The 20th edition of connecting cottbus, the East-West co-production market at the FilmFestival Cottbus, is currently open for submissions. Ten pitch projects and five works in progress will be selected for coco 2018 to compete for a variety of awards.

For the newly founded Work in Progress section at coco, we are happy to welcome back our partner D-FACTO MOTION. The renowned post- production studio with branches in five major German cities and the latest high-end technology will sponsor the D-Facto Motion WiP Award of €35,000 in-kind services.

Our industry audience will vote for the best pitch to receive the coco Best Pitch Award, which includes accreditation to the Cannes Producers Network 2019 and a cash award towards development. This year, we present a new award from our partner MIDPOINT, a training and networking platform for script and project development. The MIDPOINT Consulting Award will consist of individual consultancy with MIDPOINT experts to further develop the winner's script and project.

Last but not least, we are proud to welcome our new sponsoring partner from Romania, AVANPOST, one of Eastern Europe’s most comprehensive post- production outfits, offering the Avanpost Pitch Packaging Award, including strategy consulting and storyboarding as well as production/post-production for a proof of concept.

Producers can submit their feature fiction film projects in development for the coco Pitch section until 18 July 2018, and projects in production or post- production for coco Work in Progress until 22 August 2018. The film project’s subject must be connected to Eastern Europe or the producer must be based in this region.

Producers, sales agents, commissioning editors and other industry representatives active in East-West European co-production can apply without a project by 5 October 2018.

The international event, held from March 19th to March 23rd at the Film and TV Faculty of the Academy of Performing Arts in Bratislava, introduced seven renowned filmmakers in addition to quality films. During the five-day program, they held masterclasses and discussions with participants.

A balanced program from the world of film production was presented by Haneke's long-term  editor Monika Willi, the favorite of world-wide film festivals Sergei Loznitsa, production designer of Cuarón´s ROMA Eugenio Caballero, cinematographer Phedon Papamichael, who has an Oscar nomination for Nebraska, Citizenfour cinematographer Kirsten Johnson and others.

The opening film of the event was the award-winning black and white film ROMA by Alfonso Cuarón. It was personally introduced by the film’s production designer, the Oscar-winning Eugenio Caballero. The Mexican filmmaker had a lecture on production design in film the next day, where he mentioned: „A production designer is one of the key figures in making a film. For me, production design is not an aesthetic discipline but a narrative. It's not just what it looks like, but the fact that everything we see on the screen is connected with the director's effort to tell the story. And finally, to feel emotions.”

The program continued with a lecture by Moroccan guest Hakim Belabbes, who explained the conditions for the creation of the Sahara Lab. This offers a chance for ambitious filmmakers in Morocco to study film. An important message that Hakim emphasized to the forum's visitors was: „I wasted so much time copying instead of bringing a personal message. I didn't find the message in the movies of other directors, in the theoretical books, but in the voice of my mother, my children, and the moments of silence on my way home."

Wednesday evening ended with the screening of the film Cameraperson, which was personally presented by producer, cinematographer and documentary filmmaker Kirsten Johnson. The screening was followed by a discussion during which American filmmaker was not afraid to come among participants and ask questions. The intensive interactive discussion attracted the audience, who also came to see her masterclass the following day. Kirsten Johnson ended the masterclass with a social experiment, where participants in the cinema were gazing intently into the eyes of another participant for two minutes. Kirsten: „Director of photography shouldn't be afraid to watch, observe, keep eye contact. Sometimes it is uncomfortable to see and be seen. Such fear and shame should not be present when filming a movie. By visualizing we will learn more than by talking, by using words.”

The rest of the day belonged to the Ukrainian director Sergei Loznitsa, whose lecture brought a number of interesting starting points for shooting. In the evening he presented his film The Trial at Cinema Lumiére, where he was also awarded with the Prize for the contribution to auteur cinema by the Association of Slovak Film Clubs. Sergei Loznitsa says: „I think that the future of film can be in archives. With technology, cinema can also go in this direction.”

