{"id":34107,"date":"2026-05-26T12:06:30","date_gmt":"2026-05-26T10:06:30","guid":{"rendered":"https:\/\/www.nihrff.de\/archiv-2013\/"},"modified":"2026-07-21T16:38:33","modified_gmt":"2026-07-21T14:38:33","slug":"archiv-2013","status":"publish","type":"page","link":"https:\/\/www.nihrff.de\/en\/archiv-2013\/","title":{"rendered":"Archiv 2013"},"content":{"rendered":"\n

\u2190 back to Archive<\/a><\/p>\n\n\n\n

NIHRFF 2013<\/h1>\n\n\n\n

Award Winners<\/h3>\n\n\n\n

International Human Rights Film Award Nuremberg<\/strong><\/strong><\/p>\n\n\n\n

Norte, the End of History,<\/strong> Norte, hangganan ng kasaysayan<\/em>, Philippines 2013, 250 min, director: Lav Diaz<\/p>\n\n\n\n

Jury statement<\/summary>\n

The jury would like to celebrate the careful and close curatorial approach to the Competition program selection, presenting strong, yet sensitive plethora of diverse cinematic and narrative approaches in one place.<\/p>\n\n\n\n

After an enriching discussion, the jury arrived at a unanimous decision. The film we chose convinced us by both the epic scope of its story and the intimate portrayal of its characters and their grave fates. Through a subtle though multi layered narration the film interweaves social, political, religious and literary aspects into an organic and humanistic whole. We were strongly impressed by the painterly crafted yet naturalistic tableaus with strong emotional acting, a fluid rhythm and strong documentary like dialogues. We are glad to announce that the Internationale N\u00fcrnberger Filmpreis der Menschenrechte goes to Norte, the end of history by Lav Diaz.<\/p>\n<\/details>\n\n\n\n

Open Eyes Youth Jury Award<\/strong>:<\/strong><\/p>\n\n\n\n

WASTELAND \u2013 So That No One Becomes Aware of It, <\/strong>\u00d6DLAND – Damit keiner das so mitbemerkt,<\/em> Germany 2013, 79 min, director: Anne Kodura<\/p>\n\n\n\n

Special mention:<\/strong> Call Me Kuchu, USA 2012, 90 min, directors: Katherine Fairfax Wright, Malika Zouhali-Worrall<\/p>\n\n\n\n

Jury statement<\/summary>\n

What does the subject of \u201chuman rights\u201d mean for us?<\/p>\n\n\n\n

This was the question that we examined in our \u201chuman rights film\u201d class at Labenwolf Gymnasium over a long period of time and there were always new disagreements. Of course, everyone has his\/her idea of what a human right is but many do not know exactly what this means in certain situations.<\/p>\n\n\n\n

The ten films that were selected as part of this year\u2019s Open Eyes program show the very diverse ways in which human rights are dealt with in various environments and generations. Moreover, each film took an individual approach to the issue and employed different artistic or documentary means to do so. It was difficult, therefore, for us to come to a decision and we chose various criteria to shape the selection process. In the end, we narrowed our choice down to two films \u2013 one that is direct and full of facts, emotions and events, and one that is aesthetic and abstract in the way that it deals with a problematic human rights issue.<\/p>\n\n\n\n

That\u2019s why second place definitely goes to \u201cCall Me Kuchu\u201d whose story and fates moved us considerably. The topicality and importance of the film\u2019s subject matter \u2013 the repression of homosexuals \u2013 must not be underestimated and that\u2019s why we want to recommend this film, independently of the first prize.<\/p>\n\n\n\n

It turned out that the second, poetic film made us reflect more because it, on the one hand, leaves a lot open to interpretation, and on the other, it works with incredibly beautiful images. The chosen film followed children at an isolated center for asylum seekers one whole summer long \u2013 revealing their sad and eventless daily lives. The monotony of their lives is shown by black-and-white shots that are reduced to the essential. Another reason for our choice is that there are such centers all around us but hardly anyone knows of their existence and of life there in the shadows of society. This year\u2019s Open Eyes prize goes to \u201c\u00d6dland \u2013 Damit keiner das so mitbemerkt\u201d (WASTELAND \u2013 So That No One Becomes Aware of It.\u201d<\/p>\n<\/details>\n\n\n\n

Audience Award:<\/strong><\/p>\n\n\n\n

No Fire Zone: The Killing Fields of Sri Lanka<\/strong>, Sri Lanka\/United Kingdom 2013, 93 min, director: Collum Macrae<\/p>\n\n\n\n

Patronage und NIHRFF Honorary Award:<\/strong><\/p>\n\n\n\n

Mohammad Rasoulof<\/strong><\/summary>\n

Mohammad Rasoulof is one of the most prominent Iranian directors and also one of the most courageous. The master of allegory, whose Goodbye (B\u00e9 omid e didar) won the best director prize in the Un Certain Regard section at the Cannes film festival in 2011, is one of the most significant representatives of Iran\u2019s new wave. He made his international breakthrough with his second feature film Iron Island (Jazireh-heh-Ahani). His visual poetry unfolds in pictures of rural Iran that are as exquisitely composed as the screenplays that he always writes himself. However, he always is highly attuned to social circumstances and the political environment in which his characters move. In 2010, he was sentenced to jail alongside Jafar Panahi for \u201cassembly and colluding with the intention to commit crimes against the country\u2019s national security and propaganda against the Islamic Republic\u201d. The case is still pending and Rasoulof refuses to give up: his most recent film Manuscripts Don\u2019t Burn is an acute criticism of censorship and torture in Iran that premiered at this year\u2019s Cannes film festival in May. We are extremely pleased that Mohammad Rasoulof has agreed to be our festival patron this year. He will receive the 8th Nuremberg International Human Rights Film Festival\u2019s honorary prize at the award ceremony on 8.10.<\/p>\n<\/details>\n\n\n\n

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Jury International Competition<\/h3>\n\n\n\n
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Tom Fassaert<\/summary>\n

Tom Fassaert grew up in both the Netherlands and South Africa, where initially a strong interest for photography and music led to his passion for film. In 2006 Tom graduated at the Dutch Film Academy with the critically acclaimed short documentary Doel Leeft, a film about a small Flemish village threatened with demolition. Doel Leeft received an honorary mention from the jury at DOK Leipzig film festival. Since his graduation Tom has completed several short documentaries and worked as an editor and writer. He stayed closely connected to Doel, though, and in 2011 premiered his feature-length documentary An Angel in Doel at the Berlin Film Festival which was also screened at NIHRFF the same year. Tom also teaches at Nederlandse Filmacademie and IDFA Mediafonds Workshop. He is currently working on a documentary on his own family, called A History of Love.
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Lukas Foerster<\/summary>\n

Lukas Foerster is a research assistant at the FU Berlin\u2019s Collaborative Research Center 626 \u201cAesthetic Experience and the Dissolution of Artistic Limits\u201d. He also works as a curator and a freelance journalist, including for the taz, perlentaucher.de and cargo.
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Grit Lemke<\/summary>\n

Grit Lemke was born in 1965 in Spremberg\/Niederlausitz and works as a freelance curator, journalist, film critic. She studied cultural anthropology, literature and ethnology and has a PhD in European ethnology. She has been working for several film festivals (Leipzig, Sheffield, Cottbus, Wiesbaden) since 1991. Beyond that Grit Lemke curated numerous film programmes in Germany and abroad, and holds teaching assignments for visual anthropology and documentaries. Since 2010 she is the Head of the Documentary Programme at DOK Leipzig.
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Kumjana Novakova<\/summary>\n

Kumjana Novakova is the co-founder of the Pravo Ljudski Film Festival in Sarajevo, Bosnia and Herzegovina. She studied political science and social research, focusing on the issues of identity until she co-founded the Pravo Ljudski Film Festival in 2006. She has been the creative director of the festival since, and is leading the programming team. She currently lives and works between Skopje and Sarajevo, heading the New Media and Society program department of Studiorum in Skopje, focusing mostly on the use of new media and audiovisual arts. Kumjana collaborates with numerous festivals, while most currently she initiated the establishment of the first regional creative documentary school in the Balkans \u2013 ACTive, in cooperation with DokuFest from Prizren, and MakeDox from Skopje.<\/p>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Ina Rossow<\/summary>\n

Ina Rossow was born 1975 in Halle\/Saale, Germany. She graduated from Leipzig University with a degree in Cultural Sciences, Journalism and Ethnology and has worked freelance for museums and exhibitions before joining d.net sales\/Deckert Distribution (since 2002), ma.ja.de (since 2011) and Egoli Tossell Film (2002 \u2013 2011) as a festival manager for both documentary and fiction films. She lives in Leipzig.
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Open Eyes Youth Jury<\/h3>\n\n\n\n

Janina Aastauer, Naomi Freudiger, Viola Karaalioglu, Johanna Kleiser, Valerie Kretschmar, Elisabeth Kuhn, Benita Orend, Naomi Pappenberger, Madeleine Stauber, Klara Teichmann from Labenwolf Gymnasium N\u00fcrnberg (high school).<\/p>\n\n\n\n

<\/div>\n\n\n\n

Films<\/strong><\/h3>\n\n\n\n
Films A-Z<\/summary>\n
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10 % \u2013 What Makes a Hero?<\/h4>\n\n\n\n

Israel 2013, 92 min, English, Hebrew, Arabic with English subtitels, director: Yoav Shamir<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Info<\/strong>s<\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

What makes a hero? What type of individual maintains the integrity to fight for what is just under any circumstances? What compels someone to jump into a river, risking his own life to save a stranger? Why, during World War II, did some Germans put themselves at risk in order to save Jews? 10% attempts to penetrate and understand the very makeup of the human soul. \u201cIn the film 10 % director Yoav Shamir, asks \u2018What makes a hero?\u2019 and attempts to give an answer by taking us on a world wide tour from New York to the Congo, Slovenia, South Africa, Israel and Palestine. He tries to find a typical pattern in what makes a hero. In the film we meet many people along the way who have committed acts of heroism in various forms, from a guy in New York who threw himself under a subway train to save a life of someone who had fallen on the tracks, to a Belgian woman who hid Jews in her apartment during the second world war, to a white woman in South Africa who grew up protesting against apartheid and went against the grain of her peer group. This subject makes for a fascinating documentary. The characters, the heros that he speaks to are widely different; there is no common thread as to why each hero has gone the extra mile to help a fellow human being. The \u2018hero\u2019 that Shamir seems to be most affected by is one of his \u2018own\u2019, Yonatan Shapira, an ex-Israeli pilot who, like Shamir, trained with the Israeli army, but who then went on to denounce the Israeli government, to openly criticise them and accuse them of genocide, resulting in him being labelled a traitor in his own country but a hero elsewhere. This makes Shamir reassess his own position. He attempts to join Yonatan in a protest. There is a telling moment when Yonatan says to camera \u2018you only need to taste tear gas in your mouth that was aimed at the Palestinians, to take that last bit of Zionism you ever had out of you\u2019. Shamir looks openly shaken. The film has a hint of self mockery and irony throughout but in this scene, the seriousness of what it really takes to be a hero is brought home to the director.\u201d (Catherine Nelson-Pollard)<\/p>\n\n\n\n

Director<\/strong>: Yoav Shamir<\/summary>\n

Biography<\/strong>: Yoav Shamir is a multi-award-winning independent documentary director, producer and cinematographer. For 12 years, Yoav has been known for pursuing complex and taboo social, political and cultural subject matters, and delivering thought-provoking films with energy and rigor. His impressive work includes Checkpoint, Defamation, and Flipping Out which have won prestigious awards at some of the largest film festivals including the Sundance Film Festival, Berlin, IDFA, Hot Docs and Tribeca.<\/p>\n\n\n\n

Filmography:<\/strong> Checkpoint (2003), 5 Days (2005), Flipping Out (2008), Defamation
(2009), Full Gas (2010), 10 % \u2013 What makes a Hero? (2013),
Messiah (2014)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Yoav Shamir, Tanya Aizikovich<\/p>\n\n\n\n

Editor:<\/strong> Omri Ayalon, Sasha Franklin<\/p>\n<\/div>\n\n\n\n

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Produ<\/strong>cer:<\/strong> Yoav Shamir<\/p>\n\n\n\n

Production Company<\/strong>: Yoav Shamir Films<\/p>\n\n\n\n

World Sales:<\/strong> Cinephil<\/p>\n\n\n\n

German Distributor:<\/strong> Yoav Shamir Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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2 in 1<\/h4>\n\n\n\n

2 v 1, Russia 2010, 27 min, Russian with English subtitles, director: Svetlana Sigalaeva<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Homosexuality remains strictly taboo in Russia. In 2012 Moscow courts banned gay pride parades in the capital for the next 100 years. Any pride marches planned in previous years also faced bans and were forcibly broken up by the police if they went ahead. This documentary portrays a young man who loves being a policeman and happens to love men too. Torn between his sense of duty and his personal desires, he talks about his anxieties, his yearnings, and what it means to be homosexual in a deeply patriarchal environment. (goEast Film Festival 2013)<\/p>\n\n\n\n

Director<\/strong>: Svetlana Sigalaeva<\/summary>\n

Biography<\/strong>: Born in 1988 in Moscow, Svetlana Sigalaeva entered the VGIK (directors\u2019 department) on a commercial basis. A year later she was expelled for unsuitability for the occupation. Furthermore she was at a film studio\u2019s beck and call. She entered the VGIK again in 2008 and was accepted for a government scholarship in the workshop of Sergei Misoshnichenko.<\/p>\n\n\n\n

Filmography:<\/strong> 2 in 1 (2010), The Road to Hell (2012), Not with Us (2012), Kardo (2013), Kak k Ivanu Ivanovichu sovest prishla (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Sergey Khohriyakov<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Sergey Shirinskiy<\/p>\n\n\n\n

Production Company<\/strong>: VGIK<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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45 Minutes to Ramallah<\/h4>\n\n\n\n

Germany 2013, 87 min, German, director: Ali Samadi Ahadi<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A road movie set in the Middle East. Two Palestinian brothers take a trip to Ramallah that they do not want to last longer than 45 minutes because they are smuggling the body of their late father. However, a whole series of misfortune lands them in trouble with the Russian mafia and Palestinian terrorists and the short journey becomes a nightmare. Rafik, who lives in Germany, comes home for his brother Jamal\u2019s wedding. During the celebrations, ancient conflicts surface and the father has a fatal heart attack. The two brothers have to smuggle him from Jerusalem to Ramallah for his burial. However, they run into one predicament after the next and get landed into trouble with the Russian mafia and Palestinian terrorists. In the end, the Israeli security forces are the least of their problems. German-Iranian director Ali Samadi Ahadi sets his story about a family against the backdrop of the Middle East conflict, telling it with charm and a good dosage of irony. The screenplay for this turbulent comedy was written by the German- Israeli Gabriel Bornstein. It treats its deadly serious subject matter with means of entertainment. \u201cI think that comedies about uncomfortable themes have the strongest and most lasting effect on the viewer. The result is not only a few hours of entertainment \u2013 audiences can take something away from the cinema visit, something that challenges them and hopefully leads to discussions or even to action. (\u2026) It\u2019s important to me personally to deal with this issue and to reach as many people as possible with the story \u2013 laughing and crying at the same time.\u201d (Ali Samadi Ahadi)<\/p>\n\n\n\n

Director<\/strong>: Ali Samadi Ahadi<\/summary>\n

Biografie<\/strong>: Director and author Ali Samadi Ahadi was born in 1972 in Iran. In 1985 he came to Germany without his family and later took his Abitur in Hannover. In Kassel he studied visual communication with the focus on film and television. At the end of the 90\u2019s he started his career as a filmmaker. He participated in several documentaries and reports as director, film editor or cinematographer. His documentary Lost Children in co-production with Oliver Stoltz won the German Film Award 2006 as well as numerous international awards. More recently, Ahadi made his first feature film Salami Aleikum in 2009 reaching a top position in the Arthouse charts with this culture clash comedy. His 2009 animated documentary The Green Wave won numerous awards at international film festivals.<\/p>\n\n\n\n

Filmografie:<\/strong> Boat People (2000), Afrika maybuye (2003), Culture Clan (2004),
Lost Children (2005), Salami Aleikum (2009), The Green Wave (2010), 300 Worte Deutsch (2013), Pettersson und Findus (2013), 45 Minutes to Ramallah (2012)<\/p>\n<\/details>\n\n\n\n

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Script:<\/strong> Gabriel Bornstein<\/p>\n\n\n\n

Camera:<\/strong> Rodja K\u00fckenthal, Wedigo von
Schultzendorff<\/p>\n\n\n\n

Editor:<\/strong> Silke Olthoff<\/p>\n\n\n\n

Cast:<\/strong> Karim Saleh, Navid Akhavan, Julie
Engelbrecht<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Mohammad Farokhmanesh, Frank Geiger, Armin Hofmann<\/p>\n\n\n\n

Production Company: <\/strong>Brave New Work Film Productions<\/p>\n\n\n\n

German Distributor:<\/strong> Zorro Film GmbH<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The 727 Days Without Karamo<\/h4>\n\n\n\n

Die 727 Tage ohne Karamo, Austria 2013, 80 min, German, director: Anja Salomonowitz<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In The 727 Days Without Karamo couples, whose love is put to a special test, give us insight into their lives. One partner of each couple is not originally from Europe and the lovers find themselves confronted with immigration law and its impact. Director Anja Salomonowitz depicts a story, which many couples experience, in which the snapshot moments of scene after scene form a continuous narrative, similar to a relay race. A sudden deportation could break them apart at any time. Those whose relationship can withstand enormous psychic and (also) financial burden hope for a lasting life together or for a reunion. As with Susanne, who has waited 727 days for Karamo, her husband and the father to her children, to be allowed to return. The personal insights are marked by hope, government intervention into private life, the dream of great love, and sobering reality. These couples go beyond lingual, territorial and social boundaries \u2013 with hope that their relationship can overcome the battle with immigration law regulations. Anja Salomonowitz combines very different facets into an exciting, very moving and strongly expressive documentary mosaic. A compelling, filmic plea for love without borders. \u201cDocumentary story-telling is always a dual process: on the one hand her story-telling style aims to address relevant socio-political conditions and raise awareness of intolerable situations and, on the other hand, to expand and vary and create anew the view on a theme with unusual narrative strategies. In The 727 Days Without Karamo the filmmaker has further refined her It Happend Just Before basic concept for telling a documentary story differently. The material drawn from reality, and its emotional potential, are thereby placed in constant tension with each other. Anja Salomonowitz denies both sides a cinema of pity. Above all, The 727 Days Without Karamo wants to tell the story of people fighting for another person and defending their right to choose their partner freely. Therefore the filmmaker (as in her previous films) has chosen a dominant colour in her shots: yellow. For courage and the fighting spirit and contempt.\u201c (Karin Schiefer)<\/p>\n\n\n\n

Director<\/strong>: Anja Salomonowitz<\/summary>\n

Biography<\/strong>: Anja Salomonowitz was born 1976 in Wien, Austria. She studied at the Film Academy in Wien and at the University Konrad Wolf fot Film and Television in Potsdam. She lives in Vienna as a scriptwriter and director. With her film Kurz davor ist es passiert she participated in the NIHRFF competition in 2007.<\/p>\n\n\n\n

Filmography:<\/strong> Carmen (2000), Projektionen eines Filmvorf\u00fchrers in einem Pornokino (2002), Monument (2005), Kurz davor ist es passiert (2006), Spanien (2012), Die 727 Tage ohne Kamaro (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Martin Putz<\/p>\n\n\n\n

Editor:<\/strong> Petra Z\u00f6pnek<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Alexander Dumreicher-Ivanceanu, Bady Minck<\/p>\n\n\n\n

Production Company<\/strong>: AMOUR FOU Vienna<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Act of Killing<\/h4>\n\n\n\n

Denmark, United Kingdom, Norway 2012, 115 min, Indonesian with German subtitels, director: Joshua Oppenheimer, co-director: Christine Cynn<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In a country where killers are celebrated as heroes, the filmmakers challenge unrepentant death squad leaders to dramatize their role in genocide. The hallucinatory result is a cinematic fever dream, an unsettling journey deep into the imaginations of mass-murderers and the shockingly banal regime of corruption and impunity they inhabit. The Act of Killing is about killers who have won, and the sort of society they have built. Unlike ageing Nazis or Rwandan g\u00e9nocidaires, Anwar and his friends have not been forced by history to admit they participated in crimes against humanity. Instead, they have written their own triumphant history, becoming role models for millions of young paramilitaries. The Act of Killing is a journey into the memories and imaginations of the perpetrators, offering insight into the minds of mass killers. And The Act of Killing is a nightmarish vision of a frighteningly banal culture of impunity in which killers can joke about crimes against humanity on television chat shows, and celebrate moral disaster with the ease and grace of a soft shoe dance number. Documentary legend Erol Morris raves about The Act of Killing: \u201cEvery now and then a non-fiction film comes along that is unlike anything else I have seen: Bu\u00f1uel\u2019s Land Without Bread, Werner Herzog\u2019s Fata Morgana, Hara\u2019s The Emporor\u2019s Naked Army Marches On. Well, it\u2019s happened again. Here, Joshua Oppenheimer invites unrepentant Indonesian death-squad leaders to make fiction films reenacting their violent histories. Their cinematic dreams dissolve into nightmares and then into bitter reality. Like all great documentary, The Act of Killing demands another way of looking at reality. It is like a hall of mirrors \u2013 the so-called mise-en-abyme \u2013 where real people become characters in a movie and then jump back into reality again. And it asks the central question: what is real? Gabriel Garcia Marquez, in a Paris Review interview, wrote about reading Kafka\u2019s Metamorphosis for he first time, \u2018I didn\u2019t know you were allowed to do that.\u2019 I have the same feeling with this extraordinary film.\u201d<\/p>\n\n\n\n

Director<\/strong>: Joshua Oppenheimer<\/summary>\n

Biografie<\/strong>: Born in Texas, USA, in 1974, he was educated at Harvard and Central Saint Martins, London. For over a decade, he has focused on militias, death squads and their victims in his multiple award-winning short and documentary films. In addition to his film work, he is Senior Researcher on the UK Arts and Humanities Research Council\u2019s Genocide and Genre project.<\/p>\n\n\n\n

Filmography:<\/strong> These Places We Learned to Call Home (1997), The Entire History of the Louisiana Purchase (1997), Land of Enchantment (2001), The Globalization Tapes (2003), Show of Force (2007), The Act of Killing (2012)<\/p>\n<\/details>\n\n\n\n

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Co-director: <\/strong>Christine Cynn<\/p>\n\n\n\n

Camera:<\/strong> Carlos Arango de Montis, Lars Skree<\/p>\n\n\n\n

Editor:<\/strong> Niels Pagh Andersen, Janus Billeskov Jansen, Mariko Montpetit, Ariadna
Fatjo-Vilas Mestre, Charlotte Munch
Bengtsen, Erik Andersson<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Signe Byrge S\u00f8rensen, Joshua Oppenheimer<\/p>\n\n\n\n

Production Company<\/strong>: Final Cut For Real<\/p>\n\n\n\n

World Sales:<\/strong> Cinephil<\/p>\n\n\n\n

German Distributor:<\/strong> Wolf Consultants
(Neue Visionen Filmverleih)<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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AFTER THE SILENCE
what remains unsaid does not exist?<\/h4>\n\n\n\n

DUP\u0102 T\u0102CERE ceea ce nu e rostit nu exist\u0103?, France, Romania 2012, 96 min, Romanian English, French with English subtitels, director: Vanina Vignal<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

After the Silence deals with how the effects of dictatorship are still extremely vivid, even after the fall of dictatorship. It is a film about the abuses of the state, about fear, how silence is passed on from one generation to the next. A film about the space which, despite all that is known, is left to ghosts that make it impossible to live fully in the present. Three generations walled in silence. The legacy of denial, as nothing has been put back in its place and nothing has been said. Killing the dictator is not enough to kill the dictatorship.<\/p>\n\n\n\n

Director’s Statement<\/strong>
I met Ioana in 1991, in Bucharest, a year after the coup d\u2019\u00e9tat that the media called the \u201cRevolution\u201d. When we met, we talked about everything except the dictatorship from which her country had recently emerged, as if silence could expunge everything that was still too raw. After my studies in Bucharest, I returned regularly to visit Ioana and her family, with whom I\u2019d created strong family ties \u2013 I became the godmother of Ioana\u2019s daughter, T\u00e9ona, and Rodica, Ioana\u2019s mother, had become like a substitute mother to me. I understand their country\u2019s problems \u201cfrom the inside\u201d. Now I personally feel them. It helped me work on the subjects of abuse, silence and fear, on the cocoon that Ioana made for herself \u2013 an illusory cocoon that preserves her from the surrounding reality and protects her from the abuse, both present and past, for the old, intrusive reflexes die hard in Romania, and Ioana, powerless and depressed, has withdrawn into her family unit. She refuses the reality of the outside world in which she lives \u2013 she involuntarily maintains a connection with the historical injustice \u2013 her cocoon has become a cell. (\u2026) Through the story of Ioana, a young, 40 year old Romanian woman, my film shows how living under a dictatorship becomes a way of life. And this is not the \u201cprivilege\u201d of ex-communist countries.<\/p>\n\n\n\n

Director<\/strong>: Vanina Vignal<\/summary>\n

Biografie<\/strong>: Vanina Vignal was born in France. She trained as an actress at the Jacques Lecoq International School of Theater and Movement, and the National Theatre Conservatory of Romania. She has worked extensively in theatre, which has given her a subtle perception of drama embedded in people\u2019s everyday lives. She then trained as an assistant editor and assistant director, before turning to her own projects. Stella (2007) was Vanina Vignal\u2019s first film as a director. After the Silence is the second part of a Romanian film trilogy.<\/p>\n\n\n\n

Filmography:<\/strong> Stella (2007), AFTER THE SILENCE What remains Unsaid Does Not Exist? (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Vanina Vignal<\/p>\n\n\n\n

Editor:<\/strong> M\u00e9lanie Braux<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Vanina Vignal, Cristian Mungiu<\/p>\n\n\n\n

Production Company<\/strong>: NOVEMBREproductions, Mobra Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Ai Weiwei \u2013 Never Sorry<\/h4>\n\n\n\n

USA 2012, 90 min, Chinese, English with German subtitles, director: Alison Klayman<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cI feel like a chess player\u201d, says Chinese avant-garde artist and political activist Ai Weiwei, \u201cmy opponent makes a move, and then I make the next one.\u201d No sooner did he realise that the 2008 Olympics were to be used for party propaganda than Ai Weiwei boycotted the event and, when the authorities tried to cover up the earthquake in Sichuan Province, he began researching the names of more than 5,000 children who lost their lives in the rubble of poorly built schools. Ai Weiwei has always made public his opposition to silence and oppression. His appearances on the internet and the unsparing truths he airs in his blogs have often led to police harassment. But even then he never gives up, and instead films his official pursuers and minders with his video camera and publishes his footage on the web. And alongside all of these activities he still manages to casually prepare his exhibitions and maintain his close relationship with his family . Alison Klayman spent two years following this internationally celebrated activist and has distilled this first feature-length portrait from one hundred hours of material. Her documentary provides an informed insight into conditions on the ground in China today with oppression on one side and resistance on the other. (Berlinale Special 2012)<\/p>\n\n\n\n

Director<\/strong>: Alison Klayman<\/summary>\n

Biography<\/strong>: Born in Philadelphia, USA in 1984, Alison Klarmann graduated with a BA in history from Brown University and subsequently spent four years living in China where she produced radio and television features for various international and local channels. She also began shooting her debut documentary feature Ai Weiwei \u2013 Never Sorry.<\/p>\n\n\n\n

Filmography:<\/strong> Ai Weiwei \u2013 Never Sorry (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Alison Klayman<\/p>\n\n\n\n

Editor:<\/strong> Jen Fineran<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Alison Klayman, Adam Schlesinger<\/p>\n\n\n\n

Production Company<\/strong>: MUSE Film and Television<\/p>\n\n\n\n

World Sales:<\/strong> Independent Film Company, London<\/p>\n\n\n\n

German Distributor:<\/strong> DCM<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Alms for the Blind Horse<\/h4>\n\n\n\n

Anhey gorhey da daan, India 2011, 112 min, Panjabi with English subtitles, director: Gurvinder Singh<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Adapted from Gurdial Singh\u2019s novel of the same title, Gurvinder Singh\u2019s debut feature opens on the harsh reality of a small village situated in Punjab. The extreme poverty in which the villagers live colors each scene with a heaviness that, added to the rest of the injustices suffered by the villagers, makes the distressing effect all the more intense. Singh\u2019s camera cleverly ventures outside the immediate space of the story, taking note of traces of misery imprinted on the villagers\u2019 faces and in their eyes, and loudly pronounced by their deep silence. Most of the actors in the film are non-professionals, and Singh displays great skill in extracting wonderful dramatic moments from them. The story unfolds as a large company destroys one of the houses on the outskirts of the village. Despite their anger, the villagers simply stand still supervised by police while the demolition takes place. Later, the people convene in an attempt to mobilize and perhaps give voice to their frustration, but deep down they know all too well that things are beyond their control. They are, after all, a caste downtrodden by an historical injustice that fundamentally and completely denies them the right to protest or to try to change their reality. Haunting and beautiful cinematography augments Singh\u2019s film, which is a siren that points to the latent violence that resides in those who see no possibility of a better life \u2013 a violence that might explode at any moment. (Raman Chawla)<\/p>\n\n\n\n

Director<\/strong>: Gurvinder Singh<\/summary>\n

Biography<\/strong>: Graduating from Delhi University in 1995, Gurvinder Singh worked briefly as a graphic artist in advertising before post graduating from Pune University. He went on to study film direction at the Film and Television Institute (FTII), Pune, graduating in 2001. He documented subaltern folk music in Punjab from 2002 to 2006. He made documentaries on the arts for the next few years, besides painting and cooking. Alms for the Blind Horse is his first feature film. He currently lives in Pune.<\/p>\n\n\n\n

Filmography:<\/strong> Pala (2003), Passage (2004), A Winter Tale (2004), Legs Above my Feet (2007), An Untitled Film (2008), Alms for the Blind Horse (2011), The Fourth Direction (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Satya Nagpaul<\/p>\n\n\n\n

Editor:<\/strong> Ujjwal Chanra<\/p>\n\n\n\n

Cast:<\/strong> Mal Singh, Samuel John, Serbjeet Kaur, Dharminder Kaur<\/p>\n\n\n\n

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Producer:<\/strong> Mani Kaul<\/p>\n\n\n\n

Production Company<\/strong>: National Film Development Corporation India<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Argentinian Lesson<\/h4>\n\n\n\n

Argety\u0144ska lekcja, Poland 2011, 56 min, Polish, Spanish with English subtitles, director: Wojciech Staro\u0144<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/p>\n\n\n\n

In 1998 Wojciech Staro\u0144 made the documentary film \u201eThe Siberian Lesson\u201c. The film told the story of a young teacher who emigrated to the vicinity of Lake Baikal in order to teach Polish deportees\u2019 descendants their native language. Many years later, as a married couple with two children, the director and his wife are leaving for Argentina. For their little son, this trip will not only be an encounter with an unknown language. Influenced by their Argentinian friend, Janek enters the fascinating world of imagination, and is introduced to the bitterness of childhood prematurely contaminated by the problems of grown-ups. Wojciech Staro\u0144 has already had one of his works screened at NIHRFF: He was responsible for the haunting cinematography of NIHRFF\u2019s 2011 award winner The Prize (directed by Paula Markovitch), which won him a Silver Bear for Best Cinematography at Berlin Film Festival 2011. The beautiful score for both films was composed by Sergio Gurrola who was a guest of NIHRFF 2011. Argentinian Lesson won the Silver Dove at prestigeous DOK Leipzig film festival in 2011. The jury stated: \u201cThis cinematic journey follows the filmmaker\u2019s 8-year-old son from Poland to Argentina as he becomes acclimated to his new home and develops a friendship with a young girl that is both joyous and sorrowful. The film skillfully pushes the boundaries between fiction and documentary. Its filmmaker demonstrates a high degree of craft regarding the composition of his images and the rhythms of narrative editing. His finely-etched characters stay with us long after the movie\u2019s final, surprisingly humorous image.\u201d<\/p>\n\n\n\n

Director<\/strong>: Wojciech Staro\u0144<\/summary>\n

Biography<\/strong>: Wojciech Staro\u0144 is a cinematographer and film director. As a graduate of the Cinematographic Department at the Film School in Lodz, he has shot over twenty documentaries and feature length fiction films. Staro\u0144 is a member of the European Film Academy and Polish Society of Cinematographers (PSC). He made his documentary debut with The Siberian Lesson (1998), which was awarded in Amsterdam (IDFA) and Krakow, among others. He received the Silver Bear Award at Berlinale 2011 for his photography of The Prize.<\/p>\n\n\n\n

Filmography:<\/strong> The Siberian Lesson (1998), Plac Zbawiciela (2006), Paradise
(2008), Argentinian Lesson (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Wojciech Staro\u0144<\/p>\n\n\n\n

Editor:<\/strong> Agnieszka Bojanowska, Wojciech Staro\u0144, Zbigniew Osinsk<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Malgorzata Staro\u0144<\/p>\n\n\n\n

Production Company<\/strong>: Staron Film<\/p>\n\n\n\n

World Sales:<\/strong> TVP SA<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Back to the Square<\/h4>\n\n\n\n

Norway 2012, 83 min, Arabic with English subtitles, director: Petr Lom<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The joy, pride and sense of community experienced during the revolution in Egypt was replaced by the everyday fight for survival. How did the transformation impact the lives of citizens? Employing the documentary essay form, director Petr Lom considers the character and depth of the revolutionary changes. He interviews not only opponents and supporters of the revolution, but also the bystanders. A guide at the pyramids, a minibus driver who refused to transport the arrested to prison, the wife of a wrongly accused man, a young girl stigmatised in her village for taking part in the uprising, the brother of an imprisoned blogger \u2013 all gradually paint a complex and unhappy portrait of post-revolutionary Egypt. The revolution has not managed to overthrow a system of repression rooted in both state organs and interpersonal relationships. On the contrary, it has led to increased despotism on the part of police. However, this film clearly shows that people have decided to take advantage of the increased leeway the revolution has brought.<\/p>\n\n\n\n

Director’s Statement<\/strong><\/p>\n\n\n\n

We filmed in Egypt for ten months since the beginning of the Revolution in January. A year later, protests continue, but the euphoria of Tahrir Square and its Egyptian Velvet Revolution have given way to a more sober realization that Egypt has a long struggle ahead to free itself of old power structures, entrenched elites, endemic corruption, and above all, widespread abuse of basic human rights. More than 12 000 protesters have been detained and tried in military tribunals that hand down sentences of one to four years in trials often lasting merely one hour. There have been no systematic attempts to reform the police, which is responsible for the majority of the 900 killed during the revolution. Many Egyptians still live in a world of fear. But the difference is, in the new Egypt, they are not willing to remain silent in the face of injustice. Our film is about courage to resist injustice in post-revolutionary Egypt.<\/p>\n\n\n\n

Director<\/strong>: Petr Lom<\/summary>\n

Biography<\/strong>: Petr Lom was born in Prague in 1968, and grew up in Canada. A former academic with a Ph.D. in political philosophy from Harvard, he gave up his university career in 2003 to become a fulltime documentary filmmaker specializing in human rights film. His first film was Bride Kidnapping in Kyrgyzstan (2004). This was followed by On a Tightrope (2007), a film about the persecution of the Uighur minority in China, which premiered at the Sundance Film Festival. Letters to the President (2009), about the regime of President Ahmadinejad of Iran, premiered at the Berlinale. All of his filmshave screened at NIHRFF. In 2011, Petr Lom was a member of NIHRFF\u2019s International Jury.<\/p>\n\n\n\n

Filmography:<\/strong> Bride Kidnapping in Kyrgyzstan (2004), On a Tightrope (2007), Letters to the President (2009), Back to the Square (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Petr Lom<\/p>\n\n\n\n

Editor:<\/strong> Erik Andersson, Petr Lom<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Torstein Grude<\/p>\n\n\n\n

Production Company:<\/strong> Piraya Films AS<\/p>\n\n\n\n

World Sales:<\/strong> Kudos Family Distribution<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Behind the Candelabra<\/h4>\n\n\n\n

USA 2013, 118 min, English with German subtitles, director: Steven Soderbergh<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Before Elvis, before Elton John, Madonna and Lady Gaga, there was Liberace: virtuoso pianist, outrageous entertainer and flamboyant star of stage and television. A name synonymous with showmanship, extravagance and candelabras, he was a world\u2011renowned performer with a flair that endeared him to his audiences and created a loyal fan base spanning his 40\u2011year career. Liberace lived lavishly and embraced a lifestyle of excess both on and off stage. In summer 1977, handsome young stranger Scott Thorson walked into his dressing room and, despite their age difference and seemingly different worlds, the two embarked on a secretive five\u2011year love affair. Behind the Candelabra takes a behind\u2011the\u2011scenes look at their tempestuous relationship \u2013 from their first meeting backstage at the Las Vegas Hilton to their bitter and public break\u2011up. HBO\u2019s Liberace biopic Behind the Candelabra has generated so much enthusiasm thanks to its subject matter \u2013 the tormented relationship between the pianist and his much younger lover, Scott Thorson \u2013 and its well-known leading men \u2013 Michael Douglas and Matt Damon. But it is also happens to be the last film directed by Steven Soderbergh before he goes into self-imposed exile from moviemaking.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

Even though Soderbergh was unable to find Hollywood money for this film \u2013 reportedly because the story was perceived as \u201ctoo gay\u201d by studio execs \u2013 and eventually produced the film with HBO, he does not aim for the political dimension of the two men in love: \u201cI really was trying to strip away any of that sort of \u2026\u201d Soderbergh begins. Both he and screenwriter Richard LaGravenese \u201cwere very conscious of trying to not look at it through any sort of political lens \u2026 And halfway through the movie I really feel like you\u2019re just watching a relationship. When the relationship starts to fall apart it\u2019s wrenching because Michael and Matt have done such a god job of showing that Liberace and Scott were connected, if only by the fact that they were both kind of broken, I think.\u201d (from \u201cI needed to see Jason Bourne on top of Gordon Gekko,\u201d The Telegraph)<\/p>\n\n\n\n

Director<\/strong>: Steven Soderbergh<\/summary>\n

Biography<\/strong>: Steven Soderbergh is an American Film producer, screenwriter, cinematographer, editor, and an Academy Award-winning film director. Born in Atlanta, Georgia. He gained recognition with his directorial debut, Sex, Lies, and Videotape, which won the Palme d\u2018Or at Cannes. He won an Academy Award as Best Director with Traffic in 2001.<\/p>\n\n\n\n

Filmography:<\/strong> Sex, L\u00fcgen und Video (1989), Erin Brockovich \u2013 Eine wahre Geschichte (2000), Traffic \u2013 Macht des Kartells (2000), Solaris (2002), Che (2008), Side Effects (2013), Liberace (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Steven Soderbergh<\/p>\n\n\n\n

Editor:<\/strong> Steven Soderbergh<\/p>\n\n\n\n

Cast:<\/strong> Michael Douglas, Matt Damon<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Jerry Weintraub<\/p>\n\n\n\n

Production Company:<\/strong> HBO<\/p>\n\n\n\n

German Distributor:<\/strong> DCM<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Beyond the Hills<\/h4>\n\n\n\n

Dup\u0103 dealuri, Romania, France, Belgium 2012, 150 min, Romanian with German subtitles, director: Cristian Mungiu<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

After working menial jobs in Germany for several years, Alina (Cristina Flutur) returns to her homeland determined to rescue her childhood friend Voichita (Cosmina Stratan) from the monastery she was sent to after both girls were ejected from an orphanage at the age of eighteen. Alina\u2019s single-minded resolve excludes any consideration that the docile Voichita might have actually found fulfillment in this austere retreat \u2014 and a means of forgetting the lesbian relationship she and Alina once shared, a forbidden love that Alina is eager to rekindle. Standing between the women is the unyielding \u201ePapa\u201c (Valeriu Andriuta), the head of the monastic order, who responds to Alina\u2019s aggression with an ever more zealous dogmatism. He soon comes to believe that Alina has fallen prey to demonic possession, and it is his duty to chastise her soul \u2014 even if it means destroying her body. Brilliantly exploring the nuances and complexities of a scenario that could easily have been rendered as a simplistic contest between freethinking and backwards tradition, Mungiu firmly establishes himself as one of the most accomplished artists in contemporary world cinema. With Beyond the Hills Cristian Mungiu has created a powerful story about women living under an authoritarian regime \u2014 in this case, a remote Orthodox monastery in the Moldavian wilderness, where archaic beliefs still regulate communal life. (Toronto Film Festival)<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

Beyond the Hills is for me primarily a film about love and free will: mostly about how love can turn the concepts of good and evil into very relative ones. Most of the greatest mistakes of this world have been made in the name of faith, and with the absolute conviction they were done for a good cause.<\/p>\n\n\n\n

Director<\/strong>: Cristian Mungiu<\/summary>\n

Biography<\/strong>: and winner of the Palme d\u2019Or in 2007. After studying English literature at the University of Ia\u015fi, he worked for a few years as a teacher and as a journalist. After that, he enrolled at the University of Film in Bucharest to study film directing. After graduating in 1998, Mungiu made several short films. In 2002, he debuted with his first feature film, Occident.<\/p>\n\n\n\n

Filmography:<\/strong> Zapping (2000), Nici o \u00eent\u00e2mplare (2000), Okzident (2002), 4 Monate, 3 Wochen und 2 Tage (2007), Beyond the Hills (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Oleg Mutu<\/p>\n\n\n\n

Editor:<\/strong> Mircea Olteanu<\/p>\n\n\n\n

Cast:<\/strong> Cosmina Stratan, Cristina Flutur, Valeriu Andriuta, Dana Tapalaga<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Cristian Mungiu<\/p>\n\n\n\n

Production Company:<\/strong> Mobra Films, Why Not Prod., Les Films du Fleuve<\/p>\n\n\n\n

World Sales: <\/strong>Wild Bunch<\/p>\n\n\n\n

German Distributor:<\/strong> Wild Bunch Germany<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Beyond Wriezen<\/h4>\n\n\n\n

Nach Wriezen – Ein Film \u00fcber das Leben nach der Haft, Germany 2012, 88 min, German, director: Daniel Abma<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Daniel Abma\u2019s documentary accompanies three young offenders \u2013 Imo (22), Jano (17) and Marcel (25) \u2013 on the day they are released from Wriezen prison in Brandenburg, eastern Germany, and over the three years that follow. At first sight, the three young protagonists are very different. Jano is a small-time drug dealer from a nearby village. Imo\u2019s face reveals his aggression and every other emotion he experiences. Then there\u2019s Marcel, who was convicted of murdering 16-year-old Marinus from Potzlow. The young men\u2019s new life begins at Wriezen station, where they all set out hoping for the same things: a job, somewhere to live, a girlfriend. Three simple concepts, embodying the yearning for security, emotional safety, respect and love. But the very first day turns out differently for each of the protagonists. Marcel\u2019s girlfriend has planned the day down to the last minute and organized all the necessary bureaucracy, while Imo invests his discharge grant in drugs and beer. Finding a job proves difficult \u2013 one rejection after another, now and again an unpaid work placement. After a while all three young men find a girlfriend. Life settles down a bit, and starting a family seems the obvious thing to do next. Each of the three has a daughter. They are caring fathers, selling drugs and renovating their homes in their attempts to look after their children and satisfy the welfare office\u2019s requirements. Now, though, problems can no longer be solved simply by socking your opponent in the face. How do you fight a court that says you\u2019re incapable of looking after your own child? What happens when you end up back in jail \u2013 this time as a dad? What does life in our society ask of each of us? What do we need in order to live an autonomous, successful life? Is release day a chance to start afresh, or do you stay a jailbird forever, unable to cope with the challenges of everyday life?<\/p>\n\n\n\n

Director<\/strong>: Daniel Abma<\/summary>\n

Biography<\/strong>: Born 1978 in the Netherlands. He previously studied primary school education and worked as a youth worker in Berlin and Brandenburg. Since 2008, he has been studying Film Directing at the University of Film and Television \u201eKonrad Wolf\u201c in Potsdam-Babelsberg, Germany, with focus on documentaries.<\/p>\n\n\n\n

Filmography:<\/strong> Offiziell \u2013 Inoffiziell (2010), Lothar Erdmann (2010), Gabriella und die Jungs aus Gold (2011), Hannes (2011), Truthahn und Diamanten (2011), Arbeitswege (2012), Nach Wriezen (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Johannes Praus, Anja L\u00e4ufer<\/p>\n\n\n\n

Editor:<\/strong> Jana Dugnus<\/p>\n\n\n\n

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Producer:<\/strong> Catarina Jentzsch, Marie Ernst<\/p>\n\n\n\n

Production Company:<\/strong> HFF Konrad Wolf Potsdam-Babelsberg<\/p>\n\n\n\n

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Big Boys Gone Bananas!*<\/h4>\n\n\n\n

Sweden 2011, 88 min, English, Swedish with English subtitles, director: Fredrik Gertten<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201eIn April 2009, Swedish filmmakers Fredrik Gertten and Margarete Jang\u00e5rd learned that the world premiere of Bananas!\u2014 their documentary about a lawsuit against the Dole Food Company \u2014 would take place at a major film festival in Los Angeles. Within weeks, they were embroiled in a legal and public-relations battle to save their premiere, their film, their reputations, and their freedom of speech. While censorship is, sadly, nothing new, its insidious power gains startling immediacy by playing out in front of Gertten\u2019s camera. The filmmakers find themselves painted as villains due to Dole\u2019s shrewd PR moves \u2014 even before their film has been screened. Gertten takes the offensive, filing a countersuit and media campaign of his own to confront Dole\u2019s overgrown-schoolyard- bully tactics. As demonstrated over the past several months in actions held around the globe, corporations are being taken to task for their disproportionate political and financial influence. Big Boys Gone Bananas! is a telling case study of the power of individuals to fight back.\u201c (B.T., Sundance Film Festival).<\/p>\n\n\n\n

Director<\/strong>: Fredrik Gertten<\/summary>\n

Biography<\/strong>: Carl Fredrik Gertten ist schwedischer Filmemacher und Journalist. In den 1980er und 1990er Jahren arbeitete er als Journalist f\u00fcr Zeitungen, Radio- und Fernsehsender in Afrika, Lateinamerika und Europa. Er ver\u00f6ffentlichte Reisef\u00fchrer und schrieb f\u00fcr die schwedischen Zeitungen Arbetet und Kv\u00e4llsposten. Au\u00dferdem arbeitete er als Produzent f\u00fcr Dokumentationen und Unterhaltungssendungen f\u00fcr unterschiedliche schwedische Fernsehsender.<\/p>\n\n\n\n

Filmography:<\/strong> True Blue (1998), The Poetry General (2002), The Socialist, the Architect, and the Twisted Tower (2005), Bananas!* (2009) Big Boys Gone Bananas!* (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Joseph Aguirre, Stefan Berg, Joakim Demmer, David McGuire, Frank Pineda<\/p>\n\n\n\n

Editor:<\/strong> Benjamin Binderup, Jesper Osmund<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Margarete Jang\u00e5rd<\/p>\n\n\n\n

Production Company<\/strong>: WG Film<\/p>\n\n\n\n

World Sales:<\/strong> Autlook Film Sales<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Black Out<\/h4>\n\n\n\n

United Kingdom 2012, 47 min, English, French with English subtitels, director: Eva Weber<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A literal and metaphorical journey towards enlightenment, Black Out shows how children reconcile their daily lives in Guinea, one of the world\u2019s poorest countries, with their desire to learn. Every day during exam season, as the sun sets over Conakry, Guinea, hundreds of school children begin a nightly pilgrimage to the airport, petrol stations and wealthy parts of the city, searching for light. This evocative documentary tells the story of these children\u2019s inspiring struggle for education in the face of the country\u2019s own fight for change. <\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201eIn philosophical terms, life is hope. Without hope it\u2019s suicide.\u201c (Socrates, teacher in Conakry). For me, Socrates\u2019 words sum up the mood and feeling I wanted to create in this film. Hopeful and dark at the same time, Black Out does not give any easy answers; it leaves us wondering what the future really holds for these children. When I first had the idea for this film, it was very clear to me that I did not want to make another inspirational film about children in Africa. I did not want to make a film that ultimately is designed to leave us, a Western audience, feeling good about the children and about ourselves; a film that shows that if you work hard, you can make it and achieve your dreams. For me, the situation in Guinea is way more ambiguous. Whilst the children in this film are inspirational, and you can\u2019t help but feel moved by their determination and desire to improve their lives, it is also clear that most of them will not achieve their dreams or even get a job after studying so hard. These children are very much aware of this, they know that currently regardless of how hard they study, this might not make any difference. Black Out is a film about the resilience of the human spirit, the fact that we keep on trying to achieve our dreams against all odds, even when our lives seem shaped and dictated by forces outside of our control.<\/p>\n\n\n\n

Director<\/strong>: Eva Weber<\/summary>\n

Biography:<\/strong> Originally from Germany, Eva Weber is a London-based filmmaker working in both documentary and fiction. Her award-winning films have screened at numerous international film festivals. Her film The Solitary Life of Cranes was nominated for the International Documentary Association\u2019s Distinguished Short Award. Eva is currently in development with a number of feature projects, including the fiction feature Let the Northern Lights Erase Your Name based on the novel by Vendela Vida. She received the Sundance Institute Mahindra Global Filmmaking Award to further develop the project and has been selected a participant in both the Sundance Institute\u2019s Screenwriters Lab and Director\u2019s Lab.<\/p>\n\n\n\n

Filmography:<\/strong> Stealing Desire (1994), The Intimacy of Stangers (2005,) The Solitary Life of Cranes (2008), Night, Peace (2012), Black Out (2012), Let the Northern Lights Erase Your Name (in development)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Mattias Nyberg<\/p>\n\n\n\n

Editor:<\/strong> Eva Weber, Emiliano Battista<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Claire Neate James, Kat Mansoor<\/p>\n\n\n\n

Production Company<\/strong>: Odd Girl Out Productions<\/p>\n\n\n\n

World Sales:<\/strong> Autlook Film Sales<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Blames and Flames<\/h4>\n\n\n\n

Falgoosh, Iran 2011, 28 min, Persian with English subtitels, director: Mohammadreza Farzad<\/p>\n\n\n\n

Internatonal Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The history of the Iranian revolution as the history of cinema: In 1978, on the verge of the Islamic revolution, more than 130 cinemas burned down across Iran, including 28 in Tehran. Great strikes, signs of the onset of the revolution, affected cinema at large. The debates also addressed the films as such: which films should be shown, which should be made? Which cinema could or should be abandoned, what did people want and what were they allowed to see? After the cinemas were closed or burned down, the state of things is inverted in Falgoosh. The characters abandon the screen, the people take to the streets and try to direct themselves. And cinema becomes the spectator. (Forum Expanded)<\/p>\n\n\n\n

