The film festival Azyl for video clips, one minute and five minute movies is back after a prolonged break. Last time the viewers could enjoy the creations of mainly young authors via our website in 2012. The organizers  have decided to resume the event which offers a great chance to present the works of starting filmmakers and professionals alike.

The most notable addition is our collaboration with the Art Film Fest Košice where viewers will be able to see a selection of the best movies and observe the prize awarding ceremony.

Submission has started 22nd February for both competitive and non-competitive segment and will be closed on May 15th 2018.

Winners of specific sections will be awarded with valuable prizes.

 

Film education offers exciting opportunities for new and innovative ways of teaching. At the 2^nd International Conference on Film Education, we will present examples of good practices in film education taking place in schools and cinemas, involving close co-operation between teachers and filmmakers. We will learn about the various ways of leading workshops and conducting discussions around film. Part of the conference will also be devoted to reflecting on the possible impact of film education programmes and their evaluation. The conference is aimed at professionals working in pre-school, and primary and secondary education, as well as at other experts interested in the subject from Slovenia and beyond.

Lectures will occasionally be delivered in Slovenian and English. At Kinodvor, they will be interpreted into Slovenian and English. At the Slovenian Cinematheque, however, lectures will not be translated.

Partners: Kinodvor, Slovenian Cinematheque (the Understanding Film project) and Slovenian Art Cinema Association (the Primary School of Film project).

The programme is available online: http://www.kinodvor.org/en/2nd-international-conference-on-film-education/

 

The 14th EDN Award is presented to Adam Ślesicki and Katarzyna Ślesicka from DOC LAB POLAND. They receive the award in recognition of their outstanding contribution to the development of the European documentary culture through their work in connection with the DOC LAB POLAND initiative.

Adam Ślesicki and Katarzyna Ślesicka receive the 2018 EDN Award for their work in establishing and running DOC LAB POLAND, which is the largest and most multi-faceted program for documentary filmmakers organized in Poland for Polish projects. The initiative supports auteur-driven creative documentary filmmaking and features a comprehensive program for the development of film projects. In addition to development support, DOC LAB POLAND also connects the European documentary industry to the Polish documentary scene, thereby making the strong creative tradition of Polish documentary more widely known and accessible.

With regards to the selection of DOC LAB POLAND for the 2018 EDN Award, EDN Director Paul Pauwels states: “In times where national authorities and state structures seem to care less about freedom of expression, democratic values and creative artists, it is essential that we have initiatives fighting for the rightful existence of the documentary genre as an artistic expression and cornerstone of our democratic society. It is important to have organisations that create European collaborations and bridges to other national industries, especially in times where political structures tend to focus more on national preferences. I therefore believe it is a logical step to recognize DOC LAB POLAND through the EDN Award 2018 for their outstanding contribution to the European documentary culture".

The award was presented to Adam Ślesicki at The EDN Award ceremony on March 6, 2018 during the Docs in Thessaloniki pitching forum organized by EDN in the framework of the Thessaloniki Documentary Festival – Images of the 21st Century.

About The EDN Award

The EDN Award is presented annually during Docs in Thessaloniki to an institution, group or private person for outstanding contribution to the development of the European documentary culture.

Previously The EDN Award has been presented to:

2017 - Nilotpal Majumdar In recognition of his outstanding contribution to the development of the international documentary culture

2016 - Marianne Lévy-Leblond For her development of interactive documentary at ARTE

2015 – Caspar Sonnen For his pioneering commitment to interactive documentary work

2014 – Tue Steen Müller For a lifelong commitment to the documentary genre

2013 – Stefano Tealdi and Joan Gonzales For initiating and running Documentary in Europe and DocsBarcelona, respectively

2012 – Diana El Jeiroudi, Orwa Nyrabia and The DOX BOX Team For initiating the DOX BOX festival in Syria

2011 – Dimitri Eipides Director of the Thessaloniki Documentary Festival

2010 – IRDFA - Iranian Documentary Filmmakers Association Director's guild in Iran focusing on documentary filmmakers

2009 – Nenad Puhovski and Zagreb Dox For initiating Zagreb Dox in Croatia

2008 – IDF – Institute of Documentary Film Prague based institute promoting documentary films from East- and Central Europe

