Daily Tiger #6 (English)

INTERNATIONAL fILm fEsTIvAL ROTTERdAm

Cross-platform trafficIn its Changing Channels stand, IFFR explores the blurring boundaries between cinema, television and online by presenting episodic works made for television and the internet in a festival setting. By Ben Walters

As everyone knows, the days of hard and fast distinc-tions between cinema, television and online content are long gone. More and more movies are released on disc or streamed on demand after nominal or non-ex-istent theatrical runs; increasing numbers of film au-teurs are pouring their energies into prestige television projects and smart TV sets allow web content to be viewed on home set-ups that might rival the smallest multiplex screens for size and quality.

Fertile fault lines Changing Channels, a strand in IFFR 2013’s Signals section, offers a rich sample of material from the fertile fault lines of this changing landscape, concentrating on episodic work made for television and the internet. “We’re living in strange times”, notes Inge de Leeuw, who programmed the strand. “Divisions are not so strict anymore; directors can do what they want.”Based at Cinerama, and combining theatrical screen-ings and a web lounge, the Changing Channels pro-gramme largely falls into two categories: narratively complex TV miniseries made by established filmmak-ers, often balancing high production values with a downbeat tone; and web content created by young

directors with a scrappy, knockabout style and a con-temporary social-satirical sensibility. The first group includes series like Agnieszka Holland’s Burning Bush, produced by HBO and set in the Czech Republic; Ko-re-eda Hirokazu’s 11-part Going Home; and Prófugos by Chile’s Pablo Larraín, whose feature No plays in this year’s Spectrum. “In previous years, we’ve seen a lot of American film-makers making television, but I was keen to show how much is happening around the world”, says De Leeuw. Of course, such authored projects have existed before – think of Fassbinder’s Berlin Alexanderplatz or Von Trier’s The Kingdom. “European public broadcasters have been supportive in the past but, because of the economic crisis, it’s getting harder”, says De Leeuw. “Now it’s pay TV: Canal+ and HBO in Europe and Lat-in America. But production itself is quite quick, finan-cially. And I think filmmakers are interested because of the storytelling possibilities: you can have more characters with complex storylines.”

Close to homeWhen it comes to online content, the low-cost, low-risk basis of most productions makes the format especially appealing to young directors who can experiment with form on minimal budgets, but still potentially reach an audience via YouTube, Vimeo and the like. There’s an understandable tendency for such productions to look close to home for subject matter, telling stories about characters whose lives are often satirical takes on the storytellers’ own. Changing Channels offers a

chance to sample a broad swathe of Brooklyn-based parodies of young New York life, from Joe Swanberg’s Young American Bodies to Issa Rae’s The Misadventures of Awkward Black Girl. Lena Dunham’s HBO hit Girls also screens.An increasing number of young directors are shuttling between platforms. Ry Russo-Young has made seri-ous-themed indie features such as Nobody Walks and You Won’t Miss Me, but has turned comedic for her three-part web series, Muscle Top, a tongue-in-cheek show about young queer musicians with a political edge, backed by New York magazine Paper. She ap-proaches the different forms with different expecta-tions. “When making features, I’m more inclined to let moments breathe,” Russo-Young notes, “whereas with anything else that I know will live online, I’m always looking to tighten because I assume the attention span of the viewer is different.”

ExperimentationMexico’s Sebastian Hofmann directed the feature Hal-ley in the Hivos Tiger Awards Competition, but also has his web series Los micro burgueses, made several years ago with friends for practically no money, playing in Changing Channels. A sardonic satire of youth culture and bourgeois complacency, it also demonstrates the fascination with decaying bodies and existential ennui evident in Halley. “I ridicule myself and Mexican socie-ty in a very crude and stupid manner”, Hofmann says. “I’d been following some web series I really liked from the United States and Spain; I had the time and I had

some friends and we had a camera and a boom mic and we had fun and drugs. We just made it. It was just an experiment.”

AccountabilitySince then, Hofmann has become accustomed to working with bigger budgets and institutional backing – which brings levels of accountability the DIY web producer doesn’t have to deal with. “Money brings op-portunities but also responsibility. It makes everything much more difficult, more bureaucratic. With Los mi-cro burgueses, I could do and say whatever the fuck I want. Now I still do, but I have to get the signature, the stamp from above.” He still considers his web show to be apprentice work. “My first response when Inge asked to screen it was, ‘Rotterdam is such a prestigious festival, why would you want to show this crappy Mexican web show?’” Such deprecation is suggestive of the low status in which web work – even work as vibrant, fun-ny and incisive as Los micro burgueses – is still held, even by those who make it. Such attitudes look cer-tain to shift, however. Hofmann himself is working on a new web show (“it deals with existential issues and my fear of death, which is a recurring theme in my work”) and the mainstream industry is paying increasing attention: David Fincher’s political thriller House of Cards and the new cult sitcom series Arrested Development were produced as online-exclusive con-tent for Netflix, while Bryan Singer’s H+ was made for YouTube. Strange days indeed.

CineMart in full swing: director Rosa Barba (right) discusses her Art:Film project Subconscious Society at one of the market’s one-to-one meetings. photo: Nadine Maas

daily tiger42nd international Film Festival rotterdam #6 tuesday 29 January 2013

ZOZ voor Nederlandseeditie

Shorts Awarded.

Last night, the winners of the three Canon Tiger Awards for Short Films 2013 were an-nounced. They are The Tiger’s Mind by Bea-trice Gibson (UK, 2012), Unsupported Transit by Zachary Formwalt (Netherlands, 2011) and Janus by Erik van Lieshout (Netherland, 2012). The IFFR short film nominee for the European Film Awards 2013 is Omar Robert Hamilton’s Though I Know the River is Dry (Egypt, 2013).

The Tiger’s Mind

Janus

Unsupported Transit

(News P3) (la teNdresse / watchtOwer / dummy Jim P5) (sONia silk OPeratiON / Neda raZaviPOur P7)

…BECAUSE SUPERGLUE IS FOREVER BY JOHAN GRIMONPREZ I COMRADE KIM GOES FLYING BY KIM GWANG HUN, ANJA DAELEMANS AND NICHOLAS BONNER I FARMER JACK BY ARJAN WILSCHUT I THE FIFTH SEASON BY PETER BROSENS AND JESSICA WOODWORTH I KID BY FIEN TROCH I THE MIRROR / THE MOTHER / THE WIFE BY JELENA VANOVERBEEK I SWAN SONG BY ANOUK DE CLERCQ, ANTON AEKI AND JERRY GALLE I TENDERNESS BY MARION HÄNSEL I TOKYO GIANTS BY NICOLAS PROVOST I HET ZWIJGEN VAN HELENA BY PIETER DUMOULIN

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INTERNATIONAL fILm fEsTIvAL ROTTERdAm 3

Impossible anglesLeonard Retel Helmrich’s new film is to be shot in English in the US. Nick Cunningham reports