Friday began with a masterclass on the distribution of short and feature films. This was led by a sales agent from Poland, Marcin Łuczai who is working for New Europe Film Sales. In the evening, Haneke's long-term editor, Monika Willi, came to present her masterclass on the creation of a material story. In the evening, she personally presented Untitled, which she completed after the death of the director Michael Glawogger. Willi: „Michael Haneke has a movie in his head before he stars shooting. He wants to cut chronologically, and the first cut design is created during filming when daily materials come. Unlike other directors, who, on the contrary, collect all the material and want the best of the film to appear in the editing room.”

Saturday's program was dedicated to the director of photography Phedon Papamichael. In addition to a masterclass in the evening, he personally introduced the film Nebraska by director Alexander Payne, that got 6 Oscar nominations. Papamichael: „The most important benefit of a film school is to find your director, your group and the collaborators you can work with after school."

The filmmakers themselves and the school representatives came to present the student projects. In the discussion after screenings, students talked about the films themselves, as well as the conditions in which the films were made.

Visegrad Film Forum 2019
Date: 19th – 23rd of March 2019
Place: Bratislava, Slovakia
Venues: Film and TV Faculty VŠMU, Cinema Lumière

web: http://www.visegradfilmforum.com
facebook: https://www.facebook.com/VisegradFilmForum
instagram: https://www.instagram.com/vffbratislava/
youtube: https://www.youtube.com/watch?v=7mpj2r4K88c

Organized by: Boiler NGO
Co-organized by: Film and TV Faculty VŠMU
Financial support: International Visegrad Fund, Slovak Audiovisual Fund, Nadácia SPP

Partner schools:  FTF VŠMU Bratislava, WRiTV Katowice, UTB Zlín,  SZFE Budapest, KNUTCT Kiev, BFM Tallin, Sahara Lab a UNATC Bucharest

On Wednesday, 20 March, the shooting of the new live-action feature Deadlock by the writer and director Vinko Möderndorfer began in Seča in the Slovenian Littoral. Most of the film, however, will be shot in Ljubljana and in the Viba Film Studio.   

The story describes an encounter between two married couples from the opposite ends of the social scale, which, at first glance, seem to have nothing in common. However, an accident and a tragic event bring these people together fatefully in a single night and most likely until the rest of their lives.

Möderndorfer had the following to say about his new film: "We live in the times when the absence of any empathy in interpersonal relations is one of the most pressing issues all over the world. The brutal and ruthless capitalism tears people and their relationships apart from day to day, pushing the world into a war of everyone against everybody else. Empathy, compassion, attention towards our nearest and dearest, the capacity to feel the pain of others – all of this seems to be vanishing from the face of the world. I think it is important to tell a story in which human relations can live fully again and where the sympathy and sensitivity for others are once again established as an important value of today's civilisation. The world in which we live is in a deadlock. We are stuck in a sort of a civilisational standstill that will be impossible to get out of without understanding each other and observing the fundamental human and humanist values.«

Starring Mirjam Korbar, Peter Musevski, Uroš Fürst and Barbara Cerar. Co-starring: Ivo Ban, Klemen Kovačič, Mila Fürst, Benjamin Krnetič, Branko Završan, and others.

Producer: Eva Rohrman; director of photography: Mitja Ličen; editor: Andrija Zafranović; production designer: Dušan Milavec; costumes designer: Alenka Korla; makeup designer: Mojca Gorogranc Petrushevska; sound recordist: Peter Žerovnik; sound designer: Julij Zornik; production manager: Matija Kozamernik.

The film is produced by Forum Ljubljana, co-produced by Delirium from Serbia, and co-financed by the Slovenian Film Centre and Film Center Serbia. The realisation was made possible by Viba Film Studio.

The producer of the film Eva Rohrman also revealed that she expects additional co-producers and co-financers to take part in the project in the course of the production, but the final decisions regarding this issue have not yet been reached.  

