director Andreas Horvath
duration 35 minutes
media Digibeta PAL
production "Schwarzenberg Promenade 60 Andreas Horvath 5026 Salzburg ?sterreich Fon: +43 662 623 162 Fax: +43 662 623 162 email@example.com"
cinematography Andreas Horvath
editor Andreas Horvath
music Marek Grechuta
"Schwarzenberg Promenade 60
Fon: +43 662 623 162
Fax: +43 662 623 162
In the legendary documentary A NIGHT PORTER?S POINT OF VIEW, filmmaker Krzysztof Kieslowski wanted to expose the Polish totalitarian state by creating a portrait of a night porter who in former times was a well known icon of social realism. Austrian filmmaker Andreas Horvath, inspired by Kieslowski?s film, tries to get to the core of the true person inside the porter by revisiting him in his follow-up documentary VIEWS OF A RETIRED NIGHT PORTER. Horvath initially sets out to learn more about the night porter?s path in life, but, guided by unerring intuition, he also manages to make important statements about the Polish people and the effects of recent historical developments as well as filmmaking and Kieslowski himself.
The Silence of Green (2002)
This ain?t no Heartland (2004)"
director Hern?n Gaffet
screenplay Hern?n Gaffet
duration 120 minutes
media Beta SP Pal
producer Jorge Poleri
cinematography Diego Poleri
editor Hern?n Gaffet
music Litto Nebbia
Fon: +54 11 48 62 89 61
Fon: +54 911 57 22 54 76
"From second half of the ' 60, the Beat movement and the first National Rock were flag of the young people, protagonists like never until then, of a society in transformation towards modernity. The built of the first bands, the scope for the first concerts, the difficulties of the pioneers to be able to sing in Spanish and the communion of the rockers with artists of other disciplines, speak of new codes until then non-existent. Before the boys of the Cave began to write the History of the Argentine Rock, the young people went up to around the 25-35 years. Suddenly they did not arrive at 20, they occupied his space in the press and in the public opinion, and defied the vision that the adults had of them. While the political class failed in the decade of the ' 60, the ""Military Party"" occupied its place and exerted its repressive power against students and unionists, also persecuting to the young people by carrying of guitars and long hair. Some saw to the Rock like ""Foreigner and colonizing"". Today the connoisseurs of the entire world get at Buenos Aires to buy those first vinyls of the Argentine Rock ""because their music and its poetic are absolutely original"". Also there was who read in his speech ""a romantic and unworkable utopia""... Peace and Love. If today we continued yearning for the same, was about an utopia or an idea that not knew/want to interpret? Defendant of apolitical, represented a true cultural resistance the authoritarianism. It is time to review the history of the ARGENTINA BEAT."
"Hern?n M.L.Gaffet (Buenos Aires, 18/01/1964) is graduated like Cinematographic Producer of the CERC, (today ENERC) collaborated like critic of cinema in the magazines ""Cinema in the Culture"" (85-87) and ""Videol?nea"" (93). Like educational,? coordinated the workshop of cinema for adolescents of National School of Buenos Aires (84) and? gave to particular classes of History of the Cinema and Introduction to the Cinematographic Language. Since writer has published the poetry notebook ""Brief Poems"" (85). Author like scriptwriter and director of seven short films. Its first length was documentary the biographical "" Oscar Aleman - Life with swing"", that obtained the Best Prize to the Documentary in the Festival of Latin American Cinema of Trieste, Italy, in the 2002 and Silver Condor to the Best Videofilm in 2003. ""Argentina Beat"" is his second documentary full length film and today rolls his first fiction, the dramatic comedy ""Affection almost Love"". He is cofounder and member of the Directive Commission of the Association of support to the audio-visual patrimony (APROCINAIN, in spanish)."
director Rodrigo Moreno
screenplay Rodrigo Moreno
duration 93 minutes
producer Hern?n Musaluppi, Natacha Cervi, Luis Sartor
production Rizoma Films
cinematography B?rbara ?lvarez
sound Catriel Vildosola
editor Nicol?s Goldbart
music Juan Federico Jusid
The Match Factory
Fon: +49 89 231 101 27
Fax: +49 89 231 101 30
As el custodio, it?s Ruben?s duty to keep the Minister of Planning under constant surveillance.