Producer/director/writer Hetty Naaijkens-Retel Helmrich arrived at IFFR yesterday in search of co-producers and a sales outlet for her brother Leonard Retel Helmrich’s Poker Play – his first fiction film in more than two decades. It will be shot in English in New York with US actors. His previous documentaries, noted for their spectac-ular camera work, have garnered him numerous international awards, including top honours (twice) at Sundance and IDFA. For the film, to be shot in Summer 2014 and about a poker game with high geo-political stakes, Retel Helmrich will again use his patented ‘single shot’ camera style, an innovation which led the New York Times to dub him the “master of impossible an-gles”. This time, he will deploy ‘single shot’ in 3D. “We want to show this to the world”, comments Naaijkens-Retel Helmrich.Naaijkens-Retel Helmrich also spoke about her documentary Hollandse Nieuwe, co-directed with brother Leonard, about the Dutch culinary ob-session with the herring. The film features two high-profile Dutch industryites: EYE Internation-al chief Claudia Landsberger and festival stalwart Fred de Haas, who wax lyrical on the fishy sub-ject. The feature-length doc, to be broadcast in the Netherlands on 3 June, promises to be as vis-ually impressive as the siblings’ previous collab-orations. “You cannot imagine how he did those shots”, she stresses of her brother’s camerawork. “When you see this film, it’s even more than in Position Among the Stars. He used even more im-possible camera angles.” Naaijkens-Retel Helmrich also found out yes-terday that her documentary No Child’s Play (Buitekamp – Kinderen) will be released across 15 screens in May 2013. The film concerns what she calls the “East Indies holocaust”, when (between 1942 and 1949) thousands of Dutch and mixed race nationals, and hundreds of thousands of indigenous people, were killed – formerly during WWII, latterly as the country was seeking inde-pendence from Dutch rule. “Sukarno claimed independence from the Netherlands in 1945, but the Netherlands didn’t acknowledge that for another four years, and during that time it was terrible.”

Matterhorn pick-upGerman sales agency Media Luna has picked up international rights for Diederik Ebbinge’s Matterhorn, produced by Gijs van de Weste-laken of Amsterdam-based Column Film. The film, which world-premiered in IFFR’s Bright Future, is about the positive effect a tramp has on a lonely middle-aged man. Late debu-tant Ebbinge (43) turned to filmmaking after a successful career as an actor and comedian. Media Luna acquisitions manager Alessandro Lombardo was impressed by the film’s “beau-tiful comedy”. “Matterhorn’s profound story of people living alone in a backward village is up-to-date”, he says. “While most films are about people relocating to the big city, Mat-terhorn’s feel-good story touches everybody.” Managing Director Ida Martins adds: “We are happy to have Matterhorn with us. The main plot gives us insights into two lost individuals who re-evaluate their lives … as sometimes we experi-ence in real life.” NC

In the Tea HouseIn 2007, director Atousa Bandeh Giasabadi presented My own 1000 square metres at IFFR, and in 2011 the festival screened her short The Day I Disappeared. During High Tea this after-noon, Atousa will present a sneak preview of her most recent work, An Afternoon in Tehran.

Tea House/Gallery Inside Iran, Schouwburgplein 54, 4 p.m. – 6 p.m.

Tiger-winning director, wine grower, musician and sound artist Sergio Caballero is roaring back into Rotterdam to pitch his new project which (the Spanish filmmaker jokes) is a true “blockbuster”. By Geoffrey Macnab

Caballero won his Tiger for Finisterrae (2010), a film that has gone on to play at 60 festivals. The new project La Distancia is presented in CineMart as part of the new Art:Film collaboration between Rot-terdam and CPH:Dox, but Caballero says it’s his most mainstream project yet. “It represents a shift toward the more understanda-ble, commercial, even more narrative way of seeing a movie”, Caballero says. By contrast, Finisterrae was more “meditative” and experimental. The new film, a heist yarn with sci-fi elements, is already in pre-pro-

duction. It is being made through Advanced Music SL, the production company Caballero co-founded in 1993.“It has been a very hectic month and a half”, the direc-tor says. The project was presented at CPH:Dox. Tele-vision Española boarded the project at that stage. Now, Caballero is in a big hurry. The film is about a young peasant from the Crimea who heads to Siberia to work in a coal mine. Once there, he becomes the boss of one of the biggest power plants in Siberia. “I need to start shooting in three weeks because of the snow”, the director explains. “After that, I still need support and funding for post-production and for film-ing more stuff in the studios.”At the same time, Caballero is looking for sales agents and distribution for both Finisterrae and La Distancia. Finisterrae was originally handled internationally by Film Sharks. Now, Caballero and his team are looking

for new ways to get the film seen and to capitalize on its festival success.As he rushes to complete the financing for La Distan-cia, Caballero is also preparing for the 20th anniver-sary of Sonar, Barcelona’s International Festival of Advanced Music and New Media Art. Meanwhile, he is also overseeing his vinery 4 Kilos in Mallorca. The vinery produces 70,000 bottles a year. He co-founded it with Francesc Grimalt in 2006. 4 Kilos even now has its own coat of arms: GRIMALT CABALLERO, Wine-makers through and through!”“The energy is the same. Whether you go to the vinery or go to Sonar or make films”, the Spaniard says of his relentless multi-tasking. Here in Rotterdam, Caballero spent Sunday afternoon discussing the links between art and film. At CineMart, he is determined to drum up international interest in La Distancia. “It is a big blockbuster,” he declares. “Come, sales agents, come!”

Going the distance

Yellow Robin takes off in CuraçaoAfter the success of the inaugural Curaçao Interna-tional Film Festival (CIFFR) in April 2012, IFFR and CIFFR will introduce a new prize during the second edition that runs 4-7 April 2013, IFFR chief Rutger Wolfson announced yesterday. Together with five film institutions in the region, the Yellow Robin Award will be given to an outstanding local film tal-ent who, based on the submission of a feature film of minimum 60 minutes duration, will receive a $10,000 cash prize and an invitation to IFFR 2014, where the film will be screened. Should the winner have a suit-able film project in development, Hubert Bals Fund and CineMart selection will be considered. Right now, partnering institutions are Trinidad and Tobago Film Festival, the Cuban Film Institute (ICAIC) and the Jamaican Film Commission, with two more to be confirmed. “It is a very good step after the very suc-cessful first edition”, Wolfson comments. Ahead of yesterday’s press conference, Wolfson re-flected on last year’s collaboration. “We didn’t know what to expect and we were really happy with how things turned out, because it was really like the first time that non-commercial non-Hollywood type films were screened in Curacao”, he observes. “It’s a small island, but there is a big cinema-loving audience and we just didn’t know how they would respond to our programme. But the response was very, very positive and the visitor numbers were much higher than we expected.” NC

Sergio Caballero photo: Nichon Glerum

Rutger Wolfson at yesterday’s press conference

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Patient preparation played a key part in the development of Pelin Esmer’s Tiger entrant Watchtower. By Ben Walters

Nature can be dangerous. Watchtowers are positioned throughout Turkey’s forests in case of fires, with guards posted for lengthy stints alone in the woods where the wolves howl at night. But it can be restorative too. In Watchtower (Gozetleme kulesi), the second feature by Turkish filmmaker Pelin Esmer and a competitor in the Hivos Tiger Awards Competition, a watchman at one such station, Nihat (Olgun Simsek), is taking ref-uge in rural solitude after a personal cataclysm. On his occasional trips to fetch supplies at a nearby town, he encounters Seher (Nilay Erdönmez), a young woman working for the local bus company and with her own emotional turmoil to deal with. His trauma concerns the unwanted loss of life; hers its unwanted creation. Slowly, they enter into a kind of engagement that might restore them both, alone together in the forest.

