"A meditation on the US/Mexico border in an age of homeland insecurity. A 2000 mile journey along the US/Mexico border reveals a geography of aspiration and insecurity. Brown considers the border as a landscape, at once physical, historical, and political.

"

"?To describe myself as documentary filmmaker is to own up to a troubled profession, what with its unfortunate aspiring to Truth and Objectivity. I?ve tried to cope with this by personalizing my films, insinuating my own voice and disavowing any pose of authority or conclusiveness. More than that, I?m interested in moving the documentary toward something like a metaphysics of fact, where fact materializes for a moment, only to dissolve into daydreams and melancholy and goosebumps. I find myself drawn again and again to the same spaces: those wide open, inbetween spaces; landscapes of abandoned things; border zones and landscapes of transition, whether on the far edges of Las Vegas suburban sprawl, or along the fence line of abandoned missile silos in North Dakota. I?m drawn to the drama of transits and transitions played out on landscapes like these. I find myself drawn to the uncanny, too: UFOs and crop circles and ghost stories. The uncanny short-circuits the conclusiveness of our daily lives, which is something I like about it. I?m not sure if the uncanny has some special access to truth, but the uncanny and the true both are spooky. Both haunt us, hovering close by but just out of reach.?

Bill Brown"

"Bill Brown is a filmmaker from the ?Paris of the Plains,? Lubbock, Texas. He has made several short experimental documentaries about the dusty corners of the North American landscape. Along with filmmaker Tom Comerford, Brown created the Lo Fi Landscapes tour, traveling across country in 2002 and 2005 with a program of short films concerned with history and place.

Currently, Brown lives in Detroit."

"Naples is a city with many crowded pour neighborhoods . Tucked into these areas are ?ricevitorie?, small gambling offices where people go daily to play the lottery.

Visitors do not pick their lotto numbers randomly, instead their numbers have personal associations with happy or tragic events they experienced; for them there is a direct link between the chosen numbers and their attempt to change destiny. All daily events seem to have meaning for the Neapolitans, and are transformed on to the lotto form. In Dreaming By Numbers, some regular visitors to a local gambling office are portrayed and tell their personal stories in wich faith is interwoven into the rest of their lives. The intimate images of the small office run by two sisters, Maria and Angela, is combined with vivid street scenes. The result is a balance between realism and magic.

The people portrayed in this film keep hunting for luck:: some of them play the same numbers during a lifetime, because of the special meaning for them. They all believe in numbers, and in their power to make their life change."

"My starting point is the Neapolitan belief in numbers.

Why do we believe in something? The belief in numbers first came into existence and was handed down in order to control fear. While waiting for some magic to happen the Neapolitans are surrounded by daily reality: life in a chaotic city, unemployment, personal tragedies. So the lotto is not a Fremdk?rper, something separate from everyday reality. On the contrary, it is an expression of the culture and of the spirit of the Neapolitans: the game of chance expresses the need for hope in a town devoid of hope. The numbers are woven with everyday life just like ordinary activities such as sleeping and eating."

"Anna Bucchetti was born in Milan in 1963 where she studied at the Film and Tv Academy (CFP) as lighting cameraman.

In 1992 she moved to Amsterdam where she started working on human interests items

for local ?multicultural?television. Between 1994 and 2003 she wrote and directed

several documentaires (for the youth serial ?YOY?, for VPRO and NPS Broadcast).

In 2004 she was chief editor for Educational television (Etv) in Amsterdam by Frontmedia. "

The forgotten story of the women who killed their husbands The Angelmakers is an observational portrait of the sleepy village of Nagyrev in rural Hungary. We meet its inhabitants, who share with us their daily life as well as their memories of the village's tainted past. We gradually come to understand the extent of the 'arsenic murders' which took place in 1929, when a large group of women were held responsible for poisoning their husbands with the so-called 'flypaper' method. An intriguing web of stories unfolds through the characters' memories which recapture old but ever-lasting tales of life, death and the struggle between the sexes.

Astrid Bussink (Eibergen, 1975) studied several disciplines at the Academy of fine Arts, AKI in Enschede. She graduated with a project consisting of an art magazine and organisation 'Het Ei'. Besides her studies she was active in several art organisations and the local radio.

After her studies she was involved in the fireworks explosions of Enschede and had to flee her burning house. This experience and the aftermath of the disaster she closely followed and documented, from a personal as well as a creative point of view. This is where her fascination for documentaries developed.She moved to Amsterdam and for several years worked as a picture editor for the glossy business magazine Quote. However, it eventually became clear that her real interest lay in film-making. She studied the technical aspects of filmmaking at Open Studio in Amsterdam. To deepen her knowledge and ideas she consequently did a Masters in Film at the ECA. During this master she stayed in Budapest for four months to work together with the Budapest Filmschool (ZSFE) to shoot her first documentary 'The Angelmakers' that has won several prizes (First Appearance Award IDFA, Amsterdam, Best young author award, Zagreb, Best short Documentary, European Independent Fimlfestival Paris and more) and is still screening on many, many festivals.

Her second short documentary is called R?ckenlage / Upside Down about the mysterious flight of deputy F?hrer Rudolf Hess to Scotland. It will be screening at Edinburgh Filmfestival and New Zealand Documentary Filmfestival, among others.

Astrid Bussink now lives and works in Amsterdam where she just finished another short documentary 'The 9 lives of my car' (premiere Dutch Filmfestival october 2006) and is currently working on a feature length documentary.

In her work as an artist and filmmaker, Astrid is interested in the theme of escape. She is intrigued by how people make certain decisions that appear incomprehensible outside the specific contexts they were taken in, why do people make certain choices, how do they handle limiting and disturbing circumstances and how far will they go to escape, these are reoccurring themes in her work.

