray lifestyles yet to be discovered beyond Kampala,
Johannesburg, Nairobi or Lagos. Although filmmaking in most African countries is
more difficult than in other parts of the world, this new generation refuses to be
silenced by those who try to control their work by means of funding, tough political
oppression or simply due to lack of interest. The headwinds from home blow just as
strongly as they do from countries in the North, but they arent strong enough to
stop this movement. This panel offers a platform to exchange ideas for the future
of African cinema based on personal experiences, new strategies and individual
films. Its time for action: moving images can be used as sharp weaponry in a
warfare against ignorance.
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Africine.org
02/2010

Talent Campus au Festival de Berlin (11 > 21 fvrier 2010)


Une vingtaine d'Africains consolident leurs acquis

Une vingtaine d'Africains prennent part cette anne


la 8me dition de Talent Campus, qui se droule dans
le sillage de la 60me dition du Festival international
du film de Berlin.

Quand la sonnerie retentit, c'est le top dpart d'un


nouveau round d'changes avec un visage diffrent. La
ronde se fait dans la gaiet. Le face face entre les
participants au Talent Campus et le groupe d'experts
Fortun Bationo
installe un climat de retrouvailles dans la salle.
Pourtant ceux qui changent entre eux avec une telle intensit ne se sont jamais
rencontrs auparavant. Parmi les heureux admis au Talent Campus, certains
n'auraient peut-tre jamais eu l'occasion d'acculer de questions certains consultants
comme ils le font d'un air si dtendu.

Voil l'esprit du Talent Campus, qui se veut un centre


d'apprentissage convivial et d'approfondissent des
connaissances cinmatographiques auprs de gens
reconnus dans le monde du cinma.
La formule de varier les interlocuteurs obit
l'ambition d'largir au mieux les acquis, de trouver les
meilleures rponses aux attentes multiples. Et a

El Hadji Samba Sarr et Christine marche puisque des sourires sont souvent au rendez-
Trstrum, Directrice du Talent vous, quand vient le moment de changer de personnes
Campus
ressources.

Une vingtaine d'Africains en provenance de plusieurs


pays participent cette exprience enrichissante.
Producteurs, futurs ralisateurs, ralisateurs,
scnaristes... ils sont issus de plusieurs maillons de la
chane cinmatographique et rvent tous d'une
carrire intressante, qui passe aussi par ce type de
rencontre. Les 350 participants du Talent Campus leur
offrent l'occasion de semer des liens et de mieux
valuer les chemins qui leur restent faire.

C'est justement ce qui a conduit Mirabel Awuah,


tudiante au National film and Television Institut du
Ghana (NAFTI), postuler cette 8me dition du
Talent Campus : "Je suis venu faire des rencontres
intressantes et voir les meilleurs films pour me
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permettre d'voluer dans mon travail", affirme-t-elle. Le Nigrian Idi Nasuru


abonde dans le mme sens, en voyant dans sa prsence cet immense conclave
une chance de cueillir de nouvelles armes professionnelles.
Le ralisateur sngalais El Hadj Samba Sarr est aussi heureux d'tre l. Il apprcie
beaucoup cette ide de faire se croiser plusieurs diffrentes nationalits. "Le
Talent campus du festival de Berlin est une excellente tribune de rencontres,
d'changes, de dveloppement de capacit et de projet. Le FESPACO gagnerait
intgrer ce genre d'activits dans son programme en vue de contribuer au
dveloppement du cinma en Afrique".
Pour la ralisatrice bninoise Ingrid Agbo, la rencontre ici avec un scnariste de
comdie tait un souhait longtemps caress. Pour elle, le cinma est un rseau
qu'il faut intgrer. Les contacts, la jeune ralisatrice les positionne comme autant
de futures promesses de travail en commun.

Brbel Mauch, consultante au Talent Campus, a aussi eu une sance de travail


btons rompus avec certains africains. un ralisateur qui disait vouloir mettre les
bouches doubles au niveau de la technique, elle a rpondu que l'histoire d'un film
est sa meilleure substance. Un jeune ralisateur sud africain a pench pour cette
perception, en voquant sa propre exprience. Justement, tous les participants
peuvent voir le travail de leurs amis en allant sur les ordinateurs disposs dans
certaines salles. Une impressionnante mine de dcouvertes.

la 60me dition de la Berlinale, les jeunes Africains peuvent se mettre rver


aussi qu'un jour, l'image de cet important festival, les abords de certaines salles
de cinma en Afrique abriteront des messages qui fonctionnement comme un bel
hommage leur travail: "je recherche un ticket de film acheter, il n'y en a plus
en vente".
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Africultures.com
13.02.2010

Berlinale Talent Campus 2010 8me dition.

Dans le programme : Shotgun Stories: African Cinema AttacksBerlin | Allemagne |


13|02|2010 > 18|02|2010 www.berlinale-talentcampus.de

The Berlinale Talent Campus taps into the unique atmosphere of a great festival to bring
together young talents and experienced professionals. The experience of the latter meets
the inspiration of the former - a very vital platform for the film world to participate in.
Since 2007, the Berlinale Talent Campus takes place in the three venues of HAU - Theater
Hebbel am Ufer.

The Campus takes place parallel to the Berlinale and works as an intensive week-long
academy. Creative professionals from every field of the film industry are available as
speakers, teachers and partners for discussion. A number of guests from the festival's
programme sections are also invited to discuss their work with the talents and thus help
integrate the Campus into the Berlinale. A great number of Campus lectures and
discussions are intended for the public and can be attended by anyone. Tickets are sold
under the same terms as other Berlinale screenings and events.

350 talents from all over the world


Talented young people from around the world involved in all areas of filmmaking are
eligible to apply to the Berlinale Talent Campus: screenwriters, directors, producers,
cinematographers, actors, film editors, art directors, production designers, composers,
sound designers, journalists, and visual artists. Over 350 of them are invited to Berlin to
reflect on their cinematic ideas in workshops, lectures and panel discussions, and to work
on their projects in specialized hands-on studios.

Increasing importance is given to supporting structurally weak film countries by inviting


talents from these regions to take part in the Campus. A similar aim motivated the "export"
of the Campus idea to other countries: meanwhile festivals in Buenos Aires (Argentina),
Durban (South Africa), and Sarajevo (Bosnia-Herzegovina) are organizing their own annual
Campus with the support from Berlin. The first official Talent Campus Guadalajara took
place as part of the Guadalajara International Film Festival 2009 in Mexico. It has a
regional focus on up-and-coming filmmakers from Central America and the Caribbean.

Cinema Needs Talent: Looking for the Right People


Each Berlinale Talent Campus attends to a focus topic to which part of the programme is
dedicated and for which renown experts are invited. The Berlinale Talent Campus #8
during the Berlinale 2010 will address the theme "Cinema Needs Talent: Looking for the
Right People".
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For many filmmakers, teaming up with the right people to inspire and support them and to
create a collective vision is the essential element of successful filmmaking. The upcoming
Berlinale Talent Campus will tap into these thoughts and ask how the development of
personal craftsmanship and the experience of choosing the right people intertwine to build
gainful long-term creative collaborations. "Teamwork is the key to success. It's about
daring to ask the vital questions together in order to exceed your own limits and to keep
that one essential goal in sight: to make a great film. This theme also reflects the Campus,
which has, since the beginning, strived to connect young international filmmakers with
their colleagues and established professionals, always in the spirit of encouraging
collaborative filmmaking", says Programme Manager Matthijs Wouter Knol.

Partners
The Berlinale Talent Campus is truly a joint project: initiated by Berlinale Director Dieter
Kosslick, prepared and organized by a project team headed by Matthijs Wouter Knol und
Christine Trstrum, funded by the Federal Government Commissioner for Culture and the
Media upon a decision of the German Bundestag, in co-operation with MEDIA - Training
programme of the European Union, Medienboard Berlin-Brandenburg, Skillset and UK Film
Council as well as 40 other partners, embassies and cultural institutes.

The Berlinale Talent Campus has developed into one of the most exciting initiatives of the
Berlinale. Meanwhile it can boast of numerous success stories: co-operations which were
conceived here, careers which began here, ideas which originated here - and their visible
results can frequently be seen in the Berlinale programme. Regular cooperation also occurs
at the Berlinale Co-Production Market where producers and film financiers are introduced
to selected projects by Campus participants within the framework of the "Talent Project
Market".
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Africultures.com
17.02.2010

Berlinale Talent Campus #8: talentpress.org - Berlinale Talent Campus launches


a new website for emerging international film critics Feb 17, 2010

The Berlinale Talent Campus is launching a new internet portal for emerging
international film critics: www.talentpress.org. This new portal is open to young
film critics who are current or former participants of the Berlinale Talent Campus'
Talent Press programme. It offers them a year-round possibility to publish their
film and festival reviews from anywhere in the world. "This new website will
provide a forum where young, talented international film journalists can publish
their independent views on their latest discoveries in international cinema," say
Campus heads Christine Trstrum and Matthijs Wouter Knol.

The Talent Press programme is one of the Berlinale Talent Campus' hands-on
training opportunities to which participants apply separately and which exists since
2004.
The programme invites eight budding film journalists to the Berlin International
Film Festival every year and offers them an intensive look into the inner workings
of an international film festival. During the Campus week, they are guided by
experienced film critics like Dana Linssen, Stephanie Zacharek, Chris Fujiwara and
Derek Malcolm. Their articles and reviews are published during the Berlinale at
www.talentpress.org, but also through the Goethe-Institut website
(www.goethe.de) and FIPRESCI (www.fipresci.org). In addition, selected articles
from these young film critics will be published in the Berlinale edition of the trade
magazine "The Hollywood Reporter", part of a cooperation that is now in its second
year.

The Berlinale Talent Campus' successful Talent Press programme, which supports
independent and high-quality film criticism, has now been picked up by the other
international Talent Campus initiatives. For the first time, a Talent Press
programme for young Central American film journalists will take place during the
Talent Campus Guadalajara, which runs from March 11-15, 2010, during the
Guadalajara International Film Festival in Mexico. The up-and-coming film critics of
the Talent Campus Guadalajara will also be able to take advantage of and publish
articles through the new Talent Press website.
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Agencia EFE
18.02.2010

Talent Campus de la Berlinale premia a un compositor colombiano

Berln, 18 feb (EFE).- El compositor colombiano Camilo Sanabria fue premiado hoy
por el Talent Campus, un foro para los jvenes talentos, que se celebra
paralelamente al festival de cine de Berln.
El jurado que entrega el galardn argument, en un comunicado, que las
composiciones musicales de Sanabria para la gran pantalla son una "obra llena de
fantasa" que exhiben "una personalidad propia hasta en el detalle ms pequeo".
El premio, concedido en el apartado de "Score Competition" -alusivo a las bandas
sonoras originales- permitir a Sanabria, de 34 aos, pasar una semana en uno de
los mejores estudios de sonido de Los ngeles (EEUU).
En segundo puesto, dentro de esa misma categora, qued el compositor alemn
Alexander Komlew, que grabar una de sus obras con la Deutsche Filmorchester de
los estudios de cine Babelsberg, en la localidad de Potsdam, a las afueras de Berln.
La octava edicin del Talent Campus de la Berlinale rene en la capital alemana a
cerca de 350 jvenes promesas del cine internacional procedentes de un centenar
de pases.
El certamen, que tiene lugar en el Teatro "Hebbel am Ufer" de la capital alemana,
sirve como punto de encuentro para jvenes talentos de las distintas disciplinas
cinematogrficas.
Cineastas, productores, directores de fotografa y compositores de bandas sonoras
se dan cita en Berln para presentar sus ltimos trabajos, participar en talleres y
asistir a conferencias impartidas por profesionales consagrados en el cine, que este
ao incluyeron a la realizadora espaola Isabel Coixet. EFE
nvm-xac/ih/cr
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Agencia EFE
14.02.2010

Berln recibe a 350 jvenes promesas del cine internacional

Berln, 14 feb (EFE).- Berln recibe durante esta semana a cerca de 350 jvenes
promesas del cine internacional, de ms de 100 pases, que participan en la octava
edicin del Talent Campus.

Este certamen, que tiene lugar en el Teatro "Hebbel am Ufer" de la capital


alemana, se desarrolla en el marco de la Berlinale y est dirigido a servir como
lugar de encuentro para todos aquellos jvenes talentos que comienzan a
despuntar en alguna disciplina cinematogrfica en sus respectivos pases.
Directores, productores o directores de fotografa se renen aqu cada ao para
mostrar sus creaciones, debatir, y participar en talleres o conferencias.
Para poder asistir, los talentos deben rellenar previamente un formulario y
remitirlo a la organizacin, junto con una muestra de su trabajo audiovisual.
Ya sea en las salas de cine -habilitadas para las conferencias- o de forma informal
en la cafetera, cualquier lugar sirve para discutir sobre cmo atraer al espectador,
cmo realizar una produccin con vistas a presentarla en un festival, o cmo
reflejar una esttica determinada.
Como foro de discusin alternativo a la Berlinale, para todas estas promesas supone
una oportunidad nica e inmejorable para lanzarse al mercado del sptimo arte, en
una edicin en el que tema central en torno al que giran todos los debates es
"Straight to Cinema" (Directo al cine).
Adems, el Talent Campus cuenta con el galardn "Berlin today award", que
premia al mejor corto entre todos los enviados y que este ao cuenta con el
proyecto del realizador espaol Sergi Portabella como uno de los cinco finalistas.
Portabella llega a Berln con "The Astronaut on the Roof", una comedia de doce
minutos basada en el "sin sentido" que trata sobre dos guionistas que intentan
inventarse una historia para crear una pelcula.
Otro de los platos fuertes del Talent Campus es la intervencin de profesionales ya
consagrados, que imparten conferencias sobre temas concretos de la actualidad
cinematogrfica, entre los que destaca la presencia de la directora espaola Isabel
Coixet.
El Talent Campus es un Festival que se ha extendido tambin por otras ciudades
del mundo, como Sarajevo, Delhi o Buenos Aires. EFE
xac-pb/rz/ibr
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Agencia EFE
14.02.2010

Coixet cree que la Berlinale es el festival de cine ms autntico que


existe

Ximo Albors

Berln, 14 feb (EFE).- La directora espaola Isabel Coixet ha afirmado hoy que la
Berlinale es el festival de cine "ms autntico y real que existe, donde la gente sale
con ganas de hacer pelculas" y ha aadido que, en los pocos das que lleva por
Berln, varios productores le han ofrecido, "ya, cuatro cintas para dirigir".
Coixet ha concedido una entrevista a EFE despus de su participacin en el Talent
Campus, un apartado de la Berlinale en el que unos 350 jvenes de todo el mundo,
interesados por el cine, tienen encuentros con productores y directores
internacionales.

Para la directora, lo ms importante a la hora de hacer cine es "no dejarse llevar,


sobre todo al principio, por la amargura de pensar que otros triunfan y yo no".
Segn aconseja a los nuevos jvenes creadores, "toda la energa que se pierde con
ese tipo de pensamientos negativos no sirve para nada. Lo importante es hacer la
pelcula".

En ese sentido, la directora catalana recuerda cmo ella misma cay en ese error y
se mantuvo, despus de su primera pelcula, "Cosas que nunca te dije" en 1995,
ocho aos sin hacer nada en cine.
En la Berlinale, Coixet se siente como "en casa", pues este fue el festival que le dio
a conocer hace 18 aos y al que ha vuelto, contando con esta vez, en otras cinco
ocasiones, algunas de ellas para competir en la seccin oficial con "Mi vida sin m"
(2003) o "Elegy" (2008) y otras como jurado, como en la edicin anterior.
La Berlinale es un festival "puro, donde te vas con ganas de hacer cine", al
contrario de lo que pasa en otras alfombras rojas "donde todo se basa en el
glamour, y a veces en un glamour artificial".

Durante estos das, Berln "se llena de personas interesadas en el mundo del cine y
se habla de cine de verdad", afirma la directora, para apuntar que, en las pocas
horas que lleva en la capital alemana, ya le "han ofrecido dirigir hasta cuatro
pelculas de nacionalidades distintas".
La realizadora catalana, que se considera "tmida e intimista", seala que no tiene
mitos en el mundo del celuloide y que lo importante es "saber que existen muchas
maneras de poder contar lo que se quiere".
"Para contar una historia, uno tiene que trabajar, encontrar su voz y su propio
punto de vista", afirma, para aadir que, a ello, ayuda mucho el ser "humilde y
tener un punto de inocencia, as como ver buenas pelculas y escuchar buena
msica".
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Coixet cree que en la tarea del creador "no todo tienen que ser cintas largas o
producciones para la gran pantalla" y manifiesta que "en un corto de tres minutos o
incluso con una secuencia de fotos se puede contar una interesante historia".
La realizadora emplaza as a los cineastas y nuevos creadores a abrir la mente y
observar "la situacin de interconexin existente entre las diferentes maneras de
hacer cine y de contar historias".
Interesada por experimentar nuevas opciones, actualmente prepara una grabacin
para el festival de cortos de internet Notodofilm, para lo que hace uso de una
"Harinezumi", una mini cmara de 9 centmetros y 50 gramos de peso, con la que
tambin realizar un proyecto para el New Museum of Contemporany Art de Nueva
York.

Sobre sus pelculas, Coixet considera que son como "sus hijos" y por tanto "cuesta
cuando una productora quiere cambiarte partes del guin o a algn personaje", al
tiempo que cree que, de las discusiones "entre los egos de las personas que se
dedican al cine, siempre sale algo positivo".
A sus 49 aos, la creadora espaola trabaja ahora en la escritura del guin del que
ser su prximo proyecto para cine, una pelcula con la productora Mediapro sobre
la vida de un personaje real y que acontece en los aos 40. EFE
xac/rz/ibr
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Aljazeera.net
16.02.2010

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B26.info
22.02.2010

Premio para el talento colombiano!


En una sala concurrida del teatro Hebbel am Ufer se llev a cabo la ceremonia de
premiacin de la la octava edicin de la Berlinale Talent Campus en la que el
colombiano Camilo Sanabria arras con el primer premio.

Durante seis das 350 jvenes cineastas de 95


pases tuvieron la oportunidad de compartir
experiencias y trabajar en equipo con los grandes
del cine en aras de aprender lo que los llevar a dar
lo mejor de s en la profesin. En ms de 100
eventos entre los que se cuentan mesas redondas,
sesiones de capacitacin y talleres; 150 expertos
internacionales de todas las facetas del sptimo
arte invitados por la Berlinale, se dieron a la tarea
de discutir con ellos el tema el cine necesita
talento, busca la gente adecuada.

Camilo Sanabria El talento no se desarrolla solo, es un trabajo de


equipo, fue la mxima a la que llegaron los
Foto: David Ausserhofer Berlinale
2010 cineastas veteranos. El cine funciona slo en un
equipo y para tener xito, es necesario la apertura,
la generosidad y el respeto por los dems", asegur el productor islands Mike Medavoy en
el panel de apertura. El actor, director y productor Gael Garca Bernal afirm: " El apoyo
de otros cineastas, es el ms importante para tu propio cine. Ellos te ayudan a decir, lo
que tu quieres decir.

La directora Claire Denis (Chocolat), el diseador de produccin de James Bond Sir Ken
Adam, el director de fotografa Christian Berger (The White Ribbon), as como los
directores Stephen Frears (The Queen), Jasmila Zabanic (En el Camino) y Yoji Yamada
(Otouto, pelcula de clausura de la Berlinale), y muchos ms, compartieron su amplia
experiencia con la prxima generacin del cine. Los jvenes directores de Mxico,
Colombia, frica y Europa presentaron sus pelculas en las que transmitieron un punto de
vista poltico y una imagen impresionante de sus pases y sociedades. Temas de actualidad
como narracin digital, financiacin, distribucin y 3D fueron foco en los eventos
realizados diariamente.

En una ceremonia deslumbrante se entregaron los premios Score Competition. El primer


premio se lo gan el colombiano Camilo Sanabria. La puntuacin dada por los miembros del
jurado, Klaus-Peter Beyer, Prof. Martin Steyer, Todsharow Martn, Connie Walther y el
mentor de Score competition de este ao Alexandre Desplat (Fantastic Mr. Fox, The
Ghost Writer) fue la superior. Es un trabajo con imaginacin estructurada, que revela en
detalle su propia personalidad, fue la alabanza del jurado. Sanabria se hace merecedor a
un viaje de una semana a los estudios de sonido en Los ngeles otorgado por Dolby.

www.berlinale-talentcampus.de
Claudia Zea-Schmidt
2010 B26 Verlag KG, Berlin
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China.com
16.02.2010

216
60(Berlinale Talent
Campus)(Berlin Today Award)Hebbel am
Ufer218
150

- (Dieter Kosslick)-
(Matthijs Wouter Knol)-(Christine Trostrum)-(Isabel
Coixet)-(Alexander
Desplat)213()Hebbel am
Ufer2010218
95350 Hebbel am
Ufer

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600

218
150
-(Stephen Frears)-(Ken
Adam)--(Christian
Berger)-(Claire
Denis)()

214 -(Bryn
Chainey)(Jonah and the Vicarious Nature of
Homesickness)

221

You are
Leaving the Familiar Sector

(Carol)
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Cinencuentro.com
19.01.2010

Peruanos en la Berlinale 2010


Este ao un nuevo grupo de talentos peruanos estarn presentes en el Festival de
Berlin 2010.

Por un lado se encuentran los tres participantes en


el, siempre ansiado por estos lares, Talent Campus.
Uno de ellos ser el joven director Brian Jacobs,
quien hace unos meses obtuvo uno de los premios
en el Concurso de cortometrajes convocado por
Conacine, con su corto Animales domsticos (ver el
trailer).

Por su parte la realizadora Tilsa Amanda Gonzales


tiene en su haber cuatro trabajos en cortometraje
documental, entre ellos Los nios del terremoto,
una mirada a los nios que sobreviven en Pisco, a
ms de dos aos del terremoto. Adems, viene
trabajando en el largo documental La Cantuta en la
boca del diablo.

El tro de peruanos se completa con Enid Pinky


Campos, quien ostenta una de las carreras ms destacadas dentro de la produccin
cinematogrfica peruana reciente. Entre las pelculas en las que ha intervenido se
encuentran Paloma de papel, Das de Santiago, Dioses, El acuarelista, y los
cortometrajes El diente de oro y Taxista.

Finalmente hay que destacar la programacin del corto El segundo amanecer de la


ceguera, rodado en Madrid por el peruano Mauricio Franco Tosso, el cual ha sido
elegido como nico representante del cine realizado en espaol, dentro de la
seccin Shorts del festival. Esta seccin presentar 25 filmes de 15 pases.

El segundo amanecer de la ceguera est protagonizado por la los cubanos Orisel


Gaspar y Abel Fowler. Rodado en Madrid en formato HD, el corto aborda la
monotona que consume la vida de muchas parejas de amantes. Entre otros
trabajos de Franco Tosso destaca el corto Barrunto, inspirado en el cuento de Juan
Jos Sandoval.
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Cineuropa.org
18.02.2010

Formazione Europa
Diario dal Berlinale Talent Campus - Giorno 2

Berlino,16/02/2010 - Oggi la giornata al Berlinale Talent


Campus iniziata alle 11 con l'incontro "The secret life of
sound": il regista inglese Peter Strickland (Katalin Varga
[trailer, film focus] Orso d'argento nel 2009) e il sound
designer tedesco Stefan Busch (Profumo - Storia di un
assassino [trailer]) ci hanno parlato della loro passione per il
disegno del suono e delle trascurate potenzialit del suono in quanto strumento
narrativo ed espressivo autonomo rispetto all'immagine.
(L'articolo continua qui sotto - Inf. pubblicitaria)
Troppo spesso il suono meramente funzionale, ricalca o amplifica messaggi gi
estrinsecati a livello visivo. Ma Strickland e Busch, entrambi grandi ammiratori dei
rumori industriali di Eraserhead e in generale del lavoro sul suono di David Lynch,
sono per la forzatura, lo straniamento, per un dialogo non necessariamente
pacifico e coerente tra audio e immagine (vedi il pervasivo ed inquietante suono
meccanico sovrapposto ai fruscii e rumori "naturali" in una scena di corsa in un
campo in Katalin Varga); ma sono anche per una ricerca costante di nuove
"epifanie sonore", di foley registrati e creati ad hoc per ogni film, per ogni scena:
"Sembra che in tutti i film ci sia sempre lo stesso cane" scherza Busch, un po'
indignato; e a ragione, visto il lavoro fatto per Profumo, dove praticamente ogni
singolo suono stato messo in risalto tramite un assiduo lavoro di ricerca e
invenzione.
Alle 14 ci siamo spostati al teatro della HAU 1 per un incontro con Christian
Berger, l'eccezionale direttore della fotografia famoso in particolare per la sua
collaborazione con Michael Haneke. Il simpaticissimo Berger ci ha accompagnati in
un viaggio cronologico attraverso gli episodi principali della sua carriera,
soffermandosi sul discorso estetico soggiacente alla fotografia di ogni film (dalle
riprese in HD di Cach [trailer, film focus] al raffinatissimo bianco e nero de Il
nastro bianco [trailer, film focus]), raccontandoci l'evoluzione del rapporto con
Haneke fino alla totale sintonia raggiunta (pare che sul set per i due non sia
necessario neanche rivolgersi la parola) e confrontando le diversissime modalit di
lavoro da un regista allaltro, Haneke e Gitai in particolareil tutto arricchito da
pettegolezzi e aneddoti salienti (Isabelle Huppert sul set de La pianista ne ha
combinate delle belle!).
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Cineuropa
25.02.2010

Berlinale Talent Campus Diary: Day 3


Berlin 17/02/2010. Today at the Berlinale Talent Campus, between a discussion with
legendary Japanese director Yoji Yamada and the psychedelic video performance of
Iceland artist sds Sif Gunnarsdttir, we managed to sneak into a rather private event:
Call it Fiction, the presentation of the Talent Campus script station.