Director<\/strong>: Mohammadreza Farzad<\/summary>\n

Biography:<\/strong> Mohammadreza Farzad, born 1979, lives and works in Tehran. He works as filmmaker, translator, writer, researcher and actor. His film Gom O Gour (Into Thin Air) premiered at Berlinale\u2019s Forum Expanded 2011 and has subsequently been shown at many other international festivals.<\/p>\n\n\n\n

Filmography:<\/strong> Egg (2012), Into Thin Air (2010), Blames and Flames (2011)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Blue is the Warmest Color<\/h4>\n\n\n\n

La vie d\u2018Ad\u00e8le \u2013 Chapitre 1 & 2, France, Belgium, Spain 2012, 177 min, English, French with German subtitels, director: Abdellatif Kechiche<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Inhalt<\/strong><\/p>\n\n\n\n

At 15, Ad\u00e8le doesn\u2019t question it: girls go out with boys. Her life is changed forever when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Ad\u00e8le grows, seeks herself, loses herself, finds herself \u2026 Abdellatif Kechiche\u2019s adaption of Julie Maroh\u2019s graphic novel Blue is the Warmest Color won the Palme d\u2018Or at the 2013 Cannes Film festival.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

I was interested in developing a female character who was passionate about her professional life and wanted to pass on her enthusiasm \u2026 Each of us remembers that turning point in our school life when a passionate teacher \u2026 instilled the seeds of a vocation in us. But in the end my screenplay never reached fruition. So when I came across Julie Maroh\u2019s graphic novel, the story of absolute love between two women and, at the same time, of a young woman becoming a schoolteacher, I saw how I could link these two projects.\u201c<\/p>\n\n\n\n

Director<\/strong>: Abdellatif Kechiche<\/summary>\n

Biography<\/strong>: After his family emigrated from Tunisia to France in 1966, he grew up in Nice. Made his stage debut at the Ar\u00e8nes de Cimiez (1978). Is influenced by Yasujir\u00f4 Ozu\u2019s films. Received the M\u00e9daille Charlemagne pour les M\u00e9dias Europ\u00e9ens, an award for achievements in integration, together with Fatih Akin (2008).<\/p>\n\n\n\n

Filmography:<\/strong> Voltaire ist schuld (2000), L\u2018Esquive (2003) Couscous mit Fisch
(2007) V\u00e9nus noire (2010) Blau ist eine warme Farbe (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Sofian El Fani<\/p>\n\n\n\n

Editor:<\/strong> Albertine Lastera, Camille Toubkis, Jean-Marie Lengelle<\/p>\n\n\n\n

Cast:<\/strong> Ad\u00e8le Exarchopoulos, L\u00e9a Seydoux<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Abdellatif Kechiche, Vincent Maraval, Brahim Chioua<\/p>\n\n\n\n

Production Company<\/strong>: Wild Bunch, Quat\u2018sous Films<\/p>\n\n\n\n

World Sales:<\/strong> Wild Bunch<\/p>\n\n\n\n

German Distributor:<\/strong> Alamode Film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Breaking Free<\/h4>\n\n\n\n

India 2013, 90 min, Hindi, English with english subtitels, director: Sridhar Rangayan<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Inhalt<\/strong><\/p>\n\n\n\n

Award winning director Sridhar Rangayan offers a sneak preview of the 70 min feature length documentary Breaking Free and a selection of South Asian LGBT shorts. Crisscrossing across India, Breaking Free, a pathbreaking feature- length documentary, attempts to unravel the human rights violations faced by Indian LGBTH (lesbian, gay, bisexual, transgender, hijra) persons at the hands of the law, family, and society because of their sexuality and sexual orientation. It also traces the history of the Indian queer rights movement \u2013 from \u2018Invisibility to Empowerment\u2019. \u201eI\u2019ve a right to love and live with dignity\u201c, cry out the Indian LGBTH community who have been made invisible and pushed underground by a draconian law Sec 377 that criminalized homosexuality till recently. The film Breaking Free strings together anguished voices of those who were tortured, blackmailed and indicted by this law; along with voices of advocates, activists and opinion builders who have fought a decade-long battle to have this law read down in 2009. But it is now being challenged by religious fanatics and moral policemen who scream it will open the floodgates of immorality and destroy India\u2019s cultural fabric. Even as hate crimes rise and LGBTH voices become strident demanding social acceptance, the Indian queer rights movement has gained a spotlight in the media and among the mainstream. The film captures a community in indignation, a society in transition and a country on the verge of historic changes. Breaking Free is the biggest LGBTQ project from India, with more than 100 interviews across 15 cities and towns in India, giving a candid and emotional voice to the still largely closeted and invisiblised by the society.<\/p>\n\n\n\n

Director<\/strong>: Sridhar Rangayan<\/summary>\n

Biography<\/strong>: Sridhar Rangayan is an Indian filmmaker whose compelling films present hard-hitting social issues with warmth, compassion and humor. These award winning films are at the forefront of India\u2019s emergent queer cinema movement \u2013 ground-breaking in a country where homosexuality is still socially unacceptable. He has served as Jury for prestigious film festivals such as Outfest 2012 in Los Angeles, Berlinale 2010 in Germany, Movies That Matter 2010 in Netherlands and SATO 2010 & 2011 in the USA. In 2010, Rangayan founded Kashish Mumbai International Queer Film Festival, India\u2019s first LGBTQ Film Festival and of the Flashpoint Human Rights Film Festival, Mumbai.<\/p>\n\n\n\n

Filmography:<\/strong> Yeh Hai Chakkad Bakkad Bumbe Bo (2003), Yours Emotionally! (2006), 68 Pages (2007), Breaking Free (2014)<\/p>\n<\/details>\n\n\n\n

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Production Company<\/strong>: Solaris Pictures<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Call Me Kuchu<\/h4>\n\n\n\n

USA 2012, 90 min, English with German subtitles, directors: Katherine Fairfax Wright, Malika Zouhali-Worrall<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In Uganda, a new bill threatens to make homosexuality punishable by death. David Kato \u2013 Uganda\u2019s first openly gay man \u2013 and his fellow activists work against the clock to defeat the legislation while combatting vicious persecution in their daily lives. But no one is prepared for the brutal murder that shakes their movement to its core and sends shock waves around the world. In an unmarked office at the end of a dirt track, veteran activist David Kato labors to repeal Uganda\u2019s homophobic laws and liberate his fellow lesbian, gay, bisexual and transgender men and women, or \u201ckuchus.\u201d But David\u2019s formidable task just became much more difficult. A new \u201cAnti-Homosexuality Bill\u201d proposes death for HIV-positive gay men, and prison for anyone who fails to turn in a known homosexual. Inspired by American evangelicals who have christened Uganda ground zero in their war on the \u201chomosexual agenda,\u201d the bill awaits debate in Uganda\u2019s Parliament. Meanwhile, local newspapers have begun outing kuchus with vicious fervor under headlines such as: \u201cHOMO TERROR! We Name and Shame Top Gays in the City.\u201d David, Uganda\u2019s first openly gay man, is one of the few who dare to publicly protest state-sanctioned homophobia. Working with an idiosyncratic clan of fellow activists, David fights Uganda\u2019s government and tabloids in the courts, on television, and at the United Nations. Because, he insists, \u201cif we keep on hiding, they will say we\u2019re not here.\u201d But one year into filming Call Me Kuchu and just three weeks after a landmark legal victory, on January 26, 2011, the unthinkable happens: David is brutally murdered in his home. His death sends shock waves around the world, and leaves Kampala\u2019s kuchus traumatized and seeking answers for a way forward. With unprecedented access, Call Me Kuchu depicts the last year in the life of a courageous, quick-witted and steadfast man whose wisdom and achievements were not fully recognized until after his death. While heartbreaking, the documentary traces a narrative that takes the viewer beyond the chronicle of victimization depicted in international news media: it tells the nuanced story of David and Kampala\u2019s kuchus as they work to change their fate, and that of other kuchus across Africa.<\/p>\n\n\n\n

Director<\/strong>: Katherine Fairfax Wright<\/summary>\n

Biography<\/strong>: Katherine Fairfax Wright was born in Massachusetts, USA, in 1983 and studied film and anthropology at Columbia University. She has produced numerous films. She is also an award-winning photographer.<\/p>\n\n\n\n

Filmography:<\/strong> Call me Kuchu (2012)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Malika Zouhali-Worrall<\/summary>\n

Biography<\/strong>: Malika Zouhali-Worrall was born in Munich in 1984. A graduate of Cambridge University, she holds an MA in international affairs from the Paris Institute of International Studies. A print and video journalist, she has reported for the Financial Times and for CNN.com from India, Uganda and China. A report she filed about the working conditions of transsexual employees in the US prompted her to make her debut Call me Kuchu.<\/p>\n\n\n\n

Filmography:<\/strong> Call me Kuchu (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Katherine Fairfax Wright<\/p>\n\n\n\n

Editor:<\/strong> Katherine Fairfax Wright<\/p>\n\n\n\n

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Producer:<\/strong> Malika Zouhali-Worrall<\/p>\n\n\n\n

Production Company<\/strong>: Malika Zouhali Worrall<\/p>\n\n\n\n

World Sales:<\/strong> CAT & DOCS<\/p>\n\n\n\n

German Distributor:<\/strong> Arsenal \u2013 Institut f\u00fcr Film und Videokunst e.V.<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Can\u2019t Be Silent<\/h4>\n\n\n\n

Germany 2013, 86 min, German, director: Julia Oelkers<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/p>\n\n\n\n

German musician Heinz Ratz felt asylum seekers in Germany weren\u2019t being treated fairly. So he found some of the best musicians among them and went on tour to raise awareness. Now the ensemble is part of a documentary. Two year ago, 45-year-old Heinz Ratz went on a bike tour through Germany with his band Strom & Wasser. But it wasn\u2019t just a leisurely summer outing \u2013 their aim was to campaign for justice for refugees in German politics and collect donations for their cause. Along the way, they visited 80 different refugee camps where they came into contact with musicians who had been well known in their home countries, but weren\u2019t allowed to work \u2013 let alone travel \u2013 within Germany. \u201eBack then I had the idea to invite [the musicians] to Hamburg to record a CD with them and then go on tour,\u201c said Ratz. And that\u2019s how the band\u2019s next album, Strom & Wasser featuring The Refugees, came about. The Refugees were 30 musicians from 15 countries that had nothing to do with Lauryn Hill\u2019s former band with the same name. The resulting CD, whose cover features a green rowboat stranded in a desert, is a mix of world music, rap, folk, and pop and texts about life in refugee homes. Can\u2019t Be Silent isn\u2019t a portrait of Ratz as a person, though, but rather of the refugees he\u2019s put in the limelight. Ratz only appears three or four times in the film to explain the project and the tour schedule. The film\u2019s focus lies fully on the music, fears and hopes of the artists on stage. For the film, director Julia Oelkers had to rely on video material that the asylum seekers made themselves, because she wasn\u2019t granted permission to film inside the residences. Nevertheless, she managed to weave together a documentary that tells the stories of people caught between the euphoria of applause and the hope of a better life.<\/p>\n\n\n\n

Director<\/strong>: Julia Oelkers<\/summary>\n

Biography<\/strong>: Julia Oelkers has been working as an independent journalist and filmmaker for different broadcasters and production companies since the early 1990\u2019s. Contemporary documentaries and portraits are the main focus of her work.<\/p>\n\n\n\n

Filmography:<\/strong> Westberlin 1968 (2008), Frohsinn, Fernsehen und Faschismus (2010), Geschichten aus Mitte (2011), Es ist auch unsere Geschichte (2011), Can\u2019t Be Silent (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Lars Maibaum, Line K\u00fchl, Matthias Neumann, Thomas Walther<\/p>\n\n\n\n

Editor:<\/strong> Lucian Busse<\/p>\n\n\n\n

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Producer:<\/strong> Thomas Walther<\/p>\n\n\n\n

Production Company<\/strong>: autofocus Videowerkstatt e.V.<\/p>\n\n\n\n

German Distributor:<\/strong> Neue Visionen Filmverleih<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Constructors<\/h4>\n\n\n\n

Stroiteli, Kazakhstan 2012, 67 min, Russian with English subtitles, director: Adilkhan Yerzhanov<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cTwo brothers and their little sister are thrown out of their flat because they haven\u2019t paid the rent. The orphans pack up their few possessions and go out to the country, where the family owns a small plot of land. The children set up camp, knowing they have to fend for themselves. But this solution is insecure, too: they are told, in no uncertain terms, that all plots will shortly pass to the state unless at least the foundations of a house have been laid. The threesome get down to work, making night-time visits to neighbouring sites to \u2018borrow\u2019 tools and materials, then building by day. But no sooner are the foundation walls complete than an unsympathetic policeman advises them that the law has changed. Foundations are not enough \u2013 the shell of a new building must be standing, or the land will be confiscated. The setbacks keep coming, but the plucky trio refuse to accept defeat. Delivered with sublime calm and infinitely laconic humour, Kazakh director Adilkhan Yerzhanov\u2019s parable on homelessness and lawlessness also tells of the determination to overcome obstacles and fight for one\u2019s rightful place in the world.\u201d (goEast \u2013 Festival des mittel- und osteurop\u00e4ischen Films)<\/p>\n\n\n\n

Director<\/strong>: Adilkhan Yerzhanov<\/summary>\n

Biography<\/strong>: Adilkhan Yerzhanov was born 1982 in Djezkazgan, Kazakhstan. He studied at the Kazakhstan National Academy of Arts, specializing in film direction, graduated in 2009. Received grant in 2010 from Kazakhfilm studio to study film in New York. Winner of JSC \u201cKhabar\u201d competition for best scenario in 1999 with the first Kazakhstan animated series Kozy-Korpesh and Bayan-Sulu, which was broadcast nationwide in 2002.<\/p>\n\n\n\n

Filmography:<\/strong> Bakhytzhamal (2007), Karatas (2007), Rieltor (2011), Constructors (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Adilkhan Yerzhanov<\/p>\n\n\n\n

Editor:<\/strong> Adilkhan Yerzhanov<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Olga Khlasheva, Serik Abishev<\/p>\n\n\n\n

Production Company<\/strong>: Short Brothers<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Decision Maker<\/h4>\n\n\n\n

Die Entscheiderin, Germany 2013, 10 min, German, director: Robert H. Schumann<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Asylum matters have crept out of politics and the public eye since the number of applications decreased in Germany as a result of a balancing out of laws at EU level. Tacitly, we rely on an administrative system and perhaps a legal procedure to clarify the status of asylum seekers. The responsibility for either accepting or rejecting an application lies with decision makers at the German Federal Office for Migrants and Refugees. The most the large majority of refugees who leave their home for reasons of hunger, poverty or lack of prospects can expect is refugee status according to the Geneva Convention or protection from deportation. In the worst case, the application will be rejected with deportation as a consequence. Gerda Wittstatt lived in a caring home in Nuremberg until her death. Until she was forced out for reasons of age, she worked for the Office for Migration and Refugees. For this film she spoke for the first time about her experiences with refugees \u2013 people who are regularly confronted with abuse and torture \u2013 and about the difficulties of making decisions of conscience.<\/p>\n\n\n\n

Director<\/strong>: Robert H. Schumann<\/summary>\n

Biography<\/strong>: Robert H. Schumann was born in Hirschau\/Germany in 1969. In 1998 he graduated from Erlangen University and ESPCI Paris in Chemistry. He has worked as a line producer and editor for Medienwerkstatt Nuremberg ever since. Schumann works as a documentary filmmaker and is the author of numerous contributions to the TV series Bildst\u00f6rung and Medienwerkstatt Dokumentation.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Ich gegen Deutschland (2006), Telecaf\u00e9 International (2009), Die Entscheiderin (2013)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Denok & Gareng<\/h4>\n\n\n\n

Indonesia 2012, 89 min, Indonesian with English subtitles, director: Dwi Sujanti Nugraheni<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In the constant stream of hoping, failing and making new plans, Denok and Gareng stay united in their passionate struggle to make it up the hill one day. In the modest house of Gareng\u2019s mum, the young Muslim couple starts a small pig business, looking for the lucky streak to come over the family. But new challenges constantly arise, putting their cheerfulness and patience on trial. In an entirely observational approach Denok and Gareng explores a strong loving relationship inside a strikingly vivid family that sticks together, fights back and laughs, about what others would call a Sisyphus fate.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201cPersonally, I have learned a lot from Denok and Gareng\u2019s life, from the spirit to love, how they accept and face problems that continue to come their way, as well as their courage in laughing about themselves and their lives. Not many people have that courage. Daring to laugh at yourself means to look at one\u2019s own life from greater distance. That\u2019s why I admire Denok and Gareng. I believe their daily life struggle should be seen. Their courage should be shared through a film that portrays them carefully and sincerely. I want to place Denok and Gareng into the centre of our perception, because their existence is hardly looked at, when we pass by.\u201d<\/p>\n\n\n\n

Director<\/strong>: Dwi Sujanti Nugraheni<\/summary>\n

Biography<\/strong>: Dwi Sujanti Nugraheni was born and grew up in Yogyakarta, Indonesia. She studied politics at the Gadjah Mada University and since 2003 she has organized a festival of documentaries in Yogyakarta and video workshops for teenagers and for the deaf community. Denok and Gareng is her first feature-length documentary, which she made during the \u201cTen years after reformasi\u201d workshop held at the Goethe Institute in Indonesia.<\/p>\n\n\n\n

Filmography:<\/strong> Pengabar Kematian (2002), Micro Economy (2004), Children of Asia (2004), Hobbit in Flores (2006), Janji Jabrik (2007), The Silent Boy (2009), Denok and Gareng (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Kurnia Yudha Fitranto<\/p>\n\n\n\n

Editor:<\/strong> Gregorius Arya Dhipanaya<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Dwi Sujanti Nugraheni<\/p>\n\n\n\n

Production Company<\/strong>: Jawa Dwipa Films\/credo:film GmbH<\/p>\n\n\n\n

World Sales:<\/strong> credo:international<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Empire of Dust<\/h4>\n\n\n\n

Belgium 2011, 81 min, Chinese, French, Swahili with English subtitles, director: Bram Van Paesschen<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Two men representing two different cultures clash in the dust of the former Belgian colony, the Democratic Republic of Congo. Lao Yang and Eddy both work for a company called CREC (Chinese Railway Engineering Company). They have just set up camp near the remote mining town of Kolwezi in the Katanga province of the RDC. The goal of the company is to redo the road \u2013 covering 300km \u2013 that connects Kolwezi with the capital of the province Lubumbashi. Lao Yang is head of logistics of the group. He is responsible for the equipment, building materials and food (mainly chickens) to arrive in the isolated Chinese prefab camp. The Congolese government was supposed to deliver these things but so far the team hasn\u2019t received anything. With Eddy (a Congolese man who speaks Mandarin fluently) as an intermediate, Lao Yang is forced to leave the camp and deal with local Congolese entrepreneurs, because without the construction materials the road works will cease. What follows is an endless, harsh, but absurdly funny rollercoaster of negotiations and misunderstandings, as Lao Yan learns about the Congolese way of making deals.<\/p>\n\n\n\n

Director<\/strong>: Bram Van Paesschen<\/summary>\n

Biography<\/strong>: Bram Van Paesschen was born in Vilvoorde, Belgium, 1979. He is a director and editor, living and working in Brussels. In 2002 he got his masters degree in the Audio Visual Arts from the St-Lukas Academy in Brussels. His Pale Peko Bantu Mambo Ayikosake was selected for the NIHRFF International Competition in 2009.<\/p>\n\n\n\n

Filmography:<\/strong> Smokescreen covering Brussels (2002), World of Blue, Land of O. (2005), ICI (Lettre \u00e0 Chantal Akerman) (2007), Pale Peko Bantu Mambo Ayikosake (2008), Empire of Dust (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Emmanuel Gras<\/p>\n\n\n\n

Editor:<\/strong> Bram Van Paesschen, Dieter Diependaele<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Bart Van Langendonck<\/p>\n\n\n\n

Production Company<\/strong>: Savage Film<\/p>\n\n\n\n

World Sales:<\/strong> CAT & DOCS<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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An Episode in the Life of an Iron Picker<\/h4>\n\n\n\n

Epizoda u \u017eivotu bera\u010da \u017eeljeza, Bosnia and Herzegowina 2013, 75 min, Bosnian with German subtitles, director: Danis Tanovi\u0107<\/p>\n\n\n\n

Internatonal Forum \/ Opening Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Nazif barely makes ends meet as an iron picker to support his family. He searches daily for scrap metal while his partner Senada tends to their home and their two young daughters. A third baby is on the way. After a long day\u2019s work, Nazif finds Senada laid up in pain. The following day, he borrows a car to drive her to the nearest clinic. The diagnosis is that Senada has miscarried and is still carrying her dead five-month old fetus. The condition is critical and Senada needs immediate treatment at a faraway city hospital. Because she does not have a state-provided health insurance card, the hospital requests that Senada pays 980 Bosnian marks (500 euros), a fortune for a modest iron picker. Despite Nazif\u2019s begging, Senada is denied the crucial surgery and forced to return home to their Roma community in central Bosnia and Herzegovina. For the next 10 days, Nazif will do everything he can to try and save Senada\u2019s life \u2013 desperately searching for more scrap metal, seeking help from state institutions\u2026 For the next 10 days, Nazif and Senada will be fully exposed to the callousness of contemporary society. \u201cDanis Tanovi\u0107 weaves these dramatic events, his protagonists\u2019 economic hardship and fear of death into a wintery tale. The fact that the non-professional cast are re-enacting an episode from their own lives contributes greatly to the film\u2019s sense of authenticity and social realism. At the same time, the film demonstrates one Roma family\u2019s extraordinary courage and unerring will to survive\u201d (Berlinale 2013)<\/p>\n\n\n\n

Director<\/strong>: Danis Tanovi\u0107<\/summary>\n

Biography<\/strong>: Danis Tanovi\u0107 was born in Zenica in Yugoslavia in 1969, after qualifying as a civil engineer and a musician, he began studying at the Sarajevo Film Academy. His studies were interrupted, however, by the outbreak of the Bosnian War. He accompanied the Bosnian army with his camera during the war and then moved to Brussels to resume his film studies. His feature debut No Man\u2019s Land won a Palme d\u2018Or at Cannes in 2001 alongside an Oscar and a Golden Globe for Best Foreign Language Film. An Episode in the Life of an Iron Picker was awarded with the Great Jury Prize at Berlinale 2013.<\/p>\n\n\n\n

Filmography:<\/strong> The Portrait of the Artist in War (1994), L\u2019Aube (1996), Budenje (1999), No Man\u2019s Land (2001), L\u2018Enfer (2005), Triage (2009), Cirkus Columbia (2010), Prtljag (2011), Aus dem Leben eines M\u00fcllsammlers (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Erol Zub\u010devi\u0107<\/p>\n\n\n\n

Editor:<\/strong> Timur Makarevi\u0107<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> \u010cedomir Kolar, Amra Bak\u0161i\u0107 \u010camo<\/p>\n\n\n\n

Production Company<\/strong>: SCCA\/pro.ba<\/p>\n\n\n\n

World Sales:<\/strong> The Match Factory GmbH<\/p>\n\n\n\n

German Distributor:<\/strong> Drei-freunde Filmverleih<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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E-Wasteland<\/h4>\n\n\n\n

Australia 2012, 20 min, no dialogue, director: David Fedele<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Have you ever wondered what happens to your electronics at the end of their life? Almost 50 million tonnes of e-waste (electronic waste) are generated worldwide every year. A large volume of second-hand and condemned electronic goods arrive in developing countries from the \u201cdeveloped\u201d world, with a significant quantity arriving as e-waste, exported illegally as \u201csecond hand goods\u201d. Without dialogue or narration, E-WASTELAND presents a visual portrait of unregulated e-waste recycling in Ghana, West Africa, where electronics are not seen for what they once were, but rather for what they have become.<\/p>\n\n\n\n

Director<\/strong>: David Fedele<\/summary>\n

Biography<\/strong>: David Fedele is an award-winning documentary filmmaker from Australia. He entered the world of documentary filmmaking through a love of travel and exploring different cultures, having traveled throughout Australasia, Europe, the Middle East, South America and Africa. David\u2019s films cover a wide range of issues, from logging in Papua New Guinea to electronic waste in Ghana. He is particularly interested in exploring cultural, environmental, humanitarian and social justice issues. David generally works as a one-man filmmaker \u2013 directing, producing, shooting and editing his own films. His work has been broadcast and screened widely, winning numerous awards on the International Film Festival circuit.<\/p>\n\n\n\n

Filmography:<\/strong> Caterina (2010), Second Chance (2010), West Papuan Refugees (2011), Reflections on a Genocide (2011), Bikpela Bagarap \u2013 Big Damage (2011), E-Wasteland (2012)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Exposed by Beth B<\/h4>\n\n\n\n

USA 2013, 78 min, English with German subtitels, director: Beth B<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Beth B takes us into the 21st century underground and reveals a secret world where cutting-edge performers are taking hold of a taboo art form, Burlesque, and driving it to extremes that most people have never seen. It\u2019s satire. It\u2019s parody. It\u2019s a populist blend of art and entertainment that gives new meaning to the word \u201ctransgression.\u201d Above all, it\u2019s a lot of fun, and it will blow your mind. Operating on the far edge of Burlesque, these performers combine politics and physical comedy to question the very concept of \u201cnormal.\u201d Through them, we get to examine our own inhibitions. Beth B has followed the lead characters with a \u201cfly-on-the-wall\u201d camera over several years, capturing rehearsals, backstage preparations, private struggles and triumphs, and the extraordinary performances. The film\u2019s unique perspective allows us, the audience, into the clubs and other hidden spaces where these artists perform. This shocking and comedic art form thrives in the after-dark hours and cult venues of major metropolitan areas \u2013 renowned spots such as The Box, Coney Island Sideshow, Casa Mezcal, and The Slipper Room, founded by James Habacker, who also appears in the film. This performance art is powerful and enlightening because it challenges traditional notions of body, gender, and sexuality. The body types of the performers range from statuesque to transgender to disabled. Their personalities are scintillating, yet very real. They may be part of a unique subculture, but they come from surprisingly diverse economic and social backgrounds. As they peel away their clothes \u2013 describing their journeys and commenting on their performances \u2013 they peel away our own preconceptions and inhibitions. Ancient moral, religious and sexual shibboleths are seen from new perspectives, and a new generation of the cultural avant-garde comes to light.<\/p>\n\n\n\n

Director<\/strong>: Beth B<\/summary>\n

Biography<\/strong>: Born in New York in 1955, Beth B began directing Super-8 films in the 1970s. Her work, which is usually multimedia, focuses on body image, gender and the outsider. Her films Vortex and Salvation! screened in the Berlinale Forum in the 1980s, and Visiting Desire in the Panorama in 1997. Her work has screened at MoMA, Sundance and Toronto.<\/p>\n\n\n\n

Filmography:<\/strong> G-Man (1978), Vortex (1983), Visiting Desire (1996), Hysteria (2001), Exposed (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Dan Karlok, Beth B<\/p>\n\n\n\n

Editor:<\/strong> Beth B, Keith Reamer<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Beth B, Sandra Schulberg<\/p>\n\n\n\n

Production Company<\/strong>: B Productions, Inc., Schulberg Productions<\/p>\n\n\n\n

World Sales:<\/strong> Wide House<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Facing Mirrors<\/h4>\n\n\n\n

Aynehaye Rooberoo, Iran 2011, 102 min, Persian with German subtitles, director: Negar Azarbayjani<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The first Iranian fiction film that was shot in (in parts) Nuremberg! \u201cIranian female director Negar Azarbayjani\u2019s first feature is also the first Iranian narrative film with a transgender protagonist. Adineh, or \u201cEddie\u201d as she calls herself, is waiting impatiently for her passport to be processed so that she can get female-to-male sex-reassignment surgery in Germany. The reason she won\u2019t get an operation in Iran (where sex reassignment is surprisingly accessible despite the fundamentalist government\u2019s policies against homosexuality) is that her wealthy and humiliated father is just as impatient to marry her off to a male cousin. Having slipped from his clutches and needing to lay low while waiting for her passport, Eddie is on the verge of being assaulted by goons when Eddie flags down a passing car. It\u2019s actually a clandestine taxi driven by Rana, a conservative young wife whose husband is in prison and can\u2019t provide for the family. Although a woman driving a cab is taboo in her social class, she can\u2019t resist when Eddie offers her triple fare to get her to her hideout. But when Eddie tries to explain that she\u2019s \u201ctrans,\u201d Rana panics and drives into the path of a bus. This remarkable film is anchored by a magnetic, heartbreaking performance by Shayesteh Irani as Eddie, who also played the butchest of the forbidden female soccer fans in the banned director Jafar Panahi\u2019s Offside. What at first seems like an implausible friendship between Rana and Eddie achieves rare sympathy and solidarity through their mutual oppression, cutting through their class and ethical differences.\u201d (Frameline FF 2012)<\/p>\n\n\n\n

Director<\/strong>: Negar Azarbayjani<\/summary>\n

Biography<\/strong>: Negar Azarbayjani (*1974) holds a BA degree in cinema from Art University of Tehran-Iran. She also has an MA degree in visual media arts from Emerson College in Boston, USA. She started her career in pictures by acting in a few television series and working as an assistant editor. In 2000 and after acting in Afflicted Generation, she moved to the United States to continue her studies. She was involved in writing and translating scripts and trade articles during and after her graduate program in the United States. She also directed a number of Shorts and Animations in the US as well as in Iran. Her short subject Virtual Truth won the Critics Special Award from Tehran Film Festival in 2007. Facing Mirrors is her first feature film.<\/p>\n\n\n\n

Filmography:<\/strong> Facing Mirrors (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Tooraj Mansoori<\/p>\n\n\n\n

Editor:<\/strong> Sepideh Abdolvahab, Negar Azarbayjani<\/p>\n\n\n\n

Cast:<\/strong> Shayesteh Irani, Qazal Shakeri, Homayoun Ershadi<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Fereshteh Taerpour<\/p>\n\n\n\n

Production Company<\/strong>: Fereshteh Taerpour<\/p>\n\n\n\n

World Sales:<\/strong> The Film Collaborative<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Fida\u00ef<\/h4>\n\n\n\n

France, China, Algeria, Germany, Kuwait 2012, 83 min, Arabic, French with German subtitles, director: Damien Ounouri<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Info<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cA lovely, elegant and stirring look at one man\u2019s sometimes sturdy, sometimes wavering memories of being a fighter for Algeria\u2019s liberation from French colonialism, Damien Ounouri\u2019s Fida\u00ef marks a striking advance in Arabic documentary filmmaking. With his great-uncle, Mohamed El Hadi Benadouda, keeping his exploits secret from his family for the 50 years since Algerian independence, Ounouri\u2019s artfully made movie \u2014 with Jia Zhang-ke\u2019s XStream Pictures as co-producer and showing some of Jia\u2019s filmic influence \u2014 is an act of personal liberation as well.\u201d (Robert Koehler, Variety)<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

What History remembers from wars are numbers, highlights and legends. What has been actually experienced by its participants, their day-to-day, personal stories and feelings are not passed on to us. Taking a more sensitive and human approach \u2013 that begins from the individual and heads towards major events \u2013 I wanted to give voice to the ordinary people. When I was a child, I often questioned my father about my great uncle, El Hadi \u2013 one of many humble soldiers who fought for Algerian independence. Since the elders never spoke openly about this period, his story was only ever revealed to me through footnotes and so my mind used to fill in the gaps with all kinds of imagined adventures. By recreating a path through France and Algeria of El Hadi during those dark years, hearing his words and those of the people he meets along the way and remembers with, we discover something new: a living history that enters into a dialogue with the official textbook versions we have become accustomed to or have been taught. Through Fida\u00ef, I wish to bring a fresh perspective on the Algerian Revolution, a subjective and necessary look. In view of the situation of the increasing loss of its participants, it is urgent to build a memory that binds the intimate to the collective, my generation with that of the elders and that encourages the transmission of these memories.<\/p>\n\n\n\n

Director<\/strong>: Damien Ounouri<\/summary>\n

Biography<\/strong>: Damien Ounouri was born to a French mother and an Algerian father in Clermont-Ferrand, France. He studied film theory at Sorbonne University in Paris. His feature films include Xiao Jia Going Home, a portrait of acclaimed Chinese dierctor Jia Zhang-Ke. Ounouri teaches cinema workshops for children in both Algeria and France.<\/p>\n\n\n\n

Filmography<\/strong>:<\/strong> ChangPing, Sonata of a Chinese Small Town (2007), Xiao Jia Going Home (2008), Away from Nedjma (2009), Fida\u00ef (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Matthieu Laclau<\/p>\n\n\n\n

Editor:<\/strong> Matthieu Laclau, Mary Stephen<\/p>\n\n\n\n

Cast:<\/strong> Shayesteh Irani, Qazal Shakeri, Homayoun Ershadi<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Mathieu Mullier, Alexandre Singer, Jia<\/p>\n\n\n\n

Production Company<\/strong>: Kafard Films, mec film, Xstream Pictures, Linked Productions<\/p>\n\n\n\n

World Sales:<\/strong> Kafard Films<\/p>\n\n\n\n

German Distirbutor:<\/strong> mec film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Fire Under the Ashes<\/h4>\n\n\n\n

Iran 2013, 11 min, Arabic, Persian with English subtitles, director: Arash Setoodeh<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Info<\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Fire Under the Ashes tells, through handycam footage kept unreleased for four years and brought out of Iran under difficult circumstances, how the ordinary life of a couple is seriously affected by the political conditions during and after the Presidential Elections in 2009.<\/p>\n\n\n\n

Director<\/strong>: Arash Setoodeh<\/summary>\n

Biography<\/strong>: Arash Setoodeh was born in Iran and worked there as a production manager for a number of productions, among them Fatima Abdollahyan\u2019s Sundance favourite Kick in Iran. He has recently moved to Denmark and has enrolled in film school there.<\/p>\n\n\n\n

Filmogrphy:<\/strong> Kick in Iran (as production manager, 2009), Mellem Hjem (as production assistant, 2013), Fire Under the Ashes (2013)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Fortress<\/h4>\n\n\n\n

Pevnost \u2013 Fortress, Tschechische Republik 2012, 70 min, Russisch mit englischen Untertiteln, Regie: Kl\u00e1ra Tasovsk\u00e1, Luk\u00e1\u0161 Koke\u0161<\/p>\n\n\n\n

Internationales Forum <\/p>\n\n\n\n

Inhalt und Infos<\/strong><\/summary>\n

Inhalt<\/strong><\/p>\n\n\n\n

Transnistrien: Ein geographisches Gebiet, das an die Ukraine und an Moldawien angrenzt. Kein Staat und doch von Grenzen umgeben, keine Demokratie und doch steht mal wieder der Wahlkampf vor der T\u00fcr. Luk\u00e1\u0161 Koke\u0161 und Kl\u00e1ra Tasovsk\u00e1 richten in ihrem kunstvollen Dokumentarfilm Fortress ihre Kamera wie ein Mikroskop auf einen Landstrich, dessen Bev\u00f6lkerung mehrere P\u00e4sse ben\u00f6tigt, um reisen zu d\u00fcrfen. Transnistrien ist zugleich multinationaler Staat und sowjetische Utopie: von keinem Staat anerkannt au\u00dfer von Russland. Kurz vor den Pr\u00e4sidentschaftswahlen 2011 kommen die Filmemacher Luk\u00e1\u0161 Koke\u0161 und Kl\u00e1ra Tasovsk\u00e1 in ein Land, in dem die Zeit stehen geblieben zu sein scheint: Sie finden ein Regime vor, das mit einer grotesken Staatspropaganda und einem riesigen Sicherheitsapparat die st\u00e4ndige \u00dcberwachung der Menschen und Diskriminierung regierungskritischer B\u00fcrger propagiert: Auf jeden einzelnen B\u00fcrger kommt ein Polizist \u2013 \u201edeswegen ist Transnistrien ein paradiesischer Ort und deswegen kann hier jeder so gut schlafen\u201c, sagt ein Staatsdiener. \u201eOur Country, our Pride\u201c steht in roten Lettern auf einer Steinplatte, die direkt an einer sp\u00e4rlich befahrenen Stra\u00dfe prangt. Viele Menschen hier f\u00fchlen sich gut aufgehoben und sicher vor der gro\u00dfen weiten Welt da drau\u00dfen. Sie bezeichnen das bestehende politische System als \u201emodified democracy\u201d, ein wirkliches Bewusstsein der staatlichen Kontrolle, der sie ausgesetzt sind, haben sie allerdings nicht. Meinungs- und Versammlungsfreiheit scheinen Fremdw\u00f6rter zu sein. Mit gro\u00dfem Gesp\u00fcr f\u00fcr die feinen Zwischent\u00f6ne blicken Koke\u0161 und Tasovsk\u00e1, die gr\u00f6\u00dftenteils illegal drehen mussten, wie mit einem Brennglas auf eine unbekannte Region und geben einen faszinierenden und zugleich irritierenden Einblick in die Zust\u00e4nde Transnistriens, an dessen Existenz man kaum glauben mag.<\/p>\n\n\n\n

Regie<\/strong>: Kl\u00e1ra Tasovsk\u00e1<\/summary>\n

Biografie<\/strong>: Kl\u00e1ra Tasovsk\u00e1 wurde am 14. M\u00e4rz 1980 in T\u0159eb\u00ed\u010d, Tschechien, geboren und machte ihren Hochschulabschluss im Fachgebiet New Media der AVU in Prag. Momentan studiert sie in der Fachabteilung Dokumentation an der FAMU in Prag. Nebenbei wirkt sie an Internetprojekten, wie artycok.tv, edata-base.net und k-r-o-n-i-ka. net, mit.<\/p>\n\n\n\n

Filmografie:<\/strong> Ban\u00ed\u010dek (2006), A Scrap (2007), Tree (2007), Reconstruction (2007), HaCan (2008), Memory recall (2008), Fortress (2012)<\/p>\n<\/details>\n\n\n\n

Regie<\/strong>: Luk\u00e1\u0161 Koke\u0161<\/summary>\n

Biografie<\/strong>: Luk\u00e1\u0161 Koke\u0161, geboren am 28. August 1983 in \u010cesk\u00e9 Bud\u011bjovice, Tschechien, organisierte w\u00e4hrend seines Studiums ein Filmfestival in Ostbevern in Deutschland. Er ist Student der Filmwissenschaft an der Karls-Universit\u00e4t, sowie an der Fachabteilung Dokumentation an der FAMU in Prag. Er gewann einen Special Jury Award des Jihlava IDFFs 2008 f\u00fcr seinen Film Redemption Attempt of a TV Repairman Josef L\u00e1vi\u010dka in Nine Scenes. Zudem gewann er den Special Audience Award bei Famufest 2009. Dar\u00fcber hinaus schreibt er f\u00fcr das Filmmagazin Cinepur.<\/p>\n\n\n\n

Filmografie:<\/strong> Safety Grounds (2007), Irene (2007), Mittweidekabarett (2008), Redemption Attempt of a TV Repairman Josef L\u00e1vi\u010dka in Nine Scenes (2008), Joy (2009), 59\/184\/84 (2009), Fortress (2012)<\/p>\n<\/details>\n\n\n\n

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Kamera:<\/strong> Luk\u00e1\u0161 Koke\u0161<\/p>\n\n\n\n

Schnitt:<\/strong> Luk\u00e1\u0161 Koke\u0161, Kl\u00e1ra Tasovsk\u00e1<\/p>\n\n\n\n

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Produzent*in:<\/strong> Tom\u00e1\u0161 Hrub\u00fd, Pavla Kube\u010dkov\u00e1<\/p>\n\n\n\n

Produktionsfirma<\/strong>: nutprodukce, FAMU \u2013 Film and TV School of the Academy of Performing Arts in Prague<\/p>\n\n\n\n

Weltvertrieb:<\/strong> Taskovski Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Glorious Deserter<\/h4>\n\n\n\n

Deserteur!, Austria 2012, 80 min, German, director: Gabriele Neudecker<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The subject remains a taboo. Almost 65 years had to pass before Austria finally overturned the Nazi judgements in 2009 and deserters from the Wehrmacht were vindicated. The film takes us back to 1946\/1947, the Winter of Starvation in Salzburg. Scarred by traumatic wartime experiences and confronted by social exclusion, four young deserters \u2013 a cook, a farmer, an altar boy and a pig keeper \u2013 reveal to us the reasons behind their desertion. Successfully walking a tightrope between fiction and documentary, Gabriele Neudecker reveals touching insights into the forgotten victims of National Socialism and their ostracism after the war. \u201cTaking a look behind the stereotype of the blond-haired, blueeyed Nazi soldier, Glorious Deserter studies a collection of brave young Austrians, men who chose to champion their own beliefs rather taking orders from the Third Reich\u2019s war machine. Linked once by their acts of desertion and now by circumstance, the men try to forge normal lives in post-war Austria but find their paths strewn with disillusionment, guilt, estrangement and painful recollection. Some of them have their wives, others have religion to support and help them move on \u2013 but for many, it seems, things can never be quite the same again. In an unconventional twist, Glorious Deserter is written almost entirely in direct address to the audience, and shot like a contemporary documentary; each of the characters have their part of the film, and although their narrative is fluid you can\u2019t help but feel as if there\u2019s someone just behind the camera, asking questions. If there were, that \u2018someone\u2019 would be Gabriele Neudecker: producer, writer, director and editor of Glorious Deserter, a veteran of three short films taking her first step into the world of features \u2013 and finding she can stand.\u201d (Orestes Kouzof)<\/p>\n\n\n\n

Director<\/strong>: Gabriele Neudecker<\/summary>\n

Biography<\/strong>: Gabriele Neudecker who studied photography and film in Salzburg and Berlin, makes political films on the borders between fiction and documentary. She is the art director of the Drehbuchwerkstatt Salzburg in Austria. In 2011 she founded the film production company Pimp the Pony Productions. Gabriele Neudecker works as a director, writer and producer, in the realization of feature films and documentaries, and has participated in numerous international film festivals. Her short film Freaky counts among the seven most awarded Austrian films since 2001.<\/p>\n\n\n\n

Filmography:<\/strong> Freaky (2001), Graffiti Underground (2006), White Girls Happy on Zambesi (2009), Really Hard to be a Good Masai (2010), Glorious Deserter (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Stefan Aglassinger, Gabriele Neudecker<\/p>\n\n\n\n

Editor:<\/strong> Gabriele Neudecker<\/p>\n\n\n\n

Cast:<\/strong> Alexander Kortoletzky, Markus Klampfer, Peter Neudecker jr<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Gabriele Neudecker<\/p>\n\n\n\n

Production Company<\/strong>: Pimp the Pony Productions, Drehbuchwerkstatt<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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God Loves Uganda<\/h4>\n\n\n\n

USA 2013, 83 min, English, Swahili with German subtitles, director: Roger Ross Williams<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

God Loves Uganda explores the role of the American evangelical movement in Uganda, where American missionaries have been credited with both creating schools and hospitals and promoting dangerous religious bigotry. The film follows evangelical leaders in America and Uganda along with politicians and missionaries as they attempt the radical task of eliminating \u201csexual sin\u201d and converting Ugandans to fundamentalist Christianity. As an American influenced bill to make homosexuality punishable by death wins widespread support, tension in Uganda mounts and an atmosphere of murderous hatred takes hold. The film reveals the conflicting motives of faith and greed, ecstasy and egotism, among Ugandan ministers, American evangelical leaders and the foot soldiers of a theology that sees Uganda as a test case, ground zero in a battle not for millions, but billions of souls. Through v\u00e9rit\u00e9, interviews, and hidden camera footage \u2013 and with unprecedented access \u2013 God Loves Uganda takes viewers inside the evangelical movement in both the US and Uganda. It features Lou Engle, the creator of The Call which brings tens of thousands of believers together to pray against sexual sin. It provides a rare view of the most powerful evangelical minister in Uganda, who lives in a mansion where he\u2019s served by a white-coated chef. It goes into a Ugandan church where a preacher whips a congregation into mass hysteria with anti-gay rhetoric. It records the culture clash between enthusiastic Midwestern missionaries and world weary Ugandans. It features a heartbreaking interview with gay activist David Kato shortly before he was murdered. It tells the moving story of Bishop Christopher Senyonjo, a minister excommunicated, ostracized and literally spat on for being tolerant and his remarkable campaign for peace and healing in Uganda. Shocking, horrifying, touching and enlightening, God Loves Uganda will make you question what you thought you knew about religion.<\/p>\n\n\n\n

Director<\/strong>: Roger Ross Williams<\/summary>\n

Biography<\/strong>: Roger Ross Williams directed and produced Music By Prudence, winner of the 2010 Academy Award for documentary short subject. He is the first African American to win an Oscar for directing and producing a film. He has produced and directed dozens of hours of non-fiction programming for major television networks and cable channels. Williams has won numerous awards for his work. Currently Williams has several projects in development, including a feature narrative film about the African American Baptist church titled Black Sheep.<\/p>\n\n\n\n

Filmography:<\/strong> God Loves Uganda (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Derek Wiesehahn<\/p>\n\n\n\n

Editor:<\/strong> Richard Hankin, Benjamin Gray<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Julie Goldman, Roger Ross Williams<\/p>\n\n\n\n

Production Company<\/strong>: Motto Pictures<\/p>\n\n\n\n

World Sales:<\/strong> Submarine Entertainment<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Golden Slumbers<\/h4>\n\n\n\n

Le sommeil d\u2018or, France, Cambodia 2011, 96 min, French, Khmer with english subtitles, director: Davy Chou<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/strong><\/strong><\/strong><\/p>\n\n\n\n

Golden Slumbers is an elegantly assembled and deeply moving remembrance of Cambodian cinema, which shone brightly from 1960 to 1975 with more than 400 productions before the genocidal Khmer Rouge regime destroyed almost every film and executed most of the country\u2019s creative community. Framed around the illuminating and frequently heartbreaking testimony of surviving industry figures, the docu reps an auspicious feature-length debut for young French-Cambodian helmer Davy Chou. A long fest life is indicated, and niche broadcasters should snap it up. The grandson of Vann Chan, one of Cambodia\u2019s most prolific producers of the era, Chou goes against the grain of conventional documaking by showing only tiny snippets of moving footage. Given that only 30 old Cambodian movies have survived on poor quality VHS and VCD formats, Chou instead invites participants to describe films last seen theatrically 40 and 50 years ago. These recollections of supernatural thrillers, costume spectacles and heartrending melodramas prove so enthralling that clips \u2014 especially inferior-quality ones \u2014 hardly seem necessary. Using stills, lobby cards and old radio promo spots, the docu opens with a vivid picture of how the Cambodian film industry sprang up virtually overnight during the administration of prime minister Father-King Norodom Sihanouk, an enthusiastic patron of the arts and feature filmmaker. Cambodia\u2019s first screen goddess and still an active performer and teacher, Dy Saveth (Love and War, The Snake King\u2019s Wife) gives a marvelous account of starring in approximately 100 films, and will touch many auds\u2019 hearts with her comments about the immortality of Cambodian cinema. (Richard Kuipers)<\/p>\n\n\n\n

Director<\/strong>: Davy Chou<\/summary>\n

Biography<\/strong>: Davy Chou is a French-Cambodian filmmaker who was born in 1983. He is the grandson of Van Chann, one of the most important producers in Cambodia in the 1960s and 70s. He directed his first short film in 2006. His second short Expired was shot during his first trip to Cambodia in 2008. In October 2009, Chou curated Golden Reawakening, a film festival and exhibition about the golden age of Cambodian cinema in the 1960s and 70s. He is also the founder of Kon Khmer Koun Khmer, a collective of Cambodian students and young artists. His first documentary Golden Slumbers ran in the Forum section of the Berlin Film Festival this year. Chou is currently working on his first feature Eternal Feelings.<\/p>\n\n\n\n

Filmography:<\/strong> Davy Chou\u2019s First Film (2006), Expired (2008), Golden Slumbers
(2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Thomas Favel<\/p>\n\n\n\n

Editor:<\/strong> Laurent Leveneur<\/p>\n\n\n\n

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Producer:<\/strong> Jacky Goldberg<\/p>\n\n\n\n

Production Company<\/strong>: Vicky Films<\/p>\n\n\n\n

World Sales:<\/strong> Doc & Film International<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Grandmothers<\/h4>\n\n\n\n

Abuelas, United Kingdom 2011, 9 min, English, director: Afarin Eghbal<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In a small apartment in Buenos Aires, an old woman eagerly awaits the birth of her grandchild and all the joys of becoming a grandmother. However, horrific circumstances mean she is forced to wait over 30 years. Abuelas explores the traumatic ramifications of General Videla\u2019s military dictatorship in Argentina from 1976-83, whereby an estimated 30,000 men, women and children, \u201adisappeared\u2018. Using real-life testimonials from members of the \u201aGrandmothers of May Square\u2018, this animated-documentary raises issues of memory and loss. The film is testament to the extraordinary tenacity of these women, who continue fighting for the truth about their missing relatives.<\/p>\n\n\n\n

Director<\/strong>: Afarin Eghbal<\/summary>\n

Biography<\/strong>: Iranian-born, Afarin moved to London as a baby with her family following the 1979 Iranian Revolution. Afarin graduated from the NFTS with her film Grandmothers. She hopes to continue bridging the gap between animation and documentary, using mixed-media to explore complex social and political issues through non-polemic narrative.<\/p>\n\n\n\n

Filmography:<\/strong> Grandmothers (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Claire Buxton<\/p>\n\n\n\n

Editor:<\/strong> Katherine Lee<\/p>\n\n\n\n

Casst: <\/strong>Geraldine McEwan (narrator), Joy McBrinn, Alexia James<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Kasia Malipan<\/p>\n\n\n\n

<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Gut Renovation<\/h4>\n\n\n\n

USA 2012, 81 min, English with German subtitles, director: Su Friedrich<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A documentary of small changes evolves into an historical record of New York. The resulting film is an essayistic requiem for a neighborhood and an entire way of life; it also provides a case study of the rapid gentrification of our cities. In 1989, together with a group of female friends, Su Friedrich rented and renovated an old loft in Williamsburg, an unassuming working-class district of Brooklyn. In 2005 this former industrial zone was designated a residential area and the factories, manufacturers and artists\u2018 lofts were priced out by property speculators lured by tax breaks. Friedrich spent five years documenting with her camera the changes in the area between East River and the Brooklyn-Queens Expressway. She shows the demolition of industrial buildings and the construction of trendy new apartments for wealthy clients, watching old tenants leave and new inhabitants arrive. As she keeps meticulous record of developments, the extent and speed of the upheaval becomes clear. Her own tenancy agreement expires too and so her documentary images and trenchant commentary become the tools of her growing anger. The Atlantic\u2019s Sarah Goodyear writes: \u201cFriedrich may be filled with righteous anger and deep sorrow, but she never loses her sense of humor. \u2026She seems like she might be dangerous. Maybe she is. Artists are supposed to be that way, after all.\u201d In Pop Matters, Cynthia Fuchs looks at a different angle: \u201cOn one hand, the movie mourns the loss of a community. On the other, however, it asks how this or any community is defined, who makes and misses it, and how it might be remembered.\u201d<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

