Three masterclasses, three 3-day workshops, pitching for stop motion shorts with 15 projects in the final, numerous presentations, LAIKA recruitment, animation breakfasts with special guests, and one-to-one meetings will take place during the 3rd edition of ANIMARKT Stop Motion Forum in Lodz (Poland, October 8-13, 2018).
For almost one week Lodz, the third most populous Polish city, will become a capital of stop motion animation. Film producers, distributors, representatives of TV broadcasters and VOD platforms, animators and other guests from around the global animation industry invited to take part in ANIMARKT Stop Motion Forum 2018 will share their knowledge with those who just take their first steps in the animation world.
ANIMARKT 2018 programme includes events open to public, as well as workshops and meetings available only for those selected in the recruitment process. The admission to ANIMARKT is free, however the registration is required. It can be done by visiting the event’s website: www.en.animarkt.pl – the Programme 2018 section.
ANIMARKT 2018 highlights
Angela Poschet is an award-winning Line Producer, Production Supervisor, Manager, Consultant for animation productions in Europe. Her credits include numerous distinctive and commercially successful film and television projects. She was the Production Supervisor on Wes Anderson latest stop motion movie “Isle of Dogs” and Tim Burton’s Oscar nominated “Frankenweenie”.
Alvaro Ceppi is a creative director, producer and partner of Zumbastico Studios (www.zumbastico.com). Among his work are the animation series “Horacio & The Plasticines”, “Zumbastico Fantastico” (first original Latin American series premiered by Cartoon Network) and the hybrid stop-motion show "Paper Port", now on its 2nd season. He has also directed and produced several short films, documentaries, music videos and commercials.
During the Masterclass, Alvaro will be supported by Carlos Bleycher, Head of Story & Script of “Paper Port” series.
Barry JC Purves has been involved with stop motion animation for forty years now, on series as “Wind in the Willows” and most recently, “Twirlywoos”, as well as his own award winning darker, adult short films, such as “Next”, “Screen Play”, “Rigoletto”, “Achilles”, “Plume” and “Tchaikovsky”. Along the way, Barry was involved with “King Kong” and “Mars Attacks!”. Barry has written three books on animation, and teaches around the world. He also directs and designs for the theatre, and is currently involved with a play called “Playhouse Creatures” and a play about the Brontes.
ANIMARKT 2018 novelties
ANIMARKT 2018 supports new talents
Introduced last year, ANIMARKT Pitching turned out to be a great success. Its winner, Martin Smatana, thanks to the received award was able to complete his short “The Kite”. A compilation of some scenes from this stop motion animation will be shown during the event.
At this year’s ANIMARKT Pitching representatives of the 15 projects selected for the pitching will take part in the training sessions with tutors experienced in script writing and public speaking: Wim Vanacker and Nancy Denney-Phelps. Then, the selected projects will be presented on October 11th, 2018 in front of the Jury and the audience. Pitching awards include contribution in-kind sponsored by the Audiovisual Technology Center (CeTA) with a value of PLN 60.000 (c.a. $16,000) and PLN 40.000 (c.a. $10,600), and prizes sponsored by Dragonframe, DitoGear, Playade Sound Studio, FestivalWhizz, Ale kino+, CITIA.
To help new talents to improve their skills in creating stop motion animation, three 3-day workshops will take place at ANIMARKT 2018. Steven De Beul and Ben Tesseur from the successful Beast Animation studio will lead “Directing stop motion animation” workshop. Carlos Bleycher, a scriptwriter, content consultant and story editor specialized in animation and childrens’ oriented content, will give theoretical and practical examples how to develop characters of TV series that fit organically into the story (“Character development and storytelling” workshop). And for the second year running, Tim Allen will supervise a group of stop motion animators during his intense “Character animation” workshop.
ANIMARKT 2018 – networking opportunities
Networking plays a key role at ANIMARKT. To help people to get to know each other and start collaboration, this year a special Matchmaker tool will be introduced. All registered participants of ANIMARKT will gain the access to Matchmaker website with the profiles of all people taking part in the event. It will help in setting the one-on-one meetings and finding future collaborator.
ANIMARKT Stop Motion Forum grows and this year all of its events will take place in EC1 Lodz complex, located in the revitalised buildings of the power plant which commenced generating and transferring power in 1907. It served as the main heat and power plant for the residents of Łódź until 2000. Currently EC1 Lodz – City of Culture is a space open for various cultural and artistic activities. It became the home of the National Centre for Film Culture, the Łódź Film Commission and the Centre for Comics and Interactive Narration.