At a round table, 12 young screenwriters (selected among the talent meant to take
advantage of an assistance and mentoring programme), introduced by tutors, presented
their projects and spoke of the process of writing, editing and revising their work during
the Campus.

Sitting in a corner, out of the cold Berlin winter, we let ourselves be transported to the
most diverse narrative universes and locations: from Israel to the seafront of Marseilles,
from post-war Bosnia to a small Baltic island.

The stories (some still in the embryonic stage, others almost ready for the screen) included
an on-the-road, difficult relationship between a vampire and gypsy woman; the
psychological journey of an actor trying to liberate himself from his oppressive father; a
pop stars trajectory from dissatisfied and decadent gigolo to a happy and responsible
protector of a community of only women; the difficult choice of a Pakistani girl in the US
struggling with her terrorist brotherand many more. The stories are all different from one
another, but are very clearly share the topos of the journey/sense of loss as a pivotal
moment in a characters psychological arc.

While the most significant aspect of the event was without a doubt the open sharing of
approaches, the spirit of a collective work in progress, we admit to having been seduced
above all by the narrations and to have awaited anxiously the beginning of a new story.
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Dohatribecafilm.com
15.02.2010

Berlinale Blog: The Berlinale Talent Campus

Berlin has Film Fever. The noise and fury of film deals, premieres and networking is
a sight to behold!

I've been to lots of film festivals around the world, but I never get used to their
hectic pace and nonstop activity. You don't need to drink coffee here; you can just
drink the adrenaline straight out of the air.

As I'm closely involved in creating the DTFF Film Education Programme this year,
my main interest at Berlinale is the Talent Campus. It's one of the best film training
forums in the world, with 350 carefully selected talents from 95 countries taking
part. From February 14th - 18th they come together in Berlin for an intensive 6 day
series of workshops covering every aspect of the film industry.

Today and tomorrow we'll be chasing 8 Arab Filmmakers to ask them about their
Talent Campus experiences. Pinning them down for an interview is easier said than
done: they work in to the night with leading experts from the industry and barely
have time to eat or sleep. Catching them between workshops long enough to stop
and talk is tricky, but we've managed to track down 5 out of the 8 Arab filmmakers.

We'll be heading over to the Talent Campus shortly. But first, we're shooting an
interview with Japanese director Sabu (no second names darling, I'm an artist!)
whose Manga cartoon-inspired Kaniksen has been wowing audiences here in Berlin.
As I type, he's 3 minutes away, better go! More from me tomorrow after I've
investigated the Berlinale Talent Campus and met the filmmakers of the future.

Ben Robinson - Education Programmer


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Cineuropa
23.02.2010

Berlinale Talent Campus Diary: Day 1


From today, we will be publishing the diary written for four days by our correspondent
Myriam Raccah. New ways of making movies are appearing in the European panorama,
which involve audience participation, the web and other media platforms.

Berlin 15/02/2010 Our Berlinale Talent Campus (EFEA) has begun with The indie
filmmakers' guide to cross media I, the first in a series of discussions on alternate ways of
creating, producing and distributing films within the new media.

Today they spoke of how a narrators possibilities have been revolutionised by mass media
distribution and the increasingly more active role of users, no longer traditional spectators
but true co-creators of the cultural products consumed.

Three guests spoke about their projects. Lance Weiler discussed his upcoming film Him
(Arte France Cinema Award at Rotterdams Cinemart), a seemingly run-of-the-mill sci-
fi/horror film that, however, besides being traditionally released in cinemas, will be
created organically through overlapping narrative worlds on several media platforms (a
series of downloadable episodes, a game, "micro-narrations" for cell phones, a way for
users to intervene directly in the story and so forth).

Alexandre Brachets new project Prison Valley (scheduled for a 2010 release) is a
"webdocumentary" on the prison business in Colorado, which blends filmic vision and
interactive interfaces in a new viewing experience. On the films website, after an
introductory trailer of several minutes, users are asked to register. Then they are
catapulted into a virtual reconstruction of the places shown in the documentary where,
using a mouse and other medial tools, they can access sequences from the film, listen to
its soundtrack and look at photographs. As well as discuss live or almost live with the films
subjects or watch other films on the its themes.

Last, but not least, is the 2008 Emmy award-winning co-production between Swedish
broadcaster SVT and The Company P, The Truth About Marika. Martin Ericsson spoke to
us about the brilliant "media conspiracy" that shook all of Sweden. In conjunction with a TV
show on the disappearance of a girl with ties to a mysterious cult, the filmmakers
"penetrated" the doubt that it was a true story. Through weekly TV debates, blogs,
appeals, symbols in public spaces and so forth, the craze over the search for the girl
spread throughout the entire country, leading audiences to interact with the media
content and simultaneously transform it into joke of all jokes - a kind of cult.
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Cineyteatro.es
03.11.2009

Stephen Daldry y Alexandre Desplat en el Talent Campus de la Berlinale 2010


Los ms jvenes creadores internacionales encontrarn su voz en este entorno

El director de cine y teatro britnico


Stephen Daldry y el compositor francs
Alexandre Desplat tomarn parte en el
Talent Campus a celebrar del 13 al 18 de
febrero en el Theater Hebbel am Ufer
berlins como parte de los eventos de la 60
edicin del Festival Internacional de Cine de
Berln. Los ms jvenes creadores
internacionales encuentran su voz en este
entorno y la edicin de 2010 promete
romper rcords.

Hasta el momento, se han registrado 4.773


solicitudes de 145 pases, casi 1.000 ms que
este ao. Nuevas naciones se suman tales
como Burundi, Guinea, Montenegro y Santa
Luca. Han sido invitados 350 cineastas a un
evento de seis das, durante los cuales se
examinan los diversos aspectos de los campos
de sus acitividades creativas y desarrollan las
ideas de creacin cinematogrfica
comunitaria. No en vano, el lema del Campus
reza "El cine necesita talento: en busca de la gente adecuada".

Cinco cortos creados bajo el lema "Straight To Cinema" con el apoyo de


Medienboard Berlin-Brandenburg competirn por el Berlin Today Award Circle. El
ganador lo ser a juicio de cinco jurados, liderados por el director britnico
Stephen Daldry, creador de "Billy Elliott, quiero bailar", "Las horas" y "El lector". El
premio se entregar el 14 de febrero durante el llamado "Dine&Shine Talent
Rendezvous".

El compositor francs ganador de un Globo de Oro Alexandre Desplat ha sido


nombrado mentor de la competicin de bandas sonoras. Nacido en 1961 en Pars,
es actualmente uno de los msicos ms solicitados desde que en 2004 se diera a
conocer internacionalmente por la banda sonora de "La joven de la perla", la
pelcula inspirada por un retrato del pintor holands Vermeer y a la mayor gloria de
la entonces prometedora Scarlett Johansson. Desde entonces, ha sido premiado por
sus creaciones para "Syriana", "La reina" y "El curioso caso de Benjamin Button",
entre otros.
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Cineyteatro.es
03.07.2009

El director Sergi Portabella se dirige hacia la Berlinale


2010 en su 60 edicin
Comienza a rodar el corto "The Astronaut On The Roof"
("El astronauta en el tejado") con el que concursar en
la "Berlinale Talent Campus"

El prximo 7 de julio comienza en Berln el rodaje de


"The Astronaut On The Roof" ("El astronauta en el
tejado") dirigido por Sergi Portabella, quien
concursar con este cortometraje en la competicin
"Berlinale Talent Campus", correspondiente a la
edicin a celebrar en febrero de 2.010. Al igual que
Portabella, 250 jvenes cineastas procedentes de 65
pases enviaron proyectos a esta seccin, que se
celebrar bajo el lema "Straight to Cinema" ("Directo
al cine").

"El astronauta en el tejado" parte como una hilarante


comedia dentro de ese subgnero conocido como "cine
dentro del cine". En el corto de Portabella, asistiremos a las tribulaciones de dos guionistas
por desarrollar un guin, para finalizar vergonzosamente imitando las pelculas de sus
directores ms admirados.

El cortometraje se produce desde la compaa Penrose Film se rodar hasta el 12 de julio


en Berln, tanto en la Funkhaus como en una localizacin en Kpenick. H dicho Portabella:
"La experiencia d rodar en Berln con una productora alemana y el conocer a todo el
equipo que me acompaa es extraordinariamente excitante. No slo estoy aprendiendo
cada da sino que me divierto mucho. Yestoy completamente convencido de que vamos a
hacer una muy buena pelcula".

El 16 de julio dar tambin su primer golpe de claqueta Bryn Chainey conJonah and the
Vicarious Nature of Homesickness", romance y ciencia ficcin en la que el joven Jons
abandona su familia para deslizarse a travs del espacio exterior. Produce Anna Wendt
Filmproduktion. Dos das despus, el 18 de julio y en Dubln, dar comienzo el rodaje de
"Hum", de Rebecca Daly, que ser distribuido por Lichtblick Media.

El 1 de agosto comenzar el rodaje de la tercera produccin, esta vez a cargo del


colombiano Juan Daz B. y "By Night". La romntica historia de Martn y Camila y el
maravilloso universo paralelo que crean para vivir sus vidas ser producido por Knudsen
und Streuber Filmproduktion.

Con las ayudas financieras de Medienboard berlin-Brandenburg, estod cortos sern


mostrados al pblico antes de final de ao en salas. De entre todos los rodados, los cinco
finalistas sern estrenados durante la prxima Berlinle 2010, en la Brlianle Talent Campus,
que se desarrollar del 13 al 18 de febrero del ao prximo. Un jurado del que se
desconocen todava sus componentes elegirn el cortometraje premiado con el Berlin
Today Award.
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Sergi Portabella, nacido en 1980, ha sido cmara de "Tet Montoli, una mirada" (2007), de
Pere Pons y de "Calvario" (2002), de Javier Asenjo. Tambin ha sido director de fotografa
de "Mola ser malo" (2005), de lam Raja y con Fernando Ramallo. Y de "Diminutos del
calvario", una serie de doce cortometrajes.Y ha sido corresponsable del guin y director de
"Requiem" (2004).
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Cineytele.com
18.02.2010

NoticiasCine FESTIVALES, MERCADOS Y PREMIOS


Berlinale Talent Campus lanza un nuevo sitio web para los nuevos crticos de
cine
Berlinale Talent Campus ha anunciado el lanzamiento de un nuevo portal de
de Internet dedicado a los nuevos crticos de cine internacionales:
www.talentpress.org. Este nuevo portal est abierto a los jvenes crticos de
cine que son o han sido participantes en el programa de talentos del
programa Berlinale Talent Campus.

Los crticos podrn publicar sus comentarios sobre


pelculas y festivales de cualquier parte del mundo
durante un ao. 'Este sitio web ofrecer un foro donde
jvenes y talentosos periodistas internacionales
especializados en cine pueden publicar sus opiniones
independientes sobre los ltimos descubrimientos del
cine internacional', han declarado los directores del
campus, Christine Trstrum y Matthijs Wouter Knol.

El programa Talent Press es, desde 2004, uno de las oportunidades de formacin
que ofrece este campus, asociado al Festival Internacional de Cine de Berln. El
programa invita a ocho periodistas de cine en ciernes al certamen y les ofrece
una visin particularmente intensa del funcionamiento de un festival
internacional de cine.
Durante la semana de celebracin del campus, son guiados por crticos de cine
con experiencia, como Dana Linssen, Stephanie Zacharek, Chris Fujiwara y Derek
Malcolm. Sus artculos y comentarios son publicados a travs de la web
www.talentpress.org, de la web del Instituto Goethe (www.goethe.de) y de la
Fipresci (www.fipresci.org). Adems, algunos de los artculos son seleccionados
para su publicacin en la edicin especial de la revista 'The Hollywood Reporter'.
El programa Talent Press ha tenido el suficiente xito como para ser imitado
ahora por otra iniciativa similar, que tiene lugar en el Festival Internacional de
Cine de Guadalajara (Mjico). Por primera vez, el certamen acoger un
programa de talentos entre los jvenes periodistas iberoamericanos entre los
das 11 y 15 de marzo de 2010. Los trabajos que se produzcan en el certamen
mejicano tambin se podrn consultar en la pgina recientemente inaugurada.
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Dear Cinema
14.02.2010

Berlin Today Award to Bryn Chainey from Australia news

In the ongoing 60th Berlinale, the seventh Berlin


Today Award went to Bryn Chainey from Australia
for the film Jonah and the Vicarious Nature of
Homesickness. The romantic science fiction tells the
story of Jonah, who left his family and blasted-off in
a homemade spaceship. The Jury was impressed by
the "the truly creative inventiveness of this film.

The award was presented to the short film


competition winner by Medienboard's managing
director Kirsten Niehuus together with the three
jury members Heike Makatsch, Stephen Daldry and
Peter Rommel. A public screening of the Berlin
Today Award short films will take place during the
Berlinale Kinotag. The Berlin Today Award is the
Talent Short Film Competition of the Berlinale
Talent Campus and is supported by the Medienboard Berlin-Brandenburg.
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Dear Cinema
09.02.2010

India at 60th Berlinale: Of Hope and Promise

By Nandita Dutta

All those attending the 60th edition of


the Berlin International Film Festival
from February 11-21 will get a good
deal of Indian Cinema this year. From
Culinary cinema to Forum Expanded,
Indian presence can be felt almost
everywhere. It is a major shift from
Berlinale 2009 when Indian presence in
the festival was marked by only a short
film Wagah by Supriyo Sen. Two days for
the festival to begin, Dearcinema gives
you an account of India at Berlinale this year:

The Generation 14plus competition of the Berlinale will open with Dev Benegals
Road, Movie. In this moving homage to the mobile cinema culture of India starring
Abhay Deol and Tanishtha Chatterjee, the director pays tribute to the place where
screen, light and audience come together in a magical event. Umesh Kulkarnis
Vihir will also be screened under Generation 14plus section. Vihir is the story of
two adolescent boys who are cousins and best friends standing on the cross roads of
life. Generation is a special section for children and youth in Berlinale in which
extraordinary short and feature-length films are presented in two competitions,
Kplus and 14plus.

Laxmikant Shetgaonkars The Man Beyond the Bridge has made it to the
competition for the Best First Feature Film Award wherein Debut feature films
from various sections compete. The prize money consists of 50,000 Euros which is
distributed between the Director and the Producer.

Delhi based filmmaker Anusha Rizvis debut feature film Peepli Live will be
screened as a part of Berlinale Special in the 60th edition of the festival. The
Berlinale Special is part of the festivals official programme and presents recent
works by contemporary filmmakers and re-screens historical works.
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The Panorama section of the Berlinale will screen Kaushik Gangulys Just Another
Love Story, a film in which noted Bengali director Rituparno Ghosh plays a gay
filmmaker. Rituparno Ghoshs character is called Abhiroop Sen in the film, who is a
documentary filmmaker from Delhi. He is in love with the DoP of the film. The film
tells the story of making of a documentary film on the celebrated Jatra actor
Chapal Chaduri, who plays himself in the film. Ritu also plays the role of young
Chapal Bhaduri.

Another milestone for Indian Cinema will be achieved with the screening of Shyam
Benegals Manthan based on the White Revolution in Gujarat in the 4th Culinary
Cinema. In The Food For Love is the motto of Culinary Cinema which will screen
eleven films revolving around the relationship between food and love, nature, and
the environment.

Karan Johars My Name is Khan starring Shahrukh Khan and Kajol will also be
screened Out of Competition in the festival.

Apart from the screenings, Cinema City, an installation project initiated by


Indian filmmaker, curator and activist Madhusree Dutta will be on display in several
cinema foyers under Forum Expanded at the 60th edition of the Berlinale this
year. It explores the questions about the relationship between urban space and
cinema. Forum Expanded is a programme that explores the intersections between
film and other arts.

Thats not all. 5 Indians are a part of Berlianle Talent Campus which is a six day
creative summit for upcoming film makers. Siddharth Mathawan ( Production
Designer/Art Director), Megha Lakhani Desai (Director), Sankhajit Biswas (Film
Editor), Thomas Jacob (Director) and Kartik Nair (Film Critic) will participate in
Berlinale Talent Campus which will be held from February 13-18.

As an action packed Berlinale marks the beginning of the year 2010, we hope Indian
Cinema goes places this year!
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Derstandard.at
03.11.2009

Stephen Daldry bernimmt Jury-Vorsitz

Der Regisseur ist Wettbewerbsteilnehmer der vergangenen Berlinale - Fnf Kurzfilme sind beim
Today Award im Rennen um den Preis

Berlin - Regisseur Stephen Daldry ("Der Vorleser") bernimmt bei der 60. Berlinale
den Juryvorsitz beim Berlin Today Award. Bei dem Preis des Talent-Campus gehen
fnf Kurzfilme ins Rennen, teilten die Internationalen Filmfestspiele Berlin (11. bis
21. Februar 2010) am Dienstag mit. Mit rund 4.800 Bewerbungen aus 145 Lndern
verzeichnete der Nachwuchs-Campus einen Rekord. 350 junge Filmschaffende
werden ausgewhlt.

Der Talent-Campus im Theater Hebbel am Ufer mit Diskussionen, Workshops und


Filmvorfhrungen gilt als Sprungbrett fr den Nachwuchs. Daldrys
Bestselleradaption "Der Vorleser" mit Kate Winslet und David Kross lief bei der
Berlinale 2009 im Wettbewerb. (APA)
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Diariodigital.sapo.pt
24.02.2010

Berlinale: Portugueses perdem ingenuidade no Talent Campus

Os portugueses selecionados para o Berlinale Talent Campus enalteceram a


experincia de aprendizagem com numerosos consagrados do mundo do
cinema, margem do Festival de Berlim, mas ficaram a saber que a Stima Arte
sobretudo uma indstria.

Perdi todas a ingenuidade aqui, acho que o cinema a stima indstria, e


tambm pode ser uma arte, mas no o contrrio, disse Lusa Miguel Clara
Vasconcelos, interpretando o sentir geral.

Para o Talent Campus 2010 foram selecionados este ano cinco portugueses, entre
perto de cinco mil candidatos de todo o mundo.

Dirio Digital / Lusa


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Dohatribecafilm.com
16.02.2010

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Dohatribecafilm.com
15.02.2010

Berlinale Blog: The Berlinale Talent Campus

Berlin has Film Fever. The noise and fury of film


deals, premieres and networking is a sight to
behold!

I've been to lots of film festivals around the world,


but I never get used to their hectic pace and nonstop activity. You don't need to
drink coffee here; you can just drink the adrenaline straight out of the air.

As I'm closely involved in creating the DTFF Film Education Programme this year,
my main interest at Berlinale is the Talent Campus. It's one of the best film training
forums in the world, with 350 carefully selected talents from 95 countries taking
part. From February 14th - 18th they come together in Berlin for an intensive 6 day
series of workshops covering every aspect of the film industry.

Today and tomorrow we'll be chasing 8 Arab Filmmakers to ask them about their
Talent Campus experiences. Pinning them down for an interview is easier said than
done: they work in to the night with leading experts from the industry and barely
have time to eat or sleep. Catching them between workshops long enough to stop
and talk is tricky, but we've managed to track down 5 out of the 8 Arab filmmakers.

We'll be heading over to the Talent Campus shortly. But first, we're shooting an
interview with Japanese director Sabu (no second names darling, I'm an artist!)
whose Manga cartoon-inspired Kaniksen has been wowing audiences here in Berlin.
As I type, he's 3 minutes away, better go! More from me tomorrow after I've
investigated the Berlinale Talent Campus and met the filmmakers of the future.

Ben Robinson - Education Programmer


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DW-world.de
22.02.2010

Best of Berlinale Talent campus # 8


Six intensive days of cross-cultural exchange through every discipline of
filmmaking. What a week. We got to know the secrets of famous filmmakers like
british filmmaker Stephen Daldry (three-time oscar nominee THE READER, THE
HOURS, BILLY ELLIOT), we were listening to the mindsparkling stories of Academy
Award nominated film director Stephen Frears. We met bosnian screenwriter, artist
and director Jasmila Zbanic, german legendary Fassbender actress Hanna Schygulla
and so on. I could keep counting for ages...We really enjoyed this week and we are
sad to say good-bye. Join us with this years highlights of the Berlinale Talent
Campus #8!!!

Are You Ready for Your Close-up?


You're an actor. Or an actress. You know how to bring a character to life. But then
you arrive at a film set one fine morning for the first time. And suddenly, you are
kind of lost. There are so many technical details you have to keep in mind when
you play in front of a camera. "If we move the lights for only 5 inches", DOP Tom
Fhrmann explained to the participants of the Close-up acting workshop, "you
might look five years older or younger." Certainly something you would not want -
looking older that is. Fhrmann shared plenty of secrets with talents and gave them
crucial advise. So at this workshop actors were eager to pick up things they never
learned at drama school.

Shine & Dine


Delicious food, delightful company and one radiantly smiling director - that is Shine
& Dine. A dinner event where you might find yourself feasting on spicy seafood
next to directors such as Stephen Daldry or Tom Tykwer and actresses like Heike
Makatsch. Traditionally, the Dine & Shine also is the celebration ceremony for the
Berlin Today Award. Bryn Chainey for his short film JONAH AND THE VICARIOUS
NATURE OF HOMESICKNESS.

Claire Denis in the Limelight


Sixty one year old French director Claire Denis convinces the audience with her
honest and charismatic appearance. Films such as "Chocolat", "Nnette et Boni" and
"Beau travail" made her one of France's most important directors of all times. In
the limelight session she talks openly about her cooperation with cinematographer
Agns Godard and script writer Jean-Pol Fargeau. After the talk in HAU 1 she even
took the time to talk to talents. Claire Denis proved that she is not just a great
director but also a great personality.
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Be brave! - Kill your darlings!


What a day with Susan Korda! One whole lecture dedicated to explore the magic of
the editing room. If you listen to editor, director, writer and lecturer Susan Korda
(is there something that this faboulous woman cant do?), you surely get to know -
there is something magic about editing!!! "Forget thinking about continuity - just
feel the emotion!" That is only one of her good advices. Korda is long-time Campus
expert: she teaches at NYU Tisch school of arts. Even if you stick to your material
and dont know, how to find a way out: this woman will show you, how you can kill
your darlings and weave together the best material from a daunting excess of
footage! SPECIAL SESSION - she also gave her advice to one talent in an private
audience - what a chance!- So, lets cut!

Shooting Suspects - Documentary Filmmaking


This lecture was the most serious one so far. Laura Poitras, Fredrik Gertten and
Anat Zuria talk about the difficulties that a political documentary filmmaker has to
face. Gertten for instance has been sued by Dole for the film "Bananas". Laura
Poitras explains her faszination with her ambivalent protagonist who used to be Bin
Laden's bodyguard. Anat Zuria had to take precautions to protect the woman she
portrays in "Black Bus", a film that deals with the ultra-orthodox separation of men
and women in Israel.