“If you can’t stop time, you can slow it down”, suggests Esmer. “They had to slow down to move on. The whole thing is a little pause they create for each other.” This approach comes across in Watchtower’s frequent use of lengthy takes, some for periods of low-key activity, oth-ers for sustained bouts of emotional intensity – notably one especially wrenching scene by Erdönmez midway through the film. The pre-shooting process also benefit-ed from a sense of patience. “The preparation was long days of talking, but we never rehearsed”, says Esmer, whose debut feature 10 to 11 received Hubert Bals Fund backing and played at IFFR 2010. “I spent months drink-ing tea and talking with the actors – more about life than the script, trying to get to know them.”For Erdönmez, there were physical challenges to the role as well: there are times when it’s hard to believe she isn’t genuinely pregnant. “She was a really skinny girl, and she is again now. We worked with a dieti-cian and she gained about 10 kilos – and only to her breasts and belly. I think she concentrated on where

she should gain the weight! It was extraordinary.”Watchtower slowly took shape from “a collection of images and sounds I have collected all my life”, Esmer says. “In Turkey, we have hostesses on buses and they make these very impersonal announcements. The moment they put down the microphone, you feel it’s a totally different story. So I thought, what if it’s her last announcement and I follow her? Another image was a girl walking by a deserted road alone. There was the image of the watchtower itself. And I have a lot of memories of drinking tea at bus stations. I realised that underneath all these images was the feeling of guilt. But I had to be patient to see how they would slot together.”

Hivos Tiger Awards CompetitionWatchtower / Gozetleme kulesi – Pelin EsmerWed 30 Jan 21:45 PA5Fri 01 Feb 16:15 PA1Sat 02 Feb 19:00 PA3

Drive, she saidThe new film from Marion Hänsel is a partly autobiographical combination of road movie and romantic comedy. By Geoffrey Macnab

Marion Hänsel has made films in some very far-flung places: in remote parts of Africa (Dust, Sounds of Sand) and at sea (Black Ocean). For her 2001 essay film Clouds, Letters to My Son (Nuages, Lettres à mon fils), she chased clouds all over the world. Now, with La Tendresse, she has made a film closer to home – a road movie/romantic comedy set between the Alps and Brussels. “It was another challenge – something I had never done”, Hänsel reflects of the film, which she scripted herself. “Something light in its theme. Most of my films are quite heavy.”This is a story about an unexpected reunion. Lisa and Frans (Marilyne Canto and Olivier Gourmet), a divorced couple who’ve hardly seen each other for 15 years, set out by car to see their son, who has injured himself while skiing.The Belgian director also set out to give the film a sense of scale. La Tendresse, receiving its world premiere in Spectrum, may be an intimate affair with many scenes set within cars, but she still shot on 35mm and in widescreen. She made sure that she never repeated herself, always looking for fresh ways of framing. “So that was a big challenge for me. And then, most of all, I have a phobia when I am in a car driven by someone other than me.”Her cameraman, who had worked for her for many years, was sceptical that she would be able to make the film. “He looked at me and said, ‘But Marian, do you realize you will have to be in the car for five weeks be-cause you have to direct the actors ... I know you. You go hysterical when you are in the car!’”In the event, making the movie helped cure Hänsel of her car phobia. “It was like a therapy, but very frighten-ing. I managed!”

There are autobiographical elements to the story. Hän-sel’s son is a ski instructor who once had a bad accident in the Alps. She has been divorced.Hänsel makes the very good point that almost every family has experienced rupture and separation. “There are so many separated couples around the world”, she sighs. “Most people either have parents that are divorced or in their own lives have split … it’s so common.” This, then, is a universal theme. Hänsel’s trick is to treat her subject matter with irony and humour. “I thought it was important to try to tell people that it can go well. You don’t always live in ag-ony and hate each other because you are separated … people can make something positive out of a negative experience. Getting divorced is never fun; it is always a kind of failure, but from this failure you can make something positive.”The film features a tremendous comic set piece when Lisa becomes trapped at a motorway toll booth. Ag-gressive and angry drivers are honking behind her, but she is rescued by a chivalrous lorry driver. This scene also has autobiographical roots. “I’ve had very good experiences with truck drivers”, the director says, tell-ing the story of how her car once broke down on the motorway. A truck driver put her car on the back of his truck and then drove her to a garage. “And then he said, ‘If you want, I will drive you home.’ Truck drivers are nice people!”

SpectrumLa tendresse / Tenderness – Marion HänselTue 29 Jan 17:00 CI1

Tiger entrant Dummy Jim recreates an epic bike ride in the 1950s. By Edward Lawrenson

Some time during the 13-year development of Dummy Jim – a beguiling fiction-documentary hybrid that rec-reates a cycling journey a deaf Scotsman called James Duthie made in the early 1950s from his village in the North of Scotland to the Arctic Circle – its director Matt Hulse wrote a conventional screenplay.It was part of a development process that included pitching the project at CineMart in 2007. “The feed-back that kept coming back was, this guy doesn’t really change – there’s no progression, no arc”, recalls Hulse. “I said, what are you talking about, he starts out drinking tea and he ends up drinking coffee!”It’s actually a very telling detail. In the small Scottish vil-lage in which James Duthie lived “the early 1950s was more like 1910”: this was a community of flinty-minded staunchly Presbyterian folk who would likely have dis-missed coffee drinking as an act of cosmopolitan self-in-dulgence.