For details on the full programme and to register for the ANIMARKT 2018 event, visit website: www.en.animarkt.pl.
Who stands behind ANIMARKT?
The organizer of ANIMARKT is MOMAKIN (www.momakin.pl) – a multi-tasking unit working for popularizing and propagating animation and supporting creators in Poland and in international arenas.
The Main Partners of the event are: EC1 Łódź – City of Culture and Lodz Film Commission. The partners of ANIMARKT also include: Audiovisual Technology Center (CeTA) from Wroclaw which is also the founder of the awards for pitching winners, ASAF (Czech Republic), Mozinet (Hungary), Fest Anča International Animation Festival (Slovakia), Dragonframe, DitoGear, FestivalWhizz, Mlodzi w Lodzi, Playade Sound, CITIA, Ale kino+, Boutique Hotel’s, SPPA – Polish Animation Producers Association, SFP – Polish Filmmakers Association. ANIMARKT is partially funded by the International Visegrad Fund, Polish Ministry of Culture and National Heritage, and co-financed by the Polish Film Institute.
STRASBOURG: The European Parliament adopted the EU Copyright Directive yesterday, 12 September, with 438 votes in favour, 226 against and 39 abstaining. The law will protect the rights of authors and performers ensuring compensation for the use of their work. The law still has to be approved by the individual member states.
TRIESTE: The upcoming edition of When East Meet West (WEMW, 20-22 January 2019) will launch a new East & West double focus and will bring together over 450 film professionals from more than 35 countries and, in particular, from the 2019 spotlight regions: Central Eastern Europe (Czech Republic, Poland, Slovakia, Ukraine) and Benelux.
WARSAW: FNE has teamed up with the Brussels based team of the International Union of Cinemas (UNIC) to bring you regular updates on EU cinema policies that impact all industry professionals across Europe. Click here for FNE UNIC EU Cinema Policy Update.
The Federation of European Film Directors (FERA), the Federation of Screenwriters in Europe (FSE) and the Society of Audiovisual Authors (SAA) welcome the vote on the Copyright Directive in the Digital Single Market by the European Parliament’s plenary.
They thank the Members of the European Parliament for listening to the authors and for establishing the need to define rules in the digital space to guarantee authors’ rights and support European creation.
FERA, FSE and SAA are particularly pleased with the adoption of significant improvements to provisions respecting fair remuneration in contracts of authors and performers, as well as the confirmation of the introduction of a very much needed new Article establishing a principle of fair and proportionate remuneration for authors from the exploitation of their works, including online (new Article -14). They insist on the need for the upcoming trilogue process to confirm this basic provision in favour of audiovisual authors and general improvements to Chapter 3, to effectively support European creators in the digital era.
“In spite of a very aggressive campaign against the proposed Copyright Directive, the Members of the European Parliament voted in favour of authors and the recognition that they need to be remunerated by whoever exploits their works. This is a big step forward that will have to be consolidated and even improved.” said Cécile Despringre, SAA Executive Director.
“European screenwriters and directors’ work is hindered today by unstable, low income. The European Parliament rightly exercised its power to reverse the trend and set more sustainable conditions for tomorrow’s European audiovisual creation”, said Pauline Durand-Vialle, FERA Chief Executive.
“Today’s decision by the European Parliament will finally allow screenwriters and directors to benefit from the ever growing on-demand exploitation of their works”, said David Kavanagh, FSE Executive Officer.
EU Copyright Directive
25/08: Copyright Plenary Vote: Big Tech Tactics Revealed – Creativity Works!
Following the July Plenary vote, and the intense disinformation campaign produced by Big Tech, journalists and policymakers alike have uncovered disturbing truths.
27/08: Europe’s creative & cultural actors unite to call for an online environment that works for EU creativity – europeforcreativity.org
“We prefer to invest our time and/or money in creation, jobs, growth and a plural and diverse cultural landscape. That is what we believe Europe is about. Real people that create real things and really want this reform to ensure the online world plugs the value gap”, mentions the statement.
04/09: MEPs in last-minute meeting ahead of crunch EU copyright vote – The Parliament Magazine
MEPs were meeting on Tuesday in a last-minute effort to agree a compromise that will be acceptable to a majority of deputies ahead of a key vote next week on the reforming EU copyright rules.