Casting Internationally
"Does he or she infront of me interest me - or does he bore me?" Its a hard and
simple truth, that one of the most famous casting directors and producer of "The
Godfather" and "American Graffitti" reveals on stage. Hollywood producer Fred
Roos made it simple "It is a struggle. If you believe in yourself, than hang on to it
and study acting seriously as an art." Second day of the Campus was an encouring
start for young actors. The panel "Casting Internationally" was a relief for all those
young actors who desperately wonder: how do casting directors find actors abroad?
And how, when, why do they recognise me as an upcoming fresh talent on screen?
High professionals as famous German actress Heike Makatsch, US casting director
Lina Todd and German casting director Simone Br (Inglourious Basterds)gave a
deep inside on the secrets of how you'll make a director fall in love with you.

Master of Ceremony - it's Dieter Time


If you have not encountered one of these legendary moments with festival director
Dieter Kosslick, you have not fully experienced the Berlinale Talent Campus. Why?
It's hard to explain, really. There is only a few people who can make others smile
and laugh like Kosslick. At least as far as festival directors are concerned. Kosslick
is one of the reasons Hollywood stars flock to Berlin no matter how high the snow
and how frosty the air. And he's definetely worth a talent's while.
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Cinema Needs Talent


"Don't shoot on an oilrig." That is one of the many advices talents were inspired by
by director Isabel Coixet, one of Spain's leading ladies in film. This morning's
lecture focused on the topic: Cinema Needs Talent. And where else in the world
can one find such multitude of young talent and established big shots at once than
at the BTC? The panel at HAU 1 was one of excellency. Three-time Academy Award
nominated director Stephen Daldry of Great Britain confessed his secret of success:
He surrounds himself with people who are more experienced than himself. And
Daldry ties close knots with his favoured screen writer Sir David Hare whom he
involves in every step of the filmmaking process - from script wiriting to the editing
room. If you happen to be an actress you should try to tie close knots with Daldry -
your chances of winnng a golden boy (Academy Award) could not be higher! Talent
producers were thrilled by Mike Medavoy. The outstanding producer paved the way
to such landmark films as Apocalypse Now, Platoon, and Shutter Island. The latter
one of four films for which Medavoy worked with Martin Scorsese. Asked by a
talent, at what point he stops a director who goes way over budget, Medavoy
displayed a telling smile, took a breath and responded: "There are certain directors
I stay back and move out of the way. Marty [Scorsese] is one of them." And surely
Francis Ford Coppola plays in that league.
The final advice was however given by Isabel Coixet. She learned from painful
experience that the most talented people you can work with won't help you to
create a marvellous film if they are simply not nice. As a director you'll end up
screaming at them. And honestly, who would want that?

A Composers Dream continues


Next step of the score competition. Two days after the recording with renowned
Deutsches Filmorchester Babelsberg the three young composers have the chance to
edit and mix their final scores at the professional editing studio Waveline. But time
is runing short and all three of them are trembling: What a chance for Vladimir,
Alexander and Camillo - a very special guest is just about to arrive. Today the
three will meet one of the hottest names in Hollywood: two-time oscar-nominated
and Golden Globe Award-winning French film composer Alexandre Desplat is going
to have a look on their work! Half an hour in private with the famous tutor of this
year's score competition...join us in this very special moment!

Risks and side effects of Global Speed Matching


Did you ever talk to twenty like-minded individuals within one hour? No? Just join
the Berlinale Talent Campus Global Speed Matching. But be aware. Whenever the
bell rings it's time to move on in the row. No matter how well you got on with your
last counterpart. Side effects might include a dry mouth, dizziness and abrupt
exhaustion. But with twenty new business cards in your pocket an early
convalescence is forseeable. And if not, just call your new friends. They will cure
you.
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DW-world.net
22.02.2010

     


  
  

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DW-world.net
17.02.2010

Hrvatski talenti na Berlinale Talent Campusu


Berlinale Talent Campus svake godine okuplja mlade talente iz cijeloga svijeta

Na filmski festival u Berlin doputovala je i grupa mladih


talenata iz Hrvatske. U sklopu "Berlinale Talent Campusa"
posjeuju radionice, sklapaju kontakte s redateljima,
scenaristima i producentima iz cijelog svijeta.
U Talent Campus koji okuplja mlade talente, ove godine
primljena je i 28-godinja Bojana Burna iz Zagreba. Burna
je studirala filmsko i televizijsko snimanje na Akademiji dramske umjetnosti u Zagrebu, a
posljednjih godina radila je nekoliko kratkih i dugometranih igranih filmova. U okviru
Talent Campusa posjeuje radionicu koja se sastoji od nekoliko lanova, a predavanja im
dri direktor fotografije i iskusni snimatelj Stefan Koubek. On je, izmeu ostalog,
proslavljen i po snimcima iz filma Antikrist.
Burna govori o svojim dosadanjim utiscima: Ono to je meni najdragocjenije je
injenica da mogu raditi na sebi. Primjeujem razlike izmeu sebe i drugih ljudi, izmeu
mog znanja i znanja drugih sudionika. Upoznajem velika imena, a to je najbolje iskustvo.
Grupa je mala, imamo privatnu komunikaciju i na vrlo izravan nain mogu osjetiti koje su
razlike to se tie znanja izmeu snimatelja u Zagrebu ili Hrvatskoj i svjetskih snimatelja
kao to je Koubek. Nastojim popunjavati ta prazna polja koja imam.

Prvo euforija, a to poslije?!


Bojana Brna

Sudjelovanje na Berlinale Talent Campusu jedno je osobno iskustvo,


kae Burna. No ne zna koliko je to uope vano za hrvatsku filmsku
scenu, jer su ope vrijednosti poremeene. Jo je mnogo onih koji
smatraju da su nagrade na festivalima i natjeajima namjetene,
pria mlada djevojka. Na Talent Campus se prijavila kako bi upoznala
mnogo ljudi iz razliitih zemalja, te kako bi ula njihove prie i
iskustva. Ideja Talent Campusa mi se veoma svia, povezivanje mladih ljudi kako bi se
spojili u neku meunarodnu suradnju. No ne vjerujem da e se takvo to dogoditi. Tijekom
ovog tjedna svi smo hiperaktivni, svi smo pozitivni, svi bi mnogo priali jedni s drugima.
Poznavajui ljude, nakon tjedan dana, kada se svatko vrati u svoju zemlju i grad, mislim
da emo se vratiti i u svoju lijenost, smatra Burni.
Na Berlinale Talent Campusu svake godine sudjeluje 350 mladih talenta iz 95 zemalja.

Autorica: Selma Filipovi, Berlin, Odg. urednica: Marijana Ljubii


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DW-world.net
15.02.2010

INSPIRED MINDS
One-to-one with film historian and author Peter Cowie

Peter Cowie - for the 60th anniversary presented his new book The Berlinale - The Festival

Peter Cowie is the former international publishing


director of Variety and the founder of the
International Film Guide. He has also been working
with the Berlinale Talent Campus since it was
established.

Educated at Cambridge, Peter Cowie began writing about film in the early sixties.
He has contributed to many of the world's leading newspapers and periodicals,
including the New York Times and Londons Sunday Times. Other aspects of his
work include a great interest in Scandinavian cinema and in the work of American
film directors as diverse as Francis Ford Coppola, Orson Wells and John Ford.
Peter Cowie this week talks to Breandin OShea about his road to film, his
encounters with of the 20 centurys great filmmakers and what he feels makes
European films so distinctive.
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Dw-world.net
08.02.2009

IN FOCUS My Wall
My Wall - The 2009 Berlin Today Award

Five young film makers from the Berlinale film


festival's Talent Campus produce five short subjects on
the theme of "my wall". Sabine El Chamaa's
"Promenade" follows the fortunes of a woman who
rebuilds a home for herself inside the walls of her
ruined house. Gina Abatemarco made hers a
documentary, in which the wall offers protection
against the violence of nature. Supriyo Sen chronicles a quirky ritual on the
Pakistani-Indian border. Markus Dietrich gives us his take on what really happened
the night the Berlin Wall fell in 1989. For his film, director Paul Cotter had the
Berlin Wall put back up again. And DW-TV gives us a peek behind the scenes of all
five shoots.
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Eleconomista.es
20.02.2010

Berlinale: un hervidero de creatividad del nuevo cine mundial


20/02/2010 - 11:58

Realizadores mundialmente conocidos como el britnico Stephen Frears, la francesa Claire


Denis o el japons Yoji Yamada compartieron su experiencia con jvenes directores de 95
pases en talleres y encuentros organizados durante la 60 Berlinale, que termina en la
noche del sbado con la atribucin del Oso de Oro a la mejor pelcula.

Aun cuando en el concurso oficial la Berlinale suele invitar a grandes realizadores --este
ao Martin Scorsese, el chino Wang Quan'an o Roman Polanski, ausente por sus problemas
judiciales-- el festival de cine alemn es una "verdadera plataforma para los jvenes
cineastas del mundo entero", como lo dijo el presidente del jurado, Werner Herzog.

El actor, director y productor mexicano Gael Garca Bernal, quien lleg a Berln con otros
nueve realizadores del filme colectivo "Revolucin", aadi: "el apoyo de los profesionales
es esencial para realizar nuestras pelculas. Ellos nos ayudarn a decir lo que tenemos que
decir".

La brasilea Zita Carvalhosa, presidenta del jurado de cortometrajes --el Oso de Oro en
esta seccin fue otorgado el mircoles al joven sueco Ruben Ostlund-- destac "la
incesante creatividad que se percibe en el mundo de los jvenes cineastas. Hay una gran
esperanza de renovacin".

El cortometraje de Ostlund reconstruye, desde el punto de vista de unos testigos en la


calle, que filman con sus telfonos mviles, el fallido intento de un asalto a un banco en
Estocolmo.

Zita Carvalhosa explic porqu se haba premiado este cortometraje: "esta pelcula es una
verdadera reflexin sobre nuestra poca y el papel que desempean los medios de
comunicacin. Filmada con una nica cmara, en un solo plano-secuencia. Los dilogos son
perfectos y con mucho humor".

En la seccin Talent Campus 350 jvenes realizadores de 95 pases tuvieron durante la


Berlinale la oportunidad nica de encontrarse entre ellos y de establecer contactos con
personalidades de la industria del cine.

Uno de estos audaces jvenes, al mismo tiempo periodista, ofreci "en directo" durante
una rueda de prensa a uno de los productores de la pelcula "Shutter Island", de Scorsese,
Mike Medavoy, su talento y el guin "de una historia de terror" que ya tiene terminado.
Medavoy le respondi: "djeme su tarjeta".
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"Hacer una pelcula es algo que concierne a varias personas. Hay que trabajar en equipo.
Es algo que tiene que ver con la generosidad, con aceptar estar hombro a hombro
dignamente al lado de otras personas", enfatiz Medavoy.

Ms de 100 eventos fueron organizados durante los diez das del festival berlins con unos
150 invitados y expertos internacionales. Durante talleres, conferencias magistrales y
sesiones de trabajo discutieron los diferentes aspectos de la profesin bajo el ttulo
general "El cine necesita talento - Buscamos la gente adecuada".

Claire Denis (Chocolate), el diseador de produccin de varias pelculas de James Bond, Sir
Ken Adam, el director de fotografa Christian Berger (La cinta blanca, de Michael Haneke),
la bosnia Jasmila Zbanic (En el camino) y Yoji Yamada (Otuto, pelcula que clausur el
festival), entre otros, compartieron su experiencia con la prxima generacin de cineastas.

El director de pelculas de aninacin Merlin Crossingham (Chicken Run) recomend por su


lado a los jvenes "tener pasin, echar hacia adelante, y no olvidar mirar con atencin el
mundo a su alrededor. Eso es lo que necesitan esencialmente".

jo/it
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English.news.cn
17.02.2010

New trends in filmmaking -- buzz on 3D, new media at Berlin Film Festival

by Tracey Gudwin

BERLIN, Feb. 16 (Xinhua) -- "Avatar," James Cameron's 3D film, is either a dirty


word or a rebirth for cinema, depending on which filmmaker who will talk to you
at this year's Berlin Film Festival.

The festival, or Berlinale, celebrates its 60th birthday with old cinema friends,
like Fritz Lang's 1927 classic "Metropolis" and some newcomers, like Yuen Woo-
ping's martial art flick "True Legend" in 3D.

The future of cinema and moviemaking comes at a crucial point in history as the
financial crisis of last year continues to linger and begs to ask the question of what
will bring more people to the movies?

"If there is a 3D film we like, of course we will screen it. But it will not change the
festival," Festival Director Dieter Kosslick told Xinhua.

This year over 400 films are playing at the festival, 11 of those will be screened in
3D.

Stereoscopic photography, or 3D, first made its way into the public with the
Lumiere Brothers' film "The Arrival of A Train" in the early 1900's. The 3D
photography uses special cameras to record two perspectives (left eye and right
eye) to create the depth illusion of a three-dimensional image.

"We saw it coming last year," Bekki Probst, head of the European Film Market
(EFM), told Xinhua. This year's EFM has newly assigned viewing rooms at the Astor
Lounge to accommodate sales agents showing their films in 3D.

Robert Ross, a U.S. film buyer, told Xinhua that the technical innovation had not
yet reached his genre. "I think right now it's a niche market, but anything that
brings people to the market, whether it's Blue Ray or 3D, is a positive change."

Julian Pinn, director of Distribution Services at DOLBY, who was involved in the
world premiere of Cameron's "Avatar," explained why 3D was a financially viable
solution for producers and theater owners.

"3D has around three times the box office potential as 2D... People are more
inclined to see a movie in 3D and more willing to spend the extra money."

When it comes to budgeting for a film, story telling also contributes a great deal
to the decision of how to shoot your project.

"3D has to be able to work in a story based atmosphere," said Max Penner, the
stereographer of Europe's first live action 3D movie "Street Dance."
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A clip of the film "Street Dance," which centers on a group of street dancers in a
dance competition, was shown recently at the festival to an audience of young
cinema enthusiasts.

Joachin De Smedt, a Belgian filmmaker, attended the "Street Dance" lecture


because he was developing his own 3D feature.

"People will go to see a film just because it's in 3D, but I don't think an intimate
French story needs the technology to come alive," he told Xinhua.

Beyond cinema, television and DVD, new media forms such as social networking
websites are shaping how young directors transmit their narrative stories.

"Young filmmakers are used to thinking in multi-platform ways," said Matthijs Knol,
program manager of the Berlin Talent Campus.

French Internet director, Alexandre Brachet, who runs the web documentary "Gaza
Sdreot," spoke to the Berlin Talent Campus about using social networking, gaming,
mobile applications to generate online audience participation.

Brachet's documentary project, "Gaza Sdreot," tells the simultaneous tale of life
on both sides of the Palestinian and Israeli border, in Gaza (Palestine) and Sdreot
(Israel). Online, viewers can choose to interactively flip between the characters on
both sides of the border and comment.

This year's Berlinale is a true indication that the motion picture industry has
arrived at a media crossroad.

"We are all on Facebook, Myspace and cellphones," said Berlin Talent Campus
Program Manager Knol. "It's not that people have to use 35mm film to be
recognized as filmmakers anymore."
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Georgia Today
04.12.2009

Issue #488
04.12.09 - 10.12.09

Giorgi Mrevlishvilis Reflections to be screened at Berlinale

Young filmmaker Giorgi


Mrevlishvilis newest
documentary, Anarekli
(Reflections), will be screened at
the upcoming sixtieth annual
Berlinale. The German-Georgian
co-production has been
nominated for Berlin Today
Awards, beating out tough
competition of about 250
international entries. The 10-
minute documentary features
the local population of the
mountain region of Svaneti in the
process of film viewing.

According to filmmaker Mrevlishvili, the emotions and the inner nature of


humans are reflected upon the faces of the spectators when they watch a
film the moments of this sincerity when in touch with the art of moving
pictures have been the major focus of the film. The reflections of the film
upon the viewer and the reflections of the spectators inner self on film
recorded by the camera seem to reveal more about the viewer and the film
medium than one might expect.

The population of the remote Ushguli village was invited to see three well-
known Georgian short films: Record, Kvevri and Serenade, which
turned out to be quite an experience both for younger viewers, who had
never had a chance of seeing the films before, and for older viewers, who
knew a lot about the films. Mrevlishvili stressed the importance of public
viewings because he thinks filmmaking is in the first place a way to find ones
own self.

The public was welcoming and excited to watch films in the open, and was
eager to discuss the films after the show, Mrevlishvili said.

Several other contemporary filmmakers have explored Mrevlishvilis current


theme of viewing and being viewed. For example, Iranian filmmaker Abbas
Kiarostamis recent work showed women watching Shakespeare. Kiarostami
said his film promises to reflect and to reveal not only the inner nature of the
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spectator but of the film medium itself, exposing its potential to influence
the viewer and its viability to compete against the rivaling media of TV and
the Internet.

For Mrevlishivili, who previously studied journalism at Tbilisi State University,


film is the medium that has the ability to enrich and alter an individual, to
search for an alter ego. He said the documentary film genre allows him to get
a closer look at his contemporaries and at the processes that take place in his
country.

The remote region of Svaneti was purposefully chosen as the location for the
film in order to explore changes developing in Georgia as a result of recent
events. For example, globalization, the development of tourism and waning
population due to unemployment have all taken their toll on the region,
which is famous for its centuries-long history of disobedience, revolt, high
crime and cultural traditions.

Svaneti, often considered a museum under the open skies, is gradually


becoming a tourist attraction with Svanetians increasingly engaged in the
hotel industry and small business. The village of Ushguli, where the film was
actually shot, is situated more than 2,200 meters above sea level and once
was one of the most densely populated rural districts in Europe.

Mrevlishivili contrasts the history of the region with Svanetis push to adapt
itself to the market economy in spite of natural or economic challenges.
Severe conditions have for centuries formed the tough character of
Svanetians, both proud of their homeland and resistant to any changes, he
added.

It is not accidental that Mrevlishivili chose the region of Svaneti and its
population as an object of artistic reflection in the epoch of drastic
innovations after the fall of the Soviet rule. Back in the 1920s filmmaker
Michail Kalatozishvili created an emotionally charged portrayal of Svaneti and
its people in his film Jimshuante (The Salt of Svaneti) that reflected the
changes within the society as a result of the influence of the Communist
regime.

How current changes in the country reflect upon Svaneti and its population
today and how these changes are reflected in the film medium remains to be
seen at the festival screening of Mrevlishvilis documentary at the sixtieth
annual Berlinale from Feb. 11-21.

Story by Lily Khositashvili


4.12.2009
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German News
01/2009
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German News
02/2009
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German Information Centre Pretoria
16.02.2010

Berlinale Talent Campus attracts the Right People

Berlinale Talent Campus 2010 begins

Festival Director Dieter Kosslick, together with the heads of the Campus, Matthijs Wouter
Knol and Christine Trstrum, director Isabel Coixet and film composer Alexandre Desplat,
opened the Berlinale Talent Campus 2010 on Saturday evening (February 13) in the Theater
Hebbel am Ufer. As part of the ceremony, the five films competing for the Berlin Today
award were screened.

Until February 18, 350 Talents from 95 countries will meet with renowned international
experts at the Hebbel am Ufer for countless workshops, master classes and panels, and to
exchange views and experiences on a wide array of filmmaking topics related to this year's
Campus motto "Cinema Needs Talent: Looking for the Right People". For these
approximately 600 guests, the event's climax was the world premiere of the five Berlin
Today Award nominated short films. The Talent Campus Short Film Competition which
addresses this year the theme "Straight to Cinema" is supported by the Medienboard Berlin-
Brandenburg.

Participants for the Berlin Talent Campus come from all


over the globe. This year alone over 4700 applications from
145 countries were received for the limited spaces. Africa is
well represented for this 8th Talent Campus with 11 film
and sound artists from seven different nations. There are
nine directors, producers or screenwriters taking part from
Mozambique, Kenya, Nigeria, South Africa, Ghana and
Zambia, one composer from Kenya and a film critic from
South Africa.

The Talent Campus is an exceptional opportunity both for


exposure to film professionals, but also to an extraordinary
mix of personalities and talents from diverse cultures.
Numerous graduates go on to produce award-winning
films and sustain successful careers in the film industry. The
GIC has profiles of African participants from two previous
campuses (see links below), and one of them, Carol Kamya,
had the world premier of her first feature-length film Imani this weekend (February 12-
14) at the Berlinale itself.

Berlin Today Award 2010: And the winner is


The Berlin Today Award 2010 was awarded on Sunday evening (February 14) during the
festive "Dine & Shine Talents Rendezvous". After a welcome by the German Commissioner
for Culture and the Media Mr. Bernd Neumann, and Festival Director Dieter Kosslick, the
award was presented to the short film competition winner by Medienboard's Managing
Director Kirsten Niehuus together with the three jury members Heike Makatsch, Stephen
Daldry and Peter Rommel.
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The seventh Berlin Today Award went to Bryn Chainey


from Australia for the film Jonah and the Vicarious
Nature of Homesickness. The romantic science
fiction tells the story of Jonah, who left his family
and blasted-off in a home-made spaceship. The Jury
was impressed by the "the truly creative inventiveness
of this film. We are [] curious about what this
talented filmmaker will come up with next".

Soon after the Berlinale 2010 comes to a close, the


five finalists for the Berlin Today Award 2011 will be
announced. Their short film ideas will be realised in
collaboration with five production companies and address the theme "You are Leaving the
Familiar Sector".

( Berlinale)

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a
business division of the Kulturveranstaltungen des Bundes in Berlin GmbH, funded by the
Federal Commissioner for Culture and the Media upon a decision of the German Bundestag,
in co-operation with MEDIA - Training programme of the European Union, Medienboard
Berlin-Brandenburg as well as Skillset and UK Film Council. The German Foreign Office also
supports the Talent Campus and the Berlinale World Cinema Fund, which aims to support
films from key regions like Africa and introduce them to a German audience.
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Globo.com
15.02.2010

Jovens promessas do cinema se renem em evento em Berlim


Da EFE

Berlim, 14 fev (EFE).- A capital alem recebe, durante esta semana, cerca de 350 jovens
promessas do cinema internacional, de mais de 100 pases, que participam da oitava
edio do Talent Campus.

O evento, que acontece no Teatro "Hebbel am Ufer", em paralelo ao Festival de Berlim,


serve como ponto jovens talentos que comeam a despontar em alguma tcnica
cinematogrfica em seus respectivos pases.

Diretores, produtores e diretores de fotografia, entre outros, se renem a cada ano para
mostrar suas criaes, debater, e participar de oficinas e conferncias.

Para poder participar, os talentos devem preencher previamente um formulrio e remet-


lo organizao, junto com uma mostra de seu trabalho audiovisual.

Como frum de discusso alternativa no Festival de Berlim, para todas estas promessas
trata-se de uma oportunidade nica para entrar no mercado da stima arte, em uma
edio na qual tema central de todos os debates "Straight to Cinema" ("Direto ao
Cinema").

Alm disso, o Talent Campus conta com o prmio "Berlim Today Award", que escolhe o
melhor curta entre todos os enviados.

Outro dos pontos fortes do Talent Campus so os discursos de profissionais consagrados,


que dividem conferncias sobre temas concretos da atualidade cinematogrfica.

O Talent Campus se estendeu tambm por outras cidades do mundo, como Sarajevo,
Dlhi e Buenos Aires. EFE
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Goethe-Institut Kolkata
April / May 2009
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Guide2croatia.net
24.01.2010

Croatian Film at the European Film Market


Description:

Croatian Audiovisual Center will have its own exhibition space as a part of the
European Film Market. The European Film market will be held as a part of the
Berlin International Film Festival and will star on February 12th. The Croatian
exhibition is set to promote the new Croatian film production. The European Film
Market is a major industry meeting point for the international film industry. Croatia
is honored to be one of the 130 countries which will participate in this famous film
trade fair. As a part of the fair, Croatia will organize promotional screening of four
Croatian films: Blizine by Zdravka Mustaa, Vjerujem u Anele by Nika Svilii,
Ljubavni ivot domobrana by Pave Markovi and Croatian Shots 2009, a selection of
recent short film production.