2007 – Svetlana and Zoran Popovic For initiating and running Magnificent 7 in Belgrade, Serbia

2006 – The Jan Vrijman Fund Dutch film fund supporting filmmakers and festivals in developing countries

2005 – YLE Documentary The documentary department of YLE, the national public service broadcaster in Finland

EDN - European Documentary Network is a member-based organisation for professionals working with documentary film and television. The organization has around 1000 members from more than 60 countries. More about EDN - http://edn.network

 

 

Transilvania International Film Festival (TIFF) invites filmmakers to submit their projects in development for the second edition of the Transilvania Pitch Stop co-production platform, which will be held on 1-2 June 2018 in Cluj-Napoca.

The program is open to feature-length fiction film projects of 1st and 2nd time filmmakers coming from Romania, Hungary, Bulgaria, Serbia, Ukraine, Russia, Moldova, Greece, Turkey and Georgia. The projects can be in different stages of development with preferably 15% of the budget secured.

A jury of international professionals will hand the Eurimages Co-production Development Award valued at 20.000 euro and another 5.000 euro award in cash will be offered by Transilvania International Film Festival.

Deadline: 31st of March, 2018.
The regulations can be checked here. 

Selected projects will be announced no later then May 1st, 2018 and the director and producer will be invited to join the industry event in Cluj on the 1st and 2nd of June 2018. 

 

 

TUESDAY, 2Oth of March 2018

WORKS IN PROGRESS
10:00 Lumière Cinema, K2

For the third time, Industry Days at Febiofest 2018 will present a selection of upcoming Slovak film projects in different stages of development to local and international film professionals, sales agents, producers, festival representatives, journalists and interested film fans. The presentation will introduce twelve film projects: nine feature length films (out of which five fiction features and four documentary projects), accompanied by three short films - two independent productions and one student project.

The WiP presentations will be held in two parts. During the introduction to the second part, Massimo Nardulli will introduce LIM - Less Is More: the European platform for project development of limited budget feature films.

*Works in Progress is hosted by Rastislav Steranka, head of National Cinematographic Centre of Slovak Film Institute. 

PANEL DISCUSSION
14:00, Lumière Cinema, K2
THE IMPORTANCE OF BEING SHORT : WHY DO WE NEED SHORT FILMS?

What is the current status of short-length cinema here and abroad? What does its support system and professional background look like in Slovakia, and why are the majority of short films created by students in universities? Representatives of short film festivals, sales agents and short film makers will discuss the challenges short film is facing in the national and international context. The panel discussion will be followed by a master class of successful short filmmaker, all just to emphasize the idea that short films are just as important as feature-length ones.

Panelists: Massimo Nardulli (Wintherthur Interna-tional Short Film Festival, Torino Short Film Market), Enrico Vanucci (Venice Film Festival - Orizzonti Corti, TorinoShort Film Market), Vratislav Šlajer (short film producer, Bionaut), Diana Mereoiu (Vienna Shorts), Philip Ilson (London Short Film Festival, BFI London Film Festival), Michal Blaško (successful Slovak short filmmaker, currently developing his first feature film).

*The panel discussion is hosted by Alexandra Gabrižová, Academy of Performing Arts in Bratislava, Faculty of Film and Television

MASTER CLASS
16:00, Lumière Cinema, K2
JACQUELINE LENTZOU

Young scriptwriter and director Jacqueline Lentzou is a London Film School graduate. Her graduation coming-of-age piece Thirteen Blue (2013) was awarded at numerous international film festivals (Golden Egg Award in Reykjavik IFF, 1st award in Athens Film & Video FF – Oscar Qualifying, CINEMED IFF, Sapporo SFF a. o.). After winning the screenwriting competition at Patmos IFF in 2014, she shot Luz (Kinofest-Manchester FF, Festival International De Signes de Nuit). She is a 2014 Sarajevo Talents and 2015 Berlinale Talents Alumni, and she also participated in the Berlinale Short Film Station 2015 with her project Fox (69th Locarno IFF, 22nd Sarajevo IFF). Currently she is working on her debut feature film Selini66 and participating at The Pop Up Film Residence in Bratislava.

