unnamed 21 CALL 460x100

PRAGUE: The French film Heart of Stone by Claire Billet and Olivier Jobard was awarded best film in the main competition of the 2019 One World International Human Rights Film Festival, held in Prague from 6 to 17 March 2019.

PRAGUE: The Serbian/Croatian coproduction Museum of the Revolution by Srđan Keča was awarded the East Doc Platform Award and also the IDFA Forum Award at the 8th edition of East DocPlatform. The biggest platform for Central and East European documentaries was held in Prague from 9 to 15 March 2019.

VILNIUS: Debut projects from the Czech Republic, Latvia, Poland, Lithuania and Romania are among the 17 projects selected for the 10th edition of Meeting Point Vilnius, set to take place during the 24th Vilnius International Film Festival Kino Pavasaris from 2 to 4 April 2019.

The Official Selection of the Annecy Festival 2019 was announced. There are 13 short films from Central and Eastern Europe in the competition.

Short Films in Competition

Acid Rain
d. Tomasz POPAKUL, p. ANIMOON SP. Z O.O., Zofia JAROSZUK, Poland, 2019, 26 min 16 s

A Demonstration of Brilliance in Four Acts
d. Lucija MRZLJAK, Morten TSINAKOV, p. EESTI JOONISFILM, Kalev TAMM, ADRIATIC ANIMATION, Drasko IVEZIC, Croatia, Estonia, 2018, 15 min 03 s 

d. Piotr MILCZAREK, p. Piotr FURMANKIEWICZ, FUMI, Mateusz MICHALAK, Poland, 2019, 5 min

d. Kristjan HOLM, p. KARABANA, Kristjan HOLM, Estonia, 2019, 9 min

Deep Love
d. Nykyta LYSKOV, p. TTM, Andriy GRANICA, Ukraine, 2019, 13 min 58 s


d. Nadja ANDRASEV, p. Pierre BAUSSARON, MIYU PRODUCTIONS, Pierre REYNAL, József FÜLÖP, SALTO, Orsolya SIPOS, France, Hungary, 2019, 12 min 41 s

> The project was pitched at VAF Třeboň 2017.

The Juggler
d. Skirmanta JAKAITE, p. ART SHOT, Agne ADOMENE, TRIPODE PRODUCTIONS AND PERSPECTIVE FILMS, Delphine SCHMIT, Lithuania, France, 2018, 11 min 05 s

Toomas Beneath the Valley of the Wild WolvesToomas Beneath the Valley of the Wild Wolves

> The project was pitched at VAF Třeboň 2018.

Perspectives Short Films in Competition

From Under Which Rock Did They Crawl Out
d. Daniel SULJIC, p. ZAGREB FILM, Sanja BORCIC, Croatia, 2018, 5 min 27 s

Winter in the Rainforest


Imbued Life 

d. Ivana BOSNJAK, Thomas JOHNSON, p. BONOBOSTUDIO, Vanja ANDRIJEVIC, Croatia, 2019, 12 min 15 s

Young Audiences Short Films in Competition

The Kite
d. Martin SMATANA, p. BFILM, LTD., Peter BADAC, Czech Republic, 2019, 13 min 10 s
> The project was pitched at VAF Třeboň 2017

Discover the complete list of selected short films here.

The nominee of other categories will be announced shortly: Short films, TV and commissioned films, graduation films: end of March, Feature films: end of April and VR Works: end of April.

It is with great pleasure that the animation film professionals from Central and Eastern European countries – united under the CEE Animation brand – have again accepted the generous offer of Creative Europe MEDIA to be part of their Umbrella Stand at MIFA in Annecy and present the industry, studios, institutions, authors and festivals of the Central and Eastern European animation.


Yes, it's true - we have opened the film submission for the 23rd edition of Black Nights and both of our sub-festivals - youth and children's festival Just Film and animation and short film festival PÖFF Shorts!

We had over 2400 feature-length and over 4000 short and animation submissions last year. Let's see if we can top this!

Tallinn Black Nights Film Festival will run from the 15th of November until the 1st of December.





Wondering what happened next to the films that were screened at the last edition of Black Nights? We'd like to share some updates from the international festival circuit regarding the alumni of our last year's competition programmes.

The Grand Prix and Best Music award winner Wandering Girl (Colombia-France) by director Ruben Mendoza has just opened Colombia's Festival Internacional de Cine de Cartagena de Indias, having also played at Miami and Havana, screening next at Malaga film festival. The film was praised in Tallinn by the jury led by Andrea Pallaoro and critics writing for magazines such as VarietyThe Hollywood ReporterScreen Daily and Cineuropa.

Another favourite of the jury and critics, Cronofobia (Switzerland) by Francesco Rizzi that played in the First Feature Competition where it won the Special Jury Prize, went on to win the best director and script awards at Max Ophüls festival and has been selected to several well-known festivals, including Hongkong IFF. Read the reviews in Screen Daily and Variety.



