Pablo Fendrik
EL ASALTANTE
Argentina, 2007, HD, 16:9, 67 min

A look at the intimate moments of a man’s life as he decides to commit a calculated act of aggression. All the action of “El Asaltante” takes place in only one morning. The man is about to execute a plan he has been preparing for a long time. The camera follows him around throughout all his actions. The audience becomes a privileged witness of this person’s most intimate moments of anxiety and desperation that precede what is about to be a life or death decision.
Pablo Fendrik
Born in Buenos Aires, Argentina in 1973; he graduated in 1995 from Centro de Investigacion Cinematografica (CIC) where he directs his firsts short-films. In 1997 he works as AD of Alejandro Agresti. He keeps working with him in several future productions. He moves to Europe in 1998 and works for Annemiek Van Gorp in the production area. Later on he comes back to Argentina and assists Agresti with his latest film Valentín. Today he works in Buenos Aires as a script writer. Among his last work as script writer is Vida en Falcon and Las Vidas Posibles. His successful debut as director made him participate in Cannes 2007, with his Opera Prima (El Asaltante). Meanwhile he is preparing his second feature film La Sangre Brota.

Guang-hao Jin
GUE DO
China, South Korea, 2007, DigiBeta, 16:9, 99 min

Zezhu has lived a simple life in the countryside. One day, he met a sick deaf woman named Xiangshu. She had fled to his countryside in order not to be caught by the police, because she had stabbed a man who tried to violate her with a knife. Zezhu takes good care of her and Xiangshu is getting better. Since she moved into Zezhu’s house, the place has become full of love. However, Zezhu gradually sees his dead mother in Xiangshu, since his mother was also deaf. Two different feelings slowly have been placed into Zezhu’s mind. One is hate as he lost his arms due to his mother, and the other one is a longing as his mother was killed by the train because he didn’t tell her the train was coming. These two feelings fill him with pain. While Zezhu and Xiangshu become in love with each other, his inner pain slowly kills him. Finally, he decides to end his life in the same way as his mother had.

Guang-hao Jin
Born in 1960, China
Majored in politics at Yanbian University.
Studied cinematography at Beijing Film Academy.
Currently working in Yanbian TV Broadcasting.
2005 Spring, Summer, Fall and Winter; digi-beta, color, 140min, documentary
Ring; digi-beta, color, 92min.
2007 Life Track

Dimitri Karakatsanis
SMALL GODS
Belgium, 2007, 35 mm, 1:1.85, 90 min

SMALL GODS
After her son gets killed in a car crash, Elena loses all lust for life. Recovering from the crash in a hospital a stranger, David, kidnaps her and takes her for a mysterious journey in an old camper.

Dimitri Karakatsanis
Finished his studied at St Lucas in Brussels with his short film ‘Le Guide’. This surrealist film won the award for best student film in 2001 and was invited to numerous festivals worldwide. Like in Le Guide, Dimitri explores in his new feature film Small Gods the boundaries between reality and imagination. Dimitri Karakatsanis has directed numerous commercials for clients such as SN Brussels Airlines, Belgacom and Renault.

Bruce McDonald
THE TRACEY FRAGMENTS
Canada, 2007, 35 mm, 1:1.85, 80 min

15-year-old Tracey Berkowitz is naked under a shower curtain at the back of a bus, looking for her little brother Sonny, who thinks he’s a dog. Tracey’s journey leads us into the dark underbelly of the city, into the emotional cesspool of her home, through the brutality of her high school, the clinical cat and mouse games with her shrink and her soaring fantasies of Billy Zero – her boyfriend and rock ‘n’ roll savior.
Tracey’s stories begin to intertwine truth with lies, hope with despair as we move closer to the truth of Sonny’s disappearance.

Bruce McDonald
Born in 1959 in Kingston, Ontario.
Graduated from the Ryerson Polytechnic University in film and photography in 1982. Started rise to notoriety as an editor of independent films including Ron Mann’s Comic Book Confidential, and Atom Egoyan’s Family Viewing and Speaking Parts co-founder of the Liaison of Independent Filmmakers of Toronto (LIFT) Produced and directed the award-winning Let Me See ) (1982).
Worked as Norman Jewison’s personal assistant during the filming of Agnes of God. Directed and co-wrote (with Daniel Brooks) Knock! Knock! (1985), which begins as a quasi-experimental tour of people’s bedrooms, but shifts into a provocative puzzle: what happens if the director unexpectedly disappears, but the crew keeps shooting? Co-produced the Genie-winning The Mysterious Moon Men of Canada.
The hilarious (1989) was his first feature-length drama.

Matheus Nachtergaele
A FESTA DA MENINA MORTA
Brasil, 2008, 35 mm, 1:1.85, 89 min

Every year, for 20 years, a small riverside community in the upper part of the Negro River celebrates The Dead Girl’s Feast. The occasion is meant to honor the ingenuous miracle that was performed by the Saint a long time ago, after the dim episode of his mother’s suicide who received the blue rags of a missing girl’s dress in his little hands, from the fangs of a mongrel. The little girl was never found, but her remains, symbolized in the bloodstained dress rags, became sacred and were worshiped. The party evolved, indifferent to the pain and rebelliousness of the dead girl’s brother, Tadeu. Now, the inhabitants of nearby Amazon villages visit the small town on the holy day to worship the dead girl, pray and beg. They anxiously wait for the girl’s “revelations”, spoken by the voice of the Saint. These are the acme of the ceremony.

Matheus Nachtergaele
One of the most important contemporary Brazilian actors. With his widely recognized talent, he incessantly participates in stage, television and film work. He has appeared in many of the most noteworthy Brazilian films of recent years, including Fernando Meirelles’ “City of God” and Walter Salles’ “Central Station.” Other credits include Bruno Barreto’s “Four Days in September,” Sérgio Silva’s “Anahy de Las Missiones,” Eliane Caffé’s “Kenoma” and “Narradores de Javé,” Cao Hamburger’s “Castelo Ra-Tim-Bum,” Mauro Farias’ “O Enfermeiro,” Andrucha Waddington’s “Gemeas,” Guel Arraes’ “O Auto da Compadecida,” Flávio Tambellini’s “Bufo & Spallanzani,” Herbert Brödl’s “Eclipse Solar,” Cláudio Assis’ “Amarelo Manga” and “Baixio da Bestas,” Lírio Ferreira’s “Árido Movie,” Luiz Alberto Pereira’s “Tapete Vermelho” and José Eduardo Belmonte’s “A Concepçao,” which he also associate produced. Nachtergaele has been given important awards for his works in cinema, notably the consecutive prizes (2000-2001) for Best Acting at the Grande Premio BR do Cinema Brasileiro. He made his debut in soap operas in 2004 with the huge success of Joao Emanuel Carneiro’s “A Cor do Pecado” and worked in Glória Perez’s “América.” “The Dead Girl’s Feast” is his first feature film.

Tan Pin Pin
INVISIBLE CITY
Singapore, 2007, DV, 4:3, 60 min

Documentary about documenteurs. The director interviews photographers, journalists, archaeologists, people propelled by curiosity to find a City for themselves. The documentary conveys how deeply personal their search is and how fragile histories are, hanging on only through their memories and artefacts. Interwoven with the interviews is never seen before footage and photos of Singapore culled from their personal archives. In Invisible City, you witness the atrophy of memory, you see a City that could have been.

Tan Pin Pin
Born in 1969. One of Singapore’s best known filmmakers. Director of Singapore GaGa, a groundbreaking documentary about Singapore soundscapes that was voted Best Film of 2006 by the Straits Times. Self distributed, it had an unprecedented 7 week sold out run. She also directed Moving House, which won multiple awards including the Student Academy Award. Her television documentaries won two Asian Television Awards. Her works screened at Rotterdam, Nantes and at New York’s MOMA as well as in museums around the world. She holds an MFA from Northwestern University, USA. Invisible City is her second feature documentary.

Ihor Podolchak
LAS MENINAS
Ukrajina / Ukraine, 2008, HD, 16:9, 99 min

This film is about what the routine of everyday life can do to the human mind and psyche. It also reflects on the importance of the choices we make and how limited these choices are in the first place.
The plot evolves around a family of four. They live in the suburbs, in a strange villa that appears, through a complex game of mirrors, to be more like a piece of installation art than a real house. The main character, who hardly appears on screen, is the son, a man in his thirties. Suffering from asthma and eczema since childhood, he uses his condition to manipulate his parents and his sister. Thus the existence of the terrorized family turns into an endless ritual of attempting to satisfy his whims, and always on the alert for yet another one of his “health crises”.
Las meninas resembles the scattered pieces of a puzzle. It is up to the viewer to assemble them in order to form his very own picture – something that makes the film itself personal and unique.
Ihor Podolchak
Born in 1962, Lviv, Ukraine, is a well-known artist who graduated from the Lviv Academy of Fine Arts in 1984. His artwork can be found in 26 museums and public collections worldwide. One of his exhibitions was the first art exhibition ever to be held in space, at space station Mir in 1993. Las meninas is his feature début.

Michelange Quay
MANGE, CECI EST MON CORPS
France, Haiti, 2007, 35 mm, 1:1.85, 105 min

A visceral, hypnotic trip that will take us to the spiritual core of the suffering of Haiti. Madame has come to feed the starving black masses and they have come to be fed. This hunger, this desire will bring Madame out into the real Haiti, where she will for the first time see and hear the land and its people, smell the reality of their suffering, the reality of her own body. She will at last touch, and be touched.

Michelange Quay
Born 1974. In 1997, he earned a Master Degree in Film Directing of the prestigious Tisch School of the Arts, at New York University, NYC, USA. In 2002, he was chosen for Cannes Film Festival’s Cinefondation Residence for Directors, in Paris, France. It was here where he began writing the script for EAT, FOR THIS IS MY BODY.
In 2004, he directs THE GOSPEL OF THE CREOLE PIG. A short-film in 35mm which was presented in the Official Selection in the Cannes Film Festival 2004, and won Best Short Film at Locarno, Stockholm, Milan, Rio de Janeiro, Sao Paolo, Turin and Tokyo Con Can Film Festival.

Peque Varela
1977
UK, 2007, 16:9, 8 min 15 sec

A small town, a growing knot and a girl searching for her identity.

Peque Varela
I grew up in Ferrol, a small town off the coast of Galicia, Spain. There I spent my school days doodeling and from the moment my dad came home with a videocamera I could not stop filming my family and making short videos with friends. Looking to broaden my horizons, when I was 19 I decided to go to London for three months…that was ten years ago. I graduated in 2001 in Contemporary Media Practice at the University of Westminster, a degree that involved photography,video, film and digital image. That gave me the opportunity to have an overview of the different approaches to film making and I decided that the world of Animation was the one that most suited my ideas and that also allowed me to develop my graphic skills. I spent the following years gaining more experience by working in different roles on a number of animation and live action films. I then joined the NFTS where I have concentrated on developing my storytelling and broadening my animation skills. I have also benefited from the help of my mentor Phil Mulloy and had the opportunity to animate and direct two art breaks for MTV.

Nana Swiczinsky
LEZZIEFLICK
Austrija, 2008, 35 mm, 1:1.33, 7 min

A deconstructive remix of stereotypical representations of lesbian sex in hetero porn. The body forms become fluid, continually changing, and the women no longer appear to be available as the passive object of voyeuristic desire. The content of the image as well as the usual position of the subject are shifted. The material of the film appears to dissolve in satisfaction. Is there such thing as beautiful ‘hardcore’ camera work?
Nana Swiczinsky
1969 born in Vienna. 1985-89 studies (graphic design). 1989-95 studies and diploma at the Academy of Applied Arts (painting and animation). 1989-91 court-drawer for newspaper “AZ”. Since 1990 member of ASIFA Austria. Since 1991 freelance-illustrator for printmedia and advertising. 1993 contribution at the “Trans-European Animation Marathon” of Folimage-Studios in Valence, France. 1993-94 studies at the “Institut St. Luc” in Brussels. Teaches “character animation”. Since 1996 Postgraduate-studies at the Academy for Media in Cologne.

Branko Schmidt
PANJ PUN OLOVA
Croatia, 2007, IMX, 28 min

This film speaks about the impossibility of Croatian war veterans to socialise into today Croatian society, due to the fact that in Croatia – a country in transition in which the unscrupulous capitalism rules, only a few understand their illness and their needs.
Film tells a story about a man 35-years-old, married, with three children. He joined Croatian Army at the very beginning of war, and was not discharged until the very end. He is now unemployed, lives in Zagreb with his family and is trying to live like other people, but… This film is conceived as his intimate confession.
Together with two fellow veterans, left only to themselves (and the negligence of the society and government), he does things that to ordinary people seem bizarre and crazy, which help them find their peace and at least give them the appearance of “normal” Croatia citizens.
Branko Schmidt
Born in 1957 in Osijek, Croatia. After studying Economics, he enrols the Academy of Dramatic Arts in Zagreb, Film and TV Directing Department. In 1981 he directs his graduating film – TV play “Early Maturing of Marko Kovac”, which was noticed by both film critics and filmmakers. Next year he directs TV play “Hildegard” which was pronounced best TV play in ex-Yugoslavia.
In 1988 he directs his first full-length feature film “Hawk Did Not Love Him” based on the play by the same name written by Fabijan Sovagovic. For this film he received award as the Best Debutant at Pula Film Festival.
He directed many TV plays, documentaries, and TV series from children “Operation: Barbarossa” (1989) based on novel by renown Croatian writer Ivan Kusan.
In the 1990-ties he directs four feature films: “Djuka Begovic” (1991), “Vukovar is Going Home” (1994), “Christmas in Vienna” (1997) which was awarded for the Best Screenplay in Pula Film Festival; and “Heart is not Trendy” (1999)
His feature film “Queen of the Night” (2001) received two Golden Arenas at Pula Film Festival: for the Best Screenplay and the Best Production.His last feature film “Melon Route” (2006) was awarded at several festivals and screened at many more.
He is now working on a new feature film “Metastases”.