Vinko Möderndorfer wrote and directed three internationally-renowned and award-winning live-action features (Suburbs, 2004; Landscape No. 2, 2008; Inferno, 2014), all of which have premiered and been screened at the most prestigious A-list film festivals: Venice, Montreal, Karlovy Vary, Cannes, Busan, Tallinn, etc., and have won numerous awards at home and abroad.

Vinko Möderndorfer belongs among the most renowned Slovenian artists. His extensive opus includes more than a hundred theatre and opera directions, sixteen TV directions, and a hundred radio plays. He has written more than seventy books and forty dramas. He has received more than forty awards in the fields of literature, drama, theatre, television, and radio, including the Prešeren's Fund Award, the Župančič Award, several Borštnik Awards, the Marjan Rožanc Award, several Grum Awards, the Ježek Award, several awards for best comedy, the Cup of Immortality, the Večernica Award, several Desetnica Awards, and other important acknowledgements.

The film crew dedicated the beginning of the shooting to the recently deceased Slovenian director Polona Sepe.

The 20th edition of the Bratislava International Film Festival will open its doors in less than one month. The days between 29 November and 2 December 2018 will offer a generous selection of quality titles made by the best of young contemporary cinema. The Bratislava city cinemas Lumière and Mladosť will welcome the audience with a pleasant atmosphere and bring innovative perspectives on the world and being in it. After last year's success the festival will present part of its programme in three cinemas outside of the capital as well; Kino Mier in Modra, Kino Záhoran in Malacky and Artkino Metro in Trenčín.

The backbone of the festival is again the Fiction Competition designated for first and second feature films. For example, the audience can look forward to José (2018), the second film by the American director Li Cheng and winner of the Queer Lion Award at the Venice Film Festival. José follows the story of a young homosexual man looking for love and emotional fulfilment in the environment of one of the poorest and most dangerous countries in the world, Guatemala, where the director lived for two years. Li Cheng’s name will resound the festival’s screening rooms for the second time already, as in 2014 he personally visited with his film Joshua Tree.

This year’s East of the West and FEDEORA awards of the International Film Festival Karlovy Vary went to the Russian director Elizaveta Stishova and her distinctive debut Suleiman Mountain (Suleimangora, 2017). Set in Kyrgyzstan, the film follows a bizarre story of a man (a gambler, habitual drinker, brute and cheater, but also a father and a husband of two women) living on the fringe of the society. His semi-nomadic way of life in a van with two wives, one rediscovered son and another – yet unborn one, as well as constant frustration, restlessness, uncertainty, mystique and shamanism create a captivating and engaging drama with elements of comedy and encourage the viewer to think about the numerous unanswered questions it poses.

Next in the Fiction Competition is Blind Spot (Blindsone, 2018), a directorial debut of Tuva Novotny, a Swedish actress and daughter of the Czech director Dávid Ján Novotný. The film was screened and awarded at the 66th San Sebastian International Film Festival. The category will also present Cutterhead (2018) by the Danish filmmaker Rasmus Kloster Bro, combining elements of drama and action thriller, as well as Sofia (2018) by the Moroccan director Meryem Benm’ Barek.

Another section of the Bratislava IFF programme will comprise three films nominated for the LUX Prize 2018, which has been awarded by the European Parliament since 2007. Its goal is to popularize original European film production and incite the EU citizens to discuss European values and identity.

This year’s section will present the film Styx (2018) by the Vienna-born director Wolfgang Fischer. Its story begins as a workaday life of a successful paramedic, who embarks on her dream yachting voyage. A violent storm on the sea changes the idyll into cruel reality, as she finds herself in the middle of nowhere with nothing in sight but a sinking vessel filled with dozens of refugees. No assistance is coming and she must decide and act on her own. The Serbian director Mila Turajlid and the story of her family in the documentary film The Other Side of Everything (Druga strana svega, 2017) give us an insight into the turbulent political events taking place in Serbia. The Belgian filmmaker Lucas Dhont deals with the question of transgender identity in his feature debut Girl (2018), telling the story of a 15-year-old Lara, who loves and studies dance at a prestigious Belgian dance academy. However, every day on a path towards becoming a ballet dancer is a fight. Lara

Bratislava International Film Festival, Lovinskeho 18, 811 04 Bratislava, Slovak Republic, tel.: +421 2 54 410 673 - 74, e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it., www.bratislavaiff.sk/en/

seeks the courage to be herself and works relentlessly on her male body, which is the biggest obstacle to the fulfilment of her dream.