In making Gut Renovation I was concerned with documenting two central aspects of my experience as the neighborhood collapsed around me. These were the physical changes\u2014the heart-rending loss of so many beautiful old industrial buildings, as well as the men and women who worked in them\u2014and the changes in our lives\u2014the loss of our living and working space and of the friendships we had forged with our roommates and neighbors.<\/p>\n\n\n\n

Director<\/strong>: Su Friedrich<\/summary>\n

Biography<\/strong>: Born in New Haven, Connecticut, to a German mother, she studied art and art history in Chicago and at the Oberlin College in Ohio. Her documentaries have won several awards at international film festivals. Her films are in collectinos at the MoMA, New York and Centre Pompidou in Paris. She lives in New York and teaches at Princeton University.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Hot Water (1978), Damned If You Don\u2019t (1987), Lesbian
Avengers Eat Fire, Too (1994), Hide and Seek (1996), The Odds of
Recovery (2002), Gut Renovation (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Su Friedrich<\/p>\n\n\n\n

Editor:<\/strong> Su Friedrich<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Su Friedrich<\/p>\n\n\n\n

Production Company:<\/strong> Su Friedrich<\/p>\n\n\n\n

World Sales: <\/strong>Outcast Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Home<\/h4>\n\n\n\n

Dom tsah, Russia 2012, 26 min, Russian with English subtitles, director: Ruslan Magomadov<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/p>\n\n\n\n

Based on real-life events, Home is the story of an old man who stays behind in war-torn Grozny during the Chechen War. He is alone and cannot go anywhere. His house is all that he has. During the day, he repairs his house with tools that he finds in the ruins and rubble around him. At night, he hides from the army\u2019s attacks and plundering in his cellar. The next day, he once again climbs the stairs to observe the destruction and begin his reparations. The camera accompanies his search for wood, water and gas and gives the viewer an insight into his environment and loneliness. The images are as poetic as they are mundane, telling of survival at times of war but also of hope for a better future.<\/p>\n\n\n\n

Director<\/strong>: Ruslan Magomadov<\/summary>\n

Biography<\/strong>: Ruslan Magomadov is Chechen. He was born in 1983 in the city of Sverdlovsk, USSR. In 1991, his family moved to Grozny in their historical fatherland \u2013 Chechnya. They survived the first Chechen War that began in 1994 only by a miracle \u2013 their house and city were destroyed. From 2002 to 2006, Magomadov studied at the Academy of Fine Arts. He then worked at the film company SNEGA until 2010 and participated in the production of several feature films. He also wrote the script for the documentary Notes of Treasure Hunter. In 2009, the Russian Ministry of Culture granted him the funds to make his first short film Dust for Sailor. He has been studying at the Higher Courses of Scriptwriters and Film Directors\u2019 Institute in Moscow since 2011.<\/p>\n\n\n\n

Filmography:<\/strong> Notes of Treasure Hunter (2007), Dust for Sailor (2009), Home (2012)<\/p>\n<\/details>\n\n\n\n

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Cast: <\/strong>Evgenyi Martinov<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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El Impenetrable<\/h4>\n\n\n\n

France, Argentina 2012, 91 min, Spanish with English subtitles, directors: Daniele Incalcaterra, Fausta Quattrini<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The Paraguayan Chaco is one of the world\u2019s last virgin frontiers, where modern-day cowboys battle with indigenous populations over agricultural and drilling rights. This not-so-Hollywood Western begins when Daniele Incalcaterra rolls into town and ruffles some feathers by announcing his plan to establish a national park in the middle of it all. Daniele and his brother inherited 12,355-acres of land that has remained untouched since their father purchased it from the Stroessner regime in the 1970s. The land is now worth millions and in an act of immense altruism, Daniele hopes to return the land to its rightful owners, the Nandeva people. But the neighbouring cattle baron has no intention of living beside pesky Indians, so he sends one of his cronies, Mr. Centurion, to drive Daniele away. Our chainsmoking protagonist retaliates by assembling a motley posse of his own. Jato is a hippy ornithologist who can identify every creature in the Chaco. Victor runs a pugilistic NGO that battles deforestation on a global scale. Enrique is all business and he strategizes against the long arm of bureaucracy. With Daniele as their fearless leader, the group sets out to fight the good fight and preserve a piece of magnificently rugged forest forever. (TW, DOXA Documentary Film Festival)<\/p>\n\n\n\n

Director<\/strong>: Daniele Incalcaterra<\/summary>\n

Biography<\/strong>: After the formation of the documentary film in Ateliers Varan in Paris in 1984, Daniele Incalcaterra began working in France as director with the film La Memoire Blue (1985). He joined the Ateliers Varan participating in the creation of various Ateliers in Bogota, Marseille, Lisbon, Paris and Palermo. In 1991, he founded the production company Voleur with Philippe Grandrieux, and produced Tierra de Avellaneda (1992) and Souviens-toi de moi by Zaida Gorab (1992). In 1999, he founded Incalcaterra Producciones. So far he has directed 12 films.<\/p>\n\n\n\n

Filmography:<\/strong> Tierra di Avellaneda (1992), Repubblica Nostra (1995), Fasinpat (2004), Contr@site (2004), El Impenetrable (2012)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Fausta Quattrini<\/summary>\n

Biography<\/strong>: Fausta Quattrini was born in 1964 in Locarno. She studied contemporary dance and received a degree in Architecture from the ETH (Swiss Federal Institute of Technology, in Zurich). She is the co-founder of the Atelier Video in Palermo. Since 1997, she has worked as a self-taught documentary filmmaker.<\/p>\n\n\n\n

Filmography:<\/strong> Mandala 999 \u2013 Autorretrato 3 (2002), Organizaciones horizontales (2004), Contr@site (2004), La Naci\u00f3n Mapuce (2008), El Impenetrable (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Daniele Incalcaterra, Fausta Quattrini, Cobi Migliora<\/p>\n<\/div>\n\n\n\n

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Production Company:<\/strong> Les Films D\u2018ici<\/p>\n\n\n\n

World Sales: <\/strong>Daniele Incalcaterra<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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In Bloom<\/h4>\n\n\n\n

Grzeli nateli dgeebi, Georgia, Germany, France 2013, 102 min, Georgian with German subtitles, directors: Nana Ekvtimishvili, Simon Gro\u00df<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201eTbilisi, Georgia, 1992: The Soviet era is over and Georgia must fend for itself. Civil war is raging in the province of Abkhazia. For Natia and Eka, the barely fourteen-year-old protagonists of In Bloom, childhood is coming to an end. Eka is growing up without her father, rebelling against her concerned mother and her older sister. And Natia\u2019s father, a choleric alcoholic, terrorises the entire family. The two friends cannot find peace outside of the family either \u2013 not in school, not on the street, and not in the bread lines. Chaos, insecurity, and fear of what the future might bring hold sway in everyday life. An admirer gives Natia a pistol with one single bullet. A little later, she\u2019s abducted by another admirer. This first feature film by Nana Ekvtimishvili and Simon Gro\u00df takes up the buried traditions of Georgian cinema, weaving together loud and soft, melancholy and missing love, eruptions of violence and a sense of the idyllic, precocious cold-bloodedness and childlike na\u00efvet\u00e9 into a wonderfully rhythmic, exciting cinematic composition. A new generation of filmmakers has emerged in Georgia and is starting out by remembering its own history.\u201d (Christoph Terhechte, Berlinale, Forum 2013)<\/p>\n\n\n\n

Directors’ Statement<\/strong><\/p>\n\n\n\n

\u201cOur characters are in search of their identity as women and of the meaning of violence, revenge, and love. They seek an answer to the question of whether love can justify killing a human being. The answer seems clear: no, of course not! But what if this question is thrust upon one when one has only fourteen years of life experience and lives in a country ruled by chaos, anarchy, and vigilantism? What role models does one have? Which set of values offers the best chances for survival? Perhaps all of us can see a bit of ourselves in these two girls.\u201d<\/p>\n\n\n\n

Director<\/strong>: Nana Ekvtimishvili<\/summary>\n

Biography<\/strong>: Nana Ekvtimishvili was born 1978 in Tbilisi, Georgia. She studied drama and screenwriting at University of Film and Television Potsdam-Babelsberg. After writing prose and several screenplays she directed the short Waiting for Mum in 2011. Co-founded production company Polare Film together with Simon Gro\u00df in Georgia in 2012.<\/p>\n\n\n\n

Filmography:<\/strong> Lost Mainland (2007), Waiting for Mum (2011), Die langen hellen Tage (2013)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Simon Gro\u00df<\/summary>\n

Biography<\/strong>: Simon Gro\u00df was born 1976 in Berlin, Germany. He studied directing at the University of Television and Film Munich. After several short films his debut feature Fata Morgana (2006) the F\u00f6rderpreis Deutscher Film for best director at Munich Film Festival. Co-founded production companies Indiz Film with Marc W\u00e4chter in Germany and Polare Film with Nana Ekvtimishvili in Georgia.<\/p>\n\n\n\n

Filmography:<\/strong> Fall of Man (1998), Elated by Night (2001), Fata Morgana (2007), Die langen hellen Tage (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Oleg Mutu<\/p>\n\n\n\n

Editor:<\/strong> Stefan Stabenow<\/p>\n\n\n\n

Cast:<\/strong> Lika Babluani, Mariam Bokeria, Zurab Gogaladze<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Simon Gro\u00df, Mark W\u00e4chter, Guillaume de Seille, Nana Ekvtimishvili<\/p>\n\n\n\n

Production Company:<\/strong> Indiz Film, Polare Film, Azizona Films<\/p>\n\n\n\n

World Sales:<\/strong> Memento Films International<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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In the Name of \u2026<\/h4>\n\n\n\n

W imi\u0119 \u2026, Poland 2012, 96 min, Polish with German subtitles, director: Ma\u0142go\u015bka Szumowska<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Adam is a Catholic priest who discovered his calling as a servant of God at the relatively late age of 21. He now lives in a village in rural Poland where he works with teenagers with behavioural problems who fight and yell abuse. He declines the advances of a young blonde named Ewa, saying he is already spoken for. However, celibacy is not the only reason for his rejection. Adam knows that he desires men and that his embrace of the priesthood has been a flight from his own sexuality. When he meets \u0141ukasz, the strange and taciturn son of a simple rural family, Adam\u2019s self-imposed abstinence becomes a heavy burden. Ma\u0142go\u015bka Szumowska\u2019s visually powerful film, charged with striking imagery from Christ\u2019s Passion, dares to broach the still taboo topic of homosexuality in the priesthood. Confronted with his \u2018forbidden\u2019 desires, her protagonist experiences both moments of bliss and utter despair. A film about confused emotions, repression and loneliness \u2013 and the possibility of perhaps finding oneself after all. The film\u2019s topic quickly evokes associations such as pedophilia and sexual abuse. Yet Ma\u0142go\u015bka Szumowska points at a far different problem.<\/p>\n\n\n\n

Directors\u2019s statement<\/strong><\/p>\n\n\n\n

It\u2019s strange, but I wanted to make a film about this kind of yearning for love, affection, closeness. It sounds trivial, but this feeling of somehow being torn from the inside,a feeling of being unfulfilled in contacts with other people, this great longing for something strong and powerful, was the startingpoint for me. I found a short note in a newspaper, about a boy, a young man really, who killed a priest in a very brutal way. Even though this story was completely different, I suddenly got an idea, to tell a story about a priest who dares to love.<\/p>\n\n\n\n

Director<\/strong>: Ma\u0142go\u015bka Szumowska<\/summary>\n

Biography<\/strong>: Born in Krak\u00f3w in Poland in 1973, she graduated from the Polish National Film School in \u0141\u00f3d\u017a and went on to direct short films and documentaries before making her feature film debut in 2000 with Happy Man. She won the Silver Leopard at Locarno Film Festival in 2008 with 33 Scenes From Life.<\/p>\n\n\n\n

Filmography:<\/strong> Happy Man (2000), 33 Scenes From Life (2008), Elles (2011), Im Namen des \u2026 (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Micha\u0142 Englert<\/p>\n\n\n\n

Editor:<\/strong> Jacek Drosio<\/p>\n\n\n\n

Cast: <\/strong>Andrzej Chyra, Mateusz Kosciukiewicz, \u0141ukasz Simlat<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Ma\u0142go\u015bka Szumowska<\/p>\n\n\n\n

Production Company:<\/strong> Mental Disorder 4<\/p>\n\n\n\n

World Sales:<\/strong> Memento Films International<\/p>\n\n\n\n

German Distributor: <\/strong>Constantin Film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Journey to Portugal<\/h4>\n\n\n\n

Viagem a Portugal, Portugal 2012, 75 min, French, Portugese, English with English subtitles, director: S\u00e9rgio Tr\u00e9faut<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis <\/strong><\/p>\n\n\n\n

In Portugal, as in the whole of the European Union, the number of people subjected to immediate or almost immediate expulsion in airports is striking. Every year, the number goes unnoticed because the thousands of stories behind each of the figures remain untold. The way things stand today, what does it matter how many are expelled at airports? The images of African corpses in the seas around fortress Europe have become so commonplace that the daily interrogations and expulsions appear to be a minor matter. Nevertheless, thanks to our indifference, everyday thousands of individuals are interrogated straight off the aeroplane, in Europe. Hundreds are sent back to their country of origin. They are not criminals, they are not traffickers; most have their papers in order and valid entrance visas. These are people who have paid their airfare, a sum that often represents several months salary, yet are sometimes treated with hostility. Journey to Portugal throws light on a tiny tip of the iceberg: the fact that these everyday police practices are consigned to the silence of statistics. There is a total lack of transparency regarding police procedures in very many situations. In Portugal, civil society has no way of knowing what really happens in the majority of cases the police handle. Lawyers, Immigrant Protection Associations and journalists are forbidden access to police controlled areas in Portuguese airports (with few exceptions). In other EU countries, like France, this police impunity no longer exists. The regular presence of associations at interrogations is authorised and abuses do not go unreported.<\/p>\n\n\n\n

Director<\/strong>: S\u00e9rgio Tr\u00e9faut<\/summary>\n

Biography<\/strong>: S\u00e9rgio Tr\u00e9faut was born in Brazil in 1965 of a Portuguese father and a French mother. After a Master in Philosophy at the Sorbonne (Paris), he started his career in Lisbon as a journalist and assistant director. Eventually he became producer and director. His documentaries were presented in more than 30 countries and received several international awards. For many years he directed Doclisboa International Film Festival and was the president of Apordoc (Portuguese Documentary Association). Journey to Portugal is his first feature fiction.<\/p>\n\n\n\n

Filmography:<\/strong> Outro Pa\u00eds (1999), Fleurette (2002), Lisboetas (2005), The City of the Dead (2009), Journey to Portugal (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Edgar Moura<\/p>\n\n\n\n

Editor:<\/strong> S\u00e9rgio Tr\u00e9faut, Gon\u00e7alo Soares, Pedro Marques, Mariana Gaiv\u00e3o<\/p>\n\n\n\n

Cast:<\/strong> Maria de Medeiros, Isabel Ruth, Makena Diop<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>S\u00e9rgio Tr\u00e9faut, Filipe Verde<\/p>\n\n\n\n

Production Company:<\/strong> FAUX<\/p>\n\n\n\n

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Justice for Sale<\/h4>\n\n\n\n

Netherlands 2011, 83 min, French, Swahili, Lingala with English subtitles, directors: Femke van Velzen, Ilse van Velzen<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis <\/strong><\/p>\n\n\n\n

Justice for Sale follows Claudine, a young and courageous human rights lawyer in Congo in her struggle against injustice and widespread impunity in Congo. She investigates the case of a soldier who was convicted of rape and discovers that his trial was unfair and corrupted. He was convicted without any concrete evidence. In her journey to obtain justice, she uncovers a system where the basic principles of law are virtually ignored. Questions are raised about the role of the international community and non-governmental organisations within the Congolese judicial system. Does their financial support cause justice to be for sale? And who pays the price? Justice for Sale is the third documentary in Ilse and Femke van Velzen\u2019s trilogy about the Congo. Earlier they made Fighting the Silence (NIHRFF 2009) and Weapon of War.<\/p>\n\n\n\n

Directors\u2019 Statement<\/strong><\/p>\n\n\n\n

Justice for Sale is a very important film that needs to be told. Congo is officially in a post-conflict situation that in order to move forward needs a well functioning justice system, a judicial system that convicts perpetrators for their crimes. As long as this is not the case, more innocent people become victims and crimes against humanity will continue. Over the last few years there has been much more attention given to sexual violence by local and international NGOs. As a result, rape is becoming a \u2018business\u2019 \u2013 a business because people are abusing the law on sexual violence to settle conflicts, to earn money, and to show the international community that more perpetrators are indeed convicted. Justice for sale also raises questions about the financial support that the international community and NGOs offer to the Congolese judicial system. Is it creating a justice that is for sale? And if so, who pays the price? This film is extremely important because this is an emerging problem that is not yet public. It\u2019s time to start a debate about this.<\/p>\n\n\n\n

Directors<\/strong>: Femke van Velzen, Ilse van Velzen<\/summary>\n

Biography<\/strong> :Born in 1980, the twin sisters Ilse and Femke van Velzen are a documentary filmmaking team from the Netherlands that aim to expose cultural injustices. The two sisters each studied social and cultural development in Amsterdam and Utrecht. After graduating in 2002, they began their own production company IFPRODUCTIONS in March 2003. IFPRODUCTIONS gives the sisters the freedom to work as independent filmmakers and producers. They use their films as educational tools, and travel to developing countries to screen their films. These screenings help expose the inequality and violence to local communities in their current living conditions. The inspiration for the van Velzen sisters\u2019 films is promoting human rights and women\u2019s rights across the globe.<\/p>\n\n\n\n

Filmography:<\/strong> BushKids (2002), Return to Angola (2004), Fighting the Silence (2007), Weapon of War (2009), Justice for Sale (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Rogier Timmermans<\/p>\n\n\n\n

Editor:<\/strong> Paul de Heer<\/p>\n\n\n\n

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Producer: <\/strong>Femke van Velzen, Ilse van Velzen<\/p>\n\n\n\n

Production Company:<\/strong> IF Productions<\/p>\n\n\n\n

World Sales:<\/strong> FILMS TRANSIT<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Kiss Me Softly<\/h4>\n\n\n\n

Kus me zachtjes, Belgium 2012, 16 min, Flemish with English subtitles, director: Anthony Schatteman<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

17 year old Jasper lives in a very grey, small town. In his family, he cannot be himself. Jaspers dad is a singer, named Lukkie Luk. All the attention in the family goes to his career. Jasper searches a way to handle this and is faced with the typical questions in the live of an adolescent. Questions that will not be answered when he stays in his own routine.<\/p>\n\n\n\n

Director<\/strong>: Anthony Schatteman<\/summary>\n

Biography:<\/strong> Anthony Schatteman lives and works in Belgium.<\/p>\n\n\n\n

Filmography:<\/strong> Kiss Me Softly (2012)<\/p>\n<\/details>\n\n\n\n

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Cast:<\/strong> Marijke Pinoy, Marc Van Eeghem, Ezra Fieremans<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Machine Which Makes Everything Disappear<\/h4>\n\n\n\n

Manqana, romelic kvelafers gaaqrobs, Georgia, Germany 2012, 101 min, Georgian with English subtitles, director: Tinatin Gurchiani<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The story begins with an experiment. A filmmaker in the country of Georgia posts an ad inviting youth to audition for her film. Facing the camera, the hopefuls confess their struggles and dreams. These raw interviews unfold seamlessly into cinematic slivers of Georgian life. A teenager awaits news of his father\u2019s surgery. A girl anticipates her wedding. The governor of a tiny village faces a monumental decision. A soldier attempts to link his imprisoned brother to the world outside, and a young woman confronts the mother who abandoned her. These threads form a fluid Altman-esque collage of characters\u2014and a nation\u2014teetering on the brink of change. It\u2019s a world where tradition and modernity subtly intermingle: singing traditional ballads is as common a self-expression as listening to hip-hop or playing online poker. Mixing metanarrative with heightened visual aesthetics, The Machine Which Makes Everything Disappear intuitively penetrates individual lives to conjure a richly layered, indelible portrait of a society, brilliantly becoming more than the sum of its parts. (C. L., Sundance Film Festival)<\/p>\n\n\n\n

Director<\/strong>: Tinatin Gurchiani<\/summary>\n

Biography<\/strong>: Tinatin Gurchiani was born in Tbilisi, Georgia, where she studied painting, dance, and psychology. After receiving her diploma with honors at the Ivane Javakhishvili Tbilisi State University, she pursued postgraduate study in psychology at Albert-Ludwigs University in Freiburg, Germany, and the University of Graz in Austria. She studied directing at the University of Film and Television \u201cKonrad Wolf\u201d in Potsdam-Babelsberg, Germany, and graduated with honors in 2010. In 2007, Gurchiani won the DAAD Award for artistic and social engagement in Film. The Machine Which Makes Everything Disappear is her first film.<\/p>\n\n\n\n

Filmography:<\/strong> The Machine Which Makes Everything Disappear (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Andreas Bergmann<\/p>\n\n\n\n

Editor:<\/strong> Nari Kim, Doreen Ignaszewski<\/p>\n\n\n\n

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Producer: <\/strong>Tinatin Gurchiani, Kakha Macharashvili<\/p>\n\n\n\n

Production Company:<\/strong> Alethea Ltd., TTFilm<\/p>\n\n\n\n

World Sales:<\/strong> Deckert Distribution<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Manuscripts Don\u2019t Burn<\/h4>\n\n\n\n

Dast-Neveshtehaa Nemisoosand, Iran 2013, 125 min, Persian with German subtitles, director: Mohammad Rasoulof<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cThe means by which an authoritarian regime succeeds in silencing independent voices is the subject of Manuscripts Don\u2019t Burn, the slow-burning, clandestinely made fifth fiction feature by Iranian helmer-writer Mohammad Rasoulof. A brave, challenging picture that makes the viewer complicit in the action, it is also perhaps the first film since the declaration of the Islamic Republic to confront so directly the brutality of the feared security apparatus. The film opens like a thriller, with working-class man Khosrow running from a pursuer and jumping, in the nick of time, into a car driven by his colleague Morteza. It\u2019s only after we follow Khosrow home and feel sympathy for his sick child and financial problems that we discover that he and Morteza are the torture and assassination arms of the state. Along with their silken-voiced boss, Khosrow and Morteza are searching for copies of a banned manuscript that describes a 1995 incident in which 21 poets on a bus bound for a conference in Armenia were slated for elimination. The bus driver, whom we later learn was Khosrow, was ordered to jump out of the bus just before sending the vehicle into a gorge. Luckily, fate forestalled the fatalities, but the writers were warned never to speak of the incident. The violence is, for the most part, understated, depicted as an everyday part of Khosrow and Morteza\u2019s jobs. Yet even as these men go about their diabolical deeds, Rasoulof provides a sliver of hope by showing that there is always a witness, both within the film itself and by extension, via the audience. No warm tones intrude on the well-executed lensing, much of which is done in tightly framed closeups. The claustrophobic visuals, as well as the sophisticated and increasingly ominous sound design, reinforce a \u2018no exit\u2019 feel. Those in the know say all exteriors were shot in Iran, while the interior scenes were filmed in Germany.\u201d (Variety)<\/p>\n\n\n\n

Director: <\/strong>Mohammad Rasoulof<\/summary>\n

Biography<\/strong>: Mohammad Rasoulof is an Iranian independent filmmaker. He was born in Shiraz in 1973. He studied sociology at Shiraz University, and film editing at Sooreh Higher Education Institute in Tehran. His first feature-length film, The Twilight, was released in 2002. His second feature, Iron Island, won him international recognition as one of the most important filmmakers of the new wave of Iranian Cinema. Goodbye won him the Best Directors award of the Un Certain Regard section at the 2011 Cannes Film Festival. On December 20, 2010, he was sentenced by the government of Iran to six years in prison on charges of \u201cassembly, collusion, and propagandizing against the regime.\u201d His appeal is still pending. Mohammad Rasoulof is the patron of NIHRFF 2013.<\/p>\n\n\n\n

Filmography:<\/strong> The Twilight (2002), Iron Island (2005), Im Reich der Schl\u00fcssel (2008), The White Meadows (2009), Goodbye (2011), Manuscripts Don\u2019t Burn (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Anonymous<\/p>\n\n\n\n

Editor:<\/strong> Anonymous<\/p>\n\n\n\n

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Producer: <\/strong>Mohammad Rasoulof<\/p>\n\n\n\n

World Sales:<\/strong> Elle Driver<\/p>\n\n\n\n

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The Mass of Men<\/h4>\n\n\n\n

United Kingdom 2012, 16 min, English with German subtitles, director: Gabriel Gauchet<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Richard, an unemployed 55-year-old, arrives 3 minutes late for his appointment at a job centre. An advisor, stifled by the limits of the system she works in, has no choice but to penalise him for his tardiness. To avoid plunging further into destitution, Richard takes desperate measures. Inspired by the events surrounding the London Riots in 2011 and the subsequent infamous speech made by Prime Minister David Cameron, Mass of Men gives a harsh insight into the dangers of repression, disillusionment and apathy. Sehs\u00fcchte Internationales Studentenfilmfestival calls it: \u201cAn exploration of the absurdity of life, whose interchangeable protagonists, whose societal excess lead to a violent conclusion. With its razor-sharp irony, the film manages to create a nightmarish feeling of the zeitgeist.\u201d<\/p>\n\n\n\n

Director<\/strong>: Gabriel Gauchet<\/summary>\n

Biography<\/strong>: Gabriel Gauchet is a British writer and director. After graduating from African Studies in 2003 he started his education as a film director at the Academy of Media Arts in Cologne and the International Film and Television School (EICTV) at Cuba. In 2013 he graduated from the British National Film and Television School (NFTS). His short fiction The Mass of Men, screened and awarded at several film festivals, received the Golden Leopard in Locarno. Gauchet works and lives in London.<\/p>\n\n\n\n

Filmography:<\/strong> When football is painting \u2026 (2005), Die Kneipe (2006), Efecto Domin\u00f3 (2010), Mwansa the Great (2011), Diary of Incidences (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Nick Cooke<\/p>\n\n\n\n

Editor:<\/strong> Alice Petit<\/p>\n\n\n\n

Cast:<\/strong> Peter Faulkner, Jane McDowell, Dominic Kinnaird<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Emily Morgan<\/p>\n\n\n\n

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Matthew\u2019s Laws<\/h4>\n\n\n\n

De Regels van Matthijs, Netherlands 2012, 73 min, Dutch with German subtitels, director: Marc Schmidt<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Matthijs (English: Matthew) is autistic, his childhood friend Marc is a filmmaker. Out of their filmed encounters, spanning a couple of months, comes a strikingly beautiful and heartbreakingly complex documentary. \u201c\u2018My apartment is my universe\u2019, writes Matthew in his diary. Matthew is autistic. Highly intelligent and fragile, he spends his days taping telephone calls, hoping that they would help him understand what people \u2018really\u2019 mean \u2013 \u2018not what they say, but what they mean: they are usually opposite\u2019. Spending most of his time in his cluttered apartment, Matthew has established a complex system meant to help him put some order in the chaos around him and walk easier though the hallway of data that he is constantly struggling to organise. Marc Schmidt creates an affectionate film portrait of his autistic childhood friend \u2013 an intensely personal documentary that goes beyond autism, into the inability to translate between one\u2019s understanding of order and another\u2019s sense of chaos, the sense of vulnerability experienced when under the scrutiny of the camera, and the love and human connection needed by each and one of us. A moving story about a man\u2019s attempt to live as close as possible to the border of social acceptability, Matthew\u2019s Laws is also a reminder that housing is a fundamental human right: everyone deserves a place to call \u2018home\u2019.\u201d (One World Romania) Matthew\u2019s Laws won the Grand Prix Swiss Post for best feature at the prestigious Vision du R\u00e9el film festival on Nyon in 2012. In their statement, the jury wrote: \u201cWith love and courage the filmmaker places us face to face with his childhood friend. This film crosses a border into the unknown and mysterious world of autism. Matthew\u2019s Laws gives us the opportunity to experience friendship and self-determination in the face of society\u2019s demands from a unique point of view.\u201d<\/p>\n\n\n\n

Director<\/strong>: Marc Schmidt<\/summary>\n

Biography<\/strong>: Marc Schmidt (*1970) works as an independent director of documentary films. After a study in film Theory at the University of Utrecht and an education at the Art Academy of Tilburg, he started working as a sound technician and video editor. In the meantime directing documentaries raised his interest, it is now his main occupation.<\/p>\n\n\n\n

Filmography:<\/strong> Glady\u2019s Clan (2004), Esmiralde (2007), Angela\u2019s Mission (2010), Matthew\u2019s Laws (2012), The Chimpanzee Complex (2014)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Marc Schmidt<\/p>\n\n\n\n

Editor:<\/strong> Katarina T\u00fcrler<\/p>\n\n\n\n

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Producer: <\/strong>Simone van den Broek, Ingeborg Jansen<\/p>\n\n\n\n

Production Company:<\/strong> Basalt Film<\/p>\n\n\n\n

World Sales:<\/strong> Autlook Filmsales<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Missing Picture<\/h4>\n\n\n\n

L’Image manquante, Cambodia, France 2013, 95 min, Khmer, French with English subtitles, director: Rithy Panh<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cFor many years, I have been looking for the missing picture: a photograph taken between 1975 and 1979 by the Khmer Rouge when they ruled over Cambodia \u2026 On its own, of course, an image cannot prove mass murder, but it gives us cause for thought, prompts us to meditate, to record History. I searched for it vainly in the archives, in old papers, in the country villages of Cambodia. Today I know: this image must be missing. I was not really looking for it; would it not be obscene and insignificant? So I created it. What I give you today is neither the picture nor the search for a unique image, but the picture of a quest: the quest that cinema allows.\u201d (Rithy Panh) \u201cA recreation of the era and Panh\u2019s personal anecdotes is accomplished through the creation of countless clay figures\u2014carved and painted, we see, by hand, out of \u201cearth and water\u201d\u2014staged in static scenes through which the camera moves and the director cuts. They fill in a gap, the missing image of the title: a missing photographic record of the human experience of the horror and oppression behind the government\u2019s official ideology. (An image not missing: the official image, the propaganda image, that of Cambodian films of the time.) Panh\u2019s narration with moving straightforwardness segues between historical recount, deeply personal recollections, and broader criticism, illustrated by the savagely na\u00efve and thereby at once terrifying and sweet figures of his clay populace, each working, living, starving, dying in unalterable repose. Some are laid over documentary film footage, creating historical scenes \u2014 like the mass exodus out of Phnom Phen \u2014 that apparently have little, if any, visual record. Others\u2018 colorful sculptural presence of existences eked out, carven-frozen in a solidarity of misery, are contrasted against official moving images of Pol Pot\u2019s official visits and speeches. Pahn begins the film saying that upon reaching his middle age he has returned to his childhood, and so he does not just in recollections of his boyhood but in the toy-like imagining of those recollections. Their primitive form suggests, as does the ellipses in Panh\u2019s storytelling, where it feels like eons pass in what must only be a few seasons or years, a work in progress to discover records of an era held mostly in memory.\u201d (Daniel Kasman)<\/p>\n\n\n\n

Director<\/strong>: Rithy Panh<\/summary>\n

Biography<\/strong>: Rithy Panh was born in Cambodia in 1964. He is a filmmaker, author, and the main founder of the Bophana Center and the Cambodia Film Commission (CFC). He studied at the Institute for Advanced Cinematographic Studies in France and has directed many films, including The Rice People (competition Cannes 1994), S21: The Khmer Rouge Death Machine (NIHRFF AWARD 2003), Paper Cannot Wrap Up Ember (NIHRFF competition 2007) and The Sea Wall. His autobiography The Elimination was published in 2013.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Das Reisfeld (1994), S-21: Die Todesmaschine der Roten Khmer (2003), Paper Cannot Wrap Up Ember (2007), The Sea Wall (2008), The Missing Picture (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Rithy Panh, Prum Messa<\/p>\n\n\n\n

Editor:<\/strong> Rithy Panh, Marie-Christine Rougerie<\/p>\n\n\n\n

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Producer:<\/strong> Catherine Dussart<\/p>\n\n\n\n

Production Company:<\/strong> Cdp & Bophana Production<\/p>\n\n\n\n

World Sales:<\/strong> Films Distribution, France<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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My Child<\/h4>\n\n\n\n

Benim \u00c7ocu\u011fum, Turkey 2013, 82 min, Turkish with English subtitles, director: Can Candan<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

What happens when your child comes out to you? My Child is a warm, inspiring and sometimes funny documentary about a very courageous and inspiring group of mothers and fathers in Turkey, who are parents of lesbian, gay, bisexual, trans-gender individuals. They have not only gone through the difficult path of accepting their children for who they are, but also have taken the next step to share their experiences with other LGBT families and the public. In five homes in Istanbul, Turkey, seven parents of LGBT individuals talk about their experiences of becoming parents; about their children growing up and opening up to them; about the difficult path they had to go through in dealing with this; about themselves opening up to their families, and re-learning how to be a parent. They talk about themes such as denial, trauma, helplessness, fear, shame, acceptance, and re-birth. Nothing has prepared them for this experience. None of the parenting guides, nothing passed on from their elders or schooling mentioned how one could be a parent of a LGBT child. They had to learn it from scratch. When they talk about how they experienced the coming out of their children, they refer to it as the death of a child and birth of a new one. They say this extremely traumatic experience has also led to their own rebirth, as they have been questioning what it means to be an individual, to be true to oneself, and to be a parent. In a conservative society, where family ties are important, they had to deal with their fears about what \u201cothers\u201d would say, whether they would be ostracized if they were to come out to their own parents, families, and friends.<\/p>\n\n\n\n

Director<\/strong>: Can Candan<\/summary>\n

Biography<\/strong>: Can Candan is a documentary filmmaker and an academic. He holds a BA from Hampshire College (USA) in film and video, and an MFA from Temple University (USA) in film and media arts. His works have been screened internationally at festivals, conferences, in galleries and on television. He has taught film and video courses and workshops, both at universities and media education centers in the United States and in Turkey. Between 2000-2005, he was a faculty member, department chair and director of the MA program at Istanbul Bilgi University\u2019s Film and TV department. He later taught at Sabanc\u0131 University and since 2007, he has been a faculty member at Bo\u011fazi\u00e7i University in Istanbul, Turkey. He is also a founding member of docIstanbul \u2013 Center for Documentary Studies. My Child is his third feature-length documentary film.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Boycott Coke (1989), Exodus (1991), DuvarlarMauernWalls (2000), 3 Hours (2008), My Child (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> O\u011fuz Yenen<\/p>\n\n\n\n

Editor:<\/strong> G\u00f6k\u00e7e \u0130nce<\/p>\n\n\n\n

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Producer:<\/strong> Can Candan, Ay\u015fe \u00c7etinba\u015f, G\u00f6k\u00e7e \u0130nce<\/p>\n\n\n\n

Production Company:<\/strong> Surela Film<\/p>\n\n\n\n

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Nani<\/h4>\n\n\n\n

USA 2011, 21 min, English, director: Justin Tipping<\/p>\n\n\n\n

International Forum Kurzfilm<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Oscar, a teenage graffiti artist, only cares about one thing \u2013 getting his name seen. When he is arrested for vandalism, he is sentenced to community service at an old folks\u2019 home. He is forced to clean up, spend time with the elderly, and accompany some of the residents on walks outside. One night after his shift is over, Oscar decides to \u2018bomb\u2019 a utility truck parked nearby the home. Lost in his own world, he is unaware of Isabel, a lonely and isolated resident, watching him spray his name. The next day, Isabel forces him to take her on walks so she can continue watching him write his name. Fascinated, she insists Oscar teach her how to \u2019tag\u2019 her name. They create her alias \u2013 \u2018NANI\u2019 \u2013 and as the graffiti consumes her, the two form an unlikely bond over their visceral vandalism. While Isabel seems to grow younger through her newfound love of graffiti, her battle with Alzheimer\u2019s is on a steady decline. When Isabel\u2019s memory fades as quickly as the art they\u2019ve created, will their friendship be able to survive?<\/p>\n\n\n\n

Director:<\/strong> Justin Tipping<\/summary>\n

Biography<\/strong>: Born near San Francisco, USA in 1985, Justin Tipping gained a BA in media studies from the University of California in Santa Barbara and works as an editor for local television. He first tried his hand at directing by making music videos. He is currently studying directing at the American Film Institute\u2019s Conservatory in Los Angeles.<\/p>\n\n\n\n

Filmography:<\/strong> Nani (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Benjamin Kitchens<\/p>\n\n\n\n

Editor:<\/strong> Linda Jildmalm<\/p>\n\n\n\n

Cast:<\/strong> Tsai Chin, Johnny Ortiz<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> West Lee McDowell<\/p>\n\n\n\n

Production Company:<\/strong> American Film Institute<\/p>\n\n\n\n

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No Fire Zone: The Killing Fields of Sri Lanka<\/h4>\n\n\n\n

United Kingdom 2013, 93 min, English, Tamil with German subtitles, director: Callum Macrae<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis <\/strong><\/p>\n\n\n\n

At the latest in summer 2008 the Sri Lankan Government decided to finish the Thirty Years civil war against Tamil rebels at any costs \u2013 which meant: irrespective of the sufferings of the civilian population. In the spring of 2009, the army trapped the last 10.000 rebels and 300.000 civilians on a small coast strip at the Northeast of the island and put them permanently under fire, from the sea, from the air and from the countryside. They did so although they had declared the area as a \u201cNo Fire Zone\u201d. According to UN estimates, between 40.000 and 70.000 people were killed. No Fire Zone represents the culmination of three years of journalistic investigation and contains deeply disturbing new evidence, powerful eye-witness testimony and compelling personal stories of this century\u2019s worst crime against humanity and of the failure of the international community to prevent this catastrophe. Carefully evidenced, the film uses mobile phone- and small camera footage from both the victims and the perpetrators of violence. Supplemented by expert opinion, No Fire Zone pieces together the day-to-day horror of this war, in a way almost never done before: Viscerally powerful actuality from the battlefield, from inside the crudely dug civilian bunkers and from over-crowded makeshift hospitals, of summary execution, torture and sexual violence.<\/p>\n\n\n\n

Director<\/strong>: Callum Macrae<\/summary>\n

Biography<\/strong>: BAFTA-nominated director Callum Macrae has been making films for 20 years in the UK and around the world, including Iraq, Japan, Haiti and several in Africa, covering wars and conflicts in Cote D\u2019Ivoire, Uganda, Mali and Sudan. His films have ranged from observational documentaries to current affairs investigations including three major investigations into allegations of coalition crimes in Iraq. His most recent major projects were the two TV documentaries on the end of the civil war in Sri Lanka and a film made in South Kordofan of Sudan, recording Khartoum\u2019s war of terror on the Nuba people. As a writer on the Observer he won the Bank of Scotland Campaigning Journalist of the Year Award.<\/p>\n\n\n\n

Filmography:<\/strong> Unreported World (2003), Iraq\u2019s Mission Billions (2006),
On Whose Orders (2008), No Fire Zone: The Killing Fields of Sri
Lanka (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Vaughan Matthews<\/p>\n\n\n\n

Editor:<\/strong> Michael Nollet<\/p>\n\n\n\n

Cast:<\/strong> Rufus Sewell<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Zoe Sale<\/p>\n\n\n\n

Production Company:<\/strong> Outsider Films<\/p>\n\n\n\n

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Norte, the End of History<\/h4>\n\n\n\n

Norte, hangganan ng kasaysayan, Philippines2013, 250 min, Tagalog with English subtitels, director: Lav Diaz<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

It begins as Crime & Punishment, with a pawnbroker (and her daughter) killed by a young student who believes he is a philosophical rebel, a unique individual contre dominant society. But the narrative\u2019s triad structure which follows doesn\u2019t pair the criminal against the investigator, but rather the criminal against two other victims. The three stories of cause-and-effect \u2014 a spiritual, interior kind of cause-and-effect, actions influencing self-consideration and different engagements with daily existence \u2014 alternate back and forth as time passes. Its one movement is that of the dissatisfied, destabilized youth, who the film introduces in its long, single-take discussion among prospective law students who range from fully committed to their careers of entering society and enforcing its status quo, to Fabian, the radical young man whose nihilism, his desire to do away with all relationships, all \u201chistory,\u201d will lead him to kill. The other movements are that of Joaquin, an innocent man wrongly convicted of the murders, and Eliza, the wife he leaves behind. The impoverished housewife, in debt to the pawnbroker because a broken leg prevented her husband and her from starting a business \u2014 the coincidence that gets him accused of the crime \u2014 is stuck taking care of their kids and her sister, and they slump down further into poverty, stalwartly eking out an existence while her husband serves a life sentence in prison. It is, above all, an \u201ceveryday\u201d story of observation and adherence, in that the filmmaker has a compassionate sensitivity towards his characters (even the amoral student) and what they do in the world. It is an approach profoundly complicated as North, the End of History turns down a path towards violence, and, later, gestures towards absorbing something mythical into the simple story. The vividly human scale of Diaz\u2019s film, its telling of a classic story specifically within a topical context, its remarkably simultaneous magnitude and minuteness, it is a work so powerful that its tendrils of suggestion seem capable to connect all of the films of Cannes together. (Daniel Kasman, mubi.com)<\/p>\n\n\n\n

Director:<\/strong> Lav Diaz<\/summary>\n

Biography<\/strong>: Lav Diaz or Lavrente Indico Diaz is a acclaimed Filipino independent filmmaker, born 1958 in Datu Paglas, Maguindanao, Mindanao, Philippines. He works as director, writer, producer, editor, cinematographer, poet, composer, production designer and actor all at once. Diaz, whose parents were teacher at local schools, studied at the Mowelfund Film Institute. He has won several international awards such as the award for Best Picture at the Singapore International Film Festival. His films often tackle issues regarding the current social and political state of the Philippines. He is especially notable for the length of his films, some of which run for up to eleven hours.<\/p>\n\n\n\n

Filmography:<\/strong> West Side Kid (2001), Jesus, Revolutionary (2002), Evolution of a Filipino Family (2004), Death in the Land of Encantos (2007), Melancholia (2008), Woman o f the Wind (2011), Norte, the End of History (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Lauro Rene Manda<\/p>\n\n\n\n

Editor:<\/strong> Lav Diaz<\/p>\n\n\n\n

Cast:<\/strong> Archie Alemania, Angeli Bayani , Soliman Cruz<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Raymond Lee (Moira)<\/p>\n\n\n\n

Production Company:<\/strong> Wacky O Productions<\/p>\n\n\n\n

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The Notebook<\/h4>\n\n\n\n

A nagy f\u00fczet, Hungary, Germany, France, Austria 2012, 112 min, German, director: J\u00e1nos Sz\u00e1sz<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cA soldier father guides his family with a firm but understanding hand. He gives his two 13-year-old sons a notebook in which they are to write down their everyday experiences. It\u2019s the Second World War, the family is broken up, and the boys are taken to their grandmother\u2019s village to take shelter in her house. But the old woman would rather nurse a bottle of booze than care for her own flesh and blood. Thus instead of finding a safe refuge, the brothers fully experience the cruelty of war and the utter absence of love. Nothing good can come of the situation, and the bitter reality is reflected in their matter-of-fact, emotion-deprived entries in the notebook. The picture graphically portrays the war through the eyes of children \u2013 but differently than we\u2019re used to in such cases. Wholly unidyllic, the film takes a brutal look at the loss of illusions and the forced transformation of the protagonists into adults (or whatever the war makes of them). Moreover, the cruelty the brothers learned out of necessity extends beyond the end of the conflict, and thus we may perceive the film as a broader social critique. This elegiac motion picture benefits from Christian Berger\u2019s dazzling camerawork.\u201d (Karlovy Vary International Film Festival) Based on the worldwide bestseller by the Hungarian born Swiss author \u00c0gota Krist\u00f3f, The Notebook is a postmodern antiwar drama, an oppressive parable about what war does to children and intensely describes the misery of entire populations in Eastern countries.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

The Notebook is a war film with no war, a story about innocent but cruel children who resist all morals. It is the story of early adolescent, murderous twin boys. Two bodies, one spirit; two bodies, one will. They speak the same way and they finish each other\u2019s sentences, always on the same wavelength. One boy thinks of something and the other carries it through. When they kill, it is an act of justice. Two bodies and one soul.<\/p>\n\n\n\n

Director:<\/strong> J\u00e1nos Sz\u00e1sz<\/summary>\n

Biography<\/strong>: J\u00e1nos Sz\u00e1sz was born in Budapest in 1958. He studied drama and stage direction at the Academy of Theater and Film Arts, and spent four important years at the National Theater Budapest. For the stage, he directed Ghosts by Henrik Ibsen, The Deer King by Carlo Gozzi and A Streetcar Named Desire by Tennessee Williams.<\/p>\n\n\n\n

Filmography:<\/strong> Temet\u00e9s (1998), A Holocaust szemei (2000), Opium: Diary of a Madwoman (2007), Das gro\u00dfe Heft (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Christian Berger<\/p>\n\n\n\n

Editor:<\/strong> Szilvia Ruszev<\/p>\n\n\n\n

Cast: <\/strong>Ulrich Matthes, Ulrich Thomsen, Andr\u00e1s Gy\u00e9m\u00e1nt , L\u00e1szl\u00f3 Gy\u00e9m\u00e1nt<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> P\u00e1l S\u00e1ndor, S\u00e1ndor S\u00f6th<\/p>\n\n\n\n

Production Company:<\/strong> Intuit Pictures, AMOUR FOU Vienna, Dolce Vita Films, Hunnia Filmst\u00fadi\u00f3<\/p>\n\n\n\n

World Sales:<\/strong> Beta Cinema<\/p>\n\n\n\n

German Distributor: <\/strong>Piffl Medien<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Objection VI<\/h4>\n\n\n\n

Einspruch VI, Switzerland 2011, 17 min, German, director: Rolando Colla<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The story of a deportation that ended with the tragic death of an asylum seeker in March 2010. In the film, the camera itself is this asylum seeker, and what it captures is a subjective view of reality.<\/p>\n\n\n\n

Director<\/strong>: Rolando Colla<\/summary>\n

Biography<\/strong>: Rolando Colla was born in 1957 in Schaffhausen, Switzerland and holds the joint Swiss and Italian citizenship. Since 1978 he lives and works in Zurich. His professional activities include screenwriting, acting and production management. Since 1983 he also works as a screenwriter and director for commissioned films. In 1984 he founded Peacock Film AG. Since 2002 he is a lecturer at the EICT (Escuela Internacional de Cine y Television) in San Antonio de los Ba\u00f1os, Havana, Cuba. Colla won the Swiss Film Prize Quartz 2012 in the categories Best Fiction Film and Best Screenplay for Summer Games.<\/p>\n\n\n\n

Filmography:<\/strong> Jagdzeit (1997), Einspruch I (1999), Einspruch II (2000), Einspruch III (2001), Einspruch IV (2004), Operazione Stradivari (2004), Einspruch V (2007), Summer Games (2011), Das bessere Leben ist anderswo (2012), Einspruch VI (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Jutta Tr\u00e4nkle<\/p>\n\n\n\n

Editor:<\/strong> Rolando Colla<\/p>\n\n\n\n

Cast:<\/strong> Abel Jafri, Catriona Guggenb\u00fchl, Linda Olsansky<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Elena Pedrazzoli<\/p>\n\n\n\n

Production Company<\/strong>: Peacock Film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Paradise Lost 3: Purgatory<\/h4>\n\n\n\n

USA 2011, 121 min, English with German subtitels, directors: Bruce Sinofsky, Joe Berlinger<\/p>\n\n\n\n

International Forum \/ Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Paradise Lost 3: Purgatory, the new installment of Joe Berlinger and Bruce Sinofsky\u2019s HBO Documentary Films series about the notorious 1993 \u201cWest Memphis Three\u201d child murders, chronicles the 18-year fight to prove the innocence of Damien Echols, Jason Baldwin, and Jessie Misskelley. On May 5, 1993, the bodies of three eight-year-old boys were found next to a muddy creek in the wooded Robin Hood Hills area of West Memphis, Arkansas. A month later, three teenagers, Jason Baldwin, Damien Echols and Jessie Misskelley, were arrested. Following trials fraught with innuendoes of satanic worship, emotionally charged statements and allegations of coerced confessions, the defendants were convicted, despite a lack of physical evidence linking them to the crime. The HBO films Paradise Lost: The Child Murders of Robin Hills (1996) and Paradise Lost 2: Revelations (2000) sparked a national discussion about the innocence or guilt of the West Memphis 3. Paradise Lost 3: Purgatory resumes the examination of a horrifying crime and its aftershocks with Echols still on death row and Baldwin and Misskelley still serving life sentences, and follows the story all the way to it\u2019s stunning conclusion. For nearly two decades, Berlinger and Sinofsky have followed this story with extraordinary access to all of the players on both sides of this tragedy. \u201cParadise Lost 3: Purgatory reveals recent DNA and other forensic evidence (unavailable at the time of the murders), as well as other troubling developments, including allegations of juror misconduct, that suggest the trio did not receive a fair trial. The film includes new interviews with Echols, Baldwin and Misskelley, who are now in their 30s. The result is an authoritative and completely new examination of the West Memphis Three case and a comprehensive portrait the American justice system at work.<\/p>\n\n\n\n

Directors<\/strong>: Bruce Sinofsky, Joe Berlinger<\/summary>\n

Biography<\/strong>: Joe Berlinger, born 30 October 1961 in Boca Raton, Florida, and Bruce Sinofsky, born 31 March 1956 in Boston, Massachussetts, are since their remarkable debut with Brother\u2019s Keeper (1989) a team of American documentary filmmakers that have won cult fame and critical acclaim. The duo is probably best known for their trilogy of Paradise Lost films. 2004 the Metallica documentary Some Kind of Monster was published. Though they often work together, Berlinger and Sinofsky have also separately directed their own projects.<\/p>\n\n\n\n

Filmography:<\/strong> Joe Berlinger<\/strong> Brother\u2019s Keeper (1992), Paradies Lost \u2013 Die Kindermorde in Robin Hills (1996), Paradise Lost 2: Revelations (2000), Book of Shadows: Blair Witch 2 (2000), Some Kind of Monster (2004), Crude (2009), Paradise Lost 3: Purgatory (2011)<\/p>\n\n\n\n

