CineMart Projects 2012 - International Film Festival Rotterdam

M U N D U S2 CineMart Projects

Welcome to CineMart 2012!We are very happy to herewith announce the CineMart 2012line-up. Out of 465 entries the CineMart selection committeehas nominated 36 projects from 31 countries, by emerging newtalent presenting their debut features, as well as more establishedfilmmakers.This year’s selection consists of projects by returning Tigerwinners,former Rotterdam Lab participants and Rotterdam‘usuals’. The committee noticed a new trend of artists-turningfilmmakers,some of whom have already established themselvesin the art world and are stepping into feature films. Besidespresenting five projects by artists, CineMart will organize theArt:Film Panel, which will focus on the blurring boundariesbetween art and film while exploring several questions. Whatmotivates artists to explore narrative cinema? What can projectsthat originate in the art world learn from existing film financingand distribution models, and vice versa?Boost!, launched in 2011 by the Hubert Bals Fund, BingerFilmlab and CineMart, aims to provide a financial, creativeand networking stimulus to high potential film projects fromAfrica, Asia, Latin America, the Middle East and parts of EasternEurope, by offering a tailor-made coaching trajectory, combiningthe unique expertise of each of the partners involved. The firstfive harvested Boost! projects will be presented during CineMart2012.We have the pleasure to welcome back some filmmakers, representingtheir films in the 2012 IFFR, that were successfullylaunched at earlier editions of CineMart; Abrir puertas y ventanasby Milagros Mumenthaler, Girimunho by Helvécio Marins Jr. &Clarissa Campolina, L’ hiver dernier by John Shank, The Invader byNicolas Provost and PLAY by Ruben Östlund. The latter will alsopresent his latest project Turist at this year’s CineMart.The International Film Festival Rotterdam has always had aneye for talent. For that reason CineMart decided to initiate theRotterdam Lab twelve years ago. This workshop and networkingopportunity will welcome a group of around seventy emergingproducers from around the world, selected by our partnerorganisations. They are offered a programme of panels, pitchingworkshops, case studies and speed dating sessions, to gain moreknowledge of international co-production and new developmentswithin the film industry. We are very happy to announcesix new partners: Catalan Films & TV, Cinergia, Doha FilmInstitute, Film I Väst, the Finnish Film Foundation, Meetings onthe Bridge (Istanbul Film Festival) and the Sundance Institute.We would like to thank the MEDIA Programme of the EuropeanUnion, the City Development Corporation of Rotterdam,the Netherlands Film Fund and all our other (inter) nationalpartnering organisations. Without the support of these institutionsthe organization of CineMart would not be possible.Furthermore I would like to take this opportunity to thank ourselection committee, the International Advisory Board and ofcourse the whole CineMart team for their tremendous effort andsupport. And I want to thank one person in particular, my dearcolleague Marit van den Elshout, who is currently on maternityleave. It goes without saying that CineMart 2012 would not havebeen possible without her knowledge, experience and dedication.On behalf of IFFR Director Rutger Wolfson and the CineMartteam, I wish you a wonderful 2012!Jacobine van der Vloed – Senior Coordinator CineMart& Rotterdam Lab4 CineMart Projects

CineMart ResultsWe are proud to herewith offer you a list of finished films that have in project stagebeen presented at CineMart in previous editions and had their world premieres atprestigious festivals around the world in 2011.Abrir puertas y ventanas by Milagros Mumenthaler(Argentina, Switzerland)Premiered in Competition at the 64 th Locarno FilmFestival & won the Golden Leopard for Best FilmScreening in the Bright Future section of the 41 st IFFRCineMart Project 2008Alois Nebel by Tomas Lunak (Czech Rep, Slovakia, Germany)Premiered out of Competition at the 68 th Venice Film FestivalCineMart Project 2009Baikonur by Veit Helmer (Germany, Kazakhstan)Premiered at the 16 th Busan International Film FestivalCineMart Project 2010Elena by Andrey Zvyagintsev (Russia)Premiered in Un Certain Regards at the 64 th Cannes Film FestivalCineMart Project 2010Best Intentions by Adrian Sitaru (Romania, France)Premiered in Competition at the 64 th Locarno Film FestivalCineMart Project 2008Girimunho by Helvécio Marins Jr. &Clarissa Campolina (Brazil, Germany)Premiered in Orrizonti at the 68 th Venice Film FestivalScreening in the Bright Future section of the 41 st IFFRCineMart Project 2009L’hiver dernier by John Shank (Belgium, France, Switzerland)Premiered in Venice Days at the 68 th Venice Film FestivalScreening in the Bright Future section of the 41 st IFFRCineMart Project 2009The Hunter by Bakur Bakuradze (Russia)Premiered in Un Certain Regard at the 64t th Cannes Film FestivalScreening in the Bright Future section of the 41 st IFFRCineMart 2009The Hunter by Daniel Nettheim (Australia)Premiered at the 36 th Toronto Film FestivalClosing Night Film of the 41 st IFFRCineMart Project 2004The Invader by Nicolas Provost (Belgium, France)Premiered in Orrizonti at the 68 th Venice Film FestivalScreening in the Bright Future section of the 41 st IFFRCineMart Project 2007The Loneliest Planet by Julia Loktev (USA)Premiered in Competition at the 64 th Locarno Film FestivalScreening in the Spectrum section of the 41 st IFFRCineMart Project 2010Medianeras by Gustavo Taretto (Argentina, Germany)Premiered in Panorama at the 61 st Berlinale.CineMart Project 2008Un mundo misterioso by Rodrigo Moreno (Argentina)Premiered in Competition at the 61 st BerlinaleCineMart Project 2009My Back Pages by Yamashita Nobuhiro (Japan)Premiered at the 16 th Busan International Film FestivalCineMart Project 2009PLAY by Ruben Östlund (Sweden)Premiered in Quinzaine des Réalisateursat the 64 th Cannes Film FestivalScreening in the Spectrum section of the 41 st IFFRCineMart Project 2009Return by Liza Johnson (USA)Premiered in Quinzaine des Réalisateursat the 64 th Cannes Film Festival.CineMart Project 2008Sur la planche by Leïla Kilani (Morocco, France)Premiered in Quinzaine des Réalisateursat the 64 th Cannes Film FestivalScreening in the Bright Future section of the 41 st IFFRCineMart Project 2009CineMart Projects5

General InformationThe 41 st edition of the International Film FestivalRotterdam (25 January – 5 February 2012) is proudto present the 29 th edition of the CineMart(29 January – 1 February 2012).Location: De DoelenThe main venue for the 29 th CineMart and the 41 st IFFR will beDe Doelen Conference Centre, which is located opposite thePathé Cinema and only a 2 minute walk from Rotterdam CentralStation. De Doelen is a highly effective location as the mainfestival and market centre. The four floors of De Doelen offerconvenient and convivial spaces to do business in an informalatmosphere which is one of the main trademarks of Rotterdam.The address of De Doelen is Kruisplein 40.Accreditation DeskUpon arrival in Rotterdam, please go to the AccreditationDesk on the 3 rd floor of De Doelen, where you will receive yourCineMart badge and the Festival Catalogue. More specific informationon CineMart, such as hotel information, your meetingschedule, the Industry Manual and the CineMart programmewill be handed out at the CineMart Information Desk, also onthe 3 rd floor of De Doelen.CineMart Information DeskThe CineMart Information Desk is situated on the 3 rd floor of DeDoelen. If you have any questions concerning travel and lodging,or information on the festival and CineMart programmes, youcan ask these at the desk.CineMart BadgeThe CineMart badge gives free access to all screenings (publicand Press & Industry Screenings) at the International FilmFestival Rotterdam. For the public screenings please note that abooking must be made either online via MyIFFR or at the GuestBox Office. You will receive additional information about how touse your CineMart Badge upon arrival at the Festival.CineMart MeetingsThe CineMart one-to-one meetings will take place in De Doelenin an informal yet comfortable atmosphere. Please note thatsome project representatives can have very full schedules, sowe advise you to hand in your requests as early as possible. Ifyou wish to schedule additional meetings or have to make anychanges in your schedule, you can do this directly with theCineMart Meetings Coordinator Fay Breeman in the MeetingRoom (Arcadis zaal, 1 st floor De Doelen).Upon receipt of your meeting requests, the CineMart staff willorganise your meetings and you will receive a complete schedulewith the pre-arranged meetings upon arrival in Rotterdam at theCineMart Information Desk.CineMart AwardsThe jury will meet with all project representatives and willhand out two prizes during the CineMart Closing Night Party.The ARTE France Cinéma Award of €10.000 to the producer ofthe best CineMart project in support of the financial developmentand the Eurimages Co-Production Development Awardof €30.000 to one of the selected projects that is, or will be aEuropean co-production.Film OfficeFor the 41 st IFFR and 29 th CineMart, the Film Office(Schadeezaal, 3 rd floor of De Doelen) will also continue toexpand its activities such as offering industry consultancy tofilmmakers attending the IFFR and CineMart, providing thefirst rights list, coordinating the Video Library and the Press &Industry Screenings and keeping track of the professionals usingthese facilities.Industry ClubCineMart guests are invited to visit the Industry Club locatedon the 4 th floor of De Doelen (Plate zaal). This facility is aimed atcreating a high-service platform and meeting area for attendingbuyers and sellers.Press & Industry ScreeningsAll films selected for the festival with a world, international,or European premiere will have a Press & Industry Screening.These screenings are accessible with a CineMart, Press andIndustry accreditation.Video LibraryThe IFFR’s Video Library, located on the 4 th floor of De Doelen(Fortis Bank zaal), is a valuable viewing service for attendingprofessionals (sales agents, distributors, television buyers, pressand festival guests), giving them the opportunity to see – andhopefully review, buy and sell – as many films as possible, attimes that suits their schedules. The Video Library will againbe digitized, opening up better and more efficient services andforeseeing in a growing need from the industry. In addition tothe films from the festival programme, the Video Library alsocontains the previous work of directors who have a project inCineMart. During the festival, the staff of the Video Librarymakes records of who is seeing which film, and will senddetailed viewing reports to the rights holders of the film afterthe festival.Previous work of CineMart directors will be available on FestivalScope from January 4, 2012 onwards and in the IFFR VideoLibrary. All CineMart guests can get a login code and passwordto access the wireless Internet server, so the Video Library canbe easily accessed on mobile devices and laptops in variousspaces of De Doelen if the Video Library is fully booked.Industry Dark RoomFor the 41 st edition the IFFR expands its industry services byoffering a private screening space, located on the 3 rd floor of DeDoelen (Hudig zaal), to be used for screenings of professionalnature. A high quality DVD/Blu-ray player and widescreenLED monitor will be standard available. If you have any othertechnical requests please let us know in due time.The room can be booked free of charge for a maximum of twohours from Thursday January 26 to Friday February 3, 2012between 10am and 8pm. Please contact the Film Office to book aslot; it will be planned on a first come basis.Festival ScopeFor this edition of the International Film Festival Rotterdamand CineMart, we are partnering again with Festival Scope, theB2B Internet platform for selected film-industry professionalsworldwide. Titles in the IFFR Tiger Competition, the IFFR TigerShorts Competition and the previous work of filmmakers participatingwith a project in CineMart will be available for viewingbefore, during and after the festival.At the end of this year’s IFFR, Festival Scope will also present aselection of the Bright Future section.This way the festival intends to increase the visibility anddistribution opportunities through an innovative and secureservice without any additional cost.More information is available on www.festivalscope.com6 CineMart Projects

Who to contactat CineMart 2012CineMart StaffJacobine van der VloedJolinde den HaasFay BreemanNienke PoelsmaEmmy SidirasConsultants/MatchmakersTobias PausingerMaegene FabiasLucas RosantDavid Pope (Rotterdam Lab)Film Office /Industry ServicesJolinde den HaasNikolas MontaldiMyrthe TerpstraSamanta TelleriInke van LoockeFilm Office ConsultantsHayet BenkaraMary DaviesJannie LangbroekMarina KozulAneta LesnikovskaInternational LiaisonLucius BarreCineMart AdministrationEva de JongWho to contactat the IFFR 2012Festival DirectorRutger WolfsonBusiness DirectorJanneke StaarinkCineMartJacobine van der VloedCommunications & MarketingAfke DuinkerkenDistributionJuliette JansenEducationRonny TheeuwesFinanceEva de JongGuest ServiceSusanne van DoornHubert Bals FundIwana ChronisJanneke LangelaanIctCornell den BroederPressBert-Jan ZoetProductionJuul VeenboerProgramme DepartmentChris SchoutenSponsor DepartmentMartje van NesBoost!The International Film Festival Rotterdam is recognizedfor supporting independent filmmaking from aroundthe globe through the Hubert Bals Fund and theCineMart. Underlining this supportive character, theHubert Bals Fund and CineMart join forces with BingerFilmlab through Boost!Boost! aims to provide a financial, creative andnetworking stimulus to high potential film projects fromAfrica, Asia, Latin America, the Middle East and partsof Eastern Europe, by combining the unique expertise ofeach of the partners involved and offering these projectsa tailor-made three step trajectory:Step one: Hubert Bals FundSince 1989, the Hubert Bals Fund supports filmmakersfrom Africa, Asia, Latin America and the Middle Eastin the realization of their film projects. Each year, thefund supports approximately 20 projects with a scriptand project development grant of €10,000. Annually fiverecipients of HBF development support are selected forBoost!Step two: Binger FilmlabThese five projects are subsequently offered the opportunityto further develop their project at Binger Filmlab,as part of its Binger On Demand programme. Theselected Boost! projects are offered one-on-one scriptconsultancy sessions over a period of three months withan international expert connected to Binger Filmlab. Theoffered script coaching will be tailor-made and based onthe specific needs of the project and the filmmaker. Thistrajectory includes one short visit to Binger Filmlab inAmsterdam.Step Three: CineMartSubsequently, the complete Boost! selection is presentedat the CineMart, where a special pitching training willbe offered as well as project development sessions priorto having one-on-one meetings at the market.The HBF, Binger Filmlab and CineMart are proud topresent the first Boost! selection at this 29 th edition ofCineMart:Djin by Hawa Essuman (Kenya)Los dólares de arena by Laura Amelia Guzmán &Israel Cárdenas (Dominican Republic, Mexico, France)Humidity by Nikola Ljuca (Serbia, Germany)Jomo by Kivu Ruhorahoza (Rwanda, Australia)The Midfielder by Adrián Biniez (Argentina, Uruguay,Germany, the Netherlands)A detailed outline of these projects is included in thisCineMart Dossier.For more information about Boost!, please refer towww.filmfestivalrotterdam.com or contact the HubertBals Fund at hbf@filmfestivalrotterdam.com.CineMart Projects7

SingaporeApprenticeBoo JunfengBoo Junfeng (1983, Singapore) was trained in film schools in Singapore and Spain beforemaking award-winning short films, including Clermont-Ferrand Competition entries KatongFugue (2007) and Keluar Baris (Homecoming) (2008) as well as Berlin Panorama selectionTanjong Rhu (2009). His feature-length directorial debut, Sandcastle, premiered at the 2010Semaine de la Critique in Cannes and was invited to many international film festivals, where itwon several awards. Apprentice will be Boo’s second feature-length film.Feature: RED | 100 min. | ColourBased on: OriginalScreenplay by Boo JunfengLanguages: Mandarin,Bahasa Malaysia, EnglishLocations: Malaysia, SingaporeBudget: € 390.000Financing in place: € 46.800Production Companies:Zhao Wei Films € 23.400,Peanut Pictures € 23.400Seeking partners from:All territories (specificallyFrance, Germany, Switzerland,Malaysia, and others countries)Present at the CineMart:Boo Junfeng, RaymondPhathanavirangoon, Gary GohContactZhao Wei Films22 Scotts Road, Unit 01-28228221 SingaporePhone +65 9855 6073Fax +65 6735 1181Email gary@zhaowei.comWeb www.zhaowei.comPeanut Pictures16 Jalan Soo Bee,488116 SingaporePhone +852 6626 3407Email grimmyhk@gmail.comIntroductionAiman, a 28 year-old correctional officer, is transferredto the territory’s top prison. He strikes upa friendship with Koon, who is revealed to be thechief executioner of the prison, and one of theworld’s most prolific. Can Aiman overcome hisconscience to become the executioner’s apprentice?SynopsisAiman is a 28 year-old Malay correctional officerwho is recently transferred to the territory’s topprison: an old, spotlessly sterile World War II-erabuilding that is seemingly haunted by the past.Aiman’s parents have long since passed away,leaving his older sister Suhaila as his sole familymember. Despite their co-dependency, there isa palpable tension between the two siblings, asshe disapproves of his current line of work, whileAiman is unhappy with Suhaila’s relationship withan Australian man.At his new workplace, Aiman seems to takean unusual interest in another colleague, a 65year-old Chinese sergeant named Koon. He beginsfollowing him and observing him from afar. Soonit is revealed that the charismatic and jocular Koonis actually the long-serving chief executioner of theprison, and one of the most prolific in the world.Koon also takes notice of the smart and diligentAiman, and the two strike up a friendship.When Koon’s assistant suddenly quits after abotched execution, Aiman is unwittingly put in aposition where he is asked by Koon to become theexecutioner’s new apprentice. Unable to deal withhis conscience, he plans to confess to Suhaila aboutthe new job offer, only to be told by her that sheis getting married. Greatly upset, he vindictivelytells her that he is accepting the position as theexecutioner’s assistant. She is shocked but does notbelieve him, since their own father was executed bythe very same man Aiman will be working for. Butthe hard-headed young man is determined to goahead with the offer.As the new apprentice, Aiman soon learns thatan execution is almost like a ritual, from themeasuring of the rope to the planning of the lastmeal. Meanwhile, it becomes clear that Aiman’sfascination with the older Koon is an attempt tocome to terms with his own father’s last momentsbefore his execution. The more Aiman understandsof the process, the more disturbed andconfused he becomes, both at himself and at therealization that he, soon, would become like Koon.After assisting in his first execution, he realisesthat he has gone too far. He calls Suhaila, but onlyher voice message remains: she has already leftfor Australia with her fiancée. Upset and alone, heplans to tell Koon of his resignation, but not beforeKoon finds out the truth about Aiman’s bloodlinethrough a security clearance that requires Aiman’soriginal birth certificate.Koon confronts Aiman with the birth certificate.Thus begins an ethical and moral showdownbetween the two men, with Koon justifying theexecutions while Aiman counters as the son of theexecuted. Disgusted at having been fooled by theyoung man, Koon tells Aiman that he would befired by the next morning and threatens to chargehim for fudging his documents. Aiman is relievedthat he can now stop the charade, but worried thathe will possibly face jail time.The next morning, Aiman goes back to the prison,fully expecting to be called to the warden’s office.Indeed he is summoned to the warden’s, but thenews is not what he expects. The warden insteadtells him that Koon had a heart attack the nightbefore and is now in a coma. And with no timeleft to reschedule, the next execution will go on asplanned, with Aiman being the main executioner.Aiman is left with no choice.Aiman quickly prepares for the execution with anew assistant. He mimics Koon in every step of theprocess. He goes to the lever. The clock strikes six.We cut to black.Director’s StatementSingapore has the highest per capita rate of executionsin the world. The mandatory death penaltyfor crimes of murder and drug trafficking, amongothers, has been in existence since colonial times.It is believed that capital punishment, especially incases of drug trafficking, is a deterrent to crime.But this film isn’t about that.While reading up on the death penalty worldwide,I have come to realise that there is a missingcharacter in the narratives that have been made.Amidst the politics and the issues, we haveneglected the perspective of the person pulling thelever; the executioner.8 CineMart Projects

Boo Junfeng Raymond Phathanavirangoon Gary GohWhat does it mean to be empowered to kill? Is he merelydoing a job? What are his rewards for doing somethingrarely anyone wants to do? How does he see himself in themoral and ethical equation?These are some of the questions that haunt Aiman, ourprotagonist.It has been a fascinating (often tormenting) journey tryingto put myself in his shoes. At a much more visceral level,it has forced me to examine the issues surrounding capitalpunishment, issues which we have all too often chosen toput out of sight and out of mind.Company ProfilesZhao Wei FilmsZhao Wei Films, helmed by Eric Khoo, is committed tothe nurturing of local Singaporean talent. Its maiden film,Mee Pok Man, provided a jolt to the local scene in 1995,when it paved the way for the resurgence of filmmakingin Singapore. 12 Storeys (1997) followed, and was the firstSingaporean film ever to be invited into the Un CertainRegard section of the Cannes Film Festival. More recentfilms produced by Zhao Wei Films include 15 (2003), 4:30(2006), and 881 (2007) by Royston Tan; Be With Me (2005),My Magic (2008), and Tatsumi (2011) by Eric Khoo, whichwas Zhao Wei Films’ first animated effort, and was shown atCannes’ Un Certain Regard.Peanut PicturesPeanut Pictures was formed in 2009 with the aim ofproducing quality films in Singapore, and has so farcompleted one feature film: Sandcastle (2010) by BooJunfeng. Funded by the Singapore Film Commission andco-produced with Fortissimo Films and Zhao Wei Films,the film was the first from Singapore to be selected for theCannes Film Festival’s Semaine de la Critique. Apprenticewill be Peanut Picture’s second film.Current StatusScript stage.Goals at CineMartFinding funds, co-producers and presales.Previous Work available at CineMartThe feature film Sandcastle (2010) by Boo Junfeng isavailable in the Video Library and on Festival Scope.CineMart Projects9

The NetherlandsBetween Ten and TwelveTussen tien en twaalfPeter HoogendoornPeter Hoogendoorn (1979) was born and raised in Rotterdam, The Netherlands. At the ageof 17 he applied to the Netherlands Film and Television Academy in Amsterdam, but wasconsidered too young. Subsequently he worked as an actor for theatre and television, andstarted studying Audiovisual Design at the Graphical Lyceum in Rotterdam, but was unableto ‘find his feet’ in this study. Hoogendoorn’s irrepressible desire to tell stories made himchoose to become a filmmaker. In 2004 he was finally accepted to study Fiction Directing inAmsterdam, and graduated in 2009 with the film Wes, which has won several prizes.In 2010 he attended the Writers Lab at the Binger Filmlab in Amsterdam, where he developedthe script for his first feature film Between Ten and Twelve.Feature: HD cam (both shooting& final format) | 90 min. | ColourBased on: Original Screenplayby Peter HoogendoornLanguage: DutchLocation: Rotterdam(The Netherlands)Budget: € 1.550.000Financing in place: € 22.000Production Companies:Keren Cogan Productions, PhantaVision Film InternationalPartner attached:Netherlands Film Fund € 22.000Seeking partners from:Belgium, GermanyPresent at the CineMart:Peter Hoogendoorn, KerenCogan Galjé, Petra GoedingsContactKeren Cogan ProductionsGijsbrecht van Aemstelstraat 16-181091 TC AmsterdamThe NetherlandsPhone +31 20 6260255Phone +31 6 48333244Email keren@phantavision.comWeb www.phantavision.comPhanta Vision Film InternationalGijsbrecht van Aemstelstraat 16-181091 TC AmsterdamThe NetherlandsPhone +31 20 6260255Fax +31 6 28979770Email petra@phantavision.comWeb www.phantavision.comIntroductionRegarding death, life is full of futilities. Thesefutilities colour our perception of time; thetime that passes, that is being lived and is beingexperienced. And yet time stops for no one, isirreversible, and can pass agonizingly slowly.SynopsisOn a beautiful summer day, two policemen areon their way to bring a family the news that theirdaughter/sister has died in a car accident.At that moment two young lovers, Raymond andKatja, unaware, have just begun a new day. Theyare preparing themselves to go to the beach.While Katja is boiling her much desired fourminuteegg, her bag already packed, the doorbellrings.The warm sand is exchanged for the plasticprotectedback seat of the police car, heading forGerard, the father of the deceased girl.We glide in a straight line across the city, until wearrive at the bus depot, where Gerard is at work.Gerard, who, unaware, reprimands one of hisemployees, tries to tie his tie, eats some apple partsand then sees a police car driving up from thedistance. A police car from which his son Raymondsteps out.The ordinary working day in which the time passesas always, has given way for the plastic-protectedback seat of a police car in which time seems tostand still.We glide in a straight line across the city, until wemeet Cristina. Cristina, the mother of the deceasedgirl, who’s working and worrying about a run inher tights.Until she faces Gerard.Director’s StatementRegarding death, life is full of futilities. Necessaryfutilities, as one has to eat and drink, one has togo to work, has to choose left or right on an intersection.But it’s futile, in the shadow of the biggest eventspeople experience. And yet, the ‘ordinariness’of life is not unimportant. Otherwise you couldindeed relativise everything into destruction. Thetension that yields this insight is a tension betweenthe largest and the smallest, most banal andordinary. I find this a wonderful tension, and try toshape it into the films I make. For everything thatis human has a place on the spectrum between theextremes of mature cheese and death.This story is to some extent autobiographical: ittells the story of the day the police told me thenews my sister had died in a car accident. Fromthe moment the news was told to me, everything10 CineMart Projects

Peter Hoogendoorn Keren Cogan Galjé Petra Goedingsstood still, while at the same time one needs to come intoaction. Everybody who has heard such news knows theabsurdity of the activities that follow it; these are the mostpractical things one needs to do. Calling people, arrangingthings, choosing between white and blue. In the intensityof such a moment reality and the sense of time come into adifferent light. My experience is that in the midst of suchtragedy, your sensitivity for reality, in its utmost small andmost ordinary details, is dramatically increased. I want tobreathe life into this view, on film.The film is a slice of life, a near real-time observation of acompany, constantly on the road to bring the bad news toa new character. All characters are therefore the protagonists;every time a new character is added, until the familyis complete. For the family, who suffers the loss of theirdaughter/sister, time is slowing down, it almost freezes,and yet, every moment highlights the fact that time iscontinuing for the rest of the world, just as always. The restof the world, that’s Katja and the policemen. They are theintimate witnesses of the events, but they stay on the borderbetween in and outside (the family and the rest of the world= death and a cheese sandwich).The locations where the movie takes place also play animportant role. Every place and its reality get somethingsurreal and now serve as a social prison. To give an example:when I had to tell my father that his daughter, my sister, haddied, the buses around me were unworldly, while I camethere for years. At the same time there was the absurdity ofsomebody eating a white bun with chocolate sprinkles. Youcan’t grasp it anymore at that time; people working and/orexecuting orders, and some others eating a white bun withsprinkles.The company focuses on the production of high quality andauthentic feature and short films in art house and crossoversegments, for the national and international cinema market.Keren Cogan Productions tries to look for stories with internationalcharacteristics and to share cultures through filmsand filmmaking.Phanta Vision Film InternationalProducer Petra Goedings established Phanta Vision FilmInternational, an Amsterdam based film production andfacilities company, in 1990.Production and co-production credits include Isztambul(2011) by Ferenc Török, Great Kills Road (2010) by TjebboPenning, Dossier K. (2010) by Jan Verheyen, Blind (2007)by Tamar van den Dop, and Investigation (2006) by IglikaTriffonova.&ME (previous title: Atomium), by Norbert ter Hall, whichwas a CineMart project in 2009, is in the last phase offinancing and is expected to be completed in 2012.Current StatusWe are starting project development, casting, locationscouting and financing. Script is in final stage of development.Goals at CineMartFinding a foreign co-producing partner. National and internationaldistribution and sales.Previous Work available at CineMartThe short film Wes (2009) by Peter Hoogendoorn isavailable in the Video Library and on Festival Scope.On the surface of this story there are themes of loss andgrief. They give the story colour, structure and weight,but underneath we look at a story that is reflecting anexperience we all share: time stops for no one; it’s painfullyslow and irreversible. I want to touch the viewer by offeringthem a framework that confronts them with their ownperspective of time passing, time lived and time experiences.The intention of this film is capturing the perceptionof time that changes.Company ProfilesKeren Cogan ProductionsIn 2009 Keren Cogan Galjé graduated as a producer fromthe Dutch Film Academy (NFTA) with two films; thedocumentary film Tzirk (director Nova van Dijk) and fictionfilm Wes (director Peter Hoogendoorn), which was awardedwith the Cineville and Cinestud Audience Awards and theLeidse Film Festival Iron Haring Award 2010.After graduating, Cogan Galjé got the chance to start herown company within Phanta Vision’s Producers Label,working on the development and financing of variousfilm projects, of which the first one Kattenkwaad (Cat andMice) won Best Short Live Action Film (15 and under) PalmSprings International Shortfest 2011. Kattenkwaad (Cat andMice) was also selected as the Dutch entry for the AcademyAwards for Best Live Action Short 2010.CineMart Projects11

SpainCannibalManuel Martín CuencaManuel Martín CuencaNuria Díaz VerlardeManuel Martín Cuenca (1964, Spain) studied Spanish Philology at the Universidad de Granadaand graduated with a degree in Information Sciences from the Universidad Complutense deMadrid in 1989. In 1988 he began his film career as an assistant director, script supervisor, andcasting director. He started writing and directing his own documentary and fiction films in 1999.During that period, he also taught Directing and Acting at several film schools in Spain andCuba. Cuenca was a contributor to various newspapers and publications, and wrote a novel andseveral books about film. He wrote and directed a documentary feature-length film, El juegode Cuba (2001), which won the First Prize at the Malaga Film Festival, an award at Lacinemafein New York and a nomination for the Best Foreign Documentary at the BBC Grierson Awards.He took part in the San Sebastian Film Festival with his first fiction film as director andco-screenplay writer, La flaqueza del bolchevique (2003), earning award nominations from theFilm Critics’ Circle as well as nominations for the Goya Award for Best Screenplay, Adaptationand Best New Actress.Two years later, in 2005, his second fiction film as director, Malastemporadas, premiered in the Official Section at the San Sebastian Film Festival. This film alsogarnered numerous international awards, including a nomination for the Goya Award for BestActress, Natalie Poza.Cuenca’s new documentary feature-length film as director and co-screenplay writer, Últimostestigos: Carrillo, comunista (2009), premiered at the Malaga Film Festival. It was nominatedfor the Goya Award for Best Documentary and won the Cartelera Turia Award for BestDocumentary of the Year. In 2010 his most recent film La mitad de Óscar premiered at TorontoFilm Festival.Feature: 35mm | 100 min. | ColourBased on: Novel ‘Caríbal’by Humberto ArenalLanguage: Mainly Spanish,and some Romanian dialoguesbecause of female main characterLocations: Granada (Spain),depending on future co-productionsBudget: € 1.800.500Financing in place: € 140.500Production Company:La Loma Blanca P.C.Partners attached:MEDIA Development Programme€ 50.000, Ibermedia € 10.500,Junta de Andalucia € 40.000,Instituto de Cine (ICAA) € 40.000Seeking partners from:France, Romania, Germany, Norway,Switzerland, Sweden, PolandPresent at the CineMart:Manuel Martín Cuenca,Nuria Díaz VerlardeContactLa Loma Blanca P.C.Cava Alta 1, 4º28005 MadridSpainPhone +34 91 1278029Email laloma@lalomablanca.comWeb www.lalomablanca.comIntroductionCarlos is a tailor. He lives in Granada. He isthe best, the most prestigious tailor in town. Arespectable man. His life is work, and eating…Eating…But not just anything: Carlos eats women. He is acannibal.But, one day, Nina arrives. She is the twin sister ofa woman he ate. She is Romanian, foreign, alone…and everything changes for Carlos.A crime story turns into a love story…SynopsisCarlos is a tailor. He lives alone and has no closefriends but he is respected and admired byeveryone who knows him. He’s the best, mostprestigious tailor in town, the provincial highsociety’s top choice. A couple of times a weekhe visits his only relative and only friend, theelderly seamstress who used to work for his father.Otherwise his life is just work, and eating...Eating...But not just anything: Carlos eats women. Helikes them young and healthy. Over 18, preferablytourists, just passing through Granada to seeLa Alhambra or hike in the nearby Alpujarramountains. Carlos has no emotional connectionto them. His anonymity is guaranteed and hisconscience is pretty clear. But everything changesthe day Natalia comes to live in his apartmentbuilding. Natalia is a beautiful woman, determinedto make friends with Carlos from day one.He tries to keep his distance but when Carlosrefuses to do something she asks him, they get intoan argument. She takes a knife… but Carlos is akiller.Carlos knows he’s made a mistake. He’s killedhis neighbour and now needs to be sure to avoidsuspicion. That’s why he offers to help Nina,Natalia’s twin sister, any way he can, when sheshows up at his door asking if he’s seen her missingsister. What begins merely as a strategy to avoidsuspicion ends up making Carlos and Nina muchmore than friends, with all its consequences.Because Carlos has never had a female friend. Hehas never become intimate with anyone. He hasnever expressed his privacy where anyone couldsee him. And certainly not with a woman who is anexact replica of the one he devoured.Carlos will have to decide what to do about Nina:convince her to leave, kill her or experience arelationship where he can enjoy a life he has alwaysdenied himself. Sadly, all choices involve pain.Director’s StatementEach time I start a new project, I ask myself whyI want to work on it. If the answer is too rationaland easy, an immediate response to an immediatedesire where the nearest fantasy is that everythingwill go well and I’ll profit from it, then I know thatI don’t want to make that film. However, when Ican’t find the exact words, when I’m driven by theneed to talk about something even though I’m stillnot certain what it is, I realise that the only thingthat makes sense is to fight to make that film, nomatter how difficult; because there is somethingirrational about it that will drive me and teach mesomething. I make films because I like to learn,because I like to feel like a student who doesn’tknow anything, whose sense of wonder is intact.12 CineMart Projects

With Cannibal I am looking at this type of film. I havea feeling that the story dwelling in it wants to tell mesomething that will lead me to knowledge I’d never gainif I didn’t make it, which provides powerful motivation.Alejandro, my co-writer, told me about this novel: ‘Caríbal’by Humberto Arenal. I agreed with him and felt that weshould write this film, trying to find its deep, hiddenmeaning and then turn that into a secret that the audiencecan guess. For us, the essence of cinema is mystery, and theconviction that viewers can take an active part in it.The fact that cannibalism is a huge taboo makes me thinkthere is something about it that is very close to us, which iswhy we’ve decided to forbid it. I think prohibitions alwayshide something and we should ask ourselves about them,even if we conclude they should be forbidden. Jean Genetwrote: “Kissing is a form of the primitive crave to bite, andeven devour...”. I wonder what he meant, what an act likedevouring has to do with an act like kissing. I wonder whatdestruction has to do with tenderness, and I realise thatperhaps this film is about the dialectic between evil andlove.This film takes place on the margins and during emotionalbreakdowns. I think it’s the best way to talk about our timesand question our civilization. Western movies taught usthat the best, most accurate portrait of the present is inthe frontiers. That’s where those who are pushed out andexcluded are, but they forge the true meaning of any era.Our story takes place in a contemporary setting, in an oldSpanish city, Granada, where tradition dominates ordinarylife. In the midst of all this, Carlos is a cannibal who livesas such without regrets or guilt, aware that survival is allthat drives his life. He doesn’t wonder about or questionanything, just behaves implacably… until the day comeswhen he does start to question things and a tiny crack opensin his soul. A crack that lets doubt start to creep in. Andwith it, love.Evil is overcome by love, the story seems to say… and itscapacity for redemption.But to what extent can love change the past or redeem it?We all have the fantasy, the dream, that it is possible, thatlove conquers all. It’s true. Our society sets up stories againand again where love wins out… but what would happen ifwe were overrating its strength, its capacity to recover andovercome all difficulties? What would happen if by talkingso much about love we didn’t realise that it’s a maliciousmirage hiding its incapacity to change us? If it were no morethan temporary relief in the desert, a way of quenching ourthirst without transforming it; what would be left to us,then, if love were shown to be powerless?Nina is a foreigner and dreams of returning to her country.Carlos has no dreams, until he realises he can dream, anddiscovers that the greatest pain is what we inflict on others,not ourselves. It is autumn. The landscapes speak of thecharacters and the story. But words hide the true meaning…which only arises when the characters lose control. Thestaging will have long shots but will eschew a rigid, formalisticstyle. In Cinemascope. Without music. With the soundand the atmosphere as its score. Wanting to remind us ofthe power of looking at and fearing ourselves.Company ProfileLa Loma Blanca P.C.La Loma Blanca P.C. is an independent production companyestablished in Almeria/Madrid (Spain) for the productionof high quality feature films, documentaries and short filmsof both established and upcoming talents, with a priorityfor instinctive and emotional stories.Since its creation La Loma Blanca P.C. has produced: TheCuban Game (2001), a documentary feature directed byManuel Martín Cuenca; Adios (2004) a short film directedby Ignacio Gutiérrez Solana; Hard Times a feature filmdirected by Cuenca, which premiered in Official Competitionat the 2005 San Sebastian Film Festival, and Half ofOscar, a feature film directed by Cuenca, which premiered atthe 2010 Toronto Film Festival.Currently the company has three new projects in development:Cannibal a feature film written by AlejandroHernández and both written and directed by Cuenca, Losojos de Carlos, a documentary to be directed by Felipe Vega,and Sahara, the Country that Never Existed a documentary tobe directed by Cuenca.Current StatusCannibal is in the last phase of development. We haveobtained a development subsidy from ICAA (SpanishMinistry of Culture), another subsidy from Junta deAndalucia (regional development support), aid fromIbermedia, and an aid from the MEDIA DevelopmentProgramme.Goals at CineMartWe aim to meet potential co-producers from France orRomania as priorities, but also from Sweden, Germany,Switzerland, and/or Poland. Once we reach an agreementwith one or two European producers, we will apply for thenational and regional funds in the co-producing countriesand present it to the corresponding television broadcasters.Previous Work available at CineMartThe feature film La mitad de Óscar (2011) by Manuel MartinCuenca is available in the Video Library and on FestivalScope.CineMart Projects13