The 8th Berlinale Talent Campus will be held from 13th to 18th February also as a
part of Berlinale. The Berlinale Talent Campus is a weeklong series of lectures and
workshops which gathers talented actors, producers, editors and other filmmakers
from around the world with the purpose of networking young film professionals.
This year, Berlinale Talent Campus will host Croatian filmmakers. Filmmakers who
will attend the Talent Campus are: Romina Vatusi actor, Tiha Gudac producer,
Dario Jurian director and Martin Semeni, sound designer and composer

Attending the European Film Market and Talent Campus will be a good opportunity
for young filmmakers to show their abilities and achievements to the whole world.
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Happyfish.ro
03.02.2010

Film , 03.02.2010 - 12:58


inapoi la STIRI

Paul Negoescu, invitat la Berlinale Talent Campus


n cadrul festivalului de film de la Berlin, pe data de 15 februarie, Paul
Negoescu va fi invitatul unui panel discussion din Berlinale Talent Campus

Va dezbate, mpreun cu regizorul Paul Wright, soarta filmului de scurtmetraj,


schimbrile datorate noilor tehnologii i despre cum un concept vizual poate fi
transformat ntr-un scurtmetraj. Conferina va fi moderat de Maike Mia
Hoehne, curatoarea seciunii Berlinale Shorts.
Cei doi regizori au fiecare un scurtmetraj n competiia acestei ediii a
Berlinalei.
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Hollywoodreporter.com
20.02.2010

Camilo Sanabria wins score competition


Alexander Komlew places second

By Scott Roxborough

Columbian composer Camilo Sanabria has won the Score Competition at this year's
Berlinale Talent Campus.

Sanabira won for his imaginative re-scoring of David O'Reilly's short"Please Say
Something," last year's short film Golden Bear winner. The young Columbian
composer wins a week-long trip to Los Angeles to work in some of Hollywood's best
sound studios.

Second prize-winner Alexander Komlew of Germany wins a recording session with


the German Film Orchestra at Studio Babelsberg.
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Hollywoodreporter.com
15.02.2010

Students make pitches at Berlin talent market


Three scripts out of record 267 submissions to receive award

By Kartik Nair
Feb 15, 2010, 04:58 PM ET

BERLIN -- Laura Astorga from Costa Rica was given five minutes to make a pitch for
"Princesas Rojas," a feature-length film about the vagaries of a revolutionary
family's fortunes under the shadow of Nicaragua's Sandinista Revolution. Astorga's is
one of three projects in the spotlight at this year's Talent Project Market, a
collaborative interface that provides up-and-coming filmmakers from the Berlinale
Talent Campus the opportunity to meet seasoned film financiers from the Berlinale
Co-Production Market.

Three scripts, screened from a record 267 submissions, receive an award from the
VFF (German Collecting Society for Inhouse and Commissioned Production of Film
and TV Programs) and the chance to conduct a formal pitch at the Talent Highlight
Pitch.

"My Sweet Euthanasia," from the Israeli writer-director team of Sharon Maymon and
Tal Granit, is a dark comedy set in a Jerusalem retirement home, the residents of
which invent a self-euthanasia device. The pitch by Sri Lankan-born English
filmmaker Asitha Ameresekere for "Kin," a feature-length sequel to a short film he
made, tells the story of a mother who sends videotaped messages to her son
serving in Iraq, and continues to do so even after being informed of his death.

Kirtak Nair, from India, is a participant of Talent Press, a training program of the
Berlinale Talent Campus.
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Hollywoodreporter.com
30.11.2009

Monday, Nov. 30, 2009


Regional news Sponsored by:
BMW is new sponsor of Berlin film festival

Susan Boyle's debut breaks U.K. chart record

Ottawa seeking input on retransmission fees

TOP STORIES
Kerry Fox to mentor Berlinale Talent Campus
COLOGNE, Germany -- New Zealand actress Kerry Fox ("Bright Star,"
"Storm") will act as a mentor at next year's Berlinale Talent Campus, the
five-day film school that runs Feb. 13-18 during the Berlin International
Film Festival.

French Rendez-Vous set for Mumbai


NEW DELHI -- The second Rendez-Vous with French Cinema in India
will be held December 2-6 in Mumbai featuring eight French films,
including a restored version of Jean-Luc Godards classic Pierrot le
Fou."

Roman Polanski's release delayed


ZURICH -- Swiss authorities will not release Roman Polanski into house
arrest at his luxury Alpine chalet for a few more days, the French consul
said Monday.
World page
Home page
FILM
Alternative cinema content to pass $500 mil
LONDON -- Alternative content in theaters is set to become a money-
spinner worth more than $500 million globally by 2014 according to a
report Monday. AWARDS WATCH: Three of this year's
Michael Jackson doc gets DVD release date Golden Globes contenders haven't
LOS ANGELES -- Well, that's that: Sony's Michael Jackson
documentary "This Is It" has been set for release on DVD and Blu-ray even premiered yet, including
Disc on Jan. 26.
James Cameron's "Avatar."
'Breathless' takes top prize at Filmex
TOKYO -- Breathless, the debut feature from Koreas Yang Ik-june
took the 1 million yen ($11,500) Grand Prize and the Audience Award on Awards Watch: Foreign
the final day of the Tokyo Filmex festival on Sunday. language
This year's European foreign-
Film page language contenders faced
innumerable hurdles.
TV
Seven wins Australian ratings year
SYDNEY -- The Seven Network has won the Australian TV ratings
season for the third year in a row, but rival Nine Network has claimed
victory in the key 2554-year-old demographic after end of year ratings Monaco fest: Peace, love,
figures were released Sunday. movies
The Monaco International Film
Festival is fighting a war on
Canada pitches breakthrough TV comedies violence.
TORONTO -- After homemade dramas like "Flashpoint" cracked U.S.
network schedules, indie producers are readying Canadian-originated
sitcoms for primetime.

Ottawa seeking input on retransmission fees


TORONTO -- Canadian TV viewers are not just deciding who wins or
loses on popular local reality TV series such as "Battle of the Blades"
and "So You Think You Can Dance Canada."
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Television page
Int'l treaties: Follow the
money
The funds are out there, but
INTERNATIONAL BOXOFFICE wading through the myriad
details of international co-
Boxoffice charts production treaties is not for the
faint of heart.

France
Germany
Japan
FINANCE
Spain BMW to sponsor of Berlin film festival
United Kingdom COLOGNE, Germany -- BMW has signed on as a
main sponsor of the 60th Berlin International Film
Festival, replacing Volkswagen, who had pulled
out after years of providing cars for the festival and
its guests.
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Hollywoodreporter.com
30.11.2009

Kerry Fox to mentor Berlinale Talent Campus


Part of new acting programming called Talent Actors Stage

By Scott Roxborough

COLOGNE, Germany -- New Zealand actress Kerry Fox ("Bright Star," "Storm") will act as a
mentor at next year's Berlinale Talent Campus, the five-day film school that runs Feb. 13-
18 during the Berlin International Film Festival.

Fox will be part of a new acting programming called Talent Actors Stage, which will give
up-and-comers hands-on training in camera acting, dialogue and casting. Fox is no stranger
to Berlin, having won the Silver Bear for best actress in 2001 for Patrice Chereau's
"Intimacy." She was back in Berlin this year with Hans-Christian Schmid's competition entry
"Storm."
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Hollywoodreporter.com
03.11.2009

Stephen Daldry to chair Berlin Today jury


Composer Alexandre Desplat mentors Score competition

By Scott Roxborough

COLOGNE, Germany -- "The Reader" director Stephen Daldry will head the jury for
the 2010 Berlin Today Award, the short-film prize awarded at the start of the
Berlin Film Festival's Berlinale Talent Campus.

The three-time Oscar nominee will announce the winner of the 2010 Berlin Today
prize on Feb. 13. The Berlinale Talent Campus, a six-day mini-film school for up-
and-comers runs during the Berlin Festival.

French composer Alexandre Desplat, a two-time Oscar nominee (for "The Curious
Case of Benjamin Button" and "The Queen") also will be heading to Berlin this
winter, to mentor the festival's score competition. Three young composers will
compete to create the best new score for a short film, which they will all record
with Babelsberg's German Film Orchestra. The winner will be announced at the
Talent Campus closing ceremony.

Desplat is no stranger to Berlin. His score to Jacques Audiard's "The Beat My Heart
Skipped" won the Silver Bear for best music in 2005.

Talent Campus organizers said they have had a record 4,773 applications from 145
countries for next year's event, nearly a thousand more than for 2009. 350 young
filmmakers will be picked to attend event, which runs Feb. 13-18.

The 60th Berlin International Film Festival is set for Feb. 11-21.
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Indiewire.com
18.02.2010

Berlinale Talent Campus Ends, Names Score Winner

Filmmakers like Claire Denis, James Bond production designer Sir Ken Adam,
cinematographer Christian Berger (The White Ribbon), Stephen Frears, Jasmila
bani (Competition film On the Path) and Yoji Yamada (Berlinale closing night
film About her Brother) all mentored a new class of filmmakers from Mexico,
Africa, and Eastern Europe in the 2010 Berlinale Talent Campus. This years
campus, which focused on collaborative filmmaking, explored cross media, digital
storytelling, financing, distribution and 3D.

Filmmaking is something to do together. Its about being generous and accepting


the dignity of other people, Shutter Island producer Mike Medavoy enthused
during the opening panel. Actor, director and producer Gael Garca Bernal
added,The support of professionals is essential to our own filmmaking. They will
help you say what you want to say.

Camilo Sanabria of Colombia won the fests Score Competition, which was
structured around providing a score for Golden Bear short winner Please Say
Something by David OReilly. Sanabrias score passed the test of jury members
Klaus-Peter Beyer, Prof. Martin Steyer, Martin Todsharow, Connie Walther and this
years Score Competition mentor Alexandre Desplat (who composed the music for
Roman Polanskis Berlinale premiere The Ghost Writer).
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Indiewire.com
13.02.2010

Alexandre Desplat

Upon watching Roman Polanskis awesome thriller, The Ghost Writer, I was
reminded of a few things. The film itself is a satisfying experience, aided by a few
wonderful elements: brooding set design, sterling performances, and an evocative
musical score. The last of those three elements belongs to Alexandre Desplat. This
is a man who has captured the hearts and minds of film audiences over a short
period of time, as hes delivered diverse compositions that have elevated
otherwise tepid feature films (his score was the best thing about The Curious Case
of Benjamin Button). Thankfully, in the last year, Desplat has his name associated
with films that can leave him proud.

Hes deservedly nominated for an Oscar this year, for The Fantastic Mr. Fox.
Desplats score for Mr. Fox is similar to his work for Ghost Writer, wherein hes
unafraid to sample various instruments and arrangements in order to serve the
narrative of the film. His next score to see American cinemas, belongs to Jacques
Audiards upcoming prison drama, A Prophet. Its a busy time to be Alexandre
Desplat, and the man himself made a recent stop at the Berlin Film Festival (where
The Ghost Writer won Best Director for Polanski). Desplat spoke at the festival,
about his process, and The Hollywood Reporter has a recap:

Alexandre Desplat says he lost a year of his life in 2009. The French composer has
been working nonstop, delivering scores for films as diverse as Jacques Audiards
Oscar-nominated prison drama A Prophet to Twilight sequel New Moon to
Roman Polanskis The Ghost Writer to Wes Andersons animated feature
Fantastic Mr. Fox, which earned Desplat his third Oscar nomination.

Desplat is in Berlin mentoring up-and-coming filmmakers at the Berlinale Talent


Campus, where on Wednesday he will give a masterclass on composing for the
screen.

The main word or formula I would like to tell them is that movie soundtracks have
two axioms: function and fiction, Desplat told THR. And if there is too much of
one, the music goes into the wrong direction. There has to be function, because
music for film has to match and work with what is on screen. But if there is too
much function it becomes academic, boring. Fiction is there to bring action and
creativity. It is a very difficult balance.
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Indiewire.com
21.01.2010

Berlinale Sets Special Program & Talent Campus Panels

The Berlin International Film Festival has announced 22 films to screen as part of
the 2010 Berlinale Special program, including 12 world premieres. The program
presents recent works by contemporary filmmakers and re-screens historical works.
Titles this year include Fritz Langs Metropolis, and the world premieres of Doris
Drries (Cherry Blossoms) Die Friseuse (The Hairdresser) and Hans-Christoph
Blumenberg and Alfred Holighaus documentary Spur der Bren (Trace of the
Bears). For more information on the Berlinale Special program, visit the festivals
website.
In addition, the festival has also announced the schedule for its Berlinale Talent
Campus #8. The three panels are: Cinema Unlimited Intercontinental
Connections, which brings together four directors from different continents, The
Indie Filmmakers Guide to Cross Media, and In the Limelight: Claire Denis, in
which the director will discuss her work. Visit the festivals website for more on the
Berlin Talent Campus.
The 2010 Berlin International Film Festival takes place February 11 to 21.
indieWIRE has the complete list of previously announced competition films,
opening and closing films, and Panorama section titles.
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Internationalfilmguide.com
21.01.2010

Claire Denis to Attend the Berlinale Talent Campus

Acclaimed French filmmaker Claire Denis, whose most recent film, White Material
starred Isabelle Huppert and acreened at the 2009 Venice Film Festival, will be a
guest of the Talent Campus In the Limelight Series. The interview will take place
on 17 February at 17:00 in HAU 1. Her attendance is just one of the many events
that make up the Campus exciting programme at this years Berlinale.

Two strands in the Campus programme offer the chance to engage with
collaborative ideas beyond national boundaries. The panel discussion Cinema
Unlimited - Intercontinental Connections will bring together directors Rafi Pitts
(Iran), Jean-Marie Tno (Cameroon, based in France), Natalia Smirnoff (Argentina)
and Madhusree Dutta (India) to talk about international cross-border
collaborations. The event will take place between 11-12:30 on Mondat 15 Fenruary,
at HAU 1.

IFG contributor, founder of Power to the Pixel and Digital Distribution Strategy
Advisor for the UK Film Council will moderate the series The Indie Filmmakers
Guide to Cross Media, which aims to approach the future of narrative and
storytelling from an immersive, interactive point of view. The sessions will run
from 14-15:30 everyday from 15-17 February.
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Jawbone.tv
03.02.2010

The Indie Filmmakers' Guide to Cross Media/Berlinale Talent Campus

The Berlinale Talent Campus (Feb 13th-18th), taking place during the 60th Berlin
International Film Festival (Feb 11th-21st), is an international creative academy
and networking platform for 350 up-and-coming filmmakers from 95 countries. The
six-day-long event offers them the opportunity to examine various aspects of their
fields of work in lectures and panel discussions. This year's Campus main focus is
"The Indie Filmmakers' Guide to Cross Media", discussing the aspects storytelling,
distribution and financing of filmmaking in the digital age with experts such as
Karol Martesko-Fenster (Babelgum), Liz Rosenthal (Power to the Pixel), writer and
director Lance Weiler, Michel Reilhac (ARTE) and many more.
For more info visit www.berlinale-talentcampus.de or check out some of the
program details below.

The Indie Filmmakers Guide to Cross Media

Panel 1:
Extending the Story: An Introduction to Cross Media Storytelling
Monday, February 15th, HAU 2, 02:00pm
Technology is impacting on the art and craft of storytelling. Now that audiences
are engaging with media across multiple platforms and are moving from a passive
viewing experience to active collaboration, how does the art of storytelling
change? Experts in cross-media and interactive/immersive storytelling will describe
how to build story worlds that span across multiple platforms and engage audiences
in powerful new ways. With Alexandre Brachet, Martin Ericsson, Lance Weiler.
Moderated by Liz Rosenthal.
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Panel 2:
Extending the Finance: How to Produce Cross Media Projetcs
Tuesday, February 16th, HAU 3, Top Floor, 02:00pm
As storytelling extends beyond the big screen and the 90 minute feature, what is
the potential of building new financing partnerships across media industries and of
extending the value of the stories and intellectual property that you create? As
traditional film finance routes dry up, this session will suggest possible new
alliances and partnerships with online networks, multiplatform broadcasters,
brands, agencies and other new financiers. With Ben Grass, Karol Martesko-Fenster,
Michel Reilhac, Lance Weiler. Moderated by Liz Rosenthal.

Panel 3:
Extending the Audience: How to Distribute Across Multiple Platforms
Wednesday, Febraury 17th, HAU 3, Top Floor, 02:00pm
As audiences discover and engage with films across a rapidly expanding array of
platforms and devices, distribution strategies for independent film are evolving.
Looking at a variety of distribution case studies, speakers will demonstrate a
variety of models and lessons learned from making films available across multiple
platforms, sites and devices to simultaneous release strategies, special events and
digital word-of-mouth campaigns. With Lizzie Gillet, Karol Martesko-Fenster, Timo
Vuorensola. Moderated by Liz Rosenthal.
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Biographies of the experts:

Brachet, Alexandre
Paris-based e-producer and founder of the cross-media production studio Upian. He
merges cutting-edge technology and traditional techniques to break new ground in
made-for-broadband story-telling. His latest project is THANATORAMA.COM,
webdocumentary offering a journey into the arcane world of the funeral which won
the Grand Prix at the Web Flash Festival. He is co-producer of the online
documentary GAZA/SDEROT. It was nominated for the Emmy Awards and won the
Prix Europa in Berlin. In spring 2010, Upian will launch Prison Valley, a new
interactive documentary, co-produced by Arte.tv and directed by David Dufresne
and Philippe Brault.

Ericsson, Martin
Senior Designer and Creative Director of The Company P in Sweden, he has
instigate, written and designed more than twenty pieces of participative art
ranging from reality games, pedagogical games and Shakespeare adaptations to
massive Sci-Fi and Fantasy larps. He created THE TRUTH ABOUT MARIKA together
with the Swedish Television which won an Emmy Award for Best Interactive TV-
service in 2008.

Weiler, Lance
Award-winning writer and director, he is recognised as a pioneer for the way he
makes and distributes his work. His first feature THE LAST BROADCAST was
distributed in over 20 countries. Another feature HEAD TRAUMA had its world
premiere at the LA Film Festival in 2006.

Grass, Ben
Managing director of Pure Grass Films. He produced BEYOND THE RAVE and KIRILL,
winning a Webby for Best Drama Episode in 2009. He was formerly responsible for
Sony Pictures Digital in Europe and prior to that was senior Advisor for Corporate
Strategy at the BBC.

Martesko-Fenster, Karol
Founding member of CINELANs Board of Directors after being appointed General
Manager and Publisher of Babel Network Ltd's Film Division. He successfully
promoted Sally Potters film RAGE which reached whole new audiences through the
online distribution. Previously, he was a consultant for film and media ventures,
amongst others, Arts Alliance, FILMHAUS Vienna, and T5M.com. He also launched
Filmmaker Magazine, indieWIRE.com, as well as RES Magazine, The Virtual Film
Festival and co-produced WETLANDS PRESERVED: THE STORY OF AN ACTIVIST
NIGHTCLUB in 2008.
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Reilhac, Michel
Executive Director of ARTE France Cinema and Director of Film Acquisitions for
ARTE France. He was previously executive director of Forum des Images, general
manager of the American Centre and of the National Theater of Chaillot, as well as
executive director of the National Centre for Contemporary Dance. He started his
own production company MELANGE in 2000 producing three international feature
films CRY WOMAN, THE GOOD OLD NAUGHTY DAYS, and 7 DAYS, 7 NIGHTS. With his
own organisation Les Arts Etonnants he is also producer-curator-author of
participatory events such as Le Bal Moderne and Le Got du Noir.

Gillett, Lizzie
Experienced producer came to London from New Zealand, where she had been
working as TV news reporter and programme maker. She planned to live the
dream, directing Panorama for the BBC or similar, but somehow wound up working
for Spanner Films instead, and by end of 2004 she was on board the Stupid beast as
Co-Producer of the feature film AGE OF STUPID.

Vuorensola, Timo
Finnish film director, he has directed short films, music videos and ads. He is
interested in the effect Internet has on traditional production models. He directed
STAR WRECK and is working on a new index of sci-fi comedy called IRON SKY.
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La Jornada
15.02.2010

La realizadora, junto con otros especialistas, abri el Talent Campus de la


Berlinale

Hollywood est llevando el cine a la barraca, afirma la catalana Isabel Coixet

El actor estadunidense Ben Stiller firma autgrafos a su llegada al festival de Berln,


en el que promueve Greenberg, cinta que protagonizaFoto Reuters

Eva Usi

Peridico La Jornada
Lunes 15 de febrero de 2010, p. a15

Berln, 14 de febrero. La cineasta catalana Isabel Coixet (Mi vida sin mi, de 2003)
abri junto con otros especialistas la edicin nmero 8 del Talent Campus, en el
contexto de la Berlinale, al que han acudido unos 350 jvenes del mundo para
escuchar las experiencias y consejos de expertos en los distintos aspectos de la
produccin cinematogrfica. Entre los participantes se encuentran los cineastas
mexicanos Andrs Montiel (El crimen del padre Amaro), Federico Cecceli (Los
Trashumantes), Alfredo Loaeza Locaido (El hroe), Astrid Rondero (Abril y Mayo) y
Enrique Vzquez Snchez (Cerraduras).

En el contexto de su ponencia: El cine necesita talento: cmo conseguir la gente


adecuada en una produccin, la directora exhort a los jvenes cineastas a no
dejarse influir por una tibia acogida inicial de una pelcula y los exhort a buscar
una voz propia y honestidad con las imgenes. Si uno es honesto en lo que filma, si
intenta buscar la verdad que se alberga en las imgenes, entonces las emociones,
los sentimientos y el cuestionamiento social estn ah.

Bicho raro en Espaa

En entrevista con La Jornada la directora ganadora de tres premios Goya y con dos
postulaciones al Oso de Oro de la Berlinale, se dijo bicho raro en el contexto
cinematogrfico espaol, una outsider, porque ha tenido la inquietud de viajar y
de producir en otros pases.
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Declarada admiradora de la cultura japonesa, Coixet rod en 2009 Mapa de los


sonidos de Tokio, y desde la produccin de la cinta Cosas que nunca te dije (1996)
viaja constantemente a Los ngeles. Eso de hacer pelculas en otros pases es visto
con cierta desconfianza en Espaa, y como algo rarsimo hacer pelculas en ingls.

La cineasta critic a Hollywood, que est llevando al cine a la barraca, aludiendo a


la cinta 3D Avatar, que aunque significa explorar otras posibilidades
cinematogrficas que estn consiguiendo que la gente vaya a las salas, Hollywood
contina haciendo pelculas que no arriesgan nada y las seguir haciendo mientras
las logre vender. En Mxico, en Espaa e Italia se hacen cintas mucho ms
arriesgadas, afirm.

La directora advirti que se vive un momento en el que el cine es menos relevante,


porque hay muchas ms ofertas de diversin. Sin embargo, reconoci que as como
el cine no mat al teatro ni la televisin, al cine, el sptimo arte continuar.

Apoyo como a cualquier otra industria

Coixet saluda que en Espaa se haya entendido que el cine es una industria, y que
se apoye como cualquier otra, pero adems, es una industria que crea imagen. Una
pelcula de Woody Allen hecha en Barcelona, por el slo el hecho de que haya
aparecido Barcelona en el ttulo y debido al eco que tuvo, ha trado muchsimo
turismo, afirm, aunque advirti a las jvenes que no esperen encontrar a Javier
Bardem en cada esquina.

Coixet exhort a no pensar en las subvenciones a la hora de forjar coproducciones


entre Espaa y Amrica Latina. Hay que hacer coproducciones que respondan al
inters de plantear una historia bien contada.

La cineasta record a dos directores mexicanos que la inspiran y que dijo admirar
mucho: Alejandro Gonzlez Irritu, a quien califica de uno de los grandes
cineastas de nuestro tiempo, y Alfonso Cuarn, cuya cinta Y tu mam tambin, le
mostr un Mxico que no conoca.
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La Nacion Costa Rica
19.02.2010

Colombiano Sanabria gana premio a jvenes talentos en Berlinale

Berln, DPA. El cineasta colombiano Camilo Sanabria se alz hoy con el premio Talent
Campus que el Festival Internacional de Cine de Berln otorga a los jvenes talentos.

El ganador fue dado a conocer esta noche en una gala celebrada en el teatro Hebbel am
Ufer, en el multicultural barrio berlins de Kreuzberg, en la que estuvo presente, entre
otros, el actor mexicano Gael Garca Bernal.

Sanabria fue el seleccionado de entre los 350 jvenes cineastas procedentes de 95 pases
que participaban en esa seccin de la muestra cinematogrfica.

Durante seis das participaron en ms de 100 eventos, en los que pudieron conocer a unos
150 profesionales del cine y tomar parte en talleres, debates y discusiones que giraron
sobre todo en torno a la idea El cine necesita talento- Buscando los talentos adecuados.

Algunos directores presentes en la seccin oficial del festival, como Jasmila Zbanic (Na
Putu) o Yoji Yamada (About her Brother), compartieron sus experiencias con los jvenes.

En la actual edicin del Talent Campus, la octava, el tema del trabajo cinematogrfico en
equipo cobr un protagonismo absoluto. El cine funciona slo en equipo y para tener xito
se necesita ser abierto, generoso y mostrar respeto hacia los dems, dijo en la apertura
de la gala el productor de la pelcula de Martin Scorsese Shutter Island , Mike Medavoy.

