director Jeon Soo-il
screenplay Jeon Soo-il
country South Korea
duration 110 minutes
producer Kang Sung-kyu
production Dongnyuk Film
Ahn Kil-kang, Kim Sun-jai
cinematography Jung Sung-wook
editor Lee Dong-wook
music Kae Soo-jung
Kim, a director, receives an unexpected phone call from his cousin, Il-kyu, who tells him his mother will soon meet his father, after having been separated from each other during the Korean War. Kim returns to his birthplace in search of his father. During the trip, he meets a woman he will later see again in his hometown. She is searching for her younger sister, who disappeared years earlier. The film?s rigorous style, slow rhythm, long silences and cold atmosphere work to obtain moments of pure lyricism and offer a reflection on cinema, love, the division of the country, memory and the deepest wounds of each human being.
Jeon Soo-il studied theatre and film at Kyungsung University in Pusan, and film direction at the ESRA film school in Paris. Jeon's d?but feature, Wind Echoing in My Being (1997) screened in Cannes' Un Certain Regard programme in 1997. The Bird Who Stops in the Air (1999) received the Grand Prize at Fribourg and the NETPAC Award at Pusan in 2000.
director Franziska St?nkel
screenplay Franziska St?nkel
duration 92 minutes
producer Frank Kaminski, Ulrich Stiehm
production "Kaminski.Stiehm.Film GmbH Gormannstr. 14 10119 Berlin tel.:+49 30-30878460 fax: +49 30-30878466 email@example.com Jumping Horse Film GbR Spannhagenstr. 28 30655 Hannover Fon: +49 511 3908 0274"
Justus von Dohn?nyi
cinematography Carsten Thiele
sound Kai L?de
editor Budelmann, Sarah Clara Weber
music Ingo Ludwig Frenzel
Sebastian F?rber is a successful architect with a foible for poetry but he is constantly under pressure. His daughter Himalaya only knows him crouched in the dark behind his laptop and drawing board maniacally cracking nuts while he draws up utopian buildings which no one is going to pay for anymore. Despite suffering from the teensiest bit of a heart attack F?rber relentlessly starts a new project: a top-secret high-security futuristic townscape on the island of Vineta, which cannot be found on any map. In a remote villa F?rber and a team of experts are to finish the project under the leadership of mysterious Dr. Leonhard. In the middle of his hectic schedule F?rber realises that his office is monitored by strange videocameras and he starts to question his loyalties and his daughter as well. Franziska St?nkel?s debut is a moving and frightening chamber piece carried by a splendid cast and a truly claustrophobic atmosphere.
Franziska St?nkel finished her studies as a scriptwriter and director under Prof. Uwe Schrader at the University of Applied Sciences Hannover. She was given various scholarships, among other things a two-year vgf production scholarship for young filmmakers in the Bavarian film metropolis Munich, a promotional film scholarship of Niedersachsen and a one-year script scholarshop under Wojciech Marczewski. She futhermore was chosen to participate in the international programme for futher education ?Talents 2003? lectured by Mogens Rukov and in the ?Berlinale Talent Campus 2003?. Franziska St?nkel's short films are shown at international fim festivals in 19 countries and have repeatedly received awards such as the ?Premio Nuovo Talent Award? in New York. Within the framework of the ?Next Generation 2001? her short ?W?nsch Dir Was? is presented at the international film festival in Cannes. VINETA is the director and scriptwriter's first full-lenght film for the cinema.
"2005/ 2006 ?Vineta?, Kinospielfilm, Regie und Drehbuch
2004 ?It?s a small world and things like this?, Kurzspielfilm, Regie und Drehbuch
2001 ?W?nsch dir was?, Kurzspielfilm, Regie und Drehbuch
1999 ?Bonbon?, Kurzspielfilm, Regie und Drehbuch"
director Thomas Stiller
screenplay Thomas Stiller
duration 96 minutes
producer Marc Eric Wessel
production "Aurora Film & TV GmbH & Co.KG Bussestrasse 40 22299 Hamburg Deutschland Fon: +49 40 2442 8096 Fax: +49 40 5131 3341"
cinematography Bernd Meiners
sound Pascal Capitolin
editor Simone Hoffmann
Tim, 26, suffers from a childhood trauma. His father tried to kill the whole family when Tim was a little baby but he miraculously survived with a bullett in his head. Tim is behind in his development. His life has a peculiar, slow rhythm to it and he cannot distinguish between real life and his fantasy world. He imagines his father to be Captain on a big ship. When he meets Claudia they immediately connect. They are both living in the shadow of their fathers. But when Tim cannot protect Claudia from a violent attack by two men the trusting bond is broken. Tim must confront his childhood trauma to learn to live in reality.