Film still: The Little Comrade

We are extremely glad to have screened so many nominees of the Estonian Film and Theatre awards of 2019, including all the Best Film nominees Take it or Leave itThe Little Comrade and Eia's Christmas Mission that had its world premiere as the opening film of the children's and youth film festival Just Film. We are also rooting for the Best Documentary entry Ahto. Chasing Dreams that was awarded the Best Estonian Film award at the last edition of Black Nights.


17 debut film projects will be presented at the Coming Soon sessions during the 10th edition of Meeting Point – Vilnius (MPV). The international audiovisual event will take place April 2–4, during VIFF Kino Pavasaris.

11 fiction and 6 documentary in development features by debuting filmmakers will be presented to a jury comprising of film producers, agents, distributors and festival representatives during special Coming Soon pitching sessions on April 3.

“We are absolutely delighted to have received many applications from all around Europe. This year, we have chosen 17 feature films that cover various stories, narratives and genres. Moreover, I am very pleased that 7 of the selected features are directed by women and 13 are produced by them,” says MPV coordinator Alessandra Pastore.

The lineup includes films from Albania, Italy, Czech Republic, Latvia, Moldova, Hungary, Ukraine, Belarus, Russia, Poland, France, Lithuania, Sweden, Germany, Romania and Brazil.

From comedies to dark psychological thrillers

The Coming Soon pitching sessions will include Jonid Jorrgji’s comedic road movie imbued with Albanian culture The Lions Heading Venice. The film analyses the concept of faithfulness and the creativity that emerges in liminal situations. Debuting director Antontio Lukich will present a mixture of comedy and drama in his first feature My Thoughts Are Silent. Co-produced with Alla Belaya and Dmytro Sukhanov, the story depicts a man who feels trapped and is eager to escape Ukraine. Most of the film’s comic relief comes from the contrast between its main characters, the introverted son and his extroverted mother.

Another entry comes from Poland, directed by Daria Woszek and produced by Marcin Lech. Marygoround uses dark humour to dissect societal norms, traps and a woman reborn. Vlada Senkova’s first feature Thrillseekers combines comedy and drama to portray three reckless young people willing to risk it all to make money. The sessions will also include The Last Bus, directed by Nandor Lorincz and Ballint Nagy, which was already awarded at the Transilvania Pitch Stop. The film is based on real-life events that prompt a discussion about sexual assault and its impact on the family unit.

Also selected is Marta Ribero’s sensual Portuguese coming of age story Undergrown, produced by Joana Peralta. Dorian Boguta will present his first feature, a psychological thriller Legacy produced by Oana Giurgiu and Hai Hui Entertainment. According to the director, the feature portrays many of his own experiences.  Kasia Hertz will pitch Batrachomyomachia, the story of a fictional town of Tluszcza, located somewhere in the outskirts of Eastern Europe, between the past and the future. Throughout the film, the director asks deep-rooted questions about an invasion of The Other.

Karolis Kaupinis is going to pitch his first feature film Nova Lituania. Produced by Marija Ruzgutė, the film depicts an interwar Baltic geographer and a prime minister planning to save their homeland as World War II approaches. In the end, the most pressing question is whether they should save themselves or others? Another Lithuanian director Marat Sargsyan will present The Flood Won’t Come, a magical realism tale that erases any constraints and analyses the games that people and the authorities play with each other. Austėja Urbaitė’s debut feature The Family, co-produced with France, examines what constitutes a family and love, digging deeper into womanhood and maternal feelings.


This year, 6 feature documentaries will be presented during Coming Soon sessions. Lucia Kašova’s The Sailor offers a haunting observation of loneliness and strong will. Director and producer Dragosh Turea will pitch his debut documentary The Soviet Garden that took almost ten years to film. The director investigates a secret scientific experiment that might have taken place in Moldova.  Liene Linde and Armands Začs from Latvia will come to pitch their documentary 36 Months, which captures the entire period of pregnancy and the transformations that take place within women’s lives and bodies.

Andrej Andrejevic Jr. Tarkovskij, the son of Andrej Tarkovskij is going to present an in-development documentary about his father Tarkovskij – Printed Time. The feature examines the great film director ’s entire life, starting with his early childhood.  Another entry comes from well-known Lithuanian director Vytautas Puidokas. Co-produced with Brazil, El Padre Medico reveals the story of Alexander Ferdinand Bendoraitis, who has spent his life living in a Brazilian jungle pretending to be a European missionary, philanthropist and doctor. In his feature documentary Soviet Man, Ivo Briedis tries to deconstruct and understand the concept of the Soviet man with the help of stories told by the last Soviet and first post-Soviet generations. The film is co-produced with Latvia, Lithuania and Czech Republic.