Recreating Duthie’s trip through post-war Europe with actor Samuel Dore, who is himself deaf, and using beautifully crafted Super-8 footage, the movie celebrates Duthie’s eyes-wide-open curiosity. Based on a self-pub-lished book that Duthie, who died in 1965, wrote of his travels, the film sees Duthie emerge a changed man through his experiences.Hulse received Duthie’s book ‘I Cycled into the Arctic Circle’ as a gift from his mother back in 2000. “She knew I liked self-published esoteric things,” Hulse says, add-ing that the book came with a note from his mother that he wasn’t obliged to turn it into a film.In fact, this set in motion a 13-year process that finally led to the completion of the feature, which receives its world premiere in the Hivos Tiger Awards Competition. A key part of the film’s charm grew out of the work that Hulse undertook with the present-day inhabitants of Duthie’s home town, including scenes in which children from the local school read extracts from Duthie’s book.Hulse approached the school’s head teacher early on in the project: “Basically, she looked me steely in the eye and thought: do I trust this guy? Once she was on board

everything was fine, because it was through the kids that we got to talking to the community.”Hulse initially intended to raise finance for the project through more traditional sources. But after commit-ments secured at CineMart fell apart, Hulse raised the bulk of his small budget through selling Dummy Jim-re-lated merchandise on a dedicated website. The release of the soundtrack by the One Ensemble and Sarah Kenchington prior to production also helped stimulate interest in the project.Currently working on a film idea that will see him re-visit songs he and his siblings wrote when they formed a punk band aged nine, Hulse also plans to republish Duthie’s original book: “It will include my footnotes. It’s a chance for me to wrap this project all up.”

Hivos Tiger Awards CompetitionDummy Jim – Matt HulseTue 29 Jan 13:00 PA4 Wed 30 Jan 09:15 DJZ (press & industry)Wed 30 Jan 12:15 PA6Sat 02 Feb 09:30 PA2

Life cycle

Labour of love

Colofon Daily Tiger

NL: Anton Damen (hoofdredactie), Kim van der Meulen (eindredactie), Joost Broeren, Paul van de Graaf, Sietse Meijer, Maricke Nieuwdorp, Nicole Santé, Veerle Snijders (redactie), Loes Evers, Rik Mertens, Pete Wu (web), Sanne de Rooij (marketing en communicatie), Marieke Berkhout (traffic)UK: Edward Lawrenson (editor-in-chief ), Nick Cunningham, Geoffrey MacNab, Mark Baker (editors), Ben Walters (web)Met medewerking van:Elsbeth Jongsma, Harriëtte UbelsProgrammainformatie: Chris Schouten, Melissa van der SchoorCoördinatie A-Z: Saskia Gravelijn (tekst), Amanda Harput (beeld)Fotografie: Felix Kalkman, Bram Belloni, Corinne de Korver, Marije van Woerden, Ruud Jonkers, Nichon Glerum, Nadine MaasVormgeving: Sjoukje van Gool, Laurenz van Galen, Gerald ZevenboomDrukker: Veenman+Acquisitie: Daily ProductionsOplage: 10.000 per dag, Volkskrantdag 12.000


Last year, two Brazilian directors shot three feature-length films in a fortnight. With two of these screening at IFFR, they discuss this ambitious project. By Edward Lawrenson

Brazilian director Bruno Safadi was in Rotterdam three years ago with a documentary about the pioneering 1970s production company Belair (also the name of his film), run by Rogério Sganzerla and Julio Bressane (subject of a 2000 IFFR retrospective).Safadi is back at IFFR with director Ricardo Pretti, actress Leandra Leal and producer Reita Toledo, and talks to the Daily Tiger about their new work. It’s a pro-ject called the ‘Sonia Silk Operation’, a hugely ambi-tious scheme under which he and Pretti directed three full-length feature films in the space of two weeks. Two films in the trilogy are receiving their world pre-mieres in Spectrum: Safadi’s Harmonica’s Howl, a lush-ly photographed, densely atmospheric study of the complex relationship between two women and a man, and Prettis’ Rio Belongs to Us, a haunting, unsettling drama about a young woman who returns to Rio after a ten-year absence (which stars Leal, who also has a prominent role in Harmonica’s Howl). An experimental documentary called Meta Mancia (directed by Safadi and Pretti together) will complete the trilogy. And as if he’s not busy enough, Safadi also has another film at IFFR, Eden.Shooting three features over the space of 14 days is no mean feat, especially given a total production budget of €40,000 (which they increased with support from, among others, the Hubert Bals Fund, for post-produc-tion – both films boast impressively immersive sound design). It turns out the project was conceived as a further tribute by Safadi and Pretti to the innovative experimental output of Belair films. “They did seven features in three months”, Safadi says, explaining that their Sonia Silk Operation trilogy of films enters into a dialogue with Belair’s output. One feature of this ongoing dialogue is the attention Safadi and Pretti’s films pay to their main location: the now affluent neighbourhood of Leblon, in which both films take place and where many Belair movies were also shot. With its impressive sea views and striking architecture, the area is stylishly captured by

Safadi and Pretti, and through their exploration of this environment they evoke a tradition of Brazilian cinema that stretches back to its earliest days: Safa-di refers to the fact that the very first filmed footage of Brazil was made nearby (by two Italians, in 1897, from a boat – a shot that both films reference); and Pretti mentions Bressane’s Rua Aperana 52, the direc-tor’s archive study of a street in the district (which showed at IFFR last year). “What Monument Valley is to American filmmakers” says Pretti, “Leblon is to us – it’s very iconic.”Completing the shoot of three features in two weeks was, Pretti agrees, a challenge: “The kind of discus-sions we had were practical. It’s very hard to get everything done in three weeks, there are very com-plex logistics of how to move the whole crew from one set to another, especially given that one set of Bruno’s film was in another city. We had all these kind of problems, which we discuss a lot, but in a conceptual way from the beginning we always wanted to mix things up.”Leal adds: “I had to play two different characters in two movies at the same time. It was hard, but because we were so involved in the project from the beginning,” (Leal also produced) “I was prepared.”Talking a day after their first screening, the Sonia Silk crew are very happy with the IFFR reception. They plan to screen the film on TV – the film is co-produced by cable station Canal Brasil – and on DVD, and hope to screen it theatrically. “Leandra and Mariana [Ximenes, her co-star] are famous in Brazil, their work is recognis-able ... so that will help”, says Safadi. “These movies are experimental, of course they are, but today there is an audience for that.”

