Within the framework of the business platform Film Industry Office, the Odesa International Film Festival will hold the Public Pitching of drama series projects. Applications are accepted until June 25th.

The whole audiovisual world is passionate with more and more fascinating drama series, which become as complicated and innovative as the best festival feature films. In this competition, unfortunately Eastern European scriptwriters can still not fully participate. There are many reasons, and among them are limited budget possibilities of even the best broadcasters of our region and the traditional habits of the television audience in our countries.

Screen Shot 2017 06 16 at 08.00.19

Believing deeply in the creative possibilities of scriptwriters from our region, three Eastern European institutions enjoying international recognition and reputation: Odesa International Film Festival, the European master training programme ScripTeast for the best Eastern European scriptwriters, and Star Media, the largest Ukrainian international television company, are co-organizing the first ever competition Odesa IFF ScripTeast Series Projects for Eastern European drama series projects with international potential.

4 to 6 best drama series projects with international potential that have been created by the best writers of Eastern and Central European origin, and/or owned by the production companies registered in one of the Eastern and Central European countries, will be selected for participation in the Public Pitching.

The selection is based on three factors:

•   originality of drama series projects;

•   international potential of the project;

•   the writer(s)’s and/or showrunner(s)’s track records.

Details about the application digital package can be found on the OIFF official website. The selection is made by the Committee appointed by the Odesa International Film Festival, ScripTeast and Star Media.

The results of the selection will be announced on June 30th. The Public Pitching presentations to the potentially interested TV-broadcasters, platform operators, distributors and co-producers will be held on July, 19th in the framework of the Film Industry Office.

The Jury of the Odesa IFF ScripTeast Series Projects’ Public Pitching will consist of the representatives of ScripTeast, Star Media and OIFF.

ScripTeast is an European master training programme for the best Eastern European Scriptwriters organized by the Independent Film Foundation from Poland. Since 2006 altogether 114 scripts were developed within the Programme and today 35% of them are in production or already produced, being shown on many international festivals.

Star Media is one of the leaders in the production and distribution of theatrical and television films, telenovelas and series, TV shows and docudramas, successfully leading television programming in Ukraine and abroad.

Odesa International Film Festival will be held on July 14-22.


The retrospective of director Chris Marker who has influenced several generations of filmmakers across the globe will be held on June 5 to 18, 2017 exclusively at DAFilms.com. The viewers will have a unique opportunity to watch seven key films by Marker which prove his timeless mastery. The collection includes La Jetée, Sans Soleil, Level Five, Junkopia, Sunday in Peking, Letter from Siberia and Description of a Struggle.

Chris Marker ranks among the prominent French artists of the 20th century and directors of the French New Wave. Besides being a documentary filmmaker, he was a photographer, author of essays, newspaper articles and poems and multimedia artist. He was a leftist artist who voiced his provocative opinion on the current social and political events in his films. That is why some of his films dealing with taboo themes in Africa, the Soviet Union and Cuba were forbidden or censored. His work is imbued with the recurrent themes of time, memory and nostalgia. Throughout his life, Marker explored film as a medium and experimented with its form. For instance, his film The Pier (La Jetée, 1962) is composed of static photographs.

“For eleven years, the online documentary cinema DAFilms.com has been discovering quality creative films and bringing them to viewers across the globe. Legally and online, we present contemporary production as well as retrospectives of distinguished filmmakers; for instance, we have presented films by Helena Třeštíková or the French living legend Agnès Varda with great success. This time, we look back at the key personality of cinema Chris Marker whose work reflects the technological development of cinema while merging film, new media and the internet. Many of his retrospectives were limited to his documentary essay Sans Soleil and La Jetée which inspired Terry Gilliam to make his cult film 12 Monkeys. DAFilms.com, on the other hand, brings a cross section of the work of the writer, photographer and explorer, ranging from Sunday in Peking from 1956 to one of the most famous cyberpunk films Level Five from 1997,” says acquisitions manager Diana Tabakov.

Chris Marker was born in 1921. After graduating from a lyceum, where Jean Paul Sartre was a professor at the time, Marker studied philosophy. During occupation, he left for Switzerland where he allegedly joined the United States Air Force. After the war, he worked as a journalist and photographer. In the 1950s, he joined the French New Wave, made documentaries and film essays.

Throughout his life, Chris Marker received countless film and literary awards, the most prestigious ones including a César for Junkopia (1981). His most renowned films include La Jetée (1962) and Sans Soleil (1983). He has collaborated with other prominent auteurs of his era, such as Jean-Luc Godard, Alain Resnais, Joris Ivens and Agnès Varda.

In the 1990s, Chris Marker was captivated by the possibilities of digital technologies, in spite of his relatively old age. At more than 70, he made a whole range of multimedia works for leading world art institutions. The very latest work by Marker is the film for one actress Level Five (1997).

Films presented in the retrospective at DAFilms:

Sunday in Peking (1956)

Reflections on the loss of memory in connection with the emptiness of Beijing’s Forbidden City. The film attempts to depict the complex reality of the city, or more precisely of all of China; an economic superpower and at the same time a land of immense poverty.