Christian Schleisiek
NACHTTANKE
Germany, 2007, DV, 16:9, 6 min 44 sec

This film plays with time and breaks with conventional vision.
Everything starts as it ends; but why did it start?
Everything is as it seems to be, and yet different to how you think.
One thing is for sure: the clock is ticking. backwards.

Christian Schleisiek
Christian Schleisiek (1980) worked as an assistant director, screenwriter and producer. Apart from ‘Night Gas Station’ / ‘Nachttanke’ he directed another short ‘Wohnen nach Wunsch’ and animated short ‘Raubbau’.

Sackl Albert
STEIFHEIT I + II
Austria, 1997 – 2007, 16 mm, 1:1.37, 6 min

The man in this film beats off, in private, while at the same time pointing the camera at himself and addressing an off-screen outsider. It must be put simply: Sackl doesn’t point just the camera, but his dick too, at us, the viewers, the outsiders, at me, a member of the theatre audience. Why? The environment: a non-environment, a black room which isolates his body from its natural environment. This artificial non-space creates distance, both for and from the viewer, in other words between Sackl and me, and for him, from his mise-en-scene, his presentation of himself. As a result Sackl alters his position and places himself at our disposal: the unavoidable struggle with and for the permission to be horny, supposing to be, being able to be, wanting to be or having to be, and the insatiable need to put himself on display. The two unedited scenes, made ten years apart, were shot in single frames. Time lapse condenses the four hours of footage into three minutes of projection time.
STEIFHEIT I. Cut. Ten years later. STEIFHEIT II. The same setup, postures, movements. Sackl repeats his actions, though at the same time he seems to be someone else. The nonchalance, playfulness, and the vanity also, have been pushed into the background. STEIFHEIT I shows Sackl as he presents himself and intends to present himself. STEIFHEIT II shows us Sackl demonstrating the act of self-presentation to himself. The distance from the figure being presented is increased as a result of this intervention, the temporal shift and possibly the personal development of the individual Albert Sackl.
Stiffness. This is lost at the end of the second part. Sackl just sits there, waiting-rattled, annoyed, thinking. When an individual takes their place on a stage, they make their own demand, their need vulnerable. Why?

Albert Sackl
Born 1977 in Graz. Films since 1994. Since 1995 studies philosophy and art history in Vienna, since 1997 studies film with Peter Kubelka in Frankfurt.

Billy Roisz
NOT STILL
Austrija, 2008, Beta SP, 4:3, 10 min

Izvor zvuka i slike u filmu je gramofonska ploča. U početku dominira ponavljajući sample zvuka grebanja gramofonske igle. Dok je promatrač zatočen u zvuku elektronskih glazbenika, dieba13 i eRikma, video umjetnik Billy Roisz prikazuje višestruko povećane slike brazda na ploči, i slike se iz mraka pojavljuju u kadru. Roisz koristi različite vrste kamera, uključujući i kameru koja mikroskopski prikazuje grubu i zrnatu površinu ploče, kako bi “osvijetlio” ploču (koja se često proglašava mrtvom) prodirući kamerom u pore ploče. Not Still stvara apstraktni vizualni krajolik u nijansama monokromatskih boja, od zelene do crvene, u kojem celuloidna slika izgara poput citata iz podzemnog svijeta. Izdvojeni motivi filmske glazbe iz klasičnih djela zavijaju u okruženju minimal techno zvuka, preklapajući se s glavnim motivom ploče, u svim njenim različitim vizualnim strukturama. VJ Roisz otvoreno zlorabi vlastiti materijal, baš kao i DJ svoje ploče. Roisz prikazuje kratke kadrove uvećanih filmova, dijelove animiranih i horor filmova, koji se nago prekidaju i nestaju. Poput seanse, na svim stupnjevima jačine izgaraju djelići sjećanja medijske povijesti i pop kulture. NOT STILL proizvodi sudar medija u jezivom, uznemirujućem i poetskom ugođaju.

Billy Roisz
Rođena 1967. godine, živi i radi u Beču. Specijalizirala se na područjima feedback videa, video/zvučne interakcije, te instalacija i live izvedbi. Njeni su instrumenti monitori, kamere, računalo, video i zvučne miksete i videosynth iz kućne izrade. Članica je dua NotTheSameColor (dieb13), projekta AVVA sa Toshimaruom Nakamurom, elektro-akustične grupe “efzeg” (Boris Hauf/Burkhard Stangl/Martin Siewert), skupine My Kingdom For A Lullaby (Michaela Grill/Martin Siewert/Christof Kurzmann), projekata “eh”, (dieb13/Burkhard Stangl), mixer betonker (Sarah Washington/Knut Aufermann/Xentos “Fray” Bentos) i Silly (Akoasma).

Seppo Renvall
PALUU IHMISYYTEEN
Finland, 2007, DV, 16:9, 4 min 16 sec

Made using found footage shot on a high speed camera, the work deals with industry, army, sports, and traffic. The music by Zape Leppänen is based on steam engine sounds.
Seppo Renvall
Born 1963 in Helsinki, Finland. Graduated 1989 from the Lahti Institute of Design. He has worked with photography, installations, happenings, films and videos since 1990. His works are shown widely around the world. Seppo Renvall is a founding member and the chairman of the Helsinki Filmmakers’ Co-op (founded 1989). He lives and works in Helsinki.

Ale de la Puente
(…DESPUÉS DE LA CALMA,)
Mexico, 2008, HD, 16:9, 4 min 55 sec

An after-party emotion when the confetti have to be swept and thrown away, when the remains of the party become garbage and the emotions could turn into the storm after the calm.
Ale de la Puente
Video artist, writer, industrial designer, with MA in Naval Architecture, Ale de la Puente generally deals with notions of time and memory through a continuous construction of poetic relations between interior/exterior and experiences given by space. De la Puente’s practice, combining conceptualism and multimedia supports, reveals a meticulous, even ritualistic process, with subtle and simple objects emerging from the apparently known. Ale de la Puente received the Pollock-Krassner Foundation Grant (1999-2000) and Jóvenes Creadores Grant, FONCA (1996-1997 and 2002-2003). She held a number of solo and group exhibitions, both in Mexico and internationally.

Vyacheslav Prokopenko
VINEC
Ukraine, 2007, DV, 4:3, 16 min

Six billion people live on the planet and each one of them leads its own life. We are so different, so diverse. And each one of us is faced with the same question on the meaning of life, our purpose and death. And each one of us tries to find the answers to these eternal questions. The Man remains essentially weak and vulnerable, though he named himself the crown of creation.
Vyacheslav Prokopenko
Scriptwriter and director at Kiev movie studio, author of several feature and short television films. His films “Solidarity”, “I am – Kiev” and “Focus” have received awards at international festivals.

John Price
THE BOY WHO DIED
Canada, 2007, 35 mm, 1.1.37, 7 min 35 sec

John Price continues his diaristic musings and exterior explorations in the elegiac, The Boy Who Died, a homage to near death. Exquisitely shot by Price on crisp hi-con film stock, the work resonates the essence of the far north as isolating and foreboding. The footage was shot after hearing that a girl, Price had filmed a week earlier, was severely injured in a snow mobile accident.

John Price
An independent filmmaker who has produced experimental documentaries and diary films as well as multi screen projections for opera and dance. His work has been exhibited internationally at festivals, museums and galleries and has been produced with the assistance of the Canada Council for the Arts, The Ontario Arts Council (Chalmers Fellowship) and the National Film Board of Canada. He currently lives and teaches cinematography in Toronto.

Veljko Popović
ONA KOJA MJERI
Croatia, 2008, Beta SP, 16:9, 6 min 40 sec

MAYA: From the verb root ma, “to measure, to limit, give form.”
Maya (“she who measures”) – the deluding or illusive power of the world
Are we truly free? Are our desires truly our own or merely imposed products of the society we live in? The question this film is asking is this: are we slaves to the culture and society we were born in or is there a way to escape after all?
Veljko Popović
Born in 1979 in Split, Croatia. Graduated in 2003 from the Academy of Fine Arts in Zagreb, Department of Painting. In 1998 starts working professionally with computer graphics, since 2003 works with Lemonade Productions on development of computer games. Co-founder of Lemonade3D, studio for 2D and 3D graphics and animation; also works as assistant at the Arts Academy in Split, Croatia.

Andrea Pallaoro
WUNDERKAMMER
USA, 2008, 16 mm, 1:1.85, 13 min

Starica i njen sin pokušavaju ostvariti suživot u kući koja je prepuna ptica. Priznajući ovisnost jedno o drugom, unutar svijeta koji ne pruža izlaz, obavljaju svoje večernje rituale, opirući se i priznajući tuđe potrebe. U svakodnevnici njihovih gesta i kretnji krije se tajna, i iščekivanje budućnosti otvara nova pitanja.
Andrea Pallaoro
A film and theater director whose recent work juxtaposes the human perception of alienation with that of intimacy. He is interested in further exploring the complexities of human behavior through the language of cinema and through the art of image making. Andrea holds an MFA in Film Directing from the California Institute of the Arts. He was born in Trento, Italy and currently resides in Los Angeles, CA, where he is working toward the realization of his next film projects.

Izibene Onederra
HEZURBELTZAK, UNA FOSA COMÚN
Spain, 2007, 35mm, 1:1.66, 4 min 30 sec

The Basque word hezurbeltzak does not appear in dictionaries. It is a non-existing word used to describe socially invisible groups. Its literal translation would be “black bones”.

Izibene Onederra
Born in Azkoitia, 1979. She got a degree in Fine Arts at the University of the Basque Country, specialising in painting and animation cinema. She wrote a thesis on the figure of the antihero and how it has been represented in contemporary art. She exhibits her work regularly with the Epelde-Mardaras gallery from Bilbao. She has also organised animation workshops for children and participated in the Berbaoc animation project, coordinated by Isabel Herguera in the Arteleku centre in San Sebastian.

Jakrawal Nilthamrong
A VOYAGE OF FORETELLER
Thailand, 2007, Beta SP, 16:9, 9min

Once upon a time, a boy foresees his future. He sees himself as an old American man, whose fate brings him to live in Thailand’s upcountry, lonely and pitted by a skin disease. The old man wants to regain his strength to reach a sexual climax for just once.
Jakrawal Nilthamrong
Graduated from Silpakorn University in Bangkok, Faculty of Painting, Sculpture and Graphic Arts in 2000. His background as an art student brought him to study filmmaking at the School of the Art Institute of Chicago, USA. There, he discovered possibilities of making narrative in unconventional way. Jakrawal started experimenting with video and interactive installations. He exhibited art works in both gallery contexts and film festivals since 2002. His early video “Dripping” (2004) won a prize from the 10th Thai Short Film and Video Festival in Bangkok and his thesis film “Patterns of Transcendence” (2006), an experimental narrative about reincarnation of a Hindu God, has shown at many international venues including the 36th International Film Festival Rotterdam. After graduation Jakrawal received the MFA Fellowship 2006 Award from the School of the Art Institute of Chicago. He is recently selected to the Artist-in-Resident program at the Rijksakademie van Beeldende Kunsten in Amsterdam among the 25 upcoming young artists from around the world.

László Nemes
TÜRELEM
Hungary, 2007, 35 mm, 1:1.33, 13 min

An office clerk as seen during her daily routine – all the little vibrations of her face.
And a man, impatiently waiting for her, beyond the windows.
László Nemes
Born 1977 in Budapest, Hungary, he grew up in Paris. After studying History, International Relations and Screenwriting, he started working as an assistant director in France and Hungary on short and feature films. For two years, he worked as Béla Tarr’s assistant. After directing his first 35-mm short film, With a Little Patience, he moved to New York to study film directing. Along with his new short project, to be shot this winter, he is currently developing his first feature film.

Marko Meštrović
NOTE
Croatia, 2008, DVD, 16:9, 12 min 19 sec

Three deferent stories about relationship between father and son placed in the different social standing.
Marko Meštrović
Born in 1972 in Stuttgart. In 1997 he graduated painting at the Zagreb Academy of Fine Arts, in the class of professor Đuro Seder. Since then, he held a number of group and solo exhibitions. In 2000 he became involved in animation. Together with Davor Međurečan, he directed two acclaimed films Silencijum (2006) and Ciganjska (2004). He is a member of the ethno group Cinkuši.