Bruce Sinofsky<\/strong> Brother\u2019s Keeper (1992), Paradies Lost \u2013 Die Kindermorde in Robin Hills (1996), Paradise Lost 2: Revelations (2000), Hollywood High (2003), Some Kind of Monster (2004), Paradise Lost 3: Purgatory (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Bob Richman<\/p>\n\n\n\n

Editor:<\/strong> Alyse Ardell Spiegel<\/p>\n\n\n\n

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Producer:<\/strong> Joe Berlinger, Bruce Sinofsky, Jonathan Silberberg<\/p>\n\n\n\n

Production Company:<\/strong> Radical Media<\/p>\n\n\n\n

Weltvertrieb: <\/strong>HBO<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Patience Stone<\/h4>\n\n\n\n

Syngu\u00e9 Sabour, France, Germany, Afghanistan 2012, 98 min, Persian with German subtitels, director: Atiq Rahimi<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Somewhere, in Afghanistan or elsewhere, in a country torn apart by a war \u2026 A beautiful woman in her thirties watches over her husband in a decrepit room. He is reduced to a vegetative state because of a bullet in the neck, and not only is he abandoned by his companions of the Jihad, but also by his brothers. One day, the woman starts a solitary confession to her silent husband. She talks about her childhood, her suffering, her frustrations, her loneliness, her dreams, her desires \u2026 She touches him, kisses him, things she could never have done before, even though they have been married for the past 10 years. Therefore, this paralysed man unconsciously becomes \u2018syngu\u00e9 sabour\u2019, a magic stone which, according to Persian mythology, when placed in front of a person shields him from unhappiness, suffering, pains and miseries. In this wait for her husband to come back to life, the woman struggles to survive and live. She finds refuge in her aunt\u2019s place, who is a prostitute, and the only relative who understands her. The woman seeks to free herself from suffering through the words she delivers audaciously to her husband. But after weeks looking after him, she will actually reveal herself in the relationship she starts with a young soldier \u2026 With the production of The Patience Stone Atiq Rahimi succeeds in transforming the written words of his novel of the same title into spoken words and moving pictures.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

Because what is exciting and challenging for a writer-director, is finding a way to exceed one\u2019s own book to show and say in his film all the things he didn\u2019t manage to write using words. The book\u2019s central idea is the myth of Syngue Sabour, the patience stone, a stone on which you can shed your misfortunes, your complaints, your secrets until it\u2019s so full it bursts. In this story, the stone is the husband, a warrior paralysed by a bullet in the neck. The woman, to bring him back to life, has to pray from morning till night for 99 days. But that prayer soon turns in to confession. She murmurs into his ear all the things she has kept locked inside her for so many years.<\/p>\n\n\n\n

Director<\/strong>: Atiq Rahimi<\/summary>\n

Biography<\/strong>: Atiq Rahimi was born in Kabul in 1962. He was seventeen years old when the Soviet Union invaded Afghanistan. He fled to Pakistan during the war and was eventually granted political asylum in France in 1984. After the fall of the Taliban in 2002, Rahimi returned to Afghanistan, where he filmed an adaptation of his novella Earth and Ashes (Other Press). He has become renowned as a maker of documentary and feature films, as well as a writer. The film of Earth and Ashes was in the Official Selection at Cannes in 2004 and won several prizes. Since 2002 Rahimi has returned to Afghanistan a number of times to set up a Writers\u2018 House in Kabul. His novel The Patience Stone (Other Press) won the Prix Goncourt in 2008.<\/p>\n\n\n\n

Filmography:<\/strong> Earth and Ashes (2003), Stein der Geduld (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Thierry Arbogast<\/p>\n\n\n\n

Editor:<\/strong> Herv\u00e9 de Luze<\/p>\n\n\n\n

Cast:<\/strong> Golshifteh Farahani, Hamid Djavadan, Hassina Burgan<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Michael Gentile<\/p>\n\n\n\n

Production Company:<\/strong> The Film, Razor Film Production<\/p>\n\n\n\n

World Sales: <\/strong>Le Pacte<\/p>\n\n\n\n

German Distributor: <\/strong>Rapid Eye Movies<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Picket<\/h4>\n\n\n\n

\u041f\u0438\u043a\u0435\u0442, Russia 2013, 9 min, Russian with English subtitles, director: Vadim Ostrovskiy<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A young Russian mounts a one-woman protest in support for Pussy Riot. After a series of complications (her mother tries to get her off the street for example), she has to flee the police and ends up taking refuge in a church where the priest hides her. She impresses him with her painting skills and he asks her to help him restore the church. She doesn\u2019t seem to be against the idea. This is a charming parable full of humour that asks about the meaning of protest and explores how to win over the trust of unexpected allies contrary to all clich\u00e9s.<\/p>\n\n\n\n

Director<\/strong>: Vadim Ostrovskiy<\/summary>\n

Biography: <\/strong>Vadim Ostrovskiy is a Russian film director who created over 50 well known documentaries and feature films broadcast at main Russian TV channels, such as the feature film Disappeared, the series Made in USSR, the documentary Formula of power, Obama and many others.<\/p>\n\n\n\n

Filmography:<\/strong> Picket (2013)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Planet of Snail<\/h4>\n\n\n\n

South Korea, Japan 2011, 87 min, Korean with English subtitles, director: Seungjun Yi<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A love story like no other, Planet of Snail is a mesmerizing documentary about an accomplished young poet who can no longer hear or see and his relationship to the world around him. Young- Chan is deaf and blind. He learned to speak when he was very young, but soon after lost his sight and hearing. He lives with his wife, Soon-Ho, who is his soul mate, an inseparable part of his life, and a window to the outside world. Young-Chan and Soon-Ho communicate through finger braille, a unique form of touch-based sign language in which words are tapped out on each other\u2019s hands. They rely on one another completely. However, Young-Chan must be able to survive on his own. One day, as Soon-Ho waits anxiously at home, Young-Chan embarks on the biggest adventure of his life.<\/p>\n\n\n\n

Protagonist\u2019s Statement<\/strong><\/p>\n\n\n\n

I come from planet of snail where people communicate by touching each other. We call ourselves \u201csnails\u201d because we cannot hear or see and our lives are as slow as the snails. Now I live on earth where time runs so fast which makes me hard to follow the life of the earthmen. When I first came to the earth, I was desperate because there was nothing I could do. However, an angel came into my life and I discovered a beautiful world that I can read under my fingers. Everything around me started changing. Hopes started replacing despairs and I started challenging for my long delayed dream. Now my heart is full of hope and I know there will be so much more I can do in this world: The reason for my life. Soon-Ho is my wife. I haven\u2019t actually seen her with my own eyes but I know she is the most beautiful woman in the world. She has become my lifeline ever since she came into my life. She is my arms and legs that take me to school, to the gym, to the sea and everywhere I want to go. She is the eye and the ear of me that sees, hears and translates for me. I cannot live a day without her and feel sorry for that I cannot do much for her while herself has spine disability and often gets sick.<\/p>\n\n\n\n

Director<\/strong>: Seungjun Yi<\/summary>\n

Biography<\/strong>: Seungjun Yi is one of Korea\u2019s emerging directors in documentary scene. Among a dozen TV length documentaries and shorts, Seungjun directed Children of God (2008), a story about the children living in the crematorium of Nepal, which has traveled the world and is being distributed worldwide. His interest in filmmaking has always focused on the life of so called \u201aunseen minorities\u2019 which has become his signature style of filmmaking. With his feature- length documentary Planet of Snail Seungjun teamed up with world class creative talents from literally all over the world. Yi\u2019s experiments on this ambitious project in every aspect of filmmaking broadened his view on documentary as a filmmaker.<\/p>\n\n\n\n

Filmography:<\/strong> Children of God (2008), Planet of Snail (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Seungjun Yi<\/p>\n\n\n\n

Editor:<\/strong> Simon El Habre, Seungjun Yi<\/p>\n\n\n\n

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Producer:<\/strong> Min-Chul Kim, Gary Kam<\/p>\n\n\n\n

Production Company:<\/strong> CreativEAST<\/p>\n\n\n\n

World Sales:<\/strong> CAT & DOCS<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Powerless<\/h4>\n\n\n\n

Katiyabaaz, India 2013, 80 min, English, Hindi with English subtitels, directors: Fahad Mustafa, Deepti Kakkar<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

David vs. Goliath \u2013 electricity thief vs. buerocrat: Powerless is certainly one of the most entertaining and endearing documentaries coming out if India in the past few years! \u201cIt\u2019s hard not to be frightened at how the sparks fly between chaotically knotted cables and dangerous fingers of flame lick away at the old transformers, as elderly men call upon the younger ones to pour a little water on the source of the fire. Suddenly, everything goes black. In Kanpur, India\u2019s former leather capital, blackouts frequently take up more of the time in some districts than hours of normal electrical service. That is why Loha Singh \u2013 a latter-day Robin Hood \u2013 has made it his life\u2019s task to supply the poorer families and ruffled small-time entrepreneurs with power in such a bizarre manner. His direct adversary is the woman at the top of the state energy supplier Kesco, even if Mrs. Ritu Maheshwari is by no means the villain in this film. These two protagonists are merely the lead dancers in an operetta which comes across as totally insane. Powerless is a documentary film about the electrical supply in an Indian city, the story unfurling along the tangled wires and tracing out lines of conflict of a diabolical complexity in the process.\u201d (Dorothee Wenner, Berlinale 2013)<\/p>\n\n\n\n

Fahad Mustafa on his film<\/strong><\/p>\n\n\n\n

We were shooting with the \u2018katiyabaaz\u2019 (electricity thieves), the bitterest of bitter Kanpur stock. The work is illegal and risky, and hearing of a \u2018katiyabaaz\u2019 who got \u2018stuck\u2019 due to the strong magnetic pull of high voltage lines is not rare. Loha Singh, our protagonist, is someone quite unlike anyone else I have ever met. He has a talent for becoming invisible even on an empty street, and yet he stands out as a product of Kanpur\u2019s particular history. In many ways, he is a representative of the millions of citizens who live through this crisis.<\/p>\n\n\n\n

Director<\/strong>: Fahad Mustafa<\/summary>\n

Biography<\/strong>: Fahad Mustafa was born on 10 November 1984 in Kanpur, India. He studied history at St. Stephen\u2019s College, University of Delhi and global studies at the University of Vienna. In 2010 he worked with the offices of the United Nations Special Rapporteur on Torture. That same year, he made his first film, FC Chechnya (2010). Powerless is his first feature-length film.<\/p>\n\n\n\n

Filmography:<\/strong> FC Chechnya (2010), Powerless (2013)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Deepti Kakkar<\/summary>\n

Biography<\/strong>: Deepti Kakkar was born on 21 February 1986 in Delhi. She studied history and global studies at the universities of Delhi, Leipzig and Vienna. It was during her time as a student that she began to get involved in the areas of social development and sustainable livelihood. She made a short film about microfinance in India, and worked on the story development for FC Chechnya (2010). Powerless is her first feature-length film.<\/p>\n\n\n\n

Filmography:<\/strong> Powerless (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Maria Trieb, Amith Surendran, Fahad Mustafa<\/p>\n\n\n\n

Editor:<\/strong> Maria Trieb, Namrata Rao<\/p>\n\n\n\n

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Producer:<\/strong> Deepti Kakkar, Fahad Mustafa, Leopold Koegler, Judy Tam<\/p>\n\n\n\n

Production Company:<\/strong> Globalistan Films, Itvs International<\/p>\n\n\n\n

World Sales:<\/strong> CAT & DOCS<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Purgatorio<\/h4>\n\n\n\n

Mexico, USA 2013, 82 min, English, Spanish with English subtitles, director: Rodrigo Reyes<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

By capturing a stunning mosaic of compelling characters and broken landscapes that live on the US-Mexico border, director Rodrigo Reyes reflects on the flaws of human nature and the powerful absurdities we have created in the world. This is not an ordinary border film. It is not news or reportage; it is not about a political agenda. Purgatorio is a fable of humanity, an epic and visceral experience that will leave audiences thinking and meditating long after viewing.<\/p>\n\n\n\n

Director’s Statement<\/strong><\/p>\n\n\n\n

When I began to develop the idea to make a documentary or a film about this region or phenomenon, I wanted to avoid political causes, avoid finding an agenda, promoting a cause or solving a problem. When I set out to make Purgatorio what I really wanted was to capture an experience. I did not want to tell the audience, \u201clook, this problem exists, do this to fix it.\u201d I wanted to provide an intense experience of this border and in so doing I tried to move away from political and statistical details because these are things that change all the time, yet the border has been there for years and centuries. It still has some problems from its origin, and these are the problems of human nature, of how we get interact with one another. Political problems change every 4 to 6 years, with each change in the presidency on both sides. Purgatorio for me is a way of understanding the border between Mexico and the United States. I believe that the majority of Mexicans live with this border in way or the other. For us it is something that either consciously or subconsciously affects us; we are always conditioned by, always reacting to, always living out our relationship with the United States. Therefore, it seems to me that by being a migrant myself, by living in the United States for great part of my own life, I developed a desire to understand this strange and bizarre line that divides us.<\/p>\n\n\n\n

Director<\/strong>: Rodrigo Reyes<\/summary>\n

Biography:<\/strong> Rodrigo Reyes was born in Mexico City in 1983 and attended college in San Diego as well as Madrid and Mexico City, earning a degree in International Studies. Instead of following this career path, Reyes has channeled his multi-cultural background into becoming a filmmaker.<\/p>\n\n\n\n

Filmography:<\/strong> The 12th of December (2009), 99 Years After the Revolution (2010), Memories of the Future (2011), Purgatorio (2012)<\/p>\n\n\n\n

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Camera:<\/strong> Justin Chin<\/p>\n\n\n\n

Editor:<\/strong> Manuel Tsingaris<\/p>\n\n\n\n

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Producer:<\/strong> Inti Cordera<\/p>\n\n\n\n

Production Company:<\/strong> La Maroma Producciones<\/p>\n\n\n\n

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Reality 2.0<\/h4>\n\n\n\n

Germany 2012, 11 min, Spanish with English subtitles, director: Victor Orozco Ramirez<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201eIt was autumn when I arrived in Germany. I thought that in this exotic country I could distance myself a little bit from Mexico, but I was wrong. Drug traffickers managed to take me back in a ruthless way.\u201c A short animated documentary about the drug-related violence in Mexico.<\/p>\n\n\n\n

Director<\/strong>: Victor Orozco Ramirez<\/summary>\n

Biography<\/strong>: Victor Orozco Ramirez graduated with a degree in Industrial Design from the University of Guadalajara and graduated from the Academy of Fine Arts of Hamburg Germany with a master\u2019s degree in the area of documentary Film. He founded Gremiodise\u00f1o (Design and Art laboratory) in 1999 and currently organizes in Germany, Ecuador and Mexico the Film festival \u201eambulart\u201d, a cultural project which is aim to foment a film exchange between Germany and Latin-America. He has directed a variety of animation and documentary short films.<\/p>\n\n\n\n

Filmography:<\/strong> Make Me a Saint (2002), Squarehead (2003), Spare the Blood, Spoil the Child (2005), Tateikie Behind the Curtain (2009), White and Fish (2011), Reality 2.0 (2012)<\/p>\n\n\n\n

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Revolutionary Memories of Bahman
Who Loved Leila<\/h4>\n\n\n\n

Iran 2012, 15 min, Persian with English subtitles, director: Farahnaz Sharifi<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

It is 1978. Tehran in bloodshed. The young Bahman falls in love with Leila, the sister of his martyred friend. Unrests in the streets, unrests in the hearts. And a revolution makes the people attached and detached. Farahnaz Sharifi creatively compiles some family album photos and footage to narrate subversively the untold story of the missing, lost loves during revolutions. In her very personal style, with a post-humus voice over she moves on the boundaries of fiction and documentary.<\/p>\n\n\n\n

Director<\/strong>: Farahnaz Sharifi<\/summary>\n

Biography<\/strong>: Graduated BA in filmmaking, Farahnaz made her first documentary Film Moon\u2019s Voice as a student project which won several prizes in Iranian film festivals, received very favourable opinions from critics and the public and was shown in dozens of international film events. Her next films also won some of the most prestigious awards in Iranian film festivals and established her as one of the leading figures of the young generation of Iranian documentary filmmakers. She has published a collection of short stories which was nominated \u201emost distinguished\u201c fiction book of 2011. In 2012 Farahnaz attended IDFA Summer School. She lives in Tehran and is currently working on her new film.<\/p>\n\n\n\n

Filmography:<\/strong> Revolutionary Memories of Bahman Who Loved Leila (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Reza Teymouri<\/p>\n\n\n\n

Editor:<\/strong> Farahnaz Sharifi<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Roots<\/h4>\n\n\n\n

Senzo ni naru, Japan 2012, 118 min, Japanese with English subtitels, director: Kaoru Ikeya<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cNaoshi is a hale old man of 79 from the Kesen district of Iwate Prefecture who has spent his whole life working as a woodcutter and carpenter. When the tsunami hit in March 2011, the wooden beams of his house didn\u2019t even warp after water reached the second floor, although his son was washed away and drowned in the flood. Naoshi is determined to rebuild his house in the exact same spot, to live out his days in the place he was born and continue to honour his son\u2019s memory. Yet this determination is challenged on several fronts: by his wife, who feels duty bound to stay with him, by the local authorities and their construction restrictions; and maybe even by his own body, given that his prostate cancer is only in remission. Kaoru Ikeya follows Naoshi\u2019s rebuilding efforts for more than a year, exhibiting a perfect understanding of when to ask questions and when to remain silent. As the seasons pass, the debris is cleared, and roots reattach, this tender portrait of a quietly stubborn man opens out into a complex study of the many ambivalences the reconstruction process brings with it: a tangled web of family duty, traditional customs, community spirit and municipal legislation.\u201d (James Lattimer, Berlinale, Forum 2013) as one of the leading figures of the young generation of Iranian documentary filmmakers. She has published a collection of short stories which was nominated \u201emost distinguished\u201c fiction book of 2011. In 2012 Farahnaz attended IDFA Summer School. She lives in Tehran and is currently working on her new film.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

While I was wandering in a daze through this disaster zone, I learned that one town was planning to hold a cherry blossom viewing party. [\u2026] Held in the hall of a temple on high ground, the party was heart-warming. [\u2026] One older man spoke quietly to the assembled residents of the neighbourhood: \u2019the cherries have bloomed just like they do every year.\u2019 In these words, steeped in a valiant determination toward recovery, I heard the cry of the spirit of people who live rooted in this land. That night, when I watched the footage we\u2019d shot, I decided to make a film about this man. He was Naoshi Sato, the hero of Roots.<\/p>\n\n\n\n

Director: <\/strong>Kaoru Ikeya<\/summary>\n

Biography<\/strong>: Kaoru Ikeya was born in Tokyo in 1958 and graduated at Doshisha University in Art Philosophy. Having directed documentaries for television, he released first theatrical feature-length film Daughter from Yan\u2018an in 2002, which received the award for Best Documentary from Karlovy Vary International Film Festival and many others. His second Film The Ants (2006) marked the long running hit in theaters in Japan and won the Humanitarian Award from Hong Kong International Film Festival and CDS Filmmaker Award from Full Frame Film Festival. His latest Film Roots received a Special Mention by the Ecumenical Juries at Forum, Berlinale 2013.<\/p>\n\n\n\n

Filmography:<\/strong> China: Rise of the World\u2019s Market (1999), Reunion (2000), Daughter from Yan\u2018an (2002), The Ants (2005), Roots (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Masaharu Fukui<\/p>\n\n\n\n

Editor:<\/strong> Koichi Tayama<\/p>\n\n\n\n

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Producer:<\/strong> Yoko Kwon<\/p>\n\n\n\n

Production Company:<\/strong> Ren Universe, Inc.<\/p>\n\n\n\n

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Salma<\/h4>\n\n\n\n

United Kingdom 2013, 90 min, Tamil with English subtitles, director: Kim Longinotto<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cIn villages inhabited by India\u2019s Muslim minority in Tamil southern India, as soon as a girl reaches puberty she is locked away until her wedding. This was Salma\u2019s fate when she turned thirteen. Hungry for an education, she avoided an arranged marriage for nine long years by keeping herself confined in a bare room. When she finally agrees to wed local politician Malik, she finds herself imprisoned once again \u2013 this time in her husband\u2019s home where the only things she has to read are the newspapers wrapping the vegetables. Clandestinely, she begins to write poetry which her mother helps her smuggle out to a publisher. Her life changes completely when her poems are published and, with the aid of her publisher, she finally travels to Chennai for the first time. Now a well-known poet, she begins to apply for government positions, and inspires her sisters and other women also to fight for their freedom and independence. For, she argues, it is the mutual oppression of women by other women that perpetuates the status quo. Salma does not exoticise the lives of Muslim women; instead the film provides a sober account that is full of respect.\u201d (Berlinale 2012) As with her other work (Pink Saris, Rough Aunties, Sisters in Law), master documentarian Kim Longinotto trains her camera on an iconoclastic woman. Salma\u2019s extraordinary story is one of courage and resilience. Salma has hopes for a different life for the next generation of girls, but as she witnesses, familial ties run deep, and change happens very slowly. Salma helps us understand why the goal of global education of girls is one the most critical areas of empowerment and development of women worldwide.<\/p>\n\n\n\n

Director<\/strong>: Kim Longinotto<\/summary>\n

Biography<\/strong>: Kim Longinotto studied at the National Film School in London. For more than two decades, she has been making films that explore issues relevant to women in such diverse places as Japan, Iran, Africa, and India. The Day I Will Never Forget (NIHRFF 2003), about Kenyan girls challenging female circumcision, premiered at the 2003 Sundance Film Festival. Sisters in Law (NIHRFF 2007), set in Cameroon, won the C.I.C.A.E. Award at the 2005 Cannes Film Festival. Rough Aunties (NIHRFF 2009), about a group of brave women in South Africa, won the documentary Jury Prize at the Sundance Film Festival in 2009.<\/p>\n\n\n\n

Filmography:<\/strong> Pride of Place (1976), Shinjuku Boys (1995), Runaway (2001), The Day I Will Never Forget (2002), Sisters in Law (2005), Rough Aunties (2008), Pink Saris (2010), Salma (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Kim Longinotto<\/p>\n\n\n\n

Editor:<\/strong> Ollie Huddleston<\/p>\n\n\n\n

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Producer:<\/strong> Kim Longinotto<\/p>\n\n\n\n

Production Company:<\/strong> VIXEN FILMS<\/p>\n\n\n\n

World Sales: <\/strong>Women Make Movies, Inc.<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Short for Vernesa B.<\/h4>\n\n\n\n

Germany, Bosnia and Herzegowina 2012, 10 min, German, director: Jons Vukorep<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Bosnian actress, Vernesa Berbo, leaves war-torn Bosnia and settles in Germany where, as an illegal immigrant, she tries to continue her acting career. The only roles she is able to get are roles depicting Eastern European women as, for example, a Polish cleaning lady, Romanian asylum seeker, Russian prostitute, or a Bosnian refugee, roles which take her back to her own personal nightmare. (Bosnian-Herzegovinian Film Festival)<\/p>\n\n\n\n

Director<\/strong>: Jons Vukorep<\/summary>\n

Biography<\/strong>: Jons Vukorep is a Bosnian director, screenwriter and producer. He was born in 1972 in Sarajevo, Bosnia-Herzegovina, and emigrated from Sarajevo to Germany at the beginning of the war. He graduated in Visual Communication at the University of Applied Sciences in Hamburg and worked as a freelance visual artist. He wrote theatre plays and works on performances. He also founded the pop band \u201cLa Stampa\u201d. Short for Vernesa B. is his film directing debut.<\/p>\n\n\n\n

Filmography:<\/strong> Short for Vernesa B. (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Michael Kotschi<\/p>\n\n\n\n

Editor:<\/strong> Angi Harrer-Vukorep<\/p>\n\n\n\n

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Producer:<\/strong> Michael Kotschi, Caroline Kirberg<\/p>\n\n\n\n

Production Company:<\/strong> jucca film, Angerbauer & Kirberg<\/p>\n\n\n\n

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Snake Dance<\/h4>\n\n\n\n

Belgium, Netherlands, Iran 2012, 75 min, English, French with English subtitles, directors: Manu Riche, Patrick Marnham<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The knowledge needed to build the atomic bomb was not given to us, it was consciously pursued. And the world has been living with the consequences ever since. Neither wholly documentary nor work of fiction, Snake Dance is a stirring personal reading of humankind\u2019s catastrophic decision to play God. The 75-minute film, jointly written by two veteran storytellers, the British writer Patrick Marnham and the Belgian filmmaker Manu Riche, uses a powerful choreography of words and images to construct a suspenseful, interwoven account of the invention of the first weapon of mass destruction. Visually poetic and historically insightful, Snake Dance explores the atomic legacy and the indelible stamp it has left on the world. We plunge into the jungle of the Congo in the footsteps of Leopold II in search of the place where uranium is mined. We cross the ocean to Los Alamos, the base in New Mexico where Robert J. Oppenheimer developed the atom bomb assisted by the best physicists in the world. We follow the bomb to Japan, where it destroyed Hiroshima and Nagasaki in 1945. Riche and Marnham introduce a second thread into their film, that of the German art historian and anthropologist Aby Warburg (1866 \u2013 1929). Warburg was the first to demonstrate the importance of iconography \u2013 a history in images \u2013 in the study of civilizations and cultures. For instance, he studied the religious symbolism of the Pueblo Indians and more specifically the Hopi tribe, who lived very near the place where the Los Alamos camp was built. In 1923, the visionary Warburg wrote: \u2018What interested me as a cultural historian was that in the midst of a country that had made technological culture into an admirable precision weapon in the hands of intellectual man, an enclave or primitive pagan humanity was able to maintain itself.\u2019 Snake Dance is about the choices modern man has to make if he wants to survive. Like Prometheus, he makes fatal decisions that leave him alone in a world of chaos.\u201d (Kaaitheater \/Brussels)<\/p>\n\n\n\n

Director<\/strong>: Manu Riche<\/summary>\n

Biography<\/strong>: Manu Riche is a Belgian documentary filmmaker. He was an early contributor to the legendary documentary magazine Strip- Tease produced by Belgian TV channel RTBF. During the nineties he worked on several independent films in co-production with European public broadcasters. In 2002\/2003 he explored the relationship between fiction and documentary in two major films on Belgian personalities, King Baudouin I and Georges Simenon (co-written by Patrick Marnham). He is the initiator, producer and director of Hoge Bomen, a series of portraits on formal and informal power in Belgium at the beginning of the 21st century.<\/p>\n\n\n\n

Filmography:<\/strong> Baudouin I (2001), The Man Who Wasn\u2019t Maigret (2003), The Politician (2005), Tempo of a Restless Soul (2009), Snake Dance (2012)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Patrick Marnham<\/summary>\n

Biography<\/strong>: Patrick Marnham is an English journalist, biographer and writer of travel books. He is primarily known for his biographies, where he has covered subjects as diverse as Diego Rivera, Georges Simenon, Jean Moulin and Mary Wesley. As a journalist, he has written for The Times, Guardian and The Observer among others. From 1968 till 1971 Marnham was a scriptwriter for BBC Television. His film work includes The Man Who Wasn\u2019t Maigret: A Portrait of Georges Simenon with Manu Riche. His books have won the Thomas Cook Travel Book Award and the Marsh Biography Award.<\/p>\n\n\n\n

Filmography:<\/strong> Snake Dance (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Renaat Lambeets, Ross McDonnell<\/p>\n\n\n\n

Editor:<\/strong> Mich\u00e8le Hubinon<\/p>\n\n\n\n

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Producer:<\/strong> Manu Riche, Genevi\u00e8ve De Bauw<\/p>\n\n\n\n

Production Company:<\/strong> Riche Riche & Riche, Soho Moon, IDTV, Ryva production<\/p>\n\n\n\n

World Sales: <\/strong>Andana Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Soldier\/Citizen<\/h4>\n\n\n\n

Bagrut Lochamim, Israel 2012, 68 min, Hebrew with English subtitles, director: Silvina Landsmann<\/p>\n\n\n\n

International Forum \/ Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

For three weeks, towards the end of their military service, young Israelis who do not have a certificate of high-school graduation are offered the chance to obtain it by taking part in army-sponsored courses which require them to contemplate issues such as human rights, pluralism, the definition of the Jewish State and the Israeli- Palestinian conflict. Director Silvina Landsmann goes for a fly-onthe- wall perspective to capture the m\u00e9lange of ambivalence, stubbornness, argumentative spirit and resilience demonstrated by the students while they are repeatedly challenged by their teacher about their views, and encouraged to engage in some serious thinking before embarking on their future. As they are pushed to both sustain and question their convictions, we end up assisting to an animated course cum therapy session that often involves clashing, uncensored individual opinions. A briskly-paced, revealing look at a group of young people with deeply ingrained views gained through tough life experiences, Soldier\/Citizen is a good reminder that a balanced perspective takes effort and a willingness to put yourself in the other\u2019s shoes. (One World Romania 2013)<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201cA great deal has been said about the place of the military ethos within Israeli society. It is difficult to imagine a better opportunity to examine this than by following combat soldiers preparing for the final exam in civics studies before embarking on a journey back to civilian life. These soldiers, who were engaged in acts of extreme violence, are confronted with concepts such as human rights and democracy, which have unfortunately become controversial in many circles within Israeli society.\u201d<\/p>\n\n\n\n

Director:<\/strong> Silvina Landsmann<\/summary>\n

Biography<\/strong>: Silvina Landsmann was born on July 21, 1965 in Buenos Aires. Her family emigrated to Israel when she was eleven years old. She studied film at Tel Aviv University. After graduating, she lived in Paris for ten years, where her first film, Coll\u00e8ge (1997) was made. After returning to Israel, she started the Comino Films production company. In addition to working as a director, she also teaches documentary film at the Tel Aviv Cin\u00e9math\u00e8que.<\/p>\n\n\n\n

Filmography:<\/strong> Coll\u00e8ge (1997), Post Partum (2004), Unto Thy Land (2007), Soldier\/Citizen (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Silvina Landsmann<\/p>\n\n\n\n

Editor:<\/strong> Gil Shnaiderovich<\/p>\n\n\n\n

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Producer:<\/strong> Silvina Landsmann<\/p>\n\n\n\n

Production Company:<\/strong> Comino Films<\/p>\n\n\n\n

World Sales: <\/strong>Doc & Film International<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Space in Between<\/h4>\n\n\n\n

Netherlands 2012, 25 min, Dutch with English subtitels, director: Noelia Nicol\u00e1s<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Every day, a Romanian woman walks down a path near the Bijlmer prison in southeast Amsterdam. She then sits down on the bank, in front of a ditch where ducks and coots innocently splash about. A dragonfly sits on a stretch of barbed wire, a contradictory image in this unfriendly environment. The woman looks up, past the concrete wall and barbed wire, to the high white towers and their many dark windows. Behind one of them is her boyfriend. She shouts loving things to him and he replies. They talk about small details of daily life, like what they\u2018ve eaten, what\u2019s on television \u2013 they even squabble. The man is locked up, but so is his girlfriend down by the waterside. The filmmaker stays out of the picture, and there is no voice-over. It\u2019s the silence that speaks in Space in Between.<\/p>\n\n\n\n

Director<\/strong>: Noelia Nicol\u00e1s<\/summary>\n

Biography<\/strong>: Noelia Nicol\u00e1s is a Spanish Director, Producer, Editor and Cinematographer based in Amsterdam. She studied BA Journalism at the University Autonoma of Barcelona and MFA in Documentary Filmmaking at the University March Bloch in Strasbourg. She directed before the award-winning student short documentary Into the Darkness. Her Film Space In Between was screened on a couple of festivals, including IDFA and Visions du R\u00e9el.<\/p>\n\n\n\n

Filmography:<\/strong> Into the Darkness (2004), Space in Between (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Sameena Safiruddin, Noelia Nicol\u00e1s<\/p>\n\n\n\n

Editor:<\/strong> Noelia Nicol\u00e1s, Mar\u00eda Campa\u00f1a Ramia<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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A Stranger<\/h4>\n\n\n\n

Obrana i za\u0161tita, Croatia, Bosnia and Herzegowina 2013, 83 min, Croatian with German subtitles, director: Bobo Jel\u010di\u0107<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cThe death of an old friend plunges Slavko into a dilemma. He is unsure whether he, a Croat, should attend the funeral in the Muslim part of Mostar. On the one hand, he feels like it\u2019s his duty; on the other, he fears a hostile reaction from his own community. His wife is angry and his son is equally sick of his wellworn monologues. At odds with themselves and plagued by divisions: the man and his city have something in common. This psychological study is based on the fact that nearly two decades after the war, Mostar is still divided. An invisible border of distrust and suspicion governs people\u2019s daily lives. Slavko doesn\u2019t want to do the wrong thing, but has lost any sense of what he really wants. His actions verge on the grotesque and paranoid. The handheld camerawork is fluid and in constant motion for much of the film, calling all the more attention to the sense of agitation and tension. Brief emotional outbursts and dramatic exit scenarios seem like a cry into the void. The most impressive scenes are pointedly long, and often involve mute idling in waiting rooms or protracted, redundant debates over trivialities. Neither leads to any sort of change.\u201d (Birgit Kohler) \u201cBobo Jelcic\u2019s A Stranger portrays a Mostar so riven that even the most commonplace activities are blighted by disharmony, catastrophe hits frequently without warning and \u2018ordinary people\u2019 are near too fed up to go on. A morbidly absurdist twist \u2014 that occurs fairly early on but would compromise its nicely disorienting initial shock factor to disclose \u2013 jolts the film from the kind of naturalistic society- in-transition satire we\u2019ve grown used to from the Balkan states into the more existential territory hinted at by the title, making for an interesting point of difference while pressing us to consider whether post-war Bosnia and hell itself may be interchangeable.\u201c (Carmen Gray)<\/p>\n\n\n\n

Director<\/strong>: Bobo Jel\u010di\u0107<\/summary>\n

Biography<\/strong>: Born on 12 March 1964 in Mostar, Bosnia and Herzegovina. He studied directing at the Academy of Dramatic Arts in Zagreb, and has since worked as a theatre director in Croatia, Germany, Switzerland and Austria. Bobo Jel\u010di\u0107 is also a professor of acting at the Academy of Dramatic Arts in Zagreb. A Stranger is his first feature film.<\/p>\n\n\n\n

Filmography:<\/strong> Black Coffee (2005), A Stranger (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Erol Zub\u010devi\u0107<\/p>\n\n\n\n

Editor:<\/strong> Ivana Fumi\u0107<\/p>\n\n\n\n

Cast:<\/strong> Bogdan Dikli\u0107, Nada \u0110urevska, Ivana Ro\u0161\u010di\u0107, Izudin Bajrovi\u0107<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Zdenka Gold<\/p>\n\n\n\n

Production Company:<\/strong> Spiritus Movens Production, HRT, KADAR<\/p>\n\n\n\n

World Sales: <\/strong>Rendez-vous Pictures<\/p>\n\n\n\n

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Two Girls Against the Rain<\/h4>\n\n\n\n

Bopha Pitorng Chhomnas Tekpleang, Cambodia 2012, 11 min, Khmer with English subtitels, director: Sao Sopheak<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The short documentary Two Girls Against the Rain by Cambodian female filmmaker Sao Sopheak (32) is the first locally produced documentary, which gives a voice to members of the lesbian community. It is a true story about two women struggling hard for their love. Soth Yun (57) and Sem Eang (58) met during the genocidal Khmer Rouge regime, where more than two million people died. Soth and Sem survived. Today the couple lives in a village in Takeo province in southern Cambodia, approximately 40 kilometers away from the capital Phnom Penh. They do not have children of their own, but have raised several nieces and nephews. Theirs has been a long fight against stigmatization by fellow villagers and their family. And the fight continues \u2013 now for the right to marry legally.<\/p>\n\n\n\n

Director<\/strong>: Sao Sopheak<\/summary>\n

Biography<\/strong>: Sao Sopheak was born in April 11, 1979 in Kampong Cham province, Cambodia. She holds a degree in Business Management from Singapore University Phnom Penh, Cambodia. Since 2009 she is enrolled in the M.E.T.A Film School, supported by the Goethe Institute. In the last three years, Sopheak has participated in various film productions (documentaries, dramas, spots), as well as directed\/produced five own documentaries.<\/p>\n\n\n\n

Filmography:<\/strong> Black Coffee (2005), A Stranger (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Sao Sopheak<\/p>\n\n\n\n

Editor:<\/strong> Sao Sopheak, Phan Yasi<\/p>\n\n\n\n

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Producer:<\/strong> Sao Sopheak<\/p>\n\n\n\n

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Tzvetanka<\/h4>\n\n\n\n

Bulgaria, Sweden 2012, 66 min, Bulgarian with English subtitles, director: Youlian Tabakov<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In his opulent, playful and sometimes serene debut film Youlian Tabakov tells the chequered life story of his Grandmother, a Bulgarian woman who experienced three political systems: Monarchy, Socialism and Democracy. Tzvetanka Gosheva, was born in 1926 to a rich merchant\u2019s family, which enabled her to attend a privileged school in Sofia. But this bourgeois background became her downfall after the war. Her parents were imprisoned as enemies of the party; her father would never recover from this. By sheer luck she managed to get permission to go to university. She became a doctor, though she suffered a lot of humiliation and obstruction in her work. Nonetheless she remained in the country even though she would have had opportunities to go abroad. Illness changes people, she says. Ironically, her last working day was 10 November 1989; the day Todor Zhivkov was overthrown. What follows is called democracy, but corruption and civil disappointment shape their everyday lives. Director Youlian Tabakov studied costume and design, which inspired him to interweave the documentary material with animated and staged sequences to produce a stream of imaginative and surprising images. This makes Tzvetanka an associative documentary with beautiful, experimental, and theatrical imagery which portrays the haunting and moving life story of a strong Eastern European woman. As a child she wanted to become an actress: in Tzvetanka she finally takes the stage.<\/p>\n\n\n\n

Director<\/strong>: Youlian Tabakov<\/summary>\n

Biography<\/strong>: Youlian Tabakov, born 1975 in Bulgaria, studied Set Design at the National Art Academy \u2018N. Pavlovich\u2019 in Sofia and Fine Art at ENS des Beaux-Arts in Paris. He then worked as a set designer at several theaters in Bulgaria, Russia and Sweden. Tabakov also did some solo and group exhibitions, designed fashion collections and was awarded the \u2018Golden age\u2019 award 2011 for contribution to the development of Bulgarian culture. Tzvetanka (2012) is his first documentary.<\/p>\n\n\n\n

Filmography:<\/strong> Tzvetanka (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Adam Nilsson<\/p>\n\n\n\n

Editor:<\/strong> Nina Altaparmakova, Adam Nilsson, Youlian Tabakov, Johan S\u00f6derberg<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> M\u00e5rten Nilsson, Martichka Bozhilova<\/p>\n\n\n\n

Production Company:<\/strong> gnufilm, Agitprop, Svt<\/p>\n\n\n\n

World Sales: <\/strong>Taskovski Films Ltd.<\/p>\n\n\n\n

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Undress Me<\/h4>\n\n\n\n

Ta av mig, Sweden 2013, 15 min, Swedish with English subtitles, director: Victor Lindgren<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Mikaela changed sex from male to female. One night out she meets a guy who follows her home. The movie Undress me examines our perceptions of gender and how our identity can be formed by the perceptions of others.<\/p>\n\n\n\n

Director<\/strong>: Victor Lindgren<\/summary>\n

Biography<\/strong>: Victor Lindgren, born in Holmsund in Sweden in 1984, has been working in film and television since he left school and is one of the co-owners of Bautafilm production company. He teaches filmmaking to children at festivals and in schools.<\/p>\n\n\n\n

Filmography:<\/strong> Undress Me (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Mattias Andersson<\/p>\n\n\n\n

Editor:<\/strong> Victor Lindgren<\/p>\n\n\n\n

Cast:<\/strong> Jana Bringl\u00f6v Ekspong, Bj\u00f6rn Elgerd<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Therese H\u00f6gberg<\/p>\n\n\n\n

Production Company:<\/strong> Bautafilm<\/p>\n\n\n\n

World Sales:<\/strong> Botnia Film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Unfinished Journeys<\/h4>\n\n\n\n

Denmark 2012, 43 min, Danish, Greenlandic with English subtitles, director: Vladimir Tomi\u0107<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The film follows Niels, who is half Danish and half Inuit. The focal point is the story of Niels\u2018 relation to his Greenlandic roots, where for example the traditional dance with masks and drums has been performed for generations. It is a tale in which poetical imagery and magnificent Greenlandic scenery meet a socio-political perspective with documentary shots of everyday life in Greenland. The question of how a cultural identity like Inuit has been influenced after having had the norms of Danish society imposed on it for years, is central in the film. Is it possible to maintain a Greenlandic self-understanding even though an external system is threatening to wipe it out? In the film we meet artist Julie Hardenberg and author Helene Thisen as well, who like Niels live with a split cultural identity. The issue unfolds in the documentary shots, but also in the film\u2019s poetic pictures where ice, water, vapour and clouds explore a transformation theme, producing a mystic atmosphere. The film seeks to create an understanding of the consequences of the colonisation of Greenland for the Intuits\u2018 identity as individuals and parts of a society.<\/p>\n\n\n\n

Director<\/strong>: Vladimir Tomi\u0107<\/summary>\n

Biography<\/strong>: Vladimir Tomi\u0107, born on November 3th 1980 in Sarajevo, Bosnia and Herzegovina, graduated from The Royal Danish Academy of Fine Arts Media in 2009. He lives and works in Copenhagen. Vladimir Tomi\u0107\u2019s art films are played out in the field of contemporary art and experimental documentation. Universal and human tension caused by the changing structure of society is often the center of his art films.<\/p>\n\n\n\n

Filmography:<\/strong> The Trilogy (1. Dead Nature and Movements; 2. The Pianist; 3. The Mailman) (2003-2004), Echo (2005), The Valley of Shadows (2006), My Lost Generation (2009), Unfinished Journeys (2012)<\/p>\n<\/details>\n\n\n\n

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Editor:<\/strong> Lasse Barkfors<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Tijana Mi\u0161kovi\u0107<\/p>\n\n\n\n

Production Company:<\/strong> VT Copenhagen<\/p>\n\n\n\n

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Wadjda<\/h4>\n\n\n\n

Saudi Arabia, Germany 2012, 97 min, German, director: Haifaa Al Mansour<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Wadjda is a 10-year-old girl living in a suburb of Riyadh, the capital of Saudi Arabia. Although she lives in a conservative world, Wadjda is fun loving, entrepreneurial and always pushing the boundaries of what she can get away with. After a fight with her friend Abdullah, a neighborhood boy she shouldn\u2019t be playing with, Wadjda sees a beautiful green bicycle for sale. She wants the bicycle desperately so that she can beat Abdullah in a race. But Wadjda\u2019s mother won\u2019t allow it, fearing repercussions from a society that sees bicycles as dangerous to a girl\u2019s virtue. So Wadjda decides to try and raise the money herself. At first, Wadjda\u2019s mother is too preoccupied with convincing her husband not to take a second wife to realize what\u2019s going on. And soon enough Wadjda\u2019s plans are thwarted when she is caught running various schemes at school. Just as she is losing hope of raising enough money, she hears of a cash prize for a Koran recitation competition at her school. She devotes herself to the memorization and recitation of Koranic verses, and her teachers begin to see Wadjda as a model pious girl. The competition isn\u2019t going to be easy, especially for a troublemaker like Wadjda, but she refuses to give in. She is determined to continue fighting for her dreams\u2026<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

I\u2019m so proud to have shot the first full-length feature ever filmed entirely inside the Kingdom. I come from a small town in Saudi Arabia where there are many girls like Wadjda who have big dreams, strong characters and so much potential. These girls can, and will, reshape and redefine our nation. It was important for me to work with an all-Saudi cast, to tell this story with authentic, local voices. Filming was an amazing crosscultural collaboration that brought two immensely talented crews, from Germany and Saudi Arabia, into the heart of Riyadh. I hope the film offers a unique insight into my own country and speaks of universal themes of hope and perseverance that people of all cultures can relate to.<\/p>\n\n\n\n

Director<\/strong>: Haifaa Al Mansour<\/summary>\n

Biography<\/strong>: Haifaa Al Mansour is the first female filmmaker in Saudi Arabia and is regarded as one of the most significant cinematic figures in the Kingdom. She finished her bachelor\u2019s degree in Literature at the American University in Cairo and completed a Master\u2019s degree in Directing and Film Studies from the University of Sydney. The success of her three short films, as well as the international acclaim of her award-winning 2005 documentary Women Without Shadows, influenced a whole new wave of Saudi filmmakers and made the issue of opening cinemas in the Kingdom a front-page discussion. Within the Kingdom her work is both praised and vilified for encouraging discussion on topics generally considered taboo, like tolerance, the dangers of orthodoxy, and the need for Saudis to take a critical look at their traditional and restrictive culture.<\/p>\n\n\n\n

Filmography:<\/strong> Who? (2003) Bereavement of the Fledgling (2003), The Only Way
Out (2004), Women Without Shadows (2005), Wadja (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Lutz Reitemeier<\/p>\n\n\n\n

Editor:<\/strong> Andreas Wodraschke<\/p>\n\n\n\n

Cast:<\/strong> Reem Abdullah, Waad Mohammed, Abdullrahman Al Gohani<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Gerhard Meixner, Roman Paul<\/p>\n\n\n\n

Production Company:<\/strong> Razor Film Produktion<\/p>\n\n\n\n

World Sales:<\/strong> The Match Factory<\/p>\n\n\n\n

German Distributor: <\/strong>Neue Visionen Filmverleih<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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WASTELAND \u2013 So That No One Becomes Aware of It<\/h4>\n\n\n\n

\u00d6DLAND \u2013 Damit keiner das so mitbemerkt, Germany 2013, 79 min, German, director: Anne Kodura<\/p>\n\n\n\n

International Forum \/ Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Deep in the woods and among some sheep pastures a block of flats stands on a former military base of the Soviet Army. Surrounded by ruinous barracks, an overgrown soccer field and a brand new wire mesh fence. This is where Aya, Momo and Mustafa grow up. They spend the holidays at home at the asylum seeker\u2019s camp. The kids wander through the tall grass, ride their bikes down to the lake or look for scrap copper to sell. Filmed in luminous black-and-white, filmmakers Anne Kodura and Friede Clausz focus their gaze entirely on the way the children see things, managing to get them to reveal in casual conversations their feelings about home and identity. Their parents never appear but are only heard describing their difficult situation in a few spare pieces of voice-over. In order to concentrate on the children\u2019s attitude to life, there are no specifics given about their background, and no dramatisations. A compelling documentary that stays with you long after it has ended.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201cAbout 40,000 refugees, including families with children, live sometimes about more than ten years in camps throughout Germany, usually very isolated in poor living conditions. The children of these families are often born in Germany but not granted German nationality, rather the nationality of their parents. They are only tolerated in their own \u201chomeland\u201d and can be deported at any time. They are born in a country which would rather get rid of them. \u201cHalf-day\u201d integrated at school and isolated from the outside world at home in the camp, they grow up in a state of limbo. Their perspective is uncertain. The only hope is to get the residence permit \u2013 the permission to move out of the camp at last.<\/p>\n\n\n\n

Director:<\/strong> Anne Kodura<\/summary>\n

Biography<\/strong>: Anne Kodura was born in 1987 in Halle (Saale) in Germany, she directed her first theatre play in 2010. Kodura studied media art at the Academy of Fine Arts in Munich and began making her first short and experimental films. She is a graduate of Tradewind Pictures\u2019 Talentpool Programme TP2, supported by Mitteldeutsche Medienforderung. Her first full-length documentary WASTELAND \u2013 So That No One Becomes Aware of It was produced by her own production company DIE ZONE # Film Production which she founded with cinematographer Friede Clausz in 2012.<\/p>\n\n\n\n

Filmography:<\/strong> 7 minutes to 7 (2009), 1986 (2009), Chat Roulette (2011), \u00d6DLAND
\u2013 Damit keiner das so mitbemerkt (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Friede Clausz<\/p>\n\n\n\n

Editor:<\/strong> Friede Clausz<\/p>\n\n\n\n

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Producer:<\/strong> Anne Kodura, Friede Clausz<\/p>\n\n\n\n

Production Company:<\/strong> DIE ZONE # Filmproduktion<\/p>\n\n\n\n

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Ways to Kill. Yoro S.<\/h4>\n\n\n\n

Spain 2012, 30 min, Spanish with English subtitles, directors: Alex Garcia Martinez<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Yoro S. arrived in Spain from Mali in 2007. Like many economic migrants from Africa, he was always on the verge of being deported. And then he was killed while working on a building site. His friend, the director Alex Garcia Martinez, has made a warm-hearted, intelligent and cleverly edited film essay about the circumstances of his death. The individual chapters are structured according to his belongings. Old film footage is also used, for example of a poll made on the street that asked the question \u201cWhat is economics?\u201d. The film astutely explains what Yoro\u2019s death had to do with economics. To begin with, Yoro himself hardly appears in the film that seems to want to make do without him, since he is an example of many. However, he becomes increasingly present for longer spells at a time, and talks less about his story than about the clich\u00e9s and small things of everyday life \u2013 this all comes together to create an impressive overall picture. The object of the film becomes the subject and gradually Yoro\u2019s personality is distilled.<\/p>\n\n\n\n

Director<\/strong>: Alex Garcia Martinez<\/summary>\n

Biography<\/strong>: Alex Garcia Martinez is a Spanish Filmmaker and Cinematographer. He studied Film and Audiovisual in ESCAC Barcelona, graduating in the speciality Photography in 2001. 2007 he directed his first documentary film, The Life After, with Oscar Malo. Recent years he has been combining his work as DoP, directing documentaries, reportage photography and teaching. He speaks French and English in addition to his native languages, Catalan and Spanish.<\/p>\n\n\n\n

Filmography:<\/strong> The Life After (2007), Ways to Kill. Yoro S. (2012)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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A World Not Ours<\/h4>\n\n\n\n