Letter from Siberia (1957)

How to capture the truth? The film plays with the documentary and other genres and implies how difficult it is to give an account of any country and how determining our point of view is. Marker’s film also tells of the manipulative potential of the film medium; by means of editing, shooting angles and primarily voice-over, images can attain a completely different meaning.

Description of a Struggle (1960)

A documentary with a political focus and a Kafkaesque title in which both poles of the filmmaker’s work – travel essays and political documentaries – meet.

The Pier (La Jetée, 1962)

The black-and-white sci-fi novel depicts a scientific experiment in which a group of scientists tries to save mankind living in catacombs after a nuclear disaster by sending a rescue expedition to the past. The film has inspired Terry Gilliam’s cult film 12 Monkeys for which Chris Marker wrote a script.

Junkopia (1981)

Deserted Pacific Ocean bay near Emeryville, California. The sea is washing up things of the world to the shore and Chris Marker together with his friend are filming objects transforming from these things between the low and high tide. The experimental image of a creative process was awarded a César for the best short film.

Sunless (Sans Soleil, 1983)

A film essay (named after a composition by Mussorgsky) in which an unknown woman reads and comments on the letters she gets from her friend who is a cinematographer. He travels around the world and is most interested in Japan and Africa which fascinate him as “two extreme poles of survival.”

Level Five (1997)

The fascinating documentary puzzle is at the same time one of the most renowned cyberpunk films. The inward theme of the film is the Battle of Okinawa and the questions related to the suicidal behaviour of the local inhabitants. On a general level, the film deals with the individual and collective memory of the Japanese.

You can find a link to the retrospective at DAFilms here (the link is valid from June 5).

About DAFilms.com

DAFilms.com is one of the oldest online VoD portals in the world as it was founded already in 2006. Its mission is to popularize Czech and international documentary cinema and create a unique publicly accessible video library which now includes over 1500 hand-picked films. The portal is programmed by seven prestigious European documentary festivals. The Czech representative is Jihlava IDFF which founded the portal more than 10 years ago.

Doc Alliance comprises seven documentary film festivals:

CPH:DOX, Doclisboa, Docs Against Gravity FF, DOK Leipzig, FIDMarseille, Jihlava IDFF, Visions du Réel

Contact for media

Hana Šilarová, This email address is being protected from spambots. You need JavaScript enabled to view it., +420 602 792 856

27/05: European Cinema Trade Body UNIC Underlines Importance of Theatrical Release for Leading Film Festivals – Celluloid Junkie

The International Union of Cinemas (“UNIC”), representing cinema associations and key operators across 36 European territories, has today underlined the importance it attaches to ensuring that films selected for competition at leading film festivals receive a theatrical release and supporting the position adopted by French exhibition colleagues during the Cannes International Film Festival.

Digital Single Market
10/05: Digital Single Market mid-term review: Commission calls for swift adoption of key proposals and maps out challenges ahead – European Commission website 

Having reached the middle of its mandate, the European Commission published the mid-term review of its Digital Single Market strategy.

10/05: Antitrust: Commission publishes final report on e-commerce sector inquiry – European Commission website

The European Commission's final report on the e-commerce sector inquiry identifies business practices that may restrict competition. It allows the Commission to target its enforcement of EU antitrust rules in e-commerce markets and has already prompted companies to review their practices.

Audiovisual Media Services Directive
23/05: The Council reached a general approach on the proposal for a revised directive on audiovisual media services – Consilium website

The Council reached a general approach on the proposal for a revised directive on audiovisual media services (AVMS) . The aim of the proposal is to respond to the unprecedented technological and market changes that the digital shift has brought about in order to preserve the competitiveness of Europe's audiovisual industry, while preserving fundamental values such as the protection of minors, media pluralism, cultural diversity and consumer protection. 

24/05: AVMS Directive – Great progress to support Europe’s audiovisual works – SAA website

General Approach adopted by Culture Council goes further than European Commission proposal and promises a positive result on promotion of European works ahead of negotiations on final text with European Parliament and Commission.

19 – 22/06: CineEurope 2017 – You can still register here

15-16/06: Digital Assembly, Malta – more information here 8/09: Conference " Best practices in the fight against counterfeiting & piracy – the role and responsibility of advertising, logistic and financial service providers", Switzerland – more information here

Every year, the third day of Krakow Film Festival ends with the award ceremony of the most important festival prize – the Dragon of Dragons, given for the outstanding contribution to the development of the international cinema. This time, Krakow Film Foundation Programme Council decided to celebrate the 70th anniversary of Polish animated film, which falls this year, and honour two eminent veterans of this genre, Witold Giersz and Daniel Szczechura, with the Dragon of Dragons award.

“It would be very hard to determine, who of today’s two winners deserved the award more or earlier,” the Chairman of the Krakow Film Foundation Programme Council, Professor Tadeusz Lubelski, explained the exceptional double award. “Of course, these are two very different artists, but they have a lot in common and this also supported this decision. Both Witold Giersz and Daniel Szczechura are outstanding representatives, the last Mohicans of this wonderful group, not only in a generational sense, but most of all, of the artistic group, which was later called the Polish School of Animated film.”