Spectrum Harmonica’s Howl – Bruno SafadiTue 29 Jan 14:30 LV2Fri 01 Feb 09:00 CI4Rio Belongs to Us – Ricardo PrettiTue 29 Jan 12:00 LV2CI2 Fri 01 Feb 20:00Éden – Bruno SafadiThu 31 Jan 22:15 PA1Fri 01 Feb 11:45 LV5

Three’s company

Ricardo Pretti, Leandra Leal and Bruno Safadi photo: Nichon Glerum

Artists working in Iran express themselves in highly coded fashion. By Geoffrey Macnab

A woman’s face is in front of the camera, staring straight at the lens. At first, we think it is a still image but then the woman blinks, rolls her eyeballs and licks her lips.This installation, entitled Dialogue with Open Eyes, is one of the many works from Iranian artist Neda Raza-vipour showing as part of Signals: Inside Iran.To the innocent viewer, the deceptively simple short film seems like experimental fare: a playful investiga-tion into voyeurism and the gaze. But that’s not how the Tehran-based Razavipour describes it. Dialogue with Open Eyes was commissioned before the 2009 election in Iran. Her brief was to make a work fo-cusing on dialogue. When she finally made the work, there was no speaking at all – and that was the point.“Why Dialogue with Open Eyes? When they [the Iranian authorities] interrogate you in jail, they put something over your eyes. Then, you must talk. You cannot do an-ything else.”Razavipour acknowledges her frustration that West-ern viewers attempt to read allegorical meanings into Iranian art and cinema, or look for traditional Iranian motifs. “I tell you, this is harder than censorship. Cen-sorship we know. After 30 years, we know how to deal with it. We know the limits and how to work on it.”It’s far tougher, she suggests, to break free of outsiders’ preconceptions. “I can tell you exactly what Western people want to see in Iranian work, but this is not in-teresting for me.” At the same time, she accepts that much of the work (including her own) is deeply layered and full of sub-text. “When I do something in Iran, it’s filtered by the fact that I am a woman”, she notes. “It could be femi-nist. It could be sociological.”

Before moving back to Iran, Razavipour lived for sev-eral years in France, studying fine art at the Sorbonne and working as a stage designer. In the end, after 14 years, she decided to return to her homeland. “I left Iran when I was 15. Iran to me was like a puzzle to with some pieces missing. I wanted to come back and look for them.”As an artist in Iran, she had a sense of mission. She liked the fact that she seemed special. “In France or out-side, they have so many people like me.” Even so, in re-

cent years, she has felt more and more frustrated at the obstacles in front of her. “For sure, now, it is harder and harder, economically and politically”, the artist muses. “I have more and more works I can’t show there. I don’t want to be afraid any more. Perhaps I am getting old! I need some basic things I don’t have there.”Nonetheless, her work has a meaning in Iran that it risks losing when shown abroad. In her 2009 work Find the Lost One, the artist shows two screens with the same images – but with one person erased from one of

the screens. Again, this seems like a clever formalist conceit, until you realize that in contemporary Iran, it’s not unusual for people to go missing in bizarre circumstances.Razavipour originally planned to become a doctor and came to art in a roundabout way. No, she says, she is not interested in formal experiments or abstraction for its own sake. She describes herself as a “conceptu-al artist” but one whose work is always firmly rooted in real life.

Eyes wide open

Neda Razavipour photo: Nichon Glerum

de Doelen Jurriaanse Zaal •FLM•

09:15111 Girls [ep] I I • b l a u w •

Nahid Ghobadi/Bijan Zamanpira, Iran, 2012, Video, 79 min, Farsi/Kurdish, e.s.111 Kurdish girls live in an area without marriageable men. They bring their problem to the president’s attention, threatening to commit collective suicide. A presidential envoy is sent to prevent the drama. On the way he is confronted by absurd obstacles.

11:00Odayaka [ep] SP•paars01•

Uchida Nobuteru, Japan/USA, 2012, Video, 100 min, Japanese, e.s.The tsunami disaster is far away, but the fear it brought is very tangible. Producer and actress Kiki Sugino plays her most gripping role ever as a young mother who is in danger of succumbing to her imagined fear. Nominated for the The Big Screen Award.

17:00How to Describe a Cloud [wp] SP•paars01•

David Verbeek, Netherlands, 2013, DCP, 80 min, Mandarin, e.s.A young woman in Taipei is confronted with the blindness of her mother who is convinced she has a sixth sense. Shot with little facilities, but it is Verbeek’s most mature fi lm - about uprooting, spirituality and modernity. Nominated for The Big Screen Award.

Pathé 2 •FLM•

09:15My Dog Killer [wp] TGMira Fornay, Slovakia/Czech Republic, 2013, DCP, 90 min, Slovak/Czech, e.s.Marek has no real friends except his guard dog and hangs out with skinheads. When his dispirited mother reappears in his life, Marek faces a horrible predicament. An authentic and hypnotic chronicle of a sluggish existence always on the verge of explosion.

11:15They’ll Come Back [ip] TGMarcelo Lordello, Brazil, 2012, DCP, 105 min, Portuguese, e.s.Cris (12) and her brother are thrown out of the car by their parents after their endless squabbling. That marks the start of a brief ramble through northwestern Brazil. In this modern fable, an upper-class teenager learns to see the world from a different perspective.

13:30Hill of Pleasures [wp] SP•paars01•

Maria Ramos, Netherlands/Brazil, 2013, DCP, 95 min, Portuguese, e.s.Third part of a trilogy by Brazilian-Dutch fi lmmaker about the legal system in Rio de Janeiro. Penetrating portrait on how a new police force was set up to pacify the favela ‘Hill of Pleasures’.

20:45My Name Is Negahdar Jamali and I Make Westerns [ep] I I • b l a u w •

Kamran Heydari, Iran, 2012, Video, 65 min, Farsi, e.s.Somewhere in an old provincial city in Iran that’s been there for thousands of years lives a pleasant eccentric. His passion is making cowboy fi lms and his neighbours play the Indians. Americana in Iran. It’s still possible. This docu-mentary provides an appealing picture of the Persian amateur John Ford, but also of everyday life in the ancient city of Shiraz.

22:30Frankenstein’s Army [wp] BF•geel•

Richard Raaphorst, Netherlands/Czech Republic/USA, 2013, Video, 86 min, EnglishNazi zombie horror In which blood and limbs fl y cheerfully. Inspired by the diary of the il-lustrious Dr Victor Frankenstein, a small group of Nazis is working on an army of super soldiers, made up of human remains from their fallen comrades.

Pathé 5 •FLM•

09:00De wederopstanding van een klootzak [wp] TGGuido van Driel, Netherlands/Belgium, 2013, DCP, 90 min, Dutch, e.s.Dokkum, of all places. You fi nd yourself there as a crook from Amsterdam. There you are in the refugee centre as an Angolan refugee. Or you live there, as a vindictive Friesian farmer. And why? Because Guido van Driel fi lmed his comic strip there, that’s why.

11:30Silent Ones [wp] TGRicky Rijneke, Netherlands/Hungary, 2013, DCP, 97 min, Hungarian, e.s.A girl wakes up after a car crash. Her younger brother has disap-peared. As she promised him, she boards a freighter to fi nd a new life. Then the shady Gábor crosses her path. Hallucinogenic, surrealist trip in the twilight zone between two worlds, debut by Dutch fi lmmaker.

14:00De nieuwe wereld [wp] BF•geel•

Jaap van Heusden, Netherlands, 2013, DCP, 85 min, Dutch, e.s.Mirte is a cleaner in the reception centre for asylum seekers at the airport. She tries to forget her past through routine. When the charismatic West African Luc is brought in, Mirte seems to get a grip on her life again. A fi lm about loss, fl eeing and love from an unexpected corner.