"Thomas Stiller finished school in 1981.
Education as an actor and director in New York at the Actors - Studio und HB ? Studio.
Acted in many theatre plays and TV productions."
director Matthias Stockl?w
duration 25 minutes
media Beta SP
producer Manuel Challal
cinematography Till C. Juon
sound Tobias B?hm
In just 25 minutes, Director Matthias Stockl?w manages to hilariously answer the question of why a man would bury his car in the yard and some of life?s other more important questions. Julia, a teacher, is suffocating under the stress of her job and personal life. Her chaotic husband, Walter, has not told her what he did last night. The car is missing, and the mail arrives in shreds. Her co-worker, Wesenberger, finds her attractive. In the meantime, Sarah and Tim would be having a wonderful day on the boat ? if it weren?t for the evil Easter bunny and the polar bear.
director Jan ?vankmajer
screenplay Jan ?vankmajer
country Czech Republic
duration 118 minutes
production Vera Ferdov?
cinematography Juraj Galv?nek
sound Ivo ?pajl
editor Marie Zemanov
"Jarom?r Kallista Athanor
phone: +420 233 322 905,
Young Jean Berlot?s mother has died in the lunatic asylum at Charenton. On his way home from the funeral he spends a night at a roadside inn. There he has a vivid dream ? the same dream he always has in times of stress, in which two hospital orderlies in white coats try to force him into a straitjacket. After a violent struggle, Berlot always wakes up to find that the room has been completely demolished. Another guest at the inn, the Marquis, witnesses the nightmare and its results. He pays for the damage and invites Berlot to his castle. On the way he hears Berlot?s story: when his father died his mother, who was much younger, went mad with grief. Since then Jean, who takes after her, has been haunted by the idea that he too will end up in an asylum ? hence the nightmares.
For the screenplay of ?Lunacy? I have borrowed ideas from two stories by Edgar Allan Poe, The Premature Burial and The System of Dr. Tarr and Professor Fether. These ideas are incorporated into a plot which otherwise owes nothing to Poe. One of the main characters, the Marquis, was inspired by the Marquis de Sade, from whose writings I have lifted several passages . ?Lunacy? will be a live action feature film; animation will be used only sparingly, chiefly in the dream and surreal sequences. Although the story appears to be set in early 19th C France, the film contains many deliberate anachronisms which remind us that this is an allegory of the modern world. And what better setting for this world than a lunatic asylum? If I had to attach a genre label to the film, it would be ?philosophical horror?. Its theme is absolute freedom, civilizational repression and manipulation.
"Born on September 4th, 1934
His studies at the College of Applied Arts in Prague in the Stage Design Department and at the Prague Academy of Performing Arts in the Department of Puppetry (directing and stage design) largely predetermined his own creative development.