"In TELL ME DO YOU MISS ME, the four members of the celebrated New York-based indie-rock band LUNA confront the ceiling of their ambition, the harsh realities of their modest success, and their conflicted feelings about each other as they embark on their final world tour and uncertain futures.

Laced with moments of both humor and melancholia, TELL ME DO MISS ME earnestly exposes the underbelly of a touring rock band in their final days together.

Supported sonically with Luna's dreamy catalog of indie-pop and visually with lush travelogue footage with adventurous stops in England, Japan, and Spain, TELL ME DO YOU MISS ME is an elegy for an era."

"Matthew Buzzell is a Los Angeles-based filmmaker.

Matthew received his M.F.A. in Directing from the American Film Institute. Films include WHAT A GIRL WANTS (2001), Jimmy Scott: If You Only Knew (2002). Putting The River In Reverse, is a document of the collaboration between music legends Elvis Costello and Allen Toussaint as they embark on the first major recording sessions to take place in New Orleans post-Katrina.

Matthew?s most recently completed project, Companeras, tells the story of America?s first female Mariachi band. Currently, Matthew is in post-production with his debut narrative feature, a dark comedy starring Saturday Night Live cast-member Chris Parnell and Napolean Dynamite?s Diedrich Bader. The film is called Sunny and Share Love You."

Man was made to be happy for simple reasons and unhappy for even simpler ones ? just as he is born for simple reasons and dies for even simpler ones... Isa and Bahar are two lonely figures dragged through the ever-changing climate of their inner selves in pursuit of a happiness that no longer belongs to them.

Born in Istanbul in 1959. After graduating from Bosphorus University, he studied filmmaking for two years at the Mimar Sinan University of Istanbul. In 1995 he directed the short film Koza which was in competition at the Festival de Cannes. His feature film debut, Kasaba, won the Caligari Prize at the Berlin Film Festival in 1998. He also directed Mayis Sikintisi (Clouds of May) which was shown in competition at the Berlin Film Festival in 2000. In 2003 his film Uzak (Distant) was awarded the Grand Prix and Best Actor prize at Cannes.

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.

In the style of silent films, but accompanied by narration, young lovers discover the conflict between ideals and reality in the light of an autumn forest. The man compares his love to the ideal of an Italian novella, but must conclude that such ideals are unattainable and therefore his love is in vain. Ultimately, however, the lovers retreat from ideals and focus once again on themselves, which allows the story to come to a happy ending.

Twelve-year old Daniel and his seventeen-year-old brother live in a run-down German tenement building. Patrick occasionally earns a bit of money by secretly kidnapping people?s pets to collect the reward money later. In spite of his harsh environment, Daniel is able to escape into small flights of fancy. But his situation becomes more drastic the more dependent he becomes on his older brother. For a while, Daniel seems to find a friend in Bernd, a neighborhood junkie. Crude, harsh, but also poetic, ?Hochhaus? tells the story of a boy forced to grow up too soon and labor through a world that seems to have no place for him.

For a number of years last decade, a British conman, Alan Conway, lived fairly large: ambling around London society pretending to be the great Stanley Kubrick. He was aided in no small part by the filmmaker's legendary reclusiveness, which ensured that few ordinary mortals knew what he looked or sounded like. Played here by John Malkovich, Conway is a compelling rogue, so confident in his deception that he barely bothered to learn his own supposed filmography (or even see Kubrick's films in the first place) - and his exploits are detailed with a cool, picaresque delight: not for nothing is this subtitled 'A true ... ish story.' Packed with insider film references, from the visuals to the score (both the screenwriter and director worked for some time with the real Stanley K), this is a study

of celebrity, deception and good old-fashioned grifting

BRIAN COOK (Director / Producer), after a distinguished career as an assistant director and producer, is making his directorial debut. His thirty-year working relationship with Stanley Kubrick made Colour Me Kubrick the perfect choice?Cook worked as first assistant director on Barry Lyndon (1975), The Shining (1980), and Eyes Wide Shut (1996); he was also co-producer on Eyes Wide Shut. He worked as first assistant director on five Michael Cimino films, including Heaven?s Gate (1980), Year of the Dragon (1985), and Desperate Hours (1990); Mel Brooks? History of the World Part I (1981); Casualties of War, the 1989 Brian de Palma film; Robert Benton?s Billy Bathgate (1991); and two films directed by Sean Penn?The Crossing Guard (1995) and The Pledge (2001 Cook also worked as production supervisor on Ridley Scott?s Academy Award-winner Gladiator (2000).

Ventura, a Cape Verdean laborer living in the outskirts of Lisbon, is suddenly abandoned by his wife Clotilde. Ventura feels lost between the dilapidated old quarter where he spent the last 34 years and his new lodgings in a recently-built lowcost housing complex. All the young poor souls he meets seem to become his own children.

Pedro Costa was born in Lisbon and studied at the Escola Superior de Cinema. He made his feature directorial debut with The Blood, which played at the Festival in 1990. His subsequent features include Casa de Lava (94), Bones (97), In Vanda's Room (00) and O? g?t votre sourire enfoui? (co-director, 01). Colossal Youth (06) is his most recent film.

"1987 Cartas a J?lia (short)

1990 O Sangue

1994 Casa de Lava

1997 Ossos

2000 No Quarto da Vanda

2001 O? g?t votre Sourire enfoui?

2002 6 Bagatelas (short)

2003 The End of a Love Affair (short)

2006 Juventude em Marcha

2006 Ne Change Rien"