The Bratislava International Film Festival acts as a platform where the general viewing public, cinephiles as well as film professionals from Slovakia and abroad meet and interact. Ever since its establishment in 1999, it has been developing its identity of a young cinema festival and event aiming to discover new names and future stars of contemporary film.

For the latest updates on the programme of the 20th Bratislava International Film Festival, please visit our official website at www.bratislavaiff.sk/en or our official Facebook account at www.facebook.com/bratislavaiff/.

20th BRATISLAVA INTERNATIONAL FILM FESTIVAL 29 November - 02 December 2018

Kino Lumière, Kino Mladosť Kino MIER Modra, Kino Záhoran Malacky, Artkino METRO Trenčín

Main Organiser: Partners Production

The Bratislava International Film Festival is held with the generous financial support of: Slovak Audiovisual Fund, The Bratislava Self-Governing Region

Main partners: Slovenská elektrizačná prenosová sústava, Transpetrol

COME, SEE, EXPERIENCE!

Between 29 November and 2 December 2018, the Bratislava cinemas Lumière and Mladosť will brim with extraordinary films from all around the globe. The Bratislava International Film Festival is here with its attractive programme sections designated to showcase the finest of world cinema. A special status was given to the topic of women in society and cinema, which is reflected in this year’s section Lexicon, as well as in the festival spot and visual identity.

The curators of the section Lexicon: Female gaze, festival programmer Tomáš Hudák and the director of this year’s festival spot Ivana Hucíková, have focused on the status of women in cinema, their portrayal in film, and the uniqueness of a woman’s experience. The topic also served as inspiration for the festival spot. The half-minute video is a montage of films directed mainly by women filmmakers. Their protagonists are women of different colour, appearance, age, and character in various life situations. In the background, we can hear the voice of the musician Katarzia, who’s asking: “Do you think we can’t change anything, because we’re just women?”, a lyric excerpt from the song Dolls Are Killing Each Other,found on her new album Antigona, on which Katarzia (Katarína Kubošiová) cooperated with Pjoni (Jonatán Pastirčák). “The past year has been - not only in the cinema - the year of #MeToo, and that is part of why we’ve decided to reflect on the status of women in society and cinema. We have chosen the topic of female gaze as opposed to the male gaze, identified by the film theorist Laura Mulvey. In the section we give space to women authors, we try to bring attention to the female experience, which is – in film as well as the society – often overlooked, reflect on how women were and are depicted in film and remind that there is no such thing as male and female genres,” say the curators. “It is, however, not just about this one section. Five out of the eight films in the Fiction Competition have been shot by female directors and even other sections will present films disrupting the male gaze hegemony "

One of these is a debut by the Cypriot director, screenwriter and producer Tonie Mishiali Pause (Pafsi, 2018). The story draws us into the monotonous life of a not so happily married Elpida (Greek for hope), a middle-aged woman living in a patriarchal, conservative-oriented society with a despotic husband. Beau travail (1999) is a work of the French director Claire Denis, inspired by Herman Melville’s novel Billy Budd. The story centres around Sergeant Galoup, who is trying to destroy his subordinate Gilles Sentain. Through the main storyline, the director reveals her idea about the life of soldiers. The female gaze is amplified by Denis’ long-time director of photography Agnès Godard, presenting the images of male strength and beauty, but also their weakness. A sexist view of women and their depiction in film is reflected in Diego Galán’s documentary film Barefoot in the Kitchen (Con la pata quebrada, 2013). The Spanish director captures the often funny, but also tearfully stereotypical scenes from selected Spanish films made from 1930s up to now.