United Kingdom, Denmark, Lebanon 2012, 93 min, English, Arabic with English subtitles, director: Mahdi Fleifel<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Funny, nostalgic, and uniquely engaging, filmmaker Mahdi Fleifel offers an intimate portrait of the Lebanese refugee camp of Ain El Helweh, and how the camp\u2019s residents invest the World Cup series with their own ideas of home, community, victory and hope. \u201cDanish director Mahdi Fleifel presents the life of three generations in Ain al-Hilweh, the Palestinian refugee camp in south Lebanon where he grew up. More than 70,000 people have lived there for over 60 years in one square kilometre. The director also includes video footage shot by his father in the 80s and 90s. His family and friends and their everyday conflicts are portrayed with delicacy and humour. Meanwhile, archive material helps provide political background for this cinematic diary that adopts an unusual approach that is far from heavy in spite of its topic, as can be seen in the filmmaker\u2019s father repeatedly looking at his recording of Arafat\u2019s handshake with Rabin in Washington. The film also tells the story of Mahdi Fleifel\u2019s long-time friend Abu Eyad. The two men share a passion for Palestinian politics, melancholic music and football. During the football world cup, the Palestinians watch the matches on a TV in a sports shop. For a few weeks, they become Brazilians, Germans or Italians. But whereas Fleifel may enter and leave the camp as he pleases, Abu Eyad is left only with his decision to escape. (Berlinale 2013)<\/p>\n\n\n\n

Director<\/strong>: Mahdi Fleifel<\/summary>\n

Biography<\/strong>: Born in Dubai in 1979, he was raised in Ain al-Hilweh refugee camp in Lebanon and later in the suburbs of Elsinore in Denmark. In 2009, Fleifel graduated from the National Film and Television School in London, where he now lives and works. His first-year film, Arafat & I, screened at festivals around the world and won numerous awards. In 2010 Fleifel teamed up with Irish producer Patrick Campbell. Together they set up the Londonbased production company Nakba Filmworks. A World Not Ours is Fleifel\u2019s first featurelength documentary.<\/p>\n\n\n\n

Filmography:<\/strong> Shadi In The Beautiful Well (2003), Hamoudi & Emil (2004), The Writer (2007), Arafat & I (2008), Four Weeks (2009), A World Not Ours (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Mahdi Fleifel<\/p>\n\n\n\n

Editor:<\/strong> Michael Aaglund<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Patrick Campbell, Caglar Kimyoncu, Mahdi Fleifel<\/p>\n\n\n\n

Production Company:<\/strong> Nakba Filmworks<\/p>\n\n\n\n

World Sales: <\/strong>MPM Film<\/p>\n\n\n\n

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Yumen<\/h4>\n\n\n\n

USA, China 2013, 65 min, English, Mandarin with English subtitles, directors: J.P. Sniadecki, Huang Xiang, Xu Ruotao<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis <\/strong><\/strong><\/p>\n\n\n\n

Yumen combines ghost stories and \u201cruin porn\u201d to form a celluloid psycho-collage of wandering souls seeking connection with one another and a lost collective history among the frozen remnants of the abandoned oil town of Yumen in China\u2019s northwest Gansu province. Set in a quasi-ghost town of Yumen that once thrived with oil production in China\u2019s arid northwest, Yumen is a haunting, fragmented tale of hungry souls, restless youth, a wandering artist and a lonely woman, all searching for human connection and a collective past among the town\u2019s crumbling landscape. One part \u201eruin porn\u201c, one part ghost story, and shot entirely on 16mm, the film brings together narrative gesture, performance art, and socialist realism into a crude and radiant collage that not only plays with convention and defies genre, but also pays homage to a disappearing life-world and a fading medium.<\/p>\n\n\n\n

Director<\/strong>: J. P. Sniadecki<\/summary>\n

Biography<\/strong>: J. P. Sniadecki, born in 1979 in Michigan, is a filmmaker and a PhD candidate in media anthropology at Harvard. At the intersection of art, cinema, and ethnography, his work has been shown in festivals, universities, museums, and galleries, and has received many awards, including two Golden Leopards at the Locarno International Film Festival for Foreign Parts (co-directed with Verena Paravel). He is founder and curator of Emergent Visions, a film series that screens new independent cinema from China.<\/p>\n\n\n\n

Filmography:<\/strong> Foreign Parts (2010), Yumen (2013)<\/p>\n<\/details>\n\n\n\n

Director<\/strong><\/strong>: Huang Xiang<\/summary>\n

Biography<\/strong>: Huang Xiang, born in 1974 in southern China, lives and works in Songzhuang, Beijing. Due to his performance art piece Jasmine Flower, he was placed under criminal detention for 30 days and was restricted from pursuing artistic production and exhibition. Now Huang Xiang is primarily engaged in independent filmmaking, and has produced and directed his first feature, Roast Chicken (2012), prior to co-directing Yumen (2013).<\/p>\n\n\n\n

Filmography:<\/strong> Roast Chicken (2012), Yumen (2013)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Xu Ruotao<\/summary>\n

Biography<\/strong>: Xu Ruotao, born in 1968 in Shenyang, China, is a visual artist and film director who lives and works in Songzhuang, a growing artist village on the outskirts of the Beijing municipality. Xu began his career in the creative community of Yuanmingyuan, China\u2019s first independent artist village. He started making films in 2000 and has produced two features, Yumen (2013) and Rumination (2009).<\/p>\n\n\n\n

Filmography:<\/strong> Rumination (2009), Yumen (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> J.P. Sniadecki, Huang Xiang<\/p>\n\n\n\n

Editor:<\/strong> Xu Ruotao, J.P. Sniadecki, Huang Xiang<\/p>\n<\/div>\n\n\n\n

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Production Company:<\/strong> Film Study Center at Harvard University<\/p>\n\n\n\n

German Distributor: <\/strong>Arsenal \u2013 Institut f\u00fcr Film und Videokunst
e.V.<\/p>\n\n\n\n

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Zaytoun<\/h4>\n\n\n\n

Israel, United Kingdom 2012, 107 min, English, Arabic, Hebrew with German subtitles, director: Eran Riklis<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/p>\n\n\n\n

Beirut, Lebanon, in 1982 is a dangerous place for anyone, not least a young Palestinian refugee like Fahed. He skips school to sell gum and cigarettes on the city\u2019s streets. Lebanon is in the midst of a savage civil war and Fahed and his friends instead of joining the PLO prefer playing football in the rubble- strewn streets of Beirut. But Fahed\u2019s life takes a tragic turn when his father is killed in a bombing raid and an unusual one when an Israeli Air Force pilot who he witnesses parachuting out of the sky is captured. And he makes a perilous decision: to return to the land of his ancestors and plant the olive tree his father had been nurturing before his dead he frees the captive Israeli pilot Yoni. In return, Yoni must agree to take Fahed to Israel. As their journey progresses, Fahed and Yoni must overcome bitter differences built up over generations in order to survive the dangers as Palestinian, Syrian, and Lebanese soldiers chase them across war-torn Lebanon. A tenuous friendship takes root and strengthens with every hurdle they overcome to reach a land they both consider home. From acclaimed Israeli filmmaker Eran Riklis, Academy award-winning producer Gareth Unwin, and producer Fred Ritzenberg, comes Zaytoun, the powerful and moving story of an unlikely friendship that comes to fruition in two nations on the verge of war.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

Zaytoun is a road movie, a war movie, a buddy movie. I wanted it to be serious and yet full of humour, realistic and yet a fantasy, true to the region and yet universal. I believe the result is all of the above with my view of the fragile, explosive, pessimistic, seldom optimistic fabric of the Middle East and its never ending conflicts.<\/p>\n\n\n\n

Director<\/strong>: Eran Riklis<\/summary>\n

Biography<\/strong>: Eran Riklis was born in 1954. He has been active in the movie world since 1975. After graduating from Beaconsfield National Film School in England, he made his first film in 1984, On a Clear Day You Can See Damascus, a political thriller based on a true story. Seven years later, he shot Cup Final, later hailed by international critics and selected in several film festivals (among which were Berlin and Venice). The Syrian Bride (2004) and Lemon Tree (2008) won worldwide acclaim. Riklis lives in Tel Aviv.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Vegvul Natan (2002), Pituy (2002), Die syrische Braut (2004), Lemon Tree (2008), Die Reise des Personamanagers (2010), A Soldier and a Boy (2011), Playoff (2011), Zaytoun (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Dan Laustsen<\/p>\n\n\n\n

Editor:<\/strong> Herv\u00e9 Schneid<\/p>\n\n\n\n

Cast:<\/strong> Stephen Dorff, Abdallah El Akal, Alice Taglioni<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Frederic Ritzenberg, Gareth Unwin<\/p>\n\n\n\n

Production Company:<\/strong> United King Films Ltd., Far Films, Bedlam Productions Ltd., Eran Riklis Productions Ltd.<\/p>\n\n\n\n

World Sales: <\/strong>Path\u00e9 International<\/p>\n\n\n\n

German Distributor:<\/strong> Senator Film Verleih<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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International Competition<\/summary>\n
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The Act of Killing<\/h4>\n\n\n\n

Denmark, United Kingdom, Norway 2012, 115 min, Indonesian with German subtitels, director: Joshua Oppenheimer, co-director: Christine Cynn<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In a country where killers are celebrated as heroes, the filmmakers challenge unrepentant death squad leaders to dramatize their role in genocide. The hallucinatory result is a cinematic fever dream, an unsettling journey deep into the imaginations of mass-murderers and the shockingly banal regime of corruption and impunity they inhabit. The Act of Killing is about killers who have won, and the sort of society they have built. Unlike ageing Nazis or Rwandan g\u00e9nocidaires, Anwar and his friends have not been forced by history to admit they participated in crimes against humanity. Instead, they have written their own triumphant history, becoming role models for millions of young paramilitaries. The Act of Killing is a journey into the memories and imaginations of the perpetrators, offering insight into the minds of mass killers. And The Act of Killing is a nightmarish vision of a frighteningly banal culture of impunity in which killers can joke about crimes against humanity on television chat shows, and celebrate moral disaster with the ease and grace of a soft shoe dance number. Documentary legend Erol Morris raves about The Act of Killing: \u201cEvery now and then a non-fiction film comes along that is unlike anything else I have seen: Bu\u00f1uel\u2019s Land Without Bread, Werner Herzog\u2019s Fata Morgana, Hara\u2019s The Emporor\u2019s Naked Army Marches On. Well, it\u2019s happened again. Here, Joshua Oppenheimer invites unrepentant Indonesian death-squad leaders to make fiction films reenacting their violent histories. Their cinematic dreams dissolve into nightmares and then into bitter reality. Like all great documentary, The Act of Killing demands another way of looking at reality. It is like a hall of mirrors \u2013 the so-called mise-en-abyme \u2013 where real people become characters in a movie and then jump back into reality again. And it asks the central question: what is real? Gabriel Garcia Marquez, in a Paris Review interview, wrote about reading Kafka\u2019s Metamorphosis for he first time, \u2018I didn\u2019t know you were allowed to do that.\u2019 I have the same feeling with this extraordinary film.\u201d<\/p>\n\n\n\n

Director<\/strong>: Joshua Oppenheimer<\/summary>\n

Biografie<\/strong>: Born in Texas, USA, in 1974, he was educated at Harvard and Central Saint Martins, London. For over a decade, he has focused on militias, death squads and their victims in his multiple award-winning short and documentary films. In addition to his film work, he is Senior Researcher on the UK Arts and Humanities Research Council\u2019s Genocide and Genre project.<\/p>\n\n\n\n

Filmography:<\/strong> These Places We Learned to Call Home (1997), The Entire History of the Louisiana Purchase (1997), Land of Enchantment (2001), The Globalization Tapes (2003), Show of Force (2007), The Act of Killing (2012)<\/p>\n<\/details>\n\n\n\n

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Co-director: <\/strong>Christine Cynn<\/p>\n\n\n\n

Camera:<\/strong> Carlos Arango de Montis, Lars Skree<\/p>\n\n\n\n

Editor:<\/strong> Niels Pagh Andersen, Janus Billeskov Jansen, Mariko Montpetit, Ariadna
Fatjo-Vilas Mestre, Charlotte Munch
Bengtsen, Erik Andersson<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Signe Byrge S\u00f8rensen, Joshua Oppenheimer<\/p>\n\n\n\n

Production Company<\/strong>: Final Cut For Real<\/p>\n\n\n\n

World Sales:<\/strong> Cinephil<\/p>\n\n\n\n

German Distributor:<\/strong> Wolf Consultants
(Neue Visionen Filmverleih)<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Fida\u00ef<\/h4>\n\n\n\n

France, China, Algeria, Germany, Kuwait 2012, 83 min, Arabic, French with German subtitles, director: Damien Ounouri<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Info<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cA lovely, elegant and stirring look at one man\u2019s sometimes sturdy, sometimes wavering memories of being a fighter for Algeria\u2019s liberation from French colonialism, Damien Ounouri\u2019s Fida\u00ef marks a striking advance in Arabic documentary filmmaking. With his great-uncle, Mohamed El Hadi Benadouda, keeping his exploits secret from his family for the 50 years since Algerian independence, Ounouri\u2019s artfully made movie \u2014 with Jia Zhang-ke\u2019s XStream Pictures as co-producer and showing some of Jia\u2019s filmic influence \u2014 is an act of personal liberation as well.\u201d (Robert Koehler, Variety)<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

What History remembers from wars are numbers, highlights and legends. What has been actually experienced by its participants, their day-to-day, personal stories and feelings are not passed on to us. Taking a more sensitive and human approach \u2013 that begins from the individual and heads towards major events \u2013 I wanted to give voice to the ordinary people. When I was a child, I often questioned my father about my great uncle, El Hadi \u2013 one of many humble soldiers who fought for Algerian independence. Since the elders never spoke openly about this period, his story was only ever revealed to me through footnotes and so my mind used to fill in the gaps with all kinds of imagined adventures. By recreating a path through France and Algeria of El Hadi during those dark years, hearing his words and those of the people he meets along the way and remembers with, we discover something new: a living history that enters into a dialogue with the official textbook versions we have become accustomed to or have been taught. Through Fida\u00ef, I wish to bring a fresh perspective on the Algerian Revolution, a subjective and necessary look. In view of the situation of the increasing loss of its participants, it is urgent to build a memory that binds the intimate to the collective, my generation with that of the elders and that encourages the transmission of these memories.<\/p>\n\n\n\n

Director<\/strong>: Damien Ounouri<\/summary>\n

Biography<\/strong>: Damien Ounouri was born to a French mother and an Algerian father in Clermont-Ferrand, France. He studied film theory at Sorbonne University in Paris. His feature films include Xiao Jia Going Home, a portrait of acclaimed Chinese dierctor Jia Zhang-Ke. Ounouri teaches cinema workshops for children in both Algeria and France.<\/p>\n\n\n\n

Filmography<\/strong>:<\/strong> ChangPing, Sonata of a Chinese Small Town (2007), Xiao Jia Going Home (2008), Away from Nedjma (2009), Fida\u00ef (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Matthieu Laclau<\/p>\n\n\n\n

Editor:<\/strong> Matthieu Laclau, Mary Stephen<\/p>\n\n\n\n

Cast:<\/strong> Shayesteh Irani, Qazal Shakeri, Homayoun Ershadi<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Mathieu Mullier, Alexandre Singer, Jia<\/p>\n\n\n\n

Production Company<\/strong>: Kafard Films, mec film, Xstream Pictures, Linked Productions<\/p>\n\n\n\n

World Sales:<\/strong> Kafard Films<\/p>\n\n\n\n

German Distirbutor:<\/strong> mec film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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In Bloom<\/h4>\n\n\n\n

Grzeli nateli dgeebi, Georgia, Germany, France 2013, 102 min, Georgian with German subtitles, directors: Nana Ekvtimishvili, Simon Gro\u00df<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201eTbilisi, Georgia, 1992: The Soviet era is over and Georgia must fend for itself. Civil war is raging in the province of Abkhazia. For Natia and Eka, the barely fourteen-year-old protagonists of In Bloom, childhood is coming to an end. Eka is growing up without her father, rebelling against her concerned mother and her older sister. And Natia\u2019s father, a choleric alcoholic, terrorises the entire family. The two friends cannot find peace outside of the family either \u2013 not in school, not on the street, and not in the bread lines. Chaos, insecurity, and fear of what the future might bring hold sway in everyday life. An admirer gives Natia a pistol with one single bullet. A little later, she\u2019s abducted by another admirer. This first feature film by Nana Ekvtimishvili and Simon Gro\u00df takes up the buried traditions of Georgian cinema, weaving together loud and soft, melancholy and missing love, eruptions of violence and a sense of the idyllic, precocious cold-bloodedness and childlike na\u00efvet\u00e9 into a wonderfully rhythmic, exciting cinematic composition. A new generation of filmmakers has emerged in Georgia and is starting out by remembering its own history.\u201d (Christoph Terhechte, Berlinale, Forum 2013)<\/p>\n\n\n\n

Directors’ Statement<\/strong><\/p>\n\n\n\n

\u201cOur characters are in search of their identity as women and of the meaning of violence, revenge, and love. They seek an answer to the question of whether love can justify killing a human being. The answer seems clear: no, of course not! But what if this question is thrust upon one when one has only fourteen years of life experience and lives in a country ruled by chaos, anarchy, and vigilantism? What role models does one have? Which set of values offers the best chances for survival? Perhaps all of us can see a bit of ourselves in these two girls.\u201d<\/p>\n\n\n\n

Director<\/strong>: Nana Ekvtimishvili<\/summary>\n

Biography<\/strong>: Nana Ekvtimishvili was born 1978 in Tbilisi, Georgia. She studied drama and screenwriting at University of Film and Television Potsdam-Babelsberg. After writing prose and several screenplays she directed the short Waiting for Mum in 2011. Co-founded production company Polare Film together with Simon Gro\u00df in Georgia in 2012.<\/p>\n\n\n\n

Filmography:<\/strong> Lost Mainland (2007), Waiting for Mum (2011), Die langen hellen Tage (2013)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Simon Gro\u00df<\/summary>\n

Biography<\/strong>: Simon Gro\u00df was born 1976 in Berlin, Germany. He studied directing at the University of Television and Film Munich. After several short films his debut feature Fata Morgana (2006) the F\u00f6rderpreis Deutscher Film for best director at Munich Film Festival. Co-founded production companies Indiz Film with Marc W\u00e4chter in Germany and Polare Film with Nana Ekvtimishvili in Georgia.<\/p>\n\n\n\n

Filmography:<\/strong> Fall of Man (1998), Elated by Night (2001), Fata Morgana (2007), Die langen hellen Tage (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Oleg Mutu<\/p>\n\n\n\n

Editor:<\/strong> Stefan Stabenow<\/p>\n\n\n\n

Cast:<\/strong> Lika Babluani, Mariam Bokeria, Zurab Gogaladze<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Simon Gro\u00df, Mark W\u00e4chter, Guillaume de Seille, Nana Ekvtimishvili<\/p>\n\n\n\n

Production Company:<\/strong> Indiz Film, Polare Film, Azizona Films<\/p>\n\n\n\n

World Sales:<\/strong> Memento Films International<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Matthew\u2019s Laws<\/h4>\n\n\n\n

De Regels van Matthijs, Netherlands 2012, 73 min, Dutch with German subtitels, director: Marc Schmidt<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Matthijs (English: Matthew) is autistic, his childhood friend Marc is a filmmaker. Out of their filmed encounters, spanning a couple of months, comes a strikingly beautiful and heartbreakingly complex documentary. \u201c\u2018My apartment is my universe\u2019, writes Matthew in his diary. Matthew is autistic. Highly intelligent and fragile, he spends his days taping telephone calls, hoping that they would help him understand what people \u2018really\u2019 mean \u2013 \u2018not what they say, but what they mean: they are usually opposite\u2019. Spending most of his time in his cluttered apartment, Matthew has established a complex system meant to help him put some order in the chaos around him and walk easier though the hallway of data that he is constantly struggling to organise. Marc Schmidt creates an affectionate film portrait of his autistic childhood friend \u2013 an intensely personal documentary that goes beyond autism, into the inability to translate between one\u2019s understanding of order and another\u2019s sense of chaos, the sense of vulnerability experienced when under the scrutiny of the camera, and the love and human connection needed by each and one of us. A moving story about a man\u2019s attempt to live as close as possible to the border of social acceptability, Matthew\u2019s Laws is also a reminder that housing is a fundamental human right: everyone deserves a place to call \u2018home\u2019.\u201d (One World Romania) Matthew\u2019s Laws won the Grand Prix Swiss Post for best feature at the prestigious Vision du R\u00e9el film festival on Nyon in 2012. In their statement, the jury wrote: \u201cWith love and courage the filmmaker places us face to face with his childhood friend. This film crosses a border into the unknown and mysterious world of autism. Matthew\u2019s Laws gives us the opportunity to experience friendship and self-determination in the face of society\u2019s demands from a unique point of view.\u201d<\/p>\n\n\n\n

Director<\/strong>: Marc Schmidt<\/summary>\n

Biography<\/strong>: Marc Schmidt (*1970) works as an independent director of documentary films. After a study in film Theory at the University of Utrecht and an education at the Art Academy of Tilburg, he started working as a sound technician and video editor. In the meantime directing documentaries raised his interest, it is now his main occupation.<\/p>\n\n\n\n

Filmography:<\/strong> Glady\u2019s Clan (2004), Esmiralde (2007), Angela\u2019s Mission (2010), Matthew\u2019s Laws (2012), The Chimpanzee Complex (2014)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Marc Schmidt<\/p>\n\n\n\n

Editor:<\/strong> Katarina T\u00fcrler<\/p>\n\n\n\n

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Producer: <\/strong>Simone van den Broek, Ingeborg Jansen<\/p>\n\n\n\n

Production Company:<\/strong> Basalt Film<\/p>\n\n\n\n

World Sales:<\/strong> Autlook Filmsales<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Missing Picture<\/h4>\n\n\n\n

L’Image manquante, Cambodia, France 2013, 95 min, Khmer, French with English subtitles, director: Rithy Panh<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cFor many years, I have been looking for the missing picture: a photograph taken between 1975 and 1979 by the Khmer Rouge when they ruled over Cambodia \u2026 On its own, of course, an image cannot prove mass murder, but it gives us cause for thought, prompts us to meditate, to record History. I searched for it vainly in the archives, in old papers, in the country villages of Cambodia. Today I know: this image must be missing. I was not really looking for it; would it not be obscene and insignificant? So I created it. What I give you today is neither the picture nor the search for a unique image, but the picture of a quest: the quest that cinema allows.\u201d (Rithy Panh) \u201cA recreation of the era and Panh\u2019s personal anecdotes is accomplished through the creation of countless clay figures\u2014carved and painted, we see, by hand, out of \u201cearth and water\u201d\u2014staged in static scenes through which the camera moves and the director cuts. They fill in a gap, the missing image of the title: a missing photographic record of the human experience of the horror and oppression behind the government\u2019s official ideology. (An image not missing: the official image, the propaganda image, that of Cambodian films of the time.) Panh\u2019s narration with moving straightforwardness segues between historical recount, deeply personal recollections, and broader criticism, illustrated by the savagely na\u00efve and thereby at once terrifying and sweet figures of his clay populace, each working, living, starving, dying in unalterable repose. Some are laid over documentary film footage, creating historical scenes \u2014 like the mass exodus out of Phnom Phen \u2014 that apparently have little, if any, visual record. Others\u2018 colorful sculptural presence of existences eked out, carven-frozen in a solidarity of misery, are contrasted against official moving images of Pol Pot\u2019s official visits and speeches. Pahn begins the film saying that upon reaching his middle age he has returned to his childhood, and so he does not just in recollections of his boyhood but in the toy-like imagining of those recollections. Their primitive form suggests, as does the ellipses in Panh\u2019s storytelling, where it feels like eons pass in what must only be a few seasons or years, a work in progress to discover records of an era held mostly in memory.\u201d (Daniel Kasman)<\/p>\n\n\n\n

Director<\/strong>: Rithy Panh<\/summary>\n

Biography<\/strong>: Rithy Panh was born in Cambodia in 1964. He is a filmmaker, author, and the main founder of the Bophana Center and the Cambodia Film Commission (CFC). He studied at the Institute for Advanced Cinematographic Studies in France and has directed many films, including The Rice People (competition Cannes 1994), S21: The Khmer Rouge Death Machine (NIHRFF AWARD 2003), Paper Cannot Wrap Up Ember (NIHRFF competition 2007) and The Sea Wall. His autobiography The Elimination was published in 2013.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Das Reisfeld (1994), S-21: Die Todesmaschine der Roten Khmer (2003), Paper Cannot Wrap Up Ember (2007), The Sea Wall (2008), The Missing Picture (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Rithy Panh, Prum Messa<\/p>\n\n\n\n

Editor:<\/strong> Rithy Panh, Marie-Christine Rougerie<\/p>\n\n\n\n

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Producer:<\/strong> Catherine Dussart<\/p>\n\n\n\n

Production Company:<\/strong> Cdp & Bophana Production<\/p>\n\n\n\n

World Sales:<\/strong> Films Distribution, France<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Norte, the End of History<\/h4>\n\n\n\n

Norte, hangganan ng kasaysayan, Philippines2013, 250 min, Tagalog with English subtitels, director: Lav Diaz<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

It begins as Crime & Punishment, with a pawnbroker (and her daughter) killed by a young student who believes he is a philosophical rebel, a unique individual contre dominant society. But the narrative\u2019s triad structure which follows doesn\u2019t pair the criminal against the investigator, but rather the criminal against two other victims. The three stories of cause-and-effect \u2014 a spiritual, interior kind of cause-and-effect, actions influencing self-consideration and different engagements with daily existence \u2014 alternate back and forth as time passes. Its one movement is that of the dissatisfied, destabilized youth, who the film introduces in its long, single-take discussion among prospective law students who range from fully committed to their careers of entering society and enforcing its status quo, to Fabian, the radical young man whose nihilism, his desire to do away with all relationships, all \u201chistory,\u201d will lead him to kill. The other movements are that of Joaquin, an innocent man wrongly convicted of the murders, and Eliza, the wife he leaves behind. The impoverished housewife, in debt to the pawnbroker because a broken leg prevented her husband and her from starting a business \u2014 the coincidence that gets him accused of the crime \u2014 is stuck taking care of their kids and her sister, and they slump down further into poverty, stalwartly eking out an existence while her husband serves a life sentence in prison. It is, above all, an \u201ceveryday\u201d story of observation and adherence, in that the filmmaker has a compassionate sensitivity towards his characters (even the amoral student) and what they do in the world. It is an approach profoundly complicated as North, the End of History turns down a path towards violence, and, later, gestures towards absorbing something mythical into the simple story. The vividly human scale of Diaz\u2019s film, its telling of a classic story specifically within a topical context, its remarkably simultaneous magnitude and minuteness, it is a work so powerful that its tendrils of suggestion seem capable to connect all of the films of Cannes together. (Daniel Kasman, mubi.com)<\/p>\n\n\n\n

Director:<\/strong> Lav Diaz<\/summary>\n

Biography<\/strong>: Lav Diaz or Lavrente Indico Diaz is a acclaimed Filipino independent filmmaker, born 1958 in Datu Paglas, Maguindanao, Mindanao, Philippines. He works as director, writer, producer, editor, cinematographer, poet, composer, production designer and actor all at once. Diaz, whose parents were teacher at local schools, studied at the Mowelfund Film Institute. He has won several international awards such as the award for Best Picture at the Singapore International Film Festival. His films often tackle issues regarding the current social and political state of the Philippines. He is especially notable for the length of his films, some of which run for up to eleven hours.<\/p>\n\n\n\n

Filmography:<\/strong> West Side Kid (2001), Jesus, Revolutionary (2002), Evolution of a Filipino Family (2004), Death in the Land of Encantos (2007), Melancholia (2008), Woman o f the Wind (2011), Norte, the End of History (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Lauro Rene Manda<\/p>\n\n\n\n

Editor:<\/strong> Lav Diaz<\/p>\n\n\n\n

Cast:<\/strong> Archie Alemania, Angeli Bayani , Soliman Cruz<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Raymond Lee (Moira)<\/p>\n\n\n\n

Production Company:<\/strong> Wacky O Productions<\/p>\n\n\n\n

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Snake Dance<\/h4>\n\n\n\n

Belgium, Netherlands, Iran 2012, 75 min, English, French with English subtitles, directors: Manu Riche, Patrick Marnham<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The knowledge needed to build the atomic bomb was not given to us, it was consciously pursued. And the world has been living with the consequences ever since. Neither wholly documentary nor work of fiction, Snake Dance is a stirring personal reading of humankind\u2019s catastrophic decision to play God. The 75-minute film, jointly written by two veteran storytellers, the British writer Patrick Marnham and the Belgian filmmaker Manu Riche, uses a powerful choreography of words and images to construct a suspenseful, interwoven account of the invention of the first weapon of mass destruction. Visually poetic and historically insightful, Snake Dance explores the atomic legacy and the indelible stamp it has left on the world. We plunge into the jungle of the Congo in the footsteps of Leopold II in search of the place where uranium is mined. We cross the ocean to Los Alamos, the base in New Mexico where Robert J. Oppenheimer developed the atom bomb assisted by the best physicists in the world. We follow the bomb to Japan, where it destroyed Hiroshima and Nagasaki in 1945. Riche and Marnham introduce a second thread into their film, that of the German art historian and anthropologist Aby Warburg (1866 \u2013 1929). Warburg was the first to demonstrate the importance of iconography \u2013 a history in images \u2013 in the study of civilizations and cultures. For instance, he studied the religious symbolism of the Pueblo Indians and more specifically the Hopi tribe, who lived very near the place where the Los Alamos camp was built. In 1923, the visionary Warburg wrote: \u2018What interested me as a cultural historian was that in the midst of a country that had made technological culture into an admirable precision weapon in the hands of intellectual man, an enclave or primitive pagan humanity was able to maintain itself.\u2019 Snake Dance is about the choices modern man has to make if he wants to survive. Like Prometheus, he makes fatal decisions that leave him alone in a world of chaos.\u201d (Kaaitheater \/Brussels)<\/p>\n\n\n\n

Director<\/strong>: Manu Riche<\/summary>\n

Biography<\/strong>: Manu Riche is a Belgian documentary filmmaker. He was an early contributor to the legendary documentary magazine Strip- Tease produced by Belgian TV channel RTBF. During the nineties he worked on several independent films in co-production with European public broadcasters. In 2002\/2003 he explored the relationship between fiction and documentary in two major films on Belgian personalities, King Baudouin I and Georges Simenon (co-written by Patrick Marnham). He is the initiator, producer and director of Hoge Bomen, a series of portraits on formal and informal power in Belgium at the beginning of the 21st century.<\/p>\n\n\n\n

Filmography:<\/strong> Baudouin I (2001), The Man Who Wasn\u2019t Maigret (2003), The Politician (2005), Tempo of a Restless Soul (2009), Snake Dance (2012)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Patrick Marnham<\/summary>\n

Biography<\/strong>: Patrick Marnham is an English journalist, biographer and writer of travel books. He is primarily known for his biographies, where he has covered subjects as diverse as Diego Rivera, Georges Simenon, Jean Moulin and Mary Wesley. As a journalist, he has written for The Times, Guardian and The Observer among others. From 1968 till 1971 Marnham was a scriptwriter for BBC Television. His film work includes The Man Who Wasn\u2019t Maigret: A Portrait of Georges Simenon with Manu Riche. His books have won the Thomas Cook Travel Book Award and the Marsh Biography Award.<\/p>\n\n\n\n

Filmography:<\/strong> Snake Dance (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Renaat Lambeets, Ross McDonnell<\/p>\n\n\n\n

Editor:<\/strong> Mich\u00e8le Hubinon<\/p>\n\n\n\n

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Producer:<\/strong> Manu Riche, Genevi\u00e8ve De Bauw<\/p>\n\n\n\n

Production Company:<\/strong> Riche Riche & Riche, Soho Moon, IDTV, Ryva production<\/p>\n\n\n\n

World Sales: <\/strong>Andana Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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A Stranger<\/h4>\n\n\n\n

Obrana i za\u0161tita, Croatia, Bosnia and Herzegowina 2013, 83 min, Croatian with German subtitles, director: Bobo Jel\u010di\u0107<\/p>\n\n\n\n

International Competition<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cThe death of an old friend plunges Slavko into a dilemma. He is unsure whether he, a Croat, should attend the funeral in the Muslim part of Mostar. On the one hand, he feels like it\u2019s his duty; on the other, he fears a hostile reaction from his own community. His wife is angry and his son is equally sick of his wellworn monologues. At odds with themselves and plagued by divisions: the man and his city have something in common. This psychological study is based on the fact that nearly two decades after the war, Mostar is still divided. An invisible border of distrust and suspicion governs people\u2019s daily lives. Slavko doesn\u2019t want to do the wrong thing, but has lost any sense of what he really wants. His actions verge on the grotesque and paranoid. The handheld camerawork is fluid and in constant motion for much of the film, calling all the more attention to the sense of agitation and tension. Brief emotional outbursts and dramatic exit scenarios seem like a cry into the void. The most impressive scenes are pointedly long, and often involve mute idling in waiting rooms or protracted, redundant debates over trivialities. Neither leads to any sort of change.\u201d (Birgit Kohler) \u201cBobo Jelcic\u2019s A Stranger portrays a Mostar so riven that even the most commonplace activities are blighted by disharmony, catastrophe hits frequently without warning and \u2018ordinary people\u2019 are near too fed up to go on. A morbidly absurdist twist \u2014 that occurs fairly early on but would compromise its nicely disorienting initial shock factor to disclose \u2013 jolts the film from the kind of naturalistic society- in-transition satire we\u2019ve grown used to from the Balkan states into the more existential territory hinted at by the title, making for an interesting point of difference while pressing us to consider whether post-war Bosnia and hell itself may be interchangeable.\u201c (Carmen Gray)<\/p>\n\n\n\n

Director<\/strong>: Bobo Jel\u010di\u0107<\/summary>\n

Biography<\/strong>: Born on 12 March 1964 in Mostar, Bosnia and Herzegovina. He studied directing at the Academy of Dramatic Arts in Zagreb, and has since worked as a theatre director in Croatia, Germany, Switzerland and Austria. Bobo Jel\u010di\u0107 is also a professor of acting at the Academy of Dramatic Arts in Zagreb. A Stranger is his first feature film.<\/p>\n\n\n\n

Filmography:<\/strong> Black Coffee (2005), A Stranger (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Erol Zub\u010devi\u0107<\/p>\n\n\n\n

Editor:<\/strong> Ivana Fumi\u0107<\/p>\n\n\n\n

Cast:<\/strong> Bogdan Dikli\u0107, Nada \u0110urevska, Ivana Ro\u0161\u010di\u0107, Izudin Bajrovi\u0107<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Zdenka Gold<\/p>\n\n\n\n

Production Company:<\/strong> Spiritus Movens Production, HRT, KADAR<\/p>\n\n\n\n

World Sales: <\/strong>Rendez-vous Pictures<\/p>\n\n\n\n

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International Forum<\/summary>\n
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10 % \u2013 What Makes a Hero?<\/h4>\n\n\n\n

Israel 2013, 92 min, English, Hebrew, Arabic with English subtitels, director: Yoav Shamir<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Info<\/strong>s<\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

What makes a hero? What type of individual maintains the integrity to fight for what is just under any circumstances? What compels someone to jump into a river, risking his own life to save a stranger? Why, during World War II, did some Germans put themselves at risk in order to save Jews? 10% attempts to penetrate and understand the very makeup of the human soul. \u201cIn the film 10 % director Yoav Shamir, asks \u2018What makes a hero?\u2019 and attempts to give an answer by taking us on a world wide tour from New York to the Congo, Slovenia, South Africa, Israel and Palestine. He tries to find a typical pattern in what makes a hero. In the film we meet many people along the way who have committed acts of heroism in various forms, from a guy in New York who threw himself under a subway train to save a life of someone who had fallen on the tracks, to a Belgian woman who hid Jews in her apartment during the second world war, to a white woman in South Africa who grew up protesting against apartheid and went against the grain of her peer group. This subject makes for a fascinating documentary. The characters, the heros that he speaks to are widely different; there is no common thread as to why each hero has gone the extra mile to help a fellow human being. The \u2018hero\u2019 that Shamir seems to be most affected by is one of his \u2018own\u2019, Yonatan Shapira, an ex-Israeli pilot who, like Shamir, trained with the Israeli army, but who then went on to denounce the Israeli government, to openly criticise them and accuse them of genocide, resulting in him being labelled a traitor in his own country but a hero elsewhere. This makes Shamir reassess his own position. He attempts to join Yonatan in a protest. There is a telling moment when Yonatan says to camera \u2018you only need to taste tear gas in your mouth that was aimed at the Palestinians, to take that last bit of Zionism you ever had out of you\u2019. Shamir looks openly shaken. The film has a hint of self mockery and irony throughout but in this scene, the seriousness of what it really takes to be a hero is brought home to the director.\u201d (Catherine Nelson-Pollard)<\/p>\n\n\n\n

Director<\/strong>: Yoav Shamir<\/summary>\n

Biography<\/strong>: Yoav Shamir is a multi-award-winning independent documentary director, producer and cinematographer. For 12 years, Yoav has been known for pursuing complex and taboo social, political and cultural subject matters, and delivering thought-provoking films with energy and rigor. His impressive work includes Checkpoint, Defamation, and Flipping Out which have won prestigious awards at some of the largest film festivals including the Sundance Film Festival, Berlin, IDFA, Hot Docs and Tribeca.<\/p>\n\n\n\n

Filmography:<\/strong> Checkpoint (2003), 5 Days (2005), Flipping Out (2008), Defamation
(2009), Full Gas (2010), 10 % \u2013 What makes a Hero? (2013),
Messiah (2014)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Yoav Shamir, Tanya Aizikovich<\/p>\n\n\n\n

Editor:<\/strong> Omri Ayalon, Sasha Franklin<\/p>\n<\/div>\n\n\n\n

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Produ<\/strong>cer:<\/strong> Yoav Shamir<\/p>\n\n\n\n

Production Company<\/strong>: Yoav Shamir Films<\/p>\n\n\n\n

World Sales:<\/strong> Cinephil<\/p>\n\n\n\n

German Distributor:<\/strong> Yoav Shamir Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The 727 Days Without Karamo<\/h4>\n\n\n\n

Die 727 Tage ohne Karamo, Austria 2013, 80 min, German, director: Anja Salomonowitz<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In The 727 Days Without Karamo couples, whose love is put to a special test, give us insight into their lives. One partner of each couple is not originally from Europe and the lovers find themselves confronted with immigration law and its impact. Director Anja Salomonowitz depicts a story, which many couples experience, in which the snapshot moments of scene after scene form a continuous narrative, similar to a relay race. A sudden deportation could break them apart at any time. Those whose relationship can withstand enormous psychic and (also) financial burden hope for a lasting life together or for a reunion. As with Susanne, who has waited 727 days for Karamo, her husband and the father to her children, to be allowed to return. The personal insights are marked by hope, government intervention into private life, the dream of great love, and sobering reality. These couples go beyond lingual, territorial and social boundaries \u2013 with hope that their relationship can overcome the battle with immigration law regulations. Anja Salomonowitz combines very different facets into an exciting, very moving and strongly expressive documentary mosaic. A compelling, filmic plea for love without borders. \u201cDocumentary story-telling is always a dual process: on the one hand her story-telling style aims to address relevant socio-political conditions and raise awareness of intolerable situations and, on the other hand, to expand and vary and create anew the view on a theme with unusual narrative strategies. In The 727 Days Without Karamo the filmmaker has further refined her It Happend Just Before basic concept for telling a documentary story differently. The material drawn from reality, and its emotional potential, are thereby placed in constant tension with each other. Anja Salomonowitz denies both sides a cinema of pity. Above all, The 727 Days Without Karamo wants to tell the story of people fighting for another person and defending their right to choose their partner freely. Therefore the filmmaker (as in her previous films) has chosen a dominant colour in her shots: yellow. For courage and the fighting spirit and contempt.\u201c (Karin Schiefer)<\/p>\n\n\n\n

Director<\/strong>: Anja Salomonowitz<\/summary>\n

Biography<\/strong>: Anja Salomonowitz was born 1976 in Wien, Austria. She studied at the Film Academy in Wien and at the University Konrad Wolf fot Film and Television in Potsdam. She lives in Vienna as a scriptwriter and director. With her film Kurz davor ist es passiert she participated in the NIHRFF competition in 2007.<\/p>\n\n\n\n

Filmography:<\/strong> Carmen (2000), Projektionen eines Filmvorf\u00fchrers in einem Pornokino (2002), Monument (2005), Kurz davor ist es passiert (2006), Spanien (2012), Die 727 Tage ohne Kamaro (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Martin Putz<\/p>\n\n\n\n

Editor:<\/strong> Petra Z\u00f6pnek<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Alexander Dumreicher-Ivanceanu, Bady Minck<\/p>\n\n\n\n

Production Company<\/strong>: AMOUR FOU Vienna<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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AFTER THE SILENCE
what remains unsaid does not exist?<\/h4>\n\n\n\n

DUP\u0102 T\u0102CERE ceea ce nu e rostit nu exist\u0103?, France, Romania 2012, 96 min, Romanian English, French with English subtitels, director: Vanina Vignal<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

After the Silence deals with how the effects of dictatorship are still extremely vivid, even after the fall of dictatorship. It is a film about the abuses of the state, about fear, how silence is passed on from one generation to the next. A film about the space which, despite all that is known, is left to ghosts that make it impossible to live fully in the present. Three generations walled in silence. The legacy of denial, as nothing has been put back in its place and nothing has been said. Killing the dictator is not enough to kill the dictatorship.<\/p>\n\n\n\n

Director’s Statement<\/strong>
I met Ioana in 1991, in Bucharest, a year after the coup d\u2019\u00e9tat that the media called the \u201cRevolution\u201d. When we met, we talked about everything except the dictatorship from which her country had recently emerged, as if silence could expunge everything that was still too raw. After my studies in Bucharest, I returned regularly to visit Ioana and her family, with whom I\u2019d created strong family ties \u2013 I became the godmother of Ioana\u2019s daughter, T\u00e9ona, and Rodica, Ioana\u2019s mother, had become like a substitute mother to me. I understand their country\u2019s problems \u201cfrom the inside\u201d. Now I personally feel them. It helped me work on the subjects of abuse, silence and fear, on the cocoon that Ioana made for herself \u2013 an illusory cocoon that preserves her from the surrounding reality and protects her from the abuse, both present and past, for the old, intrusive reflexes die hard in Romania, and Ioana, powerless and depressed, has withdrawn into her family unit. She refuses the reality of the outside world in which she lives \u2013 she involuntarily maintains a connection with the historical injustice \u2013 her cocoon has become a cell. (\u2026) Through the story of Ioana, a young, 40 year old Romanian woman, my film shows how living under a dictatorship becomes a way of life. And this is not the \u201cprivilege\u201d of ex-communist countries.<\/p>\n\n\n\n

Director<\/strong>: Vanina Vignal<\/summary>\n

Biografie<\/strong>: Vanina Vignal was born in France. She trained as an actress at the Jacques Lecoq International School of Theater and Movement, and the National Theatre Conservatory of Romania. She has worked extensively in theatre, which has given her a subtle perception of drama embedded in people\u2019s everyday lives. She then trained as an assistant editor and assistant director, before turning to her own projects. Stella (2007) was Vanina Vignal\u2019s first film as a director. After the Silence is the second part of a Romanian film trilogy.<\/p>\n\n\n\n

Filmography:<\/strong> Stella (2007), AFTER THE SILENCE What remains Unsaid Does Not Exist? (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Vanina Vignal<\/p>\n\n\n\n

Editor:<\/strong> M\u00e9lanie Braux<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Vanina Vignal, Cristian Mungiu<\/p>\n\n\n\n

Production Company<\/strong>: NOVEMBREproductions, Mobra Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Alms for the Blind Horse<\/h4>\n\n\n\n

Anhey gorhey da daan, India 2011, 112 min, Panjabi with English subtitles, director: Gurvinder Singh<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Adapted from Gurdial Singh\u2019s novel of the same title, Gurvinder Singh\u2019s debut feature opens on the harsh reality of a small village situated in Punjab. The extreme poverty in which the villagers live colors each scene with a heaviness that, added to the rest of the injustices suffered by the villagers, makes the distressing effect all the more intense. Singh\u2019s camera cleverly ventures outside the immediate space of the story, taking note of traces of misery imprinted on the villagers\u2019 faces and in their eyes, and loudly pronounced by their deep silence. Most of the actors in the film are non-professionals, and Singh displays great skill in extracting wonderful dramatic moments from them. The story unfolds as a large company destroys one of the houses on the outskirts of the village. Despite their anger, the villagers simply stand still supervised by police while the demolition takes place. Later, the people convene in an attempt to mobilize and perhaps give voice to their frustration, but deep down they know all too well that things are beyond their control. They are, after all, a caste downtrodden by an historical injustice that fundamentally and completely denies them the right to protest or to try to change their reality. Haunting and beautiful cinematography augments Singh\u2019s film, which is a siren that points to the latent violence that resides in those who see no possibility of a better life \u2013 a violence that might explode at any moment. (Raman Chawla)<\/p>\n\n\n\n

Director<\/strong>: Gurvinder Singh<\/summary>\n

Biography<\/strong>: Graduating from Delhi University in 1995, Gurvinder Singh worked briefly as a graphic artist in advertising before post graduating from Pune University. He went on to study film direction at the Film and Television Institute (FTII), Pune, graduating in 2001. He documented subaltern folk music in Punjab from 2002 to 2006. He made documentaries on the arts for the next few years, besides painting and cooking. Alms for the Blind Horse is his first feature film. He currently lives in Pune.<\/p>\n\n\n\n

Filmography:<\/strong> Pala (2003), Passage (2004), A Winter Tale (2004), Legs Above my Feet (2007), An Untitled Film (2008), Alms for the Blind Horse (2011), The Fourth Direction (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Satya Nagpaul<\/p>\n\n\n\n

Editor:<\/strong> Ujjwal Chanra<\/p>\n\n\n\n

Cast:<\/strong> Mal Singh, Samuel John, Serbjeet Kaur, Dharminder Kaur<\/p>\n\n\n\n

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Producer:<\/strong> Mani Kaul<\/p>\n\n\n\n

Production Company<\/strong>: National Film Development Corporation India<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Argentinian Lesson<\/h4>\n\n\n\n

Argety\u0144ska lekcja, Poland 2011, 56 min, Polish, Spanish with English subtitles, director: Wojciech Staro\u0144<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/p>\n\n\n\n

In 1998 Wojciech Staro\u0144 made the documentary film \u201eThe Siberian Lesson\u201c. The film told the story of a young teacher who emigrated to the vicinity of Lake Baikal in order to teach Polish deportees\u2019 descendants their native language. Many years later, as a married couple with two children, the director and his wife are leaving for Argentina. For their little son, this trip will not only be an encounter with an unknown language. Influenced by their Argentinian friend, Janek enters the fascinating world of imagination, and is introduced to the bitterness of childhood prematurely contaminated by the problems of grown-ups. Wojciech Staro\u0144 has already had one of his works screened at NIHRFF: He was responsible for the haunting cinematography of NIHRFF\u2019s 2011 award winner The Prize (directed by Paula Markovitch), which won him a Silver Bear for Best Cinematography at Berlin Film Festival 2011. The beautiful score for both films was composed by Sergio Gurrola who was a guest of NIHRFF 2011. Argentinian Lesson won the Silver Dove at prestigeous DOK Leipzig film festival in 2011. The jury stated: \u201cThis cinematic journey follows the filmmaker\u2019s 8-year-old son from Poland to Argentina as he becomes acclimated to his new home and develops a friendship with a young girl that is both joyous and sorrowful. The film skillfully pushes the boundaries between fiction and documentary. Its filmmaker demonstrates a high degree of craft regarding the composition of his images and the rhythms of narrative editing. His finely-etched characters stay with us long after the movie\u2019s final, surprisingly humorous image.\u201d<\/p>\n\n\n\n

Director<\/strong>: Wojciech Staro\u0144<\/summary>\n

Biography<\/strong>: Wojciech Staro\u0144 is a cinematographer and film director. As a graduate of the Cinematographic Department at the Film School in Lodz, he has shot over twenty documentaries and feature length fiction films. Staro\u0144 is a member of the European Film Academy and Polish Society of Cinematographers (PSC). He made his documentary debut with The Siberian Lesson (1998), which was awarded in Amsterdam (IDFA) and Krakow, among others. He received the Silver Bear Award at Berlinale 2011 for his photography of The Prize.<\/p>\n\n\n\n

Filmography:<\/strong> The Siberian Lesson (1998), Plac Zbawiciela (2006), Paradise
(2008), Argentinian Lesson (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Wojciech Staro\u0144<\/p>\n\n\n\n

Editor:<\/strong> Agnieszka Bojanowska, Wojciech Staro\u0144, Zbigniew Osinsk<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Malgorzata Staro\u0144<\/p>\n\n\n\n

Production Company<\/strong>: Staron Film<\/p>\n\n\n\n

World Sales:<\/strong> TVP SA<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Back to the Square<\/h4>\n\n\n\n

Norway 2012, 83 min, Arabic with English subtitles, director: Petr Lom<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The joy, pride and sense of community experienced during the revolution in Egypt was replaced by the everyday fight for survival. How did the transformation impact the lives of citizens? Employing the documentary essay form, director Petr Lom considers the character and depth of the revolutionary changes. He interviews not only opponents and supporters of the revolution, but also the bystanders. A guide at the pyramids, a minibus driver who refused to transport the arrested to prison, the wife of a wrongly accused man, a young girl stigmatised in her village for taking part in the uprising, the brother of an imprisoned blogger \u2013 all gradually paint a complex and unhappy portrait of post-revolutionary Egypt. The revolution has not managed to overthrow a system of repression rooted in both state organs and interpersonal relationships. On the contrary, it has led to increased despotism on the part of police. However, this film clearly shows that people have decided to take advantage of the increased leeway the revolution has brought.<\/p>\n\n\n\n

Director’s Statement<\/strong><\/p>\n\n\n\n

We filmed in Egypt for ten months since the beginning of the Revolution in January. A year later, protests continue, but the euphoria of Tahrir Square and its Egyptian Velvet Revolution have given way to a more sober realization that Egypt has a long struggle ahead to free itself of old power structures, entrenched elites, endemic corruption, and above all, widespread abuse of basic human rights. More than 12 000 protesters have been detained and tried in military tribunals that hand down sentences of one to four years in trials often lasting merely one hour. There have been no systematic attempts to reform the police, which is responsible for the majority of the 900 killed during the revolution. Many Egyptians still live in a world of fear. But the difference is, in the new Egypt, they are not willing to remain silent in the face of injustice. Our film is about courage to resist injustice in post-revolutionary Egypt.<\/p>\n\n\n\n

Director<\/strong>: Petr Lom<\/summary>\n

Biography<\/strong>: Petr Lom was born in Prague in 1968, and grew up in Canada. A former academic with a Ph.D. in political philosophy from Harvard, he gave up his university career in 2003 to become a fulltime documentary filmmaker specializing in human rights film. His first film was Bride Kidnapping in Kyrgyzstan (2004). This was followed by On a Tightrope (2007), a film about the persecution of the Uighur minority in China, which premiered at the Sundance Film Festival. Letters to the President (2009), about the regime of President Ahmadinejad of Iran, premiered at the Berlinale. All of his filmshave screened at NIHRFF. In 2011, Petr Lom was a member of NIHRFF\u2019s International Jury.<\/p>\n\n\n\n