El apoyo de otros cineastas es lo ms importante de nuestro cine, agreg Garca Bernal.


Ellos son los que les ayudan a decir lo que quieren decir.

Los finalistas de la competicin tenan que hacer una adaptacin sonora de la pelcula
Please Say Something , de David OReilly, ganadora del Oso de Oro de la Berlinale en 2009.

La adaptacin de Sanabria es una obra fantstica y estructurada que demuestra en


detalle una personalidad nica, alab el jurado.

Sanabria gan un viaje de una semana para conocer los estudios Dolby en Los ngeles.
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lajornadajalisco.com.mx
08.10.2009

Tendr el FICG talleres para estudiantes de cine

La convocatoria, dirigida a profesionales avanzados en el sptimo arte

CECILIA DURN

Lanzamiento de las convocatorias de los nuevos talleres del Festival Internacional de Cine
de Guadalajara Foto: FOTO ARTURO CAMPOS CEDILLO

El Festival Internacional de Cine de Guadalajara (FICG) abri las convocatorias para el


Docu-Lab y el Talent Campus Guadalajara, dos espacios de formacin para los jvenes y
posiblemente cuenten con la presencia de Jim Jarmusch, Wim Wenders, Bernd
Lichtenberg, entre otros.

El Docu-Lab es un laboratorio de documental para la instruccin e intercambio creativo del


quehacer audiovisual entre los experimentados de la cinematografa internacional y
profesionales principiantes o alumnos en formacin avanzada del lenguaje audiovisual,
orientado al gnero documental y a todos los rubros de la realizacin, produccin y
distribucin. Su primera edicin fue en la 24 edicin del FICG y para la prxima se
realizar del 17 al 20 de marzo.

Est orientado a los estudiantes avanzados y jvenes profesionales del audiovisual de


Iberoamrica involucrados en la realizacin de documentales como directores,
productores, directores de fotografa, sonidistas o editores.

El Docu-Lab es una experiencia nica, es un evento donde se analizan nueve


documentales, que cuenta con la coordinacin de Nicols Echeverra. Esperamos del Docu-
Lab tener dos o tres documentales que participaron este ao, queremos tenerlos en
concurso en la seccin oficial, resalt el director del FICG, Jorge Snchez.

El Talent Campus es un encuentro intensivo de actividades-clases magistrales, mesas de


discusin, talleres, proyeccin de pelculas alternativas, citas con los expertos, visitas al
mercado de cine iberoamericano y reseas cinematogrficas- para estudiantes avanzados y
profesionales en formacin de Mxico, Colombia, Centro Amrica y el Caribe. Se realizar
en colaboracin con el Berlinale Talent Campus del Festival Internacional de Cine de Berln
y el apoyo del Goethe Institut Guadalajara, del 11 al 15 de Marzo del 2010.
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La pasada edicin recibimos a 60 y para la prxima sern 70. Lo vamos a abrir no slo a
actores, directores, productores, sino tambin a la crtica cinematogrfica. Se va a
convocar a los jvenes de los medios de comunicacin para que durante la semana del
Talent Campus reconocidos crticos de cine, sean sus mentores y los estn guiando tanto
en reseas de pelculas como en actividades del Festival. Nos parece interesante la
apertura porque entonces el Talento no cubre solo la produccin, direccin, etctera. sino
tambin incluye a la gente que habla del cine e informa al espectador, dijo Ana de la
Rosa, organizadora de ambos eventos.

Aadi que el tema principal de la pasada edicin fue la narrativa cinematogrfica y el sub
tema fue Cuntame tu pelcula. Este ao consideramos importante reforzar el mismo
tema, con el subtema El arte de contar.

Para conocer ms detalles sobre las convocatorias de ambos eventos


www.guadalajaracinemafest.com. El FICG25 se realizar del 12 al 20 de marzo de 2010.
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Laprensagrafica.com
26.07.2009

El centro como inspiracin


Un grupo de amantes del cine y la publicidad se ha lanzado a producir un
cortometraje de ficcin justo en el corazn de una de las ciudades ms
peligrosas de El Salvador. La cinta, que tiene como escenario principal el cine
Libertad, es un homenaje a los viejos cines y a las ilusiones de los marginados
de la sociedad salvadorea.

Escrito por Blanca Abarca


Domingo, 26 julio 2009 00:00

El capitalino cine Libertad, con sus detalles Art Dec parapetados por ventas de
artculos inservibles y rostros de desempleados urgidos de pan, se ha convertido en
la fuente de inspiracin de un grupo de amantes del cine y la publicidad, que se ha
lanzado a producir un cortometraje de ficcin en el corazn de San Salvador, una
de las ciudades ms violentas de El Salvador.

El proyecto cinematogrfico se titula Cinema Libertad, cuyo guin y direccin


son de la autora dEl Salvadoreo Arturo Menndez, un joven cineasta y publicista
que ha estado tras la serie documental Crnicas que se exhibi hace un lustro
por el Canal 12, el corto de ficcin Paravlar, as como el documental U2 Ven
in the name of El Salvador, entre otros proyectos.

La cinta, de unos 20 minutos de duracin, cuenta la historia de cmo un nio y una


nia le devuelven la vida a la vieja sala de cine de San Salvador, la cual est
habitada por prostitutas, payasos, vagabundos y gente necesitada de hogar. (En la
realidad, el ingreso al edificio est vetado y se requiere de una autorizacin del
Ministerio de Hacienda.)

Por medio de un rayo de luz del sol y un poco de imaginacin, los chiquillos
aprenden a contar historias con sombras, haciendo olvidar y olvidndose ellos
mismos de sus duras realidades. Un efecto que a menudo fomenta el cine.

La parte ms difcil

Edgard Aquino, de 12 aos, quien interpreta a Nacho, y Tatiana Grande, de 10


aos, quien encarna a Ela, son los protagonistas.

El casting de los pequeos fue, a juicio del director, una de las fases ms difciles.

La seleccin obedeci, ms que a sus dotes actorales, a la capacidad de transmitir


una energa que Menndez necesitaba para sus personajes, aunque reconoce que
ambos han demostrado talento al momento de memorizar sus parlamentos e
intervenciones.
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En Cinema Libertad tambin participan experimentados actores, como Leandro
Snchez, Regina Caas, Patricia Rodrguez, Salvador Sols, Juan Carlos Meja y
David Acua.

Cinema Libertad es un homenaje a los viejos cines de El Salvador que ahora


estn convertidos en bodegas, iglesias o en lugares abandonados, resume el
productor ejecutivo Carlos Figueroa de la firma Meridiano 89, quien recuerda al
cine Libertad como una de las mecas del cine salvadoreo durante el recin pasado
siglo.

El proyecto, cuenta Menndez, surgi en 2008 despus de divisar la ciudad desde


un billar del cntrico portal La Dalia.

El guin de esta cinta estuvo en el sexto lugar del Premio Berln Ahora, la
competencia para cortometrajes del Campus de Talento del Festival de Cine
Berlinale (Alemania).

La filmacin que dur cinco das no consecutivos se realiz entre la plaza, el cine
Libertad y calles aledaas a finales de junio e inicios de julio.

El rodaje se llev a cabo justo en las tres semanas en las que la Polica Nacional
Civil (PNC) report 10 asesinatos en el centro capitalino. En El Salvador, a diario
son asesinadas un promedio de 12 personas. En lo que va de este mes, ms de 250
crmenes ha sido cometidos con armas de fuego y objetos cortopunzantes en
diferentes puntos del pas.

La violencia antes solo se vea en las pelculas; ahora la violencia salt de la


pantalla y est en las calles, dice Figueroa.

En esa parte de San Salvador estamos acostumbrados a no caminar, por las ventas
y la inseguridad, pero s se puede caminar y disfrutar la belleza arquitectnica,
aunque las ventas o la suciedad le van cercando el paso, cuenta Menndez.

Al pelotn de produccin, unas 25 personas, no le pas absolutamente nada


durante la grabacin, a pesar de llegar con cmaras de video, lmparas, monitores,
micrfonos, cables y toda una suerte de artificios tecnolgicos al tan temido
centro.

Nunca tuvimos ni una leve sospecha de que nos iban a poner, cuenta
Menndez.

El equipo incluso hasta cerr un par de calles durante un fin de semana para captar
una serie de imgenes en medio del pandemnium urbano.

Dentro del caos hay belleza, insiste Menndez, quien prefiri filmar escenas en
contra picada en los edificios cercanos para aislar la contaminacin visual por
publicidad y las ventas callejeras.
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Solo basta ver hacia arriba para ver la belleza del centro, remata Francisco
Moreno, director de fotografa del corto, para quien capturar el interior del cine
Libertad fue uno de los ms grandes desafos dentro de la breve cinta.

En la cinta, en la que hasta ahora se han invertido unos $55,000 (y la cuenta sigue
creciendo), se han involucrado las casas productoras salvadoreas Unos Cuantos
Perros, Meridiano 89 y Freelance Studios. La posproduccin del sonido correr a
cuenta de la compaa colombiana Piso 53 Audio, que trabaja en soundround.

La pelcula est en la fase de posproduccin. Los creadores esperan exhibir la


cinta en agosto y no descartan mostrarla en los circuitos de cines capitalinos en el
ltimo trimestre de 2009. La participacin en festivales regionales e
internacionales tambin est en las cuentas.

A pesar de que Cinema Libertad an no ve la luz pblica, el proyecto ya cuenta


con una legin de fanticos. Ms de 600 personas siguen de cerca la evolucin del
proyecto desde la red social Facebook, donde se pueden consultar avances de la
produccin.
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Lashorasperdidas.com
27.01.2010

60 EDICIN DEL FESTIVAL DE BERLN


por Mary Carmen Rodrguez

Polanski, Zbanic, Yimou, Vinterberg y Winterbottom pelearn por el Oso de Oro.

Entre los prximos 11 y 21 de febrero tendr lugar la 60 edicin del Festival de


Berln. La direccin del certamen ya ha dado a conocer gran parte de los alicientes
que tendr esta edicin.

En primer lugar hay que hablar de Werner Herzog que tendr la responsabilidad de
presidir el Jurado de la Seccin Oficial. El realizador alemn, que recientemente
ha estrenado su remake de Teniente Corrupto, ha participado en dos ocasiones
en la seccin oficial de la Berlinale, en 1968 con Signos de Vida, con la que se llev
el premio a la mejor pera prima, y en 1979 present Nosferatu, Vampiro de la
Noche, que fue premiada por su diseo de produccin.

Werner Herzog no estar solo, le acompaarn la realizadora y actriz Francesca


Comencini, el escritor Nuruddin Farah, el productor Jos Mara Morales, Yu Nan y
las actrices Yu Nan, Cornelia Froboess y Rene Zellweger.

Otro realizador, Stephen Daldry, se encargar del Talent Campus, un minifestival


de cortometrajes, que entregar el premio Berlin Today Award. Durante seis das,
adems de verse los trabajos de jvenes realizadores, se impartirn talleres. Para
asistir al Talent Campus se inscribieron ms de 4.800 personas, de diferentes
nacionalidades, y tan solo 350 han sido las elegidas. Para los organizadores ha sido
todo un xito de convocatoria ya que se ha superado con creces el nmero de
solicitudes que tuvo la pasada edicin. De los proyectos presentados, el jurado,
encabezado por el director de Las Horas, Billy Elliot o The Reader, escoger cinco
y de ah saldr el corto ganador.

El ganador
del Oso de
Oro en 2007
por La Boda
de Tuya,
Wang
Quanan, se
encargar
de inaugurar
la 60
edicin del
Festival de
Berln con
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Tuan Yuan. El film ir a concurso.

Tambin optarn al Oso de Oro las siguientes:

- The Ghost Writer de Roman Polanski (Francia-Alemania-Reino Unido). Tercera


participacin de Polanski en la seccin oficial de la Berlinale. Estuvo en el ao 1965
con Repulsin, por la que se gan el Premio especial del Jurado, y el FIPRESCI
otorgado por la crtica y en 1966 se llev el Oso de Oro por Callejn sin Salida.

- Bal (Honey) de Semih Kaplanoglu (Turqua-Alemania). Primera participacin.

- Der Ruber (The Robber) de Benjamin Heisenberg (Austria-Alemania). Primera


participacin.

- Na Putu (On the Path) de Jasmila Zbanic (Bosnia Herzegovina - Austria- Alemania-
Croacia). Segunda participacin, Zbanic se llev el Oso de Oro en 2006 con
Grbavica.

- Shekarchi (The Hunter) de Rafi Pitts (Alemania-Irn). Segunda participacin, en


2006 present Its Winter.

- Caterpillar de Koji Wakamatsu (Japn). Segunda participacin en la seccin


oficial, en 1965 estuvo presente con Secrets Behind the Wall.

- En Familie (A Family) de Pernille Fischer Christensen (Dinamarca). Segunda


participacin, en 2006 present En Soap con la que recibi el Gran Premio del
Jurado y el premio a la mejor pera prima.

- En ganske snill mann (A Somewhat Gentle Man) de Hans Petter Moland (Noruega).
Segunda participacin, en 2004 present The Beautiful Country.

- Eu cnd vreau sa fluier, fluier (If I Want To Whistle, I Whistle) de Florin Serban
(Rumana-Suecia). Primera participacin.

- Greenberg de Noah Baumbach (Estados Unidos). Primera participacin.

- Howl de Rob Epstein y Jeffrey Friedman (Estados Unidos). Primera participacin


en la seccin oficial de la Berlinale, aunque con sus documentales Paragraph 175,
The Celluloid Closet y Common Threads: Stories from the Quit han estado
presentes y han sido galardonados en secciones paralelas del Festival de Berln.

-Jud S de Oskar Roehler (Alemania-Austria). Tercera participacin. En 2003


present Der alter Affe Angst y en 2006 Elementarteilchen.

- Kak ya provel etim letom (How I Ended This Summer) de Aleksei Popogrebsky
(Rusia). Primera participacin.

- Mammuth de Benot Delpine y Gustave de Kervern (Francia). Primera


participacin.
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- Rompecabezas de Natalia Smirnoff (Argentina-Francia). Primera participacin.

- San qiang pai an jing qi (A Woman, A Gun And A Noodle Shop) de Zhang Yimou
(China). Cuarta participacin de Yimou en el Festival de Berln, en 1988 se llev el
Oso de Oro por Sorgo Rojo, en el 2000 se llev el Gran premio del Jurado por El
Camino a Casa y en el 2002 se llev el premio Afred Bauer, por la contribucin
artstica de Hero.

- Shahada de Burhan Qurbani (Alemania). Primera participacin.

- Submarino de Thomas Vinterberg (Dinamarca). Primera participacin.

- The Killer Inside Me de Michael Winterbottom (Estados Unidos- Gran Bretaa).


Sexta participacin de Winterbottom en la seccin oficial de la Berlinale. En 1995
present Besos de Mariposa, en 1998 I Want You, en 2001 El Perdn, en 2003 In this
World, con la que se llev el Oso de Oro, y en 2006 comparti el premio a la mejor
direccin con Mat Whitecross por Camino a Guantnamo.

Fuera de concurso se vern:

- My Name Is Khan de Karan Johar (India).

- Shutter Island de Martin Scorsese (Estados Unidos).

- Please Give de Nicole Holofcener (Estados Unidos).

- The Kids Are Alright de Lisa Cholodenko (Estados Unidos-Francia).

- Otouto (About Her Brother) de Yoji Yamada (Japn). Este film se encargar de
clausurar la 60 edicin de este certamen.

El cine espaol ha encontrado una vez ms su hueco en la seccin Panorama. Ah se


ver el documental Cuchillo de Palo de Renate Costa, la nueva pelcula de Miguel
Albaladejo, Nacidas para Sufrir, una cinta protagonizada por Adriana Ozores, Petra
Martnez y Malena Alterio, y el primer largometraje de Oskar Santos, El Mal Ajeno,
un film que cuenta con la produccin de Alejandro Amenbar y que est
protagonizado por Eduardo Noriega y Beln Rueda.

Coincidiendo con el 60 aniversario de la Berlinale se va a realizar una retrospectiva


a la historia del festival. Para ello el crtico David Thomson ha seleccionado algunos
de los ttulos ms representativos que han pasado por la Berlinale como La Noche
de Michelangelo Antonioni, El Cazador de Michael Cimino, Al Final de la Escapada
de Jean-Luc Godard, El Salario del Miedo de Henri-Georges Clouzot, El Imperio de
los Sentidos de Nagisa shima o La Ley del Deseo de Pedro Almodvar, que fue la
primera pelcula que gan el premio Teddy a la mejor cinta de temtica
homosexual.

Pero el que ser uno de los grandes alicientes de la Berlinale ser la presentacin,
el prximo 12 de febrero, de la versin restaurada de Metrpolis de Fritz Lang, en
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donde se incluyen los fragmentos inditos del film que fueron descubiertos en
Argentina. El pase ser amenizado por la orquesta sinfnica de Berln y de la
direccin musical se encargar Frank Strobel. Cmo envidio a los futuros asistentes
a este evento.

A partir del 11 de febrero os iremos contando todo lo que suceda en el Festival de


Berln.
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Latindispatch.com
08.02.2010

Interview with Javier Fuentes-Len, Director of


Contracorriente
by Jason Farbman

Javier Fuentes-Len, director of "Contracorriente"

As the Sundance film festival concluded last week, Javier Fuentes-Len took home
the Audience Award for World Cinema Drama for his first feature-length film.
Contracorriente tells the story of Miguel (Cristian Mercado), a fisherman who is
expecting his first child with wife Mariela (Tatiana Astengo). At the same time, he
has been having a secret affair with a man, Santiago (Manolo Cardona), a visiting
painter renting a house in the village. When Santiago drowns, he returns to Miguel
as a ghost, and for the first time they are free to express their love without fear.
Yet Santiagos ghost remains trapped in the village until his body is found and
properly buried, forcing Miguel to choose between the lies he has told and
confronting open homophobia.

Unlike most stories of gay love and openness about ones sexuality,
Contracorriente takes place far away from an urban setting. Shot in a remote
fishing village in his native Peru, Fuentes-Lens project uses religion and magical
realism to create a work that is much more than the sum of premeditated parts. It
tackles the complicated issues of honesty about oneself, of machismo and what it
means to be masculine in Latin America.
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The Latin America News Dispatch had a chance to talk by telephone with Fuentes-
Len in his home in Los Angeles.

In the past year gay marriage has been legalized in Mexico City and Argentina.
In Colombia big steps have been taken in terms of civil union rights. Obviously,
when you finish a movie you want to put it out, but is the present a better,
more receptive context to release Contracorriente? What is your view on the
relationship of art to social change?

Fuentes-Len: I think cinema can help art in general can help change peoples
minds. I do think though what will really change peoples minds will always be
having somebody else next to them say, hey, Im gay. Somebody they love or
admire or respect. And seeing them live their lives as who they are. I dont want to
diminish the power of cinema and art, but I dont want to overstate it either. This
is an issue that weve been dealing with for a long, long time. At some points it has
been something thats more accepted, then definitely not, then back again. Im
happy about a lot of the things that are happening in Mexico and Argentina and
Colombia and hopefully people will see this film as something they can relate to as
a love story and that will help be part of that movement that is making people
change their minds. Because I think its about time.

We are going to release it in Peru, we are going to release it in Colombia, and we


want to release it all over Latin America. Well see what the reaction is, but
getting into Sundance and winning [the audience award] has already made a big
splash of news in Peru and in Colombia. To have that kind of stamp, its great,
because it says to people this is a movie you should see.

You shot Contracorriente in a small fishing village in Peru, Cabo Blanco. Do


you think that brings an added authenticity?

Fuentes-Len: My intention was not to talk about the political context of Cabo
Blanco, of a man in this particular town in Peru that deals with being gay or with a
homosexual relationship. I dont even mention that its Cabo Blanco you see it on
a few boats, some of them say Cabo Blanco, but I dont even say its Peru. There
was even a line that was taken out that talked about Lima, because I wanted it to
be an archetype of a town, more than the political and social context of a specific
town and country. I guess thats what helps people connect from other cultures,
because it looks like a small town that could be set in South Africa, or Italy, or
Colombia, or Thailand, or even maybe Louisiana you could find something like this.

Still from the film "Contracorriente"


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Fuentes-Len: The guy who plays the painter the Colombian actor, Manolo
[Cardona] is a huge star in Colombia, but also in Latin America. He was the male
lead in Beverly Hills Chihuahua. So theres an interest on his part in crossing over
and coming to the United States. Whereas Christian [Mercado], who is also a very
good actor, and very well-known in Bolivia, hes not actually that known outside his
own country. He has an important role in Steven Soderberghs Che Guevara movie,
in the second film about Bolivia. I think Christians aspirations are not to be this big
star. For him the pressure was a little less because he didnt really have this big
following of fans. That doesnt mean it was easier. I think for both of them they
were challenging roles, and not just because of the physical aspect.

But for Manolo it was definitely a bigger risk, and people told him not to take it,
that this was a career suicide and blah blah blah. But hes always wanted to be a
serious actor and in order to be that he needed to take roles that were not just
going to perpetrate the idea that he is a hot, macho guy. Which is what hes done
in the past quite a bit. Hes always been the lover, the mafia guy, the cool
detective, you know. He wanted something challenging which the physical aspect
was but he also has to be vulnerable in this film, be sensitive, he has to be loved
and show it. So for him it was a big risk, career-wise. But hes very proud and has
been wanting to support this film and go wherever its being shown. So were very
happy.

In the film, the heterosexual sex scene was shot very differently than those
with Miguel and Santiago. Was there a conscious effort to portray these
differently because the two male leads are heterosexual?

Fuentes-Len: I had in mind the audience that was going to see this film, mainly a
Latin American audience. I made this film for as many people as can get to see it,
but I had the Latin American audience in mind, and I wanted to highlight the
romance and the love between the two men, and be a little bit careful about how
much to push that envelope. I didnt want to lose [the audience], especially
because [scenes with Miguel and Santiago] come early in the movie. Thats one
side, but on the other hand, in terms of story, when Miguel and his wife have sex,
its really Miguel trying to prove to his wife and to himself that he is a man that
he wants to be and she needs him to be. It is a make-up sex, but a proving that I
am a man sex. Its not only that I was afraid that one sex needs to be more
intense than the other, but storywise it makes sense that Miguel would be more
intense with his wife, at that moment in their relationship. That is when he is
trying to prove I have forgotten the other one and I am not gay.

You told audiences at Sundance that you could not find funding in the United
States for a film which dealt overtly with homosexuality and was also in
Spanish. Can you talk a bit about how you did get the funding?

Fuentes-Len: Some governments especially in Germany and in France have


some money for project that are not shot in their own country, to help developing
countries with their film industries. We got that first funding in Germany because
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of [the Berlin Film Festival/Berlin Talent Campus]. Which is amazing, because this
is Germany, and this German producer is interested in a story in Peru. And I lived in
L.A., so there was no connection to Germany whatsoever. And it was through them
that we got our first funding. This other company in France heard about it and
came to us to read [the script]. They really liked it and applied to this government
funding from France which is for industries of developing countries. We got that
one too. Ironically, the governments of countries that had nothing to do with Peru
were the first ones to support this film.

After that, when you start having a bit more money, people start paying more
attention to you. The next chunk of money came from Colombia and Peru around
the same time. Peru also has a government fund, and funds five films a year not
completely, but you get like $150,000. Which is how most films are made around
the world except in the U.S. and in India. There are some films made with
European money that are not dependent on the government, but even then they
get benefits for taxes and incentives. Pretty much all the other film industries in
the world depend on the governments a lot.

Do you think its easier to get a hearing for new voices or ideas when financing
comes through the government?

Fuentes-Len: Well I think that what is good about all this government funding is
that directors have final cut. And in most cases you dont have to return the
money. Its basically a gift in most cases. In Hollywood if you have private money
that is invested in your film, those people need that money returned. And
hopefully they gain some money also. So theres more of a pressure to perform, for
these films to connect with an audience and therefore theres this whole obsession
with Ok, this thing worked, this formula works, this actor works, this genre works.
Repeat it. Where as film makers in France that very much funded by their own
government and dont have to return that money, they have more freedom to fuck
it up. Therefore they can do whatever they want.

Im generalizing of course, but thats what the French government wants. They
take pride in the fact that theyre creating auteurs. Films are made in France with
the intention of being commercial successes, but definitely when you have a
government that doesnt ask you to return the money and leaves you alone to make
the film you want to make, you are allowed to tell stories that are more out of the
norm. I even have a bit of private money from Colombia quite a chunk of our
money came from Colombia but I was always allowed to do what I wanted. Which
was great, and I dont know if this would have been the case if it had been made
well it would not have been made under a Hollywood studio. I would not have
had that freedom, especially being a first time film maker.