The popular section Cinema Now brings an overview of the most remarkable films of the season. Its curators, Nenad Dukid and Tomáš Hudák, have assembled the most interesting movies that have stirred the waters of world’s major festivals. For 20 years, the Bratislava IFF has been supplying the Slovak film public with names, which often become stars of the screen.

Forbidden love in Kenya is a subject-matter developed by the director Wanuri Kahiu and her film Rafiki (2018). Homophobia, coming-out, misunderstanding and refusing love from the people of the same sex, but also joy is what we explore through the story of two daughters of competing politicians. Kena is a smart student whose ambition is to become a nurse, although she could very well aspire to be a doctor. Her best friend Blacksta, a pal from street soccer, games and life in

Bratislava International Film Festival, Lovinskeho 18, 811 04 Bratislava, Slovak Republic tel.: +421 2 54 410 673, e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it., www.bratislavaiff.sk

general, secretly awaits the day when Kena will become his wife. However, she’s only got eyes for the extravagant Ziki and her dreadlocks. The film was banned in Kenya, but the spectator community of Cannes festival received it warmly.

Fans of Vanessa Paradis can look forward to Knife + Heart (Un couteau dans la coeur, 2018). She portrays the main protagonist Anne, a lesbian producer of gay porn at the end of 1970s in Paris, going through a breakup with her long-time partner. The French director Yann Gonzalez makes her existential crisis even deeper, when a serial killer appears and starts murdering the actors from Anne's films. Sombreness taking turn with relieving humour, dark atmosphere and shots, a mix of genres, neon lights and captivating soundtrack by M83 give the film strength and a sense of mystique.

The daring documentary Putin’s Witnesses (Svideteli Putin, 2018) clarifies the situation which arose at the turn of 1999 and 2000. The new Russian President is Vladimir Putin. One of the members in his closest team is the documentary filmmaker Vitaly Mansky, whose task is to record the President during his office hours. In his outraged film the director offers the viewer first-hand information – his archive footage, authentic images, testimonies and statements shedding light on one of the world's most central policymakers and the early stages of his tyrannical government. The film had its world premiere at the Karlovy Vary IFF, where it won the Best Documentary award.

The Bratislava IFF will also present the awaited biographical film by the director and scriptwriter David Lowery. The Old Man &The Gun (2018) is the last film ever to star Robert Redford. After 60 years of acting, the 82-year-oldstar of the screen decided to round offhis career with the role of a 70-year-old bank robber Forrest Trucker, who has managed to escape from prison 17 times. Now he could finally enjoy retirement, but he cannot seem to resist the temptation and organize another bank robbery.

The Bratislava International Film Festival acts as a platform where the general viewing public, cinephiles as well as film professionals from Slovakia and abroad meet and interact. Ever since its establishment in 1999, it has been developing its identity of a young cinema festival and event aiming to discover new names and future stars of contemporary film.

For the latest updates on the programme of the 20th Bratislava International Film Festival, please visit our official website at www.bratislavaiff.sk/en or our official Facebook account at www.facebook.com/bratislavaiff/.

20th BRATISLAVA INTERNATIONAL FILM FESTIVAL 29 November - 02 December 2018

Kino Lumière, Kino Mladosť Kino MIER Modra, Kino Záhoran Malacky, Artkino METRO Trenčín

Main Organiser: Partners Production

The Bratislava International Film Festival is held with the generous financial support of: Slovak Audiovisual Fund, the Bratislava Self-Governing region

Main partners: Slovenskáelektrizačnáprenosovásústava, Transpetrol

COME, SEE, EXPERIENCE!

The 17th edition of the Transilvania International Film Festival announced its winners on Saturday, June 2, 2018, at its Closing Gala in the Cluj National Theater.