In the Laterna Magica Theatre he experimented with some film procedures, including special effects, for the first time. He made his first film in 1964 at the Kr?tk? film Studio in Prague. The creative diversity of Jan ?vankmajer, however, exceeds the limits of film. The artist is active in autonomous visual expression, which he has practised since the end of the 1950s. His literary expression consists mainly of scenarios and tactile poems, while his theoretical activity has focused on research into the nature of tactile phenomena and the imagination. A considerable part of the imaginative strength of Jan ?vankmajer consists of blasphemous black humour and a playful viewpoint which, together with an extraordinary sensibility and a penetrating critical intellect, form the determining facets of his creative personality. His work, whether film, visual, or literary, is connected with the collective activities of the Group of Czech and Slovak Surrealists. "
"The Last Trick
Posledn? trik pana Schwarcewalldea a pana Edgara
Czechoslovakia, 1964, colour, 12 mins
Kr?tk? Film (Prague)
J.S.Bach - Fantasy in G Minor
J.S.Bach - fantasia g-moll
Czechoslovakia, 1965, black and white, Cinemascope, 10 mins
Kr?tk? Film (Prague)
A Game with Stones
Spiel mit Steinen
Hra s kameny
Austria, 1965, colour, 8 mins
Studio A (Linz)"
director Santi Taepanich
duration 23 minutes
media Digibeta PAL
festival director World Film Festival of Bangkok
12 Floor, Nationa Building 44
Bangna-Trad Rd. Bangna
In Thailand, karaoke is a favourite recreational pass-time, and innumerable karaoke video-clips use the sea as decorative background. Santi Taepanich watches one of these karaoke clips being shot: in front of a giant poster, a young model lolls around: but, much to the photographer's fury, she refuses to spread her legs. The next model is a transsexual who talks about the loneliness brought about by his operation. In the background, we see a white, softly shining sandy beach dotted with palm trees. On the glossy paper and beneath the spotlight, its beauty is similar to that of the model: artificial, yet convincing. Under the surfae, both conceil their wounded and sad stories.
director Patrick Tauss
screenplay Michael Proehl, according to an original screenplay by Alexander Steimle
duration 88 minutes
producer Christian Rohde, Nico Hofmann, J?rgen Schuster
production teamworx Television & Film GmbH Dianastr. 21 14482 Potsdam Germany fon: +49 (0) 331- 70 60 200 fax: +49 (0) 331- 70 60 231 firstname.lastname@example.org www.teamworx.de
Stipe Erceg, Nadeshda Brennicke, Lisa Maria Potthoff, Charly H?bner, Andreas Guenther, Dagmar Leesch, Wolfgang Packh?user, Doris Kunstmann u.a.
cinematography Lars R. Liebold
editor Florian Drechsler
music Putte & Miss Kenichi
A man meets a woman who straightens out his chaotic life. The woman looses her memory and her commemoration of him. He fights for her, but is at risk of reverting into the patterns of his past. And other mothers have got pretty daughters, too. So far so good?.
Fabo is a marauding emotion fen fire, such as flutter by the thousands through nocturnal cities: he has problems without women and alcohol, and with them his problems even seem to multiply. But the painful acquaintance with his dream woman Tami also reveals the solid sides of the hardcore romantic: wife, house, tree, children welcome. And because Fabo is able to enjoy this new life, fate hits him the harder in the hour of his largest bliss?
A film about bereavement and the fight for love, about male bonding, alcohol and crashes from different heights.
Windows, bath tubs and cars are used for other purposes than the intended and every ?dirty? word is just an expression of love and closeness. Dirty and hokey?
It is like Bukowski in an Edward Hopper painting, that has been fallen off the wall years ago?.
And the best: it is not a comedy!
Freelance photographer since 1993, focus puller and still photographer for several film productions (e.g. TATORT, JULIETTA, SCHERBENTANZ).
1997-2004 studied at the Filmakademie Baden-W?rttemberg film direction and works as a film director since then.
2003 DER TYP
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 Roberta Torre
screenplay Roberta Torre, Heidrun Schleef
duration 82 minutes
producer Riccardo Tozzi, Giovanni Stabilini, Marco Chimenz
production Cattleya (Italien) und Babe (Frankreich)
"Luigi Lo Cascio
Andrea Klara Osvart
cinematography Daniele Cipr
sound Michele Tarantola
editor Jacopo Quadri
music Shigeru Umebayashi
"ADRIANA CHIESA ENTERPRISES srl
Via Barnaba Oriani 24/A
Fon: +39 68086052
Fax. +39 680687855
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.
director Fujiwara Toshi
screenplay Fujiwara Toshi
duration 111 minutes
producer Fujiwara Toshi, Kan Hirofumi, Hirato Jun-ya, Alexander Wadouh
production Compass Films
cinematography Fujiwara Toshi
sound Kubota Yukio
editor Fujiwara Toshi
music Simon Stockhausen, Craft
"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.