I read that you finished medical school and then decided to pursue film.

Fuentes-Len: I had always wanted to be in film. Its just that when I came out of
high school and had to choose a career, that was not an option really. And not
because my parents didnt want me to, but because there wasnt really any place
to study film or even practice. And also in the society in which I grew up, all the
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men, all the boys would choose the typical five or seven conventional careers. Out
of those I chose medicine. I enjoyed studying it, but as I grew older and more
mature I realized this is not what I really want to do. So by the time I graduated
from medical school, which I had decided I needed to do, I had been accepted into
Cal Art [California Institute of the Arts]. I graduated from med school in April 1994
and by September of that same year I was already here studying film. So it wasnt
like I finished medical school and just decided to become a film maker. I had
wanted to, but the decision to actually do it took me awhile.

What is your next project going to be?

Fuentes-Len: Well it depends on which one gets financed. I have another one
that is a love story, this time between a man and a woman. Its not a forbidden
love, but its not a love that people understand. The other one Im about to finish
is a film noir, a psychological thriller, that takes place in L.A. I live here so I also
want to make films here, but I also want to continue making films in Peru or
wherever I can.

View the trailer for Fuentes-Lens Contracorriente.


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Macau Post Daily
23.02.2010
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Macau Post Daily
19.02.2010
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Macau Post Daily
22.12.2009
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Nisi Masa
November 2009
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Nisimazine.eu
18.02.2010
Talent Campus #8: Notes on Claire Denis

By Eftihia Stefanidi (Greece), Thursday 18 February 2010

Whenever Ive been to a Claire Denis talk, something mysterious happens: it is


absolutely impossible not to pay attention. Her scattered words remind me of
laundry hung out to dry on a line. As seen in the military milieu of Beau Travail,
each piece of clothing is completely autonomous, with its own gravity, and
enfolding its own full-blown meaning. Loosely hanging from the rope of language,
her words are almost interchangeable. As though you could move the pieces of
the puzzle around, changing their place and meaning, and they would still fit. Her
idiosyncratic language easily results in expressions that are not very linear, but
more emotional, as if her mind speaks with symbols. And there is a similar feeling
with her films: studies of human behaviour, of people that have just arrived in a
place or are ready to leave, their delicate presence follows a poignant abstraction.

Trying to pin down her views during a Talent Campus


on-stage interview, I found it difficult to be concrete.
Her quotes are by far stronger than a tailored piece.

On being an assistant director: I really enjoyed it


because I like being lazy; to float; to let it go.On
future: I always avoid looking towards the future. I
Beau Travail (1999) am happy to be where I am.

On career: Everything I did in my life was by chance.

On working with Jim Jarmusch and Wim Wenders: I felt happy to be with them.
They are people who are funny to work with, free in their minds.

On her debut film, Chocolat: The script for me was like a small book for children;
like images on postcards.

On her collaboration with her writer, Jean Pol Fargeau: I went to Marseille for a
weekend to meet up with J.P. Fargeau and I ended up staying for a year.

On working with her cinematographer, Agns Godard: She


is a companion. She has no fear to try, which is the most
important thing in filmmaking." (For The Intruder, Denis
and Godard decided to rent and use only two lenses!) "We
are both small and shy; people thought we would not make
it, and that I would need someone stronger next to me.

On casting: Casting is not reasonable. People chose


themselves in a crowd It is boring if you look for
someone perfect who will fit exactly to whats in your
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mind. It is better to try to find a person that you connect and you are attracted to.
Then you can work out the character together.

On her actors: I chose actors that I am attracted to. There is no point of seeing
someone you do not connect with every day.

On Batrice Dalle: When I proposed to her the role for The Intruder, I knew she
would probably be put off if Id describe to her the actual storyline. So I just told
her she was going to play the queen of the north hemisphere. She agreed.

On Grgoire Colin: He was always trying to tell me negative things about himself,
so I would not want to work with him. I loved it! We are playing like cat and
mouse, and I really enjoy that.

On the reason of making films: Sometimes making a film is for one scene, not for
the whole story.

I cannot agree more with this last quote.

Eftihia
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Pedestrian.tv
15.02.2010

Australian Wins At Berlin Film Festival February 15, 2010

Young Australian
filmmaker, Bryn
Chainey, has just won
the Berlin Today
Award - a prestigious
prize for up-and-
coming film talent at
the Berlin
International Film
Festival.

Chainey's short film


"Jonah and the
Vicarious Nature of
Homesickness" was selected by the competition's high profile Jury, including
actress Heike Makatsch, director Stephen Daldry and producer Peter Rommel. The
Jury said they were won over by the "the truly creative inventiveness of this film.
We are curious about what this talented filmmaker will come up with next". High
praise indeed.

Chainey's entry is a combination of live-action and stop-motion animation, about a


chap named Jonah who leaves his family and blasts into outer space. The film is so
new that it doesn't have a trailer yet, but you can get an introduction to Bryn's
work via his showreel:

Bryn Chainey Showreel from Bryn Chainey on Vimeo.

Four Australian feature films will show and compete in the main competition at the
Berlinale including thriller "Red Hill" starring Ryan Kwanten (Vinnie from "Home and
Away" who is now smoking hot and hanging with vampires in "True Blood") and
Steve Bisley, and the Rachel Perkins-directed Musical, "Brand Nue Dae".

Top image courtesy of Chris Erlbeck


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Ponto Final (Macau)
24.02.2010
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Ponto Final (Macau)
31.12.2009
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Ponto Final (Macau)
24.02.2010

Um realizador na Berlinale

Thomas Lim

English translation:

I guess we would all expect to hear that I have learnt a lot over the past weeks
here and have met a lot of people. Yes indeed, those are both very true, but even
more so, I think I have learnt more about my current place on an international
scale as a filmmaker. I guess this filmmaking journey is all about knowing myself
and knowing the most effective (but not necessarily the best) way to guide myself
onto the path that I desire to take. I have long known that I like to throw myself
into the ocean and then learn how to swim, because then I am forced into a
challenge that I created for myself and I will not let myself down. This character of
mine was also apparent in my previous decisions to move to Beijing to put myself
into the biggest platform in the Chinese world for an actor, even though I didn't
know anyone in China before, and had very little money with me back then. By
making my first feature film 'Roulette City' before making any short film, I knew I
was in for a hard time. But making films is about breaking the rules, so I didn't care
to follow the traditional route of making shorts before a feature. I knew I was going
to get bored by making say, five shorts before making my first feature. And who
knows, I might have lost the desire to make a feature if the journey took that long.
I am a huge believer of 'rage', and think that some passions die off if you wait too
long to express it, simply because waiting kills passion. However, back in my mind,
I also knew that the ambitious attempt of making a feature as my first film of any
length meant that I was learning by doing, and would be making a lot of mistakes. I
felt completely burnt out many times during the making of 'Roulette City', and only
a year and three months later today, I wished I would have made the film very
differently. This is simply because I spent every second of the past one year and
three months thinking, discussing, researching, and dreaming about filmmaking,
and I would like to think that I had grown as a filmmaker since the first day I
started writing the script for 'Roulette City'. Like we also know, I have shot three
interlinked short stories since 'Roulette City', and have named the first two 'Blue
Card' and 'Stamps'.

So anyhow, here I am at the end of the Berlin Talent Campus, which was part of
the 60th Berlinale Film Festival 2010. This is the first time that I've been to any
film festival and I am totally overwhelmed by what happened the past 10 days.
First, I arrived in Berlin on 10th Feb morning and immediately felt very welcomed
and comfortable. This is not my first time in Berlin (I was here in summer of 2003
as a backpacker, but was doing a bunch of European cities at one go back then).
The first impressions that I have of Berlin this time was that the weather was
freezing cold with snow everywhere, but the people extremely warm and helpful. I
checked into the hostel that the Talent Campus had arranged for the participants
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and wasted no time in getting acquainted with the many cinemas that will screen
films from the festival itself for the coming 10 days. One of the first things I
noticed here in Berlin was that the Berlin Film Festival advertisements were
everywhere. When I got to the shopping mall where they sell the festival movie
tickets, I was shocked to see the very long lines in front of the ticket booths even
before they were opened, These lines were there everyday and they kept getting
longer and longer, until when the final two days of the festival (because the public
can only buy movie tickets 3 days in advance). Many of the cinemas that screened
the festival movies were near the city centre in a place called Postdamer Plaz, and
some others were near metro stations. With my Talent Campus festival badge, I
could watch the festival movies for free and I took full advantage of this by
watching as many as six films a day when I had no campus activities, and two films
an evening during campus days. I must say, watching six excellent movies a day is
not very fun at all. It's like eating six huge meals a day.

During the campus days, I woke up every morning with a sense of gratitude. In a
sense, I reminded myself every morning that I was lucky to be one of the 350
chosen from 4700 to be here. In other words, there were many people who wanted
to come, but were not chosen. The campus days (13-18 Feb 2010) were long and
intensive. I get up at 7am in the mornings to get dressed and mark the campus
events/masterclasses that I want to participate in, and the movies that I want to
watch for the day. Then we all stand in line for about 30 minutes to book our
coupons for the events and movies we've chosen and the event coupons and movie
tickets are given out on a first come first serve basis. Standing in line was often a
great way to meet new people, and speaking of meeting new people, there were
really too many people to meet. Most of the participants were caucasians and after
a while, it really wasn't too easy for me to tell a European face from another in a
sea of westerners packed in say, a lecture hall. The participants of the campus
work in different areas of film. There were obviously directors and producers, but
also cinematographers, actors, screenwriters, and even location managers. The
campus masterclasses and events were also very packed in terms of schedule and
there was always something for everyone. In fact, there was often more than one
thing at the same time that interests me, so I was often torn and had to give up
one class for the other. The masterclasses, small group discussions, lectures, and
workshops are conducted by industry experts from all over, who were in town for
the festival. This year's experts include Stephen Daldry, Claire Denis and Yoji
Yamada, to name a few. All in all, I learnt heaps, and met A LOT of people in the
week long campus. I think my Facebook friends list will double by the time all the
campus talents got home and finally find time to Facebook each other. Speaking of
Facebook, the Talent Campus has a website (not Facebook page) that carries
information about all it's alumni and it works just like Facebook where all past
talents get the chance to update their work or personal information, and keep in
touch with one another. The Berlinale Film Festival itself is also very keen in having
the Talent Campus alumni send their new works to the festival in the future, and is
always proud to announce when they select a campus alumni's work to screen at
the festival. This is actually the part that excites me most. 'Roulette City' wasn't
selected for the Berlinale this year, but I am hopeful about the future.
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So that's an overview of what happened at the Talent Campus in general. For me
personally, there were other highlights too other than the standard campus
activities. First of all, I am receiving mentorship from a German industry expert on
my short films 'Blue Card' and 'Stamps'. I will continue to work with my mentor on
these short films till 26 Feb (it is 24 Feb as I write this passage now) and for now, it
is possible that I might combine the two short films into one, in a newfound,
interesting narrative form. I also shot a third short film that is connected in terms
of content to 'Blue Card' and 'Stamps', and I might just use footages from it work
into the new combined-version. In short, I might just combine the initially planned
three short films into one. Another highlight for me in Berlin this time was a call
from the Singapore embassy in Berlin for a casual meeting over coffee. So, I met
with the deputy chief of mission and the first secretary of the embassy, and it was
nice to feel the support from my country.

Speaking of my own country, I have moved back to Singapore a week before I came
to Berlin. In a sense, I have given up my apartment in Macau and moved my stuff
back to Singapore. Strangely enough though, I don't feel that I have left Macau at
all, probably because it's so near to Singapore and I could visit easily. I definitely
also hope to continue shooting films in Macau as the place is (I've said this so many
times) very beautiful.

And finally, updates on 'Roulette City'. Over the past week, I have just received
official notice that the film will screen at the Macau International Film and Video
Festival in Macau on 10th April (Sat) at 1700hrs. It will also screen at the Singapore
International Film Festival in Singapore, also in April. I guess that marks the
premieres of the film, and I look forward to seeing everyone in Macau again when I
return for the film's screening. The film has been re-edited to a short length, and is
75 minutes now.
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Rp.pl
24.02.2010

Berlinale Talent Campus


Marta Sikorska 01-03-2010, ostatnia aktualizacja 01-03-2010 12:52

Z polskim producentem filmowym Kub Kosm, uczestnikiem tegorocznej edycji


Talent Campus, rozmawia Marta Sikorska

rdo: PISF
Kuba Kosma. Fot. Marcin Kuakowski
+zobacz wicej

Talent Campus to warsztaty odbywajce si podczas Midzynarodowego Festiwalu


Filmowego w Berlinie: wykady mistrzw i liczne imprezy towarzyszce, w ktrych
bierze udzia kilkuset filmowcw. To take spotkanie modych twrcw z caego
wiata i moliwo budowania sieci midzynarodowych kontaktw.

Wydzielon czci Talent Campus s indywidualne treningi" filmowe. Wymagaj


specjalnego zgoszenia, ale gwarantuj zakwalifikowanym duo specjalistycznych
zaj praktycznych w kilku kategoriach.

Wzicie udziau w Campusie to okazja spotkania najbardziej znanych i cenionych


ekspertw z brany filmowej. Wykadali tam ju midzy innymi: Stephen Frears,
Dennis Hopper, Charlotte Rampling, Tilda Swinton, Janusz Kamiski, Walter Selles,
Ridley Scott, Wim Wenders i Andrzej Wajda.

Czytaj rozmow z Kub Kosm w serwisie Pierwsze Ujcie PISF


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Telegraphindia.com
09.09.2009

Museums can apply

It looked like any other government office meeting at first, but


turned out to be quite exceptional. People associated with
museums, buildings or institutions in the state, which need
renovation or are worthy of preservation, were being encouraged
to apply for funds by the Union ministry of culture.

"The existing scheme for financial assistance to museums has


hardly been availed of by an institution from the state except the
state government," said culture secretary Jawhar Sircar. This despite the fact that many of the
these are in desperate need of money or repair ' and funds up to Rs 2.5 crore are available for
an institution!

So it is application time now. Bali Granthagar, Acharya Bhavan, Federation Hall, the residence
of Jadunath Sarkar, where the Centre for Studies in Social Sciences was located earlier, the
residence of Bankim Chandra Chatterjee, Anandaniketan in Bagnan, Asutosh Museum in
Calcutta University, museums in Bishnupur, Baruipur, Malda, Raiganj ' several are in the queue.

No deserving place will be turned away, promises Sircar. The funds will be allocated according
to requirement. Though he reminds: "Rs 2.5 crore is a lot of money for a museum."

To facilitate preservation of heritage, the ministry will hold a month-long training on


conservation of paintings in the city, with the help of the Lucknow-based National Research
Laboratory For Conservation Of Cultural Property, from August 18. Long live heritage.

Wall within the mind

Wagah, a 13-minute documentary film by Supriyo Sen that won the Berlin Today Award 2009,
was screened at Studio 21 at Dover Terrace on July 25. Sen's earlier documentaries such as Way
Back Home and Hope Dies Last In War dealt with the Partition. Wagah is the third film in this
series.

The Berlin Film Festival had invited films on the idea of the "wall"
to celebrate the 20th anniversary of the fall of the Berlin Wall.
Sen's documentary was one of five chosen from 200 entries.

"The protagonists of my film are three youngsters selling DVDs at


the Wagah border who realise what boundaries are from the
words and actions of the border guards. I wanted to show the
point of view of children," he says.

Sen feels that making documentary films is not easy. He said while interest in documentaries is
growing, funds don't pour in and shorts cannot be shown to a large audience, unlike commercial
releases.
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Inspired by a crow

The Bengali obsession with Sukumar Ray seems to be growing by the day. After the sighting of
cakes in the shape of Sukumar's creatures, news came in of an event featuring his "nonsense
verse". Asthaee, a centre for recitation and audio drama, organised an evening on Ray's poetry
rendered by children. It also featured the reading of a play and poetry of other authors by
grown-ups on the theme of Barsha (the rainy season).

Then comes news of a magazine called Drighanchu, for which a "wholesome JU branch" claims
responsibility. The bilingual magazine, in Bengali and English, can be called a tribute to the
great humourist, the creator of Drighanchu, the mysterious crow (picture above) who caws and
flies off, leaving behind a huge discourse on what the sound meant. There are several
references elsewhere to Ray.

The magazine is, more importantly, about comic book art or its new-age avatar, graphic story-
telling. It makes a few pertinent observations. As the introduction points out, the city in the
summer of 2009 "overbearingly resembled a comic book". "Panels, mainly rectangular of varied
proportions made of paper, textiles or polymer were strewn across the city, not advertising
consumer products but 'characters' and 'collectives' engaged in a communal circus called the
parliamentary elections....These panels consist of faces and figures and sentences resembling
rudimentary 'thought balloons' used in comic strips."

Only if the real-life panels made us as happy as comic strips.

Art summit

The second edition of the India Art Summit, in association with Sotheby's, will kick off at the
Pragati Maidan, New Delhi, on August 19. Akar Prakar from Calcutta will be the lone participant
from the city at the four-day art fair that promises over 1,000 works worth over Rs 40 crore
from 54 galleries, 18 of which are international. Anish Kapoor's Cloud Gate sculpture in Chicago
will be on display.

Akar Prakar will represent senior artists like Ganesh Haloi, Aditya Basak and Chhatrapati Dutta,
along with the younger Adip Dutta and Debraj Goswami. The Hindusthan Park gallery will
release a book on sculptor Sarbari Roy Chaudhury.

"Many international galleries would like to test the waters here for a few days, especially those
from the UK, US and West Asia, vis-a-vis setting up shop," says Neha Kirpal, associate director,
India Art Summit.

The secret of desire

From Feluda's Charminar to Ray smoking on his pipe, pop culture in Calcutta is chock-a-block
with images of heroes, real or fictional, smoking.

Once upon a time, smoking was cool. An 84-year-old woman, an asthma patient admitted to a
south Calcutta hospital for three days, was having a chat with her nurse. "I asked her what she
had liked about her husband when she married him. She smiled and said 'anek cigarette kheto
(he used to smoke a lot)'," the nurse said.
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Theage.com
23.02.2010

Australian films win Berlin plaudits


Stephanie Bunbury
February 23, 2010

Callan McAuliffe in a scene from Hannah Hilliard's Franswa Sharl.

AN AUSTRALIAN short film about a cross-dressing boy who wins a holiday resort beauty competition
won the Crystal Bear for best short film in the Berlin Film Festival's children's section, Generation K-
plus. A jury of children described Hannah Hilliard's Franswa Sharl as ''non-stop fun for a moment
we forgot the world around us''.

Over on the Berlinale Talent Campus that offers support to new filmmakers, Australian Bryn Chainey
won the campus' award for the best short film with Jonah and the Vicarious Nature of
Homesickness. A jury of professional filmmakers praised the film, about a boy blasting away from
his family in a home-made spaceship, for its ''truly creative inventiveness''.

Franswa Sharl was based on a real story from Hilliard's co-writer Greg Logan. ''I'd made some dark-
themed films, all about parent-child relations,'' says Hilliard, who graduated from the Australian
Film and Television and Radio School in 2007. ''I was ready to move on to a feature but I thought it
was such a charming story I wanted to make something that was warm, real and funny. I thought it
would be a tonal challenge, a change from my usual films where people die or get stalked.''

It was an eventful shoot in Port Stephens, marred by heavy rain on the very day they had to film the
poolside beauty competition. On the plus side, the young star Callan McAuliffe was signed up by
talent agency William Morris while filming and has now played the lead role in Rob Reiner's latest
film, Flipped, about a romance between eighth-grade opposites. ''He's actually shooting the role of
Quick Lamb in Cloudstreet television series currently,'' she says, ''so he's about to be a Hollywood
star.''

The Berlinale ended on Saturday with the announcement of the winners in its main competition.
The festival's Golden Bear went to Bal (Honey), Semih Kaplanoglu's film from Turkey about the
relationship between a boy who mysteriously begins to stutter and then lapses into silence and his
father, a bee-keeper. It was one of many striking films at the festival about relationships within
families, which emerged as an unexpected festival theme.

The other big winners were Florin Serban's If I Want To Whistle, I Whistle - a film about a young
delinquent in a reform school who falls in love with his psychologist, made with a mixed cast of
actors and real-life juvenile detainees - which won both the jury's grand prize and the Alfred Bauer
memorial prize for a film of particular innovation. The win confirms Romania's position as a source
of consistently strong, low-budget films over the past few years.
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The one award by Werner Herzog's jury that may have been seen to be courting controversy was
the best director's gong for Roman Polanski, a clear gesture of support for the 76-year-old maestro
under arrest in Switzerland.

His film The Ghost Writer, a thriller about a seedy British administration starring Pierce Brosnan
as a thinly disguised Tony Blair and Ewan McGregor as his amanuensis, had something of the
eeriness of his early films such as Knife in the Water, but was sluggish stuff by comparison with
contemporary thrillers full of action and fast cutting.
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Thebizandtechlab.wordpress.com
15.02.2010

Power to the Pixel, Berlin revival : larchitecture dune


histoire transmedia la porte de tous (1/3)
1er round pour le guide cross media destin aux ralisateurs indpendants ! Liz
Rosenthal, grande prtresse du Power to the Pixel made in London a import le
concept pendant la Berlinale, en trois panels, chacun portant sur un angle
particulier. Aujourdhui, la cration, et cest suffisamment rare pour le souligner
Trois crateurs producteurs sont venus prsenter leurs projets : le dsormais
fameux Lance Weiler, entr dans la sphre du cinma indpendant lors de sa
slection au Cinemart (plateforme de coproduction du Festival International du
Film de Rotterdam), Alexandre Brachet de Upian, socit spcialise dans le web
design et la production de documentaires, et Martin Ericsson, fondateur de The
Company P une socit de production sudoise spcialise dans les projets new
media. Etats Unis, France et Sude, 3 manires de dvelopper le cross media.

Ainsi, Lance Weiler a ouvert la session en


insistant sur larchitecture de chaque histoire
cross media qui, finalement, se btit comme
une histoire traditionnelle. Les fondamentaux
restent Et cest lanalyse du scnario qui va
permettre de construire le projet dans son
ensemble, afin denvisager les possibilits en
termes de blogs, de plateformes, exactement
comme le ferait un directeur de production pour les reprages. Le petit plus du
cross media tant le dialogue avec le public : linteraction constante permet
davancer et de mieux ragir son attente. Lance Weiler a prsent son projet
HIMPandemic, et la manire dont il la financ, par du private equity, des marques
et des partenaires techniques : son leitmotiv reste sa volont de ne pas polluer son
histoire par les financiers

Puis, Alexandre Brachet a expos deux web-documentaires quil a produits. Gaza


Sderot a la particularit dtre diffus, comme son nom lindique, seulement sur
internet, et dtre en permanence en split screen : linternaute suit lhistoire de
six personnages Gaza (en Palestine) et Sderot (en Isral) en mme temps sur le
mme cran ; il peut galement dcider de les suivre personnage par personnage,
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par sujet (le sport par exemple), ou par lieu (tous dfinis sur une carte du type
Google Earth). Ainsi, la narration peut, tout moment, tre dlinarise ou
relinarise Cest linternaute de dcider de quelle manire il veut visionner le
documentaire. Alexandre Brachet a soulign quun blog a t cr, avec une page
HTML qui permet aux producteurs davoir un rfrencement correct sur internet
(en effet, les architectures en flash ont la rputation dtre jolies, mais mal
rfrences sur le web, ou en tout cas par Google). Puis, Prison Valley, qui sera
lanc fin avril, se droule au Colorado et suit une ville qui vit au rythme de sa
prison. Alexandre Brachet a galement mentionn que des films dj raliss sur la
prison seraient disponibles online, mais il reste vrifier quels droits ont t
clears pour la diffusion Il a prcis que les deux web-documentaires ont t
financs par le Fonds Multimedia du CNC et ARTE, et si le budget a t couvert, il
ne gagnerait pas pour autant dargent sur lexploitation.

