Paris, La Chapelle. Pablo, 11 years old, indifferently endures the loose relationship to his mother. When she abandons him for the hundredth time he decides to look for his Spanish father. So he enganges Louis, poker player on the run, to whom he feels a mysterious connection. But his father is nothing but a delusion...

as director - producer

2003 ? 50/50 ?

Com?die musicale 18min DV num.

Production ARTWORX, la DDPJJ de Nancy et I.D. Jeunes

2002 ? VIRAGE ?

Fiction 20 min, DV num.

Production ARTWORX, la DDPJJ de Nancy et I.D. Jeunes

2001 ?The Streets are Hungry Baby?

Fiction 16 min, DV num.

Production ARTWORX

2000 ? LE PROBL?ME DE LA NUDITE ?

Fiction 10 min, 35 mm

Production : ARTWORX - Les Films du Garage ? Le Festival Cine-F?te Contis

Avec : Noelie Giraud, Gilles Gaston Dreyfus, Stephane Roger

2000 ? LES MOTS DE L?AMOUR ?

Remake de Court-M?trage de Fiction de Vincent Ravalec 10 min DV num.

Production ARTWORX

2000 ? Le MASSEUR ?

Remake de Court-M?trage de Fiction de Vincent Ravalec 10 min DV num.

Production ARTWORX

2000 CR?ATION D?ARTWORX

Association pour favoriser et promouvoir la formation professionnelle, les rencontres et les

collaborations sur des projets audio-visuels et multim?dia.

1993 ? HAPPY NEW YEAR ? (R?alisation et Production)

Fiction 40 min, Super 16. Sc?nario Kim Massee

Avec : Laurent Petitgand, Katia Medici, Clothilde de Bayser, Jean-Claude Adelin, Carole Jacobson,

Sophie Perez?

1990-92 Pr?paration de ? WESTERN LOVE DRIVE ?

Long-M?trage 35mm Scope. Ecriture, Casting, Montage financier pour le long M?trage Western Love

Drive. Une Coproduction Films du Dauphin (LUC BESSON), Road Movies (WIM WENDERS) et

Sattelite Prod. Film suspendu.

199O THE THERESA STERN STORY (PRODUCTION)

Kim Massee Production. NY. USA. Un film de Richard Hell. 26min, 16mm

Avec : Richard Hell, Kate Walk, Will Patton

1990 ? BOUQUET D?AMOR ?

Production Molly Bradford. N.Y. USA. 36min, 16mm

Avec : Melora Griffis, Michael Massee, Lucius Wyatt, Sean Bohary, Iris Hoffman

Selectionn? : Festival de Nouveau Cinema (Montr?al), Berlin Film Festival (rfa), Anthology of Film

Archives (NYC) Prix du meilleur R?alisateur 1991 Festival de Montecatini (Italie). Achet? en 1991 par

Les Films du Dauphin (Luc Besson).

The most stigmatized people in Calcutta's red light district are not the prostitutes, but their children. In the face of abject poverty, abuse, and despair, these kids have little possibility of escaping their mother's fate or for creating another type of life.

In Born into Brothels, directors Zana Briski and Ross Kauffman chronicle the amazing transformation of the children they come to know in the red light district. Briski, a professional photographer, gives them lessons and cameras, igniting latent sparks of artistic genius that reside in these children who live in the most sordid and seemingly hopeless world.

The photographs taken by the children are not merely examples of remarkable observation and talent; they reflect something much larger, morally encouraging, and even politically volatile: art as an immensely liberating and empowering force.

Devoid of sentimentality, Born into Brothels defies the typical tear-stained tourist snapshot of the global underbelly. Briski spends years with these kids and becomes part of their lives. Their photographs are prisms into their souls, rather than anthropological curiosities or primitive imagery, and a true testimony of the power of the indelible creative spirit.

Ross Kauffman is the director, producer, cinematographer and co-editor of Born into Brothels, winner of the 2005 Academy Award for Best Documentary.