21:30Ma belle gosse [ip] BF•geel•

Shalimar Preuss, France, 2012, DCP, 80 min, French, e.s.Summer vacation. Island, beach, ice cream, family. It is all so relaxed and innocent, but seventeen-year-old Maden seems to be somewhere else. There is a prison is nearby, between the sea and the house. Maden checks the mail everyday, secretly.

Cinerama 3 •FLM•

09:00Lesson of the Evil SP•paars01•

Miike Takashi, Japan, 2012, Video, 129 min, Japanese, e.s.Master Miike is not the gentle type. He owes his title of master to fi lms with almost unbearable violence. The news helps him a bit this time: the fi lm shows a shooting, a slaughter actually, at a school. For those who don’t yet know Miike, fi rst try For Love’s Sake.

11:30Blancanieves BF•geel•

Pablo Berger, Spain/France, 2012, DCP, 104 min, no dialogueBlancanieves is Spanish for Snow White: the Grimm classic is situated in pre-war Spain, where the daughter of an invalid toreador has to cope with the terrible stepmother. Exciting, silent black-and-white fi lm of course evokes comparisons with The Artist - to Spain’s advantage.


09:30Mater Dolorosa [ip] SP•paars01•

Adolfo B. Alix Jr., Philippines, 2012, DCP, 86 min, Filipino, e.s.Adolfo makes several fi lms each year, without losing quality. This time it’s a dramatic crime family story with impressive acting and equally impressive black-and-white. Godmother 1. Nominated for the The Big Screen Award.

12:00Lukas the Strange [wp] SP•paars01•

John Torres, Philippines, 2013, DCP, 85 min, Tagalog, e.s.John Torres is the poet of Philippine cinema. A poet with his own rules and ways of working. He can announce to make a fi lm in Mindanao, but then heads for Luzon which is the other way. His work is like diary writing, it follows life and travels. Always there: a true love for cinema.

14:00Miss Lovely BF•geel•

Ashim Ahluwalia, India, 2012, DCP, 110 min, Hindi, e.s.An exciting thriller in retro style about Mumbai’s underworld of sex horror fi lms in the 1980s. The naïve Sonu, one of two brothers running a dirty movies studio, dreams of launching his mistress, a mysterious new actress, into mainstream fi lm.


09:00Torres & cometas [ip] SP•paars01•

Gonçalo Tocha, Portugal, 2012, DCP, 61 min, Portuguese, e.s.Portuguese fi lmmaker Tocha made his name with captivating personal ‘travelogues’ on the Azores. Together with his sound man, he now sets off looking with the same semi-participating procedure in Guimarães, the ‘cradle of Portugal’. Of course with good music.

10:45Steel Is the Earth [wp] SP•paars01•

Mes De Guzman, Philippines, 2013, Video, 114 min, Filipino, e.s.By the chronicler of the Filipino countryside and harsh life on remote islands, beyond thick jungles and behind wild mountains. He knows what he’s talking about: he still works regularly as a farmer on family ground. Everything must be self-made. Even the rifl es.

13:00Die Welt [ep] BF•geel•

Alex Pitstra, Netherlands, 2012, DCP, 80 min, Arabic/English/Dutch, e.s.Revolution! And then what? At fi rst, usually insecurity and eco-nomic decay. A young Tunisian has doubts about his future after the 2011 revolution. Should he go to Europe? His father says no. But he meets a Dutch female tourist. Feature debut by Dutch-Tunisian fi lmmaker.

15:00The View from Our House [wp] SP•paars01•

Anthea Kennedy/Ian Wiblin, United Kingdom, 2013, Video, 76 min, EnglishInvestigation into the memories of a photographer during the fi rst years of Nazi Germany. By juxtaposing contemporary images of her neighbourhood with 8mm fi lms, her history resonates into the present. Striking audiovisual essay about the power of memory.


09:45Avanti popolo BF•geel•

Michael Wahrmann, Brazil, 2012, DCP, 72 min, Portuguese, e.s.The recently deceased Rotterdam veteran Carlos Reichenbach plays a bad-tempered, wayward father who waits for his lost son while the other son seeks to come closer with Super-8 fi lms and old LPs. Layered, humorous debut with a beautiful mise-en-scène; evokes memories.

LantarenVenster 3 •FLM•

09:15Disappearing Landscape [wp] BF•geel•

Vladimir Todorovic, Singapore/Serbia/Spain, 2013, DCP, 70 min, Japanese/Mandarin/Serbian/Spanish, e.s.Three modern stories about migration. Not the easiest fi lm of the festival, but the cleverest. The fi lmmaker, a Serbian artist who teaches in Singapore, exploits his own experience. His interest in landscapes translates into controlled beauty, sparkling like a mathematical equation.

13:00Matterhorn [wp] BF•geel•

Diederik Ebbinge, Netherlands, 2013, DCP, 87 min, Dutch, e.s.Fred lives on his own. His wife is dead, his son has left. He leans on the church, busses, meat-and-two-veg. Then Leo appears. Leo is a tramp. Fred lets Leo move in with him. An absurdist feature debut with a laugh and a tear in stuffy Netherlands.

My Dog Killer TG

They’ll Come Back TG [ip]

TG

TG

ADMISSION WITH P&I ACCREDITATION ONLYPress & Industry Screenings Tuesday 29 January

PROGRAMME CHANGESLesson of the Evil Cinerama 3, 09.00 NEW

VALID WITH THE FOOD & DRINKS CARD

De nieuwe wereld

Avanti popolo

My Dog Killer

Hill of Pleasures

Odayaka

Steel Is the Earth

Matterhorn

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LantarenVenster 1

Oh B

oyJan O

le Gerster

85’

16:30

Oude Luxor

118’

19:30U

ne histoire

d’amo

urH

élène Fillières80’

22:15

Wadjda

Haifaa A

l Mansour

100’

14:15Schouw

burg G

rote ZaalR

ealityM

atteo Garrone

115’

21:45

Nordvest

Michael N

oer96’

13:15

Pathé 1C

herchez Hortense

Pascal Bonitzer100’

16:15S

oegijaG

arin Nugroho

120’

19:30

Ginger and R

osaSally Potter

95’

22:30

The Delivery G

uyA

ndrey Stempkovsky

90’

15:30

Pathé 2102’

18:30

GFP

Bunny

Tsuchiya Yutaka82’

10:15

Pathé 3P

enumbra

Eduardo Villanueva

89’

13:15The Lo

ve So

ngs of

TiedanH

ao Jie89’

19:00

Rhino S

easonBahm

an Ghobadi

90’

10:00

Pathé 4D

umm

y JimM

att Hulse

90’

13:00S

ilent Ones

Ricky Rijneke97’

16:30K

araoke Girl

Visra V

ichit Vadakan74’

19:00P

ietaKim

Ki-Duk

104’

22:00

What They D

on’t Talk About

When They Talk A

bout LoveM

ouly Surya101’

15:45

Pathé 5B

ellas mariposas

Salvatore Mereu

102’