Kyrgyzstan,France, GermanyCentaurKentavrAktan Arym KubatAktan Arym KubatBorn in 1957 in the Kyrgyz Republic, Aktan Arym Kubat (formerly Aktan Abdykalykov) studiedat the Kyrgyz Art School from 1976 until 1980. After graduating he started working as aset designer at Studio Kirghiz, where he has worked on many fiction films. His first shortdocumentary, A Dog was Running, was made in 1990. For his first mid-length film Sel’kincek(1993) he received an award at Locarno’s Leopards of Tomorrow competition and First Prizeat the Potsdam Festival. His film Beshkempir (1998) won the Silver Leopard at Locarno. ArymKubat’s latest feature film The Light Thief (2010) received funding from the Hubert Bals Fund in2005, was selected for CineMart in 2007, and was selected for Quinzaine at the 2010 CannesFilm Festival, as well as to other festivals including Locarno, Toronto and Rotterdam. Kubat is acurrently acting member of the European Academy of the Arts.Altynai KoichumanovaFeature: HD | 85 min. | ColourBased on: Original Screenplayby Aktan Arym KubatLanguage: KyrgyzLocation: Region of Issyk-Kul(Kyrgyzstan)Budget: € 1.500.000Financing in place: € 60.000Production Companies:Oy Art, A.S.A.P. Films,Pallas Film GmbHSales: The Match Factory GmbHPartner attached:MEDIA DevelopmentProgramme € 60.000Seeking partners from:Belgium, The Netherlands,Luxembourg, Japan, Slovenia, RussiaPresent at the CineMart:Aktan Arym Kubat,Altynai KoichumanovaContactOy Art1, Dinara Asanova Street720030 BishkekKyrgyzstanPhone +996 552 983090Email altynaiko@yandex.ruIntroductionOnce a famous horse thief, Centaur now lives acalm life with his son in the crumbling suburbs ofKyrgystan’s capital. One day, a man comes to himwith a strange proposal: he has to steal a famoushorse from a very rich Arab Sheikh, but just forone ride.Strangely enough, Centaur, who has never been tothe mosque, starts preparing himself for the Hadj,the ritual pilgrimage to Mecca…SynopsisIn the suburbs of Kyrgyzstan’s capital, people settlein shanty towns made of argil, a kind of whiteclay. Although these people are called ‘freelysettled’,they prefer to call themselves ‘Sons of theRevolution’.Among them lives a fifty year-old man namedCentaur. If you take a good look at him, he seemsmuch different than what is said about him. Pale,short, with a barb, a shaved moustache, barelycombed white hair and an awkward smirk acrosshis face. Who is this Centaur? Apparently, a calmand insignificant man.Suddenly, he becomes the centre of attention of allthe inhabitants of this slum. In the mosque, peoplesay that Centaur is preparing himself for the ‘Hadj’.To accomplish the ritual pilgrimage to Meccawould seem perfectly normal for any normalMuslim, but probably not quite that normal for aman who, in the past, had been a horse thief andwas sent to jail for that. But of course, this hadhappened quite some time ago, and, well, it canhappen to anyone.However, Centaur seems to have calmed down.He lives with his son, and takes care of his youngnephew’s education. No one has ever seen him atthe mosque, and he has never demonstrated anyparticular devotion to religion. Anyway, he recentlydecided to turn to religion, who knows, maybe withage or because he was ill, as it often occurs.One day, a certain Sadyr shows up at Centaur’shome. This famous horse thief comes to meetCentaur with a precise demand: he has to steal afamous horse from a very famous man. But just forone ride. It seems quite implausible that Centaurwould risk his life for a single ride, pushing theabsurd risk to the point of bringing the horse backto its owner afterwards.Shortly after the visit, the whole village accompaniesCentaur to Mecca. Days go by until oneday, the TV news mentions a man who went toSaudi Arabia with a single goal: to rob the fastestracehorse from the Sheikh’s stables. Just for oneride.Director’s StatementCentaurs are probably considered as timeless anddebauched because of their unnatural and illegitimateorigin. But there are also stories of morallyirreproachable centaurs, like Chiron, who sacrificedhis immortality in order to free Prometheus,thus winning a place among the stars.This film will try to describe the actual life inKyrgyzstan through the prism of mythology,as this country is submitted to the totally newordeals of the contemporary world. On the onehand, it will look back upon seventy years of Sovietrule, and on the other hand, it will touch on theinfluence of globalization and the rising role ofIslam, which probably explains why the Kyrgyzpeople seem to constantly search for their identityin the past, in nomadism.Centaur is a strange fellow who expresses thesituation’s essence, he symbolizes the nomads’frustration, a struggle for uniqueness.The film’s action will unfold within theenvironment of the suburbs, where men profitedfrom the latest revolutions to unscrupulouslyappropriate the land. These shanty towns haveclasped around the country’s capital like a tightring. It’s a whole new social staging, born in themost recent years of Kyrgyzstan’s history.This depiction of modern-day Kyrgyzstan willbring me to develop my research of a cinematographiclanguage. If I should try and qualify it, Iwould say it will follow the direction of ‘grunge’art.14 CineMart Projects

Company ProfilesOy ArtOy Art is a film producing company that specializes inproducing Central Asian and Eastern full length, art housefilms. The films aesthetically portray Central Asian andEastern lifestyles, philosophy, culture, customs, traditionsetc.Oy Art aims at co-production with at least one of theMember States of the European Union. However, thecompany has an international approach to marketing andbusiness strategy and also seeks contacts and partnershipswith other international markets.Oy Art company was officially founded in November2004. In 2006 the company started producing short fictionfilms of young film directors. For the present time it hasa portfolio of films and projects of the most acclaimedCentral-Asian film directors.Oy Art actively takes part in different projects developingKyrgyz cinema. In 2005 Oy Art initiated discussionsbetween leaders in the cinema sector to work out the targetprogramme ‘Kyrgyz Cinema 2010’. The programme coversall directions of cinema development, from film educationto film distribution.A.S.A.P. FilmsA.S.A.P. Films is an independent production companyjointly created in 2003 by producer Cedomir Kolar, Oscarwinningdirector Danis Tanovic, and producer MarcBaschet. The company’s philosophy is to independentlyproduce films by authors from different parts of the world,regardless of the language, cost or author’s notoriety.two short stories by the French author Hubert Mingarelli,and they have produced the Serbian film Besa, writtenand directed by Srdjan Karanovic, in co-production withBas Celik from Serbia, Vertigo from Slovenia, Tivoli fromHungary and Arkadena from Croatia. Besa, Cirkus Columbiaand The Light Thief were all selected to represent theircountries for the 2010 Academy Awards.Pallas FilmProducers Karl Baumgartner and Thanassis Karathanosformed the company Pallas Film in Halle, Germany in 2003with the intention of developing and producing films ona high artistic level for broad audiences in Germany andacross the world. Recent feature film productions include:The Light Thief (2010) by Aktan Aryn Kubat, Marieke,Marieke (2010) by Sophie Schoukens, Alois Nebel (2011) byThomas Lunak, Clean (in post-production) by Sylvie Micheland Waiting for the Sea (in post-production) by BakhtiarKhudojnazarov.Current StatusAdvanced development.Goals at CineMartFinding new partners (co-producers) as well as financiers, inthe first place TV broadcasters and regional funds.Previous Work available at CineMartThe feature film The Light Thief (2010) by Aktan Arym Kubatis available in the Video Library and on Festival Scope.The first film produced by the company was L’Enfer(2004/2005) by Danis Tanovic, taken from the originalscreenplay by Krzysztof Piesiewicz. In 2005 A.S.A.P. Filmsco-produced Benjamin Filipovic’s film The Well TemperedCorpses with Studio Maj in Slovenia and Sintra in Italy.Marion Hänsel’s film Si le vent soulève le sable, was a 2006A.S.A.P. Films co-production with Man’s Films Productionsfrom Belgium. In 2008 the company producedDanis Tanovic’s feature film Triage, an adaptation of theeponymous novel written by Scott Anderson.Presently, various 2010 A.S.A.P productions are doing theirtours of international festivals: The Light Thief by Kyrgyzauthor-director Aktan Arym Kubat (a.k.a. Abdykalykov),was selected for the 2010 Cannes Quinzaine as well as forToronto and Locarno. Danis Tanovic’s Bosnian languagefilm Cirkus Columbia, taken from the eponymous novelwritten by Croatian author Ivica Djikic, received the public’sprize at the Sarajevo Film Festival, and was selected for,among others, the Toronto Film Festival, and Cottbus FilmFestival. The Hungarian film Womb, written and directed byBenedek Fliegauf, in co-production with Razor Film fromGermany and Inforg Studio from Hungary, was selected forLocarno. Additionally, A.S.A.P. have produced the Belgianfilm Noir Océan, directed by Marion Hänsel, taken fromCineMart Projects15

KenyaDjinHawa EssumanHawa EssumanGhanaian-Kenyan Hawa Essuman performed in various theatre plays and two films beforeshe found her way into the world of production, where she worked on TV commercials anddocumentaries. Her first feature film Soul Boy received Hubert Bals Fund support in 2009 andhad its world premiere at the 2011 IFFR in the themed section Where Is Africa. German directorTom Tykwer, known for his films Lola rennt (1998) and Heaven (2002), supported Essumanin making this film, which is based on a script Tykwer wrote together with the Nairobi-basedwriter Billy Kahora. Djin will be Essuman’s second feature and is selected for CineMart throughthe Boost! training trajectory.Feature: Arri Alexa | 90 min.| Colour & Black-and-whiteBased on: Original Screenplayby Hawa EssumanLanguage: SwahiliLocation: The coast of KenyaBudget: € 500.000Financing in place: € 10.000Production Company:Ginger Ink FilmsPartner attached:Hubert Bals Fund € 10.000Seeking partners from:Germany, The Netherlands, SpainPresent at the CineMart:Hawa EssumanContactGinger Ink FilmsPO Box 3916500623 Parklands, NairobiKenyaPhone +254 720 604491Fax +254 20 3875284Email ginger@gingerink.tvWeb www.gingerink.tvIntroductionDjin, the mythical wind that blows every 30 yearscomes round to a small coastal town, where ituncovers the deepest desires of three unsuspectingpeople who get caught up in it, compelling them todeal with their communities to get what they wantthe most.SynopsisThe story is set in a small coastal town off theIndian Ocean, where the culture is rich with mythand folklore. One that has lasted for generationsis about a potent wind that blows over the desert,across the savannah and in from the sea every 30years. The legend is that anyone who gets caughtin the wind will have their uncertainties regardingtheir deepest desires, blown out of them andcompel them to take action.It begins just before Djin is due to arrive. Howeverwith it being present day, the current world view oftangible reality has taken its toll and the residentsboard up their windows to protect themselves fromthe potential physical damage from the impendingwind. Only some of the elderly give the wind’smythical potency any thought.We meet our three main characters: Ahmed,Najma and Sonu. Djin upsets their previously quietlatent existence and leaves them forever altered asa result of their interaction with this wind.Ahmed is a lovely man of 23. Thoughtful, sweet,caring and a talented carpenter, who came tothis town to work as part of his father’s friend’scarpentry shop, to further his dream of owning acarpentry shop one day. When he’s not immersedin his work or reading books on carpentry andsculpture looking for ways to develop his craft, hewatches Sonu.He’s been besotted with her since the first timehe saw her walk into her mother’s restaurantacross the street. To Ahmed, she is beautiful andcharming with a depth as yet undiscovered. Shelikes to read too and borrows books from the sameshop, but they’ve only ever exchanged polite nods.As Ahmed’s heart stops at the sight of her, shecarries on, oblivious.Najma and her husband Raj are in their mid 40s, ofIndian origin. They’ve been married for 20 years.They live a comfortable, happy life. Najma runs afamily clinic and Raj owns a bookshop. Everythingwould be perfect if they had children. About twoyears into their marriage they find out that Najma isunable to carry a pregnancy to term. They consoleand comfort each other and agree to stay togetherand have been fairly happy, albeit unfulfilled.One night, he sleeps with Aida, a bartender he’sbecome friends with at his local bar. His infidelityplagues his conscience.Through her practice, Najma discovers Raj’sinfidelity. Aida is pregnant and she isn’t interestedin keeping the baby. Najma is hurt, angry andhumiliated.Daud and Ayan grew up together. They were thickas thieves. Played together, got into mischieftogether. They complemented each other. WhereDaud was responsible and mostly well behaved,Ayan was curious and mischievous, always up foradventure. Daud was the one who helped her out ofprecarious situations and encouraged her pursuits.In their teens, Daud met Fareed and they didn’tspend as much time together. They were close butnot the same. Even though Ayan liked Fareed, shewas a little jealous of their closeness.So when Daud asked her to marry him, she wasover the moon. And she thought that perhapsthat distance would disappear. But it didn’t. Shethought her love and their history would bringthem closer, and Daud was always wonderful andattentive, but he didn’t seem to love her the sameway she loved him.When the wind blows, they all get affected indifferent ways and the consequences of their realisationsand actions have lasting impacts.Director’s StatementCoastal towns always feel like they’re at thebeginning of something. They are a melting potof cultures. Where logic and mysticism blur.Whenever I visit one it feels like anything ispossible.The buildings and the people alike tell the storyof their influences. The whitewashed buildingsfrom the early 1900s, the art deco bungalows andthe modern hotels and apartment buildings, alltrying to fit in. Everyone lives with tradition andthe modern every day. It isn’t something they findfascinating. What I find blurs between reality andmyth, they understand as ordinary. The differentpeople that live there all consider themselves someversion of coasterian. And even though they seethe differences amongst themselves it all has acommon denominator from business to food tomannerisms.16 CineMart Projects

The myths and superstitions are as evoking as everythingelse is. Majini (spirits) that take the form of cats thatsometimes speak, ill-gotten money that turns into a snakeat night and attacks the bearer. Wind that forebodes goodor troubled times ahead. In as much as they are stories andsome consider them charming cultural anecdotes from thepast, they also treat them with caution and respect. Respectand caution that also appears to manifest itself as the thingthat keeps everyone in line. They don’t stray too far fromthe beaten path. Some are happy with the way things are,some are resigned, some are scared to do what they want.And what first appears to be idyll starts to look more likeconstraint.All this provides the premise for a film that explores humanrelationships with themselves and their communities. Whatwe do for what we want or are scared to want. Djin seeksto explore the journey that people embark on when whatthey want becomes apparent through whatever device. Howwe are connected to our surroundings. That they have animpact on us whether we realise it or not.Current StatusI am re-writing the script with my Boost! advisor andwriting partners. I have done two researches for story/location and researching nuances in the story/characters.I am also looking into logistics/ filming licenses. Lookingforward, I hope to find funding and post-production/marketing support from international partners.Goals at CineMartTo meet and start relationships with producers andproduction companies that will work for not just this film,but the others I intend to make.Previous Work available at CineMartThe feature film Soul Boy (2010) by Hawa Essuman isavailable in the Video Library and on Festival Scope.Company ProfileGinger InkGinger Ink is a production company based in Nairobi thatworks all over Africa and has been providing valuable,creative and practical support for commercials, documentaries,and feature films for over 10 years.In partnership with One Fine Day Films and Deutsche WelleAkademie, Ginger Ink runs a two week master class filmworkshop in Nairobi for young film professionals from allover Africa, and has co-produced Soul Boy (2010), by HawaEssuman.CineMart Projects17

Dominican Republic,Mexico, FranceLos dólares de arenaSand DollarsLaura Amelia Guzmán, Israel CárdenasHusband and wife team Laura Amelia Guzmán (1980, Dominican Republic) and Israel Cárdenas(1980, Mexico) live between the Dominican Republic and Mexico, where they run the filmcompany Aurora Dominicana. They share script, photography, production and direction creditson most of their projects. Their first feature film Cochochi (2007) had its world premiere in theOrizzonti section of the 2007 Venice Film Festival, and received several awards including theDiscovery Award at the Toronto International Film Festival. Their second feature, Jean Gentil(2010) was supported by Rotterdam’s Hubert Bals Fund, the World Cinema Fund, Ibermediaand Vision Sud Est, and also premiered in Venice, in 2010, where it garnered a SpecialJury Mention. Their current project Los dolares de arena received Hubert Bals Fund scriptdevelopment support and is selected for CineMart though the Boost! training trajectory.Feature: 35mm | 100 min. | ColourBased on: A Novel ‘Les dollarsdes sables’ by Jean Nöel Pancrazi,screenplay by Laura AmeliaGuzmán & Israel CárdenasLanguages: Spanish, FrenchLocations: Samana (DominicanRepublic), FranceBudget: € 900.000Financing in place: € 31.250Production Companies:Aurora Dominicana€ 10.000, AthénaïsePartners attached:Hubert Bals Fund € 10.000,Ibermedia € 11.250Seeking partners from:All territoriesPresent at the CineMart:Laura Amelia Guzmán, IsraelCárdenas, Sophie SalbotContactAurora DominicanaVasconcelos 51 Pte. Col. Del Valle66220 San Pedro Garza GarciaMexicoPhone +52 181 12127895Email produccion@auroradominicana.comWeb www.auroradominicana.comAthénaïse2 quater, place du Général de Gaulle93100 MontreuilFrancePhone +33 1 41720275Email athenaises@orange.frWeb www.athenaise.comIntroductionJean Noël, a mature Frenchman, searches forNoelí among the remains of a Dominican townhit by a hurricane. In Jean Noël’s memories loveremains for the young local he had an ambiguousrelationship with, based on money, betrayal, andpaternity.SynopsisAfter the hurricane, in the midst of chaos and pain,Jean Noël, an old Frenchman already in his sixties,with a melancholic look and tattoos on his armsthat depict a blurry past, arrives in Las Terrenasin search of his lover Noelí, a twenty year-old localboy, dark-skinned, handsome, and of very humbleorigins, who like many, dreams of leaving thecountry. Jean Noël reaches the place where Noelíused to live, but finds nothing; in place of thehouse there are only a few remains under the redearth. Jean Noël starts remembering the last timehe saw Noelí, a few years previously.Las Terrenas is a town located in the SamanáPeninsula, to the north of Santo Domingo, capitalof the Dominican Republic and it has involuntarilybecome a tourist town. It is actually inhabited bysmall hotels, bars, restaurants and a communityof French origin characterizes the place. Jean Noëlalways came to Las Terrenas with a sole purpose:pleasure, but now he is in love and is looking forsomething else.His trips were usually temporary, but this timeit’s different; he has come to establish himself, toremain the rest of his days, and to build his smallparadise with Noelí, the man that makes him feelyounger, and in time, he has come to love. Jeanpatiently waits for him in one of the bars; he knowsthat sooner or later he will come. Noelí shows upin his cap, as usual, wanting to hide his face. In thehotel Noelí strips, proud of his body; his work tool.At the end of each encounter, Jean Noël withdrawsmoney from the ATM and watches him go home,his wife and baby await him. Jean Noël alwaysremains with the doubt and without an answerto the question that keeps him awake: does Noelícome for the money?One night Jean Noël tells Noelí his plan of stayingto live in Las Terrenas with him. More than a planit is a veiled declaration of love; it is the first declarationof love he does in his life. Noelí becomesangry and demands that he keeps his promise oftaking him to France. After the fight Noelí leavesangry, on his way back home he has a motorcycleaccident, which leaves him with a scarred body andface. His vanity doesn’t allow him to go back withthe Frenchman. Jean Noël is consumed by jealousy,tired of waiting for Noelí, and without any newsfrom him, imagines that he has a new ‘client’.He decides to abandon his project of building aparadise and goes back to France, to his old life onthe highways, in the solitude of his truck which hedrives for long hours, traveling the whole country.Upon hearing news of the disaster on the island,Jean Noël decides to go get Noelí to bring himto France and keep his promise. Continuing hisdesperate search for Noelí amongst the remainsof the hurricane, Jean Noël finds Noelí’s motherwith his son (who is already a young boy), andhopes that Noelí could be alive. With the passingof time Jean Noël proposes to the child the planof going to France, but he doesn’t want to, Francedoesn’t mean anything to him. Jean Noël renewsthe construction of his house awaiting news fromNoelí, without losing hope that maybe some day hewill show up; even if only for the money.Director’s StatementThe project originates from the interest in filmingagain where we filmed Jean Gentil, our secondfeature film, in Samaná, Dominican Republic,a place we maintain a close relationship with.The development of this peninsula has increasedwith the arrival of new roads, new tourism (moremassive), local as well as international (mostlyEuropean). The development and the richness ofthe cultural exchange in this region have takenplace over many years passing through pirates,Frenchmen, North Americans, ex-slaves fromEnglish colonies, Creole Dominicans and lastly,this new exodus through tourism.We come upon the fictional story of Jean Noël andNoelí through the novel ‘The Sand Dollars’ bythe French author Jean Noël Pancrazi, who, by anintimate and autobiographical narration about hisexperiences and relations with a Dominican boy18 CineMart Projects

Laura Amelia Guzmán Israel Cárdenas Sophie Salbotin Samaná, presents us with a world full of contradictionswhich range across parties, vacations, love, deceit, pleasure,morality and solitude.Even though the treatment may have a heavy undertone(migration, prostitution from an early age, tourism, anddevelopment), we think the film can concentrate on JeanNoël’s and Noelí’s relationship; a relationship based on love,preoccupation for one another... and loneliness.With this story we seek to reach out to the possiblepublic through various levels... impossible love, romance,jealousy... the social factor, the moral factor, migration, thecontrasting ethics from one place to the other... and thesensorial factor, the music and the tropical landscape.Company ProfileAurora DominicanaAurora Dominicana is a young film company based inthe Dominican Republic and Mexico, founded with theidea of providing a platform from which to produce freshindependent filmmaking in Latin America. The company’sfilms include; Jean Gentil (2010) by Laura Amelia Guzmanand Israel Cardenas, which was supported by the HuberBals Fund and screened at the IFFR in 2011, Ocaso (2011)by Théo Court and Cumbres (pre-production) by GabrielNuncio to be shot in Monterrey, Mexico in February 2012.AthénaïseSophie Salbot, manager of the film company Athénaïse, hasa great experience in producing feature films and documentariesof directors from southern countries, especiallyAfrica. She noticeably worked with Idrissa Ouédraogo -known for Samba traoré (1991), Le cri du Coeur (1994),Kini & Adams (1997) - Henry Duparc and Cheick OumarSissoko. She also produced Tèt grenné (2002) directed byChristian Grandman in Guadalupe. Among her mostrecent productions are Rêves de poussière (2006) directed byLaurent Salgues and The Place in Between (2010) directedby Sarah Bouyain.Current StatusIn development.Goals at CineMartLooking for sales agents, financial and creative partners.Previous Work available at CineMartThe feature film Jean Gentil (2010) by Laura Amelia Guzmánand Israel Cárdenas is available in the Video Library and onFestival Scope.CineMart Projects19

Greece, France,GermanyDuncharonAthina Rachel TsangariAthina Rachel Tsangari works as a filmmaker and projections designer in her native Greeceand the US. Her graduation thesis from the University of Texas, at Austin, The Slow Businessof Going, a low-fi sci-fi road movie, had its international première at the 2001 IFFR, travelledthe world to critical acclaim, and was acquired by MoMA for its permanent film collection. Shedesigned the projections for the 2004 Olympics Opening Ceremony and the opening of the newAcropolis Museum. She co-founded and was artistic director of the Cinematexas InternationalShort Film Festival in Austin, Texas (1996-2007). She is Haos Film’s co-founder and principleproducer. Her second feature Attenberg (2011 IFFR ‘Bright Future’) premièred in competitionat the 2010 Venice Film Festival, where it won the Coppa Volpi Award for its lead, Ariane Labed,and went on to win 11 more awards. It is Greece’s Best Foreign Language Film submission tothe 2011 Academy Awards.Feature: 35mm, Cinemascope| 100 min. | ColourBased on: OriginalScreenplay by Matt Johnson& Athina Rachel TsangariLanguage: EnglishLocations: Greece, Iceland,France, Germany, Scandinavia,United KingdomBudget: € 4.000.000Financing in place: € 1.000.000Production Companies:Haos Film € 250.000,Faliro House Productions € 250.000,Maharaja Films € 250.000,The Match Factory GmbH € 250.000Sales: The Match Factory GmbHSeeking partners from:Belgium, Iceland, Poland,Scandinavia, United Kingdom, USAPresent at the CineMart:Athina Rachel Tsangari,Maria Hatzakou, Christos V.Konstantakopoulos, MathildeHenrot, Michael WeberContactHaos Film10 Agiou Markou Street10560 AthensGreecePhone +30 210 3222466Fax +30 210 3222466Email maria@haosfilm.comWeb www.haosfilm.comFaliro House Productions8A Pentelis StreetPaleo Faliro17564 AthensGreecePhone +30 210 9404762Fax +30 210 9404763Email christos@falirohouse.comWeb www.falirohouse.comIntroductionA cargo ship loaded with robots lands by mistakeon a planetoid full of alien bunnies. Its crew ofseven cranky humans build a town and wait forrescue, while their robots prepare for war. But onlythe ship’s ambitious captain, Demetra, recognizessomething else: a chance for greatness.SynopsisCaptain Demetra Ballard wakes up from hibernationto discover that her spacecraft, the cargofreighter ES/V Opportunity, seems to have landedon the wrong planet. Instead of their planneddestination of a company research station onJupiter’s moon, Europa, her ship sits peacefully onthe dark volcanic plain of an unknown world, withno record of how it got there.Her six crew members are inexperienced andfreaked out. Working with her only friend, theneurotic Dr. Z, Demetra does her best to figureout what happened. Yet she knows the cold reality:they are marooned.However, there is air, warmth, and gravity. Likeall space travellers, they are equipped with microscopicmedical machines in their bodies, called‘tiny doctors’, which protect them from hazards,radiation, and injury. They don’t even allow thecargonauts to get properly drunk, despite heroiceffort.Except for Demetra and Z, the crew were strangersbefore this job, so they are just learning aboutone another. Cargo astronauts tend to be drifters,loners, washouts. Demetra is a rare exception: she’sa career astronaut, over twenty years in space.An elderly female scientist named Eklos is thekeeper for a crew of animal-like robots, nicknamedeklobots. Each human crew member has aneklobot partner who performs most of their actualwork. They discover that the ship’s cargo podcontains a wealth of construction supplies and amachine for making more eklobots.Demetra finally deduces that they are on Charon,the tiny moon of Pluto, far outside humantraffickedspace. The terrain is prone to abruptlyreconfigure itself with quiet seismic trickery. TheSun is small and weak in the sky; but the grounditself radiates warmth.As they explore, they encounter two main formsof life: an apparently useless plant they nickname‘C-tulips’, which can curl into a ball and roll. Andan ungainly little creature with huge feet and ears,which they call a ‘C-bunny’. The C-bunnies ignorethe humans; in fact they mostly just sleep. Whenawake, they herd the tulips from place to place likesleepwalking shepherds.The crew is more interested in one another thanthe bunnies. They eat, sleep, argue, try to seduceone another, and complain. With eklobot labour,20 CineMart Projects

Athina Rachel Tsangari Maria Hatzakou Christos V. Konstantakopoulos Mathilde Henrot Michael Weberthey build a camp. They have ample food supplies anda lifetime power generator. Floodlights push back thedarkness. As weeks go by, fear becomes routine becomesboredom for the cargonauts, as some debate the structureof their new society and others just wait for rescue. Are theydestined to be castaways, explorers, or colonists?While some cling to an unlikely scheme for returning toEarth, Demetra sets out on her own journey to the wilderother side of the planetoid, seeking answers. The cargonautsdescend into madness, building and building; theeklobots prepare a hopeless defense against the snoozingbunny hordes; and Demetra finds the source of Charon’senergy. But will the planet eat her, in the end, or will she eatthe planet?Director’s StatementDuncharon is the story of seven not-very-brave astronauts,who find they’ve been dumped unceremoniously on thewrong planet, and are forced despite themselves to become‘explorers’. It is set in a future era, when the pioneeringspirit of the ‘First Age’ of space exploration has long sincebeen superseded by dull commercial interests.Yes, it has monsters (a race of absurd alien bunny-rabbitswith radio-antenna ears and gigantic feet than can bringdown a mountain), and it has robots (a gang of eternallyloyalassistants who do their best to rescue the impatientand inept humans from themselves). But we prefer to followwhat happens to the seven humans when they are forced toconfront something they never planned on and never signedup for: the Unknown. Demetra, the crew’s captain, after alifetime of mediocrity plowing through the space-lanes as aglorified truck driver, sees a chance most of us never get: achance to reinvent the world from scratch.Charon in Greek mythology is the boatman who carrieddead souls to Hades, the God of the Underworld. Demetrais the goddess of fertility. Moving between allegory, satireand screwball tragedy, the film (like the astronauts) willstart with serious purpose and gradually lose control. Oneof the core ideas of most science fiction is that human resilienceand ingenuity can overcome any obstacle. Duncharoninstead is mourning the end of an era, and focuses on a LastRomantic’s fight for the beginning of a new one. It casts acynical glance on the longstanding battle between progressand human nature by forewarning a possible outcome: apost-earth humanity. In this respect, it is not science fiction,it is nature fiction.I’m interested in working against sci-fi movie clichés andthe fetish of sleek technology, mixing the hyper-reality ofCGI with the more organic methods of puppetry and stopmotionanimation.The cargonauts’ common language will be English, weavingthe actors’ native languages into the dialogue. We hope toshoot in locations all across Europe, and in the volcanicislands of the Greek Cyclades, thresholds between mycountry’s primordial past and New Europe’s future.Company ProfilesHaos FilmHaos Film is a company run by filmmakers, a creative officeand post-production studio based in Athens. Productionhighlights include Athina Rachel Tsangari’s debut filmThe Slow Business of Going (2001); her second film Attenberg(2010); Yorgos Lanthimos’ first three films - Kinetta (2005),Dogtooth as an associate producer (2009), and Alps (2011), ofwhich the latter was selected for the 2012 IFFR.Faliro House Productions S.A.Faliro House Productions S.A. aspires to become a frontrunnerin the re-emergence of Greek cinema, whilemaintaining a strong international presence. FHP filmsinclude L (2012), which is part of the Tiger Competition atthe 2012 IFFR, Take Shelter (2011), Alps (2011), Attenberg(2011), and Knifer (2010). The company has 19 features indevelopment including Somebody Up There Likes Me, by BobByington, Luton by Mihalis Konstadatos which both will bereleased in 2012, Duncharon (to be determined) by AthinaRachel Tsangari, and two Untitled Terence Malick features(to be determined).Maharaja FilmsMaharaja Films is a production company founded byMathilde Henrot, the co-founder of Festival Scope, whoselineup includes: The Strife of Love in a Dream (2011) directedby Camille Henrot, which will be screened in Rotterdam2012; and Smugglers’ Songs (2011) directed by Rabah Ameur-Zaïmeche. As French co-producer: Alps (2011), directed byOscar Nominee Yorgos Lanthimos; Under the Tree Shadewhich is currently in development, directed by PedroGonzalez Rubio; and Duncharon, the new film by AthinaRachel Tsangari (currently in development).The Match FactoryThe Match Factory presents international art house filmsby both acclaimed directors and new talents, who arededicated to telling stories in their own original style. Weset up strong and lasting relationships with filmmakersfrom all over the world, offering a home for their work asa reliable partner. Founded in 2006 by Michael Weber,Reinhard Brundig and Karl Baumgartner, The MatchFactory holds an impressive track record. The company alsoco-produced both Pandora’s Box (2008) by Yesim Ustaoglu,and Uncle Boonmee Who Can Recall His Past Lives (2010) byApichatpong Weerasethakul.Current StatusIn development.Goals at CineMartFinding co-producers and pre-sales.Previous Work available at CineMartThe feature film Attenberg (2010) by Athina Rachel Tsangariis available in the Video Library and on Festival Scope.CineMart Projects21

SpainEls estiuejantsThe HolidaymakersLluís GalterLluis Galter (1983, Catalonia, Spain) graduated in Audiovisual Communication from PompeuFabra University in Barcelona in 2005 and received a scholarship to complete his studies at theSchool of Film and Television in Prague. During his studies he made several documentaries,of which Berlin, Nova Simfonia en 326 Postals (2005) screened at the Vrije Academy in TheHague, The Netherlands, at the Museum of Contemporary Art, in Tallinn, Estonia, and at theDocumentary Workshop of Tartu, Estonia.His first feature Caracremada was supported by the Figueres City Council, and was acollaboration between many Spanish cultural institutions, including Galter’s former universityPompeu Fabra. In 2010 the film had its world première in the Orizzonti section at the 67thVenice Film Festival, after which it was selected for various international film festivals includingSan Sebastian, Thessaloniki, and Göteborg. Subsequently he made the documentary 69/78Prescrit. Els estiuejants will be Galters second feature length film.Feature: Digital (red)| 100 min. | ColourBased on: OriginalScreenplay by Lluís GalterLanguages: Catalan,German, French, SpanishLocations: Costa Brava,Catalonia (Spain)Budget: € 1.150.000Financing in place: € 23.500Production Company:Paco Poch Cinema, S.L.Partners attached:Instituto de Cine (ICAA) € 18.500,Conca Recerca (Catalan CultureDepartment) € 5.000Seeking partners from:Germany, France, Belgium,Switzerland, LuxembourgPresent at the CineMart:Lluís Galter, Paco Poch, Sergi MorenoContactPaco Poch Cinema, S.L.C/ Hort de la Vila, 38, 1-108017 BarcelonaSpainPhone +34 93 2033025Phone +34 667 753207Email cinema@pacopoch.catEmail serge.mcastillo@gmail.comWeb www.pacopoch.catIntroductionDuring the last day of summer, while at thebeach, four year-old Thibaut mysteriously disappears,leaving no trace behind. The wetlands, thetown and the fog will permanently surround hismother’s wait.Synopsis1980. Costa Brava. The Férdinand’s last days ofAugust go on peacefully, at a bungalow estate onthe northern Catalan coast. The place is boundedby the Empordà Wetlands, which increase thenatural beauty of the place. Jeanne (40) and Pierre(45) live their last summer as a couple: they areseparating. Taking care of their son Thibaut (5)and the shared space are the last fragile bondsthat keep them together. Marie (17), their teenagedaughter, spends her time going out at night withher friends.A rough storm interrupts the last days of theholidays, announcing the end of summer. Thenext day, the family arrives at the empty beach forthe last time. Thibaut sits on his towel beside hismother. Suddenly a man, Ramon, stands betweenthem and takes his clothes off. Jeanne stares athim, surprised by the male display. When shelooks back, Thibaut has disappeared.In the evening everybody looks for Thibaut on thebeach. The boy doesn’t show up. The police beginsearching the coast and the wetlands, a search thatgoes on well into September.Pierre, frustrated by the failed investigation of hismissing son, decides that it is time to leave. Jeannedoesn’t agree: she says to herself that her childis there and she can’t abandon him. Pierre takesMarie back to France, leaving Jeanne alone in thenow cold and hostile land.Jeanne regularly visits the beach where Thibautdisappeared. She waits, with a determinationthat fades into the days, through time and lonelylandscapes, turning her into a spectator of theactivities of fishermen, sailors, fleeting characters,hardened gestures and faces which seem to blendwith rocks carved by the wind and the sea. In thewetlands she meets the mysterious man she sawon the beach. Ramon, marginalized by the restof the town, keeps watch over the savage wetlandterritory, an area where things aren’t measured bystrict rationality.Christmas comes and Marie returns to thebungalow and asks Jeanne to forgive her for leavingher. Exiled from her natural context, Marie is a lostteenager beginning to notice the isolation besideJeanne’s silence.When the town hall decides to expand the wetlandnatural park, they kick Ramon out. Jeanne takeshim into her bungalow until he can find a placeto stay. Jeanne learns to appreciate Ramon’spresence. His childish sadness, tranquility andindependance, seem to act as an echo of her owncharacter.A rough storm arrives with the new summer. Inthe wetlands, a group of scared cows moo. At thebungalow, Ramon, nervous, can’t sleep. He getsup and walks to the wetlands in the rain. At dawn,Jeanne finds Ramon shivering, sleeping on thewetlands’ soaked ground near the cows.Jeanne takes him away and helps him take his dirtyclothes off. When they return, the cows have disappeared.A group of people surround a buried cow’sleg. Jeanne listens to the explanation, livid: the rainhas created an underground water bag under theground, which has given in under the cows’ weightand swallowed them up.The beach is full of holidaymakers again. A groupof men dig at the beach in the place where Thibautdisappeared. Slowly, they find a bone covered byThibaut’s blue swimming costume.Marie and Jeanne, mixed in a procession of townfolk, carry the bungalow’s furniture and throw iton a big pile. It’s Midsummer Eve. As night fallsJeanne looks at the sand of the beach, watching thefireworks with her eyes full of tears.22 CineMart Projects