As one of the most important parts of MPV, Coming Soon sessions provide young and debuting filmmakers with a platform to present projects that are still in development. Some of the projects will receive best pitch prizes, including Marché du Film industry workshop and producers network accreditations, a post-production award established by the Vilnius Film Cluster as well as a special Baltic View prize.

Meeting Point – Vilnius is organized in the framework of Vilnius International Film Festival, supported by Lithuanian Film CentreLithuanian Council of Culture, the City of Vilnius and Creative Europe Desk Lithuania, and in collaboration with Vilnius Film ClusterMAIA WorkshopsConnecting Cottbus, ICO-Independent Cinema Office, Baltic Pitching Forum, Film Fest Portugal, Marché du Film, Golden Apricot Film Festival, Minsk International Film Festival “Listapad” industry, Estonia Creative Europe Desk, Latvia Creative Europe Desk.

The complete list of projects

  1. 36 Months, directed by Liene Linde and Armands Začs, produced by Guntis Trekteris, Ego Media, Latvia;
  2. Batrachomyomachia, directed by Kasia Hertz, produced by Wrota Podlasia and Jan Szewczyk, DFFB, Germany/Poland;
  3. El Padre Medico, directed by Vytautas Puidokas, produced by Paulius Juočeris, Mauricio Filho, Gabija Siurbytė, Iron Cat, Lente Viva Filmes, Dansu Films, Lithuania/Brazil;
  4. Legacy, directed by Dorian Boguta, produced by Oana Giurgiu, Hai Hui Entertainment, Romania;
  5. Marygoround, directed by Daria Woszek, produced by Marcin Lech, Jan Pawlicki, Dagmara Molga, Janusz Bielecki, Jutrzenka Studio, Solopan, All Muses, Poland;
  6. My Thoughts Are Silent, directed by Antonio Lukich, produced by Alla Belaya, Dmytro Sukhanov, Toy Cinema, Ukraine;
  7. Nova Lituania, directed by Karolis Kaupinis, produced by Marija Razgutė, M-Films, Lithuania;
  8. Soviet Man, directed by Ivo Briedis, produced by Elina Gedina-Ducena and Gints Grūbe, co-producers Jurga Gluskinienė, Jitka Kotrlova, Mistrus Media, Monoklis, Frame Films, Latvia/Lithuania/Czech Republic;
  9. Tarkovskij – Printed Time, directed by Andrej Andreejevic Tarkovskij Jr., produced by Dimitry Klepatski, Paolo Maria Spina, Peter Krupenin, Klepatski Films, Revolver, Hobab Prod, Russia/Italy/Sweden;
  10. The Family, directed by Austėja Urbaitė, produced by Živilė Gallego, Murielle Thierrin, Fralita Films, Aldabra Films, Lithuania/France;
  11. The Flood Won’t Come, directed by Marat Sarksyan, produced by Ieva Norvilienė, Tremora, Lithuania;
  12. The Last Bus, directed by Nandor Lorincz and Balint Nagy, produced by Agnes Pataki and Monika Mecs, M&M Films, Hungary;
  13. The Lions Heading Venice, directed by Jonid Jorgji, produced by Elkjana Gjipali, Lukas Mracek, EJF Production, Blue Hills Picture, Albania/Czech Republic;
  14. The Sailor, directed by Lucia Kašova, produced by Nazarij Klujev, TOXPRO, Slovakia;
  15. The Soviet Garden, directed by Dragos Turea, produced by Dragos Turea, co-producer Marian Crisan, Parmis Film Studio, Rova Film, Moldova;
  16. The Thrillseekers, directed by Vlada Senkova, produced by Larisa Oleinik, Viktor Labkovich, DOKA, Pervaja Kinovideo Company, Belarus/Russia;
  17. Undergrown, directed by Marta Ribeiro, produced by Joana Peralta, Videolotion, Portugal;

Love has many faces. From passionate love between lovers, to motherly love for her children, or even love to one’s hobby. The passion is always here. Here is a list of documentaries about love you should not miss.

ŽILINA, SLOVAKIA. ‘Bulgarian-Canadian Theodore Ushev is considered one of the most successful experimental film directors. In 2017, his internationally acclaimed film Blind Vaysha was nominated for an Academy Award. This summer, he will visit Slovakia to participate in the programme of Fest Anča International Animation Festival, taking place in Žilina between 28 June and 1 July.

Theodore Ushev was born in Kyustendil, Bulgaria. He studied at the National Academy of Arts in Sofia, and in 1999 moved to Canada where he found favourable conditions for the cultivation of his artistic vision under the patronage of the National Film Board of Canada. Although his films are often labelled ‘experimental’, he rejects such categorization and really inclines towards cross-genre films.