Juha Mäki-Jussila
PROTECTION
Finland, 2007, DV, 4:3, 2 min 20 sec

A collection of tin trays serving as protective shields.
Juha Mäki-Jussila
Born 1967. Did his Master of Fine Arts degree at The Department of Time and Space Based Art, Academy of Fine Arts, in Helsinki. He works and lives in Karkkila, Finland.

Mazdak Nassir
HIGH HOPES
Finland 2007, Beta SP, 16:9, 13 min 50 sec

Tale about an inventor couple and their obscured vision to raise a child to fly.
Mazdak Nassir
Born in 1976. Studies film directing at the University of Art and Design Helsinki UIAH, School of Motion Picture, Television and Production Design. HIGH HOPES is his second film.
University of Art and Design Helsinki

Pedro Maia
SUPER 8 SERIES # 3 – MEMORY
Portugal 2007, Beta SP, 4:3, 7 min

The moment, the feelings, our past experiences and how it all seems to evade from our present memory.

Pedro Maia
Born in 1983. Graduated in Audiovisual Communication at the Instituto Politecnico do Porto. Works as a freelance professional in cinema, multimedia and audiovisual. Since 2004 he has been exploring the concepts of live cinema and live manipulation of images and its relation with sound.

Zhenchen Liu
UNDER CONSTRUCTION
France, 2007, DigiBeta, 16:9, 9 min 55 sec

City planners decide to pull down parts of Shanghai’s old town in order to regenerate the city. Every year more then one hundred thousand families are forced to leave their homes and move into buildings on the edge of city. “Under construction” is a two- and three- dimensional flight across the now destroyed living areas in Shanghai…
Zhenchen Liu
Born in Shanghai, China in 1976. Graduated at the school of Fine Art in Shanghai, at the Villa Arson and the Fresnoy. His films have won many awards and have been screened throughout the world including Locarno International Film Festival, Oberhausen International Film Festival, Festival de Clermont-Ferrand. Currently he works as a freelance artist in France and China.

Anna Lange
XENIA I, II, III
The Netherlands, 2007, 8 mm on 35 mm, 1:1.66, 12min

In the triptych Xenia, a child’s outlook is shown as a magical, mythical and even mystical point of view. The very personal environment of the filmmaker’s early childhood was used to express this in an Apollonian manner. The musical soundtrack on this originally mute film is composed and performed by Louis Andriessen via a highly personal process. The project Xenia started with a series of fantasy cards of landscapes, later turned into etching plates, onto which Andriessen drew routes, with the thought of a musical composition. Lange followed the routes on the map, resulting in the images of Xenia. Andriessen finished his composition based on the final imagery.
Anna Lange
Born 1969. Works as a multimedia and interdisciplinary artist. Lange studied at the Academy for Visual Arts in ‘s-Hertogenbosch and at the Sandberg Institute in Amsterdam. She made 3 short silent movies on Super8 before turning to sound. Lange: “Shooting short silent movies doesn’t mean to me that I make a nostalgic move, or even worse a regressive one. My only aim is to improve and encourage the possibility of concentration, while watching my films. Real attention is the beginning of finer experience.” Moons Dark (2007) is her first film with sound and was blown up to 35mm.

Annja Krautgasser
PRELUDE
Austria, 2008, Beta SP,16 :9, 4 min

People observed from a distance. They amble, walk without any apparent goal, or jog. They seem unencumbered, like tourists or families out for a Sunday stroll in the park. The site that they traverse, however, is simply an empty, bright surface. Only the paths are sketchily indicated, a strict geometric plan. All of the sounds are also erased and thereby possible indications of the location. Prelude is a playful and likewise concentrated hidden image, picture that offers numerous references to other media, such as photography and architecture, to other epochs of the moving image, and to new technologies.
Prelude is the name of a self-teaching conversation program that works with pattern recognition, or random generators. Perhaps the title of the video is not just an indication of how the dialogue was created, but also stands for the design of an interactive system, for example here, of spaces, patterns of movement, and communication, illustrating the blending of real and virtual components at one of our era’s many non-sites.
Annja Krautgasser
Media artist and architect. Her net projects, CD-Rom and video works have been shown at international festivals and exhibitions such as the Medialab Madrid, the Lothringerhalle 13, Munich and at the Transmediale, among others. Founding member of the artist collective VIDOK (2000-2005). At the moment she is working as an assistant at the Department of Art and Digital Media at the Academy of Fine Arts Vienna. Board member of the Tiroler Künstlerschaft and the art association medien.kunst.tirol. Annja Krautgasser [n:ja] lives and works in Vienna.

Anssi Kasitonni
TUTKIJAT
Finland, 2007, DV, 4:3, 12 min 14 sec

A story about submarines, research, marriage and its difficulties. Most of all this is a story about love that conquers all.
Anssi Kasitonni
Born in 1978. Graduated from Lahti Polytechnic, Institute of Fine Arts in 2003. Works with experimental film & video and sculpture. His animation film “The Knockers” was chosen for The Audience’s Favourite at Mänttä Art Festival in 2003.

Sanghamitra Karmakar / Shyamal Karmakar
SETU
India, 2007, DV, 16:9, 9 min

In an Indian boomtown, a little girl is trying to preserve her childhood world. In highly contrasting images, this documentary shows how childhood is threatened by urbanisation.

Sanghamitra & Shyamal Karmakar
Married couple, authors of a number of internationally acclaimed films, awarded documentaries and one feature film.

Takashi Ishida
UMINO EIGA
Japan, 2007, 16 mm, 16:9, 12 min

The monochrome film is screened on the film projector, the blue paint overflowing from the square screen. The room is filled with blue paint, as the white screen sinks in the room. This is a story of expansion of the image, expressed through collapse of space, letting a movie come to an end. It seems that the film is fighting against “the progress of time on one screen”, one image is repeated like a wave many times, producing a gap in the development. Adachi Tomomi composed various pieces of music: “long silence”, “three pieces on water”, “the sound of a film projector converted by the voice and the water sounds” to accompany the repetition of the film.
Takashi Ishida
Born in 1972., Tokyo, works as a painter and animator. His work has been shown in many museums and festivals worldwide. Short films: Yamino-Emaki/The Scroll of Darkness (1997), Heya-Keitai/Gestalt (1999), Fuga-no-Giho/The Art of Fugue (2001), Isu to Screen/Chair-Screen (2002), Ema/Emaki (2004), Ema/Emaki 2 (2006), Film of the Sea (2008).

Kasumi Hiraoka
RAKUGAKI IROMACHI
Japan, 2007, DV, 4:3, 28 min 26 sec

In a red-light district in an obscure corner of a city, business is booming. Tired of pampering their customers night after night, the prostitutes find amusement in toys they buy at the black-market stall and drawing graffiti with the patrol man. Towards the end, they begin to speak in a dialect unique to their district, which others cannot understand. The prostitutes have turned their backs to conventional society – they are vulnerable yet fearless, and maintain their innocence regardless of their profession.
Visually, the film is a feast for the eyes, capturing the vibrant colours one might find on a children’s playground. The women run through the streets, dance in brightly decorated garments, and engage in wild activities, addressing the audience directly with infectious creativity and anarchic enthusiasm.
Kasumi Hiraoka
She was born in 1981 in Japan. Earned a degree in Literature at Doshisya University in 2003. Apart from film, she is interested in music, screenwriting and editing. Her movies cross borders between music, poetry and painting, turning film into art.
She has made several shorts and a feature Nozomi Ishiguro.

Hadar Morag
SHTIKA
Israel, 2008, 16 mm, 1.1.85, 17 min 35 sec

12-year-old girl Mashda and 45-year-old Amnon find solace in each other’s company. Their relationship – a bond shared in silence, never truly coming to terms with the implications of its very nature – pushes both character and spectator towards a zone of ambivalence, where morals and desires intermingle uneasily.
Hadar Morag
Born in Rehovot, Israel in 1983. She studies at the Film and Television Department in the Tel-Aviv University. In relation to film studies, she is also focusing on feminist studies, literature and philosophy. “Silence” is her first short-fiction movie, having a world premiere at the Cinefondation, Cannes International Film Festival.

Jannick Guillou
INTERLUDES
France, 2007, HD, 16:9, 10 min 13 sec

A long sequence in the form of an endless panorama shows us fist an empty space, with no specificities. Then one detail, a red jacket, marks the beginning of a visual crescendo that continues throughout the film. Bare at first, the space gradually fills up. Objects, people, and colours occupy the space in an inexplicable way. Independent and unlikely scenarios come together in each turning. The space gradually takes shape, comes to life and transforms itself in the back of camera that tirelessly follows the same path.
Stock, clutter, saturate. The void followed by harmony, ending in an overflow, which engenders the void again, a space in a perpetual reconstruction.
Jannick Guillou
Born on August 5, 1982 in Quimper. Lives and works in Lille and Brussels.
Education:
2003/04: UQAM, University of Quebec in Montreal, exchange programme
2000/05: graduated Visual Arts at École Supérieure des Beaux Arts de Cornouaille
2005/06: La Cambre Art Academy, Atelier Espaces Urbains, Brussels
Exhibitied in several galleries

Elke Groen
NIGHTSTILL
Austria, 2007, 35mm, 1:1.85, 9 min

The film was filmed over the course of two winters on the Dachstein Mountain. While the massif appears to be twice as static, the movements gain in dynamics and transience: Accompanied by broken sounds, clouds are drifting over the mountain tops like a hasty swarm. Behind windows lights are flashing like Morse symbols. Gondolas whoosh past like flying objects. Humans stand in the snow like phantoms. The moon rises, glows, descends and disappears behind walls of fog, and yet will always rise again.
Elke Groen
Born in 1969 in Bad Ischl, Austria. Studied architecture and photography.

Mihai Grecu
COAGULATE
France, 2008, HD, 16:9, 6 min

Absence, presence and aquatic distortions in this choreography of fluids, mysterious forces twist the physical laws and affect the behaviour of living beings in purified spaces.
Mihai Grecu
Born in Romania in 1981. After studying design and fine arts in Romania and France, he works now as independent artist in the fields of video/contemporary art, cinematography and graphic design. His videos explore the structures and genesis of anxiety: distorted landscapes, unknown menaces, metamorphosis, neon-light and alchemy convert into a heterogeneous universe of rough-cut video and 3d animation.

Werther Germondari / Maria Laura Spagnoli
BLUE (SKY) MOVIE
Italy, 2008, S 16mm, 1.1.66, 6 min 45 sec

The 70’s: a crew is shooting a porn movie in a forest…
Werther Germondari
Born in Rimini in 1963. Studied Cinematography at the Centro Sperimentale di Cinematografia in Rome and at the University of Bologna (DAMS). Interested in innovative experimental dynamics that are neo-conceptual and situational, characterized by a taste for the ironic and surreal, Germondari has experimented for 25 years through many different expressive media (from painting to installations, photography to film, videos to live performance). Germondari’s works have also been shown in solo exhibitions where he focuses on hidden elements highlighted in styles sometimes in a goliard spirit. Specifically in the format of the short, Germondari has made more than fifty films and video. These have been screened at hundreds of festivals, have won awards and have been distributed in European theatres and sold to international television networks.
Maria Laura Spagnoli
Born in Amelia (Italy), in 1960. In 1987, she got her degree in Music History at the University of Rome. Between 1982 and 1989, she took part in the production of few operas, working as assistant director. In March 1990, in Rome, she worked on stage directions with director Nanni Loy and was admitted to the Rossini Academy in Pesaro. In 1988, after writing and staging a short play for the theatre, she started to co-operate with Werther Germondari.

Leslie Ali
THE OBJECT
UK, 2007, HD, 16:9, 7 min

This is a story about a bunch of stupid greedy people in a parallel universe, not too dissimilar to ours. We open on two men hunting. Suddenly, they spot a beautiful object flying in the sky; one of the men is struck by it as it falls to earth. It’s a small shiny cube that makes really nice sounds. This sets off a very particular chain of events, which ultimately reveal the true nature of the people who live there.
Leslie Ali
American-born, London-based Leslie began her career writing ads, agency-side but went back to film school to a get a graduate degree from TISCH School of the Arts (NYU.) She has been directing full time since 2005 and is currently represented by Partizan London, internationally acclaimed production company becoming increasingly involved in feature development and production (Eternal Sunshine of the Spotless Mind, Be Kind Rewind, Block Party, The Science of Sleep, Steak, and Laurel Canyon to name a few.) She is one of 27 commercial directors represented by Partizan (and incidentally, the only woman.)
After shooting a body of work (including campaigns for MTV, Kellogg’s, Sony BMG and Budweiser) she was named Top Ten Hottest New Directors of 2006 by industry publication, Boards Magazine. A Nivea campaign, and a Maximo Park video soon followed (“Girls Who Play Guitars”, topped the NME’s ‘Best Videos’ chart three weeks straight in 2007.)
This led to a signing at Warp Films in 2007. Leslie works through Warp Films (of Bafta award winning This Is England fame) for music video representation.
In 2006, Leslie was awarded a commission from Film London to make her first short, THE OBJECT (as co-writer/director.) Upon completion, the Sundance Film Institute selected it to show at the 2008 Sundance film festival. She is currently involved in a couple of film projects (UK and US based) and has been invited to submit one of her screenplays to the Sundance Screenwriter’s Lab.