Lluís Galter Paco Poch Sergi MorenoDirector’s StatementOriginal StoryTowards the end of the summer of 1980, a Swiss boy mysteriouslydisappeared from a sand beach of the Costa Brava.The body only turned up three years later, in the exact spotwhere his parents had last seen him, buried in the beachsand. Two days before his disappearance, a storm hadflooded the surrounding areas, surrounded by marshes andnear the river mouth. A geological report pointed out that inplaces likes this, with unstable grounds, water bags usuallyappear a few feet under the surface, eroding it and considerablyincreasing the risk of earth movements: the child’sbody had been swallowed up by the sand.Disappearance and DisorientationIn traditional stories a disappearance causes a search, atthe end of which usually comes a finding. And, mostly,this object or character is somehow removed, which pointstowards a journey undertaken by its pursuers, a physicaland emotional journey towards an ending. However, whatwould happen if there were no clues, no steps that signpostthat itinerary, if the circumstances didn’t give us the possibilityof holding on to a criminal investigation or, in short,to suspense? The journey turns into an inner journey, asearch for knowledge and for change; it still possesses thehardship of a physical journey and the uneasiness of ajourney to nowhere.Even though our main characters are a family, beforeanything else we must consider the group which they are apart of, the human circle to which we associate a primarydefinition, that of holidaymakers: people who take up anarea and a series of activities for a certain period of time,finite (a camping state on the coast during the summermonths).When the missing boy’s family decides to stay at the CostaBrava during the winter months, waiting (exasperated)for his return, we find ourselves, with a group of peopleout of place, who take up a space in a time that does notbelong to them any more and are, therefore, obliged tobear their peculiar circumstances. The supremacy of thetourist during the summer season is clear and indisputable.The natives’ job is to provide entertainment for foreigners.However, when the season ends, relationships can turnaround. The host is released from his obligations andregards the foreigner as a hostile body, a body that shouldnot be there. Likewise, the natural space of the holidaymakeris emptied of its primary content, the place becomesunnatural, it goes cold and rough, becomes uncomfortableand hostile.Physical BackgroundThe family story is a struggle for survival in a hostileenvironment whose aggressiveness is forever present, andunravels under different ways of violence at times moreor less explicit. The landscape is crucial to define thecharacters: the town, with a natural environment unrelatedto time, inbred, with its rituals, traditions and popularfestivities; the marshland, which separates the estate fromthe town and makes up that transitional area, unstable,phantasmagorical, a kind of limbo, which defines thetemporary nature of the characters’ states of mind. Finally,the sea, the endless beach and the horizon, without visibleboundaries.The disturbing component comes from the unusual, fromthe unexplainable, from the mystery and from avoidingthe connections with everyday situations. These situations,if rationally understood, would remove the suggestivecomponent, the unease and uncertainty that is crucial toour story.Company ProfilePaco Poch CinemaPaco Poch Cinema is a Barcelona-based productioncompany dedicated to the development, productionand diffusion of cross-border, international audiovisualprojects. The company is headed by producers Paco Poch,Irena Visa and Sergi Moreno, a team that brings over twentyyears of solid production and development experience inthe audiovisual sector.Paco Poch, the head producer, started working as a photographerof cultural events and as a production manager.He has produced several feature films and documentariesfor television like La leyenda del tiempo (the Legend of Time)which premiered in Tiger Award Competition at the 2006IFFR and Cravan vs Cravan (2002) both by Isaki Lacuesta,Innisfree (1990) by José Luís Guerin, Gaudi (1989) by ManuelHuerga, and co-produced Durruti (2000) by Jean LouisCommolli.In Barcelona in 1991, Paco Poch received the NationalCinematography Award in Barcelona. He has also worked asa cultural manager in different areas. At present he teachesproduction at Pompeu Fabra University (UPF) in Barcelona.Paco Poch Cinema has recently started to distribute featuresand documentary films in Spain, such as Ne change rien(2009) by Pedro Costa, The Turin Horse (2011) by Bela Tarr,Le père de mes enfants (2009) and Un amour de jeunesse (2011)both by Mia Hansen Love.Current StatusThird version of the script is finished. Looking for financingfrom Catalan and Spanish TV, and waiting for Spanishand Catalan funds for development and production. Alsowaiting for the April 2012 call for MEDIA co-productionprojects. Shooting expected in November 2012.Goals at CineMartWe are looking for partners from German-speaking and/orFrench-speaking countries, interested in co-producing ElsEstiuejants. Also looking for an international sales agent.Previous Work available at CineMartThe feature film Caracremada (2011) by Lluis Galter isavailable in the Video Library and on Festival Scope.CineMart Projects23

ChileGroenlandiaGreenlandJosé Luis Torres LeivaJosé Luis Torres LeivaJosé Luis Torres Leiva (1975, Chile) has made a considerable number of short films andindependent videos. Supported by the Hubert Bals Fund (HBF), El cielo, la tierra y la lluvia(2008) was his first feature film. It was nominated for a Tiger Award and won the FIPRESCIAward at the IFFR in 2008. His second feature, Verano has also been supported by the HBF.It had its premiere at the Venice Film Festival in 2011 and will be screened at this year’s IFFR.Copia imperfecta is the name of another Torres Leiva film that will be screened at this edition ofthe festival. This one-and-a-half minute film was commissioned by the Hubert Bals Fund, and isthe leader that will be shown before all HBF-supported films.Bruno BettatiFeature: Shooting format:Epic, Final format: DCP | 85min. | Black-and-whiteBased on: Original Screenplayby José Luis Torres Leivaand Alejandra MoffatLanguage: SpanishLocation: Neltume (Chile)Budget: € 431.750Financing in place: € 10.000Production Company:Jirafa € 10.000Seeking partners from:France, Germany, Norway, PortugalPresent at the CineMart:José Luis Torres Leiva, Bruno BettatiContactJirafaAv. Perez Rosales 787, Of. A.511 0652 ValdiviaChilePhone +56 632 13556Fax +56 632 13556Email bruno@jirafa.clWeb www.jirafa.clIntroductionIván has just turned 73 and shares his days withhis old dog Emilio at Neltume, a small town in thedeep south of Chile. Dominique (66), Iván’s ex-wifeand Sabine (35), their only child, arrive fromabroad to visit him for the first time in 25 years.The women have a big announcement for Iván:Sabine is three months pregnant; same as Gabriela,Iván’s occasional lover. During a storm Sabine,Gabriela and Dominique will be part of the birthof a new family. They will get to know each otherand learn to stick together, joined by the love theyall share for Iván, who will be reborn as a fatherand grandfather.SynopsisGroenlandia tells the story of Iván, a quiet andlonely man who 20 years ago decided to move toNeltume, a small town in the deep south of Chile.It’s winter. Iván has just turned 73 and shares hisdays with his old dog Emilio. One cold morning,he finds Emilio very sick and along with Francisco(35), neighbour and driver of a nearby lumbermill truck, he decides to take him into town to beexamined by Gabriela (36), a doctor and Iván’soccasional lover.Gabriela and Iván are expecting a baby, but they’vedecided to live separate lives while maintainingthe love that has joined them for almost eight yearsnow.Gabriela suggests sending Emilio to the closestcity’s veterinarian to be examined in order todiagnose its illness.A few days later, Dominique (66), Iván’s ex wife andSabine (35), their only child, arrive from abroad tovisit him for the first time in 25 years. The womenhave a big announcement for Iván: Sabine is threemonths pregnant. It’s a big deal, but Iván can’t helpfeeling down and worried for the health of his dearfriend Emilio.Encouraged by Sabine, Gabriela will spend theweekend with Iván to accompany and support him.Outside a big storm is coming, which will forcethem to take refuge in Iván’s house.During this time Sabine, Gabriela and Dominiquewill be part of the birth of a new family. They willget to know each other and learn to stick togetherjoined by the love they all share for Iván, who willbe reborn as a father and grandfather, and will notgive up hope of having his dog Emilio back by hisside.Director’s StatementThis year, 2012, my father is turning 73 and Ican see that within himself he still longs for newexperiences and will not accept old age as a reasonto hang up his boots. This is one of the fundamentalreasons I had for writing the story of Iván,maybe as a small homage or as a very personalmanifesto of love and admiration for the figureof my father. And even though the story does notreally resemble that of my father’s life, the essenceof the paternal figure that I have always seen inhim is in every scene.On the other hand, there is Nelson Villagra. Heis a very well known and respected Chilean actor,who in 1971 starred in El Chacal de Nahueltoro,directed by Miguel Littin and it is one of the mostimportant movies of our national filmography. Iadmire his work as an actor, and the possibilityof working with him has always been there. A fewmonths ago I found out that he is the same age asmy father and that they were even born in the samemonth. Even though for some people it might seema random coincidence, I think somehow all of thismade sense to me and, when put together, startedme working on the character of Iván, always havingNelson Villagra in mind as the actor who wouldplay him.In Groenlandia there is also the desire to speakabout old age while avoiding all its clichés andstereotypes. To talk not about the end of a life,but more about the start and the possibility ofsomething new, of hope, in this specific case, aboutthe birth of Iván’s son and grandson when he hasjust turned 73. This is also the story of the birth ofa new family and the loves it consists of.The story of Iván, Gabriela, Dominique andSabine talks about the need for communication;all the things you hold dear; looks between people;physical touch; and feelings. It is a movie thatputs emphasis on bodies and faces as landscapesof human nature. It is a movie that speaks aboutparents, children, family and the need to bond.It is a portrait of love and lack of love, and otherforms of solitude. It’s about looks that stare intothe void, lost in thought. Revealing gestures,silences that hurt, that cure, an aura of melancholy.And suddenly hope appears spreading a breath oflife and happiness into the heart of this family.24 CineMart Projects

Company ProfileJirafaIn January 2001 Jirafa was established in Valdivia, Chile,as a company for audiovisual services. Jirafa representsthe association of industrial designer Ilan Stehberg andaudiovisual producer Bruno Bettati. They have produceddocumentary TV series, children’s TV series and shortfilms. Their first 35mm feature film, El cielo, la tierra y lalluvia (2008) by José Luis Torres Leiva, was shot in Valdiviaand premièred at the 2008 IFFR and won the FIPRESCIaward.Their second and third 35mm feature films, Optical Illusions(2009), by Cristián Jiménez and Huacho (2009) by AlejandroFernández Almendras were co-productions with EuropeanUnion countries. Bonsai, the second full length film ofCristián Jiménez, premiered at Cannes 2011 Un CertainRegard, after he completed his Cinéfondation Residencein 2010. The Summer of Flying Fish by Marcela Said is nowin development. El Futuro is a multiple co-production withSpain, Italy and Germany, for Alicia Scherson’s third filmwhich has recently finished shooting.Current StatusFirst version of the script available.Goals at CineMartMake contacts with European co-producers, funds andinternational sales agents.Previous Work available at CineMartThe feature film El cielo, la tierra y la lluvia (2008) by JoséLuis Torres Leiva is available in the Video Library and onFestival Scope.CineMart Projects25

Brazil, Chile,ArgentinaA Happy DeathA morte felizEduardo NunesEduardo NunesEduardo Nunes (1969, Brazil) was educated at the UFF Film School in Rio de Janeiro, then wenton to work as an assistant director, producer and editor. In 1994 he directed his first short film,Breath. Four of his subsequent short films have won prizes at international festivals. Sudoeste(2011), his first feature film, was awarded at the 2011 Rio de Janeiro Film Festival with theSpecial Jury prize, the FIPRESCI Latin-American Best Film prize and the Best Photographyaward. The film will be screening in the Tiger Awards Competition of the 2012 IFFR.Patrick LeblancFeature: Tbd | 100 min. | ColourBased on: the unfinished first novel‘A Happy Death’ of Albert CamusLanguages: Portuguese,Spanish, FrenchLocations: Brazil, Argentina, ChileBudget: € 1.670.000Financing in place: € 100.000Production Company:Superfilmes € 100.000Co-Production Company:3 Tabela FilmesSeeking partners from:Argentina, Chile, FrancePresent at the CineMart:Eduardo Nunes, Patrick LeblancContactSuperfilmesRua Simão Álvares, 784 / Casa 205417-020 Sao PauloBrazilPhone +55 11 30315522Fax +55 11 38159474Email pleblanc@uol.com.brWeb www.superfilmes.com.brIntroductionPedro is a man of about 30 years-old, whose lifeis reduced to a mediocre job and routine. And,the jealousy for his girlfriend Anna leads him tomeet Zacarias, her first boyfriend. Pedro becomesdismayed. Zacarias is an ill man: his arms areatrophic and his legs amputated. After a conversation,Zacarias convinces Pedro to kill him, and tolive the life he never could: spending his money insearching for the true happiness, the happy death.This project is an adaption of Albert Camus’ first,unfinished novel ‘A Happy Death’.SynopsisPedro, a man in his thirties, has his life summarizedto a mediocre routine and job. He spends hisdays between an office at the port of Rio de Janeiroand his tiny apartment. He is always accompaniedby his friend Emanuel, Patricio, the owner of therestaurant he lunches in, and his girlfriend Anna.Pedro is very jealous about Anna, which leads himto meet Zacarias, her first boyfriend from manyyears before.The meeting with Zacarias dismays Pedro.Zacarias is a sick man: his arms are atrophic andboth legs have been amputated. The repulsionPedro feels disappears as he becomes fascinatedwith Zacarias’s discourse: the theory of the ‘happydeath’, the possibility of making death the ultimatemoment of a life in searching for happiness. Theyhave a conversation and Zacarias convinces Pedroto kill him, to live the life he never could: spendingall of his money in search of the happy death.Pedro kills Zacarias.Two days later, with Zacarias’s money, Pedro quitsAnna, his friends, his job and his city. He starts ajourney to the interior of Latin America.Pedro stays some days in a simple hotel in thehinterland of a small town in the State of Goiás.His routine is tiresome: always lunching in thesame restaurant, and staying almost all the time inthe hotel room. Memories from the life he used tohave and of Anna (through other women he meets)show up. Everyone and everything seems suspectto him. He feels observed the whole time. Finally,on a Latin American map he traces his target, andon the next day leaves the town.Pedro travels by train to Chile, crossing theplateau of Paraguay. He remains alone in the trainwagon, but little by little, with the spreading ofthe sunlight he starts perceiving the possibilityof reaching the happiness Zacarias had promisedhim. His days keep on being solitairy with theempty hotels and the uninteresting people heencounters. He meets a prostitute, Helen, justbecause she reminds him of Anna. Solitude returnsand happiness is never realised. Pedro decides togo to a small town near Bariloche, in Argentina, tovisit his friends Betina and Clarice. This decisionfills him with happiness.Pedro spends weeks living with Betina, Clariceand a new friend, Catherine, who lives in agorgeous house at the top of a mountain. Thedays go by calmly. Pedro has a good stay withthem, sometimes sleeping with one, sometimeswith the other, sometimes with both. Catherine,who observes everything from a distance, fallsin love with Pedro. He however spends his daysbetween the stars and the sun, only looking forthe pleasures life can afford. Visiting a smallmarket in the village, he meets Lucienne, anemployee owner of ‘an enchanting simplicity’. Hestarts a shy relationship with her, and they beginto take walks together. Naïve promenades in acompletely different environment to the one of thehouse. One day Pedro says farewell to his friends,buys a beautiful convertible car, and leaves withLucienne. He says he likes her very much and thatif necessary, they may marry. She answers: it willbe as you will. They travel in the convertible car tothe seashore of Chile. On the way there he tells herthat he must pay a debt to a friend.He buys a gorgeous house on the rocks above the seaand he starts a new life, different to everything he haslived before. A life finally occupied by the happinesshe deserves. The days skip by happily, in the stillempty house fulfilled only by Lucienne’s presence. Inthe village, Pedro makes new friends, but from timeto time, the old anguish returns. Lucienne needs toleave, saying that she will return soon.As the solitude becomes stronger, Pedro finds inthe quotidian of the village the simple life whichjustifies his search for happiness. But the solitudeis even greater. The fever returns and reality nolonger seems to be only one: Anna and all thepeople of his previous life appear to stay dividingthe same place and time with him. He finallyunderstands that the only possible happiness is theone of the motionless beings, only a stone betweenthe stones.26 CineMart Projects

Director’s StatementIn my work as a filmmaker, I always escape from everythingthat could resemble to the images which I ponder andconduct. A motion picture is a mosaic of small souvenirs:shapes, colors, noises, music… A story only exists since weestimate that its real elements are susceptible to be part ofour lives. The cinema I trust is supported on observationand contemplation of the projected world in order to sharecomplicity with the audience.The adaptation of ‘La mort heureuse’ (A Happy Death), sincethe beginning, takes off not only from the book publishedin 1971, but from many notes Camus made on his own novelas well. This allows the reconstruction of a universe alikethe one described in the book, being related to the universalityof the proposed theme: is it possible to have a happydeath? What does it mean? How much does it cost for us?After my studies in Cinema, as a cinephile and devotedreader, the discussion on the adaptation and the analogybetween Literature and Cinema never ceased to interest me.I think the main and most flagrant difference between bookand film comes from that one which distinguishes verbalfrom visual communication or, in other words, the so-calledmental and visual image, between a conceptual apprehensionand a direct comprehension. So, in this manner, themaking of a visual image leads the audience to perceivingthe objects and the situations represented from them,although the writing displays the reader in a field where themental images belong to him. Thus, the literary oeuvres arealways considered richer and artistically stronger than thecinematographic ones.Fortunately, there are numerous examples that show thepossibility of making good films from important literaryoeuvres. I think that Une partie de campagne (A Day in theCountry), Cet obscur objet du désir (That Obscure Object ofDesire), Sophie’s Choice, The Postman Always Rings Twice, Labelle et la bête (Beauty and the Beast), 39 Steps, and manyothers are good examples.My intention is to adapt ‘La mort heureuse’ followingthe same structure conceived by Camus in his novel. Theforwarding (psychology, intellectual and space-timing) ofthe protagonist is enough precise and evocative. As well,the descriptions of the situations, the adornments andMersault’s relations with the other characters are quitewell detailed in the novel. This suggests the emblematizingof innumerous images and the triggering of a rigorousnarrative which will drive the principal character’s destinyto the main point of the story.Being lucky to adapt ‘La mort heureuse’ will do it underthe shadow of the greatest admiration I have for the oeuvreof Albert Camus, taking into account the course open forcommentaries, critiques and suggestions of stakeholders.The passion which impulses us to opting for this very novelis sufficient serious to become more than a will and a workforce, which is to permit the realization of this high qualityfilm.Company ProfileSuperfilmesFounded in 1983, Superfilmes is headed by Patrick Leblancand Zita Carvalhosa, who also created the São Paulo InternationalShort Films Festival in 1989. Over the years thecompany has produced 18 features, and more then 60shorts, documentaries and programmes for television.Superfilmes’ productions include, Urbânia (2001) by FlavioFrederico which premiered at the 2001 IFFR, A casa de Alice(2007) by Chico Teixeira, which premiered at the 2007Berlinale, won the prize for Best Film at several festivals andscreened at the 2008 IFFR, and Sudoeste (2011) by EduardoNunes, which is selected for the Tiger Award Competitionat the 2012 IFFR. Superfilmes has adjusted itself to performover the multi audiovisual production ranges, becomingone of the main independent production companies in SaoPaulo, Brazil.Current StatusWe signed an option with the editor in April 2011, validfor two years. Eduardo Nunes has delivered a first draft atthe end of December 2011. We started discussions withproducers from Argentina and Chili in order to establish atripartite co-production.Goals at CineMartFinding partners, Argentinian and Chilean co-producersand a sales agent.Previous Work available at CineMartThe feature film Sudoeste (2011) by Eduardo Nunes isavailable in the Video Library and on Festival Scope.CineMart Projects27

ArgentinaHistory of FearHistoria del miedoBenjamin NaishtatBenjamin NaishtatBenjamin Naishtat (1986, Argentina) graduated from Universidad del Cine in Buenos Aires in2008. From 2009 to 2011 he took part in Le Fresnoy - Studio National des Arts Contemporains’two year programme in Tourcoing, northern France. He has directed the shorts Estamos bien(2008) and El juego (S16mm, 2010), of which the latter premiered at Cannes Cinéfondation,was screened at the 2011 IFFR and won Best Short at the 2011 BAFICI.In 2011 Le Fresnoy - Studio National financed his video installation Historia del Mal, a loopprojection of fake footage from Patagonia’s desert conquest. To date it has been shown in theart shows ‘D’une génération à l’autre’ - Maison de l’Argentine (Paris), ‘Saison vidéo’ (Lille) and‘Video-Salon 5’ (Sarajevo). Currently Naishtat is working on History of Fear, which will be hisfirst feature film.Benjamín DomenechFeature: 35mm | 90 min. | ColourBased on: Original Screenplayby Benjamin NaishtatLanguage: SpanishLocation: Buenos Aires (Argentina)Budget: € 350.000Financing in place: € 200.000Production Company:Rei Cine S.R.L.Partners attached:INCAA € 170.000,Le Fresnoy – Studio National desArts Contemporains € 30.000Seeking partners from:Norway, Germany, France,Switzerland, Spain, Canada, MexicoPresent at the CineMart:Benjamin Naishtat,Benjamín DomenechContactRei Cine S.R.L.Av. Dorrego 1940, 2ºMC1414 CLO Buenos AiresArgentinaPhone +54 11 47743244Email info@reicine.com.arWeb www.reicine.com.arIntroductionIn this darkness, they can finally see.SynopsisChristian spends his days trimming grassand taking care of a football court at a gatedcommunity in the most distant suburbs of BuenosAires, not far from the blur point where thegreen wilderness begins. The people inside thecommunity hardly ever go out, and visitors arerare. But Christian belongs to both worlds, thegated and the wild. He fears the impact of thestrange people who have started wandering nearbythe community. Everyday he spends long momentssimply watching them, observing their movesthrough the fence, wondering if he should takesides in this invisible war.When one more year is about to end, under anunreal December heat, a large gathering takesplace at the community. Everybody comes,friends and relatives. The kids play out in thepark. Midnight comes and rockets are launched.Everybody is drunk now. And suddenly there’sa power blackout. Maybe it’s because of theheat. Someone quietly makes a remark aboutthose strangers, and people get tense. They keepdrinking and try to stay calm. But terror spreadslike a stain of ink. And then they can see. In thisdarkness they can finally see them.Director’s StatementFear. The idea is that at first, it works in a cerebralway: fear emerges from context and works throughthe logical understanding by the audience of thesituations that the characters face. But as the filmunravels, it shall become more and more intuitive,physical, almost epidermic. This experience iskey for the film, in the sense that it has the powerto achieve a much more real connection withthe audience. Real as in primary, an urgent andimmediate comprehension that is beyond culturalbackground or prejudice. It happens here and now,today.This is how I will develop the subject matter of theproject: the fear of the Other. By Other, I refer tothat person we see every day, that Other that showsus how normal we are, that Other that remindsus that we belong to a civilized society, whereasthey live in chaos. This Other is not understood,it’s not acknowledged; this Other is feared, it’seventually hated, because it threatens the way welive. Sometimes something bad will happen andthis Other will be someone to blame. Sometimes itwill be blamed with good reason, and sometimesit won’t care. The main thing about this Other isthat it has become a mental picture: contact hasbeen lost with its real, personal entity. The Other iseventually an idea, a word, a projection, a problem.Projection is the main issue in this film. Thesensation of fear that holds the structure of thefilm together is not built by the certainty of theOther’s presence, but by the characters’ projectionof the Other in the plot. Through this projections,the audience will start projecting themselves,following the same path the characters do. Whenthe movie ends in a very long, violent sequencethat happens in absolute darkness, the audiencewill wonder why they were afraid, consideringnothing that could actually scare them was shown.The audience will be scared because the characterswere afraid themselves, and because just as them,the audience will project their own personalmental image of that Other’s presence.Although the film is specifically set in an Argentinecontext, several versions of the treatment andscreenplay were written while I was working in theFresnoy programme, in the very north of Francewhich is a particularly desintegrated, multiethnicaland violent area. This experience allowedme to understand the plain fact that, even whendifferent societies have different problems relatedto their different social dynamics, people’s wayto react to such problems is more than similar.In Argentina, as in the rest of Latin America, theOthers are the people who live in material misery,which are counted in the millions for generationsnow. The film deals with these fearsome projectionsof an Other that has become a symptom ofour times.Both the tone and rhythm of the film will spinaround the purpose of building an atmosphere oftension and uncertainty. I will take time to observethis very particular outskirt scenery, capturing thesuburban condition and the presence of nature inthese desolated landscapes. Acknowledging fearas a basic human emotion, I will drive the actorsthrough a journey into their most instinctive28 CineMart Projects

nature, aiming to capture the physicality of borderlineperformances. The film will be done in very long shots,achieving the sort of tension that can only exist and growin the duration of scenes. Sound will be a very major issuefor the overall feel of the film to emerge as well. The sounddesign will carefully evolve through the film as to achievea more and more strange (not unrealistic but very intentional)construction of the proper atmospheres that willfavour the projection of a presence.Goals at CineMartMeet potential co-producers, both related to film andcontemporary art. Meet sales agents who want to getinvolved early on in the development process.Previous Work available at CineMartThe short films Estamos bien (2007) and El juego (2010) byBenjamin Naishtat are available in the Video Library and onFestival Scope.Company ProfileRei CineRei Cine was created in 2008 to provide a smart productionplatform for young filmmakers. The company focuseson its talents, showing complete commitment towardsevery project and looks to establish long-term relationshipswith them, becoming involved in both their creativeand production stages. Taking into account each project’sspecific requirements and conditions, Rei Cine is opento new technologies and distribution models, looking toenhance the viewer’s experience.Rei Cine’s 2012 line-up includes: Leones by Jazmin López;Villegas by Gonzalo Tobal, and Carmita by Laura AmeliaGuzmán and Israel Cárdenas (as a minority partner). BothLate to Die Young by Dominga Sotomayor and History of Fearby Benjamin Naishtat are currently in development.Current StatusHistory of Fear is currently in the last stages of development,confirming the financial structure and co-productionpartners as well as partners with an contemporary artbackground. The project received a production award forfirst features by local film fund INCAA, placing 60% of thefinance. Principal photography is set to begin November2012.CineMart Projects29

Serbia, GermanyHumidityVlaznost vazduhaNikola LjucaNikola LjucaNatasa DamnjanovicNikola Ljuca (1985, Serbia) graduated from the Department of Film Directing of theFaculty of Dramatic Arts in Belgrade. He participated in several international projectsand workshops in Hungary, The Netherlands and South Korea. He participated inthe Sarajevo Talent Campus 2010 and was a Robert Bosch Co-production Prizenominee in the same year. His short film Thursday (2010) was selected for a numberof international film festivals including the Uppsala International Short Film Festival,the Corona Cork Film Festival, the Young Cuts Film Festival Montreal, the BeginningFilm Festival in St. Petersburg, and won several national and international awards(in Montreal, Banja Luka, and Novi Sad). His recent short film Sergeant (2011) is juststarting its festival run and until now has been selected for Uppsala and GlasgowShort Film Festival. Ljuca works as an assistant and casting director on feature filmsand TV-shows and as a video artist in theater and contemporary art projects. Havingrecently finished two shorts, Humidity will be Ljuca’s first feature film. This projectreceived Hubert Bals Fund script development support, won the ARTE InternationalRelations Award at the 2011 Cinelink (Sarajevo Film Festival) and was selected forthe 2011 Berlinale Script Station and Actors Stage readings. Humidity is selected forCineMart through the Boost! training trajectory.Feature: Shooting format digital(Arri Alexa), final format 35mmand DCP | 100 min. | ColourBased on: Original Screenplayby Stasa Bajac & Nikola LjucaLanguages: Serbian,minor parts in EnglishLocation: SerbiaBudget: Approx.€ 800.000Financing in place: € 16.000Production Company:Dart FilmCo-Production Company:zischlermann filmproduktion GmbHSales: Soul Food FilmsPartners attached:Hubert Bals Fund € 10.000,ARTE International RelationsAward € 6.000Seeking partners from:The Netherlands, France,Slovenia & other EU countriesPresent at the CineMart:Nikola Ljuca, Natasa DamnjanovicContactDart FilmNiska 6/711000 (PAK 126807) BelgradeSerbiaPhone +381 11 3449225Fax +381 11 2435209Email natasa@dartfilm.comWeb www.dartfilm.comIntroductionThe wife of a successful young man has disappearedafter an ordinary morning. The man isassured she will return promptly and returns towork and friends. But maybe she is just the first ofthe collapsed dominoes.SynopsisMina, an attractive thirty year old, having spentthe morning with her older lover, goes to theBelgrade airport to pick up her handsome husbandPetar and his colleague. On the way back, shesilently listens to them talk about their trip. Athome, while Petar is in the shower, Mina disappears.Petar goes to their friends’ party as planned,telling them Mina felt sick. But as she doesn’tappear the next day he just keeps on lying. At work,where his job is to make clients not feel bad aboutbreaking the law, the pressure grows as a new dealapproaches. His boss is the wife of an influentialpolitician, which helps them land the biggestconstruction jobs in Serbia.In the constant summer heat, Petar can’t sleepand spends the nights riding his bike through theempty city. He won’t admit anything is wrong, buthis emotions are pouring out and the more he triesto suppress them, the harder they hit back.Petar tries to turn to someone, but his family ispreparing for the big Slava dinner party, his sisteris obsessing over her child and the restaurant she isopening and his unfaithful best friend’s wife looksfor comfort in him. No one sees he is unwell.He turns to partying, night after night, beforecompletely breaking down and having a minor caraccident. His inner demons have been unleashedand maybe he is not as kind as he thought he was,which petrifies him.It has been a week, and still there is no sign ofMina. At his parents’ party, she shows up. Afterthe party, they spend the night making plans forsummer holidays, while walking through theempty city, never even mentioning her absence.The next morning, she drives him to work.Director’s StatementHumidity is a film about a certain generation ofpeople in their mid and late thirties, living inBelgrade. They are the ones whose lives were aboutto start just when the former Yugoslavia collapsed;the ones who stayed in the country and didn’temigrate. They went to universities and protestedagainst Milosevic, as they believed to be the futureof the country. They did everything they could tosurvive and stay normal.When the situation in Serbia changed, all theywanted was to be on top of the game. But the timeswere cruel and success would have to come withethics and emotions on the price tag. Once theirnew lives maintaining the image of success andSerbian prosperity were established, their personalissues started resurfacing in a strange fashion.This young, beautiful generation started living in aself-induced vacuum, forgetting and neglecting thepast, both personal and national.The predominant atmosphere of the film is a dampand suffocating summer heat in the middle of anoisy city, especially at night time when there islittle you can do to cope with it. The characters live,work and move through newly built and meticulouslydesigned spaces in the otherwise dilapidatedand rundown surroundings of Belgrade. Underminingthe story on the surface is the constanttension and thriller-like sensation that does notreally originate from the narrative itself, but morefrom the slight unpleasantness of over exposedimage and multilayered sound design.30 CineMart Projects

The subject I have chosen is something no film in our regionhas explored, yet I feel that it is a vibrant issue concerninga great deal of people. Social transitions strike peopleeconomically, but intimately we should always re-evaluatewhat we have gained and what has been lost in the processof change.Company ProfileDart FilmDart Film was founded in 2006 by two young film professionalsand has since then managed to find its place in theexpanding field of Serbian film production by independentlyproducing a number of shorts and documentaries. Thecompany set out to form a creative work space for upcomingfilmmakers, nurturing a very close relationship andgrowing with them. Perhaps the best example of this is DartFilm’s long-lasting collaboration with director Nikola Ljuca.Dart Film has worked with him from his student films -including his graduation film Thursday (2010), which had asuccessful festival run - to other projects after that, one ofwhich was nominated for the 2010 Robert Bosch StiftungCo-production Prize, and is now developing Ljuca’s firstfeature film Humidity. Dart Film currently has two shortfilms in post-production, a documentary in production andanother feature project in pre-production phase.Current StatusHumidity is currently in the final stages of script development.Shooting is planned for summer 2013.Goals at CineMartFinding potential co-production partners, distributors andTV broadcasters.Previous Work available at CineMartThe short films Thursday (2010) and Sergeant (2011) byNikola Ljuca are available in the Video Library and onFestival Scope.CineMart Projects31

GreeceHungry MouthPeinasmeno stomaArgyris PapadimitropoulosArgyris PapadimitropoulosArgyris Papadimitropoulos (1976, Greece) attended several media and filmmaking coursesin the U.K. and Greece and since then directed several short films and hundreds of TVcommercials, took part in the Berlinale Talent Campus and in 2008 made Bank Bang, his firstfeature. Wasted Youth (2011), which he co-directed with Jan Vogel, was both the opening film ofthe 2011 IFFR, and selected in the same festival’s Tiger Award Competition, as well as in othermajor festivals around the world. Hungry Mouth will be Papadimitropoulos’ third feature lengthfilm. He is also the owner of Oxymoron Films, a production company with an extensive portfolioof films made by some of the best new talents of the Greek cinema.George KarnavasFeature: 35mm | 90 min. | ColourBased on: Original Screenplayby Nicos Panayotopoulos, which isbased on a Novel by Lena DivaniLanguages: Greek, EnglishLocation: Athens (Greece) andone other European capitalBudget: € 1.075.000Financing in place: € 85.000Production Company:Stefi Productions € 85.000Seeking partners from:Ireland, Germany, Sweden,The Netherlands, France,United KingdomPresent at the CineMart:Argyris Papadimitropoulos,George KarnavasContactStefi ProductionsAmyklon 24152 31 Halandri, AthensGreecePhone +30 21 06386200Fax +30 21 06108918Email g.karnavas@stefi.grWeb www.stefi.grIntroductionHungry Mouth is a psychological thriller thatechoes the basic concept of Pier Paolo Pasolini’sTeorema (1968) in a setting that brings to mindWoody Allen’s Matchpoint (2005).A 26 year-old law student who works as a dogtrainer, storms into the world of an upper-classcouple, a 55 year-old law professor and his 45year-old wife. Using the basic principles of dogtraining, he leads both of them to a cliffhangersituation where they have to face the void of theirlives.SynopsisYiannis is a young ambitious law student. He hashis youth, his good looks, a dangerous mind butnothing more. A nobody since his childhood,he got through his studies by working as a dogtrainer. Christos, on the other hand, is one of lawschool’s most acclaimed professors; he has socialstatus, bank accounts, a wife from the right circlesand, of course, connections to higher places.The two of them meet by chance one night in thecentre of Athens, while walking their dogs outand… the battle begins. What does the youngstudent’s hungry mouth want to snatch from histeacher with so much longing? His money? Hiswife? His son? His work? His life? No matter what,one thing is certain: he is determined to get it.Using Christos’ unruly dog as a Trojan Horse,Yiannis invades into the couple’s life like an exterminatingangel. Christos admires the self-madeyoung man’s primitive energy, his enthusiasm, hisnerve and his insight. He sees in him the oppositeto his boring, depressing life and the son he hadalways wished to have. He won’t hesitate to hirehim as a trainee-lawyer in his office. And Yianniswill prove useful to him in more ways than one.His wife on the other hand will let herself fall intoYiannis’ arms, finding a new meaning in her sofar dull life. Her husband was never a grand loverin any case and their marriage was always just astep-up a social compromise.Serving the needs of both of them with terrifyingefficiency, Yiannis will soon become irreplaceable.His weapon, after all, is a cynical wisdom writtenunder his skin: there’s no democracy, neither inthe society of dogs or in the society of men. Onlymasters and slaves.Christos and his wife won’t be alarmed untilthe very end. When they realise that he actually‘trained’ them, the same way he used to trainlittle puppies, it will be too late… And only at thatmoment they will have to admit that they wouldnot want to yield up as much as Yiannis’ hungrymouth craved for…Director’s StatementThere is a very interesting dimension in the film,which is not related to film, but the etymology ofthe word ‘cynicism’, derived from the ancient Greekword ‘kynos’, meaning ‘dog’. This is the animalthat Diogenes, the greatest cynical philosopher ofhis time, thought the human race resembled themost.In the end, we are nothing more than dogs...When I try to visualise this film, I see the face ofa dog. A fierce, wild, barking dog with its sharp,ominous teeth. I hear its loud, annoying barking.I feel the throbbing blood in its veins. I imaginea close-up of a hungry mouth, its insatiable needto get what it wants: food, blood, copulation,survival...When I think of the story, I see two parallel worlds,co-existing next to each other with nothing incommon. When they meet, there is an explosionand the battle begins. Dogfight.When I imagine the taste of the film, I feelthe grainy dryness of cynicism. The two maincharacters, our males, feel like they want to rule agame, which was nevertheless lost a long time ago.The rules of the game have been laid way beforethem, so there is nothing more to do than justlearn these rules and make your moves. The onewho knows the rules gets to be the A-male.I read the novel ‘A Hungry Mouth’ by Lena Divanifew months ago. Back then, none of this wasobvious. I just knew I wanted to make this filmbecause it appealed to most of my filmmakingpreferences. There was a sharp and strongstory with direct conflict and clearly identifiedcharacters. There were the themes of mid-lifecrisis, lust, the conflict between sexual and classpolitics, the banality of everyday life and theviolence lurking underneath it, all of which I loveand featured in my previous work. There was alsoa clear genre, the psychological thriller and a great32 CineMart Projects

cinematic set-up, the world of kennels and the people thatrun them. Lastly, there was an original structural device,for example using the basic rules of dog training as chaptersand the great narrative device of having two different pointsof view of our two main characters.Soon though, there was something more; an idea that creptinto my mind like a virus and stayed there for good. It wasthe idea of a hungry mouth. A hungry mouth reacts unpredictably,cynically and uncontrollably. Survival is whatleads to that. And, soon, we are going to see many morehungry mouths around us; I am not talking just about theThird World, about immigrants, refugees and outsiders. Iam talking about people like us, people among us, whomeconomic misery will lead soon to such desperate reactions.Coming from Greece, this last thought was inevitable - justlike pondering on the etymology of cynicism…Company ProfileStefi ProductionsStefi Productions began to produce films in the 1970sand since then has worked on important artistic andcommercial projects. The company has produced andco-produced movies such as Homo Faber (1991), WastedYouth (2011), Unfair World (2011), Attenberg (2010) and hasworked with directors such as Volker Schlöndorff, NikosPerakis, Giorgos Panousopoulos, Emir Kusturica, ArgyrisPapadimitropoulos and Philippos Tsitos.Our current slate of production includes: The Boy Is EatingThe Bird’s Food, a feature film by Ektoras Lygizos, in postproduction;My Friend Larygus, a creative documentaryby Vasilis Katsoupis, in post-production, Invisible Cities,a creative documentary by Memi Koupa, in development,Hungry Mouth, a feature film by Argyris Papadimitropoulos,in development, The Rullers, a music documentary byDemitri Gkotsis, in development), and The Birthday Party, afeature film by Argyris Papadimitropoulos, in development.Current StatusThe project is in its first draft and we are in the processof local fundraising and casting. CineMart is the firstco-production market for this project and we mainly intendto attract co-producers and put ourselves on the radar offestivals from this early stage. Our goal is to shoot late 2012- early 2013.Goals at CineMartWe aim to build up a European co-production with twomore European countries and wish to meet producers,funds, sales agents and festivals.Previous Work available at CineMartThe feature film Wasted Youth (2011) by Argyris Papadimitropoulosis available in the Video Library and on FestivalScope.CineMart Projects33