*The master class is hosted by Soňa Balážová, National Cinematographic Centre of Slovak Film Institute

INDUSTRY PARTY: DIRTY ANIMATION

22:00, Luna Bar, Hotel Kyjev

DJ Karma je zdarma and VJ TooMuchDada are throwing a multimedia and animation-themed party.

The visitors will be able to dance to a pop/film set along with the heroes of Slovak animation.

All industry and festival guests are welcome!

WEDNESDAY, 21st of March 2018 

PANEL DISCUSSION
11:00, Lumière Cinema, K2
SLOVAK FILM LANDSCAPE – RESOURCES AND CHALLANGES

Panel discussion on the current state and challenges of the Slovak film industry from the perspective of financing, infrastructure, services, and promotion. In recent years, film production in Slovakia has grown stronger, which is partly due to systematic funding from public sources (Audio-visual Fund, Radio and Television of Slovakia). AVF’s support program helped Slovak film industry to become more and more accessible abroad. Are there any other options of financing film production? Which areas of the industry need to be reinforced if Slovakia is to become an internationally relevant and competitive film country?

*This panel is organized in collaboration with the Association of Independent Producers.

MASTER CLASS
14:30, Lumière Cinema, K2
CLAUDIA SCHNUGG:
INNOVATION, INSPIRATION, AND FUTURE
TECHNOLOGIES: THE USE OF ARTISTIC FILM
PROJECTS

The raising opportunities generated rapidly in computer science, technologies, and scientific research go along with a need for innovation and creativity in business and in society. Art as a playful approach to new technologies and cutting-edge science provides an opportunity to creatively explore, communicate, and contex-tualize these latest developments. Moreover, it provides a platform for interdisciplinary exchange and public engagement processes tackling stakeholders and social innovation. Therefore, corporations as well as governmental funding bodies like the European Commission push towards projects that include the collaboration between artists and scientists.

Using the example of film and artistic film production, this master class approaches the topic asking questions like: How does such a project work? What are the important processes triggered by the interaction? How do storytelling, narration, and (science) fiction as important aspects of film support communication and creativity? And how can ideas, innovative processes and changes emerge?

• This panel is organized in collaboration with the Ministry of Culture of the Slovak Republic - Department of Culture & Creativity Development and is part of project CREADIS3, the European initiative in the area of cultural and creative industry.

 

 

We are thrilled to announce the selection of projects for this year's MIDPOINT Intensive Iceland. The 4 projects will participate in a 2-day workshop in Reykjavik starting this weekend, on Saturday-Sunday March 10-11.

Thanks to a new collaboration with the Icelandic Film Centre, we have once again been able to invite the Icelandic film industry and emerging filmmakers to participate in this script focused workshop. The workshop takes place at Bio Paradis in collaboration with Stockfish Film Festival who is celebrating its 4th edition this March.

The participants are teams of writers, directors and producers who are working on their 1st or 2nd feature film – and they are:

/ Angel Dust – writer Bergthora Snaebjornsdottir, director Marteinn Thorsson & producer Gudrun Edda Thorhannesdottir

/ Exit – writer Nina Petersen & producer Lilja Osk Snorradottir

/ Happy Crappy '95 – writer Thorey Mjallhvit & writer/director Dogg Mosesdottir

/ Quake – writer/director Tinna Hrafnsdottir

The workshop will for the first time be run by Gyula Gazdag. Apart from being an acclaimed Hungarian filmmaker in his own right, Gazdag is the Artistic Director of Sundance Directors Lab since 1997, and advisor at Script Station of the Berlinale Talents since 2006. Variety in 2010 named named him one of the ten best film teachers in the US.

 

 

The 25th Czech Lion Awards were handed out on 10th March 2018. Ice Mother directed by Bohdan Sláma and produced by Petr Oukropec and Pavel Strnad (Negativ) was awarded in 6 categories, including best film, best director, and best screenplay.

Awards for Ice Mother include: best film (producers Petr Oukropec and Pavel Strnad from Negativ), best director (Bohdan Sláma), best screenplay (Bohdan Sláma), best actress in a leading role (Zuzana Krónerová), best actor in a leading role (Pavel Nový), and best actress in a supporting role (Petra Špalková). 

Barefoot by Jan Svěrák received 4 awards, including best cinematography – Vladimír Smutný, best actor in a supporting – Oldřich Kaiser.