Andrea Fasciani
BUYO
Italy, 2008, VHS, 4:3, 37 min

Raffaelle ima govorni poremećaj i može jedino proizvoditi čudne i nerazumljive zvukove. Anna je gluha. Jedan se dan susreću u liftu. Raffaelov raspukli i prigušen glas izaziva neobične vibracije u Anninom tijelu. Zaljubljuje se i počinje ga slijediti.
Andrea Fasciani
Rođen 1982. godine. Trenutno je na prvoj godini studija filma na Centro Sperimentale di Cinematografia u Rimu, talijanskoj filmskoj akademiji. Diplomirao je komunikacijske znanosti i bavi se audio-vizualnim tehnologijama.

Vanja Činić
KUSTOS SWING
Croatia, 2008, DV, 10 min 35 sec

Lord Martin Bottom sends an open letter to Croatian female curators, inviting them to a happening. His intention is to investigate the behavioural dimension in intentional construction of micro-social structure.
Vanja Činić
Born 1981 in Kopar, Slovenia. Graduated Visual Communications Design at the Academy of Art, University of Split.

Sarah Cox
A TIME AND A TIME
UK, 2008, Beta SP, 4:3, 3 min 18 sec

A short film that takes 3 specific locations in Bristol and then recreates each place via collage of archive footage. Films and photographs of specific locations across time are combined to create new scenes where contemporary Bristolians mingle with people that walked that same street a century earlier. A woman jogs past a man in plus fours, office workers from today cross the blitzed streets of Bristol in a filmic archaeology.
Sarah Cox
Studied Animation at the Royal College of Art graduating in 1992. She has since worked as a director of short films and commercials. This includes most notably 3 Ways to Go in 1997 (winner, Best Film under 10 mins British Animation Awards), Plain Pleasures commissioned by Channel 4 and completed in 2001, winner of a Silver Dove at Leipzig and Heavy Pockets a 6 minute commission from S4C; which was nominated for the Short Animation BAFTA 2005 and won Best Animation at Savannah Film Festival 2005.
Sarah spent a year as Head of 2D Animation at Savannah College of Art and Design, Georgia (1999 – 2000). Further teaching followed at The National School of Film and TV (2001- 2003). Currently she is external examiner for the NFTS and The London Metropolitan University Animation courses.
Sarah has also produced a number of projects including the short film ‘John and Karen’ directed by Matthew Walker, winner of best animation for adults at Ottawa 2007.

Yin-Ju Chen
CAI FENG
Taiwan, 2008, DVD, 16:9, 7 min 42 sec

This video shows one example of how Asian parents devote themselves to their grown children. Here a mother works tirelessly for rich clients so she can send her daughter to study in the USA. The montage illustrates the detailed procedure of dressmaking, and the phone conversation covers credit card expenses, converted from US dollars to Taiwanese yuan.
Yin-Ju Chen
Taiwanese multidisciplinary artist. Since 2004 she has been regularly showing her experimental videos at the Other Cinema program of Artists’ Television Access gallery in San Francisco. Her works also include photo performances, installations, and drawings.

Marco Casado Alvarado
SHE DREAMT WE DREAMT
Mexico, 2007, DV, 4:3, 4 min 15 sec

A farce based on a real story. Love, jealousy, hatred and reconciliation. I remember once reading about a couple whose relationship degenerated until the stage of extreme violence and then back again to apparent harmony.
Marco Casado Alvarado
Born in México, 1970. Received BA in Communications in Mexico, and MA in Hypermedia at London UK. He has taken courses in film direction, photography and literature. In 1995 Alvarado started working with video and sound. The majority of his work is characterized by the convergence of narrative and abstraction.

Pirjetta Brander
SINGLE ROOM
Finland, 2007, HDV, 16:9, 2 min 40 sec

A living painting. The fundamental subject of the work is inability, the conflict between the desire to live and experience, and the fear of making the dreams come true. Single Room tells about conflict, how the desire and actions do not meet.
Pirjetta Brander
Born 1970 in Helsinki, Finland. MA 2000 Tampere Polytechnics, Art and Media-department. Lives and works in Helsinki, Finland. Makes drawings, paintings, videos and installations. Exhibitions, videofestivals, screenings etc. since 1995 in Finland and abroad. Writes about visual arts, curates and produces exhibitions.

Maja Borg
OTTICA ZERO
UK, 2007, DV / Super 8, 12 min 46 sec
OTTICA ZERO
Soon after her ‘big break’, Italian actress Nadya Cazan disappeared. With TV and film offers flooding in, she refused to accept the competitive and superficial values of the society they represented. Ottica Zero follows Nadya on her search to find an alternative way of living; a quest to discover a means to recycle the whole spectrum of cultures and political ideologies into a new way of managing a global society. It is a journey which takes us from Rome to Venus, where 91-year-old social innovator and futurist, Jacques Fresco, proposes a solution. Polemical poetry with sci-fi style visuals.
Maja Borg
Born and raised in Norrköping, Sweden. From early age film and photo was her great interests and after finishing High school, it was that interest that took her out in the world. After film projects in Romania, Sweden and in Scotland, Maja studied film at Edinburgh College of Art and graduated in spring 2006 with a First Class BA in Visual Communication. Maja’s 52min film, ‘Look at Lucia’ was awarded BAFTA’s Scottish Students on Screen Award for Best Documentary. Maja’s previous work has been exhibited at major festivals and venues throughout Europe, including Berlinale (Berlin International Film Festival), London Lesbian & Gay Film Festival, Milan Lesbian & Gay Film Festival, Cork International Film Festival, The Swedish Film Institute, FIPA (Biarritz), The Courtauld Institute (London) and the Paris Lesbian Film Festival.

Simon Bogojević Narath
MORANA
Croatia, 2008, 35mm, 1:2.35, 12 min 40 sec

After running through a misty, desolate landscape, a solitary hunter spends a rainy night in a shelter on top of a steep cliff. He dreams… In a war-torn megalopolis, a business man runs to a crowded shelter. Sitting on a bench in a smoke-filled hallway, he notices an intriguing red-haired woman. Do the hunter and the business man have something in common? In folklore, Morana is the ancient Slavic godess of evil, death, darkness, underworld, personification of winter.
Etimology of the word MORA denotes a nightmarish dream, misery, extermination.
Also Morana is a Croatian female name.
Simon Bogojević Narath
Born in 1968 in Zagreb. Graduated in 1992 from the Academy of Fine Arts, Painting Department in Zagreb. Member of Croatian Association of Artists. Since 1990 works on experimental film/video and video-installations, which were exhibited and screened at various domestic and international group and solo exhibitions. In 1993 starts working with 2D and 3D computer animation. He is the author of short experimental and animated films which were screened at some of the most prestigious film festival (Annecy, Ottawa, Clermont-Ferrand) and won numerous awards. Works as artistic director in Kenges studio. Since 2004 is a member of the core faculty at the Arts Academy, University of Split lecturing on Electronic Animation. He is also a guest lecturer at the Academy of Applied Arts in Rijeka.

Antonin de Bemels
TECHNIQUES DE SURVIE EN SOLITAIRE
Belgium, 2007, DV, 4:3, 7 min

Ongoing series of short “impromptus”, in collaboration with the so-called Bonhomme Daniel. Tips and tricks to cope with loneliness and boredom.
Antonin de Bemels
Video and audio artist, born in 1975 in Brussels. He discovered video art and experimental cinema at Erg (Ecole de Recherche Graphique), from 1993 to 1997. At about the same period, he started getting interested in electronic music, and initiated his personal approach of videography, based on the representation of body movements and the dynamic relationship between sounds and images. Since 1997, he has made a dozen of short videos that were screened in many festivals around the world. He also creates video backgrounds for dance and theatre pieces, and sometimes performs live visuals during electronic music shows. As an audio artist, he created original soundtracks for some contemporary dance pieces, and for some of his own videos. He released his first record on the Austrian label Tonto Records in 2004.
The videos Light Body Corpuscles (2005), Merge / Se fondre (2006) and Mouthface (2007) won prices at festivals.

Albert Bayona
MONDAY TO FRIDAY
Spain, 2008, DV, 4:3, 15 min 30 sec
MONDAY TO FRIDAY
An audiovisual about environment change and human interference in landscape.
Alien elements, digitally recreated and boosting incoherence between scenes, are captured in devastated surroundings located purposely in daily settings. Five accounts linked conceptually in their outcome, ironically set in the five weekdays.
Albert Bayona
(Lleida, 1954). Visual artist and professor of audio-visual media at Fine Arts School of Lleida. His works have been commissioned by L’ Entitat Autonoma de Difusió Cultural de la Generalitat and presented at La Panera, L’Aparador, Abelló Museum and La Caixa Foundation. His pieces have been part of the programmes at museums and galleries (Museo Morera and El Centro de Lectura de Reus) and festivals (Arco, Art. Frankfurt, Vic Biennal and Videoforms, Clermont-Ferrand). He has also collaborated with artists such as Jordi Jové. In 1985 Albert won the second award at the Joan Miró Prize for contemporary art.

Rezaei Muradi Batol
LAILA
Afghanistan, 2007, DV, 16:9, 33 min

Šesnaest žena boravi u psihijatrijskoj bolnici u Kabulu. Većina ih je tamo provela cijeli život. U ustanovi su rijetke prilike za odmor i učenje. Zajedno ipak uspijevaju pronaći utjehu.
Rezaei Muradi Batol
Rezaei is a 25 year old writer and poet, born in exile in Iran. In 2002, she returned to Afghanistan and is now working as a journalist for “The Voice of People”. Batol is married and has one boy.

Darko Bakliža
HOMO VOLANS
Croatia, 2007, Beta SP, 4:3, 6 min 28 sec

A short animated film inspired by the life and work of Croatian renaissance artist Faust Vrancich. The film is dealing with the human quest for knowledge and a demand of one’s boundaries.
Darko Bakliža
Born in 1958. Graduated from the Academy of Fine Arts, Zagreb, where he is now a senior lecturer. His paintings were exhibited in Croatia and abroad and he won numerous awards. He is doing designs. He has made more than twenty set designs for theatres. He is also a writer and a music composer.
Animated films:2002 – The first story2004 – A date 2006 – Theory of reflection2008 – Homo volans His films were shown on more than 40 festivals throughout the world. He won 8 domestic and international awards.

Anna Assenza
LIBERTAD DE MOVIMIENTO
Cuba, 2007, DVD, 4:3, 17 min

Three persons in La Havana are moving in freedom.
Anna Assenza
Sicilian writer and video maker. In 1999 she started the production company La Espera. Espera Bioproducciones, in collaboration with the Cuban director Fernando Perez and other international artists and with the aim of promoting and supporting independent cinema in La Havana.

Don Askarian
FATHER
Armenia, 2008, DV, 4:3, 2 min

Exercise in death – a look at the terrible face of father.
Hearing the hoarseness of his voice is the preparation for death.
We will not do it better before our death.
Accurate study of death – written 16 years ago for the screenplay for the movie AVETIK. In fact, we can not speak about death. Not a word. Even less in a movie.
Don Askarian
(cont Jury Features) His films were sold and broadcasted world wide about 80 times. Don Askarian, honored with a Harvard Film Archive retrospective, is considered the greatest Armenian filmmaker (but he is Russian-German- Dutch too). In 2004 he received Golden Camera Award for Life Achievement at Int. ART Film Festival, Slovakia.The retrospectives and special screenings around the world, on TV and important film festivals reflect it, mirror the growing interest in Don Askarian’s films followed by a broad fascination by the audience.

Zero Chou
PAIO LANG QING CHUN
Taiwan, 2008, HD , 16:9, 97 min

Three interconnected stories about three women living in three different eras. This film weaves a poetic tale of drifting as all the women seek their true identity. As time ebbs and flows, as love comes and goes, their journey towards finding themselves never ends.
First, eight-year old May discovers the bitter taste of first love when she accidentally sees her blind sister Jing kissing their band’s tomboy accordionist Diego. So strong is the child’s jealousy that the three are torn apart.
In another time and place, Lily struggles with her Alzheimer’s and fragile memory of youth. When her old friend Yen comes to visit, he brings more bad news – struck by
HIV, he is giving up on life. Between Lily’s hallucinations and Yen’s collapsing health, the two form an unexpected bond and rediscovered the meaning to live and love again.
Finally, there is Diego, years before she left her hometown and joined the band. Still in high school, the confused teenager binds her growing breasts despite being called “boy girl” by her traditional family. An impromptu performance changes her destiny, as Diego faces her unknown future with courage and hope.
Zero Chou
Born in Keelung, Taiwan in 1969, Zero Chou received her B.A. in Philosophy from National Cheng-Chi University. She worked as a journalist before becoming an independent film director. She entered filmmaking because of her attraction to its unique combination of content and form. She began her career working in non-fiction, heralded as “the most talented documentary director to emerge in recent years in Taiwan”. She has received various awards around the world for her films A FILM ABOUT THE BODY (1996), FLOATING ISLANDS: BEFORE THE RADIATION (1999), POLES EXTREMITY (2002) and TIMEWALKER (2003).
She wrote and directed her first feature film SPLENDID FLOAT (2004), which won the prize as Best Taiwan Film at the prestigious Golden Horse. Her second feature film, SPIDER LILIES(2007) had its world premiere in Berlinale 2007, and won the
Teddy Award for Best Feature Film, marking the first time for a Taiwan filmmaker.
The film has since been invited to countless film festivals worldwide and also won
Best Feature Film Award at Asian Film Festival Rome 2007. Chou’s narrative style is characterized by a sense of poetry and philosophical contemplation.

