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.

"Summer, sun, sandy beaches and sex ? everything you need to feel just like in paradise. And that's exactly what Elisa, Richie and Florian are looking for. They've left the cold and grey North behind them to have fun on a sunny island. Elisa: rich, spoiled and escaping her father's conservative concepts of morality. Richie: a loafer who knows that behind every woman there is a warm meal. Florian: sensitive, nice and helpful, the sort of men not only women feel attracted to.

But even in paradise there are dark places where the sun does not shine, where you can lose your bearings or fall in love without wanting to admit it... Places where you realise that you haven't left the cold and grey North because it is inside you...

Things get worse on the island for Elisa when her wealthy father cuts off her money supply and even sends out her younger sister Clara to take her home. She stubbornly decides to take charge of her life herself. But she already fails in finding a job. When she meets Richie, the tide turns at first. She falls in love with the charming barkeeper dreaming of making easy money with beach parties...

After a couple of painful attempts to do the right thing Elisa gets lost an emotional downward spiral turning endlessly. Florian and his village buddy Daniel get to the island with only little more than an old Audi 100 and without further ado they start seeking contact with the opposite sex. The reach their goal suprisingly quickly. But for Florian the sexual encounters take a catastrophical course. Only when he falls in love with the islander Marcel against his will he begins to understand... He takes his chance to flee from his old life to make a fresh start with Marcel."

Rolf S. Wolkenstein studied at the Deutschen Film- und Fernsehakademie from 1982 ? 1986. He lives and works in Berlin. Selections from his last films are ? Fernsehzauber? (documentary, 1999), Max Herre (documentary, 2004) and his feature debut ?Lauf der Dinge?, 2006.

Little Miss Sunshine is an American family road comedy that shatters the mold.

Brazenly satirical and yet deeply human, the film introduces audiences to one of the most endearingly fractured families in recent cinema history: the Hoovers, whose trip to a pre-pubescent beauty pageant results not only in comic mayhem but in death, transformation and a moving look at the surprising rewards of being losers in a winning-crazed culture. A runaway hit at the Sundance Film Festival,

where it played to standing ovations, the film strikes a nerve with everyone who?s ever been

awestruck by how their muddled families seem to make it after all.

JONATHAN DAYTON and VALERIE FARIS

Jonathan Dayton and Valerie Faris make their feature film directorial debut with LITTLE MISS SUNSHINE. However, the married team has already built an impressive body of innovative projects as directors and producers in a variety of mediums, collaborating together on over 75 projects in film, television, commercials and music videos.

Jonathan and Valerie began their careers creating and directing the pioneering MTV show, ?The Cutting Edge.? They continued to work at the leading edge of music television, directing awardwinning videos and documentaries for artists including REM, The Red Hot Chili Peppers, Jane?s Addiction, The Smashing Pumpkins, Macy Gray, Janet Jackson, Oasis, Weezer and The Ramones.

Their music productions ultimately earned them two Grammy Awards, nine MTV Music Video Awards and a Billboard Music ?Director of the Year? Award.

In addition, Jonathan and Valerie have worked extensively in television, including directing episodes of the groundbreaking sketch comedy series ?Mr. Show with Bob and David? for HBO. They also produced two feature films: the documentary THE DECLINE OF WESTERN CIVILIZATION PART II: THE METAL YEARS for New Line Cinema and Jane?s Addiction?s GIFT for Warner Bros. Music.

In 1998, Jonathan and Valerie co-founded Bob Industries, one of the country?s leading commercial production companies, where they have directed high profile television ads for VW, Sony Playstation, Gap, Target, Ikea, Apple and ESPN, among many others. In 2004, Boards Magazine placed Dayton and Faris among the top ten directors working in commercials today.

In this stylish, atmospheric thriller, a hit man who learned his deadly craft in the Balkan wars, his beautiful former lover, and her police officer boyfriend all cross paths in lower Manhattan. The looping, nonlinear narrative structure and crisscrossing fates of its colorful characters may remind many of Pulp Fiction, but instead of recycling the hipster argot and rap rhythm of that influential L.A. story of more than a decade ago, love gives us a wintry, present-day New York City that is very much a cosmopolitan metropolis, a city of immigrant hustlers and their Old World accents-the Yugoslavian hit man, the German doctor, the French coquette, and the Neapolitan crook, and many others. love is all the more stimulating because of the elegant simplicity with which it was made; aside from its thriller plot, the spare visual composition and beautifully lit scenes are alone more than reason enough to see this picture. From its memorable scenes, which include a killing in a park to the Mexican stand-off inside a church to the dimly lighted nightclub, where an emcee in drag promises the jaded patrons 'music you've never heard before,' this stylish crime tale makes the New York scene glow with color-drenched beauty, menace, and mystery.