IsraelThe InvisiblesMushon SalmonaMushon SalmonaMushon Salmona (1970, Israel) moved to London in 1994, where he earned a Bachelor’sDegree in Communication and Audio Visual Production and a Master’s in Cultural and CriticalStudies. He has worked on many low budget shorts, and worked in television as a researcher,location director and developer. After returning to Israel, he directed his first feature film,Vasermil, which was awarded the Special Jury Prize at the Jerusalem Film Festival in 2007 andwas screened at the 2008 IFFR. The Invisibles already received support from the Israeli FilmFund, and will be Salmona’s second full length film.Marek RozenbaumFeature: Digital | 90 min. | ColourBased on: Original Screenplayby Mushon SalmonaLanguage: HebrewLocation: IsraelBudget: € 800.000Financing in place: € 350.000Production Company:Transfax Film ProductionsPartner attached:Israeli Film Fund € 350.000Seeking partners from:Germany, The Netherlands, France,United Kingdom, Poland, HungaryPresent at the CineMart:Mushon Salmona, Marek RozenbaumContactTransfax Film ProductionsYagia Kapayim Street, 33rd Floor67778 Tel AvivIsraelPhone +972 3 6871202Fax +972 3 6871499Email sales@transfax.co.ilWeb www.transfax.co.ilIntroductionA tale of impossible love between a young Bedouinman from an unrecognized village in the Negevdesert, and a Jewish high school girl.SynopsisAt an army base in the heart of Israel, a youngman is returning his army equipment after threeyears of service. He is a handsome, dark skinned21 year-old wearing jeans and a sweatshirt. Hisarmy jacket has the rank of a staff sergeant and heis allowed to keep it for his reserve service. As hefills out the forms and receives his army reserveID we learn that his name is Raid, and he is from aBedouin village in the south.Waiting for Raid at the gate of the army baseto take him home is his cousin and best friendSleiman, a petty metal thief with a gamblingproblem who’s been banished by the family,leaving Raid the only one he is still in touch with.On their way down Raid confides to his cousinabout his intention of taking over from his fatherthe running of the family’s herd of sheep and goatsand developing it by setting up a roadside shopto sell food and merchandise related to Bedouinculture. When Sleiman stops at a Jewish villagewhere he sells his stolen metal, Raid comes acrossa small herd of goats for sale, and not willing towaste any time fulfilling his dream, negotiatesa price and shakes hands with the seller, to hiscousin’s skepticism and reserved support.They continue their journey south and stop in BeerSheva, the largest town in the Negev. There theyseparate, as Sleiman enters an illegal casino togamble the money earned from his latest sale andRaid looks for food. In a fast food stall Raid meetsNofar, a young Jewish high school girl, who arouseshis curiosity.By the end of this day, Raid will find that hisfather has sold the herd in order to finance Raid’sarranged marriage, and expects Raid to find anormal job outside the Bedouin community. Raidalso discovers that Nofar is actually Sleiman’sgirlfriend and that Sleiman is under heavy debts toa local mobster.In order to realise his dream Raid must firstconfront his father’s plans for him and he setsabout doing this by using his savings and hiswedding money to buy the family’s herd back.He starts building the roadside shop around anold bus on a hill, aided only by Sleiman and Nofar.However, that help has its price, when Sleimantries to drag Raid into his illegal dealings and thecloseness to Nofar brings the two together as theyfall in love.Raid and Nofar’s growing love for each other istaboo-breaking in their respective communities, asmuch as it is betraying Sleiman’s friendship.When the authorities demolish Raid’s shop,Sleiman manages to convince Raid to join himon one last lucrative job of stealing a telephonecopper cable. After Nofar’s father discovers herrelationship with Raid, she has no choice but to fleeand join them.What happens on a dark rainy night in the heartof the desert will test Raid’s love for Nofar and hiscommitment to fulfilling his dream.Director’s StatementThe Negev desert in the south of Israel is hometo the last indigenous community in the country,that of the Bedouins. Since Israel’s inception,about half of the 180,000 strong population ofBedouins in the Negev were encouraged to moveinto specially built townships, while the rest stilllive in what have become known as unrecognizedvillages. These villages are systematically discriminatedagainst in an attempt by the state to forcetheir residents to relinquish rights over the landthey inhabited for centuries, and move into saidtownships.Because of the drastic change in their way of life,the townships suffer from high unemployment,ever-rising crime rates and very low livingstandards. That is precisely why those who stayedin the villages refuse to give up their rights overtheir land and try to maintain tradition.As a result of their unrecognized status, livingstandards in these villages have deterioratedthroughout the years and, although they are Israelicitizens, those who inhabit them cannot enjoybasic conditions such as running water, electricityand health services. In addition they are notallowed planning permission and therefore anyconstruction done as a result of natural growth isunder constant threat of demolition by the authorities.This reality serves as the cause and the backgroundto often strained and tension-filled relationsbetween the Bedouin community and the Jewishone.34 CineMart Projects

I have been living in the Negev for most of my life and havewitnessed that fragile co-existence deteriorate as the statecontinues to neglect both communities.Surprisingly, I have also seen a growing number of relationshipsbetween young Bedouin men and Jewish girls. Theserelations transcend every possible religious and socialboundary on both sides, forcing those involved to concealtheir actions and hide behind false identities.They present an unlikely partnership between two verydifferent mentalities on the one hand, and at the same timevery similar socio-economical backgrounds that appear tobring them together.My intention in this script is to tell the story of a youngBedouin man. To follow his experience as he tries tonegotiate his way in life, between tradition and progress,state and community, family and friends, all that throughthe love that blossoms between him and the Jewishgirlfriend of his cousin.The Invisibles would be the story of such love, but also thestory of a community in the midst of a major shift, on aninevitable collision course with the state.I feel that more than a love story and a story about a youngman and his dream, or a crime story, The Invisibles is anelegy to a culture that is struggling to sustain its way of life,while paying a heavy price in the process.Company ProfileTransfax Film ProductionTransfax Film Production was established as anindependent film production company in 1988, by MarekRozenbaum, one of the most experienced film producer inthe Israeli film industry today.Currently he is Chairman of the Public Steering Committeeof Film & Television at the Israeli Export Institute. Forten years he acted as Chairman of the Israeli Academy forCinema and Television. He held the position of Chairmanof Israel’s Film and Television Producers Association for sixyears, and presently is a Member of its Board. He recentlyjoined the board of the European Film Academy.As one of Israel’s leading production houses, Transfaxhas produced over forty feature films and internationalco-productions, among them award winning films thathave received worldwide recognition. In addition to itsfeature films, Transfax has produced over forty documentariesfor Israeli Television, seven drama series and overeighty television commercials and television programmes,including one of 1995/6’s highest rated entertainmentshows.The company’s credits include Dover Kosashvili‘s LateMarriage (2001), selected for amongst others, Un CertainRegard in Cannes and awarded with nine Israeli AcademyAwards; OR Mon Tresor by Keren Yedaya, which received theCamera d’Or prize in Cannes 2004; Close to Home (2005) byDalia Hager and Vidi Bilu, which was selected and awardedat the 2006 Berlinale, Pusan and Tribeca festivals; Tehilim(2007) by Raphael Nadjari, which screened in officialcompetition in Cannes; Seven Minutes in Heaven (2008) byOmri Givon which was presented at CineMart 2008 andpremiered at the Haifa Film Festival, and The Slut by HagarBen Asher which premiered in the Semaine de la Critique inCannes 2011.Current StatusThe film is in development. The shooting is scheduled forthe first trimester 2013.Goals at CineMartFinding partners, European co-producers and internationalsales agents.Previous Work available at CineMartThe feature film Vasermil (2007) by Mushon Salmona isavailable in the Video Library and on Festival Scope.CineMart Projects35

New Zealand, USAJojo RabbitTaika WaititiTaika Waititi is a writer, director, actor, and visual artist, who hails from the Raukorekore regionon the east coast of New Zealand. He has been involved in the film industry for several years,initially as an actor, and now focusing on writing and directing. He wrote, directed and acted inhis first feature film Eagle vs. Shark which was screened in Rotterdam in 2007. The same goesfor his second feature, Boy (2010), which was presented at CineMart in 2009, and premiered incompetition at the Sundance Film Festival. Boy later became New Zealand’s highest grossinglocal film of all time.Feature: 35mm | 90 min. | ColourBased on: The Novel ‘CagingSkies’ by Christine LeunensLanguage: EnglishLocations: Germany, EuropeBudget: € 5.000.000Financing in place: € 3.300.000Production Companies:Defender Films € 50.000,Unison Films € 1.750.000Partner attached:New Zealand FilmCommission € 1.500.000Seeking partners from:Germany, AustriaPresent at the CineMart:Taika Waititi, Emanuel Michael,Chelsea WinstanleyContactDefender FilmsPO Box 90957 Victoria Street West1142 AucklandNew ZealandPhone +64 21 1696338Email defenderfilms@me.comUnison Films790 Madison AvenueSuite 306NY 10065 New YorkUSAPhone +1 212 2261200Email info@unisonfilms.comWeb www.unisonfilms.comIntroductionTen year-old Jojo Betzler is going to be the bestNazi in the world. The only thing standing in hisway are his mother, a hand-grenade, and the girl inthe attic.SynopsisIt’s 1944 and ten year-old Jojo is an avid member ofthe Viennese Hitler Youth. He tries to be the bestNazi he can be but he’s clumsy, timid, and lacks thenecessary discipline.After a rousing pep-talk from his fantasy friend,Adolf Hitler, Jojo accidentally blows himself upwith a hand-grenade, thus destroying his dreamsof being a soldier. He resigns himself to handingout propaganda around the city and collectingjunk for the war effort. Jojo’s world gets turnedupside down again when he discovers his motherhas been hiding a young Jewish girl, Elsa, in theirattic. Getting questionable advice from his fantasyfriend Hitler, Jojo starts learning more about thisstrange creature, visiting every day in the hopethat he can find out more about Jews and theirsecrets for his new book ‘Yoohoo Jew’. Jojo soonfinds himself falling for the girl, and is now tornbetween his loyalty to Hitler and his obsessionwith this beautiful, but untouchable Jew.And so begins a relationship of clouded loyaltiesand twisted obsessions. Jojo tries to make Elsa’slife more comfortable, more bearable, whilstwatching the great German empire slowly crumblearound him. His loyalties are pushed to breakingpoint when he discovers the cruel reality of war,no matter what side you are on. He is confrontedwith the disturbing discovery of his mother,hanged with resistance member in the street. Thisshared loss brings Jojo and Elsa together, thusplummeting Jojo even deeper in love with her.Elsa is now becoming weaker and caring less andless about living. Food is scarce, the Russians arecoming.When the Allies liberate Vienna, the war is overand Jojo’s Nazi dreams are shattered. Jojo can’t facethe idea of losing Elsa so he tells the ultimate lie -Hitler has won the war. She must now live in thehouse with him forever.The lie doesn’t last long. However, after experiencingprejudice and cruelty at the hands of thenew Soviet rulers and realizing that everyone canbecome a victim, he understands he cannot keepElsa caged forever. He sets her free, and in doingso, releases himself from Hitler’s grip. He ends hisfriendship with the fantasy Hitler, and although wedo not know what the future holds for the children,we know that no matter what, Jojo will survive andbe better off.Director’s StatementI have a fascination with the Second World Warand, coming from a Jewish heritage, have alwayswanted to explore how the persecuted survivedand who it was that helped them. I am interested inhow the insanity of war brings out and influencesdifferent human behaviours, especially those ofchildren. This story asks many questions about theloss of innocence and the things we do to survivewithin the chaos and hysteria of war. The themes ofadults becoming children and children parentingadults are common in my work, I find this dynamicinteresting and when you tell a story from a child’spoint of view you open up a world of creativepossibilities. This story concentrates more onchildren parenting each other, guiding one anotherthrough a chaotic and often surreal landscapewhere life and death are at every turn. I’ve alwayswanted to do a love story between two enemies,to explore how diametrically opposed minds canslowly change and become one, while setting thisrelationship against the intense and dangerousbackdrop of war.As can be seen in my previous work I am particularlyinterested in seeing the world of adultsthrough children’s eyes. I love how children seethe world, how they make sense of the crazy waythat adults fumble their way through life. It is aview often unclouded and uncomplicated, childrentell it like it is while reinventing the world to suittheir own needs, using imagination and a kindof spontaneous logic. There is no doubt that theSecond World War was a time where commonsense went out the window; war turns society andsanity upon their heads. It is within this worldthat Anne Frank once wrote “I live in a crazy time”.How does a child make sense of the world aroundthem plunged into war? What do they think of aworld where grown-ups have become lunatics andbehave like insane people?So here we have a story of two children, deprivedof their innocence, forced to enter into a bizarreworld where they must take part in an absurdist36 CineMart Projects

Taika Waititi Emanuel Michael Chelsea Winstanleyplay written by grown-ups. And this is the story I’mexcited by; a situation that we understand as deeply wrong,played out by the innocent. Comedy is life’s great counterbalance.Without it we would live in a world of drama anddepression. When you can find a balance between comedyand drama in a story, you recreate life, because life is alwaysa combination of the two. I know this film can be told ina number of ways but to see the subject matter through acomic lens emphasizes dramatic beats, highlights innocenceof character, and subverts the underlying message that waris absurd. I do not see it as trivializing the holocaust ormaking light of the savage brutality of the Nazi regime; thisis a tale about a ten year-old torn between his love of Hitler,and a Jewish girl. If anything this story promotes love,loyalty and the strange journeys we make towards findingtruth within ourselves. After reading the novel (‘CagingSkies’ by Christine Leunens), the story of Johannes and Elsastuck in my head and I became obsessed with making it intoa film. I am excited by the subject matter, characters, andnarrative; it is the kind of story that fits perfectly with mystyle and sensibility and I see it as a fantastic developmentin my career.Current StatusSecond draft of the script available. 30% funding securedfrom the New Zealand Film Commission and 35% financingsecured from Unison Films.Goals at CineMartWe are looking for co-production partners, distribution andworld sales. Particularly interested in Germany and Austriaas co-production partners.Previous Work available at CineMartThe feature film Boy (2010) by Taika Waititi is available inthe Video Library and on Festival Scope.Company ProfilesDefender FilmsDefender Films is a New Zealand based company which hasbeen at the forefront of Taika Waititi’s career. Defender isthe company behind the Oscar nominated short film TwoCars One Night (2004) and the international award winningTama Tu (2005). Defender also developed the screenplaysEagle vs Shark (2007) and Boy (2010), the latest waspresented at CineMart 2009. Boy went on to become NewZealand’s highest grossing locally made film of all time.Most recently Chelsea Winstanley has joined the companyas a delegate producer and along with Taika Waititi theyaim to bring Jojo Rabbit to the world.Unison FilmsUnison Films is a New York based film and distributioncompany founded in 2004 by producer Emanuel Michael.Through Unison, Emanuel Michael has produced overten feature films, upcoming releases include FernandoMeirelles 360 (2011), Mike Newell’s Great Expectations(2012) and Yaron Zilberman’s A Late Quartet (2011).Unison Films have co-produced both Taika Waititi’sprevious feature films BOY (2010) and Eagle vs. Shark(2007), which premiered at Sundance, and was selected forseveral international film festivals including the IFFR andBerlinale.CineMart Projects37

Australia, RwandaJomoKivu RuhorahozaKivu RuhorahozaKivu Ruhorahoza (1982, Rwanda) has worked on various film and TV productions, and was oneof the participants of the 2009 Berlinale Talent Campus. In 2005 Ruhorahoza became the firstdirector of the Rwanda Film Festival. His short film Lost in the South (2008) won the award forBest African Short at the 25th Pan Africa Film Festival in Montreal, and screened at the 2008IFFR. His feature debut Grey Matter (2011) is the first feature length narrative film directed bya Rwandese filmmaker living in his homeland, and will be screened in this year’s Bright Futuresection of the IFFR. Jomo will be Ruhorahoza’s second feature film and is selected for CineMartthrough the Boost! training trajectory.Dominic AllenFeature: Red | 90 min. | ColourBased on: Original Screenplayby Kivu RuhorahozaLanguage: English & some KiswahiliLocation: Nairobi (Kenya)Budget: € 350.000Financing in place: € 82.000Production Companies:POV Productions € 10.000,Camera Club € 64.000Partner attached:Hubert Bals Fund € 8.000Seeking partners from:The Netherlands, France, UnitedKingdom, Sweden, Denmark, NorwayPresent at the CineMart:Kivu Ruhorahoza, Dominic AllenContactPOV ProductionsB33, Député Kayuku2401 KigaliRwandaPhone +250 7 82419780Email ruhorahoza@gmail.comCamera Club447 Church Street3121 RichmondAustraliaPhone +61 402 923479Email dom@cameraclub.tvWeb www.cameraclub.tvIntroductionA young gay man deported from London toNairobi comes face to face with American televangelismand Christian political lobbying.SynopsisJomo, a young gay Kenyan man named after JomoKenyatta, the father of Kenyan independence, getsdeported from London after ten years spent in theUK. His arrival in Kenya coincides with that of thefamous American televangelist Rev. Stanley Renge,who is organizing a month long ‘I Want You forHeaven’ Christian campaign.Jomo is welcomed by Francis, an old friend whoclaims he has been ‘born again and healed’. Francisis now married and lives the life of a young middleclass man in Nairobi. Arriving in Francis’s house,Jomo gets surprised by the heavy and suffocatingChristian atmosphere. While eating, the twofriends argue over the fact that Jomo has turnedvery un-African.At a hotel bar somewhere in town, an elegant maleprostitute called Jomo is invited into a room by aNigerian businessman. The mysterious man asksthe young prostitute lots of questions, doesn’ttouch him and asks him to come back the next daywith the promise of paying him double.The next day, Jomo goes for a walk downtown andmeets Francis for lunch. Francis gives him phonenumbers of old friends, but refuses to give himthe number of one particular guy called Jomo.Jomo then goes to supermarkets, public parks,and walks around the city. Very often he noticespeople watching him. He also notices that Rev.Stanley Renge’s face is everywhere on billboards,banners, posters and TV, pointing a finger athim. He wonders if he is not becoming paranoid.Meanwhile, two American men are busy meetingwith high government officials, advising them onGod-led leadership.Jomo and Francis inevitably fall out and Jomohas to find another place to stay. He calls a friendcalled Jomo. Jomo introduces Jomo to what he calls‘the struggle’.One evening, on the way home, after a long nightof drinking and a failed attempt to sleep with aprostitute, two men follow Jomo.Director’s StatementIn most African cities, homophobia is becomingtruly frightening. The reason I would like tomake this film is because I want to promote thedebate around LGBTQ issues in East Africa. Ibelieve that for LGBTQ rights to be recognisedand protected, we the young Africans with a voice(artists, sportsmen, young leaders, etc.) shouldspearhead that movement. Leaving advocacyon these issues to Western organizations onlyserves those homophobic people who pretend thathomosexuality is an immoral western import. Theonly Western imports in this matter are the legalremnants of British colonialism that criminalizedhomosexuality.African societies have not always been thishomophobic. In several sub-Saharan Africancountries, the notions of effeminate boys,masculine girls, boys who like boys and girls wholike girls have always been part of the communities.There is a direct link between the increasinghomophobia we have been seeing recently in EastAfrica and the spectacular rise of Evangelicalchurches. That link has been well documentedespecially in Jeff Sharlet’s disturbing books ‘TheFamily’ and ‘C Street’, ‘The Fundamentalist Threatto American Democracy’. But televangelism isonly the tip of the iceberg. What is even moredisturbing, is the secret work of Christian politicallobbyists in East Africa. All these lobbyists arefrom the Washington DC based organizationcalled The Family or The Fellowship. Theyare former congressmen, former senators andpowerful businessmen promoting the idea of aGod-led government.A good example of American televangelists’influence on African public policymaking is theluckily aborted attempt of the Ugandan parliamentto pass a law criminalizing homosexuality, evenpunishing by death some homosexual acts. The lawhad been championed by a number of EvangelicalAmerican pastors, lobbying opinion makers inUganda, including the first family.The stigma suffered by the LGBTQ communityin Africa is appalling. Newspapers in Cameroonand Uganda have already published names and38 CineMart Projects

addresses of alleged gay people, with terrible consequences.‘Rolling Stones’, a Ugandan newspaper, listed the 100 ‘topgays’ with their addresses, asking the public to ‘hang them’.Families were torn apart; careers broken; honest citizenswere publicly abused. When I learned that Ugandan activistDavid Kato had been murdered, I was speechless. Even moreso when I read that the local police had decided that it was arobbery gone wrong, I felt compelled to do something. Andthen decided to develop this story that had been lying in mycomputer for a while, about a gay deportee.The reason for making this film in Nairobi is because I findthis city intense and visually dramatic: the architecture, thecolours, the gloom during winter. I want the film to be setin Nairobi because of its strange mix of conservatism andmodernity, that is typical of so many large African cities.The plot is original. The main character and its variationsare all called Jomo. They all are different people, showingdifferent types of gay men you can find in a large Africancity. But they are also one character: the deported Jomo,at different times in his life. When Jomo talks to the otherJomos, it is like he is interacting with himself in the future.It is as if he is being warned by his future selves of whatmight possibly happen to him. The viewer will get it veryquickly that the other Jomos are the evolutions of Jomo thedeportee, while also representing the different types of gaymen you can find in Nairobi.Camera ClubCamera Club is an award-winning production companybased in Melbourne, Australia that produces feature films,music videos, television series and a range of digital projectswith with artists, bands, the media, brands and agencies.Camera Club’s feature films include the documentaryShadowplay: The Making of Anton Corbijn (2009), Australiandrama Blind Company (2010) and Kivu Ruhorahoza’s awardwinning feature Grey Matter (2011).Current StatusIn development. The director is working on the script withadvisor Molly Stensgaard.Goals at CineMartFinding a Dutch co-producer and an additional co-producer.Previous Work available at CineMartThe feature film Grey Matter (2011) by Kivu Ruhorahoza isavailable in the Video Library and on Festival Scope.The music is a very important element of the film. Jomo isa musician and we listen to his experimental music manytimes in the film. Most of the tracking shots will be accompaniedby melancholic post-modern afrobeat and experimentalchaotic music to heighten the tension.The film will have a melancholic atmosphere, but will alsobe filled with dark humour.Despite my high artistic ambitions for this project, I don’twant it to be a complex, aesthetic and elitist work. Thefilm has to be elegant, intriguing, provocative and accessiblewith a high potential for theatrical release. Jomo willdefinitely be a drama with elements of a thriller and a slighttouch of surrealism.Company ProfilesPOV ProductionsPOV Productions is a young successful production companyfounded by Kivu Ruhorahoza. POV Productions has a focuson film and TV productions, and offers production consultancyservices to foreign companies.In 2009, POV Productions co-produced Rwanda 15, a filmabout jazz musician Jeremy Danneman, with the New Yorkbased Parade of One Inc. POV Productions also producedKivu Ruhorahoza’s first feature length film Grey Matter (2011)with Australian production companies Camera Club andScarab Studio Films. The film premiered at the TriBeCa FilmFestival, winning the Best Actor award and a Special JuryMention. Grey Matter will be screened in the Bright Futuresection of this year’s International Film Festival Rotterdam.CineMart Projects39

United Kingdom,ScotlandLittle Dog BoyHenry CoombesHenry Coombes (1977, United Kingdom) studied at St. Martin’s College of Art in Londonand Glasgow School of Art, and graduated in 2002. He works across film, painting andsculpture. Previous exhibitions include solo shows at Kunsthal KAdE in The Netherlands,Hammer Museum at UCLA and group shows at the Scottish National Galleries Edinburgh,the Zabludowicz Collection in London, and the Liste Art Fair in Basel. In 2007 Coombes wasselected to represent Scotland at the Venice Biennale. His work explores ideas of culture andnature, tradition and change, within their hierarchical roles, whether it be a hunter and herdog in the film Laddy and the Lady (2006) or patron and artist in The Bedfords (2009). With hisfirst feature film project Little Dog Boy he further explores the characters of his short film TheBedfords. Coombes lives in Glasgow and has a dog called Gucci.Feature: Digital | 90 min. | ColourBased on: Original Screenplayby Henry CoombesLanguage: EnglishLocations: Scotland forexteriors, co-productioncountry for studio interiorsBudget: € 1.391.621Financing in place: € 338.490Production Company:Brocken SpectrePartner attached:Creative Scotland € 338.490Seeking partners from:Benelux, Scandinavia & GermanyPresent at the CineMart:Henry Coombes, CiaraBarry, David SmithContactBrocken Spectre41 St. Vincent Place, 6th FloorG20 8QX Glasgow, ScotlandUnited KingdomPhone +44 141 2215290Email ciara@brocken-spectre.comWeb www.brocken-spectre.comIntroductionA real artist is a very rare species that is hunted forhis soul.SynopsisLondon, 1850. Victorian painter Sir EdwinLandseer is famous for his portraits of pet dogs,but increasingly mocked by the younger generationof artists. Landseer has a sensitive ego andis aware that his popularity is waning. He workslong hours alone in his studio, under pressure of acommission to sculpt the lions in Trafalgar Square.Isolated and disillusioned in his art, he findssolace in alcohol and brothels. At a prestigiousceremony the drunken Landseer slanders wealthyart collectors and openly flirts with marriedwomen. The popular artist is invited to theScottish home of the Duke of Bedford to paint afamily portrait. Landseer arrogantly accepts as heeyes up the Duke’s wife. The Duchess is equallymischievous, bored with her impotent husband,she indulges in an affair with the artist. Landseeris soon consumed by lust and struggles to paintthe portrait - the torment in his mind is visualizedby dark inks and violent images on the canvas.The Duke discovers the illicit relationship and inrevenge publicly humiliates Landseer. The affairends and Landseer is forced to return to London.Landseer’s mind becomes saturated in paranoidnightmares. The Duchess pays a fatal last visit tothe studio. He murders her and entombs her bodyin the bronze cast of a lion destined for TrafalgarSquare.Director’s StatementAfter my first major solo exhibition, sucked dryby my own artistic ambition, I found myself burntout on a hospital bed, having had a series of severepanic attacks. I was slipping down into a dark pitfull of my own beastly paranoia. At this time I hada deep connection to Edwin Landseer’s later workand I believe to this day that Landseer sufferedfrom the same malady as myself. For me, the proofof his mental disorder lies deep within the oil paintof his canvases. In Landseer’s paintings of animalsI saw into his psyche. I could hear his breath as Ipainted images from his paintings. I understoodthe safety he felt in the solitude of the studio, awayfrom the art historians and untrustworthy critics.I felt a heartbeat behind the glossy coat and saw awarm tear in the blood-shot eye of a painted dog.In Landseer’s despair he looked to the Duchess ofBedford as an island of love and sanity but he wasnot capable of loving himself, never mind anotherhuman being. The only thing he loved were theanimals that surrounded him, in particularhis dogs. My progression into depression andparanoia started to mirror the accounts ofLandseer’s breakdown. I searched for love to findan escape. I was attracted to a woman trappedin her childhood. Her playfulness and creativityreminded me of a lost time of innocence. Herchildishness and her stubborn behaviour havedirectly influenced the character of the Duchessin the script Little Dog Boy. The woman I confessedmy love to, left me, after realising I was incapableof loving anyone. I entered a world of paranoiaand fear. Compulsive, violent thoughts isolatedand terrified me in the studio. Sitting round thefamily dinner table I was often terrified that I wasgoing to stab my granny in the head with a silverfork. I started to believe that I was as evil as thecharacters I invented in my paintings. I became avictim of my own vision.The writing of Little Dog Boy became a therapeuticprocess, a tool to help me recover from adistressing period of my life. Why am I making thefilm Little Dog Boy? I am telling a story I have totell, a story that was handed to me by the powerfulpaintings of Edwin Landseer. A psychologicaldrama that depicts an honest portrayal of innermental conflict experienced by myself, EdwinLandseer and countless others.Company ProfileBrocken SpectreA ‘Brocken Spectre’ is when you’ve climbed longand hard up a mountain and see your own shadowon a cloud. At the end of this struggle you get abeautiful, ethereal, moving and fleeting sight. As acompany we help the talent we work with to makesuch a journey. We find the right story with them,develop, produce it and then shine a light on it forthe world to see. This year we produced our firstfeature, Scott Graham’s debut Shell. Presented at40 CineMart Projects

Henry Coombes Ciara Barry David SmithCineMart in 2010, the €1.093.255 (£1.000.000) film wasfinanced by the BFI Film Fund, Creative Scotland and ZDF/Arte. David Smith produced Shell with Margaret Mathesonand co-produced with Helge Albers of Flying Moon. Shellis currently in post production and will be finished inMarch 2012. Before that we produced all of Scott’s shortfilms including the Cinema Extreme Native Son which wasfinanced by Film4 and the UK Film Council. Native Sonpremiered at 2010 Semaine de la Critique. The company haswon many awards for the films it has produced and has beennominated twice for a BAFTA. Ciara Barry has worked withDavid Smith since 2005 and is a graduate of EAVE EuropeanProducers Workshop 2011. Ciara has produced numerousprojects including two short films with Henry Coombes, ofwhich The Bedfords was nominated for a BAFTA Scotlandaward and UK Film Council Best Short Film 2010.In 2007 David Smith joined forces with producer PaulWelsh to reboot short film initiative DigiCult. Until 2010DigiCult was the strategic partner of the UK Film Council inScotland. Funded by Creative Scotland DigiCult works withnew emerging screen talent in Scotland. In 2011 DigiCultlaunched Incubator which builds a bridge for new Scottishtalent from shorts to features. Ciara Barry was ProjectProducer for DigiCult 2007-2010.Current StatusFirst draft funded by Creative Scotland (2009) and furtherdeveloped to revised second draft through Sources 2Script Development Workshop 2010 and EAVE EuropeanProducers Workshop 2011. Creative Scotland will committotal funds of €338,490 (£300,000) to the production.Goals at CineMartSeeking development and production partners in Benelux,Scandinavia or other European territories, who can provideaccess to either post-production services, studio space forinterior shooting and regional funds. Seeking broadcastpartners, an international sales agent and distributors.Previous Work available at CineMartThe short films The Bedfords (2009) and Laddy and the Lady(2006) are available in the Video Library and on FestivalScope.© Henry Coombes 2006‘Laddy and the Lady’CineMart Projects41

RussiaLost RoomsAlexei PopogrebskyDmitry PleshkovAlexei Popogrebsky was born in 1972 in Russia into the family of the screenwriter PyotrPopogrebsky, and graduated from Moscow State University with a degree in psychology. In1994 he teamed up with his friend, Boris Khlebnikov, a film theory student at VGIK, to maketwo shorts. Their debut feature, Koktebel (2003) was selected for many international filmfestivals, including the Berlinale, Toronto and Cannes. Popogrebsky’s first solo directing effortSimple Things (2007) won awards at several international film festivals. In 2010 he completedhis third feature, How I Ended This Summer, set and filmed on a polar station in the Arctic withonly two actors. The film was awarded Silver Bears for both stars, as well as OutstandingArtistic Contribution for Director of Photography Pavel Kostomarov at the 2010 Berlinale, andwon Best Film in London and Chicago. In 2010 Alexei enrolled in the European Film AcademyStereography and Storytelling Masterclass and directed a 3D short, Blooddrop. Lost Rooms isthe first 3D-project to be presented at CineMart.Roman BorisevichFeature: HD 3D / 35mm2D | 100 min. | ColourBased on: Original screenplayby Alexei PopogrebskyLanguage: EnglishLocations: 90% studioshoot, location tbdBudget: € 6.000.000Financing in place: € 3.000.000Production Company:Koktebel Film CompanyPartners attached:Russian Cinema Fund € 2.000.000,TV Channel Rossiya € 1.000.000Seeking partners from:EU countries with a priority tothose that have co-productiontreaties with Russia (e.g. Germany,France) as well as UKPresent at the CineMart:Dmitry Pleshkov, Roman BorisevichContactKoktebel Film CompanyDruzhinnikovskaya 15, office 515123242 MoscowRussiaPhone +7 926 5626477Email dima@koktebelfilm.ruWeb www.koktebelfilm.ruIntroductionA 3D film with an international cast that takes onillusions to reveal true emotions.SynopsisWhen overtaken by emotions, Maia (18) can seeparallel space where everyone else sees flat. A giftor a curse, she inherited it from her father whovanished when she was a baby. Fearing that herdaughter would also get carried away into theparallel world, Maia’s mother had always protectedher from experiencing any emotions.After her mother’s recent death, Maia lives alonein a seaside house, indifferent to a neighbourhoodboy’s courting, or teasing by a local teenage clique.Her quiet routine is interrupted by the arrival ofmen in suits who take Maia to a big city and intoan abandoned apartment on a soon-to-be-demolishedblock. The last living heir, she is to sign awaythe apartment for a good compensation in return.Stricken by a flashback of being carried as a babyaround the same very flat and into an endless chainof rooms, Maia declines the offer. This infuriatesthe shady developer who threatens her, causingMaia to panic and flee, her ability moving her intothe parallel space.Maia finds herself in the world of Lost Roomswhere all things lost aggregate, from petty itemslike coins, keys and socks, to missing people whoend up there without realizing how. The motleycommunity is ruled by Helena, a stately and forthrightwoman in her forties, and the enigmatic Pau(45), a man of such particular charisma he is ableto direct other people without saying a word. Thereis something about Maia’s nonchalant acceptanceof being lost into the strange world that makesfirst Helena, then Pau take special interest in her.Yet, Pau’s concern may not be entirely platonic,and Helena becomes aware of this. Maia accidentallyeavesdrops on their cryptic exchange in aHidden Room that looks vaguely familiar to her.Overtaken by excitement in anticipation of unravellinga mystery, Maia is nearly discovered andflees haphazardly.Maia ends up in a maze of passageways used as ahideout by a group of young rebels led by Dan (20).They fight against what they believe is Helena’s andPau’s deceitful rule that holds everyone captive.The Rebels want out into the real world. Theyconspire to set off an explosion in the HiddenRoom where they suspect the way out is concealed.For the first time accepted by a group of peers,Maia becomes involved in their bricolagepop-culture made up of bits of memories andoccasional found items like magazines and musicaltapes. She discovers her playful and emotionalside, which activates her ability to open concealedspaces. This takes her and Dan on a journeythrough the unknown sections of the Rooms.Along the course they discover signs left by amysterious forerunner and accidentally set looseKon, a dangerous criminal. Escaping lethal dangerand getting lost on their way back, they becomeaware of romantic attraction growing betweenthem. Once back in the Rebels’ hideout, this causesthe jealousy of Mause, a lively girl in love with Dan,and interferes with the plans of Nelson, a graycardinal of the group. Yet, Maia’s and Dan’s feelingbecomes stronger and blossom into love, when itis revealed that Pau may be Maia’s long-lost father,and Dan, her half-brother...Coping with an overwhelming tangle of emotionsdriving her ability out of control, Maia will haveto fight for her love and find her real Father,ultimately unravelling the mystery of Lost Rooms.Director’s StatementIn creating the world of Lost Rooms and telling thestory of its protagonists, it is essential to strikethe right balance between realism and fantasy. Atthe core of the film lies a story of very basic andstrong human emotions and relationships. Thefilm must first succeed on a human level, then theextra visual and metaphorical layers will come asa welcome addition, not as an overburdening. Nomatter how fantastic are their circumstances orhow special are their abilities, the key charactersare essentially people ‘like you and me’, most ofthem coming from modern urban environments.42 CineMart Projects