Filmography:<\/strong> Bride Kidnapping in Kyrgyzstan (2004), On a Tightrope (2007), Letters to the President (2009), Back to the Square (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Petr Lom<\/p>\n\n\n\n

Editor:<\/strong> Erik Andersson, Petr Lom<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Torstein Grude<\/p>\n\n\n\n

Production Company:<\/strong> Piraya Films AS<\/p>\n\n\n\n

World Sales:<\/strong> Kudos Family Distribution<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Big Boys Gone Bananas!*<\/h4>\n\n\n\n

Sweden 2011, 88 min, English, Swedish with English subtitles, director: Fredrik Gertten<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201eIn April 2009, Swedish filmmakers Fredrik Gertten and Margarete Jang\u00e5rd learned that the world premiere of Bananas!\u2014 their documentary about a lawsuit against the Dole Food Company \u2014 would take place at a major film festival in Los Angeles. Within weeks, they were embroiled in a legal and public-relations battle to save their premiere, their film, their reputations, and their freedom of speech. While censorship is, sadly, nothing new, its insidious power gains startling immediacy by playing out in front of Gertten\u2019s camera. The filmmakers find themselves painted as villains due to Dole\u2019s shrewd PR moves \u2014 even before their film has been screened. Gertten takes the offensive, filing a countersuit and media campaign of his own to confront Dole\u2019s overgrown-schoolyard- bully tactics. As demonstrated over the past several months in actions held around the globe, corporations are being taken to task for their disproportionate political and financial influence. Big Boys Gone Bananas! is a telling case study of the power of individuals to fight back.\u201c (B.T., Sundance Film Festival).<\/p>\n\n\n\n

Director<\/strong>: Fredrik Gertten<\/summary>\n

Biography<\/strong>: Carl Fredrik Gertten ist schwedischer Filmemacher und Journalist. In den 1980er und 1990er Jahren arbeitete er als Journalist f\u00fcr Zeitungen, Radio- und Fernsehsender in Afrika, Lateinamerika und Europa. Er ver\u00f6ffentlichte Reisef\u00fchrer und schrieb f\u00fcr die schwedischen Zeitungen Arbetet und Kv\u00e4llsposten. Au\u00dferdem arbeitete er als Produzent f\u00fcr Dokumentationen und Unterhaltungssendungen f\u00fcr unterschiedliche schwedische Fernsehsender.<\/p>\n\n\n\n

Filmography:<\/strong> True Blue (1998), The Poetry General (2002), The Socialist, the Architect, and the Twisted Tower (2005), Bananas!* (2009) Big Boys Gone Bananas!* (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Joseph Aguirre, Stefan Berg, Joakim Demmer, David McGuire, Frank Pineda<\/p>\n\n\n\n

Editor:<\/strong> Benjamin Binderup, Jesper Osmund<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Margarete Jang\u00e5rd<\/p>\n\n\n\n

Production Company<\/strong>: WG Film<\/p>\n\n\n\n

World Sales:<\/strong> Autlook Film Sales<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Black Out<\/h4>\n\n\n\n

United Kingdom 2012, 47 min, English, French with English subtitels, director: Eva Weber<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A literal and metaphorical journey towards enlightenment, Black Out shows how children reconcile their daily lives in Guinea, one of the world\u2019s poorest countries, with their desire to learn. Every day during exam season, as the sun sets over Conakry, Guinea, hundreds of school children begin a nightly pilgrimage to the airport, petrol stations and wealthy parts of the city, searching for light. This evocative documentary tells the story of these children\u2019s inspiring struggle for education in the face of the country\u2019s own fight for change. <\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201eIn philosophical terms, life is hope. Without hope it\u2019s suicide.\u201c (Socrates, teacher in Conakry). For me, Socrates\u2019 words sum up the mood and feeling I wanted to create in this film. Hopeful and dark at the same time, Black Out does not give any easy answers; it leaves us wondering what the future really holds for these children. When I first had the idea for this film, it was very clear to me that I did not want to make another inspirational film about children in Africa. I did not want to make a film that ultimately is designed to leave us, a Western audience, feeling good about the children and about ourselves; a film that shows that if you work hard, you can make it and achieve your dreams. For me, the situation in Guinea is way more ambiguous. Whilst the children in this film are inspirational, and you can\u2019t help but feel moved by their determination and desire to improve their lives, it is also clear that most of them will not achieve their dreams or even get a job after studying so hard. These children are very much aware of this, they know that currently regardless of how hard they study, this might not make any difference. Black Out is a film about the resilience of the human spirit, the fact that we keep on trying to achieve our dreams against all odds, even when our lives seem shaped and dictated by forces outside of our control.<\/p>\n\n\n\n

Director<\/strong>: Eva Weber<\/summary>\n

Biography:<\/strong> Originally from Germany, Eva Weber is a London-based filmmaker working in both documentary and fiction. Her award-winning films have screened at numerous international film festivals. Her film The Solitary Life of Cranes was nominated for the International Documentary Association\u2019s Distinguished Short Award. Eva is currently in development with a number of feature projects, including the fiction feature Let the Northern Lights Erase Your Name based on the novel by Vendela Vida. She received the Sundance Institute Mahindra Global Filmmaking Award to further develop the project and has been selected a participant in both the Sundance Institute\u2019s Screenwriters Lab and Director\u2019s Lab.<\/p>\n\n\n\n

Filmography:<\/strong> Stealing Desire (1994), The Intimacy of Stangers (2005,) The Solitary Life of Cranes (2008), Night, Peace (2012), Black Out (2012), Let the Northern Lights Erase Your Name (in development)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Mattias Nyberg<\/p>\n\n\n\n

Editor:<\/strong> Eva Weber, Emiliano Battista<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Claire Neate James, Kat Mansoor<\/p>\n\n\n\n

Production Company<\/strong>: Odd Girl Out Productions<\/p>\n\n\n\n

World Sales:<\/strong> Autlook Film Sales<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Breaking Free<\/h4>\n\n\n\n

India 2013, 90 min, Hindi, English with english subtitels, director: Sridhar Rangayan<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Inhalt<\/strong><\/p>\n\n\n\n

Award winning director Sridhar Rangayan offers a sneak preview of the 70 min feature length documentary Breaking Free and a selection of South Asian LGBT shorts. Crisscrossing across India, Breaking Free, a pathbreaking feature- length documentary, attempts to unravel the human rights violations faced by Indian LGBTH (lesbian, gay, bisexual, transgender, hijra) persons at the hands of the law, family, and society because of their sexuality and sexual orientation. It also traces the history of the Indian queer rights movement \u2013 from \u2018Invisibility to Empowerment\u2019. \u201eI\u2019ve a right to love and live with dignity\u201c, cry out the Indian LGBTH community who have been made invisible and pushed underground by a draconian law Sec 377 that criminalized homosexuality till recently. The film Breaking Free strings together anguished voices of those who were tortured, blackmailed and indicted by this law; along with voices of advocates, activists and opinion builders who have fought a decade-long battle to have this law read down in 2009. But it is now being challenged by religious fanatics and moral policemen who scream it will open the floodgates of immorality and destroy India\u2019s cultural fabric. Even as hate crimes rise and LGBTH voices become strident demanding social acceptance, the Indian queer rights movement has gained a spotlight in the media and among the mainstream. The film captures a community in indignation, a society in transition and a country on the verge of historic changes. Breaking Free is the biggest LGBTQ project from India, with more than 100 interviews across 15 cities and towns in India, giving a candid and emotional voice to the still largely closeted and invisiblised by the society.<\/p>\n\n\n\n

Director<\/strong>: Sridhar Rangayan<\/summary>\n

Biography<\/strong>: Sridhar Rangayan is an Indian filmmaker whose compelling films present hard-hitting social issues with warmth, compassion and humor. These award winning films are at the forefront of India\u2019s emergent queer cinema movement \u2013 ground-breaking in a country where homosexuality is still socially unacceptable. He has served as Jury for prestigious film festivals such as Outfest 2012 in Los Angeles, Berlinale 2010 in Germany, Movies That Matter 2010 in Netherlands and SATO 2010 & 2011 in the USA. In 2010, Rangayan founded Kashish Mumbai International Queer Film Festival, India\u2019s first LGBTQ Film Festival and of the Flashpoint Human Rights Film Festival, Mumbai.<\/p>\n\n\n\n

Filmography:<\/strong> Yeh Hai Chakkad Bakkad Bumbe Bo (2003), Yours Emotionally! (2006), 68 Pages (2007), Breaking Free (2014)<\/p>\n<\/details>\n\n\n\n

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Production Company<\/strong>: Solaris Pictures<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Constructors<\/h4>\n\n\n\n

Stroiteli, Kazakhstan 2012, 67 min, Russian with English subtitles, director: Adilkhan Yerzhanov<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cTwo brothers and their little sister are thrown out of their flat because they haven\u2019t paid the rent. The orphans pack up their few possessions and go out to the country, where the family owns a small plot of land. The children set up camp, knowing they have to fend for themselves. But this solution is insecure, too: they are told, in no uncertain terms, that all plots will shortly pass to the state unless at least the foundations of a house have been laid. The threesome get down to work, making night-time visits to neighbouring sites to \u2018borrow\u2019 tools and materials, then building by day. But no sooner are the foundation walls complete than an unsympathetic policeman advises them that the law has changed. Foundations are not enough \u2013 the shell of a new building must be standing, or the land will be confiscated. The setbacks keep coming, but the plucky trio refuse to accept defeat. Delivered with sublime calm and infinitely laconic humour, Kazakh director Adilkhan Yerzhanov\u2019s parable on homelessness and lawlessness also tells of the determination to overcome obstacles and fight for one\u2019s rightful place in the world.\u201d (goEast \u2013 Festival des mittel- und osteurop\u00e4ischen Films)<\/p>\n\n\n\n

Director<\/strong>: Adilkhan Yerzhanov<\/summary>\n

Biography<\/strong>: Adilkhan Yerzhanov was born 1982 in Djezkazgan, Kazakhstan. He studied at the Kazakhstan National Academy of Arts, specializing in film direction, graduated in 2009. Received grant in 2010 from Kazakhfilm studio to study film in New York. Winner of JSC \u201cKhabar\u201d competition for best scenario in 1999 with the first Kazakhstan animated series Kozy-Korpesh and Bayan-Sulu, which was broadcast nationwide in 2002.<\/p>\n\n\n\n

Filmography:<\/strong> Bakhytzhamal (2007), Karatas (2007), Rieltor (2011), Constructors (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Adilkhan Yerzhanov<\/p>\n\n\n\n

Editor:<\/strong> Adilkhan Yerzhanov<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Olga Khlasheva, Serik Abishev<\/p>\n\n\n\n

Production Company<\/strong>: Short Brothers<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Denok & Gareng<\/h4>\n\n\n\n

Indonesia 2012, 89 min, Indonesian with English subtitles, director: Dwi Sujanti Nugraheni<\/p>\n\n\n\n

Internatonal Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In the constant stream of hoping, failing and making new plans, Denok and Gareng stay united in their passionate struggle to make it up the hill one day. In the modest house of Gareng\u2019s mum, the young Muslim couple starts a small pig business, looking for the lucky streak to come over the family. But new challenges constantly arise, putting their cheerfulness and patience on trial. In an entirely observational approach Denok and Gareng explores a strong loving relationship inside a strikingly vivid family that sticks together, fights back and laughs, about what others would call a Sisyphus fate.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201cPersonally, I have learned a lot from Denok and Gareng\u2019s life, from the spirit to love, how they accept and face problems that continue to come their way, as well as their courage in laughing about themselves and their lives. Not many people have that courage. Daring to laugh at yourself means to look at one\u2019s own life from greater distance. That\u2019s why I admire Denok and Gareng. I believe their daily life struggle should be seen. Their courage should be shared through a film that portrays them carefully and sincerely. I want to place Denok and Gareng into the centre of our perception, because their existence is hardly looked at, when we pass by.\u201d<\/p>\n\n\n\n

Director<\/strong>: Dwi Sujanti Nugraheni<\/summary>\n

Biography<\/strong>: Dwi Sujanti Nugraheni was born and grew up in Yogyakarta, Indonesia. She studied politics at the Gadjah Mada University and since 2003 she has organized a festival of documentaries in Yogyakarta and video workshops for teenagers and for the deaf community. Denok and Gareng is her first feature-length documentary, which she made during the \u201cTen years after reformasi\u201d workshop held at the Goethe Institute in Indonesia.<\/p>\n\n\n\n

Filmography:<\/strong> Pengabar Kematian (2002), Micro Economy (2004), Children of Asia (2004), Hobbit in Flores (2006), Janji Jabrik (2007), The Silent Boy (2009), Denok and Gareng (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Kurnia Yudha Fitranto<\/p>\n\n\n\n

Editor:<\/strong> Gregorius Arya Dhipanaya<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Dwi Sujanti Nugraheni<\/p>\n\n\n\n

Production Company<\/strong>: Jawa Dwipa Films\/credo:film GmbH<\/p>\n\n\n\n

World Sales:<\/strong> credo:international<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Empire of Dust<\/h4>\n\n\n\n

Belgium 2011, 81 min, Chinese, French, Swahili with English subtitles, director: Bram Van Paesschen<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Two men representing two different cultures clash in the dust of the former Belgian colony, the Democratic Republic of Congo. Lao Yang and Eddy both work for a company called CREC (Chinese Railway Engineering Company). They have just set up camp near the remote mining town of Kolwezi in the Katanga province of the RDC. The goal of the company is to redo the road \u2013 covering 300km \u2013 that connects Kolwezi with the capital of the province Lubumbashi. Lao Yang is head of logistics of the group. He is responsible for the equipment, building materials and food (mainly chickens) to arrive in the isolated Chinese prefab camp. The Congolese government was supposed to deliver these things but so far the team hasn\u2019t received anything. With Eddy (a Congolese man who speaks Mandarin fluently) as an intermediate, Lao Yang is forced to leave the camp and deal with local Congolese entrepreneurs, because without the construction materials the road works will cease. What follows is an endless, harsh, but absurdly funny rollercoaster of negotiations and misunderstandings, as Lao Yan learns about the Congolese way of making deals.<\/p>\n\n\n\n

Director<\/strong>: Bram Van Paesschen<\/summary>\n

Biography<\/strong>: Bram Van Paesschen was born in Vilvoorde, Belgium, 1979. He is a director and editor, living and working in Brussels. In 2002 he got his masters degree in the Audio Visual Arts from the St-Lukas Academy in Brussels. His Pale Peko Bantu Mambo Ayikosake was selected for the NIHRFF International Competition in 2009.<\/p>\n\n\n\n

Filmography:<\/strong> Smokescreen covering Brussels (2002), World of Blue, Land of O. (2005), ICI (Lettre \u00e0 Chantal Akerman) (2007), Pale Peko Bantu Mambo Ayikosake (2008), Empire of Dust (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Emmanuel Gras<\/p>\n\n\n\n

Editor:<\/strong> Bram Van Paesschen, Dieter Diependaele<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Bart Van Langendonck<\/p>\n\n\n\n

Production Company<\/strong>: Savage Film<\/p>\n\n\n\n

World Sales:<\/strong> CAT & DOCS<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Exposed by Beth B<\/h4>\n\n\n\n

USA 2013, 78 min, English with German subtitels, director: Beth B<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Beth B takes us into the 21st century underground and reveals a secret world where cutting-edge performers are taking hold of a taboo art form, Burlesque, and driving it to extremes that most people have never seen. It\u2019s satire. It\u2019s parody. It\u2019s a populist blend of art and entertainment that gives new meaning to the word \u201ctransgression.\u201d Above all, it\u2019s a lot of fun, and it will blow your mind. Operating on the far edge of Burlesque, these performers combine politics and physical comedy to question the very concept of \u201cnormal.\u201d Through them, we get to examine our own inhibitions. Beth B has followed the lead characters with a \u201cfly-on-the-wall\u201d camera over several years, capturing rehearsals, backstage preparations, private struggles and triumphs, and the extraordinary performances. The film\u2019s unique perspective allows us, the audience, into the clubs and other hidden spaces where these artists perform. This shocking and comedic art form thrives in the after-dark hours and cult venues of major metropolitan areas \u2013 renowned spots such as The Box, Coney Island Sideshow, Casa Mezcal, and The Slipper Room, founded by James Habacker, who also appears in the film. This performance art is powerful and enlightening because it challenges traditional notions of body, gender, and sexuality. The body types of the performers range from statuesque to transgender to disabled. Their personalities are scintillating, yet very real. They may be part of a unique subculture, but they come from surprisingly diverse economic and social backgrounds. As they peel away their clothes \u2013 describing their journeys and commenting on their performances \u2013 they peel away our own preconceptions and inhibitions. Ancient moral, religious and sexual shibboleths are seen from new perspectives, and a new generation of the cultural avant-garde comes to light.<\/p>\n\n\n\n

Director<\/strong>: Beth B<\/summary>\n

Biography<\/strong>: Born in New York in 1955, Beth B began directing Super-8 films in the 1970s. Her work, which is usually multimedia, focuses on body image, gender and the outsider. Her films Vortex and Salvation! screened in the Berlinale Forum in the 1980s, and Visiting Desire in the Panorama in 1997. Her work has screened at MoMA, Sundance and Toronto.<\/p>\n\n\n\n

Filmography:<\/strong> G-Man (1978), Vortex (1983), Visiting Desire (1996), Hysteria (2001), Exposed (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Dan Karlok, Beth B<\/p>\n\n\n\n

Editor:<\/strong> Beth B, Keith Reamer<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Beth B, Sandra Schulberg<\/p>\n\n\n\n

Production Company<\/strong>: B Productions, Inc., Schulberg Productions<\/p>\n\n\n\n

World Sales:<\/strong> Wide House<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Facing Mirrors<\/h4>\n\n\n\n

Aynehaye Rooberoo, Iran 2011, 102 min, Persian with German subtitles, director: Negar Azarbayjani<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The first Iranian fiction film that was shot in (in parts) Nuremberg! \u201cIranian female director Negar Azarbayjani\u2019s first feature is also the first Iranian narrative film with a transgender protagonist. Adineh, or \u201cEddie\u201d as she calls herself, is waiting impatiently for her passport to be processed so that she can get female-to-male sex-reassignment surgery in Germany. The reason she won\u2019t get an operation in Iran (where sex reassignment is surprisingly accessible despite the fundamentalist government\u2019s policies against homosexuality) is that her wealthy and humiliated father is just as impatient to marry her off to a male cousin. Having slipped from his clutches and needing to lay low while waiting for her passport, Eddie is on the verge of being assaulted by goons when Eddie flags down a passing car. It\u2019s actually a clandestine taxi driven by Rana, a conservative young wife whose husband is in prison and can\u2019t provide for the family. Although a woman driving a cab is taboo in her social class, she can\u2019t resist when Eddie offers her triple fare to get her to her hideout. But when Eddie tries to explain that she\u2019s \u201ctrans,\u201d Rana panics and drives into the path of a bus. This remarkable film is anchored by a magnetic, heartbreaking performance by Shayesteh Irani as Eddie, who also played the butchest of the forbidden female soccer fans in the banned director Jafar Panahi\u2019s Offside. What at first seems like an implausible friendship between Rana and Eddie achieves rare sympathy and solidarity through their mutual oppression, cutting through their class and ethical differences.\u201d (Frameline FF 2012)<\/p>\n\n\n\n

Director<\/strong>: Negar Azarbayjani<\/summary>\n

Biography<\/strong>: Negar Azarbayjani (*1974) holds a BA degree in cinema from Art University of Tehran-Iran. She also has an MA degree in visual media arts from Emerson College in Boston, USA. She started her career in pictures by acting in a few television series and working as an assistant editor. In 2000 and after acting in Afflicted Generation, she moved to the United States to continue her studies. She was involved in writing and translating scripts and trade articles during and after her graduate program in the United States. She also directed a number of Shorts and Animations in the US as well as in Iran. Her short subject Virtual Truth won the Critics Special Award from Tehran Film Festival in 2007. Facing Mirrors is her first feature film.<\/p>\n\n\n\n

Filmography:<\/strong> Facing Mirrors (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Tooraj Mansoori<\/p>\n\n\n\n

Editor:<\/strong> Sepideh Abdolvahab, Negar Azarbayjani<\/p>\n\n\n\n

Cast:<\/strong> Shayesteh Irani, Qazal Shakeri, Homayoun Ershadi<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Fereshteh Taerpour<\/p>\n\n\n\n

Production Company<\/strong>: Fereshteh Taerpour<\/p>\n\n\n\n

World Sales:<\/strong> The Film Collaborative<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Fortress<\/h4>\n\n\n\n

Pevnost \u2013 Fortress, Tschechische Republik 2012, 70 min, Russisch mit englischen Untertiteln, Regie: Kl\u00e1ra Tasovsk\u00e1, Luk\u00e1\u0161 Koke\u0161<\/p>\n\n\n\n

Internationales Forum <\/p>\n\n\n\n

Inhalt und Infos<\/strong><\/summary>\n

Inhalt<\/strong><\/p>\n\n\n\n

Transnistrien: Ein geographisches Gebiet, das an die Ukraine und an Moldawien angrenzt. Kein Staat und doch von Grenzen umgeben, keine Demokratie und doch steht mal wieder der Wahlkampf vor der T\u00fcr. Luk\u00e1\u0161 Koke\u0161 und Kl\u00e1ra Tasovsk\u00e1 richten in ihrem kunstvollen Dokumentarfilm Fortress ihre Kamera wie ein Mikroskop auf einen Landstrich, dessen Bev\u00f6lkerung mehrere P\u00e4sse ben\u00f6tigt, um reisen zu d\u00fcrfen. Transnistrien ist zugleich multinationaler Staat und sowjetische Utopie: von keinem Staat anerkannt au\u00dfer von Russland. Kurz vor den Pr\u00e4sidentschaftswahlen 2011 kommen die Filmemacher Luk\u00e1\u0161 Koke\u0161 und Kl\u00e1ra Tasovsk\u00e1 in ein Land, in dem die Zeit stehen geblieben zu sein scheint: Sie finden ein Regime vor, das mit einer grotesken Staatspropaganda und einem riesigen Sicherheitsapparat die st\u00e4ndige \u00dcberwachung der Menschen und Diskriminierung regierungskritischer B\u00fcrger propagiert: Auf jeden einzelnen B\u00fcrger kommt ein Polizist \u2013 \u201edeswegen ist Transnistrien ein paradiesischer Ort und deswegen kann hier jeder so gut schlafen\u201c, sagt ein Staatsdiener. \u201eOur Country, our Pride\u201c steht in roten Lettern auf einer Steinplatte, die direkt an einer sp\u00e4rlich befahrenen Stra\u00dfe prangt. Viele Menschen hier f\u00fchlen sich gut aufgehoben und sicher vor der gro\u00dfen weiten Welt da drau\u00dfen. Sie bezeichnen das bestehende politische System als \u201emodified democracy\u201d, ein wirkliches Bewusstsein der staatlichen Kontrolle, der sie ausgesetzt sind, haben sie allerdings nicht. Meinungs- und Versammlungsfreiheit scheinen Fremdw\u00f6rter zu sein. Mit gro\u00dfem Gesp\u00fcr f\u00fcr die feinen Zwischent\u00f6ne blicken Koke\u0161 und Tasovsk\u00e1, die gr\u00f6\u00dftenteils illegal drehen mussten, wie mit einem Brennglas auf eine unbekannte Region und geben einen faszinierenden und zugleich irritierenden Einblick in die Zust\u00e4nde Transnistriens, an dessen Existenz man kaum glauben mag.<\/p>\n\n\n\n

Regie<\/strong>: Kl\u00e1ra Tasovsk\u00e1<\/summary>\n

Biografie<\/strong>: Kl\u00e1ra Tasovsk\u00e1 wurde am 14. M\u00e4rz 1980 in T\u0159eb\u00ed\u010d, Tschechien, geboren und machte ihren Hochschulabschluss im Fachgebiet New Media der AVU in Prag. Momentan studiert sie in der Fachabteilung Dokumentation an der FAMU in Prag. Nebenbei wirkt sie an Internetprojekten, wie artycok.tv, edata-base.net und k-r-o-n-i-ka. net, mit.<\/p>\n\n\n\n

Filmografie:<\/strong> Ban\u00ed\u010dek (2006), A Scrap (2007), Tree (2007), Reconstruction (2007), HaCan (2008), Memory recall (2008), Fortress (2012)<\/p>\n<\/details>\n\n\n\n

Regie<\/strong>: Luk\u00e1\u0161 Koke\u0161<\/summary>\n

Biografie<\/strong>: Luk\u00e1\u0161 Koke\u0161, geboren am 28. August 1983 in \u010cesk\u00e9 Bud\u011bjovice, Tschechien, organisierte w\u00e4hrend seines Studiums ein Filmfestival in Ostbevern in Deutschland. Er ist Student der Filmwissenschaft an der Karls-Universit\u00e4t, sowie an der Fachabteilung Dokumentation an der FAMU in Prag. Er gewann einen Special Jury Award des Jihlava IDFFs 2008 f\u00fcr seinen Film Redemption Attempt of a TV Repairman Josef L\u00e1vi\u010dka in Nine Scenes. Zudem gewann er den Special Audience Award bei Famufest 2009. Dar\u00fcber hinaus schreibt er f\u00fcr das Filmmagazin Cinepur.<\/p>\n\n\n\n

Filmografie:<\/strong> Safety Grounds (2007), Irene (2007), Mittweidekabarett (2008), Redemption Attempt of a TV Repairman Josef L\u00e1vi\u010dka in Nine Scenes (2008), Joy (2009), 59\/184\/84 (2009), Fortress (2012)<\/p>\n<\/details>\n\n\n\n

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Kamera:<\/strong> Luk\u00e1\u0161 Koke\u0161<\/p>\n\n\n\n

Schnitt:<\/strong> Luk\u00e1\u0161 Koke\u0161, Kl\u00e1ra Tasovsk\u00e1<\/p>\n\n\n\n

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Produzent*in:<\/strong> Tom\u00e1\u0161 Hrub\u00fd, Pavla Kube\u010dkov\u00e1<\/p>\n\n\n\n

Produktionsfirma<\/strong>: nutprodukce, FAMU \u2013 Film and TV School of the Academy of Performing Arts in Prague<\/p>\n\n\n\n

Weltvertrieb:<\/strong> Taskovski Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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God Loves Uganda<\/h4>\n\n\n\n

USA 2013, 83 min, English, Swahili with German subtitles, director: Roger Ross Williams<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

God Loves Uganda explores the role of the American evangelical movement in Uganda, where American missionaries have been credited with both creating schools and hospitals and promoting dangerous religious bigotry. The film follows evangelical leaders in America and Uganda along with politicians and missionaries as they attempt the radical task of eliminating \u201csexual sin\u201d and converting Ugandans to fundamentalist Christianity. As an American influenced bill to make homosexuality punishable by death wins widespread support, tension in Uganda mounts and an atmosphere of murderous hatred takes hold. The film reveals the conflicting motives of faith and greed, ecstasy and egotism, among Ugandan ministers, American evangelical leaders and the foot soldiers of a theology that sees Uganda as a test case, ground zero in a battle not for millions, but billions of souls. Through v\u00e9rit\u00e9, interviews, and hidden camera footage \u2013 and with unprecedented access \u2013 God Loves Uganda takes viewers inside the evangelical movement in both the US and Uganda. It features Lou Engle, the creator of The Call which brings tens of thousands of believers together to pray against sexual sin. It provides a rare view of the most powerful evangelical minister in Uganda, who lives in a mansion where he\u2019s served by a white-coated chef. It goes into a Ugandan church where a preacher whips a congregation into mass hysteria with anti-gay rhetoric. It records the culture clash between enthusiastic Midwestern missionaries and world weary Ugandans. It features a heartbreaking interview with gay activist David Kato shortly before he was murdered. It tells the moving story of Bishop Christopher Senyonjo, a minister excommunicated, ostracized and literally spat on for being tolerant and his remarkable campaign for peace and healing in Uganda. Shocking, horrifying, touching and enlightening, God Loves Uganda will make you question what you thought you knew about religion.<\/p>\n\n\n\n

Director<\/strong>: Roger Ross Williams<\/summary>\n

Biography<\/strong>: Roger Ross Williams directed and produced Music By Prudence, winner of the 2010 Academy Award for documentary short subject. He is the first African American to win an Oscar for directing and producing a film. He has produced and directed dozens of hours of non-fiction programming for major television networks and cable channels. Williams has won numerous awards for his work. Currently Williams has several projects in development, including a feature narrative film about the African American Baptist church titled Black Sheep.<\/p>\n\n\n\n

Filmography:<\/strong> God Loves Uganda (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Derek Wiesehahn<\/p>\n\n\n\n

Editor:<\/strong> Richard Hankin, Benjamin Gray<\/p>\n\n\n\n

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Producer:<\/strong> Julie Goldman, Roger Ross Williams<\/p>\n\n\n\n

Production Company<\/strong>: Motto Pictures<\/p>\n\n\n\n

World Sales:<\/strong> Submarine Entertainment<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Golden Slumbers<\/h4>\n\n\n\n

Le sommeil d\u2018or, France, Cambodia 2011, 96 min, French, Khmer with english subtitles, director: Davy Chou<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/strong><\/strong><\/strong><\/p>\n\n\n\n

Golden Slumbers is an elegantly assembled and deeply moving remembrance of Cambodian cinema, which shone brightly from 1960 to 1975 with more than 400 productions before the genocidal Khmer Rouge regime destroyed almost every film and executed most of the country\u2019s creative community. Framed around the illuminating and frequently heartbreaking testimony of surviving industry figures, the docu reps an auspicious feature-length debut for young French-Cambodian helmer Davy Chou. A long fest life is indicated, and niche broadcasters should snap it up. The grandson of Vann Chan, one of Cambodia\u2019s most prolific producers of the era, Chou goes against the grain of conventional documaking by showing only tiny snippets of moving footage. Given that only 30 old Cambodian movies have survived on poor quality VHS and VCD formats, Chou instead invites participants to describe films last seen theatrically 40 and 50 years ago. These recollections of supernatural thrillers, costume spectacles and heartrending melodramas prove so enthralling that clips \u2014 especially inferior-quality ones \u2014 hardly seem necessary. Using stills, lobby cards and old radio promo spots, the docu opens with a vivid picture of how the Cambodian film industry sprang up virtually overnight during the administration of prime minister Father-King Norodom Sihanouk, an enthusiastic patron of the arts and feature filmmaker. Cambodia\u2019s first screen goddess and still an active performer and teacher, Dy Saveth (Love and War, The Snake King\u2019s Wife) gives a marvelous account of starring in approximately 100 films, and will touch many auds\u2019 hearts with her comments about the immortality of Cambodian cinema. (Richard Kuipers)<\/p>\n\n\n\n

Director<\/strong>: Davy Chou<\/summary>\n

Biography<\/strong>: Davy Chou is a French-Cambodian filmmaker who was born in 1983. He is the grandson of Van Chann, one of the most important producers in Cambodia in the 1960s and 70s. He directed his first short film in 2006. His second short Expired was shot during his first trip to Cambodia in 2008. In October 2009, Chou curated Golden Reawakening, a film festival and exhibition about the golden age of Cambodian cinema in the 1960s and 70s. He is also the founder of Kon Khmer Koun Khmer, a collective of Cambodian students and young artists. His first documentary Golden Slumbers ran in the Forum section of the Berlin Film Festival this year. Chou is currently working on his first feature Eternal Feelings.<\/p>\n\n\n\n

Filmography:<\/strong> Davy Chou\u2019s First Film (2006), Expired (2008), Golden Slumbers
(2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Thomas Favel<\/p>\n\n\n\n

Editor:<\/strong> Laurent Leveneur<\/p>\n\n\n\n

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Producer:<\/strong> Jacky Goldberg<\/p>\n\n\n\n

Production Company<\/strong>: Vicky Films<\/p>\n\n\n\n

World Sales:<\/strong> Doc & Film International<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Gut Renovation<\/h4>\n\n\n\n

USA 2012, 81 min, English with German subtitles, director: Su Friedrich<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A documentary of small changes evolves into an historical record of New York. The resulting film is an essayistic requiem for a neighborhood and an entire way of life; it also provides a case study of the rapid gentrification of our cities. In 1989, together with a group of female friends, Su Friedrich rented and renovated an old loft in Williamsburg, an unassuming working-class district of Brooklyn. In 2005 this former industrial zone was designated a residential area and the factories, manufacturers and artists\u2018 lofts were priced out by property speculators lured by tax breaks. Friedrich spent five years documenting with her camera the changes in the area between East River and the Brooklyn-Queens Expressway. She shows the demolition of industrial buildings and the construction of trendy new apartments for wealthy clients, watching old tenants leave and new inhabitants arrive. As she keeps meticulous record of developments, the extent and speed of the upheaval becomes clear. Her own tenancy agreement expires too and so her documentary images and trenchant commentary become the tools of her growing anger. The Atlantic\u2019s Sarah Goodyear writes: \u201cFriedrich may be filled with righteous anger and deep sorrow, but she never loses her sense of humor. \u2026She seems like she might be dangerous. Maybe she is. Artists are supposed to be that way, after all.\u201d In Pop Matters, Cynthia Fuchs looks at a different angle: \u201cOn one hand, the movie mourns the loss of a community. On the other, however, it asks how this or any community is defined, who makes and misses it, and how it might be remembered.\u201d<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

In making Gut Renovation I was concerned with documenting two central aspects of my experience as the neighborhood collapsed around me. These were the physical changes\u2014the heart-rending loss of so many beautiful old industrial buildings, as well as the men and women who worked in them\u2014and the changes in our lives\u2014the loss of our living and working space and of the friendships we had forged with our roommates and neighbors.<\/p>\n\n\n\n

Director<\/strong>: Su Friedrich<\/summary>\n

Biography<\/strong>: Born in New Haven, Connecticut, to a German mother, she studied art and art history in Chicago and at the Oberlin College in Ohio. Her documentaries have won several awards at international film festivals. Her films are in collectinos at the MoMA, New York and Centre Pompidou in Paris. She lives in New York and teaches at Princeton University.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Hot Water (1978), Damned If You Don\u2019t (1987), Lesbian
Avengers Eat Fire, Too (1994), Hide and Seek (1996), The Odds of
Recovery (2002), Gut Renovation (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Su Friedrich<\/p>\n\n\n\n

Editor:<\/strong> Su Friedrich<\/p>\n\n\n\n

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Producer:<\/strong> Su Friedrich<\/p>\n\n\n\n

Production Company:<\/strong> Su Friedrich<\/p>\n\n\n\n

World Sales: <\/strong>Outcast Films<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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El Impenetrable<\/h4>\n\n\n\n

France, Argentina 2012, 91 min, Spanish with English subtitles, directors: Daniele Incalcaterra, Fausta Quattrini<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The Paraguayan Chaco is one of the world\u2019s last virgin frontiers, where modern-day cowboys battle with indigenous populations over agricultural and drilling rights. This not-so-Hollywood Western begins when Daniele Incalcaterra rolls into town and ruffles some feathers by announcing his plan to establish a national park in the middle of it all. Daniele and his brother inherited 12,355-acres of land that has remained untouched since their father purchased it from the Stroessner regime in the 1970s. The land is now worth millions and in an act of immense altruism, Daniele hopes to return the land to its rightful owners, the Nandeva people. But the neighbouring cattle baron has no intention of living beside pesky Indians, so he sends one of his cronies, Mr. Centurion, to drive Daniele away. Our chainsmoking protagonist retaliates by assembling a motley posse of his own. Jato is a hippy ornithologist who can identify every creature in the Chaco. Victor runs a pugilistic NGO that battles deforestation on a global scale. Enrique is all business and he strategizes against the long arm of bureaucracy. With Daniele as their fearless leader, the group sets out to fight the good fight and preserve a piece of magnificently rugged forest forever. (TW, DOXA Documentary Film Festival)<\/p>\n\n\n\n

Director<\/strong>: Daniele Incalcaterra<\/summary>\n

Biography<\/strong>: After the formation of the documentary film in Ateliers Varan in Paris in 1984, Daniele Incalcaterra began working in France as director with the film La Memoire Blue (1985). He joined the Ateliers Varan participating in the creation of various Ateliers in Bogota, Marseille, Lisbon, Paris and Palermo. In 1991, he founded the production company Voleur with Philippe Grandrieux, and produced Tierra de Avellaneda (1992) and Souviens-toi de moi by Zaida Gorab (1992). In 1999, he founded Incalcaterra Producciones. So far he has directed 12 films.<\/p>\n\n\n\n

Filmography:<\/strong> Tierra di Avellaneda (1992), Repubblica Nostra (1995), Fasinpat (2004), Contr@site (2004), El Impenetrable (2012)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Fausta Quattrini<\/summary>\n

Biography<\/strong>: Fausta Quattrini was born in 1964 in Locarno. She studied contemporary dance and received a degree in Architecture from the ETH (Swiss Federal Institute of Technology, in Zurich). She is the co-founder of the Atelier Video in Palermo. Since 1997, she has worked as a self-taught documentary filmmaker.<\/p>\n\n\n\n

Filmography:<\/strong> Mandala 999 \u2013 Autorretrato 3 (2002), Organizaciones horizontales (2004), Contr@site (2004), La Naci\u00f3n Mapuce (2008), El Impenetrable (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Daniele Incalcaterra, Fausta Quattrini, Cobi Migliora<\/p>\n<\/div>\n\n\n\n

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Production Company:<\/strong> Les Films D\u2018ici<\/p>\n\n\n\n

World Sales: <\/strong>Daniele Incalcaterra<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Journey to Portugal<\/h4>\n\n\n\n

Viagem a Portugal, Portugal 2012, 75 min, French, Portugese, English with English subtitles, director: S\u00e9rgio Tr\u00e9faut<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis <\/strong><\/p>\n\n\n\n

In Portugal, as in the whole of the European Union, the number of people subjected to immediate or almost immediate expulsion in airports is striking. Every year, the number goes unnoticed because the thousands of stories behind each of the figures remain untold. The way things stand today, what does it matter how many are expelled at airports? The images of African corpses in the seas around fortress Europe have become so commonplace that the daily interrogations and expulsions appear to be a minor matter. Nevertheless, thanks to our indifference, everyday thousands of individuals are interrogated straight off the aeroplane, in Europe. Hundreds are sent back to their country of origin. They are not criminals, they are not traffickers; most have their papers in order and valid entrance visas. These are people who have paid their airfare, a sum that often represents several months salary, yet are sometimes treated with hostility. Journey to Portugal throws light on a tiny tip of the iceberg: the fact that these everyday police practices are consigned to the silence of statistics. There is a total lack of transparency regarding police procedures in very many situations. In Portugal, civil society has no way of knowing what really happens in the majority of cases the police handle. Lawyers, Immigrant Protection Associations and journalists are forbidden access to police controlled areas in Portuguese airports (with few exceptions). In other EU countries, like France, this police impunity no longer exists. The regular presence of associations at interrogations is authorised and abuses do not go unreported.<\/p>\n\n\n\n

Director<\/strong>: S\u00e9rgio Tr\u00e9faut<\/summary>\n

Biography<\/strong>: S\u00e9rgio Tr\u00e9faut was born in Brazil in 1965 of a Portuguese father and a French mother. After a Master in Philosophy at the Sorbonne (Paris), he started his career in Lisbon as a journalist and assistant director. Eventually he became producer and director. His documentaries were presented in more than 30 countries and received several international awards. For many years he directed Doclisboa International Film Festival and was the president of Apordoc (Portuguese Documentary Association). Journey to Portugal is his first feature fiction.<\/p>\n\n\n\n

Filmography:<\/strong> Outro Pa\u00eds (1999), Fleurette (2002), Lisboetas (2005), The City of the Dead (2009), Journey to Portugal (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Edgar Moura<\/p>\n\n\n\n

Editor:<\/strong> S\u00e9rgio Tr\u00e9faut, Gon\u00e7alo Soares, Pedro Marques, Mariana Gaiv\u00e3o<\/p>\n\n\n\n

Cast:<\/strong> Maria de Medeiros, Isabel Ruth, Makena Diop<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>S\u00e9rgio Tr\u00e9faut, Filipe Verde<\/p>\n\n\n\n

Production Company:<\/strong> FAUX<\/p>\n\n\n\n

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Justice for Sale<\/h4>\n\n\n\n

Netherlands 2011, 83 min, French, Swahili, Lingala with English subtitles, directors: Femke van Velzen, Ilse van Velzen<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis <\/strong><\/p>\n\n\n\n

Justice for Sale follows Claudine, a young and courageous human rights lawyer in Congo in her struggle against injustice and widespread impunity in Congo. She investigates the case of a soldier who was convicted of rape and discovers that his trial was unfair and corrupted. He was convicted without any concrete evidence. In her journey to obtain justice, she uncovers a system where the basic principles of law are virtually ignored. Questions are raised about the role of the international community and non-governmental organisations within the Congolese judicial system. Does their financial support cause justice to be for sale? And who pays the price? Justice for Sale is the third documentary in Ilse and Femke van Velzen\u2019s trilogy about the Congo. Earlier they made Fighting the Silence (NIHRFF 2009) and Weapon of War.<\/p>\n\n\n\n

Directors\u2019 Statement<\/strong><\/p>\n\n\n\n

Justice for Sale is a very important film that needs to be told. Congo is officially in a post-conflict situation that in order to move forward needs a well functioning justice system, a judicial system that convicts perpetrators for their crimes. As long as this is not the case, more innocent people become victims and crimes against humanity will continue. Over the last few years there has been much more attention given to sexual violence by local and international NGOs. As a result, rape is becoming a \u2018business\u2019 \u2013 a business because people are abusing the law on sexual violence to settle conflicts, to earn money, and to show the international community that more perpetrators are indeed convicted. Justice for sale also raises questions about the financial support that the international community and NGOs offer to the Congolese judicial system. Is it creating a justice that is for sale? And if so, who pays the price? This film is extremely important because this is an emerging problem that is not yet public. It\u2019s time to start a debate about this.<\/p>\n\n\n\n

Directors<\/strong>: Femke van Velzen, Ilse van Velzen<\/summary>\n

Biography<\/strong> :Born in 1980, the twin sisters Ilse and Femke van Velzen are a documentary filmmaking team from the Netherlands that aim to expose cultural injustices. The two sisters each studied social and cultural development in Amsterdam and Utrecht. After graduating in 2002, they began their own production company IFPRODUCTIONS in March 2003. IFPRODUCTIONS gives the sisters the freedom to work as independent filmmakers and producers. They use their films as educational tools, and travel to developing countries to screen their films. These screenings help expose the inequality and violence to local communities in their current living conditions. The inspiration for the van Velzen sisters\u2019 films is promoting human rights and women\u2019s rights across the globe.<\/p>\n\n\n\n

Filmography:<\/strong> BushKids (2002), Return to Angola (2004), Fighting the Silence (2007), Weapon of War (2009), Justice for Sale (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Rogier Timmermans<\/p>\n\n\n\n

Editor:<\/strong> Paul de Heer<\/p>\n\n\n\n

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Producer: <\/strong>Femke van Velzen, Ilse van Velzen<\/p>\n\n\n\n

Production Company:<\/strong> IF Productions<\/p>\n\n\n\n

World Sales:<\/strong> FILMS TRANSIT<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Machine Which Makes Everything Disappear<\/h4>\n\n\n\n

Manqana, romelic kvelafers gaaqrobs, Georgia, Germany 2012, 101 min, Georgian with English subtitles, director: Tinatin Gurchiani<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The story begins with an experiment. A filmmaker in the country of Georgia posts an ad inviting youth to audition for her film. Facing the camera, the hopefuls confess their struggles and dreams. These raw interviews unfold seamlessly into cinematic slivers of Georgian life. A teenager awaits news of his father\u2019s surgery. A girl anticipates her wedding. The governor of a tiny village faces a monumental decision. A soldier attempts to link his imprisoned brother to the world outside, and a young woman confronts the mother who abandoned her. These threads form a fluid Altman-esque collage of characters\u2014and a nation\u2014teetering on the brink of change. It\u2019s a world where tradition and modernity subtly intermingle: singing traditional ballads is as common a self-expression as listening to hip-hop or playing online poker. Mixing metanarrative with heightened visual aesthetics, The Machine Which Makes Everything Disappear intuitively penetrates individual lives to conjure a richly layered, indelible portrait of a society, brilliantly becoming more than the sum of its parts. (C. L., Sundance Film Festival)<\/p>\n\n\n\n

Director<\/strong>: Tinatin Gurchiani<\/summary>\n

Biography<\/strong>: Tinatin Gurchiani was born in Tbilisi, Georgia, where she studied painting, dance, and psychology. After receiving her diploma with honors at the Ivane Javakhishvili Tbilisi State University, she pursued postgraduate study in psychology at Albert-Ludwigs University in Freiburg, Germany, and the University of Graz in Austria. She studied directing at the University of Film and Television \u201cKonrad Wolf\u201d in Potsdam-Babelsberg, Germany, and graduated with honors in 2010. In 2007, Gurchiani won the DAAD Award for artistic and social engagement in Film. The Machine Which Makes Everything Disappear is her first film.<\/p>\n\n\n\n

Filmography:<\/strong> The Machine Which Makes Everything Disappear (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Andreas Bergmann<\/p>\n\n\n\n

Editor:<\/strong> Nari Kim, Doreen Ignaszewski<\/p>\n\n\n\n

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Producer: <\/strong>Tinatin Gurchiani, Kakha Macharashvili<\/p>\n\n\n\n

Production Company:<\/strong> Alethea Ltd., TTFilm<\/p>\n\n\n\n

World Sales:<\/strong> Deckert Distribution<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Manuscripts Don\u2019t Burn<\/h4>\n\n\n\n

Dast-Neveshtehaa Nemisoosand, Iran 2013, 125 min, Persian with German subtitles, director: Mohammad Rasoulof<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cThe means by which an authoritarian regime succeeds in silencing independent voices is the subject of Manuscripts Don\u2019t Burn, the slow-burning, clandestinely made fifth fiction feature by Iranian helmer-writer Mohammad Rasoulof. A brave, challenging picture that makes the viewer complicit in the action, it is also perhaps the first film since the declaration of the Islamic Republic to confront so directly the brutality of the feared security apparatus. The film opens like a thriller, with working-class man Khosrow running from a pursuer and jumping, in the nick of time, into a car driven by his colleague Morteza. It\u2019s only after we follow Khosrow home and feel sympathy for his sick child and financial problems that we discover that he and Morteza are the torture and assassination arms of the state. Along with their silken-voiced boss, Khosrow and Morteza are searching for copies of a banned manuscript that describes a 1995 incident in which 21 poets on a bus bound for a conference in Armenia were slated for elimination. The bus driver, whom we later learn was Khosrow, was ordered to jump out of the bus just before sending the vehicle into a gorge. Luckily, fate forestalled the fatalities, but the writers were warned never to speak of the incident. The violence is, for the most part, understated, depicted as an everyday part of Khosrow and Morteza\u2019s jobs. Yet even as these men go about their diabolical deeds, Rasoulof provides a sliver of hope by showing that there is always a witness, both within the film itself and by extension, via the audience. No warm tones intrude on the well-executed lensing, much of which is done in tightly framed closeups. The claustrophobic visuals, as well as the sophisticated and increasingly ominous sound design, reinforce a \u2018no exit\u2019 feel. Those in the know say all exteriors were shot in Iran, while the interior scenes were filmed in Germany.\u201d (Variety)<\/p>\n\n\n\n

Director: <\/strong>Mohammad Rasoulof<\/summary>\n

Biography<\/strong>: Mohammad Rasoulof is an Iranian independent filmmaker. He was born in Shiraz in 1973. He studied sociology at Shiraz University, and film editing at Sooreh Higher Education Institute in Tehran. His first feature-length film, The Twilight, was released in 2002. His second feature, Iron Island, won him international recognition as one of the most important filmmakers of the new wave of Iranian Cinema. Goodbye won him the Best Directors award of the Un Certain Regard section at the 2011 Cannes Film Festival. On December 20, 2010, he was sentenced by the government of Iran to six years in prison on charges of \u201cassembly, collusion, and propagandizing against the regime.\u201d His appeal is still pending. Mohammad Rasoulof is the patron of NIHRFF 2013.<\/p>\n\n\n\n

Filmography:<\/strong> The Twilight (2002), Iron Island (2005), Im Reich der Schl\u00fcssel (2008), The White Meadows (2009), Goodbye (2011), Manuscripts Don\u2019t Burn (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Anonymous<\/p>\n\n\n\n

Editor:<\/strong> Anonymous<\/p>\n\n\n\n

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Producer: <\/strong>Mohammad Rasoulof<\/p>\n\n\n\n

World Sales:<\/strong> Elle Driver<\/p>\n\n\n\n

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My Child<\/h4>\n\n\n\n

Benim \u00c7ocu\u011fum, Turkey 2013, 82 min, Turkish with English subtitles, director: Can Candan<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

What happens when your child comes out to you? My Child is a warm, inspiring and sometimes funny documentary about a very courageous and inspiring group of mothers and fathers in Turkey, who are parents of lesbian, gay, bisexual, trans-gender individuals. They have not only gone through the difficult path of accepting their children for who they are, but also have taken the next step to share their experiences with other LGBT families and the public. In five homes in Istanbul, Turkey, seven parents of LGBT individuals talk about their experiences of becoming parents; about their children growing up and opening up to them; about the difficult path they had to go through in dealing with this; about themselves opening up to their families, and re-learning how to be a parent. They talk about themes such as denial, trauma, helplessness, fear, shame, acceptance, and re-birth. Nothing has prepared them for this experience. None of the parenting guides, nothing passed on from their elders or schooling mentioned how one could be a parent of a LGBT child. They had to learn it from scratch. When they talk about how they experienced the coming out of their children, they refer to it as the death of a child and birth of a new one. They say this extremely traumatic experience has also led to their own rebirth, as they have been questioning what it means to be an individual, to be true to oneself, and to be a parent. In a conservative society, where family ties are important, they had to deal with their fears about what \u201cothers\u201d would say, whether they would be ostracized if they were to come out to their own parents, families, and friends.<\/p>\n\n\n\n

Director<\/strong>: Can Candan<\/summary>\n

Biography<\/strong>: Can Candan is a documentary filmmaker and an academic. He holds a BA from Hampshire College (USA) in film and video, and an MFA from Temple University (USA) in film and media arts. His works have been screened internationally at festivals, conferences, in galleries and on television. He has taught film and video courses and workshops, both at universities and media education centers in the United States and in Turkey. Between 2000-2005, he was a faculty member, department chair and director of the MA program at Istanbul Bilgi University\u2019s Film and TV department. He later taught at Sabanc\u0131 University and since 2007, he has been a faculty member at Bo\u011fazi\u00e7i University in Istanbul, Turkey. He is also a founding member of docIstanbul \u2013 Center for Documentary Studies. My Child is his third feature-length documentary film.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Boycott Coke (1989), Exodus (1991), DuvarlarMauernWalls (2000), 3 Hours (2008), My Child (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> O\u011fuz Yenen<\/p>\n\n\n\n