Kauffman worked as a documentary film editor from 1992 - 2000. He spent three years at Valkhn Film and Video Inc., a post-production company where he worked on a wide variety of films for producers such as Jim Lipscomb, Kevin Bachar and Melvin Van Peebles.

In 2001, Kauffman teamed up with award winning photojournalist Zana Briski to direct and produce Born into Brothels, a feature documentary about the children of Calcutta's prostitutes. In 2002, Kauffman formed Red Light Films and along with Briski was awarded grants from the Sundance Institute, the Jerome Foundation and the New York State Council on the Arts to complete the film. Prior to the Academy Awards, Born into Brothels was accepted into over 30 film festivals and has since received over 40 awards, including National Board of Review Best Documentary 2004, LA Film Critics Best Documentary 2004, and the Sundance Film Festival Audience Award in 2004.

Kauffman is currently working on Project Kashmir, a documentary that takes viewers into the war-zone of Kashmir and examines the conflict from an emotional and social point of view.

Zana Briski was born in London, England. After earning a master's degree in theology and religious studies at the University of Cambridge, she studied documentary photography at International Center of Photography in New York. In 1995 she made her first trip to India, producing a story on female infanticide. In 1997 she returned to India and began her project on the prostitutes of Calcutta's red light district. Since 2000 she has conducted a series of photographic workshops with children of prostitutes in Calcutta.. In 2002 Zana created Kids with Cameras, a non-profit organization to empower marginalized children through learning the art of photography.

In Iran, capital punishment is carried out according to Islamic law, which gives the family of the victim ownership of the offender?s life. DAY BREAK - based on a compilation of true stories and shot inside Tehran's century-old prison - revolves around the imminent execution of Mansour, a man found guilty of murder. When the family of the victim does not show up on the appointed day of the sentencing, Mansour?s execution is postponed again and again. Stuck inside the purgatory of his own mind, he waits as time passes on without him, caught between life and death, retribution and forgiveness.

Hamid Rahmanian is a filmmaker and graphic designer. He holds a B.F.A. from the university of Tehran in Graphic Design and earned a M.F.A. in Computer Animation in 1997 from Pratt Institute in New York City. His 19 minute experimental short, AN I WITHIN, received Kodak?s ?Best Cinematography Award? and ?Best American Short? from the LA Int?l short film festival. Mr. Rahmanian has made three documentaries BREAKING BREAD (2000), SIR ALFRED OF CHARLES DE GAULLE AIRPORT (2001) and SHAHRBANOO (2002). In 2003, Mr.Rahmanian co-established ARTEEAST. He works as the adviser of film programs for Cinema East, which is now in its 5th Season. DAY BREAK is his first feature film.

"The Seventh Day (6 min), Beta SP, Animation, 1996

An I Within (19 min), 35 mm, Live action/animation, 1999

Breaking Bread (54 min), vd, Documentary, 2000

Sir Alfred of Charles de Gaulle Airport (29 min), dv, Documentary, 2001

Shahrbanoo (57 min), dv, Documentary, 2002"

"Nobody sees and nobody is aware, a tremendous man is living in our midst.

""Remembering the past is also a dream"" ? Grandfather

""My grandfather Abraham, my mother's father, has been part of my life since infancy. I rediscovered my grandfather three years ago when making a film about my mother. He was 90. Since then I want to be close to him, part of him. I see my grandfather as a universal human character, ""aged and old"" to use his words, far removed from all definitions of time and place, while at the same time well grounded in the reality of present day life, living it and feeling its pain.

His face is like an engraved stone, with an eternal smile that never falters or is never eroded by the negativities of life in this world. My grandfather is big on blessings. He's always making some kind of blessing, even for those for whom he feels no love. Everyone is holy, even if we cannot see it, even if they themselves are unaware.