If the Minister gets out of the car, Ruben gets out of the car. If the Minister turns left, Ruben turns left. If the Minister goes to the country club with his family for the weekend, Ruben must follow along. If the Minister decides to rest and have a nap, Ruben must keep watch over the sleeping man.
Although Ruben must always be present, he must also go completely unnoticed. A shadow, Ruben witnesses everything from the sidelines, as if life was passing by some meters away from him. Yet, despite his insider?s view, he never understands clearly what?s going on, what?s being talked about, nor where the characters come from or go to. Single Ruben is hardly even a protagonist of his own life.
A lonely life, involving a mentally unstable sister and a ditzy niece, the sale of illegal arms and cheap prostitutes. Plus the monotonous routine of being a bodyguard and the occasional humiliation from the Minister or his family? Some jobs result in almost replacing a life for another. Such pressure can ultimately explode. This is Ruben?s inevitable outcome.
EL CUSTODIO is Rodrigo Moreno?s first feature film. His original screenplay won the 2005 Sundance/NHK Award for Best Latin American Script.
Moreno collaborated as writer and director with Ulises Rosell and Andr?s Tambornino on the 2002 feature EL DESCANSO (Sweet Repose), an offbeat comedy which won Best Film at Canada?s Images du Monde Festival. Moreno also wrote and directed COMPA?EROS, the last segment of the 1998 episodic feature MALA EPOCA (Bad Times). Moreno had previously made several short films, his first being 1993?s NOSOTROS, which won Best Film at the Bilbao Festival (Spain), and which was also screened in the Berlin Festival Forum.
Moreno was born in Buenos Aires in 1972. He graduated from the directing program of the Argentinian capital?s Universidad del Cine, where he has been teaching screenwriting and directing since 1996.
director Miguel Pereira
screenplay Miguel Pereira
duration 102 minutes
producer Marcelo Altmark, Eva Baro, Antoni Sole, Miguel Pereira
production Capablanca Films
Trist?n Ulloa, Carolina Rom?n, Mim? Ard?, Tukuta Gordillo, Tom?s Lip?n, Daniela Carril, Titina Gaspar, Ruben Fleita
cinematography Daniel Ortega
editor Mario Paves
music Ricardo Vilca, Tucuta Gordillo
Av. D?az V?lez 4323, 1200 Buenos Aires
Tel: +54 11 477 450 44
Fax: +54 11 477 450 44
On the border of Bolivia and Argentina, where stunning scenery contrasts with the hopeless poverty of the inhabitatnts in their remote villages, a plane lands carrying a young man dressed as a priest and bringing luggage apparently stuffed with bibles for the salvation of souls. But in these parts people need a different kind of salvation. To make a living, the villagers produce original ceramic works: the patterns, together with their destiny, are engraved using the bones of dead ancestors. Pedro?s fate, after a dramatic event, is in the hands of these inhabitants. Conversely, the village sees the sudden arrival of a priest as a sign and a chance to change their destiny. They are in disagreement as to how to overcome their poverty: either they continue their potter?s trade, or surrender to the avarice of some of them and destroy their sacred sites and culture. The hopes of both camps lie with Pedro: he is deemed the most qualified judge. Destiny is an adaptation of the novel by H?ctor Tiz?n, The Man Who Came to a Village (El hombre que lleg? a un pueblo).
Miguel Pereira (b. 1957, San Salvador de Jujuy, Argentina) studied film in Buenos Aires, at Minnesota University and later in London at the International Film School. In London he made documentaries for the BBC and Channel Four. After returning to Argentina he worked in practically all areas of the film industry. He is currently President and Artistic Director of the Mar del Plata International Film Festival, and he also directs and produces films in his company Capablanca Films. Select documentaries: Jujuy 400 Times (1993 ? Golden Columbus in Huelva), Che... Ernesto (1997). Feature films: The Debt (1988 ? Silver Bear in Berlin, Silver Hugo in Chicago, Silver Makhila in Biarritz), The Last Harvest (1990 ? Best Screenplay at the festival in Huelva, Bronze Sakura in Tokyo).