Professor Lubelski also explained that both of this year’s winners are the leaders of two characteristic varieties of animated film. The work of Witold Giersz is named, also by the artist himself, painting in movement and it involves treating animated film as a way of practising painting. In contrast, Daniel Szczechura is an eminent representative of the trend traditionally referred to as philosophical grotesque, often having the character of a political satire.

The Dragon of Dragons statuettes, designed by Professor Bronisław Chromy, were handed by Magdalena Sroka, the Director of Polish Film Institute, and Jacek Majchrowski, the Mayor of the City of Krakow. The ceremony ended with the screening of six films, highly acclaimed all over the world, by both award-winners.

The Dragon of Dragons award, given for the 20th time this year, is the highest distinction granted by Krakow Film Foundation Programme Council, the organiser of Krakow Film Festival, in recognition of contribution to the development of international cinema in documentary and animated film genre. Among previous winners of the award, there are many prominent film-makers, among others, Werner Herzog, Priit Pärn, Kazimierz Karabasz, Bohdan Kosiński, Bogdan Dziworski, Allan King, Albert Maysles, Jonas Mekas, Helena Trestíková, Stephen and Timothy Quay, Raoul Servais, Jerzy Kucia, Paul Driessen and Marcel Łoziński.

Witold Giersz is one of the most outstanding Polish animated film-makers, called “the painter of the screen.” He is the winner of numerous awards, including seven awards at Krakow Film Festival. His films are described as “moving paintings” because of the role which colour and the way of bringing colours to life play in them. For colour, as Witold Giersz used to say – is the protagonist of his films. In the Master’s retrospective, we will watch his most important films, among others, “Maly western,” awarded the Golden Dragon at the first festival in Krakow (1961) and his latest film “Singum” from 2015.

Daniel Szczechura is one of the most famous figures of Polish animated film. His creative explorations contributed to the creation of the phenomenon called “the Polish school of animated film.” “The films by Daniel Szczechura began with the description of the reality, a satirical, exaggerated, derisive one, but a description all the same. Quickly, the comic tone was replaced by more serious look, documenting our “externality” – penetrating issues which lie hidden somewhere deep in us,” wrote Jerzy Armata. We will have a chance to find it all out by watching a selection of the award-winner’s films.

On Wednesday, the 31st of May, at 12.30 in Małopolski Ogród Sztuki, the audience of Krakow Film Festival will have a chance to participate in the open master class by Daniel Szczechura, whereas on Friday, at noon in Kino Pod Baranami, the second of the award-winners, Witold Giersz, will give a public show of making an animated film.

Throughout the entire Festival, the viewers will have a chance to get acquainted with a comprehensive selection from the works by the Award-Winners.

Storytek, a new content and media tech incubator launches in Tallinn, Estonia with a purpose to help content creators, producers and early stage digital media startups and entrepreneurs to fast-track their product and services to the global markets as well as help them to access new forms of mentoring and financing from venture capital and the tech community. Enterprise Estonia, the business development and export support platform of Estonian government has funded Storytek through its Creative Incubators support program.

Storytek is founded by private investors and backed by Tallinn Black Nights Film Festival (BNFF), and its industry platform Industry@Tallinn &; Baltic Event following a pilot held during the last year's BNFF. The new initiative will be headed by Sten-Kristian Saluveer, the former Head of Development & Special Projects at BNFF as well as ICT and content executive Hedi Mardisoo.

The goal of Storytek is to address the radical shift in the content industry and open up new opportunities to producers in the field of global IP development, character licensing as well content and media technology. The 10-week incubation program held in Tallinn will select up to 20 global projects with the high market potential to go through a business first boot camp including mentoring on IP valuation, marketing, and audience development as well introduction and prototyping new digital platforms and technologies. Projects should be either audiovisual (feature and short form film, television, web series), virtual or artificial reality, media and mobile tech. Projects must have a potential for IP licensing or multi-platform storytelling and have an initial proof of concept or extended project package and financing plan in place. For media tech projects an initial mock-up or a prototype of the product or service will be required.

The incubator program will end with a demo and pitch day to regional and international investors with the best projects receiving up to three years residency at Storytek with a year-round sales and PnA support. Selected producers will also benefit from complimentary Estonian e-residency program and a free of charge business entity that will give them access to Estonia's highly acclaimed digital business and finance ecosystem as well as eligibility to other sources of European soft financing and funds. Additionally Storytek will hold an annual IP and digital content conference and targeted hackathons and project events during major markets.

Some of Storytek's international mentoring and advisory pool will include Odin's Eye Entertainment's CEO Michael Favelle, John Heinsen, Founder and Executive Producer, Bunnygraph Entertainment, and Laura Anne Edwards, Technology and Innovation Subcommittee at U.S. Secretary of State's Advisory Committee on Public-Private Partnerships.

“The shifts in the production and distribution landscape have opened up enormous creative opportunities for producers to engage audiences on new platforms, but more importantly access know-how and finances from the technology and venture capital community. We're excited to tap to Estonia's internationally known e-residency, technology, and investment resources to help storytellers and creatives, but as well as emerging entrepreneurs to get their stories and products global through Storytek's incubation program”, says Sten-Kristian Saluveer, CEO and Creative Officer at Storytek.