Filthy by Tereza Nvotová was honoured in the best editing category, and Milada by David Mrnka got the best costume design (Simona Rybáková) and best makeup and hairstyling (Andrea McDonaldová).

The best documentary feature award went to Cervena by Olga Sommerová, produced by Pavel Berčík (Evolution Films).

Magnesia Award for the Best Student Film was awarded to Michal Blaško for Atlantis, 2003.

The complete list of winners

Congratulations to all winners!

 

 

Symposium “Hybrid Identities – Baltic Cinema” // Prague 1968

In 2018, seven countries in Central and Eastern Europe are celebrating 100 years of independence. “I picked a very special year to make my start as the head of festival,” says Heleen Gerritsen, the new director of goEast – Festival of Central and Eastern European Film. “That’s a cause for celebration, but also invites us to take stock of current circumstances. Especially in the Baltic States the history of independence is a very complicated one and the search for identity is far from resolved”, according to Gerritsen, who is looking forward to vivid discussions with a number of renowned film scholars during the 18th edition of the festival. Under the title “Hybrid Identities – Baltic Cinema” the goEast Symposium also provides ample space for lectures and discussion. The special program Prague 1968, which is devoted to the cinematic reappraisal of the events of the Prague Spring, represents a further historical focus at the festival.

goEast Symposium “Hybrid Identities – Baltic Cinema”
One hundred years of Estonia, Lithuania and Latvia: The declarations of independence of 1918 and then once again in 1990 serve as mile markers for this year’s Symposium, which is scheduled to take place from 19 to 22 April at goEast. As in previous years, a host of high-calibre guests are expected to attend the event. “We are especially looking forward to welcoming Ābrams Kleckins, one of the central figures of the ‘Riga School’, to Wiesbaden,” enthuses Barbara Wurm, curator of the Symposium. The lectures will be accompanied by a curated film program, which will include a classic of documentary cinema realised by one of Kleckins’ fellow travellers: Uldis Brauns’ 235,000,000 (1967), which will be screened in a 35mm Director’s Cut version. The program spans the entire range of cinematic art, from fiction features to documentaries all the way to animated films, with gems such as Vytautas Žalakevičius’ NOBODY WANTED TO DIE (1965), Kaljo Kiisk’s MADNESS (1968), Grigorij Kromanov’s THE LAST RELIC (1969) and two animation programs featuring works from Priit Pärn and Nukufilm Studio.

The lectures will examine the interplay between cinema and socio-political developments. Further attention will be given to the founding of the respective national film studios, which were established over the course of Sovietisation following World War Two. In the scope of discussions open to the general public, award-winning directors such as Latvia’s Laila Pakalniņa, Lithuanian filmmaker Audrius Stonys and Estonian animation artists Priit Pärn and Mait Laas will give their own insightful takes on Baltic cinema.

Prague 1968
50 years after the Prague Spring, goEast is dedicating itself to a cinematic reappraisal of the events of the summer of 1968. In the framework of a retrospective rich in contrasts, goEast will undertake an extensive juxtaposition of perspectives: the program is to include fiction features from the Czech New Wave as well as documentary works, from Soviet propaganda films to Jan Němec’s ORATORIO FOR PRAGUE (1968). It was only after the fall of the Soviet Union that it became possible to truly process the occupation of Czechoslovakia and the wave of repression that followed in its wake. In the 1990s, a number of films appeared, both documentaries and comedies of manners, which took a look back at the days of the Prague Spring. Among other guests, goEast eagerly awaits a visit from Czech director Iva Švarcova, who herself fled Czechoslovakia for West Germany as a child in 1968 and subsequently processed her own experiences in her comedy WHEN GRANDPA LOVED RITA HAYWORTH (2000). 

In accompanying panel discussions, goEast will attempt to trace events and their representation on screen. The highlight of the special program is sure to be the world premiere of OCCUPATION 1968 (2018). This highly symbolic international co-production shows the occupation of Czechoslovakia from the perspective of the occupiers. The project was realised by five directors hailing from five different countries of the former Warsaw Pact, all of whom will be present at the festival, as will be the project’s Slovak initiator and producer, Peter Kerekes.