They ended up in this unusual setting and, over time,learned to adapt to it in their own special way. Portrayalof characters has to be believable and unexaggerated, withgood understanding of each backstory. Maia starts off as awithdrawn teenager. Her specialness might come throughas a subtle gleam in her eyes, but there is nothing excessivelygloomy or weird about her. The course of eventsbecomes a path of self-discovery for her as she gets in touchwith her emotions, gradually coming across as a lively andtrusting, then strong and determined personality. In thebeginning things happen to her, but as the story progressesshe happens herself.A lot of attention will be paid to developing witty andprecise details of the extraordinary environment. Therituals of the community, the bricolage pop culture of therebels with their music and dances, set and costume design -all of this should have an original and organic feel to it. Therealm of the Lost Rooms must be thought out to the detailso that at every moment the audience experiences it as aunique and complete world running by its own underlyinglaws, yet recognizable and related to our everyday life.We do not specifically indicate where the story takes place,but the setting is definitely European. As the language of thefilm is English, many of the key characters must be playedby perfect English speakers. Still, as the story deals witha mixture of backgrounds and cultures, moderate accentsand cultural traits of certain characters can be absolutelyappropriate and will make total storytelling sense. To alarge extent an ensemble piece, the project calls for actors ofinternational renown at least for the key adult roles such asPau, Maia’s Father and Kon.(2009) by Nikolai Khomeriki, and How I Ended this Summer(2010) by Popogrebsky, which won two Silver Bears at 2010Berlinale and Best Film in Chicago and London. PresentlyKoktebel Film Company is involved with new films fromKhlebnikov and Sigarev, which are in post-production, andPopogrebsky’s international 3D project, which is currentlyin development.Current StatusDevelopment. Second draft script available.Goals at CineMartSeeking co-production partners from key EU markets. Alsoseeking a world sales agent.Previous Work available at CineMartThe short film Blooddrop (2011) by Alexei Popogrebsky isavailable in the Video Library and on Festival Scope.Lost Rooms is also a story of perception written for 3D, totake advantage of the unique storytelling opportunitiesoffered by the format. The unique world of the Apartment,with its variety of spaces, textures and geometries, will bestriking yet realistic in 3D stereo. Together with Maia theaudience will develop the ability to see the hidden depth,and at the end of the show I would expect the viewers to tryto look with a new eye at common objects and settings. Weare developing a special technique for the ‘flat/depth’ effectsfor Maia’s unique ability. Using a combination of set design,lighting and camerawork augmented by CGI, we will createa kind of a dynamic 3D trompe l’oeil. From our previousexperience with 3D, we are confident it will translate well to2D, but will look especially striking in 3D.Company ProfileKoktebel Film CompanyKoktebel Film Company was created by producer anddistributor Roman Borisevich following the 2003 successof Koktebel, the second feature he produced, which wasthe directorial debut of Boris Khlebnikov and AlexeiPopogrebsky. Koktebel Film Company went on to becomethe marquee for titles like Free Floating (2006), whichreceived funding by the Hubert Bals Fund in 2004 and wasscreened at the 2007 International Film Festival Rotterdam,and Help Gone Mad (2009) both directed by Khlebnikov, aswell as Wolfy (2009) by Vasily Sigarev, A Tale in the DarknessCineMart Projects43

India, USAThe LunchboxDabbaRitesh BatraRitesh BatraBorn and raised in Bombay, India, Ritesh Joginder Batra was part of the Graduate Film Programat New York University’s Tisch School of the Arts from which he dropped out in 2010. Batradeveloped a feature screenplay called The Story of Ram at the 2009 Sundance InstituteScreenwriters and Directors Labs. In addition, he was named the Sundance Time WarnerStorytelling Fellow and an Annenberg Fellow for The Story of Ram. The Lunchbox was part ofthe 2011 Binger/NFDC Screenwriting Lab at the Venice International Film Festival and the GoaFilm Bazaar. Batra and producer Guneet Monga met during the Rotterdam Lab at the 2011 IFFR.His recent short Café Regular, Cairo (2011) will be screening at the 2012 International FilmFestival of Rotterdam.Guneet MongaFeature: Digital | 120 min. | ColourBased on: OriginalScreenplay by Ritesh BatraLanguage: HindiLocation: Mumbai (India)Budget: € 900.000Financing in place: € 300.000Production Company:Anurag Kashyap FilmsPvt. Ltd. € 300.000Co-Production Company:Cine MosaicSeeking partners from:All territoriesPresent at the CineMart:Ritesh Batra, Guneet MongaContactAnurag Kashyap Films Pvt. Ltd.40, Aram Nagar Part 1, J.P.RoadVersova, Andheri (West)400061 (Maharashtra) MumbaiIndiaPhone +91 22 26302791Email guneetmonga@gmail.comIntroductionA mistaken delivery in Mumbai’s famouslyefficient lunchbox delivery system (Mumbai’sDabbawallahs) connects a young housewife to anold man in the dusk of his life, they build a fantasyworld together through notes in the lunchbox.Gradually, this fantasy threatens to overwhelmtheir reality.SynopsisMumbai, a city of miracles.One of Mumbai’s miracles is Mumbai’s Dabbawallahs- a community of 5000 dabba (lunchbox)deliverymen. It is a hereditary profession. Everymorning the Dabbawallahs deliver hot meals fromthe kitchens of housewives to the offices of theirhusbands, and then return the empty lunchboxesback to the homes in the afternoon. For 120 yearsthey have provided Mumbaikars with a taste ofhome in the office. They navigate through theovercrowded local trains, and chaotic streets - thatoften have a namesake or more than one name. TheDabbawallahs are illiterate, they use a complexcoding system of colors and symbols to deliverdabbas in the labyrinth that is Mumbai. HarvardUniversity analyzed their delivery system, andconcluded that just one in 8 million lunchboxes isever delivered to the wrong address. ‘Dabba’ is thestory of that one lunchbox.A wrongly delivered lunchbox connects ahousewife - Ila Singh, to Saajan Thomas, a lonelyman in the dusk of his life. Ila lives in Dadar, theconservative middle class Hindu enclave. Saajanlives in Ranwar village, Bandra, an old Christianneighborhood that is threatened by the new highrises of Mumbai. Very soon Saajan will retireand bid goodbye to a Mumbai that crushed hisdreams, took away his loved ones one by one,and turned his hair white. Just then Ila comesinto his life. In the big city, that crushes dreamsand recycles them everyday, both find a dream tohold on to. Ila begins a fantastical affair with amystery suitor, and pours her heart into cookingmeals for him. And Saajan looks forward to lunchbox deliveries from a mystery woman everyday.They exchange notes in the lunchbox and create afantasy life. As the lunchbox goes back and forth,this fantasy becomes so elaborate that it threatensto overwhelm their reality. The characters of ’TheLunchbox’ exist on the line between the Mumbai ofreality and the Mumbai of fantasy.The Lunchbox is the story of the life we dream ofversus the life we live in, and of the courage it takesto turn our fantasies into reality.Director’s StatementThe Lunchbox is the story of two people in the cityof Mumbai, they each live in a prison - One, in theprison of her marriage and the other in the prisonof his past, until one day a wrongly deliveredlunchbox connects their lives.It is also the story of Mumbai, a city where theextraordinary lunchbox delivery system hasexisted for 120 years. The dabbawallahs haveextraordinary precision. Perhaps this is becauseMumbai is also a city where the people themselvesare just like the lunchboxes. The city ferriesmillions from their homes to their place of workand then back with the evening commute thatmoves along like items on a conveyor belt. Ina constant race that Mumbai imposes upon itsresidents, they can never stop to ponder theirdreams or what became of them. But the big citythat can be cruel can also be benevolent. Thisproject evolved from the story of that one in a 8million wrongly delivered lunchbox to the story ofhow the big city that can stamp out our dreams canhand them back to us in unexpected ways.As a filmmaker I find myself drawn to storiesthat have a sense of how ridiculous life can be attimes, and on finding something interesting in themundane. There is a strong resonance of this in‘The Lunchbox’.The magic realist elements in this film questionsthe audience on their own faith in all that isfantastical. As the narrative unfolds it brings thecharacters to choices between their reality andthe fantasy they have created through notes inthe lunchbox. Meanwhile, the city wakes up onceagain and keeps on going, sometimes cruel andsometimes benevolent but all the time relentless.44 CineMart Projects

Company ProfileAnurag Kashyap Films Pvt. Ltd.Anurag Kashyap Films Pvt. Ltd. is an enterprise whichbelieves in delivering meaningful cinema, mirroring oursociety in its myriad hues and shades. Owned by directorand writer, Mr. Anurag Kashyap, the company has scaledstellar heights, carving a niche for itself in both nationaland international markets.The company has made films like; Black Friday (2004), NoSmoking (2007), Gulaal (2009), Dev.D (2009), Udaan (2010),Shaitan(2011), That Girl in Yellow Boots (2010), Gangs ofWasseypur (post-production), Michael (unreleased), MonsoonShootout (post-production), Aiyya (under-production).Udaan (2010) was officially selected to compete in the 2010Un Certain Regard category.That Girl in Yellow Boots, an NFDC co-production, directedby Anurag Kashyap, premiered at the 2010 Venice FilmFestival. It was also screened at the 2010 Toronto InternationalFilm Festival. Michael (2011) premiered at the 2011Toronto International Film Festival. The company has alsoco-produced Trishna (2011) by Michael Winterbottomstarring Freida Pinto and Riz Ahmed.Pilcher has produced over 27 feature films and is currentlypreparing The Reluctant Fundamentalist, based on the novelby Mohsin Hamid, which will be directed by Mira Nair.Another planned production this year is Fela: Music is theWeapon which she developed at Focus Features with SteveMcQueen. In 2010, Pilcher was nominated for an Emmy andGolden Globe for producing You Don’t Know Jack directed byBarry Levinson and starring Al Pacino.Current StatusWe have the final draft of the script ready. We are aiming tostart the pre-production in June 2012 and start the shoot ofthe film in October 2012.Goals at CineMartTo secure the balance funding and procure a sales agent forour film.Previous Work available at CineMartThe short film Café Regular, Cairo (2011) by Ritesh Batra isavailable in the Video Library and on Festival Scope.Anurag Kashyap Films Pvt. Ltd. is committed towardscreating a whole new genre of filmmaking, driven by anunparalleled passion for cinema, with its gamut of contemporaryfilms that continues to entertain audiences widely.Cine MosaicCine Mosaic was founded in 2002 by independent producer,Lydia Dean Pilcher, as a production company committedto producing feature films for theatrical release and fortelevision. With an energetic focus on entertaining storiesthat promote social, cultural and political diversity. CineMosaic is based in New York City.CineMart Projects45

Argentina,Uruguay, Germany,The NetherlandsThe MidfielderEl 5 de talleresAdrián BiniezAdrián BiniezAdrián Biniez (1974, Argentina) was the singer and composer of the indie rock band Reverb,and even acted as a musician in the Juan Pablo Rebella & Pablo Stoll film Whisky (2004). Soonafterwards he moved to Montevideo, Uruguay.Biniez’ directorial debut came with the short film 8 Horas (2005), which was selected by severalshort film festivals and won the award for best short film at the 2006 Buenos Aires IndependentFilm Festival (BAFICI).Gigante (2009) his first feature film, won several international awards, including the Silver Bearat the Berlinale and was released theatrically in several territories. The Midfielder will be hissecond feature, and was selected for CineMart through the Boost! training trajectory.Fernando EpsteinFeature: Red - 35mm |approx. 95 min. | ColourBased on: Original Screenplayby Adrián BiniezLanguage: SpanishLocations: Remedios de Escalada,Province of Buenos Aires (Argentina)Budget: € 733.149Financing in place: € 239.217Production Company:Mutante Cine € 20.690Co-Production Companies:Morocha Films € 43.103,Pandora Film Produktion GmbH€ 30.000, Topkapi FilmsPartners attached:HD Argentina € 50.424, Film undMedienstiftung NRW € 50.000,MEDIA Development Programme€ 35.000, Hubert Bals Fund € 10.000Seeking partners from:All territoriesPresent at the CineMart:Adrián Biniez, Fernando EpsteinContactMutante CineJoaquin Requena 1005112200 MontevideoUruguayPhone +598 98 264294Fax +598 2 4100722Email fernandoepstein@gmail.comIntroductionPatón Bonasiolle, an Argentinean C Divisionfootball team captain, realises his career as afootballer has come to an end. At the age of 35,with little fame and no fortune, he has to face anew world together with Ale, his fiancée.SynopsisAfter being expelled for a flagrant foul during amatch in Primera C (the fourth division in Argentinianfootball), Patón Bonasiolle, the captain andnumber five from Talleres de Escalada, realises hiscareer as a footballer has come to an end.At the age of 35, this means the end of a worldhe has known since he was a child. He realises hecannot keep playing side by side with twenty yearolds, and the world of football with its trainingroutines tires him.But Patón’s future doesn’t look simple. His wholelife he has played for Talleres de Escalada, a fourthdivision club where he hasn’t met neither fame norfortune. A club where he has earned the respect ofhis peers and the fans, but which has also forcedhim to have an extra job as an exterminator inorder to make ends meet.We witness the last months of Patón’s career andhow he begins to plan his future. With him is hiswife, Ale. She gives him great emotional supportand plays a decisive role in keeping the coupletogether. They start trying to figure out how toinvest their small savings: a laundromat or alingerie shop.Ale, who knows Patón well, motivates him to goback to school, which he abandoned for his footballcareer. She considers it a good idea for two reasons:it will help boost his self-esteem, and it will keepdepression at bay; depression he already sufferedfrom when he couldn’t play for eight months dueto an injury and didn’t know what to do with allthe time he had on his hands. Ale begins to teachhim mathematics, and although Patón finds it adaunting experience, he tries hard each day.Soon the present situation, with all its uncertaintyin the face of the future, begins to take its toll on thecouple. Although Patón and Ale try to cope, tensionsmount and old grudges float to the surface.As the day of the final match draws near, Patónarrives at certain decisions with regards to hisfuture, and comes to terms with the fact that itis not only the end of his football career, but alsotime for a definitive farewell to his youth and thebeginning of his adulthood.Director’s StatementThe idea of making The Midfielder came to me twoyears ago during the last stages of post-productionof my first feature film. Simultaneously, a friend ofmine who was a football player was playing the lastgames of his professional career. We are both thesame age - I was at the beginning of a whole newworld and he was at the very end of a lifestyle hehad been immersed in since he was a child.This dichotomy intrigued me and I began to thinkabout it a lot. How does one accept the end of aworld with all its routines and codes and rituals,at such a young age? How does an individual startall over again from scratch? How does one acceptthat the body has left its youth behind and will nolonger be able to cope?I began to think of the ensuing crisis and the repercussionson the people closest to this individual.Soon the second axis of the film became clear tome: the effects on the couple. How does a coupleshort on money begin to plan their future? Howdoes a couple prepare for the unknown?I then realised I had seen many films that refer tothe beginning and the end of a relationship, or howa couple reacts to a sentimental crisis, but I couldbarely recall any films that delved into how thismicrocosmic organism reacts to the personal crisisof one of its members. What is the place of TheOther? How does one take in what’s going on withhis or her partner? What repercussions does it allhave on the other member of the couple?The idea of a man or a woman trying to help hispartner in a critical moment seemed to me one ofthe most common aspects of a couple’s dynamics.To try and do it in a realistic and faithful way, withits play of light and shadows, became the force thatcompelled me to take up this project.46 CineMart Projects

Community is very important in this film. Until I was 29 Ilived in Remedios de Escalada, a working class suburb inBuenos Aires. To make an accurate portrayal of the placeand of the people my age who live there is very importantto me. A large portion of its social life revolves aroundfootball. It is a local, semi-professional league, very farfrom the huge teams that play at a national level. The caseof Talleres is paradigmatic. Talleres played for nine straightyears while completely bankrupt in Primera C, which is thefourth division in Argentinian football, and it’s only been ayear and a half since the club’s economy has resurfaced.What’s interesting about Patón, the main character, is thathe is the captain, a local hero and the voice of experiencefor the team, but we soon discover he has more doubts thancertainties. He is a leader in a small world and is recognisedoutside it, in the neighbourhood streets and the stores hewalks into.Although football is an important part of the film, this isnot a film about football. Football is what glues together allthe other things I’m interested in showing: the community,the life of a couple, the individuals in crisis.1997 they founded a production division based in Cologne:Pandora Film Produktion. Their aim is to collaboratewith writers and directors who have developed their owncharacteristic cinematic language. Their catalogue of over90 films includes such recent titles as Le Havre (2011) byAki Kaurismäki, Medianeras (2011) by Gustavo Taretto,At Ellen’s Age (2010) by Pia Marias, On The Path (2010) byJasmila banic, and Gigante (2009) by Adrían Biniez.Current StatusIn development. Shooting planned for the second half of2012.Goals at CineMartClosing financing for both the shooting and the 35mmprinting of the film.Previous Work available at CineMartThe feature film Gigante (2009) by Adrián Biniez is availablein the Video Library and on Festival Scope.Visually, the idea is to avoid portraying football as it isusually filmed for TV, and to try to do it in a more cinematicway, trying to preserve the little moments of introspection-subtle gestures, small scenes that happen in the midstof a public spectacle - which generally go unnoticed byeverybody except the main characters.Company ProfileMutante CineMutante Cine is a new film production company set up byAgustina Chiarino and Fernando Epstein in 2011. Over thepast decade they have both produced and distributed filmsand short films for Control Z Films, including 25 Watts(2001) and Whisky (2004) by Juan Pablo Rebella & PabloStoll, La perrera (2006) by Manolo Nieto, Acné (2008) byFederico Veiroj, Gigante (2009) by Adrián Biniez, Hiroshima(2009) and 3 (to be released in 2012) by Pablo Stoll. MutanteCine is committed to the process of discovering new talentwhile continuing to produce films.Morocha FilmsHeaded by Gonzalo Rodríguez Bubis, Morocha Films wasfounded in 2004 and its aim is to support independentnational film projects of all genres, using new technology.After collaborations on various Argentinean productions,Morocha Films began producing in its own right, broadeningits horizons to television productions, and providingproduction services to companies in both North and SouthAmerica and Europe. Both its own productions and thefilms Marocha has collaborated on over the years boast alarge number of prizes from the most prominent internationalfilm festivals.Pandora FilmFounded in Frankfurt in 1981, Pandora Film is a leadingdistribution company of international arthouse movies. InCineMart Projects47

Germany, NorwayMurmansk KirkenesKnut ÅsdamKnut ÅsdamKnut Åsdam (1968) was born in Trondheim, Norway, lived in New York for ten years andcurrently resides and works in Oslo. He has been active internationally with exhibitions,publications and broadcasts for the last 15 years. Tate Britain, Tate Modern, the VeniceBiennale and the MoMA are among the institutions that have exhibited his work. Åsdam hasmade several short films and videos, and he was the Artist in Focus at the 2007 IFFR. In 2011 abook on Åsdam’s video and film-works called ‘The Long Gaze, The Short Gaze’ was publishedby SternbergPress, containing essays by Philippe Pirotte, Simon Sheikh, and Kaja Silverman.Murmansk Kirkenes is his first feature length film project.Leif Magne TangenTransmedia project/Creativedocumentary: RED | 90 min. | ColourBased on: Original Ideaby Knut ÅsdamLanguages: Russian, Norwegian,English, possibly also Finnish,Swedish and SamiLocations: Murmansk, Nikkel &surroundings (Russia), Kirkenes& surroundings (Norway)Budget: € 600.000Financing in place: € 5.000Production Company:vitakuben GmbH € 5.000Partners attached:Pikene på Broen (Kirkenes), theNorwegian Barnets SecretariatSeeking partners from:Norway, RussiaPresent at the CineMart:Knut Åsdam, Leif Magne TangenContactvitakuben GmbHKarl-Liebknecht-Strasse 3004107 LeipzigGermanyPhone +49 176 64980058Email film@vitakuben.netWeb www.vitakuben.netIntroductionParallel stories in Kirkenes (Norway) andMurmansk (Russia); the small modern Norwegiantown and the large, new-rich industrial Russiancity that both form key points, divided by a stalkerlikeno-place in between, with Nikkel and itssurroundings, in an old region which formerly hadno borders. Two modern societies with an uncannystretch of borderland in between.SynopsisThe story spans the two places - which are so closeand have been this way throughout history. Thestory also intimately involves the complicatedbureaucratic structures of the EU, in a contemporary‘so far away yet so close’ scenario, wherepeople find creative ways of living their livesaround the rules.The film focuses on a group of five people in theMurmansk-Kirkenes region.‘A’ lives in Kirkenes (NO) and Murmansk (RUS),and works part time in Kirkenes. She is in her late20s and in a phase of trying out possibilities in herlife. She is in a way a mediator, but also someonewho is unrooted.‘O’ and ‘B’ are residents in Murmansk and quitesettled there, involved in the new contemporarylife of Murmansk in stark contrast to the olderhistory of the city, but also with the politics andfamily life.‘K’ and ‘R’ are Norwegian and Russian citizensresiding in Kirkenes, but neither of them fromthere, they are very remote from their histories.Both are between 30 and 40.While ‘A’ lives between the two cities, she lacksthe roots that the people that stay behind have.The film is primarily about ‘A’, and uses heras a metaphor of the migrant population intoday’s Europe - both national and international.Murmansk Kirkenes exemplifies the EU/ Schengenissues, albeit in a different cloak than we are usedto seeing because it represents a different kindof multiculturalism than we see further south inwestern Europe.This is also a film about fringe areas far away fromthe world’s attention, but where people still live,trying to orient themselves with whatever possibilitiesthey have and without much hope for enteringthe world’s focus in any other than an economicway (oil, fish, military).The film plays specifically on the urban density ofMurmansk, its Cold War based infrastructure, andthe stark remoteness surrounding it. Nature left inits own sci-fi like state of narrating a wildlife thatdoes not exist in many other places in the world.The languages of the film span English, Russianand Norwegian to the effect of dealing witheveryday communication and translation thatoccurs in the everyday life of that region.Photographically we will pay a lot of attention tothe material details of the character’s lives, andalso the presence of the urban environment and itsfringes, where it ends, the last cramps of Europebefore the North Pole.Director’s StatementI think the film Murmansk Kirkenes is important torealise because it tells a unique story in a Europeancontext, and also documents a time, politically andeconomically, where the very ideas of Europe andRussia are undergoing large changes.Furthermore, the surprising multicultural societyin the very north of Europe, its very last crampsof development before nature takes over, consistsof Norwegian, Russian, Finnish, Sami and otherregional groups, coupled together with internationalmigrant workers from other parts of theworld. This testifies to a very modern and differentcultural set up than what one finds in the rest ofEurope. With deep historical roots, this dynamicof people, exchange and contact is also ultimatelycontemporary even in structural terms: at the endof the Second World War the German occupationforces burned down everything on the Norwegianside, and on the Russian side, the development ofMurmansk and Nikkel was primarily post WorldWar II. The result is that on top of an old regionof exchange, one has a modern, industrializedsociety. The sheer remoteness of the area meansthat the difference of the stories and the prioritiesin the Barents region are lost to mainstreamEurope.In many of my films I involve a contemporarysituation with people from several backgroundsengaging primarily with each other because theyare subjected to the same city or place. My sites48 CineMart Projects

are always urban contemporary areas that are witnessinglarge scale change - through migration but also throughthe movement of money and the changes of political andeconomic priorities. In my films these changes are presentin the background around the characters, and infiltrates thecharacters’ language and actions. The external processes areclearly internalized.This is not just a way to analyze a changing society, but thisis also a way to open up a play of the everyday, of people’slanguage and their way of naming their life in order to openup their own spaces of desire.Shooting this film in Kirkenes and Murmansk, gives achance to make a film that is at the same time recognizableto the audience in terms of core issues, but at the same timesufficiently different and surprising in order to allow theviewers to find the spots in which to invest their own desirein an interplay with the actors on screen.Through a keen attention to the politics of language, ofhow something is said, I work on the photography, acting,movement, speech, environment, the speed, and rhythm ofthe work. This attention is also ultimately what allows a newcinema to emerge.an understanding from both the history and the currentmovements in contemporary art and film, and that aredeveloping their first feature length films. Their praxiswith film has to be cross media, functioning both in anexhibition context as well as in a cinema context.Current StatusIn development.Goals at CineMartIn general we are interested in talking to anyone that findsour project exciting, but we would very much like to meetpeople from: Norway, Russia, possible post production ine.g. Belgium or the Netherlands, executive producers arewelcome.Furthermore meet with possible funders, talk to salesagents and distributors, festival representatives, curators,future audience and... win a prize?!Previous Work available at CineMartThe short films Abyss (2010) and Tripoli (2010) by KnutÅsdam are available in the Video Library and on FestivalScope.Company Profilevitakuben Gmbhvitakuben has been a platform for contemporary art sincethe exhibition oVERstation at the Astrup Fearnley Museumof Modern Art, Oslo in 2002. Its co-founder, Leif MagneTangen, has experience in curatorial efforts both freelanceand institutional, as well as a stint as art dealer. Since 2008,vitakuben has been more involved in film and video art andproduced two films; Edward Said is My Boyfriend by GabrielaVainsencher and Nothing Human is Alien to Me by DeclanClarke. A Spell to Ward off the Darkness by Ben Rivers andBen Russell, the company’s first larger project was presentedat CineMart 2011, where the project received a specialmention.vitakuben mainly works with younger filmmakers andcontemporary artists that work with the film medium, haveCineMart Projects49

USANight MovesKelly ReichardtAnish SavjaniScreenwriter and director Kelly Reichardt (1964, USA) had an interest in photography sincea young age, using her police officer father’s camera, which he used to photograph crimescenes. Reichardt’s feature debut River of Grass (1995) screened at Sundance and wasacknowledged at many international festivals. Her second feature, Old Joy, won a Tiger Awardat the 2007 International Film Festival Rotterdam. Wendy and Lucy (2008) had its première inCannes. Reichardt’s fourth feature Meek’s Cutoff premiered at the 2010 Venice Film Festivaland screened at the 2011 IFFR.Neil KoppFeature: 35mm | approx.100 min. | ColourBased on: Original Screenplay byJon Raymond & Kelly ReichardtLanguage: EnglishLocations: Ashland, Oregon (US)Budget: € 2.301.990Production Company:filmscienceSeeking partners from:All territoriesPresent at the CineMart:Anish Savjani, Neil KoppContactfilmscience181 North 11th Street, Suite 30411211 Brooklyn, NYUSAPhone +1 917 5015197Email anish@filmscience.comWeb www.filmscience.comIntroductionDrawing on classical noir storytelling, Night Movesis an ecological thriller and a meditation on theconsequences of political extremism.SynopsisNight Moves is the story of three radical environmentalistscoming together to execute the mostspectacular direct action event of their lives: theexplosion of a hydroelectric dam, the very sourceand symbol of the energy-sucking, resourcedevouringindustrial culture they despise.Harmon is a former Marine, radicalized by toursof duty in Iraq and Afghanistan. His life in themilitary is behind him, but at heart he remains thesame reckless alpha male he always was, eager foradventure, excited by the prospect of mayhem anddestruction.Dena is a high society dropout, sickened by theconsumer economy into which she was born. She’smoved west and cut ties with her family, edgingever deeper into radical politics, which is not tosay her father’s money doesn’t come in handy fromtime to time.And Josh, their leader, is a self-made militant,devoted to the protection of the Earth by anymeans necessary. The son of the middle class, adiligent student, a quiet person by nature, he isalso intensely private, calculating and possiblycold.From the organic farm where Josh works, the plotunfolds. Josh and Dena depart for what they telltheir friends is a weekend trip to the city, butinstead proceed to nearby Medford, where theypurchase a medium-sized pleasure boat and driveit half-way across the state to Harmon’s mountaincompound. There, amid discussions of politicaland personal motivation, the three conspiratorsfill the hull with a fertilizer-based explosive, andtransport the weaponized vessel to the site of thedam. They pass hours waiting at the reservoir and,under cover of the night, detonate the bomb.A night of frantic driving ensues, bringing them inand out of further danger, until at last they makeit home. They wake, however, to find the story farfrom over: an innocent hiker has been killed by theflooding waters, and the media is on high alert.In the following days, the conspirators, separatedand filled with paranoia and dread, confrontdangers physical and mental, anticipated andunexpected. It is Josh, angered by Dena’s emotionalunraveling, who takes the story to its harrowingfinale, in an act of impulsive, passionate violence.When do legitimate convictions truly demandillegal behaviours? How far does one go to halt thedestruction of Earth’s resources? What happens toa person’s political principles when they find theirback against the wall?Director’s Statement“One new, insurmountable sensation was gainingpossession of him almost minute by minute: itwas a certain boundless, almost physical loathingfor everything he met or saw around him, anobstinate, spiteful, hate-filled loathing. All thepeople he met were repulsive to him - their faces,their walks, their movements were repulsive.”- Dostoyevsky‘Crime and Punishment’Night Moves is told through the eyes of Josh. It’sJosh’s shoes that we step into in the first scene andwhose point of view carries us through to the finalshot. Traces of Josh’s character can be found inScorsese’s Travis Bickle, a man whose inner rageprogrammes his outer vision of the world, as wellas Dostoevsky’s Raskolnikov, famously driven tomurder through his inflamed sense of principles,as well as any number of people we mightencounter in day-to-day life who may or may nothave the potential to explode.The visual strategy for Night Moves draws fromclassic film noirs such as Hitchcock’s Shadow of aDoubt (1943), David Miller’s Sudden Fear (1952),Henri-Georges Clouzot’s thriller The Wages of Fear(1953), as well as Jules Dassin’s French crime filmRififi (1955). Using the dark, expressionistic, visuallanguage of the genre, in a contemporary settingof corporate environmental destructiveness andperceived liberal decadence, Night Moves updatesthe genre while showing the timelessness of thefigure of the American anti-hero.50 CineMart Projects

Noir offers a symbolic social and psychological profile of itsera. The forties - noir’s golden era - began with the SecondWorld War and wrapped up with the congressional witchhuntfor communists, a time when the daily rhythm of lifewas greatly shaken up. Since then, noir continues to bethe vernacular of lives under disruption and in extremity.In Night Moves the self-sustained organic farm where Joshworks is seen as too slow an approach for fixing the largerproblems at hand. Furthermore, Josh and his conspiratorsfeel the need to make a grand statement, something peoplecan’t ignore, something to wake them up and force them topay attention. The corporate greed and destruction of theenvironment is so egregious that it gives shelter to a righteousnessthat knows no bounds.Company Profilefilmsciencefilmscience, an independent film production company, wasformed by Anish Savjani in November 2005. Over the lastsix years, filmscience has produced eleven feature films:Kelly Reichardt’s Meek’s Cutoff, Wendy and Lucy and OldJoy; Joe Swanberg’s Alexander the Last (2009), Nights andWeekends (2008) and Hannah Takes the Stairs (2007); SteveCollins’ You Hurt My Feelings (2010) and Gretchen (2006);Geoff Marslett’s Mars (2010); Bob Byington’s Harmony andMe (2009); and Spencer Parsons’ I’ ll Come Running (2008).These films have been nominated by Film Independent forthree Spirit Awards, and they’ve screened at film festivalsaround the world, including Cannes, Rotterdam, Sundance,Toronto and Venice. Additionally, Savjani was the recipientof the Producers Award at the 2011 Independent SpiritAwards. filmscience currently has a number of projectsby emerging and established independent filmmakers inproduction and development, including Brian Savelson’sIn Our Nature and the documentary Off-Label by MichaelPalmieri and Donal Mosher.Current StatusIn the fundraising/development stage.Goals at CineMartFinding financing partners and co-producers, andnetworking.Previous Work available at CineMartThe feature film Wendy & Lucy (2008) by Kelly Reichardt isavailable in the Video Library and on Festival Scope.CineMart Projects51

The Netherlands,GermanyNude AreaNaaktgebiedUrszula AntoniakUrszula Antoniak graduated from Polish and Dutch film academies in film production anddirecting, respectively. After researching and writing documentary series like Man And HisSigns - History of Metaphors and Throwaway World - Intimate Story of Garbage she started towrite and direct feature films.Her short film Bijlmer Odyssey (2004) was a Dutch TV production that sold in many territories inand outside Europe. Her comedy Dutch For Beginners (2007) drew attention from audience andcritics.Urszula’s feature film debut Nothing Personal (2009), starring Lotte Verbeek and StephenRea, won six awards at the 2009 Locarno Film Festival, including Best First Feature, BestActress and the FIPRESCI Prize. It also won Best Feature and Best Director awards at the 2009Netherlands Film Festival and was sold to 16 countries.Her second film Code Blue (2011) was selected for Quinzaine at the 2011 Cannes Film Festivaland won two Golden Calves at the 2011 Netherlands Film Festival.Feature: 35mm | 90 min. | ColourBased on: Original Screenplayby Urszula AntoniakLanguage: DutchLocation: Amsterdam(The Netherlands)Budget: € 925.000Financing in place: € 526.000Production Company:Topkapi FilmsCo-Production Company:Pandora Film Produktion GmbHPartner attached:Netherlands Film Fund € 526.000Seeking partners from:All territoriesPresent at the CineMart:Urszula Antoniak, LauretteSchillings, Hedwig AgterbosContactTopkapi FilmsRapenburgerstraat 1231011 VL AmsterdamThe NetherlandsPhone +31 20 3032494Email info@topkapifilms.nlWeb www.topkapifilms.nlIntroductionHypnotic portrait of female adolescence andsexuality featuring Naomi (16), a Dutch girl fromposh Amsterdam South, who experiences a lesbiancrush on Fama (16), a beautiful Moroccan girlliving in the poor Amsterdam West ‘hood’.SynopsisNaomi (15), a sophisticated girl from theAmsterdam South elite, tries to control herromantic infatuation with Fama, a simple girlliving in the poor quarters of Amsterdam West.A carefully planned seduction strategy has tobalance the turmoil of Naomi’s heart and makeFama fall in love with her. Once this is achievedNaomi will lose interest in Fama and be free.Easier said than done. Far from being a victim ofNaomi’s manipulations, Fama continues to putthe spell on her. And it becomes harder for Naomito follow her strategy and to control her emotionswhen she comes closer to Fama and gets to knowher as a person rather than as an abstract beauty.Naomi forgets that reason can’t always controlemotions, that love is a form of self-seduction, andthat often the first victim of a seduction strategybecomes the seducer himself.During one magical summer in Amsterdam thetwo girls play an emotional chess game that makesNaomi realise how little she knows and how muchshe feels. The summer will end, the love willdisappear, but seduction will stay eternal. Becausenothing is stronger than seduction. Not even theorder that destroys it.Director’s StatementWhen touch is forbidden, look is everything.MotivationNude Area plays on the three subjects I find fascinatingto explore: social differences, femalesexuality and irony. Nude Area is neither a ‘sociallyengaged’ nor a ‘coming of age’ film, two genres Itruly dislike.What strikes me in Dutch cinema is that it rarelyuses social differences as a source of drama, andconcentrates mainly on psychology as if the wholeconcept of social class didn’t exist. As if therewas no difference between someone growing upsurrounded by books and someone brought upby parents who couldn’t afford books. The socialposition of an individual influences not only hischances in life, but also his consciousness. InNude Area the contrast between the two girls is thecontrast between privileged and underprivileged.What makes them equal is their sexuality.Once social differences are established as thebackground, the main focus of Nude Area isfemale sexuality. I admire Catherine Breillat whotreats sex in her films as discourse, and exploresfemale sexuality like an anthropologist. Nude Areapresents the area of female sexuality where nomen have access to. Shadow zone of erotic friendshipsbetween adolescent girls, steamy mixtures ofcompetition and fascination, obsession and crueltyin their relationships. In Nude Area I want to usea style inspired by films of Lucretia Martel andClaire Denis - my two favourite female directors- whose films are not only visual but also verysensual.Irony. I come from a culture where Franz Kafka’snovels are considered funny, and where irony isnot something to laugh about but to balance theabsurdity of existence. Irony is a shadow zonebetween tragic and comic and nothing could bemore ironic than seduction.InspirationsVivre sa Vie (1962), a film by Jean-Luc Godard,originated from the social study of Marcel Sacotteabout prostitution as a social phenomenon.Nude Area originates from ‘Seduction’ by JeanBaudrillard, a philosophical treatise aboutseduction as a play of appearances.In his book Baudrillard analyses another philosophicalwork about seduction, ‘Diary of theSeducer’ by Søren Kierkegaard, and makes adistinction between vulgar and high seduction.The first has sex and desire as its ultimate goal. Thesecond one plays with sex and desire.The vulgar seduction reminds of a chase or a hunt.52 CineMart Projects