18:45

My S

ister’s Q

uinceañeraAaron D

ouglas Johnston72’

10:00

Pathé 6The Island o

f S

t. Matthew

sKevin Jerom

e Everson70’

12:15La fi

lle de nulle partJean-Claude Brisseau

91’

15:15P

oor FolkM

idi Z105’

18:15A

vant que mo

n coeur

bascule

Sébastien Rose96’

21:15

Boy Eating the B

ird’s FoodEktoras Lygizos

90’

09:30

Pathé 736N

awapol Tham

-rongrattanarit

68’

12:30M

y Dog K

illerM

ira Fornay90’

15:30They’ll C

ome B

ackM

arcelo Lordello105’

18:30G

renzgängerFlorian Flicker

87’

21:30

Prófugos

Pablo Larraín120’

09:15

Cineram

a 1Las lágrim

asPablo D

elgado Sánchez

64’

11:45

TaboorVahid Vakilifar

98’

14:15La tendresseM

arion Hänsel

81’

17:00I.D

.Kam

al Karamattathil

Muham

med

87’

19:45K

idd LifeA

ndreas Johnsen97’

22:15

Toegetakeld do

or

de liefdeA

ri Deelder

90’

12:00

Cineram

a 2Three S

toriesKira M

uratova105’

14:30

Kern

Veronika Franz / Severin Fiala138’

17:00El m

uerto y ser felizJavier Rebollo

94’

20:00Tw

o in One

Kira Muratova

130’

22:00

Krivina

Igor Drljaca

82’

14:15

Cineram

a 3H

appiness B

uilding 1Chen Chieh-jen

84’

17:00A

tamb

ua 39° C

elsiusRiri Riza

90’

19:45W

hen Night

FallsYing Liang

70’

22:15

Avanti popolo

Michael W

ahrmann

84’

16:30

Cineram

a 4LeonesJazm

ín López80’

19:15

First Com

es LoveN

ina Davenport

107’

17:00

Cineram

a 5O

dd Couples

verzamelprogram

ma

104’

19:30P

olizeiruf 110: D

er scharlachrote E

ngelD

ominik G

raf140’

21:45

Mai m

orireEnrique Rivero

84’

11:30

Cineram

a 6K

idFien Troch

90’

14:00F

inal Cut: Ladies

and Gentlem

enG

yörgy Pálfi85’

16:30D

EA

D B

OD

Y

WE

LCO

ME

Kees Brienen80’

19:15

My S

tolen

R

evolutio

nN

ahid Persson Sarvestani75’

09:45

Cineram

a 7A

près mai

Olivier A

ssayas122’

12:00Invisible P

resent Tenseverzam

elprogramm

a110’

14:30C

hange of FortuneKira M

uratova109’

17:00TV N

ight: So You Think You Can Actverzam

elprogramm

a69’

19:45FacesJam

es Benning135’

21:45

So

mething

N

ecessaryJudy Kibinge

89’

09:00D

arvagA

bolfazl Jalili100’

11:15M

emo

ries Loo

k at M

eSong Fang

91’

13:45M

elazaCarlos Lechuga

80’

16:45O

ur Nixon

Penny Lane85’

19:15C

arne de perroFernando G

uzzoni81’

21:45

Rio

Belo

ngs to

Us

Ricardo Pretti75’

12:00

LantarenVenster 2The H

armo

nica’s Ho

wl

Bruno Safadi72’

14:30

96’

17:00Fata M

organaPeter Schreiner

140’

19:15S

ightseersBen W

heatley95’

22:15

The Gardener

Mohsen M

akhmalbaf

87’

15:00

LantarenVenster 3D

ie ErbinAyse Polat

72’

17:30B

erberian S

ound

S

tudioPeter Strickland

92’

20:15

LantarenVenster 5Law

inen der E

rinnerungD

ominik G

raf89’

14:15S

pace Harm

onicsverzam

elprogramm

a84’

16:45Les chevaux de D

ieuN

abil Ayouch115’

19:30

Misericordia

Khavn de la Cruz75’

22:00

Bo

uncing

off the W

allsTony Conrad

62’

14:00

LantarenVenster 6The C

harm o

f O

thersN

inomiya Ryutaro

89’

16:30R

engaineRachid D

jaïdani75’

19:15

LoreCate Shortland

109’

16:15

Oude Luxor

Nordvest

Michael N

oer116’

19:30

Lesson of the EvilM

iike Takashi129’

15:30de D

oelen Jurriaanse Zaal

Miss Lovely

Ashim

Ahluw

alia110’

19:15Los salvajesA

lejandro Fadel119’

21:45

JirafasEnrique Á

lvarez94’

14:15Schouw

burg G

rote ZaalThe M

asterPaul Thom

as Anderson

137’

16:30

Matei C

hild

Miner

Alexandra G

ulea80’

13:15

Pathé 1B

ellas mariposas

Salvatore Mereu

102’

16:30D

e ontm

aagding van

Eva van E

ndM

ichiel ten Horn

98’

20:30

Call G

irlM

ikael Marcim

ain140’

15:30

Pathé 2P

ietaKim

Ki-Duk

104’

18:45First C

omes Love

Nina D

avenport107’

21:30

Misericordia

Khavn de la Cruz75’

11:00

Pathé 3S

oegijaG

arin Nugroho

120’

13:15H

ill of Pleasures

Maria Ram

os95’

16:15D

isappearing

LandscapeV

ladimir Todorovic

70’

19:15S

ilent Ones

Ricky Rijneke97’

22:15

Cherchez H

ortensePascal Bonitzer

100’

10:00

Pathé 4G

ebo

and the S

hadow

Manoel de O

liveira91’

13:00A

Fallible Girl

Conrad Clark104’

16:00K

araoke Girl

Visra V

ichit Vadakan74’

18:30K

ayanM

aryam N

ajafi86’

22:00

L’ étoile du jourSophie Blondy

98’

18:45

Pathé 5W

atchtower

Pelin Esmer

96’

21:45

Dum

my Jim

Matt H

ulse90’

12:15

Pathé 6P

ost tenebras luxCarlos Reygadas

120’

21:15

Avant que m

on co

eur b

asculeSébastien Rose

96’

09:30

Pathé 7They’ll C

ome B

ackM


12:30M

y Dog K

illerM

ira Fornay90’

15:30D

e nieuwe w

ereldJaap van H

eusden85’

19:00The D

elivery Guy

Andrey Stem

pkovsky90’

21:30

Parviz

Majid Barzegar

107’

09:15

Cineram

a 1B

urning Bush

Agnieszka H

olland240’

11:45M

odest Reception

Mani H

aghighi100’

17:00Io e teBernardo Bertolucci

103’

19:45

47’

21:45

Chekhov’s M

otifsKira M

uratova120’

12:00

Cineram

a 2B

rief EncountersKira M

uratova96’

14:45InoriPedro G

onzález-Rubio72’