10/09: Intense lobbying continues ahead of EU copyright vote – The Parliament Magazine
World famous artist Wyclef Jean has joined others in urging MEPs to this week vote against a proposed reform of the EU copyright laws which has returned to the plenary following Parliament’s decision not to enter the interinstitutional negotiations.
EU Audiovisual Media Services Directive
03/09: MEPs to vote on EU audiovisual media services reform next month – The Parliament Magazine
A vote in plenary in Strasbourg, the first after the summer recess, to endorse the new rules is likely to take place in the week starting 10 September.
European Elections 2019
24/08: 2019 European elections 'could be the most decisive yet' on future of EU – The Parliament Magazine
The next European elections could see a “flattening out” of the centre and further fragmentation of party support, according to a new report.
EAO - The origin of films in VOD catalogues - August 2018IVIR Amsterdam - Global Online Piracy Study - July 2018EU OMC - The role of public policies in developing entrepreneurial and innovation potential of the cultural and creative sectors - April 2018
12 September: European Parliament Plenary Vote - EU Copyright Directive24-27 September: FNCF Congress 2018 - Deauville 26 & 27 September: EUIPO Plenary Meeting 2018 - Alicante 4 October: European Creative Industries Summit (ECIS) 2018 - Vienna8-9 October: Challenging (the) Content – Content made in Europe in the digital economy - Vienna8-11 October: NATO Fall Summit10 October: CICI Lunch - European Parliament, Brussels 15 & 16 October: UNIC Cinema Days - Brussels
A showcase of 8 documentary talents will be presented at the dok.incubator preview on 23rd September at Nordisk Panorama. Three films from the previous edition premiered at IDFA, one at Sundance, three competed at CPH:DOX, two were shown at Hot Docs and one has been selected for nomination for the European Film Academy Award. It is of no surprise, that this year’s preview of films, developed in partnership with the well-established rough-cut workshop dok.incubator, raises great expectations. Collection of this years’ carefully selected documentaries brings a focus on the variety of approaches to nowadays family and personal values.
A vibrant portrait of a young generation where everything is possible and nothing is private anymore - Searching Eva (DE) takes us to online life, where the line between real and virtual is blurry, lived by Eva, the unlikely icon of the youngest internet anonymous crowd. The reality of today’s world in the Molenbeek district and its impact on the dreamy and magical world of two children, looking for life’s secrets and spells is the story Of Friends and Gods (FI, BE, DE).
In the breathtaking and very traditional Albanian mountains the ancient tradition of blood revenge is questioned as a young girl’s death has to be either revenged or forgiven by her family in The Business of Revenge (SI, RS, XK). Tradition and rituals are also a very important part of the exotic culture of Colombian Wayuu tribe where the border between life and death, dream and wakefulness, beginning and end can be unclear as shown in Lapü (CO).
The Disappearance of My Mother (IT, US) shows very different ankle of looking at contemporary family values - is a very intimate portrait of the closest and strongest bound – mother, an outstanding woman, feminist, activist, human rights defender, professor and fashion model seen through the eyes of her son, filming her for many years to prevent her from planned withdrawal and disappearance from the family world. On the contrary the lack of family ties and social relations has transformed a whole generation of elderly people in Rotterdam in a numerous group of single separated individuals with no contact with the outer world, The Good Neighbours (NL) try to make a change and fight loneliness by actually meeting their neighbours in person. Forgotten family secrets and lies are being uncovered by My Father, the Spy (LV, DE, CZ, EE) as we travel four decades back in time to reveal the second life of a Latvian double-agent at the United Nations. Back to the present – to The Men’s Room (NO) where the members of a men’s choir discover that their friendship is not only about beer and music when they have to face the limits and finality life brings.
The dok.incubator preview will be the final opportunity to see the just-about-to-release films before they take-off to international prestigious festivals.
For more information about the presented films, follow this link to: http://dokincubator.net/selected-projects-2018/
Arūnas Matelis’ feature documentary Wonderful Losers: A Different World has been selected as Lithuania’s entry for the Academy of Motion Picture Arts and Sciences’ award – the Oscar – in the best foreign-language film category. This is Matelis’ second film with a shot at an Oscar nomination. In 2008, the Lithuanian jury picked his documentary Before Flying Back to Earth to submit to the Academy.
This year, Matelis’ film was picked from among five shortlisted candidates: three documentaries and two fiction films. The other Lithuanian candidates for the best foreign-language film nomination were What We Leave Behind (dir. Jūratė Samulionytė, Vilma Samulionytė, 2017), Owl Mountain (dir. Audrius Juzėnas, 2018), Ancient Woods (dir. Mindaugas Survila, 2018), Miracle(dir. Eglė Vertelytė, 2017).