Enfin, Martin Ericsson a parl du projet The Truth about Marika (dont nous avons
dj parl dans ce blog ici lors de la journe Pixel organise au Forum des Images
en dcembre 2009). Le point de taille soulever dans son intervention, cest la
participation de Tim Kring, le crateur star des sries Heroes et Lost, dans ses
prochains projets dici le printemps ou lt 2010 ! Cest de bon augure
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Thebizandtechlab.wordpress.com
17.02.2010

Power to the Pixel, Berlin revival : a se finance comment


le cross media ? (2/3)
Aprs la cration, on passe aux choses srieuses, au financement, car cest bien
joli le cross media mais quel est le modle conomique en vigueur ? On en a bien
une petite ide, mais Lance Weiler (voir ce post), Michel Reilhac, directeur gnral
dARTE France Cinma, et Ben Grass, directeur de la socit de production Pure
Grass Films (dtenue 40% par Endemol), sont l pour tout nous expliquer.

Ce quil faut retenir au final, cest que le financement vient ou viendra des sources
traditionnelles de films. Et si ce nest pas linvention de leau tide, cela permet
de resituer le dbat : le cross media nest donc pas quelque chose part dans la
sphre du cinma, mais bien une autre manire de raconter une histoire. Il a donc
sa place dans lindustrie cinmatographique, puisquil en est le prolongement, une
volution naturelle. Ainsi, on parle des chanes de tlvision, du private equity, de
largent de lEtat (quand cest possible en Europe), des marques, du crowd
funding, etc. Lance Weiler met sur un pidestal le public, qui est vritablement
pour lui le vecteur conomique : cest par limplication du public que le projet va
devenir intressant et viable conomiquement pour les potentiels financeurs (les
applications sur les smartphones seront pour lui une des principales sources de
crativit, mais pour linstant on en est linstant 0). Limportant est donc de
rassembler toutes les informations possibles sur les clients (appelons un chat un
chat) afin de revendre les informations avec laccord de ceux-ci : voyons si cest
possible, et en accord avec les CNIL Facebook ayant expriment ce genre de
dconvenues.

A son tour, Ben Grass a prsent la manire dont il avait financ diffrents projets,
chaque fois 20 mini pisodes de 4 minutes, comme When Evil calls, financ par
Chello Media, distribu sur mobiles sur 10 territoires ou Kirill financ par MSN
Royaume Uni et parrain par XBox. Le budget de chaque projet est de 230 000
320 000. Ben Grass a point les problmes inhrents au financement du cross
media : comment financer une srie sans pilote et par l mme comment financer
le pilote ? Comment calculer le retour sur investissement dpisodes visionns sur
internet ? Ce qui impacte videmment les potentielles relations avec les
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annonceurs Lui aussi en vient la mme conclusion : il faut avoir une bonne
histoire, une histoire universelle et advienne que pourra.

Pour conclure, Michel Reilhac a soulign que le systme tait en train de se mettre
en place, que les mots taient encore inventer (pour la plupart, ils viennent du
monde du jeu vido et des logiciels), quil y a encore beaucoup dducation
faire, en particulier auprs des financeurs traditionnels qui prouvent de la peur et
de langoisse lide de se jeter dans ces nouveaux projets dont les recettes ne
sont pas certaines ou calculables prcisment. Le problme le plus important
rgler pour lui, ce nest finalement pas le financement, mais les questions
juridiques et contractuelles attaches au statut de lauteur : dans la mesure o il y
a un pool de story architects (on ne dit plus auteur), comment faire pour mettre
en place une nouvelle rgulation, des nouveaux droits ? A qui appartient le projet
dsormais ? Ainsi, le ractor (contraction de reactive actor) peut-il tre pay pour
son implication dans les jeux et diffrentes applications dun projet transmedia ?
Michel Reilhac a rappel les exemples de tl-ralit o les participants avaient
finalement demand une rtribution pour leur disponibilit 24 heures sur 24

Ainsi, pour financer et produire des projets transmedia, il faut avant tout
convaincre les guichets traditionnels (Michel Reilhac a soulign que depuis janvier
2010, les producteurs avec un coproducteur franais sils sont trangers peuvent
envoyer ARTE France Cinma leurs projets transmedia au mme titre que les
longs mtrages). A brave new world
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Thebizandtechlab.wordpress.com
18.02.2010

Power to the Pixel, Berlin revival : le film et les


internautes (3/3)
Dernire tape pour fermer le cycle de panels sur Le guide du cross media (qui
avant sappelait internet a spcifi Liz Rosenthal) pour les ralisateurs
indpendants organis par Power to the Pixel, dans le cadre du Berlinale Talent
Campus. Lizzie Gillett, productrice, et Timo Vuorensola, ralisateur, ont parl
chacun leur tour de leurs expriences avec les internautes.

Ainsi, Lizzie Gillett, lheureuse productrice anglaise


du documentaire activiste sur le changement
climatique, The Age of Stupid, a prsent tout le
processus, de la production la promotion. Les
conditions de fabrication ont t en effet trs
simples : la ralisatrice Franny Amstrong et elle-
mme dans un appartement, sans distributeur, sans
budget. Le film a t financ base de
crowdfunding, ce jour 884 000 pounds (en gros 1 million deuros) levs grce
620 investisseurs (qui ferait une moyenne de 1425 pounds par personne), sans
aucun soutien institutionnel ou banques. Les investisseurs rcuprent ensuite leur
argent selon le schma suivant : pour 500 gagns, ils touchent 50 (apparemment,
des avocats ont regard leurs contrats aprs coup pour les rgulariser, et leur ont
dit quils ntaient pas trs lgaux, donc creuser, car Lizzie Gillett a prcis que
tous les lments lgaux et financiers relatifs la production du documentaire ont
t mis en ligne sur le site web, afin dtre utiles pour les jeunes ralisateurs et
producteurs). Lide a t ensuite de mettre au point une avant premire
cologique (eco-premiere) et de rendre disponible le film pour tous, au mme
moment pour 62 villes au Royaume Uni, retransmis sur un cran en plein air, avec
les guest stars du documentaires Londres (largent a galement t trouv par le
crowdfunding). Puis le film a eu 6 semaines dexploitation dans les cinmas. Pour
les pays qui navaient pas de salles de cinma, Lizzie Gillett a prcis quelle leur
donnait un droit daccs gratuit pour un visionnage par internet, et a ainsi prsent
le logiciel mis en place, Indie Screenings, pour recenser toutes les demandes de
visionnage et le prix adquat. En effet, une ONG paiera moins cher quune
multinationale qui vend du ptrole Elle a aussi fait en sorte que le film soit
disponible en download to own (on peut tlcharger le fichier et le graver sur
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DVD), dont le prix varie galement en fonction des moyens financiers des acheteurs
: 6 pour les acheteurs riches venant dun pays riche, 3 pour les acheteurs riches
venant dun pays pauvre et inversement, et 1 pour les acheteurs pauvres des pays
pauvres Robin des Bois est pass par l. Les gains ont t de 100 000, aprs avoir
repris le mandat de vente quelle avait cd Celluloid Dreams, une des socits
de ventes internationales les plus prestigieuses, car son intrt elle tait de
rendre le film le plus disponible possible, partout, pour tous, ce qui nest pas
forcment celui du vendeur Elle a galement mentionn que le film a t vendu
aux Etats Unis un distributeur plutt commercial, et que cela a permis au film
dtre vu finalement par les unusual suspects, qui vont dans les multiplexes,
mais pas forcment aux manifestations Greenpeace.

Puis, Timo Vuorensola, ralisateur finlandais, a parl du film, une comdie de


science fiction, quil a mis 7 ans faire avec $15 000 de budget, Star Wreck. En
gros, avec une bande damis nerds, qui ne connaissaient rien au cinma, aux
acteurs, la rdaction dun scnario, au tournage, etc., il sest dcid se lancer
dans cette aventure, depuis le sous-sol de sa maison.

Le but a vraiment t de tenir les internautes intresss, pendant ces 7 ans, et de


mentir un peu oui oui, le film va tre prt dans 6 mois Ils lont ensuite sorti
gratuitement sur internet, pensant que de toutes faons personne ne le
regarderait. Mais ils ont eu 8 millions de visionnage, ont vendu des DVDs, des tee-
shirts. Le profit a t de $350 000, ce qui est plutt un succs ! (petite prcision :
rien nest revers aux internautes, le processus est clair depuis le dpart). Un DVD
a t fabriqu, vendu au Royaume Uni, aux Etats Unis et en Scandinavie (il na pas
voulu dvoiler le montant des minima garantis reus). Le plus important pour lui a
t dtre suivi et soutenu par les internautes (car il fallait bien quil finisse son
film du coup), galement aid par leur collaboration et leurs ides diverses et
varies sur lhistoire. Son prochain film, Iron Sky, toujours dans le genre comdie
de science fiction ( propos de Nazis qui seraient partis sur la lune en 1945 et
reviennent maintenant sur terre en 2018), a un budget beaucoup plus lev de
$5,7 millions, et Timo Vuorensola veut galement lever de largent auprs des
internautes mme si le procd sera lgrement diffrent. Pour conclure, il a
cit, en riant, un producteur quil avait rencontr et lui avait assn : si ton film
est sur internet, cest quil est nul. Qui a raison ?
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Thebusinessoffilmdaily.com
November 2009
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Theguardianlifemagazine.blogspot.com
30.01.2010

The Figurine in Rotterdam

THE filmmaker Kunle Afolayan left Lagos


for the Netherlands on Wednesday to
attend the yearly Rotterdam International
Film Festival. At the fiesta, reputed to be
one of the major film festivals in Europe,
he will show his wave making The
Figurine. Thereafter, he will go to
Germany to be part of the Berlin
International Film Festival, which opens
on February 9. Afolayan, alongside Oliver
Hermanus of South Africa and Caroline
Kamya of Ugandan will be sitting on a
panel to discuss the state of African
Cinema. Dorothy Wenner will moderate
the session. From Berlin, Afolayan will
head to Washington DC in the United
States for a command showing of the film
at the Smithsonian National Museum of Arts in Washington. He spoke to Moviedom
before he left

So where are you headed to right now?


I am off to The Netherlands for the Rotterdam Film Festival to screen The Figurine.
From there, I will head to Germany for the Berlin International Film Festival and
then to London. From London, I will go to America, back to London and so on. In
short, I will be away until March, if not April.

Tell us about the invitation to the United States?


It is from the Smithsonian National Museum of Arts in Washington, came through
the curator of the museum. I think they saw the trailer somewhere and were
convinced that it would be a good film to see. So, the film as I am told, would be
shown to a select audience. Afterwards, Im expected to give a talk on African film
industry. I will also be at the African Film Festival in New York for a premiere of
the film. I am happy that the New York premiere is a reality because after the
London premiere, which witnessed a huge turnout of people, I got a deluge of mails
and phone calls from America, that I must bring the movie there. As far as Im
concerned, The Figurine has made it purely on its merit. I mean take Rotterdam for
example; the entries had even closed before they called me. They want the film at
all costs and they are excited to see it.

How much support is coming from government?


Government? Abeg make we talk another matter. I have written letters and I all I
get is you have produced a quality filmkeep the flag flying. Is that what will
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take me around? Dont you know how much it costs going round to promote works?
Look, all efforts to get the government to see what Im doing as part of its
rebranding campaign has not succeeded. For many years, Nigerian films were not
invited to foreign film festivals, but today everything has changed. I can name one
or two films that have been so invited. Here is a product that is in high demand
here and there and someone wants me to write loads of letters before he accedes
to my request for support. When I go abroad, they introduce me as Nigerian
filmmaker Kunle Afolayan and not just a filmmaker. All I get arepromises and no
fulfillment of the promises. At the Abuja premiere of the film, the Minister for
Information and Communication, Prof Dora Akunyili, pledged governments support
for the films international screenings. But I still dey wait for the actualisation of
madams promises.

So when are you expected back?


I will be back in March, all things being equal. And when I return, I will hit location
to direct a romantic comedy for a telecommunication company. We are still going
to take The Figurine around. I found out that quite a number of people have not
seen the film. So we are going to do the Easter run at the National Theatre and at
major cinemas across the country. I took the film around during the Yuletide and it
was well received. In fact, at the Silverbird Cinemas, it had a turnover of N15
million, an unprecedented sum for any Nigerian film at the cinema. So, we will
return to the cinemas during the Valentine commemoration and during Easter. I
think, as I have often said, the challenge is to stay creative and make good films. It
is not getting into my head yet. With all the success Irapada achieved, it didnt get
into my head.

So, when will The Figurine be on VCD?


Ah, not now o. We need to recoup our investments. But seriously, we will do that
soon. There is a collection of academic essays on The Figurine being written by
some professors in Nigeria and abroad. Maybe when it is done, we will release the
DVD along with the collection.
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Timeoutbengaluru.net
10/2009

Fest of fury
The handful of pieces in this short film festival will forever alter the way you view moving
pictures, says Jaideep Sen.

Youd have to steel yourself from sniggering


reprehensibly over Tomer Esheds Our
Wonderful Nature, an animated short about
the mating habits of the mouse-like water
shrew. Sure, you could pay heed to the
contains animal violence and sex
warning. But then, it does add, Enjoy.
When youre left chortling over two of the
male mammals fighting over a female, it
may even slip your mind to consider that
this film by the Jerusalem Art School
student figures as one among the more
amusing pieces in a festival that includes separate segments on the theme of neighbours,
and of walls.

The festival, titled Love + Death = Happiness, being hosted by the Goethe Institut this
fortnight and curated by Robin Mallick, promises a collection of new short films from
Germany and other parts of the world.

The three segments in it are In the Neighbourhood, Walls around the World, and Best
of Filmfest Dresden: New Short Films from Europe. Mallick, who has in the past, played
prominent roles at the Filmfest Dresden international short film festival, and with the
European Coordination of Film Festivals, knows a thing or two about mixing things up for
audiences. So when you go in expecting some hard-hitting material in the first segment,
what you get instead is a host of fresh animation efforts (each one of which has amassed
immense accolade), and an abundance of unrestrained belly laughs.

The first segment discloses numerous challenges to cope with your neighbours, says the
curatorial note, leading into the second part, which begins in Berlin, and moves on to the
physical and psychological walls in Indonesia, on an Arctic island, and finally, at the
Indo-Pak border. Thats where youd be completely thrown off guard.

If theres any hint of political incorrectness


here, its do with a bored woman and an
equally bored man in the split-screen
animated short Sofa, by Hyekung Jung. The
woman re-ascertains her red polka-dotted
underclothes while slamming her cat against a
sofa, as the man attempts mounting his couch
in frustration.

In Window with a View, Vera Lalyko toys with


illusion glasses a fancy contrivance of
windows of the future. Daniel Nockes No
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Room for Gerold finds three morphed animal flatmates Ellen, Armin, and Roger; gnu,
hippo and rhino sitting around a table to tell their fourth friend, Gerold, a crocodile, that
he must leave. Sebastian Petersons Diary of a Perfect Love is about a heartsick young
factory-worker buck believing his life will change on his 29th birthday, when he meets a
gorgeous fille. In Stefan Mllers Mr Schwartz, Mr Hazen & Mr Horlocker, the character
Schwartz plays the irate neighbour who calls in the cops to quell a ruckus. While Jan
Thrings The Raft finds two starving, half-crazed castaways Marty and Ernest lost at
sea, coming to knives over a fish that a seagull drops over their heads. The lone stark cut is
in Florian Groligs White, lending the message, In the middle of white is monotone
balance one definition of space is the absence of embarrassing contact.

That the festival presents an impossibly mixed bag of selections in films that will have
you guffawing boisterously over topics normally considered with restraint, and gravely
pondering over trivial subjects theres also the aspect of the various techniques that it
brings together. Hand-drawings, puppets, clay, 3D computer animation, and mixed media
like Bert Gottschalks Framing, which experiments with modified footage, drawings on
photo and video, to capture collages of the building-facades of a city in single frames of 8
millimetre-film, all put together to the music of Schubert. The process any which way, is
never easy, as Thring, in a making of feature, explains how his ten-minute film took
months to shoot, and over a year and a half in post-production. It was a hard struggle to
achieve the quality of images that we wanted, he says.

The non-animated shorts in the second


segment feature Paul Cotters The Berlin
Wall, a (fictionalised) account of a 75 year-
old man building a wall, to recreate
memories of how he first met his wife.
Bagus Wirati Purba Negaras Indonesian film
Musafir follows two garbage collectors on
the streets of Jakarta. Sabine El Chamaa,
who has spoken about her childhood amidst
the war in Lebanon, has an elderly woman
reconstructing the rubble of her destroyed
home inside the new place shes relocated
to, in Promenade. Steve Pillar Setiabudi
tracks a working day with Jakartas food carts in Rhythm of a Day, and Sakiti Paranteans
Pork or Chicken? follows Novi, a 10-year-old Chinese girl on the same streets, while Gina
Abatemarcos My Super Sea Wall finds the inhabitants of Kivalina, an Arctic island, stacking
sandbags to keep rising water levels out. Supriyo Sens Wagah captures the ceremony of
the closing of the border between India and Pakistan.

The stunning final segment covers suspense with a bomb set to go off in the duo Lars
Jandel and Tom Zenkers Ray of Hope, horror and fantasy in Edouard Saliers 4, and
infatuation in Michael Watzkes The Secret Sound. Jane Linfoots Youth presents an edgy
roughing-out story of adolescence that ends up being more worrying than enjoyable, but
its Spela Cadezs Lovesick, a charming (puppet-work) love story that begins with a
dolorous hero having his heart taken out on a tray, that will ultimately leave you choking
on emotions that youd be certain are as yet undefined.

Source : Time Out Bengaluru ISSUE 10 Friday, November 27, 2009


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Transindex.ro
03.03.2010

krdezett: Dunai Lszl


VRS SZNYEG
Fiatal erdlyi filmkritikus menni Berlinale

Pljs Erzsbetet tbb mint 5000 jelentkez kzl vlasztottk be a filmfesztivl alatt
zajl Talent Campus nevezet kpzsre. lmnyeirl krdeztk.

Erzsbet (Betti) marosvsrhelyi szlets, a kolozsvri Sapientia egyetem Fot, film,


mdia szaknak vgzs dikja 2 ve kezdett filmkritikval foglalkozni. Idn sikerlt eddig a
legnagyobbat dobbantania, hiszen a Berlinale ideje alatt profiktl leshette el a szakma
fortlyait.

Mi a Berlinale Talent Campus?

Pljs Betti: A Talent Campus tulajdonkppen egy hat napos intenzv filmes kpzs,
melyet 2003 ta szerveznek meg a Berlinale ideje alatt. A kpzsekre 350 fiatalt
vlogatnak be az egsz vilgbl: rendezi, operatri, vgi, sznszi, produceri,
dszlettervezi, zeneszerzi szekcikba lehet jelentkezni.

Valamelyest elklnl ezektl a Talent Press trning, amely kimondottan


filmkritikusoknak, illetve filmes jsgrknak szl, ide plyztam n.
Lefordtottam hrom publiklt filmkritikmat angolra, majd a nagyon pontosan, nmetesen
megtervezett jelentkezsi lappal egytt mlt v szeptemberben elkldtem azt.
Decemberben telefonltak, hogy bevlogattak.

Mibl lltak a foglalkozsok?

Az idei Talent Campusnak a Cinema Needs Talent: Looking for the Right People (A
mozinak tehetsg kell: a megfelel embereket keressk) volt a jelmondata. Az llt a
kzppontban, hogy milyen sokat szmt s mennyi minden mlik azon, ha a rendez
megtallja a megfelel embereket a filmjhez.

Els rnzsre nagyon kaotikusnak nzett ki az egsz, mert minden foglalkozsnak volt
valami hangzatos cme, melyet ha elolvastl, fogalmad sem volt, hogy mirl is szl, de
nagyjbl kt kategriba lehetne sorolni a Talent Campus esemnyeit.

Az elsbe a kerekasztalbeszlgetsek vagy panelek tartoztak, amelyen brki rszt


vehetett, s ahol hres meghvottakkal lehetett beszlgetni. Pldul Isabel Coixet arrl
beszlt, hogy mennyire fontos volt szmra az, hogy a megfelel stbtagokkal dolgozhat
egytt.
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A Cinema Unlimited Intercontinental Connections cm panelen egy irni rendez, Rafi


Pitts elmondta, mennyire rzdik a filmen, hogy a stb miknt llt hozz a forgatshoz,
milyen volt a kapcsolatuk egymssal, mert minden, ami a kamera mgtt zajlik, az
egyttal ott van a kpen is.

A kerekasztalbeszlgetseken egybknt, br neves szakemberek beszlgettek, rdekes


gondolatokon kvl nagyon sok gyakorlatias tapasztalatot nem lehetett szerezni.

A msik kategriba a hands-on-training programok tartoztak. Ezek sokkal


gyakorlatiasabbak voltak, mint a panelek. Ami neknk az jsgrskpzs volt, hasonl
trningeken vehettek rszt a filmrendezk, operatrk stb. Pldul a rsztvevk kzl
hrom filmzeneszerz Alexandre Desplat-tal dolgozhatott egytt, s azalatt a nhny nap
alatt egy animcihoz kellett zent szerezzenek, melyet aztn rgztettek.

A dokumentumfilmeseknek ott volt a Dokstation vagy a forgatknyvrknak a


Scriptstation, ahol igazi profikkal tudtk megbeszlni a forgatknyveiket. Ezek
termszetesen szkebb krben zajlottak, mint a beszlgetsek, s az emberek jobban
megismerhettk egymst.

A Talent Press keretn bell neknk kemnyen kellett dolgozni, minden napra volt egy
feladatunk. Meg kellett nzznk egy filmet, vagy egy eladst kellett meghallgassunk,
minek utna rohantuk a szerkesztsgbe, hogy megrjuk a cikket, amelyet aztn
megbeszltnk a mentorokkal. Kicsit azt rzem, hogy gy sokmindenbl kimaradtam, de a
kpzsbl sokat tanultam. Ez megrte.

Mit vrtl el a kpzsektl, mieltt elmentl?

Tanulni szerettem volna. A Talent Press-tl azt vrtam el, hogy visszajelzst kapjak a
munkimat illeten. Eddig rogattam filmkritikkat, de gy igazbl nem volt, aki
elmondja, hogy mi az, amit jl csinlok, s mi az, amin vltoztatni kellene, ezrt kvncsi
voltam szakemberek vlemnyre. Ezt megkaptam, ugyanakkor azzal, hogy minden nap
hatridre kellett rjak, egy nagyon stresszes szerkesztsgi helyzetbe kerltem, amit mg
nem tapasztaltam, de nagyon izgalmas volt.
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A Talent Campustl pedig azt vrtam el, hogy lehetleg minl tbb filmessel ismerkedjem
meg, s olyan kapcsolatot alaktsak ki velk, hogy amikor hazajvk, brmelyikkkel fel
tudjam venni jra a kapcsolatot, s megbeszlhessek velk akr egy filmtervet is.

Hogyan lehet ismerkedni a Berlinln, hogyan kzeledsz egy emberhez?

Nem voltak klnsebb preferenciim az ismerkedst illeten, mert ha valaki konkrtan


rdekel, megnzem a profiljt a Talent Campus adatbzisban, s azon keresztl fel
tudom venni vele a kapcsolatot. gy izgalmasabb volt, mert ott voltl 350 emberrel egy
helyen, majd spontnul elkezdtl valakivel beszlgetni.

Fogalmad sem volt, hogy ki , vagy honnan jtt, s rendkvl rdekes trtneteket
hallhattl. A hostelben is folyamatosan lehetett ismerkedni. Els este pldul felmentem a
hostel brjba anlkl, hogy brkit is ismertem volna. Mr a liftben megismertem egy dn
zeneszerzt, aki 5 vet tanult Szentptervrott a konzervatriumban. Nagyon rdekes
beszlgets alakult ki, amibe aztn egyre tbben kapcsoldtak bele.

Nem fltl attl, hogy a filmkritikban men trendekkel, vagy azokkal a tmkkal,
amelyekrl beszlnek, nem vagy tisztban, s ettl esetleg kompexusaid lesznek?

Nem volt idm, hogy komplexusokat alaktsak ki, mert minden annyira gyorsan zajlott.
Persze feszlyezett az, hogy nincs sok gyakorlatom az jsgrsban, mert alig kt ve rok
a Filmtettnek, s tbbnyire csak filmkritikkat. De ilyen szempontbl mentsg volt
szmomra az, hogy nem vagyok jsgr, s elssorban tanulni mentem oda, ppen azrt,
hogy gyakorlatban lssam, miknt mkdik mindez nemzetkzi szinten.

Mint romniai magyar filmkritikusra, filmes berkekbl rkezre, hogy tekintettek rd a


rsztvevk?