17:15S

pielerD

ominik G

raf105’

20:00D

as Gelübde

Dom

inik Graf

92’

22:30

102’

14:15

Cineram

a 3S

teel Is the EarthM

es De G

uzman

90’

17:00TV N

ight: So You Think You Can Actverzam

elprogramm

a69’

19:45G

uimarães:

Ro

cking the Cradle

verzamelprogram

ma

81’

22:15

Vergiss mein nicht

David Sieveking

88’

11:30

Cineram

a 4FacesJam

es Benning135’

14:00

Torres & com

etasG

onçalo Tocha68’

17:15A

loneW

ang Bing89’

19:15W

hat They Don’t Talk A

bout W

hen They Talk About Love

Mouly Surya

101’

21:45

Mai m

orireEnrique Rivero

84’

14:00

Cineram

a 6M

a belle gosseShalim

ar Preuss80’

16:30C

entro históricodiverse regisseurs

90’

19:15LeonesJazm

ín López80’

21:45

Die S

iegerD

ominik G

raf130’

09:15

Cineram

a 7P

ing’an YueqingA

i Weiw

ei142’

12:00S

om

ething

Necessary

Judy Kibinge89’

15:00H

otte im P

aradiesD

ominik G

raf118’

17:00M

iroir m

on am

our

Siegrid Alnoy

84’

19:30

Second C

lass Citizens

Kira Muratova

137’

22:00

Odd C

ouplesverzam

elprogramm

a104’

11:15

LantarenVenster 1S

leepless Night

Jang Kun-Jae75’

13:45A

tamb

ua 39° C

elsiusRiri Riza

90’

16:45M

e TooA

lexey Balabanov83’

19:15G

FP B

unnyTsuchiya Yutaka

82’

21:45

Melaza

Carlos Lechuga80’

12:00

LantarenVenster 2P

oor FolkM

idi Z105’

14:30

Avanti popolo

Michael W

ahrmann

84’

17:00H

appiness B

uilding 1Chen Chieh-jen

84’

19:45P

earblo

ssom

H

wy

Mike O

tt80’

22:15

The Dancing S

oul...Paula G

ladstone76’

15:00

LantarenVenster 3I.D

.Kam

al Karamattathil

Muham

med

87’

17:30

Roland H

asselM

åns Månsson

92’

20:15

The Island of

St. M

atthews

Kevin Jerome Everson

70’

10:00

LantarenVenster 5K

alter FrühlingD

ominik G

raf89’

11:45W

hen Night

FallsYing Liang

70’

14:15K

alayaanAdolfo B. A

lix Jr.115’

16:45Tall as the B

aob

ab Tree

Jeremy Teicher

82’

19:30S

tom

So

go:

Ultim

atelyStom

Sogo90’

22:00

Ai Is Japanese fo

r Love

verzamelprogram

ma

101’

14:00

LantarenVenster 6Leaving Tracesverzam

elprogramm

a85’

16:3090 M

inutesEva Sørhaug

92’

19:15

Sedia elettrica – Il

making-of del film

Io e te M

onica Stambrini

47’

SP

Emperor Visits the H

ellLuo Li

UP

Cinem

a-dag

160’

16:00

BF

Big

Talk

BF

BF

BF

SP

BF

SP

SP

Vo

ice O

ver

SP

BF

The

Fla

ne

urs #

3S

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BF

TGB

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94’

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118’

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120’

21:00

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Press &

Industry Screenings Tuesday 29 January

Press &

Industry Screenings W

ednesday 30 January

NEW

Kle

ur

en

en

afK

or

ting

en

Hiv

os

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r a

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Prijzen voor de nieuwe generatie. Zestien genom

ineerde filmm

akers strijden m

et hun eerste of tweede speelfilm

om drie gelijkw

aardige H

ivos Tiger Awards.

tige

r a

wa

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titie v

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Prijzen voor kort maar krachtig. D

rieëntwintig film

s korter dan zestig m

inuten zijn geselecteerd voor deze competitie, w

aarin drie gelijkw

aardige Canon Tiger Awards for Short Film

s te winnen zijn.

Br

igH

t futu

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B

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Vers bloed. Eerste of tweede speelfilm

van filmm

akers waarvan het

festival in de toekomst nog veel goeds verw

acht.

sp

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tru

m

sp

Rotterdam

op zijn breedst. Het festival selecteerde actueel, krachtig en

vernieuwend w

erk uit alle windstreken, van veteranen tot m

inder bekende regisseurs.

sp

eC

tru

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Ho

rts

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De kracht van kort: film

s van één tot negenenvijftig minuten lang, uit

alle windstreken. Ze w

orden gebundeld in verzamelprogram

ma’s of in

combinatie m

et lange films vertoond.

sig

na

ls: d

om

iniK

gr

af

d

g

Retrospectief van Dom

inik Graf, de belangrijkste chroniqueur van

het hedendaagse Duitsland. M

et een oeuvre van zestig producties – voornam

elijk voor televisie – het best bewaarde geheim

van de D

uitstalige film.

sig

na

ls: K

ira

mu

rato

va

Km

Voor het eerst is het volledige oeuvre van een van de m

eest uitzonderlijke O

ost-Europese kunstenaars van de afgelopen vijftig jaar buiten Rusland en O

ekraïne te zien. Een onnavolgbaar en onw

eerstaanbaar oeuvre dat geen grenzen kent.

sig

na

ls: in

sid

e ir

an

ii

Actuele Iraanse cinem

a en videokunst, afkomstig uit het levendige

undergroundcircuit van Teheran waar galeries ontm

oetingsplaatsen zijn voor m

akers en publiek.

sig

na

ls: C

Ha

ng

ing

CH

an

ne

ls

CC

D

e fraaiste voorbeelden van ‘episodic storytelling’ met televisie- en

internetseries die gemaakt zijn door onafhankelijke film

makers, voor

één keer groot(s) te zien op het scherm of in de speciale w

eblounge in Cineram

a.

sig

na

ls: s

ou

nd

sta

ge

s

ss

N

iet beeld, maar geluid staat centraal in Sound Stages. H

et festival als jukebox, m

et een keur aan filmische klankervaringen en live

performances, installaties, optredens en film

s die de oren strelen. Binnen, m

aar nadrukkelijk ook buiten de bioscoopzaal.

sig

na

ls: r

eg

ain

ed

r

g

Een greep uit het geheugen van de cinema. M

et aandacht voor het experim

ent, gerestaureerde klassiekers, speciale evenementen en

exposities, en de huidige opvattingen over film, geschiedenis en

beeldcultuur. Vast onderdeel van de sectie Signals.

program

maschem

a dinsdag 29 januari

ad

mis

sio

n w

itH p

&i a

CC

re

ditatio

n o

nly

press &

industry screenings tuesday 29 January

Daily Tiger #6 (English)

Documents

Transcript of Daily Tiger #6 (English)