“Besides a strong team, Storytek stands out by its fresh approach and synergy between different business sectors. Through Storytek we are looking forward to create new opportunities to both local and international entrepreneurs from production, animation, and other creative industries”, says Katre Purga, Program Manager at Enterprise Estonia.

Storytek's call of applications will launch in July at storytek.eu with the first edition kicking off in September 2017.

Contact details
Sten Saluveer 
phone: + 3725165242
email: This email address is being protected from spambots. You need JavaScript enabled to view it.

 On 22 May, 2017, during the 70th Cannes International Film Festival, representatives of the Polish Film Institute and the Lithuanian Film Centre – director Magdalena Sroka and director Rolandas Kvietkauskas – signed an agreement to strengthen cooperation between the two national institutions in the field of cinematography and the implementation of joint film projects.

The intention of the agreement is to strengthen the cooperation between film producers from Poland and Lithuania. The Polish Film Institute and the Lithuanian Film Centre will make every effort to ensure that, on a reciprocal basis, every two years at least one Lithuanian film will be co-financed by the Polish Film Institute, and one Polish production will be supported by the Lithuanian Film Centre.

The long shared history of Poland and Lithuania is a ready-made scenario not for one, but a dozen full-length feature films. Our film industries are developing dynamically, we are present in European cinema. Works by artists from our countries are presented at the most important international film festivals, the best example being "Frost" directed by Šarūnas Bartas, shown in the Quinzaine des Réalisateurs section at Cannes – emphasised Magdalena Sroka. We are delighted by the good co-operation and trust that producers from both countries are placing in one another. By tightening the cooperation between the Polish Film Institute and the Lithuanian Film Centre, we want to give them a clear signal that we will support the development and production of their joint film projects – added the director of the Polish Film Institute.

In 2015 in Poland Lithuanian Film Centre had presented its film program in a wide range. Regarding successful partnership with some of the festivals and meetings with producers we can see the increased number of co-productions between Lithuania and Poland. We are ready to step forward so the agreement will make an impact on the creators showing them the long-term financing strategies and tendencies, - said Rolandas Kvietkauskas, said Rolandas Kvietkauskas. 

At the ongoing 70th Cannes International Film Festival, in the Quinzaine des Réalisateurs section, one of the pictures is a Franco-Lithuanian-Ukrainian-Polish co-production, co-financed by the Polish Film Institute, called " Frost" directed by Šarūnas Bartas. Among others, the film features performances by Vanessa Paradis and Andrzej Chyra.

Since 2013, Lithuanian Flm Centre has supported 9 Lithuanian-Polish co-production projects and has donated more than 1.33 million EUR. At present, five projects are in development or post-production, including Krzysztof Zanussi's new film "Ether" and the documentary "Habit and Armour" by Paweł Pitera.

Dutch Perspective
7-8th of June 2017
NINA ul. Wałbrzyska 3/5, 02-739 Warszawa

Cinema In Sneakers is a festival, that by its idea initiates events for Polish film industry, shows best producers practices, invites people, who can share their experience as directors, writers, producers, casting directors, etc., and who can showcase some practical hints about creating TV programmes, full-length and short movies addressed to children and youth.

This year, for the third time, we have invited representatives from the country, that holds a lead in production addressed to the youngest cinephiles to share their knowledge and experience with professionals from Poland. This year’s said professionals are the Dutch Let’s see, what will they bring to the table!

During two days of Warsaw Film Talent Camp, we would like to create an atmosphere of exchange knowledge, experience, and skills, and to connect people and ideas.

Kino w Trampkach [Cinema in Sneakers] – a fresh and buzzing project – is organised by Cinemania Foundation. We started off in 2013 with big hopes and enthusiasm that only crazy, uncontrollable film buffs have. The idea to create a film festival for kids was influenced by Janusz Korczak’s credo : “There are no children as such – only people; but people with different experiences, different drives and different reactions.” And these people have the right to watch a wide array of films: about varied cultures, problems, made with diverse styles, but made with respect to kids.

Everything started with THE NEED. Having worked in the film industry for over a decade, we noticed this big, gaping hole that exists in the Polish market of the cinematic productions for kids and youth. One that has grown over the years and one that our generation has luckily escaped. We were given films that helped us develop as people, characters that we could compare to; that mirrored our reality; films that were made for us and about us. We felt that the contemporary youth was being deprived of that.

We started in 2013, and growing every year. In 2016, we had over a 7000 visitors.