The 15,000 Euro Transilvania Trophy offered by Staropramen went to The Heiresses and was presented by international opera star Angela Gheorghiu. Director Marcelo Martinessi thus adds another award to the Silver Bear he received this winter at the Berlinale. Marcelo Martinessi impressed the jury with his rigor in direction and the captivating rhythm of the narrative, in a 12-film competition that did not make the jury’s decision easy. This is the first Paraguayan film in competition at TIFF.

Director Dagur Kari, casting director and director Stephane Foenkinos, writer Rebecca Lenkiewicz, actor Vlad Ivanov, and director Agnes Kocsis also decided the 5,000 Euro Best Directing Award, which went to Hlynur Pálmason, the director of Winter Brothers, who impressed the jury with his “passionate, beautiful and energetic film.” Three of the actors in Carlos Marques Marcet’s Anchor And Hope, Natalia Tena, Oona Chaplin, and David Verdaguer shared the 1,500 Euro Best Performance Award for “the way in which they complement each other with intelligence and charm, creating moving and humor-filled roles.” The award, offered by Conceptual Lab, was presented by actor Jean-Marc Barr, special guest at TFF and the lead of the festival’s closing film, Luc Besson’s The Big Blue, which is screened Sun evening.

Two courageous films received by the 1,500 Euro Special Jury Award offered by HBO. The jury appreciated Asghar Yousefinejad’s The Home for being “profoundly anchored in reality, with complex morality,” while Anna Kruglova’s Scythe Hitting Stone was considered a revelation, a graduation film that is extremely well structured.

The FIPRESCI Prize, offered by the International Federation of Film Critics for a title in To Be or Not to Be Politically Correct?section went to the dystopian Life Guidance by Ruth Mader.

Gustav Moller’s minimalist The Guilty was appreciated by TIFF film lovers and received the Audience Award offered by Mastercard. Starting November, the film will be distributed in Romanian theaters by Bad Unicorn.

“I would love it if every year we could have Romanian films like Touch Me Not and Charleston in the competition,” declared TIFF Artistic Director Mihai Chirilov, before thanking directors from around the world for coming to TIFF. Over 800 guests, filmmakers, film lovers, journalists, etc., were at the Closing Gala hosted by TIFF President Tudor Giurgiu. Another few tens of thousands followed the ceremony live, through Facebook and YouTube, as well as the red carpet arrivals of stars Fanny Ardant, Jean-Marc Barr, Vlad Ivanov, Florin Piersic, Dorian Boguță, Ana Ularu; directors Cristi Puiu, Adina Pintilie, Andrei Crețulescu, and Tedy Necula; and television personalities Andreea Esca and Amalia Enache.

A guest of honor for this edition, Fanny Ardant shone on the stage of the National Theater as she received the standing ovation of everyone present. She received the Lifetime Achievement Award from TIFF’s President and responded with an emotional speech: “When I was a little girl I thought that being an actress meant just the pleasure of being on stage. Only later I understood that the life of an actress means going from dark to light, from cold to warmth, from a turned back to an outstretched hand. So I thank you tonight for giving me light and warmth with this award, for stretching out your arms.’’

The charming Anna Széles’s 50 years of stage and film presence were also honored at TIFF. Actor Florin Piersic, her former partner and co-star, handed her the Lifetime Achievement Award in front of an audience fascinated by their stories and by the abiding love they still have for each other. “I was lucky to have had wonderful directors and partners who stayed in my heart,” declared the actress.

Introduced by Cătălin Ștefănescu as an “extremely delicate character” and “one of the iconic actors of Romanian film,” Dan Nuțu, the founder of Aristoteles Workshop, received the Excellence Award offered by Mercedes-Benz.

Pororoca won the Romanian Days: Best Feature Film Award, consisting of 10,000 de Euro  worth of post-production services offered by Cinelabs Romania. Actress Mădălina Ghenea handed the award to director Constantin Popescu. Ivana Mladenovic’s controversial Soldiers. Story From Ferentari received the 1,000 Euro Romanian Days: Best Debut Feature Award offered by Banca Transilvania “for the courage and dignity exhibited both by the director and by the characters she constructed.” Berlinale winner Touch Me Not received a Special Mention from the Romanian Days jury. “It is very complicated to place a film like this one on the market. Your warmth proves that the market underestimates the emotional intelligence of the audience,” said director Adina Pintilie.