Nagyon rdekldek voltak, mert olyasmit hoztam, amirl eddig nem nagyon tudtak,
hiszen ha Romnibl jssz, elvrjk, hogy romn filmkritikval foglalkozzl. Az erdlyi
magyar fogalma szmukra egy egszen j dolog volt.
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Arrl ugyan nem beszltem (a bemutatkozsban viszont rtam), hogy az erdlyi magyar
filmgyrts a nmafilmes korszakban milyen nagy volt itt, de Oliver Baumgarten, a Talent
Press vezetje, rkrdezett arra, hogy Erdlyben milyen irnyba tart a filmgyrts, s
lehet-e sz erdlyi magyar filmgyrtsrl a jvben.

Mit mondtl neki?

Romn vagy magyar kezdemnyezsbl egyelre nem ltom ennek eslyt, csak akkor
valsulhatna ez meg, ha jnne egy klfldi befektet, s ltestene egy filmstdit
Kolozsvron, vagy Erdly valamelyik nagyobb vrosban.

Ez pedig nemzetisgtl fggetlenl a rgi filmeseinek lenne nagy lehetsg, itt kapnnak
tmogatst a projektjeikhez. Krds, hogy valakit rdekel-e.
A j az, hogy Erdly kezd kicsit kzpontba kerlni tbb, klfldn befutott koprodukcival,
amit itt is forgatnak. Pldul a Biblioteque Pascal, ami romn-magyar-nmet-angol
koprodukci, messzemenen kiemelkedik a kortrs magyar filmek kzl.

A tvbl mindig olyan nagynak, elrhetetlennek s tvolinak tnik minden ilyen nagy
fesztivl, mint a Berlinale vagy a Cannes. Testkzelbl milyen volt ezt megtapasztalni?

J a krds, mert tnyleg az van, hogy minden, ami nagy dolognak tnik, kzelrl mindig
egszen ms. n abban reztem ezt a mssgot, hogy a hihetetlen mennyisg
sajtanyagban, jsgban s kiadvnyban, de a Talent Campus programjban is a hangzatos
s izgalmasnak igrkez cmek is csak egyszer, idnknt akr unalmas beszlgetseket
vagy esemnyeket takarnak.

ppen ezrt szndkosan kerltem a vrssznyeges bevonulsokat. A tvben nagyon jl


mutatnak, meg a helysznen is biztos van egy hangulata. De azrt, mert lefotzol egy hres
sztrt vagy kapsz egy autogrammot, nem kerlsz hozz kzelebb, s te sem leszel
klnlegesebb ember. De ht ezen nincs is nagyon mit csodlkozni, mert a reklm, meg a
kls csillogs gysem az, amit teskzelbl megtapasztalsz, s nem is felttlenl jobb.

Melyek azok a trendek, melyek az eurpai filmgyrtsban megfigyelhetek? Mire kell


figyeljen pldul egy romniai filmes, aki eurpai filmet akar kszteni?
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Nagyon sok olyan rendezt ismertem meg, akik olyan helyekrl jnnek, ahol egyedl nem
tudnak filmet csinlni, mert nincs anyagi lehetsgk, vagy akr politikai okok miatt,
pldul Kzel-Keleten.

Most azt ltom j rtelemben vett trendnek, hogy nagyon sokan klfldn tanuljk a filmes
szakmt, pldul Nmetorszgban vagy Angliban, aztn hazamennek, s az otthoni
sajtos tmt a nemzetkzi filmes nyelvezettel viszik vszonra. Ha ezt megcsinljk, s
hazai kznsg nagyon nincs is, de Eurpban nagyon szvesen fogadjk ezeket a filmeket.

Teht a koprodukcikrl beszlsz.

Igen. Szerintem egy romniai filmes szmra ez egy nagyon j lehetsg. Itt van pldul a
Robert Bosch Foundation, ami Eurpban a kelet-nyugat filmes koprodukcikat tmogatja
anyagilag. Nagyon sok optimista javaslatot hallottam, sokan mondtk: ha van egy
filmtleted, plyzd meg. Nmetorszgban is, vagy nagyon sok ms orszgban, ha tetszik
nekik a terved, s sajtos tmt dolgozol fel, biztosan tmogatjk.

J plda erre a romn film esetben a kommunizmus tmja, s az egyedi filmstlus,


amivel ezt bemutatjk, nagyon megtetszett a nyugatiaknak. Vagy ott van a Varga Katalin,
amelyet klfldn el lehet adni, holott sok erdlyi nem szereti, mert rzi a
hiteltelensgt, meg a hamissgot az egszben.

Ugyangy beszlhetnk a trk szrmazs, de Nmetorszgban rendez Fatih Akin-rl. A


Talent Presses rsztvevk kztt volt egy trk lny, akitl kln megkrdeztem, hogy mi
a vlemnye Akin filmjeirl, s azt vlaszolta, hogy Trkorszgban egyltaln nem
szeretik ahogyan sem , mert nem rzik maguknak.

Most krds, hogy kinek, vagy egyltaln meg akar-e felelni egy rendez sajt
kznsgnek, s gy ltalban mi a clja a film elksztsvel. A kinek s mirt krdsek
tisztzsa utn a koprodukci lehet egy pozitv dolog, de ha trendet csinlnak belle
azrt, mert klfldn viszik, mint a cukrot -, akkor visszatasztv vlhat.

Mint fiatal erdlyi filmkritikus, hogy ltod, meg lehet-e ebbl lni itthon, akr gy,
hogy klfldi piacra dolgozol? Hogy tudod most eladni magad, mint egy erdlyi kritikus?
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Ht nem neveznm magam filmkritikusnak, inkbb csak aspirnsnak. Mg nem nztem


utna igazn a lehetsgeknek, de els rnzsre lehetetlennek tnik ebbl meglni, s
nem azrt, mert Romniban lek.

Nemzetkzi szinten is tny, hogy a filmkritika maga alatt van, az embereket nem rdekli a
sznvonalas filmjsgrs, s a sajtorgnumoknak nincs pnzk megfizetni szakembereket.

A kznsg oldalrl meg az embereket nem igazn rdekli a filmkritika, legtbben arra
kvncsiak, hogy hny csillagot kapott a film, thumbs up, thumbs down, vagy milyen
ratingjei vannak.

A filmkritiknak nem csak az a clja, hogy felkeltse az emberek rdekldst a film irnt,
hanem az is, hogy a film megnzse utn tbbet nyjtson az olvasnak, elemezzen,
sszefggsekre hvja fel a figyelmet, de erre nagyon kevesen kvncsiak. A filmipar
szempontjbl pedig teljesen irrelevns.

Jelenleg szvesen plyzok filmfesztivlokra s kpzsekre filmes jsgrs s tanuls


cljbl. Sajnos nincs tudomsunk arrl a sok lehetsgrl s plyzatrl, ami adott, vagy
akr filmek finanszrozsval vagy sztndjakkal kapcsolatos. Az pedig nagyon hasznos
lenne, ha elkezdennk utnanzni, hogy hova lehet menni, milyen lehetsgeink vannak,
milyen tletekre s filmtervekre blintanak r a hazai s klfldi plyztatk.
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Tribuneindia.com
05.07.2009

Gutsy reels, real voices


Independent documentaries are no longer the neglected poor country cousins of mainstream
cinema. Bold unique topics and a group of young filmmakers have created a dynamic space for
this genre, writes Saibal Chatterjee

BEING independent in a business that


demands complete adherence to established
practice can never be easy. Yet the tribe of
intrepid Indian filmmakers who choose to
exist outside the system and make
documentaries about social and political
issues of import has only swelled in both
quantity and quality in the recent times.
Needless to say, Indian cinema is much the
richer for it.

Supriyo Sens Wagah takes a well-documented border event and expands it into an examination of the
complex ideas of nationality, identity and borders drawn by man
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Tribuneindia.com
05.07.2009

Gutsy reels, real voices


Independent documentaries are no longer the neglected poor country cousins of
mainstream cinema. Bold unique topics and a group of young filmmakers have
created a dynamic space for this genre, writes Saibal Chatterjee

BEING independent in a business that demands complete adherence to established practice


can never be easy. Yet the tribe of intrepid Indian filmmakers who choose to exist outside
the system and make documentaries about social and political issues of import has only
swelled in both quantity and quality in the recent times. Needless to say, Indian cinema is
much the richer for it.

In fact, Indian cinema wins more


global accolades these days for the
work of its independent
documentary filmmakers than for
the output of their better known,
better publicised counterparts who
operate within the mainstream
fiction filmmaking space.

Filmmaker, curator and distributor


of independent documentaries
A still from Anwar: Dream of a Dark Night by Anwar Jamal
Gargi Sen says, "Both in terms of
form and substance, todays documentary makers are able to experiment far more than
ever before. These are exciting times indeed. What is really heartening is the sharp
increase in the number of women filmmakers in this space."

That explains why India is seeing a dramatic proliferation of festivals dedicated exclusively
to documentary and short films. Open Frame, organised by the Public Service Broadcasting
Trust, has become a regular fixture on New Delhis annual cultural calendar. Persistence
Resistance, a festival of independent documentaries hosted by Magic Lantern Foundation
in the national Capital, has also emerged as a major annual event.

And now apart from the Union Government-mandated biennial Mumbai International Film
Festival (MIFF) of Documentary, Short & Animation Films, Kerala has its own event
designed to celebrate the variety and power of independent documentaries. The
International Documentary and Short Film Festival of Kerala is in its second year and is
already showing signs of vibrancy.
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Getting popular

Sen, who attended the Second Kerala documentary festival that was held in
Thiruvananthapuram from June 19 to 25, says "The queues that I see here for the
screenings are absolutely amazing. In Delhi, too, the audience for documentary films is
growing steadily." She should know. Sen is the brain behind the Persistence Resistance film
festival and Under Construction, a label created for the dissemination of independent
Indian documentary films.

"Films that exist outside the established distribution network are always bound to face
some difficulties," she admits. But Sen is quick to add that the kind of films that she
distributes have begun to "break away from the logic of temporality" that govern the world
of regular fiction films. "Much older films like Anwar Jamals Call of the Bhagirathi,
Madhusree Duttas I Live in Behramapada and Reena Mohans Kamlabai, made in the 1990s,
are still in great demand," she says.

Filmmakers like Jamal and Dutta are still as active as ever, constantly pushing the
boundaries of cinematic expression in their own individual ways. Mumbai-based Dutta has
since made films like Sundari: An Actor Prepares, inspired by a play about a popular
female impersonator on the early 20th century Gujarati stage; Scribbles on Akka, a film on
the life and work of 12th century saint-poet Mahadevi Akka; Made in India, which is a study
of the diverse visual cultures of contemporary India; and Seven Islands and a Metro, which
delves into the various faces of Mumbai.

Inspired minds

New Delhi-based Jamal recently wound up a film titled Anwar: Dream of a Dark Night,
which explores the space between the creative dynamics of a docu-drama and the
narrative conventions of fiction through the real-life story of a slumdweller who plans and
constructs a small movie hall in his village on the India-Bangladesh border. Jamal follows
his protagonist, who also happens to be his namesake, through his daily rag-picking routine
in Delhi before joining him on his voyage back to his roots to rediscover himself.

"Straightforward documentaries do not interest me anymore," says the filmmaker, who is


currently working on a powerful expose of the worsening agrarian crisis in the cotton belt
of Punjab.

Young blood

While the seasoned players in the independent documentary domain are still going strong,
a new breed of young filmmakers has also emerged in the recent years to provide a fillip to
the movement. One of the most notable talents among them is Supriyo Sen, whose new
film, Wagah, earlier this year won the prestigious Berlin Today Award in the Talent Campus
of the last Berlin Film Festival.
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The 12-minute film focuses on the
ritual closing that takes place
every evening on the border gates
between India and Pakistan and is
watched by cheering spectators on
both sides.

Sens remarkable film takes a


well-documented border event and
expands it into an examination of
the complex ideas of nationality,
identity and borders drawn by
man. The renowned German Young filmmakers like Supriyo Sen have not only given
filmmaker Wim Wenders, reading a fillip to to the independent documentary making
the citation for Wagah, described but have also won international awards
the film as "a convincing manifesto
against any wall that divides people."

Those who have seen Sens two-part documentary, Way Back Home, which records a
personal and intimate journey undertaken by his ageing parents back to their ancestral
home in Barisal, Bangladesh, and Imaginary Homeland, can see in Wagah a clear reflection
of his principal humanist concerns as a filmmaker.

Supriyo Sen and many other filmmakers of his ilk are worthy successors of men like Anand
Patwardhan, whose powerful 1971 film, Waves of Revolution, which recorded the police
repression of the total revolution movement in Bihar, and Prisoners of Conscience, which
looked at the plight of political prisoners during the Emergency, laid the foundation of the
independent documentary movement in India. The edifice that has come up is quite
impressive and sturdy.

Patwardhan has since made no-holds-barred political documentaries that have exposed
corruption, debunked the merchants of communal hate and questioned Indias nuclear
programme. Many talented filmmakers like Rakesh Sharma have added their weight to the
independent documentary movement with films that have laid bare the horrors of the
Gujarat riots of 2002.

And it isnt just political filmmaking that is gathering momentum in India despite the many
obstacles that confront them. Many younger directors are increasingly experimenting with
new forms and ideas.

At the International Film Festival of Rotterdam two years ago, documentary filmmaker
Vipin Vijays experimental Video Game bagged the Tiger Award for the best short film.

In a celebrity-obsessed nation, the achievement may have gone largely unnoticed, but
what the Rotterdam jury said of the film put things in perspective: "Video Game is yet
another illustration that theres more to the cinema of India than can be contained within
the received wisdom which seeks to encompass it by reference to a dualism opposing
Satyajit Ray to Bollywood`85"

The young Kerala filmmaker, a direction and screenplay-writing graduate of Kolkatas


Satyajit Ray Film and Television Institute (SRFTI), is one of numerous Indian film school
products who, free from the shackles of commerce, are pushing the cinematic envelope.
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The question is: do the men who control the industrys purse strings possess the ability to
detect the innate potential of these filmmakers?

New ideas

The Rotterdam jury clearly did. They described Video Game as a "new kind of road movie"
that "shows a relentless, complex post-modern intelligence as it processes everything
within its view, within its memory, within its wide range of cultural references." In the
context of the sort of cinema that the media usually propagates in this country, that
citation could well be about a film from another planet.

Other student filmmakers have also made their mark in recent years. The only Indian film
to make it to the official selection of the Cannes Film Festival two years ago was Chinese
Whispers, directed by SRFTI product Raka Dutta. Duttas film was in the Cinefondation
section, set up in 1998 to facilitate a concerted search for fresh global filmmaking talent.
The section presents a selection of 15 short and medium-length cinematic essays from film
schools.

The Kolkata-based film institute, named after a master who still remains the benchmark
against which all Indian filmmakers are assessed, was represented in Cannes in 2002 by
Tridip Poddars In 2006, another SRFTI graduate, Anirban Dutta, was in Cannes with his
diploma film, Tetris.

This year, a completely different bunch of young short-film makers were at the worlds
premier film festival alumni of Subhash Ghais Whistling Woods International film
institute. Nine films made by students of the institute were showcased in the Cannes Short
Film Corner.

Ghai, on his part, seemed as excited as the youngsters who had flown in to unveil their
diploma films. "Todays Indian filmmaker is far more confident and focussed than we were
when we went to the Film & Television Institute of India," he told this correspondent. "He
has far greater exposure to all kinds of cinema so by the time he is out of the institute,
he knows exactly what kind of cinema he will serve."

This clarity and the emergence of new formats of filmmaking have given independent
documentaries a huge boost. As Gargi Sen, whose Under Construction has acquired
numerous outstanding films for distribution, puts it, "the space for different forms of
cinematic expression has grown dramatically in recent years."

Fresh approach

As newer technologies emerge, a fresh approach to moviemaking also takes roots.


Democratisation does have a flip side. Not every work that springs forth from this churning
is of exceptional quality, but the intense activity that newer, cheaper modes of filmmaking
generate throws up exciting prospects. Today, if you make a good enough film on your
mobile, chances are you could end up going places with that little piece of work.

Earlier this year, Delhi hosted the second International Film Festival of Cell Phone Cinema
and a global jury chose several films for cash awards. Mobile filmmaking is fast
developing into a legitimate cinematic pursuit. The first prize for video films made on
mobiles went to a film that demonstrated what a human being can achieve with his or her
hand. A film about rainwater harvesting bagged the second prize.
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Its all happening out there. The only thing that remains is mainstream distribution of
independent documentaries a la Michael Moores Fahrenheit 9/11 and Sicko. Madhusree
Duttas Seven Islands and a Metro did get a multiplex release in Mumbai, the first for an
Indian documentary, but that trend is yet to catch on.

Indian independent documentaries have conquered many frontiers over the years. There is
no reason why you wont crack the mainstream distribution code sooner rather than later.
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Uncut.at
05.03.2010

Ein Oscar fr Christian Berger?

Der fr den Oscar nominierte


sterreichischen Kameramann
Christian Berger sprach in
Berlin im Rahmen einer
Cinematography Master
Class ber seine Arbeit.

Am Dienstag, den 16.02.10 war Christian Berger als Redner im Berliner HAU
Theater im Rahmen des Berlinale Talent Campus zu Gast. Als Michael Hanekes
Standard-Director-Of-Photography schon lange eine Legende unter den
europischen Kameramnnern, ist er sptestens seit Das Weie Band auch
international ein mehr als nur geschtzter Meister seines Fachs: Das Schwarz-Wei-
Drama brachte ihm ja schlielich eine Oscarnominierung ein und ein Gewinn gilt als
durchaus mglich.

Was zuerst im Gesprch mit den Teilnehmern des Talent Campus aufgefallen ist
waren Christian Bergers schlechte Englischkenntnisse. Diese strten nie im
Verstndnis, doch hinderten das Kameragenie sichtlich daran, wirklich vollstndige
Antworten zu geben. Beispielsweise warf er, wenn er ein englisches Wort nicht
wusste, einfach den deutschen Begriff dazu ein (It was especially difficult with
the behindert boy).

Groteils ging es um die Zusammenarbeit mit Michael Haneke. Christian Berger


betont, dass er keine Regisseure mag, die die Kameraauflsung berhaupt nicht
planen und Stze wie das bleibt dir berlassen von sich geben. Fr Berger ist es
wichtig, dass der Regisseur eben genau wei, was dieser mchte. So simpel dies
klingt, es ist meistens nicht der Fall. Haneke ist wiederum das andere Extrem: Alles
ist genau geplant, er wei genau was er will, Spielraum bleibt kaum, improvisieren
steht nie am Programm. Berger selbst hat aufgehrt Haneke groe Gegenvorschlge
zu machen Dieser ndere ohnehin nie seine Meinung.

Besonders interessant war das Gesprch wenn es um die digitale Kameratechniken


ging. Christian Berger bezeichnet sich als alles andere als einen digital enemy.
Trotzdem verpnt er viele Firmen, die hinter digitalen Kameras stehen. Seiner
Erfahrung nach werden viele Versprechen gemacht und nur wenige gehalten. Er hat
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Cach auf HD gedreht und ist mit dem Look des Films letztendlich zufrieden.
Nichtsdestotrotz gab es unzhlige Probleme bei der digitalen Aufzeichnung, an die
man, wenn man auf 35mm dreht, nie denken muss. Etliche Kleinigkeiten
funktionierten nicht und besonders herausgehoben hat Berger die mangelnde
Kooperationsbereitschaft von Sony. Letztendlich habe das Drehen auf HD durch die
Komplikationen in der Post-Produktion mehr gekostet als wenn Cach von Anfang
an auf 35mm geschossen wre.

Die Veranstaltung lief unter dem vielversprechenden Namen Cinematography


Masterclass. Es war auch fr ein Publikum, welches mit Kameraarbeit kaum
vertraut ist, ein groes Erlebnis ein visuelles Genie wie Berger am Podium zu
haben. Und nun, nachdem er den Hauptpreis der American Society of
Cinematographers vergangenes Wochenende erhielt, ist der Oscar auch in mehr als
nur greifbarer nhe. Wollen wir die Daumen drcken, Herr Berger htte es
verdient!

Senad Halilbasic (themovieslave)


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Variety.com
03.11.2009

Talent Campus pulls record numbers


Berlin youth event attracts 4,773 filmmakers

By ERIK KIRSCHBAUM

BERLIN -- The Berlinale's Talent Campus has received a record number of


applications -- 4,773 young filmmakers from a record 145 countries -- for the event
running during the 60th Berlin Film Festival Feb. 11-21, the festival said on
Tuesday.

Under the heading "Cinema needs talent: Looking for the right people," the six-day
long Talent Campus running Feb. 13-18 at the Theater Hebeel am Ufer in Berlin has
been deluged with applicants for its eighth annual event with 1,000 more than last
year competing for the 350 spots. There are applicants this year for the first time
from 13 countries, including Burundi, Guinea, Montenegro and Saint Lucia.

Five short films based on the theme "Straight to cinema" will get their world
premiere at the opening of the Talent Campus on Feb. 13 and the Berlin Today
Award jury, headed by helmer Stephen Daldry, will pick a winning pic.
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Wicklowpeople.ie
24.02.2010

Arklow animator at Berlin campus


Wednesday February 24 2010

A TALENTED young animator from Arklow is enjoying a career enhancing stint in Berlin at
present after he was chosen from 4,000 applicants to attend the Berlinale Talent Campus
and Berlin Film Festival.

Eamonn O'Neill (21) from Cherryfield graduated from IADT Dun Laoghaire at the end of last
year and recently set off for Berlin where he is currently attending workshops, lectures
and talks given by professionals in his industry by day and mingling with the other students
and stars by night.

The Irish Film Board asked Eamonn to write a daily blog about his experiences in Berlin and
he has been updating this on the Irish Film Board website (www.irishfilmboard.ie) as he
goes along.

Having already built up a good reputation within the animation industry with award
winning films 'My Day' and 'On the Quiet' Eamonn is working at The Barley Film Studious in
Dun Laoghaire as an Animator/Director.
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Young-germany.de
17.02.2010

By 2031, every film director will have been to a Berlinale Talent


Campus

The Berlinale Talent Campus is an


initiative for talented future filmmakers
and was first established in 2002 by
Berlinale-director Dieter Kosslick. His
goal for the Talent Campus was to assist
up-and-coming filmmakers in the film
industry. Every year for five days during
the Berlinale, the Talent Campus gives
350 participants from all five continents
the chance to take part in workshops
and discussions as well as to learn from
professional film directors.

HAU - main location for the Talent Campus events

Since 2003, the idea of the Talent Campus has expanded on international grounds.
These Campus International editions share the same structure as the original
German Campus, supported by their regional film partners. Today, the Berlinale
Talent Campus can count three additional partners to their international program:
Kiev (Ukraine,) Cape Town (South Africa) and Delhi (India).

Last Saturday, Dieter Kosslick opened the eighth edition of the Berlinale Talent
Campus and welcomed 350 talents from
95 countries. With the largest number
of applicants to date (more than 5000),
Kosslick then made a projection that in
2031, every film director will have
taken part at a Berlinale Talent
Campus. With this years motto
Straight to Cinema, the Talent
Campus focuses on the importance of
cinema culture and
encourages filmmakers to keep it
simple, make it grand!
The "Berlin Today Award" Crew

The Opening Ceremony premiered the five short films competing for the Berlin
Today Award, which were realised through financial aid from Medienboard. The
winner of the Berlin Today Award was selected on Sunday: Congratulations to Bryn
Chainey and his fantastic and very unique film Jonah and the Vicarious Nature of
Homesickness.
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The coming days are filled with


workshops and discussions for the
participants. Although only the most
talented can join the Talent Campus,
many events are open to the public. On
Monday, I went to a workshop called Be
Kind Rewind, hosted by Mr. David M.
Thompson, a well-known British tv and
film producer.

The host of the evening: Mr. Thompson

Four short films were screened and


afterwards discussed with the director
and Thompson on stage. Thompson
pointed out that, in general, shorts are
a fantastic challenge, because it is
more difficult to put a story into ten
minutes than into two hours. All four
films mastered this challenge and were
wonderful productions. The shorts took
place in all corners of the world: in
Finland, a small town in the U.S., and
Chinatown. The film about Chinatown
by Shelly Silver (Five Lessons and Nine
Thompson and Silvers discussing "how the other half lives Questions about Chinatown), brought
up some interesting discussion topics about how we dont know how the other
half lives, because we dont care. The audience was enthusiastically participating
in this discussion.

All in all, I thought it was an extremely valuable and important opportunity to be


able to ask the directors questions about their production. Be Kind - Rewind gave
us the chance to do just that. Thank you!