Ushev’s films leave us with no doubt that he is a bold artist with his own unique style. For instance, in the poetic film Blood Manifesto he used his own blood for animation and narrated in his own voice. For the animation magazine Skwigly, he said that was his cry for being unable to change things.
“I watched some students on the streets, rioting against corrupt and selfish governments. The police beat them. There was blood on their faces. Blood spilled for nothing. Nothing changed afterward.”

He has created 15 films and received more than 150 awards – one of which in Žilina. In 2015 at Fest Anča, Tomm Moore announced a special mention for The Sleepwalker observing it was “a beautiful and mesmerising abstract animation that evokes surrealist paintings, while working perfectly with the musical soundtrack. A piece of pure animated filmmaking.”

His exquisite work with music and sound in Blind Vaysha earned him an Oscar nomination. This short 3D film is based on a short story by Bulgarian writer Georgi Gospodinov about a woman who can see the past with her left eye and the future with the right one. Her split vision is like a course that keeps her from living in the present. “I don’t particularly like working in 3D, but it’s a very powerful storytelling tool. I’ve made three 3D films, but this is the first time that I’ve made a film where the 3D is part of the story itself – not just a gimmick or device,” said the director.

Due to his various styles, viewers of the retrospective may get the impression that the films have different directors. However, each of Ushev’s films is his own intimate confession. Hence he likes to work alone, without other animators. He wants his work to be as personal as possible. Each frame is its own artwork. And Theodore Ushev is also an entertaining and informative speaker – so take the opportunity to find out more about his work at his masterclass at Fest Anča!

The Festival is financially supported with public funds by the Slovak Audiovisual Fund and the Slovak Arts Council.

The following grants were announced by the Croatian Audiovisual Centre on 13 March 2019.

Barcelona: 11 June 2018 – During his keynote address at CineEurope 2018, Phil Clapp, President of the International Union of Cinemas (UNIC), the European Cinema trade grouping, reflected on the success of a sector which continued to thrive due to investment, innovation and diversity.

Welcoming yet another increasingly diverse and engaging CineEurope programme, he also pointed to the importance of support for European content and its position in the global box office landscape, whilst extending his gratitude to the numerous partners and organisations that help make the convention a success year-on-year.

Reporting on cinema-going across UNIC territories in 2017, he mentioned the “renewed confidence” the year had brought in terms of increasing admissions, which:

“… confirms that the cinema-going public recognise the massive levels of investment that European operators are making in all aspects of the Big Screen experience.”

Furthermore, he noted the crucial role of Europe’s diversity with regard to film content, noting that domestic titles are now better able to find audiences across the region due to digital advances across the sector and declaring that their importance could not be overstated in terms of catering for audiences from all backgrounds. Special mention was also given to efforts by partners in production and distribution in enabling audience-friendly domestic films to “find their way to their natural home on the Big Screen.”

Pointing to the continued need for diversity also in the cinema workforce, he also noted the success of the UNIC Women’s Cinema Leadership Programme, which looked to tackle underrepresentation of women in senior roles across the industry. The second edition of the Programme would be announced later in the week at CineEurope.   

Touching upon another important development over the last year, he updated attendees on the status of the Global Cinema Federation. Established by UNIC, the US trade body the National Association of Theatre Owners and eleven of the world’s leading cinema operators, the Federation’s recently published policy statements would, he hoped, provide not only a “clear sign of the progress made by the Federation over the last year” but also “a rallying point for operators across the world.”

In closing, he highlighted the importance of three main pillars behind the industry’s success, declaring that despite the challenges the European cinema sector faced, operators could remain confident:

“Knowing that whatever the distractions posed by the unsustainable business practices of so-called ‘disruptors,’ our focus will remain on sustaining the diversity, innovation and investment that is the hallmark of our industry and the key to its ongoing success.”

Notes for editors

A copy of Phil Clapp’s keynote speech is attached to this Press Notice (check against delivery).

CineEurope 2018 will take place from 11-14 June at the Centre Convencions Internacional Barcelona (CCIB) in Barcelona, Spain. CineEurope is the longest-running and most successful European convention and trade show for Major, Regional, and Independent cinema professionals. CineEurope will feature exclusive screenings and product presentations of upcoming films, sponsored events, timely and informative seminars and the CineEurope Trade Show. CineEurope is the Official Convention of the Union Internationale des Cinémas/International Union of Cinemas (UNIC).

The International Union of Cinemas (UNIC)

The Union Internationale des Cinémas/International Union of Cinemas (UNIC) represents the interests of cinema trade associations and cinema operators covering 37 countries in Europe and neighbouring regions.

The Film Expo Group

The Film Expo Group is the premier organizer of events in the motion picture industry. The Film Expo Group produces CineEurope, held in Barcelona; ShowEast, held in Miami; and CineAsia, held in Hong Kong. Additionally, the group publishes Film Journal International, a trade magazine and website covering the motion picture industry with a special emphasis on theatrical exhibition.