The Romanian Days: Best Short Award, consisting of 1,500 Euro offered by Campari  and 5,000 Euro worth of camera, electric, and grip equipment offered by CutareFilm, went to Bogdan Mureșanu’s The Christmas Gift. Two Special Mentions went to Dorian Boguță’s Sunday “for its sensitive portrayal of men in a group home, in whose stories the jury could glimpse their own” and to Anghel Damian’s Michelangelo “for the moving story about the importance of truth, even when truth hurts.”

The most popular film of this section, Daniel Sandu’s One Step Behind The Seraphim received the 1,500 Euro Romanian Days Audience Award offered by Dacin Sara. This is the first award received by the film; director Iura Luncașu handed it to young actor Ștefan Iancu.

The 500 Euro Shadow Shorts Competition Award offered by PMA went to Fran Casanova’s Something in the Darkness.

Eliza Zdru won the Alex. Leo Șerban Fellowship worth 2,500 Euro, offered in partnership with Conceptual Lab, for the development of her feature-length documentary Learning Teaching. The board reviewing the applications also granted a Special Mention worth 500 Euro Tamás Chirodea-Ambrus (vlogger on the Tomtastic Movie Reviews YouTube channel) for the development of a website for podcasts, shorts, new, reviews, and live streams. Another Special Mention worth 1,000 Euro was awarded for the first time to a young Romanian actor who stood out in a 2017 production: Mircea Postelnicu, for his lead role in  Călin Peter Netzer’s Ana, Mon Amour.

 

The 20,000 Euro Eurimages Co-production Development Award of the Transilvania Pitch Stop went to Pavle Vučković’s project Frost. Post-production services worth 25,000 Euro, offered by Chainsaw Europe went to TheLast Bus by Nándor Lőrincz and Bálint Nagy. In the Transilvania Pitch Stop Workshop, the CoCo Award  went to Cristian Pascariu’s project October, which is invited to the Connecting Cottbus East West Co-production Market in Germany. The Villa kult Cultural Residency, a five-day residency for script development in Berlin, went to the winner of the To the North by Mihai Mincan. Finally, the Young Francophone Jury Prize, offered by TV5 Monde, Institute Français, and RFI Romania went to The Prayer by Cédric Kahn “for its harmonious visual discourse and absorbing soundtrack and characters.”

“In our road to death we need to support each other a little more,” cautioned the voice of late director Lucian Pintilie during a moving homage screened in the National Theater. TIFF President Tudor Giurgiu dedicated the evening to him.

 

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The Transilvania International Film Festival is organized by the Association for the Promotion of Romanian Film and the Association for the Transilvania Film Festival.

Support from: Ministry of Culture and National Identity, National Center for Cinematography, Cluj City Hall and Local Council, Romanian Cultural Institute, Cluj County Council, Creative Europe-MEDIA program of the European Union

Presented by: Staropramen

Principal sponsor: Banca Transilvania

Principal partner: Mastercard

Official car: Mercedes-Benz

Sponsors: Orange, HBO, MOL România, Lidl, Nespresso, Tenaris Silcotub,  Avon

Official coffee: Nespresso

Official logistical partner: DHL

Media partners: TV5, Europa FM, Adevărul, Dilema Veche, OK! Magazine, Historia, Marie Claire, Harper's Bazaar, Cosmopolitan, Men's Health, Business Review, Zile și Nopți, Cinemap, Radio România Cultural, Observator Cultural, Scena 9, Life.ro, Cinemagia, BIZ, News.ro, A List Magazine, LiterNet, Urban.ro, AaRC.ro, Sinteza.

Local media partners: Erdèly Naplò, Făclia, Filmtett, Krónika, Monitorul de Cluj, Radio Cluj, Transilvania Reporter

Monitoring partner: mediaTRUST