Laura Guzmán / Israel Cárdenas
COCHOCHI
Mexico, 2007, 35 mm, 1:1.85, 87 min

Set against the lush backdrop of the Sierra Tarahumara in the Mexican countryside, “Cochochi” tells a coming-of-age tale of indigenous Raramuri brothers Tony and Evaristo. The two boys stumble into adulthood when they are sent on an excursion to deliver medicine. Dreading the long road ahead, they borrow their grandfather’s horse without permission and set off on a journey that will become longer than expected.
Laura Guzmán
Was born in Santo Domingo, Dominican Republic, in 1980. After studying cinematography at the International Film and Television School in Cuba, she went on to direct a number of internationally acclaimed documentaries and shorts.
Israel Cárdenas
Israel Cárdenas, Laura Guzmán’s husband, was born in 1980 in Monterrey, Mexico. After participating in several film workshops, he set up Blueberry Films in 2001 to produce video clips, commercials, documentaries and shorts. Cochochi is their first feature film.

Joana Hadjithomas / Khalil Joreige
JE VEUX VOIR
France, Lebanon, 2008, HD, 16:9, 75 min

July 2006. A war breaks out in Lebanon. A new war, but not just one more war. A war that crushes the hopes of peace and the momentum of our generation.
We no longer know what to write, what stories to recount, what images to show. We ask ourselves: “What can cinema do?”
That question, we decide to translate it into reality. We go to Beirut with an “icon”, an actress who, to us, symbolizes cinema, Catherine Deneuve. She will meet our preferred actor, Rabih Mroué.
Together, they will drive through the regions devastated by the conflict.
Through their presence, their meeting, we hope to find the beauty which our eyes no longer perceive.
It is the beginning of an unpredictable, unexpected adventure.
Joana Hadjithomas / Khalil Joreige
Born in 1969 in Beirut, they work together as visual artists and filmmakers.
They have written and directed short films as “Ramad” (Ashes) in 2003 and “Open the Door” in 2006 as well as two fiction features, in 1999, “Al Bayt el zaher” (Around the pink house), then, in 2006 “A Perfect Day” which was enthusiastically received.
They also make documentaries, such as “Khiam” in 2000, and “El film el mafkoud” (The lost film) in 2003.
Their films have been shown in many festivals and have garnered numerous awards, but are also screened in art centres, museums and galleries.
Furthermore, they have created several photo and video installations. They teach at the University of Lebanon and contribute to several publications.

Kent MacKenzie
THE EXILES
USA, 2008, 35mm, 1:1.33, 72 min

The story of one wild but typical night in the lives of three young American Indians who have left their reservations to live in downtown Los Angeles. It presents the lifestyles and actions of these people that are “not true of all Indians of the time . but typical of many.” The film follows Yvonne, her husband Homer (Hualapi), and Tommy, a Mexican who lives with them, through fourteen hours of their everyday life. With the fall of night comes the drinking, card-playing, picking up girls, fighting and dancing of the boys, that is juxtaposed against Yvonne’s lonely, uneventful existence. These two scenarios sum up the confused lives of a group that is part of a new generation caught between opposing forces – the past versus modern day living.

Kent MacKenzie
Born to an American father and an English mother in Hampstead, London, England on April 4,1930, Kent first attended an English public school, The Hall, where the smartly-cut jacket with embroidered crest initiated him into the realm associated with “the-old-school-tie” upbringing. He completed his high school education at Bronxville High, and matriculated to Dartmouth College in the fall of 1947.There, Kent majored in English Literature and found his interest in motion pictures stimulated by a professor of English Drama, Benfield Pressey, who had recently spent a summer in Hollywood watching films in production. At Dartmouth, Pressey initiated a course in film writing, which Kent attended. After graduating from Dartmouth in June 1951, Kent made plans to go to Hollywood, but was interrupted by “Greetings from the President,” who, it seemed had plans for him in the Army. In October 1951, Kent enlisted in the Air Force, and later entered Officer Candidates’ School at Lackland Air Force Base, Texas. He emerged in December 1952 as a 2nd Lieutenant and was sent to Germany the following April. Mackenzie completed his duty as an aircraft control officer there, and was discharged in September 1953. In January 1954 he enrolled in the University of Southern 12 California Cinema Department, attending night classes. Shortly afterward he earned a scholarship that (along with his GI Bill allotment) permitted him to quit his job and attend regular daytime classes. His graduate film project Bunker Hill-1956 earned a screening at the Edinburgh Film Festival that year and won the Silver Award accorded to University productions by the Screen Producers’ Guild and Look magazine. Kent edited, produced and directed one other feature film, Saturday Morning, in 1971 before he passed away in Marin County, California in May 1980. The Exiles is proof of the “rare combination of quiet confidence, grim determination and.mature outlook” (from Profile of a Filmmaker) that characterized the filmmaker Kent Mackenzie. Mackenzie can be seen several times in The Exiles.

Chui Mui Tan
LOVE CONQUERS ALL
Malaysia, 2007, HD, 16:9, 90 min

Ping has come from Penang in the north to Kuala Lumpur to work with her aunt. There she meets John, a young man who keeps trying to approach her. Ping feels increasingly attracted to John, and although she has a boyfriend in Penang she is drawn more and more into his world. Ping loses herself in her love and does all she can to keep John.
Chui Mui Tan
Born 1978. She’s a Chinese Malaysian filmmaker based in Malaysia. In 2007, she received the Tiger Award from the 36th International Film Festival Rotterdam with her debut feature film Love Conquers All. The film had previously won the New Currents Awards and Fipresci Award at the 11th Pusan International Film Festival in 2006. She has been actively involved in the Malaysia independent film scene, working as producer, editor, script writer and occasionally actress. In 2004, she set up Da Huang Pictures with Amir Muhammad, James Lee and Liew Seng Tat.

Froukje Tan
LINKS
Netherlands, 2008, HD, 16:9, 83 min

Dexter’s controlled life gets disrupted when a girl appears on his work that looks exactly like his girlfriend Stella. At home his beloved Stella doesn’t understand what is going on and she starts questioning their relationship. Dexter’s life deteriorates furthermore: when he crashes several cars, he is arrested by the police and taken to hospital. There he learns that, due to a brain damage, he doesn’t see left anymore. Also he sees the same people everywhere. In the hospital he meets another Stella. Dexter has to discover that from all Stella’s, there’s only one he really cares about.
LEFT is a tragicomedy which treats its subject subtle and considerate: everything gets twisted a little bit, but never falls apart completly.

Froukje Tan
Born 1968. Graduated from the Willem de Kooning Academy in Rotterdam, having studied animation, film and photography. She made short films for children, documentaries, a documentary series and several short absurdist films. For Dutch Television she made two single-plays. ‘Left’ is her first feature.

Gao Wendong
MEI SHI CUN
China, 2007, HD, 4:3, 91 min

The film is about people who live in Sweet Food City. The City was prosperous 10 years ago but now has hit hard times. Most residents are migrant families. There are many street sellers, young people, gangsters and prostitutes. Sanbao and Ting Ting belong to this society.

Gao Wendong
An independent director and author. He was born in 1973, in Dalian City in China
Representative works:
Xi Hai City (2006)
Sweet Food City (2007)

Péter Forgács
SAJÁT HALÁL
Hungary, 2007, DigiBeta, 16:9, 118 min

“Dying is a tough job, especially when one has to finish urgently some galley proofs. Péter Nádas has evocated this brilliantly in his short novel Own death. And it has now an evenly brilliant equivalent in the imagery Péter Forgács designed for it. Hardly ever since Marguerite Duras’ India Song the collaboration between the literary and the cinematic has been as successful as in this Forgács film of the Nádas story”. (Peter Delpeut)
Péter Forgács
Born 1950. He’s a media artist and independent filmmaker based in Budapest. As an independent film and video artist, he has been working in the Béla Balázs Studio since 1978. Since 1978 Forgács has made more than thirty films. He is best known for the Private Hungary series of award-winning films based on home movies and amateur films from the 1930s and 1940s, which document ordinary lives that were soon to be ruptured by an extraordinary historical trauma that occurs off screen. His international debut came with the Bartos Family (1988), which was awarded the Grand Prix at the World Wide Video Festival in The Hague. Since then he has received several international festival awards – in Budapest, Lisbon, Marseilles, San Francisco and Berlin, where he won the Prix Europa for Free Fall in 1997. His most recent films are El Perro Negro (2005) on the Spanish Civil War and Miss Universe (2006) on the 1929 Austrian beauty queen Lisl Goldarbeiter. His work can be found in several public collections, museums and universities in Europa and the USA. Péter Forgács was awarded with the Béla Balázs Film Prize in 1998, and the Erasmus Prize 2007.
Magyar Filmunió

Amos Poe
EMPIRE II
USA, 2007, HD, 16:9, 182 min

A tone-poem meditation on the city of our dreams. With music by Patti Smith, Jim Carroll, Lucinda Williams, Jeff Buckley, Jimmie James, Steve Earle, Cassis Staudt, Max Nova, Gram Rabbit, Peggy Lee, Allison Moorer, Hysterics, Debbie Harry, B.B. King, Pink Martini, … and many more.
Amos Poe
He is one of the leading figures of the No Wave Cinema movement (75-85) that grew out of the bustling East Village music and art scene. In ’75 Poe and Ivan Kral (Patti Smith Group, Iggy Pop) produced, edited and shot the now classic and definitive punk film, THE BLANK GENERATION. In ’76, Poe wrote, produced, and directed his debut groundbreaking feature, UNMADE BEDS, homage to Godard’s “Breathless” and the French New Wave. In ’77 Poe wrote, produced and directed his most influential film, THE FOREIGNER, starring Eric Mitchell, Patti Astor, Duncan Hannah and Debbie Harry. In ’79-’80 Poe concluded his “underground trilogy” with the bleakly beautiful SUBWAY RIDERS, the first foray in color. In the late ’90’s Poe wrote and directed the neo-noir FROGS FOR SNAKES, and continued writing screenplays, as well as directed two videos for Danny Goldberg’s Artemis Records. In ’99 Poe began teaching filmmaking at NYU/Tisch School of the Arts. In 2001, Poe “Murchian engineered” 29 PALMS, and in ’02-’03 Poe produced & directed STEVE EARLE: JUST AN AMERICAN BOY, a feature portrait of singer-songwriter Steve Earle. Poe’s latest plans include www.pianospecs.com – an on-line pro-active ad platform for filmmakers, designers & artists.

Jean-Claude Rousseau
DE SON APPARTEMENT
France, 2007, DigiBeta, 4:3, 70 min

For a long time I have wanted to try and see if I could create a drama with the simplicity of action which the Ancients so favoured. There are those who believe that this very simplicity is a sign of a lack of inventiveness. They do not consider that, on the contrary, all invention is to create something out of nothing.
From the preface of Bérénice by Racine, 1670
Jean-Claude Rousseau
Born in 1946 in Paris, Jean-Claude Rousseau studied law. It was in New York that he discovered avant-garde cinema. Upon his return to Paris, he worked as an artist and exhibited at the Salon de Mai and Novembre a Vitry. In 1983, he directed his first medium-length film, Jeune femme a sa fenetre lisant une lettre. This was followed by two short films: Venise n’existe pas (1984) and Keep in Touch (1987), and his first feature film Les Antiquités de Rome (1989), all filmed in Super 8. Where short shots were usually favoured, he used long shots and where camera movement was usually favoured, he kept the camera steady. He continued this mode of directing with a second feature film, La Vallée Close, supported by Jean-Marie Straub and Daniele Huillet. Presented at the festival of Locarno, the film won the Grand Prix du documentaire at the Belfort festival. His other works include: Lettre a Roberto (2002), Juste avant l’orage (2003) and Comme une ombre légere (2005) which, together with Faibles amusements (2004) and Contretemps (2004) forms a triptych entitled Trois fois rien. In 2007, his last film, De son appartement, won the Grand Prix of the International competition at the festival of Marseille. The last retrospective of his films occurred in Rome at the Villa Medici and at the Cineteca Nazionale in November 2007.