director Xavier Christiaens
duration 52 minutes
color Color & B/W
language no dialogue
production "Ostrov asbl Sandrine Blaise, Xavier Christaens 27 rue des B?gonias 1170 Watermael Belgien Fon: +32 2 248 2965 firstname.lastname@example.org"
cinematography Xavier Christaens
sound Xavier Christaens
editor Xavier Christaens
music Xavier Christaens
Sandrine Blaise, Xavier Christaens
27 rue des B?gonias
Fon: +32 2 248 2965
And what if Ulysses, on his return from his time travel, had only found undecipherable scribbles, broken pieces, sombre and shifting landscapes, memories scratched like splinters (of his world and his life)? His own room has become hardly recognisable to him, with his television still switched on, the cooker, the window and his wife sleeping. A disturbing disorder has established itself all around in which eyes and ears seem in a constant state of waiting, as if they are prisoners of these fragments of a reality so gripping, obtuse, impossible to avoid and yet lying, fleeing, opaque. The spectator of the white she- camel than might have a premonition about what it means to be ?a stranger in the world?, like solitary weight, but also like tension of discovery, like desire to retrieve his past, like a longing to find a viable place. However, only few things will come to his rescue. A truck disappears in the landscape like a ship in the see. A woman in a flowery dress bathes in a see of blood. A child watches us with stunned eyes. The carcass of a torn strange soviet machine lies on the ground. Hereby, Xavier Christiaens has invented a new way of remembering, to turn back time by single jolts, by upheaval, by negative ?apparitions?, declaiming time like a song that is said backwards. And there is something slightly monstrous in his film. It is a part common to all strong works that do not leave the spectator in peace. But what a reward it is when at regular intervals along that road moments of unimaginable grace suddenly appear. There are ?apparitions? in the white she-camel of the kind we rarely get a chance to see in cinema.
Belgian self-made filmmaker born in 1963, former assistant of Bruno Dumont and Benedicte Lienard. His first and foremost poetry film - ?the taste of koumiz? (2003) recalls the aesthetic universe of Alexander Sokourov. It has been selected in more than twenty international festivals and won two prizes. It was broadcasted on the Belgian national Channel RTBF.
The white she-camel is his second film produced with his wife Sandrine Blaise.
director Damir Nemir Janecek
screenplay Damir Nemir Janecek
country Bosnia and Herzegovina
duration 30 minutes
media Beta PAL
producer Zijad Mehic
production Academy of Performing Arts Sarajevo
cinematography Srdan Kovacevic
sound Damir Nemir Janecek
editor Asmir Muratovic
music Medih Sakic - Dajd?a
This is a documentary film about Halid, who was born in the cinema. Halid did everything for the movie. This is the story about the life of Halid, my best friend.
Damir Nemir Janecek was born in 1982 in Sarajevo. Beafore the war he lived in Sarajevo and during the fucking war he lived in Split in Croatia, in Granada in Spain and Italy. In Split he was actor in Youth Theatre and short play writer. He finished school for the ailors! He finished 2 years of programing on computers. But he excape from that universyti and come to Sarajevo. In 2003 he entered the Sarajevo Academy of Performing Arts and has made several short film exercises and theatre plays. In 2004. he was invited to workshop on Zagrebdox film festival. In 2004,2005 he attended Motovun Film Festival Summer Film School where he completed a short film A STORY FOR CHILDREN. He just won the scholarship of the renowned Karim Zaimovic Fund helping young upcoming artists. Damir Nemir Janecek is currently attending his third year of directing and preparing his final exam theatre play and future movie. Televison is calling him to work on two very important new documentarys. Firsth Sarajevo Human Rights festival invited him to make a workshop of documentary movies to youth people and artist. He is workin volontary (without paying) in KINOTEKA in Sarajevo (movie archive) and he is very angry on autoryties because they do not take care of that film museum! He have more than 600 pirates dvds of clasic and cult movies at his flat (Wim Wenders movies too :). He have two movie projectors, but only one movie for them (Charlie Chaplin - "The Boxer") and he invites his friends to drink and eat and whatch that silent movie. He is also bed poet. He look like a romantic caracter from trash horror movie from Czech Republic.