The winning documentary has been one of the most successful Lithuanian films in recent years. It has toured numerous international film festivals, garnering multiple prizes, as well as triumphing at Lithuania’s national Silver Crane awards as the year’s best documentary. The composer Alberto Lucendo has been awarded for composing the score for the film, which also took home the audience prize.
Wonderful Losers: A Different World tells a story of people at one of the world’s most prestigious cycling competitions, Giro d’Italia. An important, though generally overlooked, role at the Giro is played by the so-called “gregories”, cyclists who go through tremendous challenges in order to assure victory for their team’s leader. Matelis’ documentary glimpses into the behind-the-scenes world of the prestigious race that has been shielded from filmmakers’ cameras for four decades.
Matelis spent eight years making the film which is one of the biggest European coproductions, involving as many as eight countries: Lithuania, Italy, Switzerland, Ireland, Northern Ireland (the UK), Latvia, Spain and Belgium. The film’s production was supported by the Lithuanian Film Centre.
Consequences, the first film by the screenwriter and director Darko Štante, has qualified for the Discovery section of the Toronto International Film Festival, while the live-action feature coproduction Winter Flies by the Slovenian director Olmo Omerzu will be screened in the Contemporary World Cinema programme.
After nine years, two Slovenian films will be screened at the Toronto International Film Festival. Consequences, the first film by the screenwriter and director Darko Štante, has qualified for the Discovery section of the Toronto International Film Festival, while the live-action feature coproduction Winter Flies by the Slovenian director Olmo Omerzu will be screened in the Contemporary World Cinema programme.
Nine years ago, the live-action feature Slovenian Girl by the director Damjan Kozole, which had had its world premiere at the film festival in Sarajevo earlier, was shown at the Toronto festival, taking place between 6 and 16 September this year. The film has been screened at more than seventy film festivals and sold to thirty countries. It was renamed as A Call Girl in the United States.
The participation of Darko Štante's debut Consequences in Toronto will also be this film's world premiere. The first public showing will take place on 7 September at 21:30, and afterwards the film will have two other screenings for the general audience and another two for the professional community. The first two screenings will be attended by the director Darko Štante, the starring actor Matej Zemljič, and the producers Andraž Jerič and Jerca Jerič from the Temporama production house.
The film focuses on the 18-year-old boy Andrej, who ends up in a youth education centre. He has to fight for his place in a group of boarders led by Željko, who soon takes the newcomer under his wing. Under the pressure of the new environment, Andrej has to ensure that his secret does not come to light.
The live-action feature Winter Flies by the director Olmo Omerzu is a Czech-Slovenian-Polish-Slovak coproduction. The Slovenian (co)producer is Rok Biček from the Cvinger Film production house, otherwise a multiple award-winning director of the observational documentary feature Family.
The new film by Omerzu tells a story about the sly and confident Mára and the somewhat eccentric Heduš, who set out into the frozen wastes in search of adventure – by car, of course. After all, Mára will soon be fifteen years old. A road movie about flies that occasionally even buzz during wintertime, and a story that – before it concludes at a police station – explores the elusive ties of a boyhood friendship and the unappeasable urge for adventure – even if it is not precisely clear what sort of adventure that is.
The film received the Award for Best Direction at this year's international film festival in Karlovy Vary, and it will be distributed in Czechia as of September. The film's first audience screening in Toronto will take place on 12 September at 19:30.
Both works have been made with the financial support of the Slovenian Film Centre, and both of them have their Slovenian premieres scheduled at this year's 21st Festival of Slovenian Film.
The film festival in Toronto was established in 1976. In terms of visitors, it is now one of the largest festivals in the world, attended annually by more than 480,000 people. These include 5,000 accredited professionals, for whom the "Industry Center" in the Hyatt hotel, where the film market is also located, is intended. Under the auspices of the European Film Promotion, fourteen European countries will be presented there this year, including Slovenia and the Slovenian Film Centre, a member of the EFP.
In 1998, Variety magazine wrote the following about the festival: "The Toronto Film Festival is the only festival besides Cannes that screens film hits and movie stars as well as focuses on market activities." In 2007, on the other hand, Time magazine wrote that the Toronto International Film Festival "has transformed from the most influential autumn film festival into the most influential film festival."
Page 4 of 573