Editor:<\/strong> G\u00f6k\u00e7e \u0130nce<\/p>\n\n\n\n

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Producer:<\/strong> Can Candan, Ay\u015fe \u00c7etinba\u015f, G\u00f6k\u00e7e \u0130nce<\/p>\n\n\n\n

Production Company:<\/strong> Surela Film<\/p>\n\n\n\n

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No Fire Zone: The Killing Fields of Sri Lanka<\/h4>\n\n\n\n

United Kingdom 2013, 93 min, English, Tamil with German subtitles, director: Callum Macrae<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis <\/strong><\/p>\n\n\n\n

At the latest in summer 2008 the Sri Lankan Government decided to finish the Thirty Years civil war against Tamil rebels at any costs \u2013 which meant: irrespective of the sufferings of the civilian population. In the spring of 2009, the army trapped the last 10.000 rebels and 300.000 civilians on a small coast strip at the Northeast of the island and put them permanently under fire, from the sea, from the air and from the countryside. They did so although they had declared the area as a \u201cNo Fire Zone\u201d. According to UN estimates, between 40.000 and 70.000 people were killed. No Fire Zone represents the culmination of three years of journalistic investigation and contains deeply disturbing new evidence, powerful eye-witness testimony and compelling personal stories of this century\u2019s worst crime against humanity and of the failure of the international community to prevent this catastrophe. Carefully evidenced, the film uses mobile phone- and small camera footage from both the victims and the perpetrators of violence. Supplemented by expert opinion, No Fire Zone pieces together the day-to-day horror of this war, in a way almost never done before: Viscerally powerful actuality from the battlefield, from inside the crudely dug civilian bunkers and from over-crowded makeshift hospitals, of summary execution, torture and sexual violence.<\/p>\n\n\n\n

Director<\/strong>: Callum Macrae<\/summary>\n

Biography<\/strong>: BAFTA-nominated director Callum Macrae has been making films for 20 years in the UK and around the world, including Iraq, Japan, Haiti and several in Africa, covering wars and conflicts in Cote D\u2019Ivoire, Uganda, Mali and Sudan. His films have ranged from observational documentaries to current affairs investigations including three major investigations into allegations of coalition crimes in Iraq. His most recent major projects were the two TV documentaries on the end of the civil war in Sri Lanka and a film made in South Kordofan of Sudan, recording Khartoum\u2019s war of terror on the Nuba people. As a writer on the Observer he won the Bank of Scotland Campaigning Journalist of the Year Award.<\/p>\n\n\n\n

Filmography:<\/strong> Unreported World (2003), Iraq\u2019s Mission Billions (2006),
On Whose Orders (2008), No Fire Zone: The Killing Fields of Sri
Lanka (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Vaughan Matthews<\/p>\n\n\n\n

Editor:<\/strong> Michael Nollet<\/p>\n\n\n\n

Cast:<\/strong> Rufus Sewell<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Zoe Sale<\/p>\n\n\n\n

Production Company:<\/strong> Outsider Films<\/p>\n\n\n\n

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Paradise Lost 3: Purgatory<\/h4>\n\n\n\n

USA 2011, 121 min, English with German subtitels, directors: Bruce Sinofsky, Joe Berlinger<\/p>\n\n\n\n

International Forum \/ Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Paradise Lost 3: Purgatory, the new installment of Joe Berlinger and Bruce Sinofsky\u2019s HBO Documentary Films series about the notorious 1993 \u201cWest Memphis Three\u201d child murders, chronicles the 18-year fight to prove the innocence of Damien Echols, Jason Baldwin, and Jessie Misskelley. On May 5, 1993, the bodies of three eight-year-old boys were found next to a muddy creek in the wooded Robin Hood Hills area of West Memphis, Arkansas. A month later, three teenagers, Jason Baldwin, Damien Echols and Jessie Misskelley, were arrested. Following trials fraught with innuendoes of satanic worship, emotionally charged statements and allegations of coerced confessions, the defendants were convicted, despite a lack of physical evidence linking them to the crime. The HBO films Paradise Lost: The Child Murders of Robin Hills (1996) and Paradise Lost 2: Revelations (2000) sparked a national discussion about the innocence or guilt of the West Memphis 3. Paradise Lost 3: Purgatory resumes the examination of a horrifying crime and its aftershocks with Echols still on death row and Baldwin and Misskelley still serving life sentences, and follows the story all the way to it\u2019s stunning conclusion. For nearly two decades, Berlinger and Sinofsky have followed this story with extraordinary access to all of the players on both sides of this tragedy. \u201cParadise Lost 3: Purgatory reveals recent DNA and other forensic evidence (unavailable at the time of the murders), as well as other troubling developments, including allegations of juror misconduct, that suggest the trio did not receive a fair trial. The film includes new interviews with Echols, Baldwin and Misskelley, who are now in their 30s. The result is an authoritative and completely new examination of the West Memphis Three case and a comprehensive portrait the American justice system at work.<\/p>\n\n\n\n

Directors<\/strong>: Bruce Sinofsky, Joe Berlinger<\/summary>\n

Biography<\/strong>: Joe Berlinger, born 30 October 1961 in Boca Raton, Florida, and Bruce Sinofsky, born 31 March 1956 in Boston, Massachussetts, are since their remarkable debut with Brother\u2019s Keeper (1989) a team of American documentary filmmakers that have won cult fame and critical acclaim. The duo is probably best known for their trilogy of Paradise Lost films. 2004 the Metallica documentary Some Kind of Monster was published. Though they often work together, Berlinger and Sinofsky have also separately directed their own projects.<\/p>\n\n\n\n

Filmography:<\/strong> Joe Berlinger<\/strong> Brother\u2019s Keeper (1992), Paradies Lost \u2013 Die Kindermorde in Robin Hills (1996), Paradise Lost 2: Revelations (2000), Book of Shadows: Blair Witch 2 (2000), Some Kind of Monster (2004), Crude (2009), Paradise Lost 3: Purgatory (2011)<\/p>\n\n\n\n

Bruce Sinofsky<\/strong> Brother\u2019s Keeper (1992), Paradies Lost \u2013 Die Kindermorde in Robin Hills (1996), Paradise Lost 2: Revelations (2000), Hollywood High (2003), Some Kind of Monster (2004), Paradise Lost 3: Purgatory (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Bob Richman<\/p>\n\n\n\n

Editor:<\/strong> Alyse Ardell Spiegel<\/p>\n\n\n\n

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Producer:<\/strong> Joe Berlinger, Bruce Sinofsky, Jonathan Silberberg<\/p>\n\n\n\n

Production Company:<\/strong> Radical Media<\/p>\n\n\n\n

Weltvertrieb: <\/strong>HBO<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Planet of Snail<\/h4>\n\n\n\n

South Korea, Japan 2011, 87 min, Korean with English subtitles, director: Seungjun Yi<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A love story like no other, Planet of Snail is a mesmerizing documentary about an accomplished young poet who can no longer hear or see and his relationship to the world around him. Young- Chan is deaf and blind. He learned to speak when he was very young, but soon after lost his sight and hearing. He lives with his wife, Soon-Ho, who is his soul mate, an inseparable part of his life, and a window to the outside world. Young-Chan and Soon-Ho communicate through finger braille, a unique form of touch-based sign language in which words are tapped out on each other\u2019s hands. They rely on one another completely. However, Young-Chan must be able to survive on his own. One day, as Soon-Ho waits anxiously at home, Young-Chan embarks on the biggest adventure of his life.<\/p>\n\n\n\n

Protagonist\u2019s Statement<\/strong><\/p>\n\n\n\n

I come from planet of snail where people communicate by touching each other. We call ourselves \u201csnails\u201d because we cannot hear or see and our lives are as slow as the snails. Now I live on earth where time runs so fast which makes me hard to follow the life of the earthmen. When I first came to the earth, I was desperate because there was nothing I could do. However, an angel came into my life and I discovered a beautiful world that I can read under my fingers. Everything around me started changing. Hopes started replacing despairs and I started challenging for my long delayed dream. Now my heart is full of hope and I know there will be so much more I can do in this world: The reason for my life. Soon-Ho is my wife. I haven\u2019t actually seen her with my own eyes but I know she is the most beautiful woman in the world. She has become my lifeline ever since she came into my life. She is my arms and legs that take me to school, to the gym, to the sea and everywhere I want to go. She is the eye and the ear of me that sees, hears and translates for me. I cannot live a day without her and feel sorry for that I cannot do much for her while herself has spine disability and often gets sick.<\/p>\n\n\n\n

Director<\/strong>: Seungjun Yi<\/summary>\n

Biography<\/strong>: Seungjun Yi is one of Korea\u2019s emerging directors in documentary scene. Among a dozen TV length documentaries and shorts, Seungjun directed Children of God (2008), a story about the children living in the crematorium of Nepal, which has traveled the world and is being distributed worldwide. His interest in filmmaking has always focused on the life of so called \u201aunseen minorities\u2019 which has become his signature style of filmmaking. With his feature- length documentary Planet of Snail Seungjun teamed up with world class creative talents from literally all over the world. Yi\u2019s experiments on this ambitious project in every aspect of filmmaking broadened his view on documentary as a filmmaker.<\/p>\n\n\n\n

Filmography:<\/strong> Children of God (2008), Planet of Snail (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Seungjun Yi<\/p>\n\n\n\n

Editor:<\/strong> Simon El Habre, Seungjun Yi<\/p>\n\n\n\n

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Producer:<\/strong> Min-Chul Kim, Gary Kam<\/p>\n\n\n\n

Production Company:<\/strong> CreativEAST<\/p>\n\n\n\n

World Sales:<\/strong> CAT & DOCS<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Powerless<\/h4>\n\n\n\n

Katiyabaaz, India 2013, 80 min, English, Hindi with English subtitels, directors: Fahad Mustafa, Deepti Kakkar<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

David vs. Goliath \u2013 electricity thief vs. buerocrat: Powerless is certainly one of the most entertaining and endearing documentaries coming out if India in the past few years! \u201cIt\u2019s hard not to be frightened at how the sparks fly between chaotically knotted cables and dangerous fingers of flame lick away at the old transformers, as elderly men call upon the younger ones to pour a little water on the source of the fire. Suddenly, everything goes black. In Kanpur, India\u2019s former leather capital, blackouts frequently take up more of the time in some districts than hours of normal electrical service. That is why Loha Singh \u2013 a latter-day Robin Hood \u2013 has made it his life\u2019s task to supply the poorer families and ruffled small-time entrepreneurs with power in such a bizarre manner. His direct adversary is the woman at the top of the state energy supplier Kesco, even if Mrs. Ritu Maheshwari is by no means the villain in this film. These two protagonists are merely the lead dancers in an operetta which comes across as totally insane. Powerless is a documentary film about the electrical supply in an Indian city, the story unfurling along the tangled wires and tracing out lines of conflict of a diabolical complexity in the process.\u201d (Dorothee Wenner, Berlinale 2013)<\/p>\n\n\n\n

Fahad Mustafa on his film<\/strong><\/p>\n\n\n\n

We were shooting with the \u2018katiyabaaz\u2019 (electricity thieves), the bitterest of bitter Kanpur stock. The work is illegal and risky, and hearing of a \u2018katiyabaaz\u2019 who got \u2018stuck\u2019 due to the strong magnetic pull of high voltage lines is not rare. Loha Singh, our protagonist, is someone quite unlike anyone else I have ever met. He has a talent for becoming invisible even on an empty street, and yet he stands out as a product of Kanpur\u2019s particular history. In many ways, he is a representative of the millions of citizens who live through this crisis.<\/p>\n\n\n\n

Director<\/strong>: Fahad Mustafa<\/summary>\n

Biography<\/strong>: Fahad Mustafa was born on 10 November 1984 in Kanpur, India. He studied history at St. Stephen\u2019s College, University of Delhi and global studies at the University of Vienna. In 2010 he worked with the offices of the United Nations Special Rapporteur on Torture. That same year, he made his first film, FC Chechnya (2010). Powerless is his first feature-length film.<\/p>\n\n\n\n

Filmography:<\/strong> FC Chechnya (2010), Powerless (2013)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Deepti Kakkar<\/summary>\n

Biography<\/strong>: Deepti Kakkar was born on 21 February 1986 in Delhi. She studied history and global studies at the universities of Delhi, Leipzig and Vienna. It was during her time as a student that she began to get involved in the areas of social development and sustainable livelihood. She made a short film about microfinance in India, and worked on the story development for FC Chechnya (2010). Powerless is her first feature-length film.<\/p>\n\n\n\n

Filmography:<\/strong> Powerless (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Maria Trieb, Amith Surendran, Fahad Mustafa<\/p>\n\n\n\n

Editor:<\/strong> Maria Trieb, Namrata Rao<\/p>\n\n\n\n

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Producer:<\/strong> Deepti Kakkar, Fahad Mustafa, Leopold Koegler, Judy Tam<\/p>\n\n\n\n

Production Company:<\/strong> Globalistan Films, Itvs International<\/p>\n\n\n\n

World Sales:<\/strong> CAT & DOCS<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Purgatorio<\/h4>\n\n\n\n

Mexico, USA 2013, 82 min, English, Spanish with English subtitles, director: Rodrigo Reyes<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

By capturing a stunning mosaic of compelling characters and broken landscapes that live on the US-Mexico border, director Rodrigo Reyes reflects on the flaws of human nature and the powerful absurdities we have created in the world. This is not an ordinary border film. It is not news or reportage; it is not about a political agenda. Purgatorio is a fable of humanity, an epic and visceral experience that will leave audiences thinking and meditating long after viewing.<\/p>\n\n\n\n

Director’s Statement<\/strong><\/p>\n\n\n\n

When I began to develop the idea to make a documentary or a film about this region or phenomenon, I wanted to avoid political causes, avoid finding an agenda, promoting a cause or solving a problem. When I set out to make Purgatorio what I really wanted was to capture an experience. I did not want to tell the audience, \u201clook, this problem exists, do this to fix it.\u201d I wanted to provide an intense experience of this border and in so doing I tried to move away from political and statistical details because these are things that change all the time, yet the border has been there for years and centuries. It still has some problems from its origin, and these are the problems of human nature, of how we get interact with one another. Political problems change every 4 to 6 years, with each change in the presidency on both sides. Purgatorio for me is a way of understanding the border between Mexico and the United States. I believe that the majority of Mexicans live with this border in way or the other. For us it is something that either consciously or subconsciously affects us; we are always conditioned by, always reacting to, always living out our relationship with the United States. Therefore, it seems to me that by being a migrant myself, by living in the United States for great part of my own life, I developed a desire to understand this strange and bizarre line that divides us.<\/p>\n\n\n\n

Director<\/strong>: Rodrigo Reyes<\/summary>\n

Biography:<\/strong> Rodrigo Reyes was born in Mexico City in 1983 and attended college in San Diego as well as Madrid and Mexico City, earning a degree in International Studies. Instead of following this career path, Reyes has channeled his multi-cultural background into becoming a filmmaker.<\/p>\n\n\n\n

Filmography:<\/strong> The 12th of December (2009), 99 Years After the Revolution (2010), Memories of the Future (2011), Purgatorio (2012)<\/p>\n\n\n\n

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Camera:<\/strong> Justin Chin<\/p>\n\n\n\n

Editor:<\/strong> Manuel Tsingaris<\/p>\n\n\n\n

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Producer:<\/strong> Inti Cordera<\/p>\n\n\n\n

Production Company:<\/strong> La Maroma Producciones<\/p>\n\n\n\n

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Roots<\/h4>\n\n\n\n

Senzo ni naru, Japan 2012, 118 min, Japanese with English subtitels, director: Kaoru Ikeya<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cNaoshi is a hale old man of 79 from the Kesen district of Iwate Prefecture who has spent his whole life working as a woodcutter and carpenter. When the tsunami hit in March 2011, the wooden beams of his house didn\u2019t even warp after water reached the second floor, although his son was washed away and drowned in the flood. Naoshi is determined to rebuild his house in the exact same spot, to live out his days in the place he was born and continue to honour his son\u2019s memory. Yet this determination is challenged on several fronts: by his wife, who feels duty bound to stay with him, by the local authorities and their construction restrictions; and maybe even by his own body, given that his prostate cancer is only in remission. Kaoru Ikeya follows Naoshi\u2019s rebuilding efforts for more than a year, exhibiting a perfect understanding of when to ask questions and when to remain silent. As the seasons pass, the debris is cleared, and roots reattach, this tender portrait of a quietly stubborn man opens out into a complex study of the many ambivalences the reconstruction process brings with it: a tangled web of family duty, traditional customs, community spirit and municipal legislation.\u201d (James Lattimer, Berlinale, Forum 2013) as one of the leading figures of the young generation of Iranian documentary filmmakers. She has published a collection of short stories which was nominated \u201emost distinguished\u201c fiction book of 2011. In 2012 Farahnaz attended IDFA Summer School. She lives in Tehran and is currently working on her new film.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

While I was wandering in a daze through this disaster zone, I learned that one town was planning to hold a cherry blossom viewing party. [\u2026] Held in the hall of a temple on high ground, the party was heart-warming. [\u2026] One older man spoke quietly to the assembled residents of the neighbourhood: \u2019the cherries have bloomed just like they do every year.\u2019 In these words, steeped in a valiant determination toward recovery, I heard the cry of the spirit of people who live rooted in this land. That night, when I watched the footage we\u2019d shot, I decided to make a film about this man. He was Naoshi Sato, the hero of Roots.<\/p>\n\n\n\n

Director: <\/strong>Kaoru Ikeya<\/summary>\n

Biography<\/strong>: Kaoru Ikeya was born in Tokyo in 1958 and graduated at Doshisha University in Art Philosophy. Having directed documentaries for television, he released first theatrical feature-length film Daughter from Yan\u2018an in 2002, which received the award for Best Documentary from Karlovy Vary International Film Festival and many others. His second Film The Ants (2006) marked the long running hit in theaters in Japan and won the Humanitarian Award from Hong Kong International Film Festival and CDS Filmmaker Award from Full Frame Film Festival. His latest Film Roots received a Special Mention by the Ecumenical Juries at Forum, Berlinale 2013.<\/p>\n\n\n\n

Filmography:<\/strong> China: Rise of the World\u2019s Market (1999), Reunion (2000), Daughter from Yan\u2018an (2002), The Ants (2005), Roots (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Masaharu Fukui<\/p>\n\n\n\n

Editor:<\/strong> Koichi Tayama<\/p>\n\n\n\n

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Producer:<\/strong> Yoko Kwon<\/p>\n\n\n\n

Production Company:<\/strong> Ren Universe, Inc.<\/p>\n\n\n\n

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Salma<\/h4>\n\n\n\n

United Kingdom 2013, 90 min, Tamil with English subtitles, director: Kim Longinotto<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cIn villages inhabited by India\u2019s Muslim minority in Tamil southern India, as soon as a girl reaches puberty she is locked away until her wedding. This was Salma\u2019s fate when she turned thirteen. Hungry for an education, she avoided an arranged marriage for nine long years by keeping herself confined in a bare room. When she finally agrees to wed local politician Malik, she finds herself imprisoned once again \u2013 this time in her husband\u2019s home where the only things she has to read are the newspapers wrapping the vegetables. Clandestinely, she begins to write poetry which her mother helps her smuggle out to a publisher. Her life changes completely when her poems are published and, with the aid of her publisher, she finally travels to Chennai for the first time. Now a well-known poet, she begins to apply for government positions, and inspires her sisters and other women also to fight for their freedom and independence. For, she argues, it is the mutual oppression of women by other women that perpetuates the status quo. Salma does not exoticise the lives of Muslim women; instead the film provides a sober account that is full of respect.\u201d (Berlinale 2012) As with her other work (Pink Saris, Rough Aunties, Sisters in Law), master documentarian Kim Longinotto trains her camera on an iconoclastic woman. Salma\u2019s extraordinary story is one of courage and resilience. Salma has hopes for a different life for the next generation of girls, but as she witnesses, familial ties run deep, and change happens very slowly. Salma helps us understand why the goal of global education of girls is one the most critical areas of empowerment and development of women worldwide.<\/p>\n\n\n\n

Director<\/strong>: Kim Longinotto<\/summary>\n

Biography<\/strong>: Kim Longinotto studied at the National Film School in London. For more than two decades, she has been making films that explore issues relevant to women in such diverse places as Japan, Iran, Africa, and India. The Day I Will Never Forget (NIHRFF 2003), about Kenyan girls challenging female circumcision, premiered at the 2003 Sundance Film Festival. Sisters in Law (NIHRFF 2007), set in Cameroon, won the C.I.C.A.E. Award at the 2005 Cannes Film Festival. Rough Aunties (NIHRFF 2009), about a group of brave women in South Africa, won the documentary Jury Prize at the Sundance Film Festival in 2009.<\/p>\n\n\n\n

Filmography:<\/strong> Pride of Place (1976), Shinjuku Boys (1995), Runaway (2001), The Day I Will Never Forget (2002), Sisters in Law (2005), Rough Aunties (2008), Pink Saris (2010), Salma (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Kim Longinotto<\/p>\n\n\n\n

Editor:<\/strong> Ollie Huddleston<\/p>\n\n\n\n

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Producer:<\/strong> Kim Longinotto<\/p>\n\n\n\n

Production Company:<\/strong> VIXEN FILMS<\/p>\n\n\n\n

World Sales: <\/strong>Women Make Movies, Inc.<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Soldier\/Citizen<\/h4>\n\n\n\n

Bagrut Lochamim, Israel 2012, 68 min, Hebrew with English subtitles, director: Silvina Landsmann<\/p>\n\n\n\n

International Forum \/ Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

For three weeks, towards the end of their military service, young Israelis who do not have a certificate of high-school graduation are offered the chance to obtain it by taking part in army-sponsored courses which require them to contemplate issues such as human rights, pluralism, the definition of the Jewish State and the Israeli- Palestinian conflict. Director Silvina Landsmann goes for a fly-onthe- wall perspective to capture the m\u00e9lange of ambivalence, stubbornness, argumentative spirit and resilience demonstrated by the students while they are repeatedly challenged by their teacher about their views, and encouraged to engage in some serious thinking before embarking on their future. As they are pushed to both sustain and question their convictions, we end up assisting to an animated course cum therapy session that often involves clashing, uncensored individual opinions. A briskly-paced, revealing look at a group of young people with deeply ingrained views gained through tough life experiences, Soldier\/Citizen is a good reminder that a balanced perspective takes effort and a willingness to put yourself in the other\u2019s shoes. (One World Romania 2013)<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201cA great deal has been said about the place of the military ethos within Israeli society. It is difficult to imagine a better opportunity to examine this than by following combat soldiers preparing for the final exam in civics studies before embarking on a journey back to civilian life. These soldiers, who were engaged in acts of extreme violence, are confronted with concepts such as human rights and democracy, which have unfortunately become controversial in many circles within Israeli society.\u201d<\/p>\n\n\n\n

Director:<\/strong> Silvina Landsmann<\/summary>\n

Biography<\/strong>: Silvina Landsmann was born on July 21, 1965 in Buenos Aires. Her family emigrated to Israel when she was eleven years old. She studied film at Tel Aviv University. After graduating, she lived in Paris for ten years, where her first film, Coll\u00e8ge (1997) was made. After returning to Israel, she started the Comino Films production company. In addition to working as a director, she also teaches documentary film at the Tel Aviv Cin\u00e9math\u00e8que.<\/p>\n\n\n\n

Filmography:<\/strong> Coll\u00e8ge (1997), Post Partum (2004), Unto Thy Land (2007), Soldier\/Citizen (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Silvina Landsmann<\/p>\n\n\n\n

Editor:<\/strong> Gil Shnaiderovich<\/p>\n\n\n\n

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Producer:<\/strong> Silvina Landsmann<\/p>\n\n\n\n

Production Company:<\/strong> Comino Films<\/p>\n\n\n\n

World Sales: <\/strong>Doc & Film International<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Tzvetanka<\/h4>\n\n\n\n

Bulgaria, Sweden 2012, 66 min, Bulgarian with English subtitles, director: Youlian Tabakov<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In his opulent, playful and sometimes serene debut film Youlian Tabakov tells the chequered life story of his Grandmother, a Bulgarian woman who experienced three political systems: Monarchy, Socialism and Democracy. Tzvetanka Gosheva, was born in 1926 to a rich merchant\u2019s family, which enabled her to attend a privileged school in Sofia. But this bourgeois background became her downfall after the war. Her parents were imprisoned as enemies of the party; her father would never recover from this. By sheer luck she managed to get permission to go to university. She became a doctor, though she suffered a lot of humiliation and obstruction in her work. Nonetheless she remained in the country even though she would have had opportunities to go abroad. Illness changes people, she says. Ironically, her last working day was 10 November 1989; the day Todor Zhivkov was overthrown. What follows is called democracy, but corruption and civil disappointment shape their everyday lives. Director Youlian Tabakov studied costume and design, which inspired him to interweave the documentary material with animated and staged sequences to produce a stream of imaginative and surprising images. This makes Tzvetanka an associative documentary with beautiful, experimental, and theatrical imagery which portrays the haunting and moving life story of a strong Eastern European woman. As a child she wanted to become an actress: in Tzvetanka she finally takes the stage.<\/p>\n\n\n\n

Director<\/strong>: Youlian Tabakov<\/summary>\n

Biography<\/strong>: Youlian Tabakov, born 1975 in Bulgaria, studied Set Design at the National Art Academy \u2018N. Pavlovich\u2019 in Sofia and Fine Art at ENS des Beaux-Arts in Paris. He then worked as a set designer at several theaters in Bulgaria, Russia and Sweden. Tabakov also did some solo and group exhibitions, designed fashion collections and was awarded the \u2018Golden age\u2019 award 2011 for contribution to the development of Bulgarian culture. Tzvetanka (2012) is his first documentary.<\/p>\n\n\n\n

Filmography:<\/strong> Tzvetanka (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Adam Nilsson<\/p>\n\n\n\n

Editor:<\/strong> Nina Altaparmakova, Adam Nilsson, Youlian Tabakov, Johan S\u00f6derberg<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> M\u00e5rten Nilsson, Martichka Bozhilova<\/p>\n\n\n\n

Production Company:<\/strong> gnufilm, Agitprop, Svt<\/p>\n\n\n\n

World Sales: <\/strong>Taskovski Films Ltd.<\/p>\n\n\n\n

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Unfinished Journeys<\/h4>\n\n\n\n

Denmark 2012, 43 min, Danish, Greenlandic with English subtitles, director: Vladimir Tomi\u0107<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The film follows Niels, who is half Danish and half Inuit. The focal point is the story of Niels\u2018 relation to his Greenlandic roots, where for example the traditional dance with masks and drums has been performed for generations. It is a tale in which poetical imagery and magnificent Greenlandic scenery meet a socio-political perspective with documentary shots of everyday life in Greenland. The question of how a cultural identity like Inuit has been influenced after having had the norms of Danish society imposed on it for years, is central in the film. Is it possible to maintain a Greenlandic self-understanding even though an external system is threatening to wipe it out? In the film we meet artist Julie Hardenberg and author Helene Thisen as well, who like Niels live with a split cultural identity. The issue unfolds in the documentary shots, but also in the film\u2019s poetic pictures where ice, water, vapour and clouds explore a transformation theme, producing a mystic atmosphere. The film seeks to create an understanding of the consequences of the colonisation of Greenland for the Intuits\u2018 identity as individuals and parts of a society.<\/p>\n\n\n\n

Director<\/strong>: Vladimir Tomi\u0107<\/summary>\n

Biography<\/strong>: Vladimir Tomi\u0107, born on November 3th 1980 in Sarajevo, Bosnia and Herzegovina, graduated from The Royal Danish Academy of Fine Arts Media in 2009. He lives and works in Copenhagen. Vladimir Tomi\u0107\u2019s art films are played out in the field of contemporary art and experimental documentation. Universal and human tension caused by the changing structure of society is often the center of his art films.<\/p>\n\n\n\n

Filmography:<\/strong> The Trilogy (1. Dead Nature and Movements; 2. The Pianist; 3. The Mailman) (2003-2004), Echo (2005), The Valley of Shadows (2006), My Lost Generation (2009), Unfinished Journeys (2012)<\/p>\n<\/details>\n\n\n\n

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Editor:<\/strong> Lasse Barkfors<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Tijana Mi\u0161kovi\u0107<\/p>\n\n\n\n

Production Company:<\/strong> VT Copenhagen<\/p>\n\n\n\n

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WASTELAND \u2013 So That No One Becomes Aware of It<\/h4>\n\n\n\n

\u00d6DLAND \u2013 Damit keiner das so mitbemerkt, Germany 2013, 79 min, German, director: Anne Kodura<\/p>\n\n\n\n

International Forum \/ Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Deep in the woods and among some sheep pastures a block of flats stands on a former military base of the Soviet Army. Surrounded by ruinous barracks, an overgrown soccer field and a brand new wire mesh fence. This is where Aya, Momo and Mustafa grow up. They spend the holidays at home at the asylum seeker\u2019s camp. The kids wander through the tall grass, ride their bikes down to the lake or look for scrap copper to sell. Filmed in luminous black-and-white, filmmakers Anne Kodura and Friede Clausz focus their gaze entirely on the way the children see things, managing to get them to reveal in casual conversations their feelings about home and identity. Their parents never appear but are only heard describing their difficult situation in a few spare pieces of voice-over. In order to concentrate on the children\u2019s attitude to life, there are no specifics given about their background, and no dramatisations. A compelling documentary that stays with you long after it has ended.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201cAbout 40,000 refugees, including families with children, live sometimes about more than ten years in camps throughout Germany, usually very isolated in poor living conditions. The children of these families are often born in Germany but not granted German nationality, rather the nationality of their parents. They are only tolerated in their own \u201chomeland\u201d and can be deported at any time. They are born in a country which would rather get rid of them. \u201cHalf-day\u201d integrated at school and isolated from the outside world at home in the camp, they grow up in a state of limbo. Their perspective is uncertain. The only hope is to get the residence permit \u2013 the permission to move out of the camp at last.<\/p>\n\n\n\n

Director:<\/strong> Anne Kodura<\/summary>\n

Biography<\/strong>: Anne Kodura was born in 1987 in Halle (Saale) in Germany, she directed her first theatre play in 2010. Kodura studied media art at the Academy of Fine Arts in Munich and began making her first short and experimental films. She is a graduate of Tradewind Pictures\u2019 Talentpool Programme TP2, supported by Mitteldeutsche Medienforderung. Her first full-length documentary WASTELAND \u2013 So That No One Becomes Aware of It was produced by her own production company DIE ZONE # Film Production which she founded with cinematographer Friede Clausz in 2012.<\/p>\n\n\n\n

Filmography:<\/strong> 7 minutes to 7 (2009), 1986 (2009), Chat Roulette (2011), \u00d6DLAND
\u2013 Damit keiner das so mitbemerkt (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Friede Clausz<\/p>\n\n\n\n

Editor:<\/strong> Friede Clausz<\/p>\n\n\n\n

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Producer:<\/strong> Anne Kodura, Friede Clausz<\/p>\n\n\n\n

Production Company:<\/strong> DIE ZONE # Filmproduktion<\/p>\n\n\n\n

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A World Not Ours<\/h4>\n\n\n\n

United Kingdom, Denmark, Lebanon 2012, 93 min, English, Arabic with English subtitles, director: Mahdi Fleifel<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Funny, nostalgic, and uniquely engaging, filmmaker Mahdi Fleifel offers an intimate portrait of the Lebanese refugee camp of Ain El Helweh, and how the camp\u2019s residents invest the World Cup series with their own ideas of home, community, victory and hope. \u201cDanish director Mahdi Fleifel presents the life of three generations in Ain al-Hilweh, the Palestinian refugee camp in south Lebanon where he grew up. More than 70,000 people have lived there for over 60 years in one square kilometre. The director also includes video footage shot by his father in the 80s and 90s. His family and friends and their everyday conflicts are portrayed with delicacy and humour. Meanwhile, archive material helps provide political background for this cinematic diary that adopts an unusual approach that is far from heavy in spite of its topic, as can be seen in the filmmaker\u2019s father repeatedly looking at his recording of Arafat\u2019s handshake with Rabin in Washington. The film also tells the story of Mahdi Fleifel\u2019s long-time friend Abu Eyad. The two men share a passion for Palestinian politics, melancholic music and football. During the football world cup, the Palestinians watch the matches on a TV in a sports shop. For a few weeks, they become Brazilians, Germans or Italians. But whereas Fleifel may enter and leave the camp as he pleases, Abu Eyad is left only with his decision to escape. (Berlinale 2013)<\/p>\n\n\n\n

Director<\/strong>: Mahdi Fleifel<\/summary>\n

Biography<\/strong>: Born in Dubai in 1979, he was raised in Ain al-Hilweh refugee camp in Lebanon and later in the suburbs of Elsinore in Denmark. In 2009, Fleifel graduated from the National Film and Television School in London, where he now lives and works. His first-year film, Arafat & I, screened at festivals around the world and won numerous awards. In 2010 Fleifel teamed up with Irish producer Patrick Campbell. Together they set up the Londonbased production company Nakba Filmworks. A World Not Ours is Fleifel\u2019s first featurelength documentary.<\/p>\n\n\n\n

Filmography:<\/strong> Shadi In The Beautiful Well (2003), Hamoudi & Emil (2004), The Writer (2007), Arafat & I (2008), Four Weeks (2009), A World Not Ours (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Mahdi Fleifel<\/p>\n\n\n\n

Editor:<\/strong> Michael Aaglund<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Patrick Campbell, Caglar Kimyoncu, Mahdi Fleifel<\/p>\n\n\n\n

Production Company:<\/strong> Nakba Filmworks<\/p>\n\n\n\n

World Sales: <\/strong>MPM Film<\/p>\n\n\n\n

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Yumen<\/h4>\n\n\n\n

USA, China 2013, 65 min, English, Mandarin with English subtitles, directors: J.P. Sniadecki, Huang Xiang, Xu Ruotao<\/p>\n\n\n\n

International Forum<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis <\/strong><\/strong><\/p>\n\n\n\n

Yumen combines ghost stories and \u201cruin porn\u201d to form a celluloid psycho-collage of wandering souls seeking connection with one another and a lost collective history among the frozen remnants of the abandoned oil town of Yumen in China\u2019s northwest Gansu province. Set in a quasi-ghost town of Yumen that once thrived with oil production in China\u2019s arid northwest, Yumen is a haunting, fragmented tale of hungry souls, restless youth, a wandering artist and a lonely woman, all searching for human connection and a collective past among the town\u2019s crumbling landscape. One part \u201eruin porn\u201c, one part ghost story, and shot entirely on 16mm, the film brings together narrative gesture, performance art, and socialist realism into a crude and radiant collage that not only plays with convention and defies genre, but also pays homage to a disappearing life-world and a fading medium.<\/p>\n\n\n\n

Director<\/strong>: J. P. Sniadecki<\/summary>\n

Biography<\/strong>: J. P. Sniadecki, born in 1979 in Michigan, is a filmmaker and a PhD candidate in media anthropology at Harvard. At the intersection of art, cinema, and ethnography, his work has been shown in festivals, universities, museums, and galleries, and has received many awards, including two Golden Leopards at the Locarno International Film Festival for Foreign Parts (co-directed with Verena Paravel). He is founder and curator of Emergent Visions, a film series that screens new independent cinema from China.<\/p>\n\n\n\n

Filmography:<\/strong> Foreign Parts (2010), Yumen (2013)<\/p>\n<\/details>\n\n\n\n

Director<\/strong><\/strong>: Huang Xiang<\/summary>\n

Biography<\/strong>: Huang Xiang, born in 1974 in southern China, lives and works in Songzhuang, Beijing. Due to his performance art piece Jasmine Flower, he was placed under criminal detention for 30 days and was restricted from pursuing artistic production and exhibition. Now Huang Xiang is primarily engaged in independent filmmaking, and has produced and directed his first feature, Roast Chicken (2012), prior to co-directing Yumen (2013).<\/p>\n\n\n\n

Filmography:<\/strong> Roast Chicken (2012), Yumen (2013)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Xu Ruotao<\/summary>\n

Biography<\/strong>: Xu Ruotao, born in 1968 in Shenyang, China, is a visual artist and film director who lives and works in Songzhuang, a growing artist village on the outskirts of the Beijing municipality. Xu began his career in the creative community of Yuanmingyuan, China\u2019s first independent artist village. He started making films in 2000 and has produced two features, Yumen (2013) and Rumination (2009).<\/p>\n\n\n\n

Filmography:<\/strong> Rumination (2009), Yumen (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> J.P. Sniadecki, Huang Xiang<\/p>\n\n\n\n

Editor:<\/strong> Xu Ruotao, J.P. Sniadecki, Huang Xiang<\/p>\n<\/div>\n\n\n\n

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Production Company:<\/strong> Film Study Center at Harvard University<\/p>\n\n\n\n

German Distributor: <\/strong>Arsenal \u2013 Institut f\u00fcr Film und Videokunst
e.V.<\/p>\n\n\n\n

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International Forum Short Film<\/summary>\n
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2 in 1<\/h4>\n\n\n\n

2 v 1, Russia 2010, 27 min, Russian with English subtitles, director: Svetlana Sigalaeva<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Homosexuality remains strictly taboo in Russia. In 2012 Moscow courts banned gay pride parades in the capital for the next 100 years. Any pride marches planned in previous years also faced bans and were forcibly broken up by the police if they went ahead. This documentary portrays a young man who loves being a policeman and happens to love men too. Torn between his sense of duty and his personal desires, he talks about his anxieties, his yearnings, and what it means to be homosexual in a deeply patriarchal environment. (goEast Film Festival 2013)<\/p>\n\n\n\n

Director<\/strong>: Svetlana Sigalaeva<\/summary>\n

Biography<\/strong>: Born in 1988 in Moscow, Svetlana Sigalaeva entered the VGIK (directors\u2019 department) on a commercial basis. A year later she was expelled for unsuitability for the occupation. Furthermore she was at a film studio\u2019s beck and call. She entered the VGIK again in 2008 and was accepted for a government scholarship in the workshop of Sergei Misoshnichenko.<\/p>\n\n\n\n

Filmography:<\/strong> 2 in 1 (2010), The Road to Hell (2012), Not with Us (2012), Kardo (2013), Kak k Ivanu Ivanovichu sovest prishla (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Sergey Khohriyakov<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Sergey Shirinskiy<\/p>\n\n\n\n

Production Company<\/strong>: VGIK<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Blames and Flames<\/h4>\n\n\n\n

Falgoosh, Iran 2011, 28 min, Persian with English subtitels, director: Mohammadreza Farzad<\/p>\n\n\n\n

Internatonal Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The history of the Iranian revolution as the history of cinema: In 1978, on the verge of the Islamic revolution, more than 130 cinemas burned down across Iran, including 28 in Tehran. Great strikes, signs of the onset of the revolution, affected cinema at large. The debates also addressed the films as such: which films should be shown, which should be made? Which cinema could or should be abandoned, what did people want and what were they allowed to see? After the cinemas were closed or burned down, the state of things is inverted in Falgoosh. The characters abandon the screen, the people take to the streets and try to direct themselves. And cinema becomes the spectator. (Forum Expanded)<\/p>\n\n\n\n

Director<\/strong>: Mohammadreza Farzad<\/summary>\n

Biography:<\/strong> Mohammadreza Farzad, born 1979, lives and works in Tehran. He works as filmmaker, translator, writer, researcher and actor. His film Gom O Gour (Into Thin Air) premiered at Berlinale\u2019s Forum Expanded 2011 and has subsequently been shown at many other international festivals.<\/p>\n\n\n\n

Filmography:<\/strong> Egg (2012), Into Thin Air (2010), Blames and Flames (2011)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Decision Maker<\/h4>\n\n\n\n

Die Entscheiderin, Germany 2013, 10 min, German, director: Robert H. Schumann<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Asylum matters have crept out of politics and the public eye since the number of applications decreased in Germany as a result of a balancing out of laws at EU level. Tacitly, we rely on an administrative system and perhaps a legal procedure to clarify the status of asylum seekers. The responsibility for either accepting or rejecting an application lies with decision makers at the German Federal Office for Migrants and Refugees. The most the large majority of refugees who leave their home for reasons of hunger, poverty or lack of prospects can expect is refugee status according to the Geneva Convention or protection from deportation. In the worst case, the application will be rejected with deportation as a consequence. Gerda Wittstatt lived in a caring home in Nuremberg until her death. Until she was forced out for reasons of age, she worked for the Office for Migration and Refugees. For this film she spoke for the first time about her experiences with refugees \u2013 people who are regularly confronted with abuse and torture \u2013 and about the difficulties of making decisions of conscience.<\/p>\n\n\n\n

Director<\/strong>: Robert H. Schumann<\/summary>\n

Biography<\/strong>: Robert H. Schumann was born in Hirschau\/Germany in 1969. In 1998 he graduated from Erlangen University and ESPCI Paris in Chemistry. He has worked as a line producer and editor for Medienwerkstatt Nuremberg ever since. Schumann works as a documentary filmmaker and is the author of numerous contributions to the TV series Bildst\u00f6rung and Medienwerkstatt Dokumentation.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Ich gegen Deutschland (2006), Telecaf\u00e9 International (2009), Die Entscheiderin (2013)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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E-Wasteland<\/h4>\n\n\n\n

Australia 2012, 20 min, no dialogue, director: David Fedele<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Have you ever wondered what happens to your electronics at the end of their life? Almost 50 million tonnes of e-waste (electronic waste) are generated worldwide every year. A large volume of second-hand and condemned electronic goods arrive in developing countries from the \u201cdeveloped\u201d world, with a significant quantity arriving as e-waste, exported illegally as \u201csecond hand goods\u201d. Without dialogue or narration, E-WASTELAND presents a visual portrait of unregulated e-waste recycling in Ghana, West Africa, where electronics are not seen for what they once were, but rather for what they have become.<\/p>\n\n\n\n

Director<\/strong>: David Fedele<\/summary>\n

Biography<\/strong>: David Fedele is an award-winning documentary filmmaker from Australia. He entered the world of documentary filmmaking through a love of travel and exploring different cultures, having traveled throughout Australasia, Europe, the Middle East, South America and Africa. David\u2019s films cover a wide range of issues, from logging in Papua New Guinea to electronic waste in Ghana. He is particularly interested in exploring cultural, environmental, humanitarian and social justice issues. David generally works as a one-man filmmaker \u2013 directing, producing, shooting and editing his own films. His work has been broadcast and screened widely, winning numerous awards on the International Film Festival circuit.<\/p>\n\n\n\n

Filmography:<\/strong> Caterina (2010), Second Chance (2010), West Papuan Refugees (2011), Reflections on a Genocide (2011), Bikpela Bagarap \u2013 Big Damage (2011), E-Wasteland (2012)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Fire Under the Ashes<\/h4>\n\n\n\n

Iran 2013, 11 min, Arabic, Persian with English subtitles, director: Arash Setoodeh<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Info<\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Fire Under the Ashes tells, through handycam footage kept unreleased for four years and brought out of Iran under difficult circumstances, how the ordinary life of a couple is seriously affected by the political conditions during and after the Presidential Elections in 2009.<\/p>\n\n\n\n

Director<\/strong>: Arash Setoodeh<\/summary>\n

Biography<\/strong>: Arash Setoodeh was born in Iran and worked there as a production manager for a number of productions, among them Fatima Abdollahyan\u2019s Sundance favourite Kick in Iran. He has recently moved to Denmark and has enrolled in film school there.<\/p>\n\n\n\n

Filmogrphy:<\/strong> Kick in Iran (as production manager, 2009), Mellem Hjem (as production assistant, 2013), Fire Under the Ashes (2013)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Grandmothers<\/h4>\n\n\n\n

Abuelas, United Kingdom 2011, 9 min, English, director: Afarin Eghbal<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In a small apartment in Buenos Aires, an old woman eagerly awaits the birth of her grandchild and all the joys of becoming a grandmother. However, horrific circumstances mean she is forced to wait over 30 years. Abuelas explores the traumatic ramifications of General Videla\u2019s military dictatorship in Argentina from 1976-83, whereby an estimated 30,000 men, women and children, \u201adisappeared\u2018. Using real-life testimonials from members of the \u201aGrandmothers of May Square\u2018, this animated-documentary raises issues of memory and loss. The film is testament to the extraordinary tenacity of these women, who continue fighting for the truth about their missing relatives.<\/p>\n\n\n\n

Director<\/strong>: Afarin Eghbal<\/summary>\n

Biography<\/strong>: Iranian-born, Afarin moved to London as a baby with her family following the 1979 Iranian Revolution. Afarin graduated from the NFTS with her film Grandmothers. She hopes to continue bridging the gap between animation and documentary, using mixed-media to explore complex social and political issues through non-polemic narrative.<\/p>\n\n\n\n

Filmography:<\/strong> Grandmothers (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Claire Buxton<\/p>\n\n\n\n

Editor:<\/strong> Katherine Lee<\/p>\n\n\n\n

Casst: <\/strong>Geraldine McEwan (narrator), Joy McBrinn, Alexia James<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Kasia Malipan<\/p>\n\n\n\n

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Home<\/h4>\n\n\n\n

Dom tsah, Russia 2012, 26 min, Russian with English subtitles, director: Ruslan Magomadov<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/p>\n\n\n\n

Based on real-life events, Home is the story of an old man who stays behind in war-torn Grozny during the Chechen War. He is alone and cannot go anywhere. His house is all that he has. During the day, he repairs his house with tools that he finds in the ruins and rubble around him. At night, he hides from the army\u2019s attacks and plundering in his cellar. The next day, he once again climbs the stairs to observe the destruction and begin his reparations. The camera accompanies his search for wood, water and gas and gives the viewer an insight into his environment and loneliness. The images are as poetic as they are mundane, telling of survival at times of war but also of hope for a better future.<\/p>\n\n\n\n

Director<\/strong>: Ruslan Magomadov<\/summary>\n

Biography<\/strong>: Ruslan Magomadov is Chechen. He was born in 1983 in the city of Sverdlovsk, USSR. In 1991, his family moved to Grozny in their historical fatherland \u2013 Chechnya. They survived the first Chechen War that began in 1994 only by a miracle \u2013 their house and city were destroyed. From 2002 to 2006, Magomadov studied at the Academy of Fine Arts. He then worked at the film company SNEGA until 2010 and participated in the production of several feature films. He also wrote the script for the documentary Notes of Treasure Hunter. In 2009, the Russian Ministry of Culture granted him the funds to make his first short film Dust for Sailor. He has been studying at the Higher Courses of Scriptwriters and Film Directors\u2019 Institute in Moscow since 2011.<\/p>\n\n\n\n

Filmography:<\/strong> Notes of Treasure Hunter (2007), Dust for Sailor (2009), Home (2012)<\/p>\n<\/details>\n\n\n\n

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Cast: <\/strong>Evgenyi Martinov<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Kiss Me Softly<\/h4>\n\n\n\n

Kus me zachtjes, Belgium 2012, 16 min, Flemish with English subtitles, director: Anthony Schatteman<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

17 year old Jasper lives in a very grey, small town. In his family, he cannot be himself. Jaspers dad is a singer, named Lukkie Luk. All the attention in the family goes to his career. Jasper searches a way to handle this and is faced with the typical questions in the live of an adolescent. Questions that will not be answered when he stays in his own routine.<\/p>\n\n\n\n

Director<\/strong>: Anthony Schatteman<\/summary>\n

Biography:<\/strong> Anthony Schatteman lives and works in Belgium.<\/p>\n\n\n\n

Filmography:<\/strong> Kiss Me Softly (2012)<\/p>\n<\/details>\n\n\n\n

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Cast:<\/strong> Marijke Pinoy, Marc Van Eeghem, Ezra Fieremans<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Mass of Men<\/h4>\n\n\n\n

United Kingdom 2012, 16 min, English with German subtitles, director: Gabriel Gauchet<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Richard, an unemployed 55-year-old, arrives 3 minutes late for his appointment at a job centre. An advisor, stifled by the limits of the system she works in, has no choice but to penalise him for his tardiness. To avoid plunging further into destitution, Richard takes desperate measures. Inspired by the events surrounding the London Riots in 2011 and the subsequent infamous speech made by Prime Minister David Cameron, Mass of Men gives a harsh insight into the dangers of repression, disillusionment and apathy. Sehs\u00fcchte Internationales Studentenfilmfestival calls it: \u201cAn exploration of the absurdity of life, whose interchangeable protagonists, whose societal excess lead to a violent conclusion. With its razor-sharp irony, the film manages to create a nightmarish feeling of the zeitgeist.\u201d<\/p>\n\n\n\n

Director<\/strong>: Gabriel Gauchet<\/summary>\n

Biography<\/strong>: Gabriel Gauchet is a British writer and director. After graduating from African Studies in 2003 he started his education as a film director at the Academy of Media Arts in Cologne and the International Film and Television School (EICTV) at Cuba. In 2013 he graduated from the British National Film and Television School (NFTS). His short fiction The Mass of Men, screened and awarded at several film festivals, received the Golden Leopard in Locarno. Gauchet works and lives in London.<\/p>\n\n\n\n

Filmography:<\/strong> When football is painting \u2026 (2005), Die Kneipe (2006), Efecto Domin\u00f3 (2010), Mwansa the Great (2011), Diary of Incidences (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Nick Cooke<\/p>\n\n\n\n

Editor:<\/strong> Alice Petit<\/p>\n\n\n\n

Cast:<\/strong> Peter Faulkner, Jane McDowell, Dominic Kinnaird<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Emily Morgan<\/p>\n\n\n\n

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Nani<\/h4>\n\n\n\n

USA 2011, 21 min, English, director: Justin Tipping<\/p>\n\n\n\n

International Forum Kurzfilm<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Oscar, a teenage graffiti artist, only cares about one thing \u2013 getting his name seen. When he is arrested for vandalism, he is sentenced to community service at an old folks\u2019 home. He is forced to clean up, spend time with the elderly, and accompany some of the residents on walks outside. One night after his shift is over, Oscar decides to \u2018bomb\u2019 a utility truck parked nearby the home. Lost in his own world, he is unaware of Isabel, a lonely and isolated resident, watching him spray his name. The next day, Isabel forces him to take her on walks so she can continue watching him write his name. Fascinated, she insists Oscar teach her how to \u2019tag\u2019 her name. They create her alias \u2013 \u2018NANI\u2019 \u2013 and as the graffiti consumes her, the two form an unlikely bond over their visceral vandalism. While Isabel seems to grow younger through her newfound love of graffiti, her battle with Alzheimer\u2019s is on a steady decline. When Isabel\u2019s memory fades as quickly as the art they\u2019ve created, will their friendship be able to survive?<\/p>\n\n\n\n