2002 HIPERPOLIEGOIST / HYPERPOLYEGOIST - personal movie
2004 PRICA ZA DJECU/STORY FOR CHILDREN - short
2005 KJ7U / CLUB OF LOVERS OF 7th ART - documentary music video for the bar of Club
2005 HALID BUNIC ? VJECNI / HALID BUNIC - THE ETERNAL - documentary
2006 DOGODILO SE NA GROBLJU / IT HAPPEND ON A GRAWEYARD - short erotic movie
director Krassimir Terziev
duration 51 minutes
media Beta SP PAL
production "Belluard Bollwerk International St?phane Noel CP 214 1701 Fribourg Schweiz Fon: +41 26 321 2420 email@example.com"
Alexander Dafinov, Alexander Peltekov, Alexander Yordanov, Alexey Cvetanov, Alexi Yovchev u.a.
cinematography Svetla Neykova
editor Krassimir Terziev
music Alexander Yanev
"Belluard Bollwerk International
Fon: +41 26 321 2420
?Battles of Troy? is a study on the internal economy of today?s globalized cinema production, seen through the eyes of the lowest unit in the hierarchy of movie making - the extras. On focus here is the making of the Warner Bros Motion Picture ?Troy? (2004), and more specifically - the secret life of the extras in the movie. Starting in 2003 with a budget of 185 million dollars. Troy is one of the most expensive productions ever made. It interprets on screen Homer's Iliad. The project is based on the fact that 300 men from the ?specialized? extras in ?Troy? are Bulgarians. The Warner Bros project, executed by the British branch of the company, shot in UK, Malta and Mexico suddenly appeared to be in need of an elite group of extras that not only possessed the physical prowess necessary to convincingly stage the battle scenes, but also had a believably Mediterranean look. The perfect soldiers were recruited from the Sports Academy in Sofia, the capital of Bulgaria and flown to the Mexican coast to spend 3 months in training and shooting massive battle scenes as background of the feats of arms of Eric Bana and Brad Pitt. This background is the subject of ?Battles of Troy?.
Krassimir Terziev (*1969) is an artist and organizer on contemporary arts and media culture. Lives and works in Sofia, BG, where he had graduated MA in Arts Academy in Sofia (1997). In 1998-2004 he has been chair (founding member) of interSpace Media Art Center.
director Cristobal Vicente
duration 96 minutes
media Beta SP Pal
producer Cristobal Vicente
production "Aurelio Gonzalez 3548 dep.6 Vitacura Santiago Chile Fon: +56 32 963 028 firstname.lastname@example.org"
cinematography Cristobal Vicente
editor Cristobal Vicente, Carlos Klein
music Carlos Canales, Luis Alvares
Aurelio Gonzalez 3548 dep.6
Fon: +56 32 963 028
This film presents the last working year of the old prison of Valparaiso (Chile), which closed in 1999. It?s a homage to the prison and to the values and customs of the men who have lived within it during its 150 year history.
"Cristobal Vicente Cruz. Chile. 20/06/1975X1994-2001: Degree in architecture, Catholic University of Valparaiso, Chile. Thesis develops the concept of an archetectural perspective of cinematography. Also involved in organising artistic events, study trips around South America and exhibitions.
1997: Studied cinematography under the established Chilean director Hector Rios.
1998: Work begins on Arcana, a documentary film concerning the last days of the old prison of Valparaiso.
1999: Undertakes audio-visual workshops with a group of inmates of the new prison.
2005: The Arcana project is completed, consisting of a documentary film, a book and a website.
2006: Initiates international distribution and exhibition of the project."
director Nong Ke, Zhang Huancai, Zhou Cengjia, Shao Yuzhen, Ni Lianghui, Cili Zhuoma, Jia Zhitan, Fu Jiachong, Wang Wie, Yi Chujian
duration 95 minutes
production Caochangdi Workstation Wenguang Wu 105 Caochangdi Chaoyang District Beijing 100015 China Fon: +86 10 6433 7243 Fax: +86 10 6433 6143
cinematography Nong Ke, Zhang Huancai, Zhou Cengjia, Shao Yuzhen, Ni Lianghui, Cili Zhuoma, Jia Zhitan, Fu Jiachong, Wang Wie, Yi Chujian
editor Caochangdi Workstation
Fon: +86 10 6433 7243
Fax: +86 10 6433 6143
"For the first time public and political lives of Chinese villages are captured through the lens of the people who belong there. Villages can never be so real if filmed by an outsider.