My grandfather is a man of words, and that's why he speaks very little. He knows and understands the value of words, be they written and signed or spoken, which may detract from their power. But when my grandfather says something, it really resonates. His words come from entirely different places, that are unknown, so content with themselves, precise and accurate, that it is hard to believe that human lips have uttered them.

For over three years now, I have been following my grandfather Abraham. I have been documenting my journey and our common journey out into the world in writing, photography, and most importantly, thirstily gulping it down into my soul.

The film is a journal in which I see my grandfather, my grandfather's journal, through which I let his voice be heard.

His voice has almost never been heard. His story has almost never been told. "

"""Reminding the forgotten, arousing the dormant""

3 years ago, Grandfather and I departed on a journey of revealing his forgotten self.

A journey of a man to his own self, to a part which even he, is unaware of its existence.

Grandfather, who was born in Iraq and had experienced countless transitions, had completely assimilated in Israeli western secular society.

?It is not the same man, it is a reincarnation.?

Grandfather is my spiritual guide.

The film reveals the hidden treasure within him and reconnects both him and his audience to the timeless human essence which is us. "

"Canadian/ Israeli filmmaker.

Graduate of the Film & Television department at the Sapir Academic College.

As a Filmmaker, he won many grants and prizes, among them the America?Israel Cultural Foundation special award, IRC Scholarship Committee (Canada?Israel) and he won the David Perlov Grant for the film ""SABA"".

Amram practices stills Photography as well as Cinematography and one of his main works was the catalogue for Dorit Jacoby's Exhibition ""Gate of Tears, Rain of Roses"",that was shown in the Vatican in 2001.

As well as having his photographs published in various travel and art magazines, he was awarded a Prize at the Dead Sea Photo Contest in October 2002."

A murder, just one news item like so many others. For police inspector Luca, busy helping his beautiful girlfriend Veronica move in with him, it should be nothing more than a routine call at an inconvenient time. But Luca is scrupulously devoted to his job and has a special sensitivity that sets him apart from his colleagues and their impassive cynicism. This is also what made Veronica want to commit herself so quickly to a relationship with him. She didn?t think twice about enthusiastically accepting to move from her native France to Italy to live with him.

Though still young and not yet put through significant tests, their love is strong and shows all the signs typical of a very intense, exclusive bond.

The call, however, puts Luca onto a case that immediately has a disturbing effect on him, as it absorbs him more than any case he has ever dealt with before: Valentina, a beautiful young woman, barely out of her teens, has been mysteriously murdered in her off-campus flat.

Roberta Torre was born in Milan in 1962. After studying philosophy, she attended the Milan Film School and the Paolo Grassi Dramatic Arts Academy. In 1991 she began to make shorts in video and film that were presented, and often awarded, at important Italian and international festivals. Though inspired by a form close to the documentary and anthropological research, Torre?s directing is often stylistically close to that of stage direction, one that combines a bent for the portrait with a special sensitivity to the musical element in film.

The director?s first feature, To Die for Tano (1997) was precisely a musical, the portrait of Tano Guarrasi, a small-time boss of the Palermo neighborhood of Vucciri. The film was received with great success by critics and the public for the original use of the narrative language.

In 2000 Torre ideally continued in this direction with South Side Story, again a musical. This was a reworking of the story of Romeo and Juliette reinterpreted with a multiracial slant. In 2002, she made Angela, a melodrama presented at the Cannes Film Festival in the section, Quinzaine des Realisateurs. This marked a radical change in style and a return to the realism of her first documentary portraits as the director brought back a classical narrative structure.

Mare Nero is Roberta Torre?s fourth film.

3 professional women go to the seaside, two of them (Miglio, Gianfelici) to comfort the other (Nano), who has been left by her husband. In the process of attempting to console Anna, the other two are dragged into the maelstrom of her sadness.

This work is more a tone poem narrative, in which the real subject, the impact of 9/11 on European and Italian intelligencia, is never mentioned, but lays in the background invisibly distorting the characters.