Warsaw Film Talent Camp 2017 will be:

  1. A Polish-Dutch conference, different than the others - let’s learn from the best. 7 short panels on different subjects, dynamic, 20-minutes long speeches given by 2 or 3 professionals in each panel.
  2. Workshops held by our Dutch guests.
  3. Cinema In Sneakers Speed Dating - directors and ideas market
  4. Projects consultations with Dutch experts

Exact Programme:

Day 1, Wednesday, 7th of June

Conference: Know-how Exchange

9:00–9:10 Introduction of the organisers
Magdalena Sroka (Polish Film Institute) | Anna Stadnik (Cinema in Senakers) | Aneta Ozorek (Cinema in Sneakers) | Michał Komar (ZAIKS)| Representative of NINA
9.10-9.20 Introduction by representatives of Embassy of the Netherlands in Poland
Raphael Varga | Katarzyna Kolman
9:20-9.40 National strategies of support children’s film production
Polish Film Institute | Signe Zeilich-Jensen (The Netherlands Film Fund)
9:40–10:40 PL-NL: how to co-produce?
Łukasz Dzięcioł (Opus Film) | Signe Zeilich-Jensen (The Netherlands Film Fund) | Polish Film Insitute
10:40-11:00 Cofee break
11:00–12:00 Children directing’s does & don’ts
Boudewijn Koole |Jacek Bławut | Krzysztof Gradowski
12:00–13:00 Child on a set - scheduling, law, time
Wojciech Stuchlik | Aster Reinboud i Nathalie van der Burg | Elisabeth Hesemans (Elskes Kast)
13:00-13:40 Lunch
13:40–14:40 Casting of a child actor
Elske Falkena (Elskes Kast) | Mariusz Palej i Magdalena Nieć | Małgorzata Domin (Domino Film)
14:40–15:40 International festival and sales strategies for children film
Jan Naszewski (New Europe Film Sales) | Wouter Jansen (Some Shorts - Festival Distribution) | Erik Tijman (Cinekid)
15.40-16.20 How to promote for children audience?
Iwona Buchcic (MOMAKIN) | Karolina Śmigiel i Diana Gaik (Stowarzyszenie Filmowe Dziki Bez)
16.20-16.40 How does Europe support children and youth production?
Jo Muhlberger (European Film Promotion) | Julia Płachecka (Creative Europe Desk Poland)
17.00-18.00 Coctail


Day 2, Thoursday, 8th of June
Free admission after registration. All workshops by Dutch experts are in English.
9.00 – 11.30 Is it worth to be a producer of content for children and youth? Building a market for children and youth | Aster Reinboud, Nathalie van der Burg
12.00 – 15.00 Casting and preparing children to roles | Elske Falkena
12.00 - 13.00 Why does artists need a ZAiKS? | Łukasz Łyczkowski
15.00 – 16.30 How to find a children documentary character. Documentary films for children. | Niki Padidar
15.00-17.00 Directing of children | Boudewijn Koole

Market of directors and producers
17.00-19.00 Directors and producers speed dating
10 minutes meetings in a relaxed atmosphere, with a glass of wine, for producers, script writers and directors interested in shooting films for children and youth.

Experts Bios:

Signe Zeilich-Jensen
Long-time manager of Cinekid Festival, a boss of Holland Film Meeting - coproduction platform for european movie productions. She now is a film commissioner in Dutch Film Fund

Elske Falkena
Owner of the biggest and best known casting agency in Netherland. Since 1999 ElskesKast specializes in children casting for TV series, movies and advertisements. She’s been working on over 80 fill-length movies.

Elisabeth Hesemans
Since the year 2000 she is responsible for casting and acting trainings in ElskesKast. She works with children who have their first appearances ahead, as well as with more experienced ones. She worked with such directors as: Simone van Dusseldorp, Dennis Bots, Anna van der Head, Joram Lursen, Martin Koolhoven and many more.

Erik Tijman
He’s been working in film industries for many years now, being involved in such events as: International Film Festival Rotterdam, Edinburgh International Film Festival and EYE Film Festival. In 2012 he begun his cooperation with Cinekid Festival, biggest European market of productions for children. Since 2017 he is program director of Cinekid Festival.

Niki Padidar
Director of several documentaries addressed to children, she’s been working on movies for kids and teenagers for over 10 years. Her debut, NINNOC received many awards on festivals all over the world, IDFA and Berlinale included

Aster Reinboud
Aster is working with PUPKIN Film, a leading production company on a dutch market, that specializes in TV series and full-length movies for children and youth. She’s responsible for thinking of new ways of development and seeking for talents in this field

Nathalie van der Burg
Creative producer in PUPKIN Film since 2009. She participated in lots of film labs for new, promising producers. She’s responsible for productions for children and youth.

Wouter Jansen
Owner of Some Shorts, distribution company, that’s also responsible for creating strategies for film festivals. They specializes in brave shorts and documentaries. Since 2016 he’s also working on full-length movies.

Jo Muhlberger
CEO in European Film Promotion. EFP is an extraordinary network of 37 European countries, that promotes unique film talents. He’s responsible for „Producers on the Move” project in Cannes, that is addressed to film producers from Europe.

Boudewijn Koole
Producer, director and co-owner of WitFilm. He’s an advisor and teacher for filmmakers in the development process, during shooting and montage. He’s movies gained many awards on festivals all around the world. His „Kauboy” was sold to 14 countries and was awarded over 30 awards.

Jan Naszewski
Owner of New Europe Film Sales, a successful agency taking care of aspects such as promotion and selling short and full-length movies. In NEFS catalogue there are movies such as Rams, winner of Prix Un Cerain Regard in Cannes in 2015, that was sold to over 40 countries.