Urszula Antoniak Laurette Schillings Hedwig AgterbosThe second is a spiritual duel and a ritual that unfolds withan infallibility, that is neither logical nor psychological butmythical.In high seduction the perfection of an innate, natural graceof a girl is matched by the perfection of the artifice of theseducer’s strategy. Nature is matched by Artifice. The highseduction ends with the seduced girl being led away fromher truth. In Nude Area Fama will end up by being seduced,thus erased as the person she once was and becoming aperson she doesn’t know.StyleNude Area is a story of two adolescent girls locked in aseduction game, but is also a discourse about seduction as aphenomenon. The consecutive steps of seduction presentedin the film apply to any couple. We observe Naomi andFama like two animals in a pairing ritual. Or two people ina documentary about seduction. Mixture of fictional story,observational documentary and essay makes Nude Area anintertextual, multilayered and reflexive film.Similar to Vivre sa Vie, Nude Area is told in brief episodesmarked by titled chapters. They never let the audience forgetthe artificiality of what they are watching, turning the filminto a meditation on seduction, sexuality and capitalism.Nude Area will be full of comments and allusions to contemporaryconsumerist culture, fashion styles, advertising, popmusic, obsession with beauty and image.The chain of events that bring about Fama’s downfall couldbe heartbreaking if Nude Area would aim straight to thehearts of the viewers as a melodrama. Instead the film goesto the heart by way of the brain. There is that dry Frenchlogic, the way every statement seems to be prefaced by aninaudible ‘of course’. This is the way events are presented inNude Area.It makes the film revealing, fatalistic and poetic. The endingwill introduce irony and melancholy when life holds up themirror to the artificiality of the seduction game.Company ProfileTopkapi FilmsAs of late 2011, film producers Frans van Gestel and ArnoldHeslenfeld, both managers at IDTV Film, are continuingindependently under the name of Topkapi Films. They areproceeding in a smaller formation, continuing to put asmuch care and love as they can into making films for theDutch and foreign market.Their current productions include My Life on Planet B(release 2012) by Iván López Núñez and Only Decent People(release 2012) by Lodewijk Crijns. This spring, shootingwill start on The Family Way by Joram Lursen, and TheResurrection of a Bastard by Guido van Driel.Topkapi co-produces the following projects on an internationallevel: The Broken Circle Breakdown by Felix vanGroeningen, Little Black Spiders by Patrice Toye, Layla Fourieby Pia Marais, The Midfielder by Adrian Biniez and PostTenebras Lux by Carlos Reygadas.Current StatusSecond draft of the script is ready.Goals at CineMartFind a sales agent and an international co-productionpartner.Previous Work available at CineMartThe feature film Code Blue (2010) by Urszula Antoniak isavailable in the Video Library and on Festival Scope.CineMart Projects53

The NetherlandsOur SunJoost van GinkelJoost van Ginkel (1971, The Netherlands) produced his first short film Sand (2008) by himself.Sand was selected for the 2008 Venice Film Festival, won 13 international awards and wasthe Dutch submission for the Academy Award Best Live Action Short. His second short filmKiss (2009) was selected for the 2010 Tribeca Film Festival. His first feature film, 170Hz, wasnominated for Best Actress and Best Sound Design and won the YouthMovieSquad Award andthe Public’s Choice Award at the 2011 Netherlands Film Festival. 170Hz was also selected forthe 2011 Busan International Film Festival.Feature: Arri Alexa |105 min. | ColourBased on: Original Screenplayby Joost van GinkelLanguages: Dutch, English, Polish,Korean, Serbian & BosnianLocations: Amsterdam (TheNetherlands), Warsaw (Poland),Seoul (South-Korea)Budget: € 1.500.000Financing in place: € 35.000Production Companies:PRPL, Isabella FilmsPartner attached:Netherlands Film Fund € 35.000Seeking partners from:Eastern Europe (Poland, Serbia,Bosnia), South Korea, andother European CountriesPresent at the CineMart:Joost van Ginkel, EllenHavenith, Els VandevorstContactPRPLOrteliusstraat 246-21056 PJ AmsterdamThe NetherlandsPhone +31 6 52054690Email ellen@prpl.nlWeb www.prpl.nlIsabella FIlmsPO Box 104331001 EKAmsterdamThe NetherlandsPhone +31 20 4229199Email els@isabellafilms.comWeb www.isabellafilms.comIntroductionOur Sun is a mosaic film about six immigrantsfrom Poland, Sierra Leone, Bosnia, Serbia andKorea struggling with the darker sides of theirvoluntary or involuntary migration to the Netherlands,and trying to survive in, or on their way toAmsterdam.SynopsisSeka (53), a war victim from former Yugoslaviawho has built a new life in the Netherlands as a GP,suddenly makes a horrific discovery. Yaya (29), anillegal immigrant, works in the flower business.He promises his close friend Yewel to help her andher three sons financially to avoid them losingtheir place to sleep. He needs money fast. PolishReja (21) comes to Amsterdam in search of herdream to work as a model, but once there she paysa high price for her naivety. Kwon (49) is a worldclassconductor who will lead the Concertgebouworchestra for two years. His son Jihu (10) is withhim because his mother travels the world as a soloviolinist with top classical orchestras. Ivica (48)from Serbia, the owner a number of sex clubs inAmsterdam, is over the moon with his newbornson.Our Sun is a gritty tale of migration in the modernage, but equally of present-day selfishness: ‘Me,myself and I’. A time of the loveless and numbingpursuits of money, sex, status and power.Perspectives / passage of timeAll the storylines are set over a three monthperiod. Each storyline is essentially separate,but the storylines and the characters’ fortunesintertwine into a seamless whole. The variouscharacters impact each others’ lives, sometimesexplicitly by helping or hindering each other, butfrequently by (silent) encounters that affect theiractions. The film ends in an emotional climaxin which all storylines simultaneously come toan end. While Our Sun covers a period of threemonths, not all the stories do. The stories ofJihu and Kwon and Ivica’s cover a few weeks, butculminate in the last week. The storylines of Seka,Yaya and Yewel last eight to ten days. Reja’s story isthe longest at three months.StyleThe film is set in a universal major city in theNetherlands (Amsterdam). Events mainly takeplace at night, creating a dark atmosphere bothliterally and metaphorically. The stories are grimlyrealistic. Many scenes will be shot with a handheldcamera in order to capture the energy of thescenes. But there are also moments of rest, hopeand reflection. Those are shot with a fixed cameraor steadicam, frequently very closely.Director’s StatementIn 1993 I made the documentary Volle maan bovenBosnië (Full Moon over Bosnia) as cameraman andeditor, with Bosnian refugee and director Ned adIbrahimovic, about Bosnian refugees living in DenBosch, The Netherlands. I transcribed the interviewswe did for this film, on the horrors of thewar. That experience has profoundly affected myworldview. It has become my frame of referencewhen I hear about wars, torture and injustice.In 1997 I wrote a script for my first feature film. Topay the rent I worked in the port of Amsterdam,parking cars for Nissan. During those months Ishared a minibus, daily, with 10 to 12 immigrantswho just like me were on their way to drive the nextload of Nissan Micras ashore. People from Iran,Iraq, Senegal, Yugoslavia, etc. But what for me wasan easy job to help me concentrate on my writing,was a lifeline for my fellow passengers. Many of themen doing this menial work were highly educated.This kind of work, like driving cars, is typical ofthe kind of work refugees with residency statuscan do. I quickly realised that the people in thatminibus were probably a fair reflection of the warsraging in the world at that time.Seka’s story is inspired by the experiences of SekaWilliams, a Bosnian refugee. My girlfriend BrendaWit made a documentary about her eight yearsago, called My Little Princess (2002). Seka was awell-bred and highly educated woman who saw herdaughter being killed during the war. She spent thelast lonely years of her life in Amsterdam.I lived in Amsterdam for twelve years, and I wasshocked by the chaos on the Zeedijk, an inner citystreet. I am still shocked by how callously we treatrefugees in this country.The experiences I have described lie at the heartof my interest in people who are new to theNetherlands. Our Sun will be a powerful anddisturbing cinematographic experience. Our Suntells universal stories; timeless stories that mustcontinue to be told. I want to stay close to the54 CineMart Projects

Joost van Ginkel Ellen Havenith Els Vandevorstcharacters so that we empathise with them, with their fearsand hopes. I want to tell the stories of Seka, Kwon, Jihu,Yaya, Reja and Ivica in ways that get under your skin. OurSun must not only be an impressive film, but especially onethat makes you realise that such things are happening rightnow, right in our back yard.Company ProfilePRPL/Ellen HavenithAfter working as a line- and delegate producer for severalDutch production companies, Ellen started her ownproduction company PRPL in November 2010.In an inventive way PRPL produces short films and featurefilms that have a fresh and unique content or form which areappealing to an international audience. The world is full ofthings that resemble each other, so it’s time to stimulate andchallenge people! As a delegate producer for Column Film,Ellen Havenith produced 170Hz, the first feature film ofJoost van Ginkel. Currently in development, among others,are the feature films Hail Mary by Joost van Ginkel, and thefeature Eyes Closed by Liesbeth Wieggers.All So Quiet, a film by Nanouk Leopold based on the novelby Gerbrand Bakker. In 2012 the new film of Ineke Smitsentitled N.N will be shot, and the new projects of directorsMartin Koolhoven (Brimstone), Mike van Diem (TheSurprise) and Ágnes Kocsis (Eden) will get financed.Current StatusFinancing stage. We are selected by the Artistic Intendant ofthe Netherlands Film Fund to apply for production subsidy.Second draft of the script available.Goals at CineMartLooking for international co-production partners, a salesagent, distributors and TV pre-sales.Previous Work available at CineMartThe feature film 170Hz (2011) by Joost van Ginkel isavailable in the Video Library and on Festival Scope.Els Vandevorst/Dutch producer attached to the projectEls Vandevorst is the Dutch producer attached to the projectand is currently producing out of her newproduction company N279 Entertainment. Before she hasproduced her films out of Isabella Films.Isabella FilmsIn 1997 Els Vandevorst and Wilfried Depeweg foundedIsabella Films, a production company focusing on featurefilms with artistic potential and value that are accessible tointernational audiences. Isabella Films believes in the powerof collaboration of talent and wants to work on an internationallevel.Isabella Films (co) produced several feature films like TheCrossing (1999) by Nora Hoppe and Villa des Roses (2002) byFrank van Passel, Sea of Silence (2003) by Oscar nominatedStijn Coninx and South (2004) by Martin Koolhoven.Isabella Films is the co-producer of three films by Lars vonTrier, Dancer in the Dark (2000), which won a Golden Palmat the 2000 Cannes Film Festival, Dogville (2003), Manderlay(2005) and Father & Son (2003) by Aleksandr Sokurov.In 2008 Isabella Films produced Winter in Wartime byMartin Koolhoven and The Aviatrix of Kazbek by InekeSmits. The co-production Agua Fria de Mar (2010), byPaz Fabrega, won a Tiger Award at the 2010 IFFR and PálAdrienn (2010) by Ágnes Kocsis, presented at Un CertainRegard 2010, won the FIPRESCI that year. Isabella producedLena, the new film by Christophe van Rompaey, which hadits world premiere at the 2011 International Film Festival inToronto.At the moment in post-production are The Zigzagkid byVincent Bal, produced with Bos Bros, Kid by Fien Troch,presented last year at the 28th CineMart, in co-productionwith Primetime, A Fold in my Blanket by the Georgiandirector Zaza Rusadze, and Chnchik an Armenian film byAram Shahbazyan, which will be delivered next year.Isabella Films and Circe Films are in pre-production of It’sCineMart Projects55

FranceRéalitéRealityQuentin DupieuxGregory BernardQuentin Dupieux (1974, France) has been filming everything he sees since the age of 12, andmaking electronic music under the alias, Mr Oizo. In 1999 he shot advertising films for Levi’s,which led him to make his own medium length feature Nonfilm (2001), and then his first featureSteak (2006). In Los Angeles, in 2009, he directed, shot and edited Rubber, and composedoriginal music for the film’s soundtrack. Rubber premiered at Critic’s Week in Cannes, and wonprizes at both the Sitges and Puchon International Fantastic Film Festivals. His latest film,Wrong (2011), also shot in LA, has been selected for Sundance 2012.Diane JassemFeature: Shooting: HD 1920x1080(Apple ProRes) files, Final:35mm - DCP | 95 min. | ColourBased on: Original Screenplayby Quentin DupieuxLanguage: FrenchLocation: Alpes-Maritimesand Île-de-France (France)Budget: € 3.010.503Financing in place: € 2.160.000Production Company:Realitism Films € 560.000Partners attached:CNC Avance sur recettes € 550.000,Alpes-Maritimes - Aide ala production € 100.000,Diaphana € 50.000,Canal Plus (TV rights) € 750.000,Ciné plus (TV rights) € 150.000Seeking partners from:Belgium, United Kingdom, Germany,Switzerland, LuxembourgPresent at the CineMart:Gregory Bernard, Diane JassemContactRealitism Films6, rue Chabanais75002 ParisFrancePhone +33 1 75438898Fax +33 1 49269684Email info@realitism.comWeb www.realitismfilms.comIntroductionThree stories… three layers of reality…Reality, an eight year-old girl, discovers a mysteriousVHS. She becomes completely obsessed withthe idea of watching it.Denis, who is hosting a cheesy TV talk show, issuddenly losing confidence in himself becauseof an imaginary skin disease. He gradually feelspersecuted and loses touch with reality.Jason, a has-been director, finally manages to finda crooked producer to produce his first horrormovie. Despite his shrink-wife’s advice, Jason isgetting completely messed up, mixing dreams andreality.Stories and characters intertwine, slowly drivingthe protagonists away from their sanity.SynopsisThree stores… three degrees of reality…Reality is an eight year-old girl whose father, Mike,is a taxidermist. Inside the guts of a wild boarrecently hunted by her father, Reality discovers amysterious video tape.Behind her parents’ back, she will do everythingshe possibly can to see what is on the video.Denis, the host of a nerdy cooking show, dressesup as a horse to interview the guests on his show.Gradually, the whole crew of the show turnsagainst Denis as he develops an obsession: thedetergent used to wash his costume has beenchanged. Despite what everyone around him andthe doctors say, he convinces himself that he hasthese terrible allergic reactions and just spends histime scratching, compulsively. He quickly developsa persecution complex and a general feeling ofbeing misunderstood. And rightly so as everyonestarts to see him and treat him as crazy…Jason, a failed filmmaker working as a cameramanon Denis’ show, tries to convince Bob, a shadyproducer, to finance his first horror movie, Waves,a film about television sets that violently rebelagainst humanity. The only condition Bob imposesis that they find, for the victims, the best screamever in the history of cinema. It is this quest forthe perfect scream that will lead Jason to isolatehimself from everything around him, especiallyhis wife Alice, who is a psychiatrist. Wherever heis, Jason becomes more and more obsessed by thisperfect scream, he looks for it everywhere, aloneat home, in his car, at work, in video clubs, fitnesscenters…Following Bob’s advice, he decides to distancehimself from his problem of the scream by goingto the movies with Alice. This will actually turnout to be the straw that definitely breaks thecamel’s back and makes Jason lose his mind. Themovie they go to see turns out to be none otherthan Waves, the movie he was planning on makingwhich by the way is very bad. Jason then starts tocompletely lose his senses and it becomes harderand harder for him to distinguish the differencebetween dream and reality.The stories and the characters gradually get mixedup… What if Reality’s life was nothing other thanfiction? Another one of Bob’s movies? And what ifJason only existed on the video tape found insidethe wild boar? And finally, what if Reality wasnothing more than the sum of all these layers offiction that sometimes clash…Producer’s StatementNon Film and Steak made an impression on criticsand left audiences disoriented. Rubber confirmedthat Quentin Dupieux is a filmmaker to bereckoned with, like no other, and a fully-fledgedartist.My hope is that the best actors will want to workwith him. This is the challenge for Reality: anactor’s movie, a ‘comédie d’auteur’, a text-basedmovie, written primarily to make us laugh.After having taken on the challenge of directingan inanimate object in Rubber, a virtually silentmovie, Dupieux, with Reality, is paying tribute tothe works of Blake Edwards, Bertrand Blier, Buñuelor Monty Python.Reality summons themes that are dear to Dupieux,and asserts the coherence of his artistic project:films within films, text-based movies, andcharacters’ existential questioning, but withoutever taking themselves too seriously.Under his direction, this movie can become areference just like S.O.B by Blake Edwards, a moviethat will be seen with the same joy in 30 years as itis today.- Grégory Bernard56 CineMart Projects

Company ProfileRealitism FilmsAfter creating two companies in the media and new technologiesindustry, Grégory Bernard founded Realitism Filmsin 2005, and in 2006 produced his first feature, LagerfeldConfidentiel, a documentary selected for the Berlin FilmFestival and sold in 15 countries. Realitism Films producesfilms that question our relationship with reality, betweenfiction and documentary, personal stories and fantasies.The company produced the second feature of Dupieux,Rubber (2010), selected for both Critic’s Week in Cannes,and Locarno.Other films from Realitism include Mourir aupres de toi,directed by Spike Jonze and Simon Cahn, selected innumerous festivals such as the Critic’s Week in Cannes andLocarno, a documentary on contemporary African Art,entitled Luanda Pop, and Wrong by Quentin Dupieux, afeature film selected for Sundance 2012.Gregory Bernard started working with the director ofDomona; Djinn Carrénard (who won the Louis Delluc prize),for his next feature film Faire l’amour (shooting in March2012).Current StatusFinal draft of the screenplay is available and currentlyfinancing the film. Shooting planned for 2012.Goals at CineMartOptimize financing, find foreign investors and distributors.Previous Work available at CineMartThe feature film Rubber (2010) by Quentin Dupieux isavailable in the Video Library and on Festival Scope.CineMart Projects57

France, Denmark,SwedenDavid DusaThe RevolutionWill Not Be TweetedDavid DusaBorn in Budapest in 1979, David Dusa grew up in Sweden and South Africa, and studied filmin Gothenburg and Paris. After graduation, he worked in a fish factory in Norway and travelledaround Asia and Africa. Dusa started making short films in 2006, which were awarded atfestivals worldwide, before directing his debut feature Fleurs du mal (2010), about the Iranianuprising in 2009 and the power of social media. It premiered at Cannes and then went to over100 festivals including Tribeca, Karlovy Vary, Namur, BAFICI, Rotterdam and Abu Dhabi. Afterthe film was released, Dusa was selected by Variety as one of 10 European Directors to Watch2011. Currently he is preparing Cacheux Malor, his second feature, a coming of age storyleading to Revolution (developed with the support of Binger Filmlab, Script & Pitch, CineMart,and Media Development).The transmedia part of The Revolution Will Not Be Tweeted wasselected for the Pixel Market at the 2011 Power to the Pixel.Emilie BlézatFeature (with transmediaelements): HD | 90 min. | ColourBased on: OriginalScreenplay by David DusaLanguages: English, French, ArabicLocations: Sweden, Tunisia, FranceBudget: € 2.900.000Financing in place: € 185.000Production Company:SCIAPODE € 101.000Co-Production Company:Kamoli Films ApSPartners attached:MEDIA Development Programme€ 60.000, PROCIREP/ANGOA € 24.000Seeking partners from:EuropePresent at the CineMart:David Dusa, Emilie BlézatContactSCIAPODE80 Quai de Jemmapes75010 ParisFrancePhone +33 1 53196645Email info@sciapode.netWeb www.sciapode.netIntroductionThe Anarchist, the Hippy, the Geek and theInternet.The Revolution Will Not Be Tweeted explores,through an adventurous and generational film,the inner workings of the Internet as a vectorfor change, and hints at ways it could be thefoundation of tomorrow’s society.SynopsisThree Tunisian activists, whose destinies are intertwinedwith the Internet, are brought together tothe Ministry of Interior to be beaten and interrogatedfor four days without sleep, about theirinvolvement in the Tunisian uprising. As therevolution outside gains bloody momentum,the three activists are obliged to retrace theirlives and their relationship to the Internet, whilebeing confronted with the prisoner’s dilemmas offriendship, loyalty, treason and politics.Meanwhile, underneath a snow-covered landscape,in a bunker, a War Room is getting started. Thisthink tank, with some of the most prominentinnovators of the Internet, explores the paradigmshift at work in today’s society. With focus onconcrete and tangible solutions, they question howthe Internet can be the foundation of tomorrow’ssociety. The documentary War Room turns out tobe a pressure cooker, just as much as the fictionalMinistry of Interior.As the interrogation in the Ministry continues weget an intimate portrait of each character:Aymen used to work for a big bank, while Ala wasliving off the street eating tobacco from cigarettebutts to fight the hunger. Medhi helped to organizethe anti-globalization protests online. They comefrom different social classes, but when you meetonline, that is not important. The Internet politicizedthem; their network was key for the Tunisianuprising. As they are interrogated, we feel theirfrustration for not being able to witness the finaldays of the dictatorship. We also realise that theWar Room is the continuation of their struggle;the thinkers there try to figure out what to buildin the wake of the old society. Despite all theirsocial networks and knowledge of the Internet, theactivists in the Ministry are human and archaic…are they corruptible? Will they resist until the end?The War Room gets down to the essential question:How to avoid that the revolution only empowers afraction of society and leaves the majority excludedfrom the decision making? How to make sure thatthis revolution doesn’t only get rid of the dictator,but also empowers the citizens? The Internet mightbe the key tool to achieve that...Director’s StatementThe Revolution Will Not be Tweeted is a featurefilm treating the power of social networks and itsinfluence on social change, and an exploration ofthe boundaries of the Internet as a foundation of anew civil society. The film is a visual representationof the way these tools globalize and empowercitizens and articulate a rapidly changing world.The story of the three Tunisian activists is basedon real people who were key in the Tunisianuprising. Building on the experiences of the IranianGreen Movement (which my debut film Fleursdu Mal (2010) is about), they explored how thesocial networks could be organizational tools fora revolution. Facebook doesn’t make revolutions,there needs to be a socio-economic background anda desire; an energy. These activists used the socialnetworks to articulate that energy. They becameempowered by social media and found new ways tocreate, exchange and use the Internet, not only as amedia, but also as a space and as an ecosystem.Social networks have turned out to be a powerfultool for over-throwing dictators. These tools havebecome a vector and a symbol for the uprisingsthat swept the world in 2011. From North Africato Spain and the United States, the Internet hasbecome the articulation of a paradigm shift. Buthow to use it to build something new? How tocreate open governance and real transparency?The Tunisian activists have continued to use their‘clout’ to influence their post-revolutionary society,by imposing the Constituent Assembly, instead ofa regular parliament. Rewriting the constitutionis important, but more important is to win time,and delay the instauration of Western style parlia-58 CineMart Projects

mentary democracy. Why? To give time for new ideas todevelop in the wake of these revolutions; to transform theInternet from a tool for ousting dictators to a tool of nationbuilding. This is where the War Room comes in.Simultaneously as we retrace the lives of these activists andexplore how they met through the Internet and how theunlimited access to knowledge politicized them, the participantsof the War Room will use them as a starting out pointto see if the revolutionary apparatus can be the governmentalapparatus thanks to the Internet. Can the communalmanagement of Wikipedia be transposed to write a constitution?Can the way of developing open source software betransposed to the organization of society?The War Room as a set is often present in mainstream sci-fiand war movies. In the collective consciousness, this spaceis identified with imminent danger from the outside worldand time pressure for the characters to come up with asolution to deflect that danger. A visually clear premise isa playground for story telling: The world outside is boilingwith revolution; the thinkers have limited time to comeup with solutions to make sure these uprisings bring realchange. This gives lots of possibilities for the mise-en-scènein fictionalizing a discussion that could otherwise becometoo academic.The Internet is a real character in the film, materializingin the form of videos, through animation and throughInternet symbols (and memes) that appear in the physicalworld. Firstly, we will use pre-existing videos made byordinary citizens about how the revolution in Tunisiastarted. Secondly we will create videos that mimic (inform and style) the countless tutorials on YouTube, whichpeople use to learn everything from playing piano, to usevideo cameras and to cook food. As the film is aiming toshow to a large audience how the Internet can empower,these tutorials will explain in a quick, humoristic andwitty way what is a server, a proxy, a TOR, a DDOS(Distributed Denial of Service), game theory, open source,open governance, the Netocracy, etc. These videos willgive the spectator, in a playful way, the same knowledge asthe participants of the War Room or the Tunisians in theMinistry.The animation will be used in a similar way: to show theinterconnections of the Internet and to insist that thingshappen in networks and not in channels. Lastly, we willalso introduce some well-known Internet symbols intothe physical world of this fiction film. For example, a hugered Google Maps marker with the capital A, will suddenlyappear in the street next to the person who marks the spoton his or her Smartphone. The Nyan Cat, a famous Internetmeme and a powerful symbol for hackers, is a pink cat madeof pop tart that flies around leaving a trail of rainbow. Ittoo will appear in the film (in animated form) and help thecharacters when they are in difficulty.The Revolution will not be Tweeted must be a portrait of thistime, a record of this shift of tides and an exploration ofhow far the Internet can go as a foundation for a new civilsociety. My intent is to capture this creative energy througha formally modern film, which integrates Internet intoCinema and pays tribute to the rebirth of the empoweredcitizen.Company ProfileSciapodeEmilie Blézat founded SCIAPODE in 2003 to producefilms and works by European artists: Sophie Fiennes, WimVandekeybus, David Dusa, Andrew Kötting, Florent deLa Tullaye & Barret, Mikael Roskam, Jan Lauwers, WaynTraub... Some of them developed a huge work in othermedia to bring new skills in dramaturgy, narrative andvisual story telling to cinema, with a strong point of viewon the world. Sciapode’s productions are born from strongcollaborations like Birdy Nam Nam, Yamakasi, Grace Jones,Anna Teresa de Keersmaker, Anselm Kiefer, Pipo Delbonoetc. and have been awarded at festivals worldwide.Kamoli FilmsKamoli Films is a Scandinavian partner and productioncompany of films, TV, and new media aiming at innovativebusiness models and joint ventures, run by producer HelleUlsteen. Latest projects include the Swedish candidatefor the Oscars, Beyond (2010) by Pernilla August starringNoomi Rapace, the Cinema for Peace nominated Lady of NoFear (2010), the 2010 Oscar nominated Burma VJ. A RationalSolution by Jens Jonsson & Jorgen Bergmark, winner ofARTE France Cinema Award, the 2007 Emmy nominatedSmiling in A War Zone, and the 2008 European Academynominated Shadow of the Holy Book, amongst others. Ulsteenproduced highly innovative art projects with acclaimedartists Peter Greenaway and Lars Von Trier, as well as filmson Danish Dogme95, like the award winning The Purified(2003), capturing the brotherhood of Lars Von Trier andThomas Vinterberg.Current StatusIn production.Goals at CineMartFinding a sales agent, funds, broadcasters and co-producers.Previous Work available at CineMartThe feature film Fleurs du Mal (2010) by David Dusa isavailable in the Video Library and on Festival Scope.CineMart Projects59

South KoreaService for PeopleInmineul yuihe bokmuharaJang Cheol-sooYoungjoo SuhBorn in 1974, Jang Cheol-soo studied Visual Design at Hongik University in Seoul, Korea. Heworked as an assistant director on a number of films by Korean directors, including Kim Ki-dukand Huh In-moo. His short film Escalator to Heaven (2006) screened at many internationalfestivals. Jang made his feature debut with Bedevilled (2010), which premiered in Semainede la Critique of the 2010 Cannes Film Festival, won the Puchon Choice Award at PuchonInternational Fantastic Film Festival, the Audience Award and the Best Actress Award atFantastic Fest in Austin, Texas.Feature: 35mm | 120 min. | ColourBased on: The Chinese Novel‘To Serve the People’ by Yan LiankeLanguage: KoreanLocation: South KoreaBudget: € 2.900.000Financing in place: € 870.000Production Company:Bidangil Pictures € 435.000Co-Production Company:Finecut Co, Ltd € 435.000Sales: Finecut Co, LtdSeeking partners from:EuropePresent at the CineMart:Youngjoo SuhContactBidangil Pictures2F Goam Bldg., 34-14 Jamwon-dongSeocho-gu137-904 SeoulSouth KoreaPhone +82 234 432150Fax +82 2 3443 2180Email bidangilfilm@naver.comFinecut Co, Ltd4F Incline Bldg., 891-37 Daechi-dongGangnam-gu135-280 SeoulSouth KoreaPhone+82 2 5698777Fax+82 2 5699466Email cineinfo@finecut.co.krWeb www.finecut.co.krIntroductionAdapted from Yan Lianke’s controversial Chinesenovel ‘To Serve the People’, the story is aboutthe young wife of an impotent army general whoseduces the soldier assigned to doing the domesticchores of their household.SynopsisShin Mu-gwang is a soldier of the North KoreanPeople’s Liberation Army, fully committed tocommunist ideology and regime. Stationed atthe commander’s house as a cook, he stronglybelieves that serving the commander is a way toserve the People. But when the commander isaway, the commander’s young wife tries to seduceMu-gwang. Struggling between his sexual desiresand class barriers, he refuses her, remindinghimself of his own wife and son back in hometown.Insulted by his refusal, she uses her power todemote him, giving him no choice but to yieldto her temptations. As their sexual adventuresbecome more and more daring despite their differencesin class and belief, time passes until the dayarrives when the commander is due back.Director’s StatementThis story is about the two most fundamentalelements of a human being: love and dignity; aseveryone needs dignity and would readily sacrificeanything for its sake.Through this project, I hope to convey a love storythat happens on the backdrop of a peculiar periodand background in North Korea; a prison of thesoul built under the name of ideology. However,such prisons don’t only exist for the people ofNorth Korea. The frank but absurd story of thecharacters in the scenario could be a cry or anappeal to the heavens by the voice of confined love.I anticipate that this story will express ourinnermost hearts and soul in details and depth.And that it will reveal the pleasure and pain of oursouls in the most realistic and beautiful manner.Company ProfileBidangil PicturesBidangil Pictures was established in 2004 by KimSujin and Yun In-Beom, with the aim of becominga production company creating films that are bothKorean, and international. On the backdrop of asolid production system and originality when itcomes to developing projects, Bidangil Pictureshas created a wide network of talent consisting ofoutstanding directors, writers, and actors.After creating the box office hit Forbidden Questby Kim Dae-woo in 2006, and the hit thriller TheChaser (2008) by Na Hong-jin, Bidangil became anew major production company to lead the Koreanfilm industry. After producing the crime movieThe Scam by Lee Ho-jae in 2009 and the actionfilm The Showdown by Park Hoon-jung in 2011,the company is currently developing its next filmabout a wolf-boy for 2012, so is constantly pushingitself to produce various films.FinecutFinecut is a film company specialized in internationalsales and marketing, production andfinancing, and the acquisition of high-end films.It was set up in 2008 by Youngjoo Suh, who wasthe founder of Cineclick Asia, which representednumerous films since 2000. Since its launchFinecut has been actively representing manysuccessful titles including Lee Chang-dong’sOasis Park (2002), Chan-wook’s Old Boy (2003),seven titles by Kim Ki-duk including SamaritanGirl (2004), 3-Iron (2004), Spring, Summer, Fall,Winter…and Spring (2003), Bong Joon-ho’s The Host(2006), the Korean film The Chaser (2008) whichwas invited to the official selection of the 61stCannes Film Festival, and Lion’s Den (2008) by thedirector Pablo Trapero. In 2010, Finecut presentedfour titles in the Cannes Film Festival, includingPoetry (2010) by Lee Chang-dong, winner of theBest Screenplay Award, Hahaha (2010) by HongSangsoo, winner of Un Certain Regard Award,the debut film Bedevilled (2010) by Jang Chul-so,which was invited for Semaine de la Critique, andthe second collaboration with the Argentineandirector Pablo Trapero who was invited for UnCertain Regard with the film Carancho (2010). Thecompany also participates in the co-productionand financing of edgy, director-driven projects,with the aim of developing many internationalprojects.60 CineMart Projects

Current StatusScript development.Goals at CineMartSeeking financing, pre-sales and co-production partners.Previous Work available at CineMartThe feature film Bedevilled (2010) by Jang Cheol-soo isavailable in the Video Library and on Festival Scope.CineMart Projects61

United KingdomSnow in ParadiseAndrew HulmeAndrew HulmeAndrew Hulme (1963, England) started making experimental films in his youth, but his mainfocus turned out to be film editing. He has worked as an editor on Anton Corbijn’s films Control(2007) and The American (2010); on Paul McGuigan’s Acid House (1998), Gangster No1 (2000),Wicker Park (2004) and Lucky Number Slevin (2006); and on two of Julian Jarrold’s TV series,White Teeth (2002), and Appropriate Adult (2011). For Jarrold’s film Red Riding: In the Yearof Our Lord 1974 (2009), Hulme was nominated for a 2010 BAFTA for editing. He is currentlyworking on The Girl starring Toby Jones and Sienna Miller. Over the last two years he has beeninspired to step out from the cutting room to direct. First he directed his own short, Delinquent(2010), and then co-wrote the script for Snow in Paradise, which will be his first feature film.Christine AldersonFeature: 16mm | 100 min. | ColourBased on: Original Screenplay byMartin Askew & Andrew HulmeLanguage: EnglishLocation: East London(United Kingdom)Budget: € 893.608Financing in place: € 357.444Production Company:Ipso Facto FilmsPartners attached:UK Tax Credit € 178.722,Private Equity € 178.722Seeking partners from:All territoriesPresent at the CineMart:Andrew Hulme, Christine AldersonContactIpso Facto Films11 Queensbury HouseTW9 1NT RichmondUnited KingdomPhone +44 208 9481513Email christine@ipsofactofilms.comWeb www.ipsofactofilms.comIntroductionBased on a true story about Dave, who thrives ondrugs and violence in London’s East End. When hisactions kill his best friend Tariq, he is propelledinto unknown feelings of shame and remorse. Davediscovers Islam and begins to find peace, but thenhis old life of crime comes back to haunt him.SynopsisSnow in Paradise is a hard-hitting character studythat’s based on the real story of one man’s journeyto control his violence through religion. It takes usfrom the blood soaked East End of London to theworld of the Islamic whirling dervishes.Dave is a drugged up thug, designer clothes on theoutside and un-channeled violence on the inside.He hangs out with Tariq, his closest friend, aMuslim, and Trudy, his wealthy model girlfriend.Dave runs errands for Uncle Jimmy, his father’sbrother and a drug dealer, and he wants to moveup in this crime world. Jimmy gives him somecoke to deliver but Dave takes Tariq along andinnocently involves him in some serious business.Dave stupidly steals a bag of coke and Tariq isimplicated.Tariq suddenly disappears and when Dave doesanother coke run he starts to fear the case he’scarrying contains Tariq.Floored and overwhelmed with unfamiliar feelingsof guilt and remorse Dave starts to realise he hasto change. The life he’s been living, full of superficiality,doesn’t fit anymore. Taken on a hit he feelssick watching violence acted out in front of him.He tries to find solace in Trudy who seems openand inviting but he knows he can’t confide in her.He confesses vulnerable childhood memories toher but has to leave because she reminds him of hisguilty secret.Dave goes to Tariq’s Mosque to find some answersto what his friend believed in. He’s surprised andcomforted by the acceptance that he finds there. Hemeets Amjad, an Asian who reminds him of Tariqbut who is trying to convert him. Dave laughs itoff but something about this strange new world isintriguing to him, the possibility of escape and anew path.Back in his own world Dave is in trouble, he’sin deeper than he now wants - with no way out.Firstly he has to deliver the case containing Tariqto the serious coke dealers, a group of butchers.He watches them laugh at his friend’s misfortune.Then Jimmy gives Dave a gun and asks him to killhis father’s old friend, Micky Price, a rival gangster.Dave can’t do the job and has become paranoidthat the ever-knowing Jimmy is listening in toeverything he says via his mobile.Becoming unhinged at Jimmy’s threats and manipulationhe disguises himself as a Muslim. Arrivingat Trudy’s she spurns him and he unleashes histrue feelings about how she uses people like himto make herself feel better. She taunts him with hischildhood secret and in a fit of anger Dave knocksher out.Now truly appalled at himself and his actions Daveagain enters the Mosque where he breaks down infront of the kindly Sheik who runs the place. TheIslamic brothers look after him and in a dream hemeets Tariq again who reveals that Tariq’s motheris dying.Dave suddenly finds the courage to visit Tariq’smother and tell her that her son is dead. He thengoes to see Jimmy who’s angry that Dave’s trying toback out of the deal. Dave is now forced by Jimmy’sHeavies to go and kill Micky Price. With Mickyat gunpoint Dave is having serious recriminationsabout what he’s doing. Then Micky drops thebombshell - he tells Dave that Jimmy slept with hismother and that, contrary to Dave’s knowledge,Dave’s father killed his mother in a fit of anger.Dave now knows his whole life has been a lie.Dave snaps.He kills Jimmy’s Heavies before burning his clothesand flushing what’s left of his coke down the toilet.In a powerful ending that runs two stories inparallel, Dave enters the Mosque and begins tospin with the Sufis, feeling the warmth of theirkindness.62 CineMart Projects