La Lunga Ombra was made in 5 days in an improvised manner, with no script whatsoever, only a vague thought to address the disquiet which pervades Europe in the wake of 9/11, a disturbance which works unacknowledged and of which little is ever said.

Born in Chicago in 1943, of a military family, Jost grew up in Georgia, Kansas, Japan, Italy, Germany, and, Virginia. Expelled from college in 1963, He began making 16mm films. He is self-taught. He has made some 20 shorts and 16 feature films, all of which he has conceived, written, photographed, directed, and edited. In 1965 Jost was imprisoned by US Federal authorities for 2 years and 3 months for refusal to cooperate with the Selective Service System. On release, he quickly became engaged in political activities, helping start the Chicago branch of what became NEWSREEL, the New Left film production and distribution group, as well as working for the draft and the Chicago Mobilization. Jost made his first feature-length film in 1974, and has since devoted to the making of a wide-ranging series of films, largely focused on specifically American topics, in form ranging from essays, to essay-fictions, to avant-garde and new narrative forms. His work has shawn widely in museums, film archives and festivals since 1975. In 1991, The MOMA in New York assembled and presented a complete retrospective of Jost's work encompassing 11 features and 5 programs of shorts.

"Yonghi Yang is a second generation Korean who was born and raised in Japan.

She was raised by parents who dedicated all of their lives to their ?home country? as leaders of General Association of Korean Residents.

Her three brothers have ?returned? to North Korea more than thirty years ago. They still live in Pyongyang thus her family is dispersed.

Why did her father and mother who cherished family send their sons to their ?home country?? Why do they continue to dedicate all of their lives this much to the home country?

She who wouldn't hope to cast away ?choices of life on her own will? under the name of ?system? and ?allegiance to home country? cannot accept ?her parents' choices.?

Feeling a strong sense of rejection, finally, she starts to talk repeatedly with her parents. The parents and a daughter accept each other?s different styles of lives and seek for a new relationship. When confronting father's death, the father and the daughter start to develop a new strong bond."

"Yonghi Yang, Film maker. As second-generation Korean Resident so called ?Zainichi,? Yang was born and raised in Osaka, Japan.

Graduated from Department of Literature, Korea University in Tokyo. Obtained MA from the graduate school of New School University in New York. Formerly a teacher, an actress, and a radio DJ.

From 1995 she started to introduce mainly documentary works of hers as an auteur.

Obtained MA in Media Studies at New School University Graduate School in New York, U.S.

After having returned to Japan in 2003, she resumed her activity in Japan."

"Tokyo at the beginning of the 21st Century.

Mao feels very insecure these days. She works as an editor in a publishing house specializing on books on cinema, but every day she feels she doesn?t have enough knowledge and experiences in her job. Recently, another headache has been added to her already-not-so-wonderful life: wherever she goes, she finds the same young man who immediately starts following her.

Yushin, a university student, joins the publishing house as a part-time worker. He studies films and is very happy working here, feeling he has joined the ?film industry? (or the adult world), even though his actual job is in most parts, just maintaining the books in stock. But outside of the job, he is frustrated with his girlfriend who always behaves childishly and always comes late to their dates.

Kurumi works as a ?Queen? in a Sado-Masochistic club; a profession she took because she fest she enjoyed beating men, but recently she rarely takes pleasure in her work. Every weekend, she meets an old classmate from her hometown, Masato in a park, with whom she seems to find not attraction, but relaxed moments. Unlike Kurumi who earns her own living, Maato has continued his studies and now is a graduate student. But Kurumi innocently considers him an intellectual unlike herself, and a future university professor, that?s seems not to be exactly what Masato thinks of himself?

Atsushi always carries a Polaroid camera and takes photos at everywhere he goes; not of the places he visits, but of his own face?

In the extremely urbanized contemporary metropolis which is Tokyo, the lives of those young people start to cross mysteriously with each other, and each of them will experience unexpected turns of their lives?"