Łukasz Łyczkowski
Attorney, a proxy for polish Association of Artists ZAiKS. He specializes in copyright, massive management and personal data protection.

Julia Płachecka
While working in Creative Europe Desk Poland she’s taking care of polish applicants for EU program Creative Europe grant in the MEDIA component. She’s an experienced creator of international audio-visual, cultural and educational projects. She began her career as a coordinator of programs addressed to children, their parents and care-takers and teachers.

Wojciech Stuchlik
Producer and executive producer. He’s the owner of production company FILM PRODUCTION. He’s Mariusz Palejs („Behind the Blue Door”) and Grzegorz Jonkajtys („Miś Uszatek”) executive producer. For two years he’s taken care of production of animated shorts in Platige Image, making such movies as „Wilq the Negotiator” (directed by Bartosz Minkiewicz and Leszek Nowicki). Currently he’s producing a TV series „Wilq the Superhero”, coproduced with Polsat TV and PISF.

Jacek Bławut
He’s a graduate from Documentary Course in Andrzej Wajdas Master School of Film Directing. Co-writer for movies such as „Jeszcze nie wieczór”, „Sen motyla”, „Dzień czekolady” and „Hotel Potworny”. He was a cinematographer for many documentaries. He’s movie „Dzień Czekolady” is based on a screenplay developed in a ScripTease program and was awarded Krzysztof Kieślowski Award during 63th Film Festival in Cannes.

Krzysztof Gradowski
Director and screenwriter for documentaries, full-lengths and animated movies. He wrote and directed a cult series about Mr Kleks. In 1990 he became Chair of Polish TV and Movie Directors Corp. He’s a member of Polish Film Academy.

Łukasz Dzięcioł
Co-owner of Opus Film, one of the biggest and most successful production companies in Poland. They have in their portfolio movies such as: „Z Odzysku” (Polish Oscar Candidate) and „Chłopiec na galopującym koniu” (Out of competition in Cannes). In 2011 he was chosen to join Producers on the Move, a platform for promoting European productions. Since 2011 he’s a member of Polish and European Film Academy.

Mariusz Palej
Graduate of Film School in Łódź. For many years he was working as a cinematographer in documentaries, movies and TV theaters. He gathered experience as a director of TV series and Videoclips. His movie for children „Behind the Blue Door” is his full-length debut.

Magdalena Nieć
Graduate from Polish Theatre School in Wrocław. She was given a scholarship in École Nationale Supérieure des Arts de la Marionnette in Charles-Villes Mezieur. Theatre and movie actress, sreenwriter. She was a co-writer, second director and an actress in „Behind the Blue Door”.

Karolina Śmigiel
Member and cofounder of Dziki Bez [Elderberry] Film Association, co-originator of the Festival of Abstract Thinking, film producer, UNI-SOLO Studio member of the board. Coordinator of media education, Polska Lab and Misplaced in Media coordinator, film educator, programmer. Lecturer at Warsaw Film School.

Diana Gaik
Sociology and journalism graduate. Co-creator and coordinator Docs Academy of DOCS AGAISNT GARVITY. Co-originator of the Festival of Abstract Thinking. She coordinates Beata Pawlak’s Award program “Heaven on Earth. Head of Dziki Bez [Elderberry] Film Association.

Iwona Buchcic
PR specialist. She is responsible for marketing and communication campaigns in MOMAKIN made for film producers and film studios.

Małgorzata Domin
Founder of a production company Domino Film. She was executive producer of two Lech Majewski’s “The Mill and the Cross” and “Onirica”. She is the producer of children film “Adventures Club” by Tomasz Szafranski.

Anna Stadnik
Graduate from Economics University in Cracow, she’s studied Gender Studies in Warsaw Uniwersity and Screenwriting in Cracow Screenplay School. She’s bound with film market since 2001. She worked on introducing MEDIA program in Poland, cinema distribution, has experience from Co-production Department of TVP. For 4 years she’s been a head of Program Department of Two Riversides Festival. Her passion is writing and improving screenplays. She’s one of co-founders and Art Director of Cinema In Sneakers.

Aneta Ozorek
Children film festivals programs director, movie-related events producer, long-time expert in film education. She worked as a Program Director on ARS Independent (Katowice), REGIOFUN (Katowice) and Children's Cinema Project. She’s head of Short Section in Visegrad Animation Forum, a program director for Cinema In Sneakers and coordinator of Polish Animation Producers Association. She’s a member of European Children Film Association and polish ambassador of European Animation Award.



From the 31st of May till 11th of June we will celebrate the 5th anniversary of Cinema in Sneakers Festival for Children and Youth.

“This year we reach out our fists for some birthday dap or, how we like to call it, a djoovick, we high-five you, shake your hands… wait, what am I saying? We offer hugs and kisses (naturally to those who want to be hugged and kissed). We’re thrilled you’ve been with us for 5 years already and we want to celebrate this long-term relation(ship). More so, having in mind your relations with us, we want to celebrate them as a state, conditioning, mission, inevitability, the essence of humanity, the essence of being a part of the world.”