Terje Carlsson
VÄLKOMMEN TILL HEBRON
Israel, Palestinian Territories, 2007, DigiBeta, 16:9, 55 min

This documentary was filmed during more than three years on location in Hebron, West Bank. 17-year old Leila Sarsour is the main character of the film. Leila is a student at the Al-Qurtuba-school, a Palestinian girlschool surrounded by Israeli military installations and settlements.
A former commander of the Israeli army are among the people being interviewed in Welcome to Hebron. The soldier is sharing his story of daily life under occupation.
The film shows how the occupation affects everyday life in Palestine. Leila is a Moslem girl, but she does not fit the widespread western stereotype, characterizing Arab women as weak and victimized. Leila is strong, intelligent, outspoken and have her own idea of a daily life free from oppression and violence. Leila and her classmates are regularly attacked and harassed by Israelis soldiers and settlers.
In this film Leila is chatting on MSN, discussing Jimi Hendrix with her mother and sharing her vision of a middle east of coexistence and peace.
Stockholm Film Festival wrote the following about the film:
“Never afraid of getting in close with his handheld camera, director Terje Carlsson is a clever observer, not shying away from controversy, instead letting the situations play themselves out without interruption.”

Terje Carlsson
Filmmaker Terje Carlsson is a freelance journalist based for many years in Jerusalem, working mostly for Swedish National Radio and Television. This is his first full-length documentary. In November 2007, the Stockholm International Film Festival screened the world premiere. Oslo International Film Festival showed it in November 2007. BUFF Malmö showed the film in March 2008. Huesca Film Festival in Spain showed it in June 2008.
Welcome to Hebron was broadcasted on Swedish TV (SVT) in February 2008.

Julia Keller
AGRIDULCE
Germany, Cuba, 2008, DigiBeta, 4:3, 45 min

An elderly baker, a hobby baker in menopause, a young illegal cake seller and a 15-year-old girl before the most important celebration in their life. The four heroes in “Agridulce” are no heroes. They love the light blue meringue cakes, the sweet status symbols of Cuban society. But their everyday life is bitter. With a fixed camera, shot on a wind-up Bolex, the film tells four stories about the search of freedom and financial independence. A struggle for survival between layers of sponge cake and coconut filling.

Julia Keller
Born in 1980 in Erding.
Oct 2004 – present Kunsthochschule für Medien, Cologne
Jan 2007 – Aug 2007 Escuela Internacional de Cine y TV, Havana, Cuba (exchange program)
Oct 2001 -Jun 2003 Chelsea College of Art, BA Fine Art; London, UK
Jan 2002- Jun 2002 Emily Carr Institute of Art, Vancouver, CA (exchange program)
Sep 2000 -Jul 2001 Kingston University, BA Fine Art; London, UK
Sep 1999 – Jun 2000 Swansea Institute of Higher Education; Swansea, Wales
Foundation Course in Art & Design

Krzystof Kopczyński
KAMIENNA CISZA
Poland, 2007, DigiBeta, 16:9, 51 min

In April 2005 the world heard the news that in a village of Spingul in northern Afghanistan a 29 year-old woman was publicly stoned for adultery. Her name was Amina. The story of this powerful documentary begins five years before the aforementioned event broke over international media waves causing a stir on news programs and talk shows. It follows Amina who was given away by her family to be married to Muhammad. In Afghanistan these ‘arranged marriages’ – where parents choose their child’s future spouse – are quite common and rooted in tradition. But luckily for Amina and Muhammad, they had been neighbors growing up and knew one another well. Right after the wedding however, Muhammad left his new bride to find work in Iran. Amina lived alone. Then Karim appeared in her life. Drawn to each other, they started seeing each other in secret, but in the clay houses of Spingul there is no room for clandestine activities. The two were eventually caught together and accused of violating the law. This engrossing film chronicles their affair, trial and punishment with piercing candour. Amina died, but no one was punished for her death. Despite being tried in court, her mother and father were set free. They live as if nothing happened. The family of Karim left the village out of fear of revenge. Karim was beaten and escaped into the mountains. Will Karim’s parents have courage to say what really happened? Will their son be found?

Krzystof Kopczyński
Doctor of humanities, a lecturer of the Warsaw University, underground publisher during the martial law in Poland, since 1995 a documentary film producer and director. The owner of Eureka Media. Awarded for the best Polish documentary and short film producer in 2006 and 2007. Member of European Documentary Network . Author of books and articles focusing on media, films, XIX century and modern culture. Co-author of educational film projects “Russia – Poland. New Faze” and “Kabul – my town”. Produced more then 130 films and television programs, which where shown in more then 30 countries and received more them 50 awards at festivals around the world. “Stone Silence” is his directing debut.

Anastasia Lapsui / Markku Lehmuskallio
MATKA
Finland, 2007, DigiBeta, 16:9, 78 min

Life, here
but a reflection of the moon
on water
taking it onto your palm
you wonder: is it there?
The film depicts the arc of the human life from cradle to the grave.

Anastasia Lapsui
Born in Yamal Peninsula, Western Siberia, in 1944. Has been a radio journalist in Salekhard for 26 years, working for Nenets Language program. Since 1990 she works as a director.

Markku Lehmuskallio
Born in Rauma in 1938. Graduated forest technician in 1963. Worked in films professionally since 1969.
Seven songs from the tundra, 2000
Shepherd, 2001
Mothers of life, 2002
Bride of the seventh heaven, 2003
Fata Morgana, 2004
The Sami, 2006
Travelling, 2007

Olivier Meys
QIAN MEN QIAN – DANS LES DÉCOMBRES
Belgium, 2008, Beta SP, 4:3, 86 min

“Qianmen” is a popular neighbourhood in the very heart of Beijing, just south of the Tiananmen Square.
In the perspective of the 2008 Olympic Games, the city decided that the six hundred years old neighbourhood has to be “rehabilitated”. It is now in the line of fire of the promoters, and the 80,000 people living there are facing drastic (and dramatic) changes.
The film follows the rapidly changing life in the neighbourhood for more than a year and a half, from one reality to another, completely different one.
Little by little, fragment per fragment, the film is drawing a portrait of the neighbourhood, recording memory of a soon disappearing reality. A story of contemporary China.

Olivier Meys
Olivier Meys, born in Brussels in 1974, studied film direction at the IAD (‘Institut des Arts de Diffusion’), Belgium. Since 2001, he has directed numerous award winning social justice radio and film documentaries from around the globe, such as radio documentaries La Fievre (2001), made in a village of Henan Province, China, about the situation of people infected with AIDS; and Les Gens de la terre (2003), made in Chile. In 2006, he finished a 3rd radio-documentary on China: Quatre Saisons sous la Terre, and with the trilogy, Identity: Farmers / Workers, he received the Grand Prix de la Scam 2007. His second documentary, A Disappearance Foretold received the Scam International Award at the Cinéma du Réel Festival 2008.

Bent-Jorgen Perlmutt / Nelson Walker III
LUMO
Congo, USA, 2007, HD, 16:9, 72 min

The agonies of war torn Africa are deeply etched in the bodies of women. In eastern Congo, vying militias, armies and bandits use rape as a weapon of terror.
Recently engaged to a young man from her village, 20 year-old Lumo Sinai couldn’t wait to have children and start a family. But when she crossed paths with marauding soldiers who brutally attacked her, she was left with a fistula- a condition that has rendered her incontinent and threatens her ability to give birth in the future. Rejected by her fiancé and cast aside by her family, Lumo found her way to the one place that may save her: a hospital for rape survivors set on the border with Rwanda.
On this uncertain road to recovery, Lumo shows that the solidarity of women can bind the most irreparable of wounds.

Bent-Jorgen Perlmutt
He holds a BA with honors in Screenwriting from Brown University and an MFA with honors from Columbia University (2007). He served as the co-producer and additional editor of CONTROL ROOM (Magnolia Pictures, 2004). He has also directed, edited, shot and/or produced films for organizations including UNIFEM, The U.S. Department of Education, WGBH, The Global Leadership Campaign, and the Lincoln Center Film Society. Last year, Bent-Jorgen taught an undergraduate course on documentary filmmaking at Columbia University and worked with WITNESS as a field trainer for human rights lawyers in Northern Uganda and is currently a correspondent for UNICEF. His latest fiction film, LES VULNERABLES, was screened on the closing night of the 2007 New York Film Festival.

Nelson Walker III
He holds a BA in American Civilization from Brown University. He began his career as a writer, penning documentaries for Discovery Channel, History Channel, and PBS’ NOVA. Nelson’s directorial debut, iThemba|Hope, aired on Sundance
Channel in 2005. Nelson works regularly as a cinematographer for documentary film company Maysles Films, and is a founding member of the Maysles Films Institute. Walker has worked extensively in Tibet, as a visiting instructor at Tibet University in Lhasa and as a contributor to the Tibetan and Himalayan Digital Library Project. In 2006, he traveled to the Kham region as a documentarian for the Kham Geotourism Project, an initiative launched by the University of Virginia, Machik and the Maysles Institute. Walker will complete his M.F.A. in film directing from Columbia University this fall.

James Leong / Lynn Lee
AKI RA’S BOYS
Cambodia, Singapore, 2007, HD, 16:9, 57 min

Boreak was six when he lost his right arm in a landmine accident. Family members rushed the young Cambodian to a nearby hospital where so-called “doctors” performed a crude amputation. Burdened with eight other children to feed and unable to cope with the stress of handling a crippled son, Boreak’s parents decided to send him to a home in Siem Reap for young landmine victims.
Despite his tragedy, Boreak is ever optimistic and refreshingly lacking in self-pity. Like most children, he is mischievous and inquisitive. He wants to be a wrestler, a rap artist, a football player. And he rarely acts as if his disability is a hindrance.

James Leong
Born in Hong Kong and educated in the UK. He began working in production in Japan as a Promos Producer, but has been an independent director, cameraman and editor since 2001. Passabe, his first feature film produced in cooperation with Lynn Lee, was picked for a grant from the Sundance Institute Documentary Fund. Aki Ra’s Boys is their second film. They recently completed Homeless FC, a documentary about a football team made up of homeless people in Hong Kong.

Lynn Lee
She started her career at an international news network where she worked her way up from News Assistant to Senior Producer. In 2000, she was recruited by the United
Nations to help set up East Timor’s first national television station. Since 2002, Lynn has been an independent producer, director and writer.

Sandra Prechtel / Sascha Hilpert
SPORTSFREUND LÖTZSCH
Germany, 2007, HD, 16:9, 85 min

In the 70s Wolfgang Loetzsch was the most promising cycling talent in East Germany. An unwilling revolutionary, he refused to be an opportunist within the state sport apparatus. For 17 years he won race after race in East Germany but was never allowed to participate in any important international race outside of the country. The secret service, the Stasi, arranged for an icy headwind to blow in the face of his career, assigning more than 20 people for permanent surveillance. The state affiliated sports clubs would always try to keep him from starting. Although Loetzsch was sometimes only able to start with a 10 minutes delay, he would always win.
After serving a sentence for anti-communist crimes and spending almost a year in jail, Loetzsch still kept on cycling having a lot of success. Today Loetzsch, who after the German reunification was too old to continue his career as a professional, spends his days as a mechanic for the Milram cycling team. SPORTSFREUND LOETZSCH tells how an apolitical man develops a personal resistance against opportunism, cowardice and betrayal and in doing so upsets the entire machinery of a repressive state.

Sandra Prechtel
Born in 1969 in Munich/Germany.
2007 Documentary Sportsfreund Lötzsch BR/arte, 85 Min, written and directed together with Sascha Hilpert, Discovery Audience Award at the Leipzig International Documentary Festival 2007, achtung berlin – New Berlin Film Award 2008
2004 Documentary House of the future past MDR, 65 Min, written and directed together with Francois Rossier, Leipzig International Documentary Festival 2004, achtung berlin – New Berlin Film Award 2005, Rencontres Internationales Paris-Berlin 2005, Filmfest Eberswalde 2005
1997 Magister Artium at Freie Universität Berlin, Comparative Literature,
Politics and Film-Studies
1990- 1991 University College London
1988- 1990 Ludwig Maximilian Universität Munich

Sascha Hilpert
Born in 1974 in Cologne/Germany.
2007 Documentary Sportsfreund Lötzsch BR/arte, 85 Min, written and directed together with Sandra Prechtel, Discovery Audience Award at the Leipzig International Documentary Festival 2007, achtung berlin – New Berlin film Award 2008
1996-97 Munich Film School
1997- 2003 Photography and Film Art School Kassel
1998- 2003 Cultural Studies Humboldt Universität Berlin

Michael Althen / Hans Helmut Prinzler
AUGE IN AUGE – EINE DEUTSCHE FILMGESCHICHTE
Germany, 2008, 35 mm, 1:1.85, 106 min

A film about the love for cinema, a voyage of discovery through one hundred years of German film, which shows us that all which seems so far away is in reality so close. EYE TO EYE shows the great moments of German cinema history. Unforgettable images are passing before our eyes and make us feel like watching the classics again. Acclaimed German filmmakers such as Caroline Link, Doris Dörrie, Michael Ballhaus, Tom Tykwer, Wim Wenders, Dominik Graf, Christian Petzold, Andreas Dresen, Wolfgang Kohlhaase and Hanns Zischler, use film extracts to illustrate us the films that have been particularly important to them; they investigate the essence of German film. Layer by layer, the film uncovers what so often has obscured our view of German film history. EYE TO EYE – homage to what we love about German cinema.