(2005, Tribeca Film Festival)

Vladan Nikolic is an award winning filmmaker from Belgrade, Yugoslavia, who moved to New York City in 1992. Before coming to New York Mr. Nikolic worked as a director for the first independent TV network in Yugoslavia. Mr. Nikolic has worked as writer, director and editor on shorts, feature films, documentaries, commercials and music videos. His awards include the TV Sarajevo Award and Zeta Film Award for Best Screenplay (1987), Eastman Kodak Award for his short film Serendipity (1992), Telluride Indiefest Best Film Award for his feature Burn (2001), and others. His first narrative feature film Burn prompted Amy Taubin of the Village Voice to write that Vladan Nikolic proves himself a director to watch with this intense, nightmare thriller about Yugoslavian refugees in New York.

His second feature, LOVE (2005) premiered at the Tribeca and Venice film festivals to critical acclaim. It went on to win awards at film festivals in Geneva, Switzerland, Barcelona, Spain, and the Best Director Award at the Tiburon International Film Festival, California (2006). Mr. Nikolic also teaches Film Directing, Production and Digital Filmmaking at The New School University, and at New York University.

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)"

Pod is a migrant worker from up-country who drifts from job to job: chopping his finger off in a sardine factory, becoming a security guard and eventually a taxi driver. He meets Jin, a maid who has her nose perpetually buried in a mysterious white book written in a foreign language that she dreams of someday understanding. Pod is smitten. But the Jin becomes obsessed with a hippie westerner and the environmental movement. Somehow, Pod becomes a celebrity because he is the only guy in Bangkok without a tail. If he grows one, he?ll just be one of the crowd, a ?Citizen Dog? alluded to in the title.

After training at Silpakorn University, Bangkok's most important art school, Wisit Sasanatieng worked as a commercials' director. He wrote scripts for his friend and colleague Nonzee Nimibutr, including for Nang nak (1999). ?Tears of the Black Tiger (2000)?, his directing d?but, is the first Thai film ever selected officially for the Cannes Film Festival, where it was bought for many countries.

"Mah nakorn (2004) aka Citizen Dog

Fah talai jone (2000) aka Tears of the Black Tiger "

In their close relationship mother and son are affiliated to an inseparable entity, where inside and outside, imagination and reality, self and other no longer differ.

The mother tries hard, to maintain this state, but she cannot stop an evolution, that makes her son let loose.

Astrid Rieger

1979 born in Kronstadt- Romania

1990 immigration to Germany

since 1999 studies of ?Visual Communication? at Academy of Art and Design Offenbach

Astrid Rieger

(2001) Maudi

(2002) Die Expedition zum S?dpol (The Expedition To The South Pole)

(2002) Luftl?cher (Holes in the air)

(2003) Scharlach (Scarlet)

(2004) Rimbaud

(2006) Apple On A Tree

(2006) Mammal

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.

During the Nazi period in Germany, young Marie meets the Jewish clown Jakob who gives away balloons for the price of a smile. But Marie cannot satisfy Jakob?s wish. Through a tragic misunderstanding the situation escalates and for a while it seems as if Marie will have to owe him her smile forever.

But decades later, fate brings the two of them back together again.

"Bernhard Kimmel, head of the infamous Al Capone gang, did not choose which place to burglarize next. He had to figure out which places he had not yet hit. Cracking up to three safes at different locations in the course of one night, Kimmel and his colleagues made fools out of the authorities in post-war Rhineland-Palatinate for years ? living nearly perfect double-lives as god-fearing citizens and productive weavers during the day. When they were finally arrested, it was not for their unparalleled prowess as burglars, but because of an unfortunate, drunken accident that left one innocent man dead.

Director Peter Fleischmann met Bernhard Kimmel just after his release from prison in 1970. He interviewed the newly reformed criminal and struck up a friendship that would be put to the test in 1982, when Kimmel was again arrested: this time for killing a police officer while fleeing the scene of another crime. Fleischmann, who had started out his conversations with Kimmel wanting to know the man behind the local legend, saw his friend sentenced to life-imprisonment.

When Kimmel was paroled after 22 years in prison, the director was finally able to finish the intimate portrait of a man who had spent most of his life behind bars ? clinging to the legend of who he once was and trying to find out how to fit into a world that passed him by.

The result is ?My friend the murderer? ? an astounding and astute meditation on guilt, punishment and friendship."