Dave goes on the rampage, finds the coke dealing butchersand takes revenge, submitting them to the same ordealTariq went through.In the Mosque he’s still spinning, getting into a trance-likestate.He now enters Jimmy’s café and sets fire to it, only to faceJimmy who taunts him. Dave points the gun at Jimmy.The Sheik asks Dave: “Can you accept Islam and renounceviolence?”Dave pulls the trigger and the gun is empty. Jimmy, whoDave sees as the Devil, doesn’t flinch.Dave says, yes, he can renounce violence. His new life awaitshim… he knows he will never be free of his old life but heturns his back on it anyway.The Sufis spin with Dave and embrace him into their world.Snow in Paradise is a raw, emotional story of a real andtroubled character. It has undisguised brutal violencecoupled with black humour and magic realism. It is similarto Nic Roeg’s Performance in that our character movesthrough two alternate and opposing worlds, trying to makesense of his life. It’s a character driven thriller, an arthousefilm with more than an eye on the mainstream in the sameway as 2009’s A Prophet.Director’s StatementI found that I was attracted to violent films that were morethan exploitation; films that had a meaning, that werea character’s journey to discovery. When I met MartinAskew, and directed his Delinquent script, I found someonewith a story so incredible, I was compelled to try and tellit in cinematic form. Here was a man who had been on amassive journey from a crime family in the East End ofLondon to Mecca. Here was someone with a dark past whohad managed to control his anger and aggression throughreligion, someone who had understood he needed to correcthimself if he were to escape and survive.Snow In Paradise is only loosely based on Martin’s experiencesof course. Real names have been changed, real eventsdramatized because ultimately this is a film about a journeythrough violence and guilt towards religion. It asks thequestion: can you make a promise to renounce violence?This is a unique story and should stand alone, not only inBritish but also in European cinema. After all it has theuniversal themes of guilt, redemption and retribution.It is my intention to make a film that works on many levels:a film that straddles both the art house and mainstreammarkets. I want it to be visually stunning as we move fromthe well-trodden world of crime to the world of the Sufis - orwhirling dervishes. I want it to be bold and to take risks likethe films of the 1970s. My influences are the early films ofNic Roeg, for their juxtaposition of worlds, striking cinematographyand risky editing; Alan Clarke, for his blackhumour and stark surroundings, and David Lynch for hisatmospheric and terrifying interior journeys.Snow In Paradise is essentially a character piece hiddenwithin a thriller. Similar to The Beat that my Heart Skipped(2005) and A Prophet (2009), I want it to be full of energyand drama. The violence will be short, brutal and totallyrealistic. When Dave is involved in violence, adrenalin is thefix he is after. Very few films show the effect adrenalin hason the body: the shaking and the euphoria. This is what Iwant to show. The camera will be restless like Dave’s mind,but also still when he begins to finds peace. At momentsof heightened emotion, I also want this film to stop andbecome a painting like a Caravaggio canvas revealing itsstory through beauty and tragedy.As a film editor I have learned how to make films work andhow to tell stories. I have had the opportunity to watchdirectors and learn from them and to sculpt performancesfrom great actors. I believe it is now time to put my ownexperience to work. I also believe I know what makes a greatfilm and I think that Snow In Paradise is one of them.Company ProfileIpso Facto FilmsIpso Facto Films was founded in 1993 by Christine Aldersonwho is a graduate of EAVE, ACE and Inside Pictures. Sinceits inception, Ipso Facto Films has produced, co-producedor executive produced over 15 feature films. The company’smain interest is in working with directors who want tomake critically and commercially successful feature films.Past credits include Irina Palm (2007) directed by SamGarbarski, Valhalla Rising (2009) from director NicolasWinding Refn, Soulboy (2010) directed by Shimmy Marcus,and Debbie Isitt’s debut Nasty Neighbours (2000). Thecompany is currently completing production on Comes aBright Day, the feature film debut of writer director SimonAboud.Current StatusPresently casting and financing. We have just completedthe promo for Snow in Paradise and the fourth draft of thescript.Goals at CineMartMeeting like-minded co-producers, sales agents, financiersand distributors who are interested to join us in mind andpocket, to make this film as important and successful as webelieve it can be.Previous Work available at CineMartThe short film Delinquent (2010) by Andrew Hulme and theSnow in Paradise promo (2011) will be available in the VideoLibrary and on Festival Scope.CineMart Projects63

RomaniaThrough My VeinsImi curgi prin vineFlorin SerbanFlorin Serban (1975, Romania) studied at Columbia University in New York and holds a Master’sDegree in Film Directing. He also graduated from the Romanian National University for Theaterand Film in 2002 and received an MA in Philosophy of Culture and Hermeneutics in 1998.During his studies he wrote and directed short films and documentaries, and won numerousscholar awards and scholarships. His directorial debut feature film If I Want to Whistle, I Whistle(2010), that Serban wrote together with Catalin Mitulescu, received the Silver Bear - GrandPrize of the Jury, and the Alfred Bauer Award for innovation in cinema at 2010 Berlinale. Heis now working on his second feature film project Through my Veins and is the director andcoordinating professor at The Acting School in Bucharest, Romania.Feature: 35mm | 100 min. | ColourBased on: Original Screenplayby Florin SerbanLanguage: RomanianLocation: RomaniaBudget: € 1.300.500Financing in place: € 394.588Production Company:Fantascope € 78.518Partner attached:CNC: Romanian FilmCentre € 316.070Seeking partners from:EuropePresent at the CineMart:Florin Serban, Oana Kelemen,Mihaela MarcuContactFantascopeDacia Blvd., no 53, apt. 7010406 BucharestRomaniaPhone +40 2 12100985Fax +40 2 12100985Email office@fantascopefilms.roWeb www.fantascopefilms.roIntroductionPassion always brings up disasters in a man, whilein a woman it seems that, on the contrary, it givesbirth to certainties.SynopsisThrough My Veins tells a raw and twisted love story.Anghel (21) is a young Romanian amateur boxer,not what you would normally call a ‘nice guy’, butardent and untamed. The story begins with himin Spain, being chased by the police. He managesto escape and heads to Romania. In the airport hemeets Mara (29) a beautiful Romanian woman,out of his league, heading to spend a vacation withher husband and kid. Anghel flirts with her andfinds out her address by stealing, then returningher wallet.Once in Bucharest, he rents a room and restartshis boxing lessons. After waiting for many hoursof several days in front of Mara’s home, he finallysees her again, and starts following her. She worksas a physician in a hospital, and after work, shetakes salsa lessons. One evening Anghel shows upat the salsa club, joins the group and reconnectswith Mara.Despite a rocky start in the boxing ring, Anghelmanages, against all odds, to defeat his firstopponent, and gets hired to do a series of six fightsin a row. If he wins them all, he’ll cross over to theprofessional league.Anghel pushes himself and trains with intensityand commitment, but without missing one salsalesson. One evening he gets to dance with Mara,they laugh and make small talk. He goes out in theheavy rain, stabs the tires of Mara’s car, waits forher to come out and then offers to drive her home.She reluctantly agrees to go with him to the closestbus station, but waiting together for the bus in thedark, with no people in sight, the situation getstense and Mara starts to realise that their littleflirtation is actually a dangerous game.Mara gets on with her normal routine, but oneday she spots Anghel following her, and confrontshim. He admits, and Mara slaps him several times.Anghel slaps her back, and the two fight, struggle,hold each other and soon the fight turns intolovemaking.Back home, Mara tries to hide everything, and thenext morning her husband and kid leave for a shorttrip to a grandparent’s house. Anghel sees themleaving and goes home, cleans his house and buysnew sheets. In the evening he has a fight which hewins without much effort, and after that he goes toMara’s apartment and faces her with a proposition:“I won’t bother you anymore if you give me one dayof your life.” Mara finally accepts, although she isfrightened.The two go to Anghel’s place, eat, make passionate,violent love and sleep. In the morning they headtowards Anghel’s village, where he introducesMara to his brother and father, but he gets rejectedby his own family in front of her. In the eveningthey go to a village party where Mara, althoughlooking out of place, mingles with the crowd. Theyhave fun, dance, drink and make love again.At one point, Anghel sees Mara dancing with aguy who seems to be his rival. Anghel gets into avicious fight with him and initially it seems Anghelis going to be defeated, but he strikes the guy witha series of deadly punches and gets his opponenton the ground, not moving, seemingly dead.Anghel and Mara flee the scene and get to the trainstation of a small town. Anghel goes to the toilet towash the blood stains from his face and shirt. Mararemains behind to wait for him. She hesitates,but eventually she enters a police station nearby.Seconds later the police officers storm towards thetoilet.Mara arrives home. Her kid is there already.“Where have you been?” he asks. “I went to buymilk, but they ran out of it.” says Mara.Director’s StatementThe StoryI wanted to write a love story between a man whodoesn’t know how to love, but is driven by blindingpassion, and a woman who knows what love is,but doesn’t love him back. I started writing, andthey started breathing as characters. As I kept onwriting, I realised that the bounds have becomeuncertain, that the one who loves and the onewho is being loved change places. After severalmonths and a few drafts, I eventually managed toget a sense of their inner lives and I realised thatin their twisted love, when one finishes, the othercontinues. For me the characters are two communicatingvessels. While one of them empties, theother one is being filled.64 CineMart Projects

Florin Serban Oana Kelemen Mihaela MarcuVisual StyleAlmost the entire story takes place at the beginning of fall.A heavy, dense sky, outlined clouds, puddles, sparkles. Isee a cold palette with a slightly raised contrast and highsaturation. I want to use only optical procedures, and stayaway from the digital post-processing of the film.The option for support is 35mm Kodak film. It is veryimportant for the story that the skin tones keep theirrichness, that the details are as present, as sensorial, and astactile as possible.This film needs to have a constant, supported, yet fluidrhythm. I strongly believe in a director that doesn’t makehis presence felt and doesn’t give lessons of visual language;I believe in the story watched on the edge of the seat, whenyou forget you are watching a film, that those people are thecharacters, and you are the spectator. For all these you needa natural camera, one that is in harmony with the rhythm ofthe story, that doesn’t hasten and that isn’t aggressive. Forthese, one needs powerful and suggestive shots.Throughout the first two thirds of the film we follow Angheland Mara separately; in the final part, we stay with both ofthem. It is essential to experience reality the way it is seenand felt by each of them separately. Anghel experiences thereality in an aggressive and brutal manner, and on the otherside, Mara’s world is discreet, natural, fluid.ActorsI strongly believe that a face can replace several script pages.I also believe in the actor’s charisma. I’m sure a well chosenAnghel, with the right look and a strong physical presencecan make this a much better film. Force and vulnerability,the man and the child inside the same character, this isAnghel. Mara has to show confidence and elegance witha single move or with a glance. Because of this, for bothcharacters, we are ready for an extensive casting, spanningover several months. Since the level of artificiality andconvention in this film has to be zero, we are focusing onnon-professionals. It’s a road that I’ve already taken.The protagonist of my debut film, If I Want to Whistle,I Whistle (2010) was, at the time of the casting, a highschool teenager with absolutely no experience in front ofthe camera. After a few months we managed to create acomplete character. I strongly believe in the vibration thatan actor can bring to a role, in its uniqueness and specificity.This vibration can spring and grow out of an actor, canbecome a second reality.strong independent flavor, and with wide audience appeal.The company’s main goals are the production of powerfulfilms that can have a strong impact both on Romanian andinternational audiences, bringing forward a new generationof screen actors, through one of the company’s projects: TheActing School.Fantascope is currently producing Emigrant, a short filmshot in 35mm, which is now in the final stages of postproduction.The film was shot in the United States, andwas directed and written by Florin Serban. The film has aninternational cast, non-professionals together with experiencedactors. At the moment the company is developinga short film and the feature film Through My Veins, bothwritten and directed by Florin Serban. Both projects wereawarded public support from the Romanian CNC.Fantascope has given great importance to its project TheActing School, which is the recruitment base for its futurefilm projects. The Acting School attempts to connect theway acting is taught in Romania with what is happening atthis time in the European and US acting scene, and aimsto bring forward teachings that have never been exploredbefore. Although this project started in 2010, there arealready several groups that graduated from the school andsome of our students have already starred in importantRomanian productions.Current StatusThe project is currently in development. The script is at itssecond draft, and the project already has public supportfrom the Romanian CNC. We plan to shoot in May 2013 andare in search of co-producers and co-financiers.Goals at CineMartHoping to find a European production company that wantsto become the co-producer and to meet sales agents that areinterested in adding our film to their portfolio.Previous Work available at CineMartThe feature film If I Want to Whistle, I Whistle (2010) byFlorin Serban is available in the Video Library and onFestival Scope.Company ProfileFantascopeFantascope is a Romanian production company foundedin 2011 by award winning director Florin Serban, whosedebut film If I Want to Whistle, I Whistle (2010) received theSilver Bear - Grand Jury Prize and the Alfred Bauer Awardfor innovation in cinema at the 2010 Berlinale. At least asimportant as the prizes named above is the fact that If IWant to Whistle, I Whistle was sold by Celluloid Dreams inover 20 territories and it was a box office hit in Romania.Although Florin Serban’s debut was not produced by Fantascope,we are aiming for the same target: movies withCineMart Projects65

USATokyo Cannonball Rising SunMalcolm MurrayMalcolm MurrayBrandon HarrisMalcolm Murray (1984, USA) loves to make films and has been doing so professionallysince the age of 15, when pro skateboarders first began hiring him to film their tricks andedit their videos. Upon graduating from college he was awarded the prestigious Thomas J.Watson Fellowship which took him to film and live in Argentina, Brazil, South Africa, Thailand,Laos, the Czech Republic, France, Italy, and Mexico. Now 27, he lives in Brooklyn and worksas a director and as a director of photography. He is represented by Mekanism and hasshot campaigns for, among others, Microsoft, the International Olympic Committee, RalphLauren, Rolling Stone, and EA Sports. He also directed and shot the documentary short UpThere (2011) for Stella Artois and Mother NY. These projects have garnered Gold, Silver,and Bronze Lions at Cannes, and numerous One Show Pencils. Camera, Camera (2010),his first feature length documentary, began its festival circuit at the 2010 Los Angeles FilmFestival and was nominated for the Cinematic Vision Award at the AFI/Discovery ChannelSilverdocs Documentary Festival. His narrative feature directorial debut, Bad Posture (2011),was produced by Neda Armian, who is the producer of Rachel Getting Married (2008), andpremiered at the 2011 International Film Festival Rotterdam. It was named one of the Ten toWatch: Best of 2011 IFFR.Feature: HDcam (shooting &final format) | 90 min. | ColourBased on: Original Screenplay byMalcolm Murray & Michael MeyerLanguages: English,Japanese, SpanishLocation: Tokyo (Japan)and New Mexico (USA)Budget: € 491.262Production Companies:THIS, Nappinati Films Ltd.Co-Production Company:Armian PicturesSeeking partners from:USA, JapanPresent at the CineMart:Malcolm Murray, Brandon HarrisContactTHIS196 Court Street #311201 Brooklyn, New YorkUSAPhone +1 505 2275826Email info@hereisthis.comWeb www.hereisthis.comNappinati Films Ltd.189 16th St #3R11215 Brooklyn, NYUSAPhone +1 513 6758776Email nappinatifilms@gmail.comIntroductionWhen Johnny’s wife dies, he leaves Japan to startanew in the American Southwest, but as he soonfinds, the dying days of American ranch culture arequite different than the stuff of his fantasies.SynopsisJohnny (45), has never been on a horse but wisheshe’d been born a cowboy. He’s a janitor but lovesdressing up and living the cowboy life, Tokyostylewith his beautiful wife Momo (40), and theircowboy friends. After Momo gets sick and dies,Johnny is completely heartbroken. Nothing makessense except bringing her ashes to a ranch in theUS.Duncan (50), tall and wiry, a horseman throughand through, is having trouble making ends meeton his ranch, so he and his cynical wife, Wendy(45), and their pot-smoking son, Jack (21), havedecided to take in guests. Johnny is their first, andhe doesn’t speak a word of English. They’re not surewhat to make of him, but he’s good with Duncan’sold horse, Brownie, keeps Jack company as hemakes the rounds in the pastures, and his checkallows them to buy a new truck, which they desperatelyneed to keep the ranch running, though itwill put them in serious debt.Everything changes when Johnny accidentally setsfire to the new truck. It isn’t yet insured, and burnsto the ground. When things couldn’t get any worsefor Duncan, Minty, a 300 pound Navajo feed seller,breaks the news that he’s getting squeezed by hiscreditors, and tells Duncan that he has to pay offthe load of cattle feed he just bought on credit.He has seven days to come up with the money orMinty will take Duncan’s horses, which he put upas collateral.Jack and Johnny run away on the family fourwheeler to try to earn some money to save thehorses. They head to a medium sized town, fightwith Mexican day labourers for construction jobsduring the day, and sleep in an abandoned lot atnight. Everything is going well until the work driesup. They head to an Indian casino to try to doubletheir money, but lose quite a bit, and Momo’s urngets stolen while Johnny is playing the slots.Duncan can’t find a solution to his problems, so hedrives to a realty office and puts the ranch up forsale. Jack and Johnny search for Momo’s urn at avariety of pawn shops but can only find a trashcanwith ashes suspiciously mixed in amongst thetrash. Johnny spreads the ashes (and trash) fromthe back of the four wheeler as they race back to theranch the next morning.They’re on schedule to meet Minty and try topersuade him to take their earnings instead of thehorses, but a bump in the road sends Johnny flyingon off the back of the four wheeler. After a mediumspeed pursuit and a trip to the hospital they arriveback to the ranch with a For Sale sign out front,and without a single horse in the corral. Duncancan barely get the words out as he tries to apologizeto Jack for losing the ranch.Johnny, on crutches, steals Duncan’s old truck anddrives it to Minty’s. He trades Minty the moneyand his wedding ring for Brownie, and exchangesMomo’s wedding ring for feed for Duncan’s cattle,which haven’t eaten in quite some time. Duncanis surprised and overjoyed and after successfullyshipping the cattle to the feedlot he decides not tosell the ranch.Brownie is quite old and Duncan can’t afford hayfor her so he, Jack, and Johnny take her to a faroff pasture, say their goodbyes, and let her free.Johnny gets stranded in the middle of nowhereafter the old truck breaks down again. He sees avision of Momo on a far off mesa and wandersout to meet her and say goodbye for good. Johnnywakes up alone on the range the next morning,sunburned, but feeling calm and settled. He andJack and Duncan, and a hand who has come to towthe truck back to the ranch stand in the morninglight sipping beers and looking an awful lot likereal cowboys.66 CineMart Projects

Director’s StatementGrowing up in New Mexico, I was surrounded by cowboys,the ranching lifestyle, and oddly enough, Japanese culture.My mom teaches Japanese in the Albuquerque public schoolsystem. I’ve spent time with her in Japan and during myseveral journeys there, I have become fascinated with peoplewho live in Tokyo and have never ridden a horse, but are soengrossed by the culture and mythology of the Americanwest that they somehow identify themselves as cowboys.Over time, the notion of making a film about a Japanesecowboy dawned on me and ultimately it evolved into a storyabout a Japanese cowboy enthusiast who tries to make peacewith his wife’s death by traveling to an American ranch, andabout the cowboys there, who are trying to survive as theworld they know is changing at a rapid pace.I’m interested in Johnny because I know what it’s like todeal with grief in a foreign country, in a foreign language.When I was 22, right before I was to depart on a year-longfilmmaking trip around the world, my father admitted hehad cheated on my mother while she was pregnant withme, and that he had another son whom he’d never met.My family collapsed shortly before I stepped on a plane togo halfway around the world. I processed my pain alone,outside of language, because I didn’t have anyone to talk to.Johnny and I are different people, but I know some of whathe’s feeling when he’s on the ranch without other Japanesespeakersaround. I can empathize with him, which is one ofmy primary jobs as a director.Growing up, when my family and I wanted to get out ofAlbuquerque, we would head to my aunt’s ranch, the MontePrieto. Like Johnny, I was always a tourist there, and likehim, I was fascinated with a world I wanted to understandso badly, but never could quite grasp because I would alwaysbe an outsider. Like Johnny, I tried to help out where I could,rarely did anything right, and found the Prieto’s dust, sun,guns, cows, horses, whiskey, and rattlesnakes an intoxicatingcocktail.New Mexico and Japan are two of the places whose imageryI find most seductive. In both places I’m overwhelmed andastonished by all that’s in front of my eyes, and spend asmuch time as I can simply watching things happen. Carefulobservation is an active and meditative act. It’s importantfor life and filmmaking. This film will respect that fact asmuch as it respects Johnny and respects the ranchers hemeets on the Monte Prieto.I haven’t ever seen a film that captures life on an Americanranch as it exists today. Most contemporary Westernsdraw more from other Westerns or other time periods thanfrom life in 2012. The reality, at least in New Mexico, isthat ranchers wish they had cell phone coverage in all theirpastures. Their horses are getting fat from lack of exercisebecause most of the ranch work is done from feed trucksbouncing over rutted pasture roads. They process thischanging landscape with a language and a sense of humorall their own, even as they grapple with the same dizzyingeffects of globalization and technology that we all do. TokyoCannonball Rising Sun will capture this dying way of lifebefore it leaves us forever.Company ProfilesTHISTHIS is a Brooklyn based production company. We haveproduced numerous award winning features and shortsincluding Malcolm Murray’s feature documentary Camera,Camera (2010) and his well-reviewed narrative feature debutBad Posture (2011). We have also produced numerous shortsand created commercial content for some of the world’slargest brands, including: Toyota, Ralph Lauren, Axe, andeBay. We are currently developing Malcolm Murray’s NewMexico/Japan-based feature Tokyo Cannonball Rising Sun.Nappinati Film Ltd.Nappinati Films LTD. is a Cincinnati, Ohio basedproduction company. Over the past five years, NappinatiFilms has had a hand in the production or post-productionof nearly a dozen short films. Films such as Happiness is NoFun (2006), Evangeleo (2007), The Nowhere Kids (2009), NewMedia (2010) and Crazy Beats Strong Every Time (2011) haveplayed at festivals worldwide. The company’s debut feature,Redlegs, is currently in post-production.Armian PicturesArmian Pictures is a New York based production companyrun by Neda Armian. The company produces feature films,documentaries and web content. Credits include: RachelGetting Married (2008), The Truth About Charlie (2002), TheSituation (2006), Jimmy Carter: Man From Plains (2007), TheTrivial Pursuits of Arthur Banks (2011), Bad Posture (2011), ALittle Closer (2011), and the upcoming Union Square, Predisposed,The Longest Week and The Loving Story. In addition tomultiple original projects, Armian Pictures is developingadaptations of Elizabeth McCracken’s critically acclaimed‘The Giant’s House’ and William Doyle’s ‘Dome Raiders’.Current StatusWe are currently trying to raise capital for pre-productionlocation scouting, identifying cast members attractive tointernational financing partners and refining the script inanticipation of a Fall 2012 shoot.Goals at CineMartSecuring financing partners in the United States, Japan, andpossibly Europe. Securing co-production partners in Japanand an international sales agent.Previous Work available at CineMartThe feature film Bad Posture (2010) by Malcolm Murray isavailable in the Video Library and on Festival Scope.CineMart Projects67

Portugal, FranceTristes MonroesGabriel Abrantes, Daniel SchmidtGabriel Abrantes (1984), based in Portugal, and Daniel Schmidt (1984) based in New York, havedirected a History of Mutual Respect (2010) and Palácios de Pena (2011) together, as well asnumerous other short films with other co-directors. They won the Pardino d’Oro at the 2010Locarno Film Festival, Best Experimental Film at the 2010 Melbourne Film Festival, Best ShortFilm at the 2010 Indielisboa, and many other prizes. History of Mutual Respect screened at the2011 IFFR. Palácios de Pena had its premiere at the 2011 Venice Film Festival and will screen atthe 2012 IFFR.Feature: Shooting 16mm - Final -35mm or DCP | 100 min. | ColourBased on: Original Screenplay byGabriel Abrantes & Daniel SchmidtLanguages: French, Portuguese,English, Haitian CreoleLocations: Haiti, BrazilBudget: € 1.600.000Financing in place: € 1.250.000Production Companies:A Mutual Respect Productions€ 25.000, Filmes do Tejo II € 25.000,Les Films du Bélier € 400.000Partners attached:ICA - Instituto do Cinema,Audiovisual e Multimedia€ 500.000, RTP - PortugueseTelevision € 100.000, FundLuso-Brasileiro € 200.000Seeking partners from:Europe, USA, BrazilPresent at the CineMart:Gabriel Abrantes, DanielSchmidt, Natxo Checa, MariaJoão Mayer, Justin TaurandIntroductionTwo Haitian teenage girls, neighbours and lovers,pretend to be orphans and run away from home.SynopsisTwo Haitian farmers, Louissaindy and Junior, leftdestitute and without hope after the earthquakeof 2010, plan to leave their village and immigrateto Florida. Their two teenage daughters, Jacquesand Fredeline, who are neighbours and lovers,resist the plans to immigrate, so that they can staytogether. They run away from home, pretend tobe orphan sisters in Port-au-Prince, break into anorphanage, blackmail a corrupt adoption agencymanager, and finally get adopted by Natalia, awealthy, beautiful, leftist 30-something Brazilianwoman in Rio de Janeiro. Once in Rio it doesn’ttake long for the mother to realise that they arenot sisters, are far older than she thought, and arehaving a love affair with each other. The sexualtensions rise in between the three, leading to aviolent and tragic betrayal by Fredeline at Jacques’birthday party, when an angel shaped piñata full ofagitated hornets is burst open. The hornets injuremany, blind Natalia, and cause an irreparable riftin between Fredeline and Jacques. After this eventJacques attempts to return to Haiti by pretendingto be a stewardess on a cruise ship. Natalia andFredeline decide to recuperate from the events bygoing on a vacation, which, coincidentally, theyend up doing by going on the same cruise shipJacques is on. After a confusion of identities, theft,imprisonment and emotional outbursts, the threeescape from the cruise ship onto Haiti and travel tothe girls’ village. Once there and reunited with thefathers, they come together to form a strange andunpredictable new family.Director’s StatementTristes Monroes juxtaposes two elements; thecontemporary tragedy in Haiti, and screwballcomedy. Two specific sources help understand thetone of the work; travel narrative satires and the‘comedy of remarriage’ film genre.Byron’s ‘DonJuan’, Swift’s ‘Gulliver’s Travels’ and thirdly, butalso especially, ‘Candide’ by Voltaire are importantsources. The protagonists of these narratives takevoyages that create a narrative superstructureallowing for the critique of a broad geography, be itContactA Mutual Respect ProductionsRua da Barroca 591200-047 LisboaPortugalPhone +351 21 3430205Phone + 351 966237200Email mutualrespectproductions@gmail.comWeb mutualrespectproductions.blogspot.com68 CineMart Projects

Gabriel Abrantes Daniel Schmidt Natxo Checa Maria João Mayer Justin Taurandphysical, psychic or metaphoric. In Byron’s case the critiqueof Europe, in Swift’s that of his contemporary surroundingsthrough a metaphorical space, and in Voltaire’s of a protoglobalizedworld. The protagonists are geographicallydisplaced, confronting comical renditions of the contradictionswithin the contemporary world. The second strain isthe comedy of remarriage, films such as Bringing up Baby(1938) and His Girl Friday (1940) both by Howard Hawks,and Philadelphia Story (1940) by George Cukor, as well asthe original source for these; Shakespeare’s comedies ofremarriage, especially ‘A Winter’s Tale’. Shakespeare hasbeen credited with the creation of the modern man, withinventing the psychological narratives of the men to come,much as the later Hollywood genre of the comedy of remarriageis credited with ‘the creation of a new woman… a newcreation of the human.’Politically, Tristes Monroes focuses on contradictions ofdevelopment aid to third world countries. The script focuseson a number of hypocrisies inherent in misdirected acts ofgood will or charity, such as current third world adoptionschemes, third world tourism, the shifting of paternalisticaid efforts (from the US to Brazil), and the malpractice ofaid units (the UN or NGOs).The film attempts to dismantle the logics of adoptionschemes, both on the side of the foster parent, the adoptionagency, and the adoptees.Les Films du BélierLes Films du Bélier is a strong and upcoming Frenchproduction company, having produced films such as Unpoison violent (2010) by Katell Quillévéré, which screened atthe 2011 IFFR.Current StatusWe are looking for the remaining 22% of the budget.Goals at CineMartFind co-producers and co-financiers for the project, as wellas make contacts who can help with the production of thefilm.Previous Work available at CineMartThe short films Palácios de Pena (2011) and A History ofMutual Respect (2010) by Gabriel Abrantes and DanielSchmidt are available in the Video Library and on FestivalScope.The script also plays on the role that rapidly developingcountries such as Brazil are attempting to have, bycompeting with larger economies in aiding Haiti.On a thirdfront the film critiques the proposed solutions for Haiti’sdevelopment, which are mostly based on tourism. The film’sclimax happens on a Royal Caribbean Cruise, docking atLabadee Bay, the Haitian port leased out to the company,which is surrounded by a perimeter fence and protectedby a private security force.The film ends in an incestuouslyovercrowded bed, filled with a Brazilian leftist, a TaiwaneseUN worker, two Haitian families, a Portuguese missionary,an orphanage administrator and an animal, all nakedand laughing as their bed crashes down. This comic andperverse conclusion functions as a moral proposition; therampant inequality and hypocrisy of the current globalizedworld can only begin to be abated if a collective structure iserected, however haphazard it is, and everyone is willing totake equal responsibility and initiative.Company ProfileMutual Respect ProductionsFounded in 2010 by Gabriel Abrantes, Natxo Checa andZDB, Mutual Respect Productions has produced awardwinning short films which have screened at festivalsworldwide: Orizzonti-Venice, Locarno, Rotterdam, Jeonjuand others.Filmes do Tejo IIFilmes do Tejo is one of the most established PortugueseProduction Companies, having produced award winningfilms such as O estranho caso de Angélica (2010) by Manoelde Oliveira, and many others.CineMart Projects69

Sweden, Germany,DenmarkTuristTouristRuben ÖstlundRuben ÖstlundAs an avid skier, Ruben Östlund directed three ski films, testifying his taste for longsequence shots. Östlund went on to study film at the University of Gothenburg wherehe developed his sense for constructed and well thought out sequence shots, whichhas continued to evolve in his short and feature films until now. Ruben has also becomeknown for his humorous and accurate observations of human social behavior. Hisfeature debut The Guitar Mongoloid (2004) won the FIPRESCI Award at Moscow in 2005.Involuntary (2008) followed by making its premiere in Cannes’ Official Selection, went onto win 10 awards, and was released theatrically in 16 territories. His short film Incident Bya Bank (2009) won the Golden Bear at the 2010 Berlinale.His third feature Play (2011), premiered in Quinzaine at the 2011 Cannes Film Festival,won the Coup the Cour Prize, and went on to win several other prizes.Erik HemmendorffFeature: Shooting format:RED, Final format: 35mm and/or DCP | 100 min. | ColourBased on: Original Screenplayby Ruben ÖstlundLanguages: Swedish,French, GermanLocation: Scandinavia andthe European AlpsBudget: € 2.750.000Financing in place: € 540.000Production Company:Plattform ProduktionCo-Production Companies:Essential Filmproduktion,Coproduction OfficeSales: Coproduction OfficePartner attached:Film i Väst AB € 540.000Seeking partners from:Scandinavia, Germany, Austria,France, Italy, SwitzerlandPresent at the CineMart:Ruben Östlund, Erik HemmendorffContactPlattform ProduktionVallgatan 9d411 16 GöteborgSwedenPhone +46 701 711923Fax +46 31 7116660Email mail@plattformproduktion.seWeb www.plattformproduktion.seIntroductionWell-to-do tourists lose their dignity. Throughtrivial ‘states of emergency’, tourists come intocontact with human mechanisms that they havenever needed to confront before. They are nowforced to ascribe to themselves urges and instinctsthey’d learned to despise and credit to others.Turist is a tragic-comedy or comic-tragedy. Turistwill deliver the most spectacular avalanche in filmhistory.SynopsisThe Avalanche:A family is on a week’s skiing holiday in the FrenchAlps. The children, two girls, Olga (7) and Vera(9), mother Ebba and father Mattias, about 40. It isa happy family, where the daily chores are sharedequally. Mattias and Ebba have always lived anactive life and have now included it in their smallchildren’s lives; all the family are experiencedskiers. The second day offers wonderful skiingin twenty decimetres of new snow. At lunchtime,the family eats at a rustic open-air restaurantsurrounded by beautiful mountain peaks. It isfull. In the sun, the temperature has climbed to15 degrees, despite it only being the beginningof March. The family’s food has only just arrived,Ebba is very pleased with her choice. She passesa fork over the table to Mattias, so he can take ataste. “Mmm!!!”On a distant mountain peak in the background,we see how the piste workers set about the night’ssnowfall. With the help of dynamite, they blastthe loose masses of snow, which start to tumbledown the mountain slopes. It is a beautiful andspectacular sight that captures the attention ofall of the restaurant’s guests. The pressure fromthe masses of snow makes more fields crack, startto move and combine with the avalanche tongue,which becomes larger and larger. The enthusiasticcheering from the out-door restaurant risesin strength successively, along with the avalanche’ssize. The loose snow is pressed up more thanone hundred metres into the air. It is a powerfulavalanche that succeeds in reaching an impressivesize before it disappears from sight behind amountain crest a couple of hundred metres fromthe restaurant. The enthusiastic cheering, whichseconds earlier reached its highest point, diesdown to suddenly start increasing in strengthagain. The avalanche now billows over the nearbymountain crest. The cheering undergoes, injust a few seconds, an existentially illuminatingchange. From elated cries to doubtful enthusiasm,from nervous laughter to scared shouts, fromjittery screaming to lungs that are emptied bypure terror. People flee in all directions; jostle inpanic to get away, into the restaurant, anywhere.The cloud of loose snow has covered the entiresmall valley in less than fifteen seconds. Thelast we see before everything becomes white:Mattias, the father, who stumbles, fleeing in hisski boots across the slippery wooden floor of theoutdoor restaurant. Ebba, gutturally screaming“MATTIAS! MATTIAS!? MATTIAS??”, while sheremains standing by the table where Olga and Verasit, unmoving; unable, with their heavy ski bootson, to get up from the wooden benches withouthelp. What a few seconds earlier had been an idyllis suddenly a smoking inferno to become, a furthertwenty seconds later, an idyll once again. It wasonly the snow smoke that reached the outdoorrestaurant.Reality inexorably comes back with an embarrassedlaugh and the restaurant’s guests return totheir places. A group from a ski school with skiinginstructor plough past in the background. A girlfrom the restaurant’s staff arrives carrying a traywith four large draught beers.Mattias, last of all, comes sauntering back to hisfamily and his hardly touched cheese fondue.There is something unsaid hanging in the air,in its absolute strongest meaning. A silence thatnone of them know how to break. They start to eatinstead … “Mmmm, this is also really very tasty!Would you like a taste?” Mattias passes a fork overthe table to Ebba, but Ebba will not accept it. Thechildren who, of course, understand exactly whatthey have witnessed, desperately want to put everythingto rights again. “.... I can taste, Daddy!”70 CineMart Projects