"This film was created as a ?collective improvisation? with non-actors. Each participant had only the character loosely based on him/herself, and the stories have developed as improvisations along the way of filming, reacting to each other as well as to the surrounding environments: the reality of Tokyo where even private spaces like apartments are constantly invaded by sounds and noises from the public space outside. Most scenes were carefully composed as continuous, uninterrupted sequence shots. The desire was to capture the atmosphere as a whole; as slices, or fragments, of our contemporary urbanized reality, and to observe how we cope (or very often we cannot) with it.

Toshi Fujiwara, Tokyo, Dec. 2005"

Fujiwara Toshi, born on July 23, 1970 in Yokohama, grew up in Tokyo and Paris. He studied film sciences at Waseda University, Tokyo, and at the faculty for film and television at the University of Southern California. Bevor making films himself he worked as a film critic. WE CAN?T GO HOME AGAIN is his first full-length feature.

One day I was suddenly told that my mother had one or two years to live.

In the third years of her illness, I bought a small video camera innocently believing that she would recover.I dreamed of recording her TV or movie-like "miracle" recovery. but the reality of everyday life was nothing more than ordinary routine. All that my small camera recorded were the same things contained in ordinary home videos of ordinary families. On the contrary,as my mother's condition worsened and her suffering and sorrow increased,all I could do was watch over her closely.I didn't have the courage to level my camera at her. When pain and sorrow really started to take hold on my mother,and when she started to die,I was not able to record even a single shot.

It was only after her death that I first found the determination to begin filming.I realized that people left behind by death have to keep crawling forward even as they cry like babies.I also could not accept my mother's death unless I could find something comforting and meaningful in this pain and loss.

All those sad things I couldn't film might have been, in a way, things I didn't need to film, because even now the pain allows me to remember them clearly. More than that, the memories that I hold dear now probably would have slipped away if I hadn't recorded them on video-those monotonous, repetitive, but painful hours with my mother that video had transformed into sweet, gentle, ordinary happiness.

Born in 1966,Kato Haruyo graduated from the Department of Art Science in the Faculty of Art and Design at Tama Art University,and worked as the assistant of a still photographer.After two years with the Black Tent Theater company, her mother's illness brought her back to her hometown.She now lives in Gunma Prefecture.

From the director of ?Memories of Murder? comes Bong Joon-Ho's THE HOST, fresh from success in Cannes where Variety dubbed it ?arguably the hit of the festival?. This fantasy monster movie, which expertly mixes humour and horror, has broken box office records in its native Korea, taking the opening weekend record and the highest single-day admissions ever. THE HOST recently showed in the Director's Fortnight section of the 2006 Cannes Film Festival and has been compared in its scare-quotient to both ?Jaws? and ?Alien?

Gang-du is a dim-witted man working at his father's tiny snack bar near the Han River. One day, Gang-du's one and only daughter Hyun-seo comes back from school irritated. She is angry at her uncle, Nam-il, who visited her school shamelessly drunk. Ignoring her father's excuses for Nam-il, Hyun-seo is soon engrossed in her aunt Nam-joo's archery tournament on TV.

Meanwhile, outside the snack bar, people are fascinated by an unidentified object hanging onto a bridge. In an instant, the object reveals itself as a terrifying creature turning the riverbank into a gruesome sea of blood. Amid the chaos, Hyun-seo is snatched up by the creature right before Gang-du's eyes. These unforeseen circumstances render the government powerless to act. But receiving a call of help from Hyun-seo, the once-ordinary citizen Gang-du and his family are thrust into a battle with the creature to rescue their beloved Hyun-seo.

Bong Joon-ho, born October 1969 is a South Korean film director and screenwriter. He is a graduate of the Korean Academy of Film Arts. Bong directed multiple critically-acclaimed short films before his feature film debut Barking Dogs Never Bite in 2000. He is probably best known for his 2003 film Memories of Murder, for which he won the South Korean film industry's Grand Bell Award for best film director.