This video is a collection of ten short documentary films, each of ten minutes in length, made by ten villagers (ages ranging from 24 to 59 at the time of filming) from around China. The ten filmmakers were the successful candidates selected among villagers who sent in their proposals for the competition. Each of them was awarded a DV camera (which ?is worth something like at least an equivalent of the costs of raising 15 handsome pigs back home?) by the EU project. They are eager to rediscover their home villages through the DV lens and to tell stories and be heard, for the first time in their lives.
It is the first time that Chinese villagers took up a DV camera to shoot a documentary of their own on the changing rural public lives and the changing countryside dynamics in their home villages within the developing democratic system known as ?village selfgovernance.? The interaction between the villagers in front of the DV camera and the one who is holding it from behind can never be the same if the film were to be shot by a ?professional? from outside the village."
The selected villager filmmakers are diverse in their background: their ages range from 24 to 59; two of them are women; the eldest man in the group is an ethnic Zhuang from Guangxi and the youngest filmmaker is an ethnic Tibetan girl from Yunnan; eight of the ten filmmakers live and work in their home village, while the other two are currently making a living in the city; the villagers come from nine different provinces, ranging from the impoverished Northwestern province of Shaanxi to the prosperous coastal province of Zhejiang.
None but two of the ten villagers had ever touched a video camera before they received the awarded digital video (DV) camera from the project. One of the two who did have some previous experience is the 24-year-old Tibetan girl and the 26-year-old man who left his home village a few years ago to earn a living doing camerawork for a wedding company in a nearby town.
director Li Yu
screenplay Li Yu, Fang Li
duration 93 minutes
producer Fang Li
production Laurel Films
LiuYi, Huang Xingrao, Li Kechun, Wang Yizhu
cinematography Wang Wei
editor Karl Riedl
music Liu Sijun
Bavaria Film GmbH
Telefon +49 (0) 89 - 64 99 -0
Telefax +49 (0) 89 - 64 92 507
Xiao-Yun is a 16-year-old high school student in a small riverside town in China?s South-Western Sichuan province in the repressive social climate of 1983. When her teacher discovers that she is pregnant, she and her boyfriend Wang Feng are expelled from school. Wang Feng leaves her after convincing his sister Wang Zheng-Yue, a nurse, to help Xiao-Yun give birth to her baby, then give it up for adoption. Ten years later, Xiao-Yun is reduced to being the lead singer in a humiliatingly crass local song and dance troupe. She manages to sustain a furtive relationship with a married man, but her only real companion is Xiao-Yong, a preternaturally curious and impish young boy from across the dam. He craftily begins to insinuate himself into her life, becoming her devoted friend, servant, ?little brother?, and even, in an innocent and playful way, a kind of preadolescent substitute ?boyfriend?. But Xiao-Yun still has to forge a future from her unresolved past. Even soul-mate Xiao-Yong is unable to help her take the fateful, agonising decision that will make this possible.
?I always maintain that this is a film full of hope. I say this because it tells a story about searching for a way out. Metaphorically speaking, Xiao-Yun is like a thirsty person suddenly finding a cup of water. I use a method quite close to traditional narrative to relate a contemporary story about a woman subject to the overwhelming pressure of an unchanging tradition.?
LI Yu was born in China's Shangdong province in 1973. At the age of 16, on her mother's urging, she started to work as television programme guest presenter. After graduating from university, she satisfied her mother's expectations and became a professional presenter at a local television station.. After some time working on documentaries as an off-screen narrator, she began making documentaries. Consequently, she joined the CCTV (China Central Television) feature programme ?Life Space? and became a documentary director. Apart from working as a documentary director, she has written a number of novels and screenplays. In 2000, she shot her first feature film, Fish and Elephant.