Cinema In Sneakers is an extraordinary festival - not only it is addressed to children and youth, but is organized by them. Our Youth Group of the Force is responsible for communication, promotion and, most importantly, film selection. That’s exactly why it is so well suited to the young cinephiles wants and needs! We want to give them movies they could identify with - movies about their peers, their problems and about the world they live in.

Cinema In Sneakers film festival has 4 competition sections: Children Short Films Competition, Children Feature Films Competition, Youth Short Films Competition, Youth Feature Films Competition. Our main prize, Film-Wanderer, is being awarded by Children Jury and Youth Jury. This year, for the first time, there will be awards from European Children Film Association, Studio Cinemas Jury and Parents Jury.

During the festival there will be also multiple screenings out of competitions. In section „Best of Season” we want to show You the most beautiful movies we have seen lately, which didn’t make their way into the competition. „Naturally!” is about our relationship with nature, it’s power and beauty. But that’s not only movies - we would like to show you all that during our workshops: we invite You to listen to birds singing in the morning  or for a night stroll in a park! You are going to meet the most famous Polish movies for children and youth, eg. animated „Rex” or Stanisław Jędryka’s movies.

For the third time Cinema in Sneakers will hold the industry workshops and the conference Warsaw Film Talent Camp.

See you in Warsaw!

Children Feature Films Competition

  1. Mice & Owls (Uilenbal), dir. Simone van Dusseldorp, 2016, NL
  2. Up in the sky (Upp i det blå), dir. Petter Lennstrand, 2016, SE
  3. Becoming who I was, dir. Chang-Yong Moon, Jin Jeon, 2017, KR
  4. Heartstrings (Le coeur en braille), dir. Michel Boujenah, 2016, FR, BE
  5. Hang In There, Kids (Lokag Laqi), dir. Laha Mebow, 2016, TW
  6. Mountain Miracle – An Unexpected Friendship (Amelie Rennt), dir. Tobias Wiemann, 2017, DE, IT
  7. Little Wing (Tyttö nimeltä Varpu), dir. Selma Vilhunen, 2016, FI, DK
  8. Stonehead (Shi Tou), dir. Zhao Xiang, 2016, CN
  9. Little Harbour (Piata loď), dir. Iveta Grófová, 2017, SK, CZ

Youth Feature Films Competition

  1. 6A (6A), dir. Peter Modestij, 2016, SE
  2. The Fits (The Fits), dir. Anna Rose Holmer, 2015,
  3. Sami Blood (Sameblod), dir. Amanda Kernell, 2017, SE
  4. Sing Street (Sing Street), dir. John Carney, 2016, IE, UK, USA
  5. Heartstone (Hjartasteinn), dir. Guðmundur Arnar Guðmundsson, 2016, IS, DK
  6. Goodbye Berlin (Tschick), dir. Fatih Akin, 2016,

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Screen Shot 2017 05 22 at 15.23.48

First signatories:
Fatih Akin (Germany / Allemagne)
Robert Alberdingk Thijm (Netherlands / Pays-Bas)
Alejandro Amenábar (Spain / Espagne)
Christophe Andréi (France)
Montxo Armendáriz (Spain / Espagne)
Clio Barnard (United Kingdom / Royaume-Uni)
Marco Bellocchio (Italy / Italie)
Lucas Belvaux (Belgium / Belgique)
Pablo Berger (Spain / Espagne)
Julie Bertuccelli (France)
Iciar Bollain (Spain / Espagne)
John Boorman (United Kingdom / Royaume-Uni)
Fred Breinersdorfer (Germany / Allemagne)
Miroslava Brezovská (Slovakia / Slovaquie)
Peter Carpentier (Germany / Allemagne)
Marianna Čengel Solčanská (Slovakia / Slovaquie)
Dan Clifton (United Kingdom / Royaume-Uni)
Fernando Colomo (Spain / Espagne)
Stijn Coninx (Belgium / Belgique)
Catherine Corsini (France)
José Luis Cuerda (Spain / Espagne)
Jean-Pierre Dardenne (Belgium / Belgique)
Luc Dardenne (Belgium / Belgique)
Dante Desarthe (France)
Leonardo Di Costanzo (Italy / Italie)
Fabrice Du Welz (Belgium / Belgique)
Klemen Dvornik (Slovenia / Slovénie)
Benedikt Erlingsson (Iceland / Islande)
Stephen Frears  (United Kingdom / Royaume-Uni)
Matteo Garrone (Italy / Italie)
Costa Gavras (France)
Jochen Greve (Germany / Allemagne)
Michael Haneke (Austria / Autriche)
Michel Hazanavicius (France)
Miguel Hermoso (Spain / Espagne)
Hrvoje Hirar (Croatia / Croatie)
Agnieszka Holland (Poland / Pologne)
Dariusz Jablonski (Poland / Pologne)
Agnès Jaoui (France)
Joachim Lafosse (Belgium / Belgique)
Eric Lartigau (France)
Claude Lelouch (France)
Marek Leščák (Slovakia / Slovaquie)
Zuzana Liová (Slovakia / Slovaquie)
Daniele Luchetti (Italy / Italie)
Miloslav Luther (Slovakia / Slovaquie)
Ole Christian Madsen (Denmark / Danemark)
Ursula Meier (France-Switzerland / France-Suisse)
Roger Michell (United Kingdom / Royaume-Uni)
Radu Mihaileanu (France)
Catalin Mitulescu (Romania / Roumanie)
Cristian Mungiu (Romania / Roumanie)
Olivier Nakache (France)
Annette K. Olesen (Denmark / Danemark)
Ruben Östlund  (Sweden / Suède)
Sir Alan Parker (United Kingdom / Royaume-Uni)
Paweł Pawlikowski (United-Kingdom - Poland / Royaume-Uni - Pologne)
Raoul Peck (France)
Sverre Pedersen (Norway / Norvège)
Adela Peeva (Bulgaria / Bulgarie)
Nicolas Philibert (France)
Ventura Pons (Spain / Espagne)
Corneliu Porumboiu (Romania / Roumanie)
Elina Psykou (Greece / Grèce)
Marián Puobiš (Slovakia / Slovaquie)
Di Redmond (United Kingdom / Royaume-Uni)
Jamie Rosales (Spain / Espagne)
Michaël R. Roskam (Belgium / Belgique)
Lone Scherfig (Denmark / Danemark)
Volker Schlöndorff (Germany / Allemagne)
Céline Sciamma (France)
Maurizio Sciarra (Italy / Italie)
Jerzy Skolimowski (Poland / Pologne)
Marko Škop (Slovakia / Slovaquie)
Paolo Sorrentino (Italy / Italie)
Birgitte Staermose (Denmark / Danemark)
Hugh Stoddart (United Kingdom / Royaume-Uni)
Charles Sturridge (United Kingdom / Royaume-Uni)
Ondrej Šulaj (Slovakia / Slovaquie)
Bertrand Tavernier (France)
Eric Tolédano (France)
Dušan Trančík (Slovakia / Slovaquie)
Joachim Trier (Norway / Norvège)
Fernando Trueba (Spain / Espagne)
Felix Van Groeningen (Belgium / Belgique)
Wim Wenders (Germany / Allemagne)
Susanna White (United Kingdom / Royaume-Uni)