France, ThailandLe vent des ombresChristelle LheureuxChristelle LheureuxBased in Paris and Geneva, Christelle Lheureux (1972, France) is a French artist and filmmaker.She studied contemporary art at Picardy’s University and makes video installations for artcentres and art fairs all over Europe, Asia and America. Lheureux has attended residenciesin Japan, Vietnam and Thailand, and her work can be found in public and private collections,represented by Artericambi Gallery in Italy, and Blancpain in Switzerland.Lheureux has made several films such as La maladie blanche (2011), selected for the IFFRTiger Awards Competition for Short Films 2012, A Mischievous Smile Lights up Her Face (2009),I Forgot the Title (2008), Water Buffalo (2007) and A Carp Jumps in his Mind (2005). She hasalso directed two shorts in collaboration with Apichatpong Weerasethakul, Ghost of Asia(2005) which screened at 2006 IFFR and Second Love in Hong Kong (2002) which screened atmany festivals around the world. Lheureux has been teaching cinema at HEAD Geneva since2006, where she organises workshops with Apichatpong Weerasethakul, Miguel Gomes, AlbertSerra, Raya Martin and others. Currently she is also part of the French film critic magazineIndependencia. Le vent des ombres will be Lheureux’ first feature film.Valentina NovatiFeature: RED DCP & 35mm | 95min. | Colour & Black-and-whiteBased on: Original Screenplayby Christelle LheureuxLanguages: French, ThaiLocations: Corsica (France), ThailandBudget: € 2.000.000Production Company:Independencia ProductionsCo-Production Company:Kick the MachineSeeking partners from:Germany, BelgiumPresent at the CineMart:Christelle Lheureux, Valentina NovatiContactIndependencia Productions29 rue Etienne Dolet75020 ParisFrancePhone +33 6 68137091Email productions@independia.frWeb www.independencia.frIntroductionA film to learn to let it go (love and death) and livein the present, here and now.SynopsisAt night, in an old Corsican house, Léna, Manueland Anna are playing hide-and-seek with Léna’sdaughter Myrtille. It’s the house of Aurora, whodied recently. Manuel is her son. Léna is thegirlfriend of Tim, her other son, who drownedthree years ago in Thailand. Anna is Aurora’ssister. They all just arrived to restore the houseand sell it. During this game, Léna, not for the firsttime, meets Tim’s ghost.Bit by bit we discover scenes from the holidaysLéna and Tim spent in Thailand’s countryside withThai friends. A shadow theatre show, a visit in atemple, an afternoon at a beach and a night in abungalow. We also experience the unreal reunionof Tim and Léna in the house and in a sea cavenearby.Everybody tries to come to terms with the changes.Manuel plans projects that the sale of the housewill make possible. In the village Anna meets thefisherman she always loved. Léna and Tim’s ghostfeel that the time has come to let go.But then Léna loses her shadow. Climate and timeare affected. The house doesn’t want to be sold.Myrtille meets a talkative gecko, the husband ofAurora. And a mysterious stone appears in thegarden.Director’s StatementA funny and melancholic film where we experiencethe mourning of a love story, the birth of anotherone and the fragile limits between reality andimagination. The characters explore their relationwith time and what it could mean to be present inthis world, here and now.As the world offers itself, we just get fragments ofthe characters’ lives. These atmospheric moments,associated to each other, outline the narration.These fragments play singularly with memory.Theirs, but also ours. We concretely experiencehow interlaced realities and temporalities affectand reflect the inner troubles of the characters.The film plays with the spectral power of cinema,where dead people can continue to live in ourmemory, a memory made visible; where theaudience brings a film recording from the pastback to life and to the present.Life, memories of life and life after life flowtogether. It’s a film without nostalgia, wherefantasy presences are merrily connected to realand documentary presences. In the same spirit,the film will bring together known actors and localpeople.72 CineMart Projects

Company ProfileIndependencia ProductionsIndependencia Productions was originally a structure thatoffered a legal framework to an online cinema magazine.Today the magazine is on the high road, a new website hascome into being thanks to the help of the Book NationalCentre (CNL), and new editors have joined. But very quickly,the urge to broaden the target appeared. Boosted by someexperience in journalism, graphic design, cinema, literatureand production, a company was created at the end of2010. At first it was the company’s intention to be publisher,producer and distributor at the same time, which was anactivity run by professor Cyril Neyrat. The second goalwas concerning the production of movies, a section run byValentina Novati who worked for les Productions Bagheerafor six years as head of production and development.Another goal was distributing movies. In the spring of 2011,Independencia produced André S.Labarthe’s No Comment,and have recently finished a documentary directed by LucMoullet, for CinéCinéma. Valentina Novati is also developingthe coming feature movies of Pierre Creton andChristelle Lheureux. In November 2011 IndependenciaDistribution released Sylvain George’s Qu’ils reposent enrévolte. In the first three months of 2012, the editions willpublish a book of interviews with Apichatpong Weerasethakul,along with the complete writings of directorStraub Huillet.Current StatusThe last version of the script will be ready in March (2012),so we are starting to look for co-producers and develop ourproduction strategy.Goals at CineMartMeet people and find some co-producers.Previous Work available at CineMartThe short film La maladie blanche (2011) by ChristelleLheureux is available in the Video Library and on FestivalScope.CineMart Projects73

Austria,The NetherlandsWe Are SisyphosPeter BrunnerPeter Brunner (1983, Austria) studied directing at the Vienna Film Academy, with MichaelHaneke as his professor. Currently he is a screenwriter, director, actor and musician, with asolo music project called Cardiochaos. His filmography shows a focus on music, having madeeleven music videos since 2007. Brunner has also made several short films, including the30-minute A:B (2011) that forms the basis for his CineMart project. We Are Sisyphos will be hisfirst feature length film.Feature: Shooting format: Full HD,Final format: DCP & HDCam | 90min. | Colour & Black-and-whiteBased on: Original Screenplayby Peter BrunnerLanguages: English, GermanLocations: Vienna (Austria),The Netherlands, DenmarkBudget: € 800.000Financing in place: € 244.000Production Companies:Golden Girls Filmproduktion &Filmservices € 34.000, LEV PicturesPartners attached:Kulturabteilung der StadtWien (MA7) € 5.000,Verwertungsgesellschaft fürAudiovisuelle Medien (VAM)€ 5.000, Filmkunst Steiermark€ 3.000, Kultur Graz € 1.500,Filmakademie Vienna € 20.000,BVV (Bundesverband AudiovisuelleMedien) € 1.500, Freunde derFilmakademie Wien € 1.000, InkindFinancing € 173.000 and ZentropaStormtroopers (for special effects)Seeking partners from:Denmark, Sweden, Poland,USA, Canada, GermanyPresent at the CineMart:Peter Brunner, Arash T. Riahi,Klara Veegh, Sander VerdonkIntroductionThe struggle of a nearly blind man sufferingfrom Marfan syndrome who becomes a hero onthe Internet. His companions: a female extremebodybuilder, a runaway girl and a fake persona.SynopsisAfter his mother’s death, Kurt, a 27 year-oldmarine biologist suffering from Marfan syndromemeets a young American film student NormanRay, who introduces him to a bold idea. Togetherwith the 12 year-old runaway Conny, and the 36year-old extreme bodybuilder Dina from L.A., hetries to realise the risky idea of turning his life withthe disease into fiction. But the Marfan syndromecorrodes the plan and challenges him to take upa position: living for a virtual grave, or for realfriends. Like a modern Sisyphos, Kurt struggles tohave both.Director’s StatementFreedom. The spearheads of the ‘Facebook-Follower’ generation in the early 21st Centuryrevolt with actions against the informationmadness of their time. Optimists push the limitsof the current world order and are ready to commitcrimes for love.We Are Sisyphos uses the Marfan syndrome as ametaphor for outsiders. We take the real diseaseof a person and incorporate it into fiction. Ourleading actor, Christos Haas, suffers from theMarfan syndrome since his birth. In We AreSisyphos, the disease is used as the antithesis to thedesigner-baby theme.We Are Sisyphos a slogan, a home, an identity,following the traditions of ‘We Are Legion’(Anonymous), ‘We Are the 99%’ (OccupyMovement), or ‘We Are Change’ (ZeitgeistMovement). Searching for a common goal, ourmain characters touch current trouble spots ofthe 21st Century, like the increasing problem ofself-portrayal on Internet platforms (YouTube,Facebook), the worldwide ‘Occupy’ protests, thenameless hacker resistance ‘Anonymous’, theunparalleled poetic terrorists ‘The Yes Men’ of theopposition against the exploitation of our planet,resulting in global warming.We Are Sisyphos is a classic ensemble film with onemain character and three supporting characters,following a three act structure. The four centralcharacters are representing two diametricallyContactGolden Girls Filmproduktion& FilmservicesSeidengasse 15/3/201070 ViennaAustriaPhone +43 1 8105636Fax +43 1 8105949Email office@goldengirls.atWeb www.goldengirls.atLEV PicturesKeizergracht 6761017 ET AmsterdamThe NetherlandsPhone +31 20 5818515Fax +31 20 5818516Email info@levpictures.comWeb www.levpictures.com74 CineMart Projects

Peter Brunner Arash T. Riahi Klara Veegh Sander Verdonkopposed pairs, who conjure up the conflicts of the othersthrough their past and origin. Together they seem like aunit, finding the strength to realise it’s a goal in itself. It is adrama using a contemporary ‘Sturm und Drang’ theme.For me, We Are Sisyphos means working together with aunique person. Christos Haas, my classmate from highschool, and the leading actor, who suffers from the Marfansyndrome is taking a huge risk with this project. For him,working on the movie is as urgent and important as is thecall for strength and a self-determined life for the maincharacter, Kurt.Company ProfilesGolden Girls Filmproduktion & FilmservicesGolden Girls Filmproduktion & Filmservices is a Viennabased production company. The films produced or directedby the members of the company have received more thanfifty international awards in the last five years. For a MomentFreedom (2008), the directorial fiction debut of Arash T.Riahi was the Austrian candidate for the Academy Awardsin 2010. Last releases in 2011 include Arman T. Riahi’sfeature documentary Darkhead, which won the AudienceAward at the Austrian Film Festival Diagonale, and wasthe opening film of the Sarajevo Filmfestival, and MamaIllegal by Ed Moschitz, which premiered in the internationalcompetition of the 2011 IDFA. The fact that the GoldenGirls Filmproduktion has a full postproduction chain fromediting to color grading, mastering and DCP gives them alot of artistic freedom for all the stages of the works.Current StatusIn pre-production and financing stage. Planning to shoot inthe fall of 2012.Goals at CineMartLooking for co-production partners, co-financiers anddistributors to close the financing and start production insummer/fall 2012.Previous Work available at CineMartThe trailer of the project We Are Sisyphos, the short filmKrankheit der Jugend (2007) and the short film A:B (2011),which serves as the basis for the project We Are Sisyphos areavailable in the Video Library and on Festival Scope.LEV PicturesLEV Pictures is an Amsterdam based film productioncompany, founded in 2008 by Sander Verdonk and GertjanLangeveld. In 2009 Sunset From a Rooftop (2009) by MarinusGroothof was awarded Best Short Film at the DutchFilm Festival. In 2011 they produced their first featuredocumentary Anton Corbijn Inside Out by Klaartje Quirijns,their first feature film Plan C by Max Porcelijn and twotelevision films Inside (Best Dutch Film 2011) and HomeBefore Dark. They are currently co-producing four internationalfilms.Their independence and creative strength is guaranteedpartly by private investments. These enable them to developsome of their scripts independently, to build a healthy backoffice,to develop marketing and distribution plans for eachproject and to finance a percentage of any project withintheir slate independently.Their goal is to produce two feature films or featuredocumentaries a year that stand out because of originalityand creativity, while keeping in mind commercial valuesand the market.CineMart Projects75

ThailandThe White BuffaloKwai PuekAditya AssaratAditya AssaratAditya Assarat (1972, Thailand) was educated in the United States and started his careermaking short films and music videos. In 2007, his first feature film Wonderful Town, wasproduced with support from the Hubert Bals Fund, Sundance Lab, Pusan Asian Cinema Fundand the Rolex Mentor & Protégé Arts Initiative, and went on to win the New Currents Awardat Pusan and a Tiger Award at 2008 IFFR. It also won the 2008 National SubhanahongsaAward for Best Picture, the only time the award has ever been given to an independent film.In 2010, Assarat completed his second feature, Hi-So which screened at the 2010 Berlinale,Pusan International Film Festival, and Tokyo International Film Festival. Assarat also producedEternity, directed by Sivaroj Kongsakul, which won a Tiger Award at the 2011 IFFR. Finally,Assarat was the recipient of the 2010 Silpatorn Award, given annually to an individual foroutstanding contributions to Thai Cinema.Soros SukhumFeature: RED blow-up to 35mm| 110 min. | Black-and-whiteBased on: Original Screenplayby Aditya AssaratLanguages: Thai, EnglishLocation: ThailandBudget: € 500.000Financing in place: € 120.000Production Company:Pop Pictures Co. Ltd. € 60.000Partners attached:Thailand Ministry of Culture € 10.000,Red Snapper Films Co. Ltd. € 37.500,White Light Co. Ltd. € 12.500Seeking partners from:France, Germany, Poland,United KingdomPresent at the CineMart:Aditya Assarat, Soros SukhumIntroductionThe buffalo is a beast of burden. Its body is used towork the fields. Its dung is used as fertilizer. At theend of its life, its meat is eaten. Some even say thebuffalo is the backbone of the Thai countryside.SynopsisPeter is a drunk and a brute. Back home he was ablue collar man, a man of physical labor, dreamingof a better future. Several years later, he has foundhis paradise. He is living in a small village innortheast Thailand, married to an uneducated bargirl half his age, tending to her family’s rice fields,and watching the sunset every evening. Like an oldbuffalo, he just wants to be left in peace.Peter is famous in the village. After all, he is theonly white man. He has also built the biggesthouse. It is made of concrete when all the othersare still made of wood. He wouldn’t have built ithad he known what would happen. Mama, Brother,even his wife’s ex-husband, have moved in. He hasmarried into a poor family and has now becometheir ATM machine.The family’s sudden rise in fortune has causedconflict to simmer in the village. Everyone isjealous of Mama and how proud she has become.When Brother is caught stealing a motorcycle, thissilent anger boils over, exposing the true natureof the villagers. The hypocrisy at the centre of thecommunity is laid bare for all to see. It is left forPeter to solve the family’s problem.Director’s StatementOne of the most common sights in Thailand is theold white man with the young Thai woman. I wantto tell the story behind this image. It is a love storyand a tragedy of a man who tries to create a newhome, but ends up being destroyed by his adoptedcommunity. I sympathize with him, as I do withall outsiders. It is the same theme I explored in myprevious films Wonderful Town and Hi-So.The community is a farming village in theNortheast. Here, the sun is hot and the rain isfierce. To this land of poverty and hardship, theEuropean man has come. At first glance he seems aContactPop Pictures Co. Ltd.504/23 Pracharaj-BumphenHuai Kwang10310 BangkokThailandPhone +66 2 6916770Fax +66 2 6916771Email assarat@yahoo.comEmail bbunghim@yahoo.comWeb www.pop-pictures-ltd.com76 CineMart Projects

ute, a drunk, and an exploiter. But the opposite is true. Itis the smiling faces of the villagers that hide the true desperation.It is they who bleed the European man dry, until hehas nothing left to give.I want to make a classic black and white wide screen moviewith a modern twist. This story is an old one. It echoesevery European conqueror who ever ventured into the heartof darkness to plunder and create a private paradise. Buttoday, the balance of power has shifted and those lands areno longer dark. The European is large only in body. He is nomatch for the cunning and deceit of the Thais.Company ProfilePop PicturesPop Pictures was started in 2006 by Aditya Assarat, SorosSukhum, and Jetnipith Teerakulchanyut. Its aim is to be thecentre of collaboration for the independent film communityin Bangkok. The company has produced many differenttypes of productions such as Wonderful Town (2007), Hi-So(2010), Sawasdee Bangkok (2010) and Eternity (2010). Thecompany has also been commissioned for various shortprojects including Phuket (2009), which was jointly fundedby the Ministry of Foreign Affairs and the Associationof Hotel Operators of Phuket. Pop Pictures produced theTV motorcycle travel documentary Dreamchaser. The firstepisode aired on ITV in 2007 and the second episode onChannel 3, Thailand’s largest broadcaster, in 2008. Besidestheir own projects, Pop Pictures is also licensed by the ThaiFilm Board as a production service company for foreignproducers needing a local partner when looking to shoot inThailand.Current StatusIn scriptwriting stage. The project has already been given ascript grant from the Ministry of Culture and support fromlocal camera and post-production companies.Goals at CineMartOur goal at CineMart is to find producers who like the storyand are interested to bring in the European lead character,qualifying for funding as an Asian co-production.Previous Work available at CineMartThe feature film Wonderful Town (2007) by Aditya Assarat isavailable in the Video Library and on Festival Scope.CineMart Projects77

CanadaA Worthy CompanionCarlos Sanchez, Jason SanchezSiblings Carlos and Jason Sanchez have been collaborating together for the past decade.For the majority of that time the brothers have worked in photography, producing large-scalephotographic prints reminiscent of film stills; complex mise-en-scenes that explorepsychological landscapes. Their work is represented by art galleries in Toronto, San Franciscoand Amsterdam, and has been exhibited throughout Canada, the United States, and Europe.Their images are also included in the art collections of major museums and respected privatecollectors around the world. In 2003 they produced, directed, shot, and scored their short film,Easter Party. Since 2010 the brothers have been directing music videos and advertisements inCanada. A Worthy Companion is their first feature film.© The Sanchez Brothers‘Abduction’Feature: Shooting format:35mm (TBC) / Final format:DCP | 90 min. | ColourBased on: Original Screenplayby Carlos & Jason SanchezLanguage: EnglishLocation: CanadaBudget: € 2.400.000Financing in place: € 800.000Production Company:micro_scope € 100.000Partners attached:Quebec Film Productions TaxCredit € 500.000, Canadian FilmProduction Tax Credit € 200.000Seeking partners from:France, Germany, United KingdomPresent at the CineMart:Carlos Sanchez, Jason Sanchez,Luc Déry, Kim McCrawContactmicro_scope55, Av. du Mont-Royal Ouest #802H2T 2S6 Montreal, QuebecCanadaPhone +1 514 8444554Fax +1 514 8444112Email info@micro-scope.caWeb www.micro-scope.caIntroductionWith the aim of procuring a companion in life, 35year-old Robert Drake abducts and imprisons ateenage girl, whom he breaks down and rebuildsinto his vision of perfection.SynopsisOn the surface, Robert Drake appears to be astable and honest individual. At thirty-five years ofage, he has worked as a letter carrier for over fiveyears. He’s a perfectionist; meticulous about everythinghe does, always maintaining a distance frompeople. Outside of his workplace, his social contactis limited to his brother, Benjamin, his only livingfamily member whom he visits and cares for afew times per week in a nursing home. Afflictedwith severe cerebral palsy, Ben cannot communicatebeyond grunts, but Robert likes being ableto talk to someone, about anything. Having lived atraumatic childhood, Robert developed into a manwho observes the world around him rather thanparticipating in it.One morning while delivering mail, Robertwitnesses an argument between a mother and herthirteen year-old daughter, Kate Mansfield. Havingseen the girl before on his route, this particularincident allows Robert to see her in a new light:one that fuels obsessive thoughts that eventuallyovertake him. As he studies Kate, her traits ofvulnerability and timidity become apparent tohim, and he begins to see in her the possibilityto become, through his careful and controlledmolding, his ideal companion in life. Attached tothe basement of Robert’s home is a fallout shelterthat was constructed during the Cold War. Whilestudying the room it becomes clear that the spacecould be adapted to hold someone captive. Hisdelusion firmly cements itself in his mind andpaves the way for the next four months as he transformsthe shelter, and crafts and masterfullyexecutes her abduction.Robert is met with extreme resistance from Kateduring the first few months of her captivity.However, as a result of a failed escape attempt andher continued confinement, isolation, and solitude,she slowly grows accustomed to her situation. Asher only lifeline, Robert becomes someone sheneeds, and by keeping her alive and offeringher small rewards, he nurtures the buildingblocks of Stockholm Syndrome and secures herobedience and submissiveness. Although notsexually motivated, Robert’s intention is to controlKate’s formulation from a child to a woman,into someone who needs him for recognition,education, and protection.Several months later Robert rushes out oneevening to buy medication for Kate, who is sickin the shelter. On his way however, he gets into aserious car accident and spends the next four daysin hospital recovering from his injuries. Theireventual reunion is climactic, highlighting themoment their codependency is solidified.As time progresses an evolution in theirrelationship becomes apparent; Kate now lives aportion of her life supervised upstairs in Robert’shome, bathing, eating, and watching TV. Nowfeeling trustworthy of her, Robert arranges to havehis brother brought over to celebrate his birthdayalong with Kate. The party takes a turn for theworse when Benjamin chokes on a piece of food.Without time to put Kate back into the shelter,paramedics are called in and Robert’s control overhis captive is put to the absolute test as he standshelplessly facing his potential downfall. As thescene closes it becomes clear that Robert’s indoctrinationis successful, and that his secret is safe.Four years later Kate slowly walks through theaisles of a clothing store. Her hair is much shorternow and dyed lighter, her air is calm and resigned;the shell of the person she used to be. The two goout in public now, driving hours from Robert’shome to avoid suspicion, and even go on a weekendtrip together where Robert opens up emotionallyand sheds light onto his troubled past and his trueintentions for the abduction. Kate is now a matureyoung woman and her eyes begin to open up to theworld around her. She begins to change and heronce controlled mind slowly fractures, allowing theidea of recapturing her own freedom to filter in.She carefully maintains the guise of functionalitywith Robert as she readies herself to makeher move, and on a day like any other she escapes;leaving the man that had systematically replaced78 CineMart Projects

Carlos Sanchez Jason Sanchez Luc Déry Kim McCrawher life with his own. Robert never completely put it pasthimself that this day may come, and for such an occasion hehad been prepared, for taped on the underside of his shirt’slapel, are two tablets filled with cyanide powder. With hisprized possession gone and nothing more to live for, heplaces the capsules into his mouth and bites down, releasingthe poison.Director’s StatementThe genesis for this film came in 2008 when the Josef Fritzcase surfaced out of Austria. This horrific story led us toresearch many similar cases in which someone, usuallya young child, was abducted and held captive over anextended period of time. As we read about different caseswe became fascinated by the complex psychological bondthat was formed between the captive and the captor as aresult of prolonged isolation and entrapment. Althoughmost of these victims had multiple opportunities to escapeor alert law enforcement or other individuals, they didn’t- or psychologically couldn’t. This fact is something thatmany people, especially the victim’s families, have greatdifficulty understanding. The question of ‘why’ they didn’ttry to save themselves resonated deeply with us and createdthe need for us to understand their reasoning. A WorthyCompanion attempts to shed light onto the personality typethat is driven to commit an unthinkable act, and to understandthe profound and complex relationship that is createdunder such extraordinary circumstances.Many of the cases we studied for this project have garneredinternational media attention, as it is a very rare occurrencefor a missing person to turn up alive after severalyears of disappearance. Most victims have written bestsellingmemoirs of their ordeals, and some have becomethe hosts of television programs, worked for news agencies,and founded charity organizations. Although specificnames aren’t usually remembered, most people can recallelements of many of these cases. As a result of the stronggeneral interest in this topic we believe that the complexstory between Robert and Kate is one that will fascinateand repulse, intrigue and scare, but one that viewers willultimately be attracted to watch, and for the duration of thefilm, inhabit.In our photographic work our intention has always been tocreate honest and accurate portrayals of specific moments,places, and people. The varying subject matter that we haveexplored most often depicts elements of the darker side ofhumanity, creating intriguing, open-ended images thatspeak to audiences on many different levels. Interpretationsof our work differ depending on one’s background and lifeexperiences, but from what we have observed, there remainsa universal thread that unites each viewer’s experience, inthat each perceive the human side to the presented stories.They can all relate to some element in the work whether itbe the fear, anxiety, malaise, or loneliness. We associatea large portion of the success of our art to the fact thatthrough our work we have been able to tap into the psycheof our audience and affect it on deep emotional and psychologicallevels. Although extreme in his actions, Robert isa man whose humanistic qualities and tribulations arerelatable to most of us, and by the film’s end, we understandwhy it is he did what he did. As inexcusable as his actionsare, we face not a monster but a deeply troubled and fragileman whose primary reason for committing this heinouscrime is out of wanting to love and be loved.With this film we intend to create an honest and unbiasedportrait of the complicated and almost unimaginablerelationship that Robert and Kate share, and examine thecreation and ultimate destruction of the invisible leashthat binds one to the other. As different as we would liketo think we are from the characters and the relationshipdepicted in our film, there will be elements of each that wewill undeniably relate to and sympathise with.Company Profilemicro_scopemicro_scope is an independent production company basedin Montreal, Canada, founded by producer Luc Déry in2002. In its first year of existence, micro_scope participatedin two co-production projects: A Problem With Fearby Gary Burns and Tiresia by Bertrand Bonello. In 2004,producer Kim McCraw joined micro_scope for its firstsolo production, Familia by Louise Archambault. In 2006,micro_scope released Congorama by Philippe Falardeau, aco-production with Belgium and France that premiered asthe closing film for the Quinzaine in Cannes. At the 2007Venice Film Festival, micro_scope released Continental - AFilm Without Guns by Stéphane Lafleur. It’s Not Me, I Swear!by Philippe Falardeau was presented at the 2008 Berlinalewhere it won the Crystal Bear and the Deutsche KinderhilfswerkGrand Prix for Best Feature Film. Incendies byDenis Villeneuve was released by micro_scope at the 2010Venice Film Festival where it was selected for Best Filmof Venice Days. Sold in more than 50 countries, Incendieswas nominated for Best Foreign Language Film at the 83rdAcademy Awards. In 2011, the world premiere of FamiliarGrounds by Stéphane Lafleur took place at the Berlin FilmFestival where it won the Ecumenical Jury Prize. It was alsothe winner of Best Narrative Feature at the Los Angeles FilmFestival and of the Jury Grand Prize in the New CompetitionTalent section of the Taipei Film Festival. In 2011, MonsieurLazhar by Philippe Falardeau premiered at the Locarno FilmFestival on the Piazza Grande where it won the AudienceAward and the Variety Award. Monsieur Lazhar is Canada’srepresentative for the upcoming 84th Academy Awards,in the Best Foreign Language Film category. micro_scopeis currently working on the Canada-France co-productionInch’Allah by director Anaïs Barbeau-Lavalette (The Fight).Current StatusScript development.Goals at CineMartWe are looking for a sales agent, pre-sales and co-producers.Previous Work available at CineMartA slideshow of Sanchez’ photographic work is available inthe Video Library and on Festival Scope.CineMart Projects79

Marí Alessandrini(Argentina)René Ballesteros(Chile)Etienne Kallos(South Africa)Marí Alessandrini was born in Argentinaand grew up in Patagonia. At the age of18 she began travelling in many differentcountries, working in such things asphotography, circus and scenic arts.When she arrived in Europe she studiedvisual arts and cinema. Her feature filmPatriota Jane will be shot in Patagonia andBrazil.Synopsis - Patriota JaneIn the Patagonian steppe covered withvolcanic ash carried by a thick gray wind,a boy and his sister Himeko Mori crossthe steppe walking to a boarding school.With a transistor they capture the musicand messages of the National Radio.Exposed to the same gusts of wind, are ahitch-hiker and an old man...ContactPhone: +33 6 70555797 (France)Phone: +54 2944 461254 (Argentina)Phone: +41 79 3236560 (Geneva)Email: alessandrinimari@gmail.comRené Ballesteros was born in 1975 inTemuco, South Chile. After receivinghis degree in psychology, René workedfor five years in juvenile prison and thenwith street children in Temuco. Afterattending the Paris VIII University and LeFresnoy to study cinema, he directed hisfirst feature documentary,La Quemadura (The Burn), in 2010. Thefilm screened in many internationalfestivals and received several awards.René is currently developing his firstfiction feature film El Pelo Vivo (The LivingHair) a psychological horror movie to beshot in his hometown Araucanía.Synopsis - El Pelo Vivo (The Living Hair)Lautaro (8) lives in an orphanage in theMapuche countryside of southern Chile.He is about to join his new family when aseries of hallucinations puts his adoptionin jeopardy. The boy is visited by anentity made entirely of hair: ‘the livinghair’. For the professionals in the institution,it’s the manifestation of psychoticsymptoms. Only Roberto, a psychologistwho grew up in an institution himself,starts to suspect that it’s a case of sexualabuse dissimulated by the institution. Butthen, ‘the living hair’ manifests itself toRoberto.ContactPhone: +33 6 13487332Email: reneballesteros@gmail.comWebsite: www.reneballesteros.comEtienne Kallos is a Greek South Africanwith a MFA in Film Directing from NewYork University. His directed workshave been selected for festivals such asSundance, Cannes, Berlin, Slamdanceand Telluride, and in 2009 his 30 minutenarrative short Eersgeborene was the firstAfrikaans-language film to be awardeda Lion for Best Short Film at the VeniceFilm Festival. His directed work has alsoreceived awards from the National Boardof Review, been a national finalist forthe Student Academy Awards and beendistributed throughout North America byStrand Releasing. In conjunction with the2012 Sundance Screenwriters Lab he iscurrently developing his feature project,Vrystaat (Free State), at the CannesCinefondation Residence programme inParis.Synopsis - Vrystaat (Free State)From the moment his parents bringhome a mysterious and manipulativeorphan called Pieter to foster on theirAfrican corn farm, dutiful and devoutAfrikaans teenager Johan begins tounravel. Set during the annual cornharvest in the Free State, South Africa,Vrystaat explores the rites of passage intomanhood for a new generation as theynavigate identity and sexuality within thefractured and ever-shifting realm that ispost-Colonial Africa.ContactPhone: +33 1 44635731(France - until mid-February)Email: etiennekallos@gmail.com80 CineMart Projects

ContactGeorges GoldensternDirector of Cinefondation3, rue Amélie 75007 ParisPhone: + 33 1 53596120Fax: +33 1 53596124Christopher Murray(Chile)Mariko Saga(Japan)Felipe Sholl(Brazil)Christopher Murray (Santiago deChile, 1985) holds a degree in SocialCommunication with the title ofAudiovisual Director, from the CatholicUniversity of Chile. Right out of college,he shot his first feature film: Manuelde Ribera, which premièred at the 2010IFFR, kick-starting a tour aroundseveral film festivals including Viennale,BAFICI, München and Göteborg. Thefilm won Best National Film at SantiagoInternational Film Festival 2010. Murrayis developing his second feature film withthe support of the Chilean AudiovisualFoment Fund.Synopsis - The Parable ofthe Blind ChristRafael lives in a small village on the Chileandesert. As a child a divine revelationhas left a mark on him and ever since hebelieves himself to be a Christ; some takehim for a saint, the majority for a pagan.As the lack of faith of his own town wearshim out, one day he finds out his childhoodfriend Victor is agonizing on a distantlocation. Rafael feels the call to performhis first miracle, and so he decides toleave everything behind in order to savehis first believer.ContactPhone: +56 63213556Phone: +33 6 29728648 (France)Production Company: Jirafa FilmsEmail: bruno@jirafa.cl(Bruno Bettati, producer)Email: ccmurray@gmail.com(Christopher Murray, director)Website: www.jirafa.clMariko Saga (1983, Japan) graduatedfrom the National Film School of Lodz.She directed the short films; Kooniklaster(2007), Vena Cava (2009), Lisica iMandarynka (2012) and her first featurefilm project is entitled Viet Wander House.Synopsis - Viet Wander HouseSnow-bound Warsaw, Poland. Teo,a single father, a second-generationVietnamese man dreams of moving toVietnam, the tropical land of his ancestorwhere he has never been. When hisfriend Bao and him lose their jobs at theVietnamese restaurant, Bao commitssuicide. Afraid of following the samepaths, Teo decides to turn his dream intoreality. But his fiercely independent eightyears old daughter Mia protests lettinghim cut her connection to her homeland,to her Polish mother and her secretboyfriend. Teo has to decide whether tomake his dream come true or to stay forhis beloved daughter.ContactPhone: +48 698 462057 (Poland)Phone: +33 1 44635733 (France - untilmid February 2012)Email: marikosaga@hotmail.comFelipe Sholl was born in Rio de Janeiro(1982, Brazil). His first short film, Táreceived the Teddy Award for Best Shortat the 2008 Berlinale. His second short,Gisela premiered in the second semesterof 2011 in Brazilian festivals, includingthe Rio de Janeiro International FilmFestival. He has also worked as a co-writeron seven other feature films. The OtherEnd was selected for the Talent ProjectMarket at the 2009 Berlinale.Synopsis - The Other EndDiogo is a 17 year-old boy whose motheris a psychoanalyst. He likes to call hismother’s female patients and masturbatewhile listening to them on the phone.Angela is a 50 year-old woman who wasjust abandoned by her husband. One day,Diogo calls her.ContactPhone: +33 6 22939116(France - until mid-February)Phone: +55 11 65577001(Brazil - from February 16 th )Email: felipesholl@gmail.comProducer Daniel van Hoostraten(Syndrome Films)Phone: +55 21 8121 2199Email: syndrome.films@gmail.com /dhoogs@gmail.comCineMart Projects81

IndexesIndex by DirectorIndex by CompanyIndex by CountryGabriel Abrantes 68Urszula Antoniak 52Aktan Arym Kubat 14Knut Åsdam 48Aditya Assarat 76Ritesh Batra 44Adrián Biniez 46Boo Junfeng 8Peter Brunner 74Israel Cárdenas 18Henry Coombes 40Manuel Martín Cuenca 12Quentin Dupieux 56David Dusa 58Hawa Essuman 16Lluís Galter 22Joost van Ginkel 54Laura Amelia Guzmán 18Peter Hoogendoorn 10Andrew Hulme 62Jang Cheol-soo 60Christelle Lheureux 72Nikola Ljuca 30Malcolm Murray 66Benjamin Naishtat 28Eduardo Nunes 26Ruben Östlund 70Argyris Papadimitropoulos 32Alexei Popogrebsky 42Kelly Reichardt 50Kivu Ruhorahoza 38Mushon Salmona 34Carlos Sanchez 78Jason Sanchez 78Daniel Schmidt 68Florin Serban 64José Luis Torres Leiva 24Athina Rachel Tsangari 20Taika Waititi 36A Mutual Respect Productions 68A.S.A.P. Films 14Anurag Kashyap Films Pvt. Ltd. 44Athénaïse 18Aurora Dominicana 18Bidangil Pictures 60Brocken Spectre 40Camera Club 38Dart Film 30Defender Films 36Faliro House Productions 20Fantascope 64Filmes do Tejo II 68Les Films du Bélier 68filmscience 50Ginger Ink Films 16Golden Girls Filmproduktion& Filmservices 74Haos Film 20Independencia Productions 72Ipso Facto Films 62Jirafa 24Keren Cogan Productions 10Koktebel Film Company 42LEV Pictures 74La Loma Blanca P.C. 12Maharaja Films 20micro_scope 78Mutante Cine 46Nappinati Films Ltd. 66Oy Art 14Paco Poch Cinema, S.L. 22Pallas Film GmbH 14Peanut Pictures 8Phanta Vision Film International 10Plattform Produktion 70Pop Pictures Co. Ltd. 76POV Productions 38PRPL 54Realitism Films 56Rei Cine S.R.L. 28SCIAPODE 58Stefi Productions 32Superfilmes 26The Match Factory GmbH 20THIS 66Topkapi Films 52Transfax Film Productions 34Unison Films 36vitakuben GmbH 48Zhao Wei Films 8Argentina 26, 28, 46Australia 38Austria 74Brazil 26Canada 78Chile 24, 26Denmark 58, 70Dominican Republic 18France 14, 18, 20, 56, 58, 68, 72Germany 14, 20, 30, 46, 48, 52, 70Greece 20, 32India 44Israel 34Kenya 16Kyrgyzstan 14Mexico 18Netherlands 10, 46, 52, 54, 74New Zealand 36Norway 48Portugal 68Romania 64Russia 42Rwanda 38Serbia 30Singapore 8South Korea 60Spain 12, 22Sweden 58, 70Thailand 72, 76USA 36, 44, 50, 66United Kingdom 40, 62Uruguay 4682 CineMart Projects