Michael Althen
Born 1962 in Munich. Studies in Journalism and German Literature. From 1984 onward Althen worked as a professional film critic for the “Süddeutsche Zeitung”, “Die Zeit”, “Transatlantik” and “Focus”. From 1998-2001 he was film editor of the “Süddeutsche Zeitung”, since September 2001 Berlin correspondent and film critic for the feuilleton of the “Frankfurter Allgemeine Zeitung”. Publications among others: “Warte, bis es dunkel ist – Eine Liebeserklärung ans Kino”(2002) as well as monographies on Dean Martin, Robert Mitchum and Rock Hudson. Michael Althen lives in Berlin.

Hans Helmut Prinzler
Born 1938 in Berlin. Studies in Journalism and Dramatics. 1969-1979 he was Director of Studies at the Film School DFFB in Berlin. 1979-1990 Prinzler was responsible for publications and events at the Stiftung Deutsche Kinemathek, 1990-2006 he was director of the Deutsche Kinemathek and from 2000 onward also director of the Filmmuseum Berlin. Prinzler is Director of the Film and Media Art
Department of the Akademie der Künste in Berlin. Publications among others: “Chronik des deutschen Films”(1995) and monographies on the work of Ernst Lubitsch, Steven Spielberg, Fred Zinnemann und many more. Co-editor of the book on German film history “Geschichte des deutschen Films”(1993 and 2004). Hans Helmut Prinzler lives in Berlin und Brodowin.

Darko Bavoljak
GLUPI ANTONIO PREDSTAVLJA
Croatia, 2007, DV, 4:3, 72 min

Antonio Gotovac Lauer, art performer and director of experimental movies, states his opinions about art, mother and nudity, the essential and the most important things in his life, in front two cameras and blue screen behind him. After that, in montage, the selection of his old films is incorporating in film and passed by behind him.
The trilogy has been part of the exhibition Intimateness.

Darko Bavoljak
Born on 28 March 1961 in Zagreb. Actively involved in photography since early 80s, started publishing in Polet in 1983. Studied cinematography at the Film, Theatre and TV Academy (1984-1989). During the course of studies his photographs were published in Polet, Studenski list, Svijet, Start and many other newspapers and magazines. Following the graduation, in the period between 1990 and 1992, he worked as a cameraman on a number of documentary and short feature films. Since 1990 he also works as a professional photographer. Developing his interest in applied photography, he participated in several group and solo exhibitions in Croatia and abroad. In 1994 he represented Croatian photography scene at Fotodifusione festival in Turin, hosting European museums and galleries specialised in photography. In 2006 he shot and directed a documentary film about Antonio Gotovac Lauer: “Golotinja, Majka i Umjetnost/ Nudity, Mother and Art”. In 2008 he directed a documentary film “Goli otok/ Barren Island” and participated in the art project “Excentar”.

Julian Cole
WITH GILBERT & GEORGE
UK, 2007, DigiBeta, 16:9, 104 min

Filmmaker, Julian Cole first met Gilbert & George when he modelled for them in 1986. He decided that now they had photographed him he wanted to film them. His moving portrait filmed over 18 years, traces their lives from humble beginnings to their role on the world’s artistic stage where they have performed an enduring and controversial double act for over four decades. Banned by the authorities and panned by the critics, they are loved and hated with unprecedented ferocity. This film probes the myths and reveals the individuals that are two people inside a single artist, a permanent living sculpture in which they are compelled to be inseparable from each other and their art. This intimate film biography helps open doors to the understanding of their unique visual language, their ‘humanistic art’ and what they believe the real legacy of the art of our times should be.

Julian Cole
Since starting to make films in 1982, Julian has worked across a wide range of film and television genres, developing his skills as a producer, director and camera operator. He has authored over 9 documentaries which have established his reputation as a unique and innovative independent filmmaker.
In 1985, Julian worked with the collective that made the documentary Framed Youth, winner of the 1985 Grierson Award. The following year he produced and directed Policing The Community, 30-minute, video documentary for the Greater London Council.
From 1987 he worked as Derek Jarman’s Assistant on his feature film, War Requiem and a series of videos for the Pet shop Boys. Julian continued to direct music videos for many bands including the Eurhythmics.
During 1992-3 he lived in Los Angeles and Portland, Oregon while working as Assistant to Gus Van Sant during the production of his feature, Even Cowgirls Get the Blues.
From 1988-99, Julian produced and directed over 25 hours of factual programmes for British Network and Regional television. These include documentaries; Artists & The Sea for Meridian, Futures for BBC 2 and the series Tongue & Groove for Television South West and Eye TV for Central Television.
In 2003-4, Julian travelled to Northern Iraq to direct and shoot a documentary for the Kurdistan Development Corporation about reconstruction.
In 1996 he purchased and embarked on the restoration of 18th Century Inn in Shadwell, East London. Immersing himself in the local community, he helped establish and manage the Charity, On The One, created to enable socially excluded young people to use digital technology. He co-ordinated the production of many community based video films working with local disaffected youth, ex-offenders and recovering drug addicts. He is currently completing a feature length biography of his MP and Britain’s most controversial politician, George Galloway.
Julian also works as an occasional freelance writer and visiting lecturer.

Artem Demenok
DEUTSCHE LEBENSLÄUFE: FRITZ LANG
Germany, 2007, DigiBeta, 16:9, 44 min

Deutsche Lebensläufe – Fritz Lang is a documentary dedicated to one of most famous German filmmakers. Fritz Lang’s exceptional career in German and American cinema (with a short episode in France) spanned silent and sound film. Metropolis (1927) for example, the futuristic tale of a repressive technological society, is renowned for its special effects and its extravagant sets. In 1933 Lang emigrated to France, before moving on to Hollywood. Artem Demenok’s documentary portrays this famous director including interviews with Claude Chabrol and Jean-Marie Straub.

Artem Demenok
Artem Demenok was born in 1962 and studied at the Moscow film academy VGIK. Since 1990 he has been working in Germany as a film critic, historian and filmmaker. A selection of his films includes: Helden ohne Ruhm. Der 17. Juni 1953 (TV, 2003), Endstation Freiheit. Leben und Schreiben im heutigen Russland (TV, 2003), Was geschah wirklich am 20. Juli 1944? (TV, 2004), Welthauptstadt Germania (TV, 2005), Deutsche Lebenslaeufe: Fritz Lang (TV, 2007) and Dem Panzerkreuzer Potemkin auf der Spur (TV, 2007).

Paola Gaitan
DIARIO DE SINTRA
Brasil, 2008, HD, 16:9, 90 min

Filmmaker Paula Gaitán was married to Glauber Rocha (1938-1981), a key figure in the Brazilian Cinema Novo movement, which embodied politically engaged filmmaking that resisted colonialism in Latin America. In Days in Sintra, Gaitán creates a deeply moving meditation on memory and time as she chronicles her return from Brazil to Sintra, Portugal, where she lived in exile with her husband and their children before his untimely death. In the form of an experimental narrative, she deftly interweaves Super 8 home movie footage and photographs taken of Rocha in 1981 with beautifully composed, evocative contemporary images of the Portuguese landscape. In this manner, Gaitán both weaves together place, uniting past and present, and highlights remembrance. Long, silent passages are gently overlaid with Gaitán’s own voice meditating on memory, loss, and death, as well as with recordings of Rocha’s voice, articulating his philosophies of life, politics, and filmmaking. Days in Sintra represents Gaitán’s own voyage of discovery, which allows her to bring alive the physical, sensual, and even spiritual essence of her long-deceased companion.

Paula Gaitan
Born in Paris in 1954. Visual Artist, Photographer, Poet and Filmmaker, Paula has graduated in Visual Arts and Philosophy at Universidad de Los Andes de Bogotá, Colombia. She has moved to Brazil in 1977 and, since then, she has been working as an Experimental Cinema teacher at Escola de Artes Visuais do Parque Lage, in Rio de Janeiro. She is also an associate in Aruac Filmes Productions. Paula works as a filmmaker since 1978, when she has taken part as an Art Director in the classic Glauber Rocha´s film “Idade da Terra”. Her authorial career includes various documentaries, video art works and plastic art installations in many collective exhibitions as Salao da Bahia, 2003 and 2006, and individual exhibitions as in the Malba Museum, Buenos Aires, Argentina.

Maurice Kraanen / Chris Pieplenbosch / Joey van Dijk
LIFE24
The Netherlands, 2006/08, web based new media project
http://art.joeyvandijk.nl

Virtual globalizing the world, by individual understanding, formed in one space in one projection, using the current forms of digital media in the here and now. In this age, information forms a key element in our society. Everything is recorded, captured, stored and ordered. Yet we have so many data, it is hard to actually oversee everything, at a fast pace. This is where LIFE24 comes in. At any given time around the globe, information is gathered, recorded, and published. LIFE24 just fuses these sources together and visualizes every source to their origin on the world map. Through this map filled with sources you can trace the news feed, or images, to their geographical ‘source’.
The concept behind LIFE24 is more than just a visual stimulance. We wanted to create a kind of world awareness in the here and now. We also wanted to translate these sources in a visual way, so you can see and observe the given information, much faster, easier, and productive. You get a sense of a living world, rather than just a static view like in a newspaper, for example. The perception of news also plays a big part in our project. You’ll see the different views on “news” depending on the various countries and their cultures. All the news we as a viewer are given are nationally accepted as a kind of truth. However, often the news “fed” to other countries is very different. This project tries to give a more objective view on the news.
LIFE24 is a project which is balancing between Art, Science, Technology and social consciousness. But in a light-hearted and refreshing way.

Maurice Kraanen
Multi-disciplinairy artist and musician, focusing on conceptual art, social sculptures, new-media art, musical improvisation, performances and interactive soundinstallations. After 10 years of working in an office of a big union for government employees, he decided to change his life. He choose to use and develop his artistic skills and experiences to become an artist. After this he started his study at The Royal Academy of Fine Arts and the Royal Conservatory in The Hague in The Netherlands. Because of his worldpolitical and social interests, he also makes social art by using new technology like the Internet.

Chris Pieplenbosch
Multi-disciplinary artist with a deep passion for metaphors , musician with a passion for improvisation, crossovers inevitable, ambition is key. Started at a very early age, now 21 and making his way in the world of art & music.

Joey van Dijk
He has been studying Mediatechnology in Amersfoort (Bach) and Leiden (Msc). His background in internet (technology), Adobe Flash and interest in news provides a stable basis for challenges to investigate the boundaries of the online world of today.

Keith Lam
MOVING MARIO
Hong Kong, 2007, installation

Over the years, the development of video games is trying its best to produce the virtual reality experience which is getting closer to the reality. By changing the interface, from Atari’s joystick to Analog Vibration of PS2 joystick, then Gun Shape controller for shooting game, and Dance Mania’s floor controller to Wii wiimote, video game design is creating more and more “physical experience” for the players. Players now can actually smash and swing to play the game, but we are still playing the games in a 2D virtual environment: manipulating the character in an unlimited virtual space in a fixed static limited real world. Moving Mario is definitely not reproducing Super Mario Bros in another way. By grabbing partial concept and some of the key elements behind the TV game development, Moving Mario is trying to challenge some of the traditional game elements. Throughout the gaming process, players can rethink the relationship between the player and the game.

Keith Lam
(a.k.a. the Demos) is an intermedia player and a new media artist. He is currently an instructor at the School of Creative Media. He is also the Technical Director of Microwave International New Media Arts Festival. He has taken part in numerous festivals, for example, Microwave International New Media Arts Festival, Wikimania 2007, Eslite Digital Caillgraphy Exhibition and Hong Kong Arts Biennale, etc. His work “Moving Mario” was awarded the Honorary Mention in Ars Electronica 2008 Interactive Arts Category.
Aside from this, he is an electronic musician interested in combining music with new media. He has participated in compilation albums such as “Xiang Gang Electric Vol.1,” “the Dusty City,” “When French Electro Meets Hong Kong,” and a live performance for the “French May ’06 Arts Festival.” At the same time, he is active in the new media arts education and has been leading various workshops. He was one of the founders of init-Lab, a laboratory established to produce and develop works of interactive environment for both the commercial and non-commercial sectors.

Julian Oliver
LEVELHEAD
Spain, 2007 – 2008, Installation: reality spatial memory game

Riječ je o prostornoj memorijskoj igri. Kao jedino sučelje koristi rukom držanu kocku od pune plastike.
Na ekranu se čini kao da svaka ploha kocke sadrži malenu prostoriju koje su međusobno logički povezane vratima.
U jednoj od ovih prostorija nalazi se lik. Nakrivljujući kocku igrač usmjerava lik iz jedne sobe u drugu u nastojanju da pronađe izlaz.
Neka vrata ne vode nikamo te će poslati lik natrag u prostoriju iz koje je krenuo, što je trik osmišljen kako bi potaknuo igračevu prostornu memoriju. Koja vrata pripadaju kojoj prostoriji?
Ukupno postoje tri kocke (razine), a svaka od njih je povezana pomoću jednih vrata. Cilj je da igrači pomiču lik iz prostorije u prostoriju, te iz kocke u kocku, u nastojanju da pronađu posljednja vrata koja su izlaz iz svih triju kocaka. Kad pronađe ova vrata, lik će naizgled napustiti kocku, odšetati preko površine stola i nestati… Zatim igra započinje ponovno.