Cannes Film Festival

We, European citizens and filmmakers, live in a Europe that is a standard-bearer of hope when it remains faithful to its values of tolerance, open-mindedness and diversity and stands against the current trends towards nationalism, alternative facts and mistrust. We believe that European filmmaking reflects Europe’s positive values. That it can inspire ambition and renewal in Europe’s cultural policies. Europe isn’t just jobs, territories, markets and consumers, European culture also supports multiple identities, democracy and freedom of expression.
Over the years, Europe and cinema have sometimes drifted apart; but they have also crossed paths. The support of European creation and distribution by the MEDIA Programme has been particularly important; its budgetary allocation must be reinforced and its range of action broadened, especially when it comes to authors.
Access to culture for all is an objective that is modern, economically strong, politically ambitious, technologically possible thanks to new digital technologies and, above all, human. The new digital landscape is one of opportunity. But the stakes are also high for creators themselves.
Guaranteeing sustainable financing and development of European filmmaking must be our priority.
More than ever, the territoriality of copyright needs to be maintained: this principle ensures high level support for artistic creation in Europe, helping the most fragile filmmakers and European co-productions. Enshrining this principle underwrites the exclusivity of rights and the financing of works. It is territoriality that has provided audiences with the great variety of films that are being financed all over Europe. While the dream of an EU single market can be enticing, such a project would undermine Europe’s cultural diversity.
The right for authors to be able to live from their art must be reinforced, so that they can keep on creating.
The European Parliament and Council are currently debating a draft Directive on Copyright. For all filmmakers, the European Union must ensure an equal level of protection across the continent, and acknowledge an inalienable right to remuneration when works are exploited online.
It must also encourage transparency and proportional remuneration linked to the success of films.
Bringing Internet giants into the economics of European creation is essential to the future of cinema.
Europe’s ambition must be to guarantee conditions for fair and sustainable competition between all those who make works available to European audiences. It must also defend the principle of fiscal equity and quickly implement measures on the financing and broadcasting of European works, that cannot be evaded. Finally, the place of taxation and place of broadcast of the works must be better aligned, as is already the case with VAT.
Europe is not a modern-day lawless wild west; it has to ensure the equal application of the rules to all broadcasters, platforms, sharing websites and social networks.
While piracy is still a scourge and lawful services struggle for viewers, it is necessary to promote a better visibility for films, on all formats.
We must speed up the development of film finding tools that cover all lawful services and also encourage cooperation between EU Members as well as existing initiatives.
All authors hope that their works will be accessible by as many people as possible; their works must be widely available on cinema screens, TV and its digital variants, and on all on-demand services.
Professionals will have to make an effort for this to happen. In addition, the European institutions, by creating quotas for the presence and promotion of European works for on-demand services, can establish a virtuous link between digital platforms and creators, without dismissing cultural diversity.
The task is not easy and the stakes are high: We need to unite political actors, creators and citizens  so that we can rethink and rebuild an ambitious and rigorous cultural policy, tailored to new digital uses and economies, in such way that values the works of creators and puts those creators at the heart of future policies.

Download the full press release here