Julian Oliver
A New Zealand born artist, free-software developer, teacher and occasional writer based in Madrid, Spain. He has presented papers and artworks at many international electronic-art events and conferences.
Julian has given numerous workshops and master classes in game-design, artistic game-development, virtual architecture, interface design, augmented reality and open source development practices worldwide.
In 1998 he established the artistic game-development collective, Select Parks.

Grzegorz Rogala
TRACE – LIGHT WHISTLING
Poland, 2008, interactive installation

Every photographer knows this effect:
When, while making a photo in the dark, you open shutter and play with the light of any kind behind your camera, strange neon-like lines emerge on the taken photo.
Trace-Light whistling installation reproduces the same effect in realtime.
Using fast computer, some in-house software, video camera, video projector and screen, everybody can paint with light emitting even from cell phone displays. Colour neon lines follow the movement of the painter. In a while the screen is covered with neon lines. Microphone, which is a part of this installation, passes sounds to the computer software. When noise reaches the defined treshold, neon lines are gradually fading, clearing the screen. Realising this, participants use noise as another tool in their disposal.

Grzegorz Rogala
Born in 1956. Studied Cinematography at PWSF Tv i T in Lodz, Poland. From 1988 owner of Studio Rogala, production and postproduction company.
Filmography:
The line -1981, AWARED FIRST PRIZE FOR THE BEST EXPERIMENTAL FILM, F.F.MUNICH
Prussian Officer, 1981, DOP
Kinolino – 1983
Labyrinth -1986
Backyard Madonnas – 2000
Steps -2007
Elevation -2008

Marloes de Valk / Aymeric Mansoux
HELLO PROCESS!
The Netherlands, 2008, installation

Installation shows a machine doing what it does best, deleting, copying and moving blocks of data. It consists solely of a computer and a printer. The computer functions as it usually does, as a black box theatre of processes. The only output comes through the printer, giving us clues about the activity inside, while in the background, the raw noise of the machine creates a sound scape, a sonification of this theatre of naive computation.
A file of 128 blocks is created. In this file, each block can be occupied by a small piece of code. Every piece of code has its own strategy. Some try to conquer as many blocks as possible, others simply target one specific piece of code or an unsuspecting neighbour. When the process is set in motion, all blocks are executed one after the other. This results in a battle between the file’s inhabitants. After forty iterations, a fresh file is created with a new combination of code.
Each piece of code has a special ID. This ID is sent to the printer every time the block is loaded in which the code is residing. Each printed line represents the result of one battle cycle. 128 small graphical representations of code are printed. This process repeats 40 times, creating a map of abstract patterns depicting the changes that took place.
There is some duality in this theatre of naive and nonproductive computation. We like to think of processes as actors in a machine theatre, playing with anthropomorphism and metaphors to trigger the imagination. Each piece of code has a descriptive name such as copycat, eraserhead, destroyer, or swapmaster, and displays behaviour to match. But at the same time these programs are just mechanical low level operations, totally inhuman. In the end the computer “computes” and the printer “prints” as a debug device and leaves on paper the only trace of these ephemeral permutations.

Aymeric Mansoux
An artist and musician, member of the GOTO10 collective. His main artistic and research interests revolve around online communities, software as a medium and the influence of FLOSS in the development and understanding of digital art. His most recent projects and collaborations include the 0xA band with Chun Lee, the digital artlife Metabiosis project with Marloes de Valk and the pure:dyne GNU/Linux live distribution for media artists. Aymeric is editor of the FLOSS+Art book, scheduled for release mid 2008, as well as Folly’s Digital Artists’ Handbook which was launched early 2008.

Marloes de Valk
A Dutch digital artist, currently based in the UK. She is a part of GOTO10, a collective of artists and programmers working in the field of digital art and Free/Libre Open Source Software. She studied Sound and Image at the Royal Conservatory in the Hague, specializing in abstract compositional computer games, HCI and crashing computers. Her work consists of audiovisual performances and installations, investigating machine theater and narratives of digital processes. She is currently collaborating with French artist Aymeric Mansoux on Metabiosis, a project investigating the ups and downs of data packets living in a world of connected ecosystems. From August 2007 until January 2008 she was editor of the Digital Artists’ Handbook and is currently working on the GOTO10 publication FLOSS+Art, to be published mid 2008.

Glauber Rocha
DEUS E O DIABO NA TERRA DO SOL
Copacabana Filmes, 1964, .c/b, b/w, 35 mm, 125 min

Fictionalized account of the adventures of hired gunman Antonio das Mortes, set against the real life last days of rural banditism. The movie follows Antonio as he witnesses the descent of common rural worker Manuel into a life of crime, joining the gang of Antonio’s sworn enemy, Corisco the Blond Devil (Othon Bastos), and the Pedra Bonita Massacre.

Glauber Rocha
TERRA EM TRANSE
Mapa Filmes e Difilm, 1967,.35 mm, c/b, b/w, 115 min

Eldorado, a fictitious country in Latin America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins opposes two equally corrupt political candidates: a pseudopopulist and a conservative. In this context, Paulo is torn between the madness of the elite and the blind submission of the masses. But, in this complex tropical reality, nothing really is what it seems to be.

Glauber Rocha
O DRAGAO DA MALDADE CONTRA O SANTO GUERREIRO / ANTONIO DAS MORTES
Mapa Filmes, 1969, .35 mm, Eastmancolor, 95 min

Period piece about a Brazil that is no more. This movie is the sequel to “God and the Devil in the Land of the Sun” (Deus e o diabo na terra do sol), and takes place 29 years after Antonio das Mortes killed Corisco (the “Blond Devil”), last of the Cangaceiros. In “the old days”, Antonio’s function in life was exterminate these bandits, on account of his personal grudges against them. His life had been meaningless for the last 29 years, but now, a new challenge awaits him. When a Cangaceiro appears in Jardim Das Piranhas, the local Land Baron (Jofre Soares), an old man, does what seems obvious to him: he calls Antonio das Mortes, killer of Cangaceiros. At first, Antonio is ecstatic. His life has gained new meaning. But soon it becomes obvious that this new Cangaceiro (named Coirana) is no Corisco, but an idealist. An idealist of the sixties in the garb of the forties. A leader to the hopeless and the hungry. Antonio das Mortes begins to reconsider his feelings towards Coirana and his followers…

Glauber Rocha
A IDADE DA TERRA
Embrafilme, CPC, GlauberRocha Comunicaçoes Artísticas e Filmes 3.
1980, 35 mm, Eastmancolor/Cinemascope, 160 min

The trajectory of Kryzto in the Third World, counted under the point of view of the four knights of the Apocalypse, naked now of any narrative commitment, finds its state at last pure. As if the dimension of the time did not exist – “the Real is only perpetual” – the filmemural makes use its blocks of meanings space, in a atonal structure that advances for ruptures between Bahia, Brasilia and Rio de Janeiro. Birth of Christ, Christ-person and Christ-King, Christ fighter and Christ prophet, the world without Christ and Brahms, the Antichrist. This parabola, in itself same a succession of parabolas, and made use as that in a battle picture where has some simultaneous actions.

Orson Welles was fascinated by television and tried to become popular as a TV director and TV host. He shot several episodes for programs such as AROUND THE WORLD WITH ORSON WELLES, PEOPLE AND PLACES, IN THE LAND OF DON QUIXOTE and ORSON’S BAG in which he is seen as an indefatigable globetrotter visiting European capitals like Paris, London or Vienna but also countrysides in Spain and explaining to an American audience European customs. In ORSON WELLES’ LONDON we see Welles playing several parts like a musician, Winston Churchill, a policeman, a flower seller, a Chinese, four clubmen, a castle owner and, of course, the host. “I am happily married to New York, I’m in love with Paris, but cannot resist London. I return to London again and again, as a man returns affectionately to a past mistress.” (Orson Welles) THE SPIRIT OF CHARLES LINDBERGH is one the last of Welles’ recordings preserved at the Munich Film Museum: It’s a kind of film letter to encourage an ill dear friend showing Welles not in the best health himself. “The batteries are still loaded.”

Selected Credits:
FLAMECO LESSONS
1961 – directed and written by Orson Welles – cinematography by José Manuel de la Chica, Ricardo Navarete, Orson Welles – cast: Orson Welles, Paola Mori, Beatrice Welles – 25 min
ORSON WELLES’ LONDON
1968-71 – directed and written by Orson Welles – cinematography by Giorgio Tonti, Ivica Rajkovic, Tomislav Pinter, Gary Graver – cast: Orson Welles, Charles Gray, Jonathan Lynn, Tim Brooke-Taylor, Oja Kodar, Graeme Garden – 29 min
THE SPIRIT OF CHARLES LINDBERGH
1984 – directed and written by Orson Welles – cinematography by Gary Graver – cast: Orson Welles – 3 min

Orson Welles had a lifelong obsession with magic in all its incarnations: always ready to perform magic tricks on stage, as well as on TV and films. “To me, magic begins and ends with the figure of the magician who asks the audience, for a moment, to believe that the lady is floating in the air. In other words, be eight years old for a moment.” (Orson Welles) He performed in Hollywood and Las Vegas, among others with Rita Hayworth, Marlene Dietrich, Lucille Ball, Senta Berger and Angie Dickinson. For his unfinished essay THE MAGIC SHOW, Welles wanted to include different styles and tricks with the stories of the great master magicians. Only a few scenes were actually completed which are included in this program as well as rare documents like clips from his “Mercury Wonder Show”, his 1968 short film ORSON WELLES’ VIENNA, an unknown TV commercial and his legendary Trailer for the American release of F FOR FAKE.

Selected Credits:
ORSON WELLES VIENNA
1969 – directed and written by Orson Welles – cinematography by Giorgio Tonti – cast: Orson Welles, Senta Berger, Mickey Rooney, Peter Bogdanovich, Arte Johnson – 8 min
F FOR FAKE TRAILER
1976 – directed and written by Orson Welles – cinematography by Gary Graver, Michael Stringer, Christian Odasso – cast: Orson Welles, Gary Graver, Oja Kodar, Elmyr de Hory, Clifford Irving, Francois Reichenbach, Joseph Cotton, Michael Stringer – 9 min
ORSON WELLES MAGIC SHOW
1976-85 – directed and written by Orson Welles – cinematography by Gary Graver, Tim Suhrstedt – cast: Orson Welles, Angie Dickinson, Gary Graver, Roger Hill – 27 min

One of Orson Welles’ favorite roles was as narrator, either on- or off-camera. It is already visible in his little known trailer for CITIZEN KANE. Television allowed Welles emphasizing words in conjunction with visuals. “On television you can say ten times more in ten times less time than in film. Above all one is addressing the ear. In television, for the first time, film takes on true value, discovers its real funktion, because it speaks. Because the most important thing is what one says and not what one shows.” (Orson Welles) In his films for television, Welles as a host sometimes interferes with the action, or he is pure storyteller in front of a camera in THE GOLDEN HONEYMOON, based on a story by Ring Lardner. Even his never-finished project DON QUIXOTE is based completely on his narration – which makes it nearly impossible to complete the fragments he has left.

Selected Credits:
CITIZEN KANE TRAILER
1941 – directed and written by Orson Welles – cinematography by Harry J. Wild – cast: Joseph Cotton, Ruth Warrick, Ray Collins, Dorothy Cummingmore, George Coulouris, Everett Sloane, Agnes Morrehead – 4 min
ORSON WELLES’ THE GOLDEN HONEYMOON
1970 – directed and written by Orson Welles – cinematography by Gary Graver – cast: Orson Welles – 17 min

Orson Welles had more unfinished projects than any other major film director, something that
has added immeasurably to his myth. It started with his ill-fated project IT’S ALL TRUE in 1942 when Welles had to go to Brazil as part of the “good neighbor policy” and ended with KING LEAR, a film for which he only shot a video in which he explains his producer how his Shakespeare adapatation should look like. One of his most legendary projects is the thriller THE DEEP, based on a novel by Charles Williams and filmed at the Dalmatian coast in Croatia. “My hope is that it won’t be an art-house movie. I hope it’s the kind of movie I enjoy seeing myself. I felt it was high time to show that we could make some money.” (Orson Welles). This program will show some scenes and excerpts of THE DEEP as well as THE OTHER SIDE OF THE WIND and THE DREAMERS.

Selected credits:
SCENES FROM THE DEEP
1967-69 – directed and written by Orson Welles – cinematography by Willy Kurant, Ivica Rajkovic – cast: Oja Kodar, Michael Bryant, Olaurence Harvey, Orson Welles, Jeanne Moreau – 17 min
ORSON WELLES’ THE DREAMERS
1980-82 – directed by Orson Welles – written by Orson Welles and Oja Kodar – cinematography by Gary Graver – cast: Oja Kodar, Orson Welles – 25 min