Director:<\/strong> Justin Tipping<\/summary>\n

Biography<\/strong>: Born near San Francisco, USA in 1985, Justin Tipping gained a BA in media studies from the University of California in Santa Barbara and works as an editor for local television. He first tried his hand at directing by making music videos. He is currently studying directing at the American Film Institute\u2019s Conservatory in Los Angeles.<\/p>\n\n\n\n

Filmography:<\/strong> Nani (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Benjamin Kitchens<\/p>\n\n\n\n

Editor:<\/strong> Linda Jildmalm<\/p>\n\n\n\n

Cast:<\/strong> Tsai Chin, Johnny Ortiz<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> West Lee McDowell<\/p>\n\n\n\n

Production Company:<\/strong> American Film Institute<\/p>\n\n\n\n

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Objection VI<\/h4>\n\n\n\n

Einspruch VI, Switzerland 2011, 17 min, German, director: Rolando Colla<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The story of a deportation that ended with the tragic death of an asylum seeker in March 2010. In the film, the camera itself is this asylum seeker, and what it captures is a subjective view of reality.<\/p>\n\n\n\n

Director<\/strong>: Rolando Colla<\/summary>\n

Biography<\/strong>: Rolando Colla was born in 1957 in Schaffhausen, Switzerland and holds the joint Swiss and Italian citizenship. Since 1978 he lives and works in Zurich. His professional activities include screenwriting, acting and production management. Since 1983 he also works as a screenwriter and director for commissioned films. In 1984 he founded Peacock Film AG. Since 2002 he is a lecturer at the EICT (Escuela Internacional de Cine y Television) in San Antonio de los Ba\u00f1os, Havana, Cuba. Colla won the Swiss Film Prize Quartz 2012 in the categories Best Fiction Film and Best Screenplay for Summer Games.<\/p>\n\n\n\n

Filmography:<\/strong> Jagdzeit (1997), Einspruch I (1999), Einspruch II (2000), Einspruch III (2001), Einspruch IV (2004), Operazione Stradivari (2004), Einspruch V (2007), Summer Games (2011), Das bessere Leben ist anderswo (2012), Einspruch VI (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Jutta Tr\u00e4nkle<\/p>\n\n\n\n

Editor:<\/strong> Rolando Colla<\/p>\n\n\n\n

Cast:<\/strong> Abel Jafri, Catriona Guggenb\u00fchl, Linda Olsansky<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Elena Pedrazzoli<\/p>\n\n\n\n

Production Company<\/strong>: Peacock Film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Picket<\/h4>\n\n\n\n

\u041f\u0438\u043a\u0435\u0442, Russia 2013, 9 min, Russian with English subtitles, director: Vadim Ostrovskiy<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A young Russian mounts a one-woman protest in support for Pussy Riot. After a series of complications (her mother tries to get her off the street for example), she has to flee the police and ends up taking refuge in a church where the priest hides her. She impresses him with her painting skills and he asks her to help him restore the church. She doesn\u2019t seem to be against the idea. This is a charming parable full of humour that asks about the meaning of protest and explores how to win over the trust of unexpected allies contrary to all clich\u00e9s.<\/p>\n\n\n\n

Director<\/strong>: Vadim Ostrovskiy<\/summary>\n

Biography: <\/strong>Vadim Ostrovskiy is a Russian film director who created over 50 well known documentaries and feature films broadcast at main Russian TV channels, such as the feature film Disappeared, the series Made in USSR, the documentary Formula of power, Obama and many others.<\/p>\n\n\n\n

Filmography:<\/strong> Picket (2013)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Reality 2.0<\/h4>\n\n\n\n

Germany 2012, 11 min, Spanish with English subtitles, director: Victor Orozco Ramirez<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201eIt was autumn when I arrived in Germany. I thought that in this exotic country I could distance myself a little bit from Mexico, but I was wrong. Drug traffickers managed to take me back in a ruthless way.\u201c A short animated documentary about the drug-related violence in Mexico.<\/p>\n\n\n\n

Director<\/strong>: Victor Orozco Ramirez<\/summary>\n

Biography<\/strong>: Victor Orozco Ramirez graduated with a degree in Industrial Design from the University of Guadalajara and graduated from the Academy of Fine Arts of Hamburg Germany with a master\u2019s degree in the area of documentary Film. He founded Gremiodise\u00f1o (Design and Art laboratory) in 1999 and currently organizes in Germany, Ecuador and Mexico the Film festival \u201eambulart\u201d, a cultural project which is aim to foment a film exchange between Germany and Latin-America. He has directed a variety of animation and documentary short films.<\/p>\n\n\n\n

Filmography:<\/strong> Make Me a Saint (2002), Squarehead (2003), Spare the Blood, Spoil the Child (2005), Tateikie Behind the Curtain (2009), White and Fish (2011), Reality 2.0 (2012)<\/p>\n\n\n\n

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Revolutionary Memories of Bahman
Who Loved Leila<\/h4>\n\n\n\n

Iran 2012, 15 min, Persian with English subtitles, director: Farahnaz Sharifi<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

It is 1978. Tehran in bloodshed. The young Bahman falls in love with Leila, the sister of his martyred friend. Unrests in the streets, unrests in the hearts. And a revolution makes the people attached and detached. Farahnaz Sharifi creatively compiles some family album photos and footage to narrate subversively the untold story of the missing, lost loves during revolutions. In her very personal style, with a post-humus voice over she moves on the boundaries of fiction and documentary.<\/p>\n\n\n\n

Director<\/strong>: Farahnaz Sharifi<\/summary>\n

Biography<\/strong>: Graduated BA in filmmaking, Farahnaz made her first documentary Film Moon\u2019s Voice as a student project which won several prizes in Iranian film festivals, received very favourable opinions from critics and the public and was shown in dozens of international film events. Her next films also won some of the most prestigious awards in Iranian film festivals and established her as one of the leading figures of the young generation of Iranian documentary filmmakers. She has published a collection of short stories which was nominated \u201emost distinguished\u201c fiction book of 2011. In 2012 Farahnaz attended IDFA Summer School. She lives in Tehran and is currently working on her new film.<\/p>\n\n\n\n

Filmography:<\/strong> Revolutionary Memories of Bahman Who Loved Leila (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Reza Teymouri<\/p>\n\n\n\n

Editor:<\/strong> Farahnaz Sharifi<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Short for Vernesa B.<\/h4>\n\n\n\n

Germany, Bosnia and Herzegowina 2012, 10 min, German, director: Jons Vukorep<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Bosnian actress, Vernesa Berbo, leaves war-torn Bosnia and settles in Germany where, as an illegal immigrant, she tries to continue her acting career. The only roles she is able to get are roles depicting Eastern European women as, for example, a Polish cleaning lady, Romanian asylum seeker, Russian prostitute, or a Bosnian refugee, roles which take her back to her own personal nightmare. (Bosnian-Herzegovinian Film Festival)<\/p>\n\n\n\n

Director<\/strong>: Jons Vukorep<\/summary>\n

Biography<\/strong>: Jons Vukorep is a Bosnian director, screenwriter and producer. He was born in 1972 in Sarajevo, Bosnia-Herzegovina, and emigrated from Sarajevo to Germany at the beginning of the war. He graduated in Visual Communication at the University of Applied Sciences in Hamburg and worked as a freelance visual artist. He wrote theatre plays and works on performances. He also founded the pop band \u201cLa Stampa\u201d. Short for Vernesa B. is his film directing debut.<\/p>\n\n\n\n

Filmography:<\/strong> Short for Vernesa B. (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Michael Kotschi<\/p>\n\n\n\n

Editor:<\/strong> Angi Harrer-Vukorep<\/p>\n\n\n\n

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Producer:<\/strong> Michael Kotschi, Caroline Kirberg<\/p>\n\n\n\n

Production Company:<\/strong> jucca film, Angerbauer & Kirberg<\/p>\n\n\n\n

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Space in Between<\/h4>\n\n\n\n

Netherlands 2012, 25 min, Dutch with English subtitels, director: Noelia Nicol\u00e1s<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Every day, a Romanian woman walks down a path near the Bijlmer prison in southeast Amsterdam. She then sits down on the bank, in front of a ditch where ducks and coots innocently splash about. A dragonfly sits on a stretch of barbed wire, a contradictory image in this unfriendly environment. The woman looks up, past the concrete wall and barbed wire, to the high white towers and their many dark windows. Behind one of them is her boyfriend. She shouts loving things to him and he replies. They talk about small details of daily life, like what they\u2018ve eaten, what\u2019s on television \u2013 they even squabble. The man is locked up, but so is his girlfriend down by the waterside. The filmmaker stays out of the picture, and there is no voice-over. It\u2019s the silence that speaks in Space in Between.<\/p>\n\n\n\n

Director<\/strong>: Noelia Nicol\u00e1s<\/summary>\n

Biography<\/strong>: Noelia Nicol\u00e1s is a Spanish Director, Producer, Editor and Cinematographer based in Amsterdam. She studied BA Journalism at the University Autonoma of Barcelona and MFA in Documentary Filmmaking at the University March Bloch in Strasbourg. She directed before the award-winning student short documentary Into the Darkness. Her Film Space In Between was screened on a couple of festivals, including IDFA and Visions du R\u00e9el.<\/p>\n\n\n\n

Filmography:<\/strong> Into the Darkness (2004), Space in Between (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Sameena Safiruddin, Noelia Nicol\u00e1s<\/p>\n\n\n\n

Editor:<\/strong> Noelia Nicol\u00e1s, Mar\u00eda Campa\u00f1a Ramia<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Two Girls Against the Rain<\/h4>\n\n\n\n

Bopha Pitorng Chhomnas Tekpleang, Cambodia 2012, 11 min, Khmer with English subtitels, director: Sao Sopheak<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The short documentary Two Girls Against the Rain by Cambodian female filmmaker Sao Sopheak (32) is the first locally produced documentary, which gives a voice to members of the lesbian community. It is a true story about two women struggling hard for their love. Soth Yun (57) and Sem Eang (58) met during the genocidal Khmer Rouge regime, where more than two million people died. Soth and Sem survived. Today the couple lives in a village in Takeo province in southern Cambodia, approximately 40 kilometers away from the capital Phnom Penh. They do not have children of their own, but have raised several nieces and nephews. Theirs has been a long fight against stigmatization by fellow villagers and their family. And the fight continues \u2013 now for the right to marry legally.<\/p>\n\n\n\n

Director<\/strong>: Sao Sopheak<\/summary>\n

Biography<\/strong>: Sao Sopheak was born in April 11, 1979 in Kampong Cham province, Cambodia. She holds a degree in Business Management from Singapore University Phnom Penh, Cambodia. Since 2009 she is enrolled in the M.E.T.A Film School, supported by the Goethe Institute. In the last three years, Sopheak has participated in various film productions (documentaries, dramas, spots), as well as directed\/produced five own documentaries.<\/p>\n\n\n\n

Filmography:<\/strong> Black Coffee (2005), A Stranger (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Sao Sopheak<\/p>\n\n\n\n

Editor:<\/strong> Sao Sopheak, Phan Yasi<\/p>\n\n\n\n

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Producer:<\/strong> Sao Sopheak<\/p>\n\n\n\n

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Undress Me<\/h4>\n\n\n\n

Ta av mig, Sweden 2013, 15 min, Swedish with English subtitles, director: Victor Lindgren<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Mikaela changed sex from male to female. One night out she meets a guy who follows her home. The movie Undress me examines our perceptions of gender and how our identity can be formed by the perceptions of others.<\/p>\n\n\n\n

Director<\/strong>: Victor Lindgren<\/summary>\n

Biography<\/strong>: Victor Lindgren, born in Holmsund in Sweden in 1984, has been working in film and television since he left school and is one of the co-owners of Bautafilm production company. He teaches filmmaking to children at festivals and in schools.<\/p>\n\n\n\n

Filmography:<\/strong> Undress Me (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Mattias Andersson<\/p>\n\n\n\n

Editor:<\/strong> Victor Lindgren<\/p>\n\n\n\n

Cast:<\/strong> Jana Bringl\u00f6v Ekspong, Bj\u00f6rn Elgerd<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Therese H\u00f6gberg<\/p>\n\n\n\n

Production Company:<\/strong> Bautafilm<\/p>\n\n\n\n

World Sales:<\/strong> Botnia Film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Ways to Kill. Yoro S.<\/h4>\n\n\n\n

Spain 2012, 30 min, Spanish with English subtitles, directors: Alex Garcia Martinez<\/p>\n\n\n\n

International Forum Short Film<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Yoro S. arrived in Spain from Mali in 2007. Like many economic migrants from Africa, he was always on the verge of being deported. And then he was killed while working on a building site. His friend, the director Alex Garcia Martinez, has made a warm-hearted, intelligent and cleverly edited film essay about the circumstances of his death. The individual chapters are structured according to his belongings. Old film footage is also used, for example of a poll made on the street that asked the question \u201cWhat is economics?\u201d. The film astutely explains what Yoro\u2019s death had to do with economics. To begin with, Yoro himself hardly appears in the film that seems to want to make do without him, since he is an example of many. However, he becomes increasingly present for longer spells at a time, and talks less about his story than about the clich\u00e9s and small things of everyday life \u2013 this all comes together to create an impressive overall picture. The object of the film becomes the subject and gradually Yoro\u2019s personality is distilled.<\/p>\n\n\n\n

Director<\/strong>: Alex Garcia Martinez<\/summary>\n

Biography<\/strong>: Alex Garcia Martinez is a Spanish Filmmaker and Cinematographer. He studied Film and Audiovisual in ESCAC Barcelona, graduating in the speciality Photography in 2001. 2007 he directed his first documentary film, The Life After, with Oscar Malo. Recent years he has been combining his work as DoP, directing documentaries, reportage photography and teaching. He speaks French and English in addition to his native languages, Catalan and Spanish.<\/p>\n\n\n\n

Filmography:<\/strong> The Life After (2007), Ways to Kill. Yoro S. (2012)<\/p>\n<\/details>\n<\/details>\n<\/div>\n<\/div>\n<\/details>\n\n\n\n

Open Eyes<\/summary>\n
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Ai Weiwei \u2013 Never Sorry<\/h4>\n\n\n\n

USA 2012, 90 min, Chinese, English with German subtitles, director: Alison Klayman<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cI feel like a chess player\u201d, says Chinese avant-garde artist and political activist Ai Weiwei, \u201cmy opponent makes a move, and then I make the next one.\u201d No sooner did he realise that the 2008 Olympics were to be used for party propaganda than Ai Weiwei boycotted the event and, when the authorities tried to cover up the earthquake in Sichuan Province, he began researching the names of more than 5,000 children who lost their lives in the rubble of poorly built schools. Ai Weiwei has always made public his opposition to silence and oppression. His appearances on the internet and the unsparing truths he airs in his blogs have often led to police harassment. But even then he never gives up, and instead films his official pursuers and minders with his video camera and publishes his footage on the web. And alongside all of these activities he still manages to casually prepare his exhibitions and maintain his close relationship with his family . Alison Klayman spent two years following this internationally celebrated activist and has distilled this first feature-length portrait from one hundred hours of material. Her documentary provides an informed insight into conditions on the ground in China today with oppression on one side and resistance on the other. (Berlinale Special 2012)<\/p>\n\n\n\n

Director<\/strong>: Alison Klayman<\/summary>\n

Biography<\/strong>: Born in Philadelphia, USA in 1984, Alison Klarmann graduated with a BA in history from Brown University and subsequently spent four years living in China where she produced radio and television features for various international and local channels. She also began shooting her debut documentary feature Ai Weiwei \u2013 Never Sorry.<\/p>\n\n\n\n

Filmography:<\/strong> Ai Weiwei \u2013 Never Sorry (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Alison Klayman<\/p>\n\n\n\n

Editor:<\/strong> Jen Fineran<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Alison Klayman, Adam Schlesinger<\/p>\n\n\n\n

Production Company<\/strong>: MUSE Film and Television<\/p>\n\n\n\n

World Sales:<\/strong> Independent Film Company, London<\/p>\n\n\n\n

German Distributor:<\/strong> DCM<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Beyond Wriezen<\/h4>\n\n\n\n

Nach Wriezen – Ein Film \u00fcber das Leben nach der Haft, Germany 2012, 88 min, German, director: Daniel Abma<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Daniel Abma\u2019s documentary accompanies three young offenders \u2013 Imo (22), Jano (17) and Marcel (25) \u2013 on the day they are released from Wriezen prison in Brandenburg, eastern Germany, and over the three years that follow. At first sight, the three young protagonists are very different. Jano is a small-time drug dealer from a nearby village. Imo\u2019s face reveals his aggression and every other emotion he experiences. Then there\u2019s Marcel, who was convicted of murdering 16-year-old Marinus from Potzlow. The young men\u2019s new life begins at Wriezen station, where they all set out hoping for the same things: a job, somewhere to live, a girlfriend. Three simple concepts, embodying the yearning for security, emotional safety, respect and love. But the very first day turns out differently for each of the protagonists. Marcel\u2019s girlfriend has planned the day down to the last minute and organized all the necessary bureaucracy, while Imo invests his discharge grant in drugs and beer. Finding a job proves difficult \u2013 one rejection after another, now and again an unpaid work placement. After a while all three young men find a girlfriend. Life settles down a bit, and starting a family seems the obvious thing to do next. Each of the three has a daughter. They are caring fathers, selling drugs and renovating their homes in their attempts to look after their children and satisfy the welfare office\u2019s requirements. Now, though, problems can no longer be solved simply by socking your opponent in the face. How do you fight a court that says you\u2019re incapable of looking after your own child? What happens when you end up back in jail \u2013 this time as a dad? What does life in our society ask of each of us? What do we need in order to live an autonomous, successful life? Is release day a chance to start afresh, or do you stay a jailbird forever, unable to cope with the challenges of everyday life?<\/p>\n\n\n\n

Director<\/strong>: Daniel Abma<\/summary>\n

Biography<\/strong>: Born 1978 in the Netherlands. He previously studied primary school education and worked as a youth worker in Berlin and Brandenburg. Since 2008, he has been studying Film Directing at the University of Film and Television \u201eKonrad Wolf\u201c in Potsdam-Babelsberg, Germany, with focus on documentaries.<\/p>\n\n\n\n

Filmography:<\/strong> Offiziell \u2013 Inoffiziell (2010), Lothar Erdmann (2010), Gabriella und die Jungs aus Gold (2011), Hannes (2011), Truthahn und Diamanten (2011), Arbeitswege (2012), Nach Wriezen (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Johannes Praus, Anja L\u00e4ufer<\/p>\n\n\n\n

Editor:<\/strong> Jana Dugnus<\/p>\n\n\n\n

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Producer:<\/strong> Catarina Jentzsch, Marie Ernst<\/p>\n\n\n\n

Production Company:<\/strong> HFF Konrad Wolf Potsdam-Babelsberg<\/p>\n\n\n\n

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Call Me Kuchu<\/h4>\n\n\n\n

USA 2012, 90 min, English with German subtitles, directors: Katherine Fairfax Wright, Malika Zouhali-Worrall<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

In Uganda, a new bill threatens to make homosexuality punishable by death. David Kato \u2013 Uganda\u2019s first openly gay man \u2013 and his fellow activists work against the clock to defeat the legislation while combatting vicious persecution in their daily lives. But no one is prepared for the brutal murder that shakes their movement to its core and sends shock waves around the world. In an unmarked office at the end of a dirt track, veteran activist David Kato labors to repeal Uganda\u2019s homophobic laws and liberate his fellow lesbian, gay, bisexual and transgender men and women, or \u201ckuchus.\u201d But David\u2019s formidable task just became much more difficult. A new \u201cAnti-Homosexuality Bill\u201d proposes death for HIV-positive gay men, and prison for anyone who fails to turn in a known homosexual. Inspired by American evangelicals who have christened Uganda ground zero in their war on the \u201chomosexual agenda,\u201d the bill awaits debate in Uganda\u2019s Parliament. Meanwhile, local newspapers have begun outing kuchus with vicious fervor under headlines such as: \u201cHOMO TERROR! We Name and Shame Top Gays in the City.\u201d David, Uganda\u2019s first openly gay man, is one of the few who dare to publicly protest state-sanctioned homophobia. Working with an idiosyncratic clan of fellow activists, David fights Uganda\u2019s government and tabloids in the courts, on television, and at the United Nations. Because, he insists, \u201cif we keep on hiding, they will say we\u2019re not here.\u201d But one year into filming Call Me Kuchu and just three weeks after a landmark legal victory, on January 26, 2011, the unthinkable happens: David is brutally murdered in his home. His death sends shock waves around the world, and leaves Kampala\u2019s kuchus traumatized and seeking answers for a way forward. With unprecedented access, Call Me Kuchu depicts the last year in the life of a courageous, quick-witted and steadfast man whose wisdom and achievements were not fully recognized until after his death. While heartbreaking, the documentary traces a narrative that takes the viewer beyond the chronicle of victimization depicted in international news media: it tells the nuanced story of David and Kampala\u2019s kuchus as they work to change their fate, and that of other kuchus across Africa.<\/p>\n\n\n\n

Director<\/strong>: Katherine Fairfax Wright<\/summary>\n

Biography<\/strong>: Katherine Fairfax Wright was born in Massachusetts, USA, in 1983 and studied film and anthropology at Columbia University. She has produced numerous films. She is also an award-winning photographer.<\/p>\n\n\n\n

Filmography:<\/strong> Call me Kuchu (2012)<\/p>\n<\/details>\n\n\n\n

Director<\/strong>: Malika Zouhali-Worrall<\/summary>\n

Biography<\/strong>: Malika Zouhali-Worrall was born in Munich in 1984. A graduate of Cambridge University, she holds an MA in international affairs from the Paris Institute of International Studies. A print and video journalist, she has reported for the Financial Times and for CNN.com from India, Uganda and China. A report she filed about the working conditions of transsexual employees in the US prompted her to make her debut Call me Kuchu.<\/p>\n\n\n\n

Filmography:<\/strong> Call me Kuchu (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Katherine Fairfax Wright<\/p>\n\n\n\n

Editor:<\/strong> Katherine Fairfax Wright<\/p>\n\n\n\n

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Producer:<\/strong> Malika Zouhali-Worrall<\/p>\n\n\n\n

Production Company<\/strong>: Malika Zouhali Worrall<\/p>\n\n\n\n

World Sales:<\/strong> CAT & DOCS<\/p>\n\n\n\n

German Distributor:<\/strong> Arsenal \u2013 Institut f\u00fcr Film und Videokunst e.V.<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Can\u2019t Be Silent<\/h4>\n\n\n\n

Germany 2013, 86 min, German, director: Julia Oelkers<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/p>\n\n\n\n

German musician Heinz Ratz felt asylum seekers in Germany weren\u2019t being treated fairly. So he found some of the best musicians among them and went on tour to raise awareness. Now the ensemble is part of a documentary. Two year ago, 45-year-old Heinz Ratz went on a bike tour through Germany with his band Strom & Wasser. But it wasn\u2019t just a leisurely summer outing \u2013 their aim was to campaign for justice for refugees in German politics and collect donations for their cause. Along the way, they visited 80 different refugee camps where they came into contact with musicians who had been well known in their home countries, but weren\u2019t allowed to work \u2013 let alone travel \u2013 within Germany. \u201eBack then I had the idea to invite [the musicians] to Hamburg to record a CD with them and then go on tour,\u201c said Ratz. And that\u2019s how the band\u2019s next album, Strom & Wasser featuring The Refugees, came about. The Refugees were 30 musicians from 15 countries that had nothing to do with Lauryn Hill\u2019s former band with the same name. The resulting CD, whose cover features a green rowboat stranded in a desert, is a mix of world music, rap, folk, and pop and texts about life in refugee homes. Can\u2019t Be Silent isn\u2019t a portrait of Ratz as a person, though, but rather of the refugees he\u2019s put in the limelight. Ratz only appears three or four times in the film to explain the project and the tour schedule. The film\u2019s focus lies fully on the music, fears and hopes of the artists on stage. For the film, director Julia Oelkers had to rely on video material that the asylum seekers made themselves, because she wasn\u2019t granted permission to film inside the residences. Nevertheless, she managed to weave together a documentary that tells the stories of people caught between the euphoria of applause and the hope of a better life.<\/p>\n\n\n\n

Director<\/strong>: Julia Oelkers<\/summary>\n

Biography<\/strong>: Julia Oelkers has been working as an independent journalist and filmmaker for different broadcasters and production companies since the early 1990\u2019s. Contemporary documentaries and portraits are the main focus of her work.<\/p>\n\n\n\n

Filmography:<\/strong> Westberlin 1968 (2008), Frohsinn, Fernsehen und Faschismus (2010), Geschichten aus Mitte (2011), Es ist auch unsere Geschichte (2011), Can\u2019t Be Silent (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Lars Maibaum, Line K\u00fchl, Matthias Neumann, Thomas Walther<\/p>\n\n\n\n

Editor:<\/strong> Lucian Busse<\/p>\n\n\n\n

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Producer:<\/strong> Thomas Walther<\/p>\n\n\n\n

Production Company<\/strong>: autofocus Videowerkstatt e.V.<\/p>\n\n\n\n

German Distributor:<\/strong> Neue Visionen Filmverleih<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Glorious Deserter<\/h4>\n\n\n\n

Deserteur!, Austria 2012, 80 min, German, director: Gabriele Neudecker<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/strong><\/strong><\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

The subject remains a taboo. Almost 65 years had to pass before Austria finally overturned the Nazi judgements in 2009 and deserters from the Wehrmacht were vindicated. The film takes us back to 1946\/1947, the Winter of Starvation in Salzburg. Scarred by traumatic wartime experiences and confronted by social exclusion, four young deserters \u2013 a cook, a farmer, an altar boy and a pig keeper \u2013 reveal to us the reasons behind their desertion. Successfully walking a tightrope between fiction and documentary, Gabriele Neudecker reveals touching insights into the forgotten victims of National Socialism and their ostracism after the war. \u201cTaking a look behind the stereotype of the blond-haired, blueeyed Nazi soldier, Glorious Deserter studies a collection of brave young Austrians, men who chose to champion their own beliefs rather taking orders from the Third Reich\u2019s war machine. Linked once by their acts of desertion and now by circumstance, the men try to forge normal lives in post-war Austria but find their paths strewn with disillusionment, guilt, estrangement and painful recollection. Some of them have their wives, others have religion to support and help them move on \u2013 but for many, it seems, things can never be quite the same again. In an unconventional twist, Glorious Deserter is written almost entirely in direct address to the audience, and shot like a contemporary documentary; each of the characters have their part of the film, and although their narrative is fluid you can\u2019t help but feel as if there\u2019s someone just behind the camera, asking questions. If there were, that \u2018someone\u2019 would be Gabriele Neudecker: producer, writer, director and editor of Glorious Deserter, a veteran of three short films taking her first step into the world of features \u2013 and finding she can stand.\u201d (Orestes Kouzof)<\/p>\n\n\n\n

Director<\/strong>: Gabriele Neudecker<\/summary>\n

Biography<\/strong>: Gabriele Neudecker who studied photography and film in Salzburg and Berlin, makes political films on the borders between fiction and documentary. She is the art director of the Drehbuchwerkstatt Salzburg in Austria. In 2011 she founded the film production company Pimp the Pony Productions. Gabriele Neudecker works as a director, writer and producer, in the realization of feature films and documentaries, and has participated in numerous international film festivals. Her short film Freaky counts among the seven most awarded Austrian films since 2001.<\/p>\n\n\n\n

Filmography:<\/strong> Freaky (2001), Graffiti Underground (2006), White Girls Happy on Zambesi (2009), Really Hard to be a Good Masai (2010), Glorious Deserter (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Stefan Aglassinger, Gabriele Neudecker<\/p>\n\n\n\n

Editor:<\/strong> Gabriele Neudecker<\/p>\n\n\n\n

Cast:<\/strong> Alexander Kortoletzky, Markus Klampfer, Peter Neudecker jr<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Gabriele Neudecker<\/p>\n\n\n\n

Production Company<\/strong>: Pimp the Pony Productions, Drehbuchwerkstatt<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Paradise Lost 3: Purgatory<\/h4>\n\n\n\n

USA 2011, 121 min, English with German subtitels, directors: Bruce Sinofsky, Joe Berlinger<\/p>\n\n\n\n

International Forum \/ Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Paradise Lost 3: Purgatory, the new installment of Joe Berlinger and Bruce Sinofsky\u2019s HBO Documentary Films series about the notorious 1993 \u201cWest Memphis Three\u201d child murders, chronicles the 18-year fight to prove the innocence of Damien Echols, Jason Baldwin, and Jessie Misskelley. On May 5, 1993, the bodies of three eight-year-old boys were found next to a muddy creek in the wooded Robin Hood Hills area of West Memphis, Arkansas. A month later, three teenagers, Jason Baldwin, Damien Echols and Jessie Misskelley, were arrested. Following trials fraught with innuendoes of satanic worship, emotionally charged statements and allegations of coerced confessions, the defendants were convicted, despite a lack of physical evidence linking them to the crime. The HBO films Paradise Lost: The Child Murders of Robin Hills (1996) and Paradise Lost 2: Revelations (2000) sparked a national discussion about the innocence or guilt of the West Memphis 3. Paradise Lost 3: Purgatory resumes the examination of a horrifying crime and its aftershocks with Echols still on death row and Baldwin and Misskelley still serving life sentences, and follows the story all the way to it\u2019s stunning conclusion. For nearly two decades, Berlinger and Sinofsky have followed this story with extraordinary access to all of the players on both sides of this tragedy. \u201cParadise Lost 3: Purgatory reveals recent DNA and other forensic evidence (unavailable at the time of the murders), as well as other troubling developments, including allegations of juror misconduct, that suggest the trio did not receive a fair trial. The film includes new interviews with Echols, Baldwin and Misskelley, who are now in their 30s. The result is an authoritative and completely new examination of the West Memphis Three case and a comprehensive portrait the American justice system at work.<\/p>\n\n\n\n

Directors<\/strong>: Bruce Sinofsky, Joe Berlinger<\/summary>\n

Biography<\/strong>: Joe Berlinger, born 30 October 1961 in Boca Raton, Florida, and Bruce Sinofsky, born 31 March 1956 in Boston, Massachussetts, are since their remarkable debut with Brother\u2019s Keeper (1989) a team of American documentary filmmakers that have won cult fame and critical acclaim. The duo is probably best known for their trilogy of Paradise Lost films. 2004 the Metallica documentary Some Kind of Monster was published. Though they often work together, Berlinger and Sinofsky have also separately directed their own projects.<\/p>\n\n\n\n

Filmography:<\/strong> Joe Berlinger<\/strong> Brother\u2019s Keeper (1992), Paradies Lost \u2013 Die Kindermorde in Robin Hills (1996), Paradise Lost 2: Revelations (2000), Book of Shadows: Blair Witch 2 (2000), Some Kind of Monster (2004), Crude (2009), Paradise Lost 3: Purgatory (2011)<\/p>\n\n\n\n

Bruce Sinofsky<\/strong> Brother\u2019s Keeper (1992), Paradies Lost \u2013 Die Kindermorde in Robin Hills (1996), Paradise Lost 2: Revelations (2000), Hollywood High (2003), Some Kind of Monster (2004), Paradise Lost 3: Purgatory (2011)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Bob Richman<\/p>\n\n\n\n

Editor:<\/strong> Alyse Ardell Spiegel<\/p>\n\n\n\n

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Producer:<\/strong> Joe Berlinger, Bruce Sinofsky, Jonathan Silberberg<\/p>\n\n\n\n

Production Company:<\/strong> Radical Media<\/p>\n\n\n\n

Weltvertrieb: <\/strong>HBO<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Soldier\/Citizen<\/h4>\n\n\n\n

Bagrut Lochamim, Israel 2012, 68 min, Hebrew with English subtitles, director: Silvina Landsmann<\/p>\n\n\n\n

International Forum \/ Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

For three weeks, towards the end of their military service, young Israelis who do not have a certificate of high-school graduation are offered the chance to obtain it by taking part in army-sponsored courses which require them to contemplate issues such as human rights, pluralism, the definition of the Jewish State and the Israeli- Palestinian conflict. Director Silvina Landsmann goes for a fly-onthe- wall perspective to capture the m\u00e9lange of ambivalence, stubbornness, argumentative spirit and resilience demonstrated by the students while they are repeatedly challenged by their teacher about their views, and encouraged to engage in some serious thinking before embarking on their future. As they are pushed to both sustain and question their convictions, we end up assisting to an animated course cum therapy session that often involves clashing, uncensored individual opinions. A briskly-paced, revealing look at a group of young people with deeply ingrained views gained through tough life experiences, Soldier\/Citizen is a good reminder that a balanced perspective takes effort and a willingness to put yourself in the other\u2019s shoes. (One World Romania 2013)<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201cA great deal has been said about the place of the military ethos within Israeli society. It is difficult to imagine a better opportunity to examine this than by following combat soldiers preparing for the final exam in civics studies before embarking on a journey back to civilian life. These soldiers, who were engaged in acts of extreme violence, are confronted with concepts such as human rights and democracy, which have unfortunately become controversial in many circles within Israeli society.\u201d<\/p>\n\n\n\n

Director:<\/strong> Silvina Landsmann<\/summary>\n

Biography<\/strong>: Silvina Landsmann was born on July 21, 1965 in Buenos Aires. Her family emigrated to Israel when she was eleven years old. She studied film at Tel Aviv University. After graduating, she lived in Paris for ten years, where her first film, Coll\u00e8ge (1997) was made. After returning to Israel, she started the Comino Films production company. In addition to working as a director, she also teaches documentary film at the Tel Aviv Cin\u00e9math\u00e8que.<\/p>\n\n\n\n

Filmography:<\/strong> Coll\u00e8ge (1997), Post Partum (2004), Unto Thy Land (2007), Soldier\/Citizen (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Silvina Landsmann<\/p>\n\n\n\n

Editor:<\/strong> Gil Shnaiderovich<\/p>\n\n\n\n

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Producer:<\/strong> Silvina Landsmann<\/p>\n\n\n\n

Production Company:<\/strong> Comino Films<\/p>\n\n\n\n

World Sales: <\/strong>Doc & Film International<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Wadjda<\/h4>\n\n\n\n

Saudi Arabia, Germany 2012, 97 min, German, director: Haifaa Al Mansour<\/p>\n\n\n\n

Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Wadjda is a 10-year-old girl living in a suburb of Riyadh, the capital of Saudi Arabia. Although she lives in a conservative world, Wadjda is fun loving, entrepreneurial and always pushing the boundaries of what she can get away with. After a fight with her friend Abdullah, a neighborhood boy she shouldn\u2019t be playing with, Wadjda sees a beautiful green bicycle for sale. She wants the bicycle desperately so that she can beat Abdullah in a race. But Wadjda\u2019s mother won\u2019t allow it, fearing repercussions from a society that sees bicycles as dangerous to a girl\u2019s virtue. So Wadjda decides to try and raise the money herself. At first, Wadjda\u2019s mother is too preoccupied with convincing her husband not to take a second wife to realize what\u2019s going on. And soon enough Wadjda\u2019s plans are thwarted when she is caught running various schemes at school. Just as she is losing hope of raising enough money, she hears of a cash prize for a Koran recitation competition at her school. She devotes herself to the memorization and recitation of Koranic verses, and her teachers begin to see Wadjda as a model pious girl. The competition isn\u2019t going to be easy, especially for a troublemaker like Wadjda, but she refuses to give in. She is determined to continue fighting for her dreams\u2026<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

I\u2019m so proud to have shot the first full-length feature ever filmed entirely inside the Kingdom. I come from a small town in Saudi Arabia where there are many girls like Wadjda who have big dreams, strong characters and so much potential. These girls can, and will, reshape and redefine our nation. It was important for me to work with an all-Saudi cast, to tell this story with authentic, local voices. Filming was an amazing crosscultural collaboration that brought two immensely talented crews, from Germany and Saudi Arabia, into the heart of Riyadh. I hope the film offers a unique insight into my own country and speaks of universal themes of hope and perseverance that people of all cultures can relate to.<\/p>\n\n\n\n

Director<\/strong>: Haifaa Al Mansour<\/summary>\n

Biography<\/strong>: Haifaa Al Mansour is the first female filmmaker in Saudi Arabia and is regarded as one of the most significant cinematic figures in the Kingdom. She finished her bachelor\u2019s degree in Literature at the American University in Cairo and completed a Master\u2019s degree in Directing and Film Studies from the University of Sydney. The success of her three short films, as well as the international acclaim of her award-winning 2005 documentary Women Without Shadows, influenced a whole new wave of Saudi filmmakers and made the issue of opening cinemas in the Kingdom a front-page discussion. Within the Kingdom her work is both praised and vilified for encouraging discussion on topics generally considered taboo, like tolerance, the dangers of orthodoxy, and the need for Saudis to take a critical look at their traditional and restrictive culture.<\/p>\n\n\n\n

Filmography:<\/strong> Who? (2003) Bereavement of the Fledgling (2003), The Only Way
Out (2004), Women Without Shadows (2005), Wadja (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Lutz Reitemeier<\/p>\n\n\n\n

Editor:<\/strong> Andreas Wodraschke<\/p>\n\n\n\n

Cast:<\/strong> Reem Abdullah, Waad Mohammed, Abdullrahman Al Gohani<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Gerhard Meixner, Roman Paul<\/p>\n\n\n\n

Production Company:<\/strong> Razor Film Produktion<\/p>\n\n\n\n

World Sales:<\/strong> The Match Factory<\/p>\n\n\n\n

German Distributor: <\/strong>Neue Visionen Filmverleih<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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WASTELAND \u2013 So That No One Becomes Aware of It<\/h4>\n\n\n\n

\u00d6DLAND \u2013 Damit keiner das so mitbemerkt, Germany 2013, 79 min, German, director: Anne Kodura<\/p>\n\n\n\n

International Forum \/ Open Eyes<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Deep in the woods and among some sheep pastures a block of flats stands on a former military base of the Soviet Army. Surrounded by ruinous barracks, an overgrown soccer field and a brand new wire mesh fence. This is where Aya, Momo and Mustafa grow up. They spend the holidays at home at the asylum seeker\u2019s camp. The kids wander through the tall grass, ride their bikes down to the lake or look for scrap copper to sell. Filmed in luminous black-and-white, filmmakers Anne Kodura and Friede Clausz focus their gaze entirely on the way the children see things, managing to get them to reveal in casual conversations their feelings about home and identity. Their parents never appear but are only heard describing their difficult situation in a few spare pieces of voice-over. In order to concentrate on the children\u2019s attitude to life, there are no specifics given about their background, and no dramatisations. A compelling documentary that stays with you long after it has ended.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

\u201cAbout 40,000 refugees, including families with children, live sometimes about more than ten years in camps throughout Germany, usually very isolated in poor living conditions. The children of these families are often born in Germany but not granted German nationality, rather the nationality of their parents. They are only tolerated in their own \u201chomeland\u201d and can be deported at any time. They are born in a country which would rather get rid of them. \u201cHalf-day\u201d integrated at school and isolated from the outside world at home in the camp, they grow up in a state of limbo. Their perspective is uncertain. The only hope is to get the residence permit \u2013 the permission to move out of the camp at last.<\/p>\n\n\n\n

Director:<\/strong> Anne Kodura<\/summary>\n

Biography<\/strong>: Anne Kodura was born in 1987 in Halle (Saale) in Germany, she directed her first theatre play in 2010. Kodura studied media art at the Academy of Fine Arts in Munich and began making her first short and experimental films. She is a graduate of Tradewind Pictures\u2019 Talentpool Programme TP2, supported by Mitteldeutsche Medienforderung. Her first full-length documentary WASTELAND \u2013 So That No One Becomes Aware of It was produced by her own production company DIE ZONE # Film Production which she founded with cinematographer Friede Clausz in 2012.<\/p>\n\n\n\n

Filmography:<\/strong> 7 minutes to 7 (2009), 1986 (2009), Chat Roulette (2011), \u00d6DLAND
\u2013 Damit keiner das so mitbemerkt (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Friede Clausz<\/p>\n\n\n\n

Editor:<\/strong> Friede Clausz<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Anne Kodura, Friede Clausz<\/p>\n\n\n\n

Production Company:<\/strong> DIE ZONE # Filmproduktion<\/p>\n\n\n\n

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Previews at Cinecitt\u00e0<\/summary>\n
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45 Minutes to Ramallah<\/h4>\n\n\n\n

Germany 2013, 87 min, German, director: Ali Samadi Ahadi<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

A road movie set in the Middle East. Two Palestinian brothers take a trip to Ramallah that they do not want to last longer than 45 minutes because they are smuggling the body of their late father. However, a whole series of misfortune lands them in trouble with the Russian mafia and Palestinian terrorists and the short journey becomes a nightmare. Rafik, who lives in Germany, comes home for his brother Jamal\u2019s wedding. During the celebrations, ancient conflicts surface and the father has a fatal heart attack. The two brothers have to smuggle him from Jerusalem to Ramallah for his burial. However, they run into one predicament after the next and get landed into trouble with the Russian mafia and Palestinian terrorists. In the end, the Israeli security forces are the least of their problems. German-Iranian director Ali Samadi Ahadi sets his story about a family against the backdrop of the Middle East conflict, telling it with charm and a good dosage of irony. The screenplay for this turbulent comedy was written by the German- Israeli Gabriel Bornstein. It treats its deadly serious subject matter with means of entertainment. \u201cI think that comedies about uncomfortable themes have the strongest and most lasting effect on the viewer. The result is not only a few hours of entertainment \u2013 audiences can take something away from the cinema visit, something that challenges them and hopefully leads to discussions or even to action. (\u2026) It\u2019s important to me personally to deal with this issue and to reach as many people as possible with the story \u2013 laughing and crying at the same time.\u201d (Ali Samadi Ahadi)<\/p>\n\n\n\n

Director<\/strong>: Ali Samadi Ahadi<\/summary>\n

Biografie<\/strong>: Director and author Ali Samadi Ahadi was born in 1972 in Iran. In 1985 he came to Germany without his family and later took his Abitur in Hannover. In Kassel he studied visual communication with the focus on film and television. At the end of the 90\u2019s he started his career as a filmmaker. He participated in several documentaries and reports as director, film editor or cinematographer. His documentary Lost Children in co-production with Oliver Stoltz won the German Film Award 2006 as well as numerous international awards. More recently, Ahadi made his first feature film Salami Aleikum in 2009 reaching a top position in the Arthouse charts with this culture clash comedy. His 2009 animated documentary The Green Wave won numerous awards at international film festivals.<\/p>\n\n\n\n

Filmografie:<\/strong> Boat People (2000), Afrika maybuye (2003), Culture Clan (2004),
Lost Children (2005), Salami Aleikum (2009), The Green Wave (2010), 300 Worte Deutsch (2013), Pettersson und Findus (2013), 45 Minutes to Ramallah (2012)<\/p>\n<\/details>\n\n\n\n

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Script:<\/strong> Gabriel Bornstein<\/p>\n\n\n\n

Camera:<\/strong> Rodja K\u00fckenthal, Wedigo von
Schultzendorff<\/p>\n\n\n\n

Editor:<\/strong> Silke Olthoff<\/p>\n\n\n\n

Cast:<\/strong> Karim Saleh, Navid Akhavan, Julie
Engelbrecht<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Mohammad Farokhmanesh, Frank Geiger, Armin Hofmann<\/p>\n\n\n\n

Production Company: <\/strong>Brave New Work Film Productions<\/p>\n\n\n\n

German Distributor:<\/strong> Zorro Film GmbH<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Behind the Candelabra<\/h4>\n\n\n\n

USA 2013, 118 min, English with German subtitles, director: Steven Soderbergh<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Before Elvis, before Elton John, Madonna and Lady Gaga, there was Liberace: virtuoso pianist, outrageous entertainer and flamboyant star of stage and television. A name synonymous with showmanship, extravagance and candelabras, he was a world\u2011renowned performer with a flair that endeared him to his audiences and created a loyal fan base spanning his 40\u2011year career. Liberace lived lavishly and embraced a lifestyle of excess both on and off stage. In summer 1977, handsome young stranger Scott Thorson walked into his dressing room and, despite their age difference and seemingly different worlds, the two embarked on a secretive five\u2011year love affair. Behind the Candelabra takes a behind\u2011the\u2011scenes look at their tempestuous relationship \u2013 from their first meeting backstage at the Las Vegas Hilton to their bitter and public break\u2011up. HBO\u2019s Liberace biopic Behind the Candelabra has generated so much enthusiasm thanks to its subject matter \u2013 the tormented relationship between the pianist and his much younger lover, Scott Thorson \u2013 and its well-known leading men \u2013 Michael Douglas and Matt Damon. But it is also happens to be the last film directed by Steven Soderbergh before he goes into self-imposed exile from moviemaking.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

Even though Soderbergh was unable to find Hollywood money for this film \u2013 reportedly because the story was perceived as \u201ctoo gay\u201d by studio execs \u2013 and eventually produced the film with HBO, he does not aim for the political dimension of the two men in love: \u201cI really was trying to strip away any of that sort of \u2026\u201d Soderbergh begins. Both he and screenwriter Richard LaGravenese \u201cwere very conscious of trying to not look at it through any sort of political lens \u2026 And halfway through the movie I really feel like you\u2019re just watching a relationship. When the relationship starts to fall apart it\u2019s wrenching because Michael and Matt have done such a god job of showing that Liberace and Scott were connected, if only by the fact that they were both kind of broken, I think.\u201d (from \u201cI needed to see Jason Bourne on top of Gordon Gekko,\u201d The Telegraph)<\/p>\n\n\n\n

Director<\/strong>: Steven Soderbergh<\/summary>\n

Biography<\/strong>: Steven Soderbergh is an American Film producer, screenwriter, cinematographer, editor, and an Academy Award-winning film director. Born in Atlanta, Georgia. He gained recognition with his directorial debut, Sex, Lies, and Videotape, which won the Palme d\u2018Or at Cannes. He won an Academy Award as Best Director with Traffic in 2001.<\/p>\n\n\n\n

Filmography:<\/strong> Sex, L\u00fcgen und Video (1989), Erin Brockovich \u2013 Eine wahre Geschichte (2000), Traffic \u2013 Macht des Kartells (2000), Solaris (2002), Che (2008), Side Effects (2013), Liberace (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Steven Soderbergh<\/p>\n\n\n\n

Editor:<\/strong> Steven Soderbergh<\/p>\n\n\n\n

Cast:<\/strong> Michael Douglas, Matt Damon<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Jerry Weintraub<\/p>\n\n\n\n

Production Company:<\/strong> HBO<\/p>\n\n\n\n

German Distributor:<\/strong> DCM<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Beyond the Hills<\/h4>\n\n\n\n

Dup\u0103 dealuri, Romania, France, Belgium 2012, 150 min, Romanian with German subtitles, director: Cristian Mungiu<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

After working menial jobs in Germany for several years, Alina (Cristina Flutur) returns to her homeland determined to rescue her childhood friend Voichita (Cosmina Stratan) from the monastery she was sent to after both girls were ejected from an orphanage at the age of eighteen. Alina\u2019s single-minded resolve excludes any consideration that the docile Voichita might have actually found fulfillment in this austere retreat \u2014 and a means of forgetting the lesbian relationship she and Alina once shared, a forbidden love that Alina is eager to rekindle. Standing between the women is the unyielding \u201ePapa\u201c (Valeriu Andriuta), the head of the monastic order, who responds to Alina\u2019s aggression with an ever more zealous dogmatism. He soon comes to believe that Alina has fallen prey to demonic possession, and it is his duty to chastise her soul \u2014 even if it means destroying her body. Brilliantly exploring the nuances and complexities of a scenario that could easily have been rendered as a simplistic contest between freethinking and backwards tradition, Mungiu firmly establishes himself as one of the most accomplished artists in contemporary world cinema. With Beyond the Hills Cristian Mungiu has created a powerful story about women living under an authoritarian regime \u2014 in this case, a remote Orthodox monastery in the Moldavian wilderness, where archaic beliefs still regulate communal life. (Toronto Film Festival)<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

Beyond the Hills is for me primarily a film about love and free will: mostly about how love can turn the concepts of good and evil into very relative ones. Most of the greatest mistakes of this world have been made in the name of faith, and with the absolute conviction they were done for a good cause.<\/p>\n\n\n\n

Director<\/strong>: Cristian Mungiu<\/summary>\n

Biography<\/strong>: and winner of the Palme d\u2019Or in 2007. After studying English literature at the University of Ia\u015fi, he worked for a few years as a teacher and as a journalist. After that, he enrolled at the University of Film in Bucharest to study film directing. After graduating in 1998, Mungiu made several short films. In 2002, he debuted with his first feature film, Occident.<\/p>\n\n\n\n

Filmography:<\/strong> Zapping (2000), Nici o \u00eent\u00e2mplare (2000), Okzident (2002), 4 Monate, 3 Wochen und 2 Tage (2007), Beyond the Hills (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Oleg Mutu<\/p>\n\n\n\n

Editor:<\/strong> Mircea Olteanu<\/p>\n\n\n\n

Cast:<\/strong> Cosmina Stratan, Cristina Flutur, Valeriu Andriuta, Dana Tapalaga<\/p>\n<\/div>\n\n\n\n

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Producer: <\/strong>Cristian Mungiu<\/p>\n\n\n\n

Production Company:<\/strong> Mobra Films, Why Not Prod., Les Films du Fleuve<\/p>\n\n\n\n

World Sales: <\/strong>Wild Bunch<\/p>\n\n\n\n

German Distributor:<\/strong> Wild Bunch Germany<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Blue is the Warmest Color<\/h4>\n\n\n\n

La vie d\u2018Ad\u00e8le \u2013 Chapitre 1 & 2, France, Belgium, Spain 2012, 177 min, English, French with German subtitels, director: Abdellatif Kechiche<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Inhalt<\/strong><\/p>\n\n\n\n

At 15, Ad\u00e8le doesn\u2019t question it: girls go out with boys. Her life is changed forever when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Ad\u00e8le grows, seeks herself, loses herself, finds herself \u2026 Abdellatif Kechiche\u2019s adaption of Julie Maroh\u2019s graphic novel Blue is the Warmest Color won the Palme d\u2018Or at the 2013 Cannes Film festival.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

I was interested in developing a female character who was passionate about her professional life and wanted to pass on her enthusiasm \u2026 Each of us remembers that turning point in our school life when a passionate teacher \u2026 instilled the seeds of a vocation in us. But in the end my screenplay never reached fruition. So when I came across Julie Maroh\u2019s graphic novel, the story of absolute love between two women and, at the same time, of a young woman becoming a schoolteacher, I saw how I could link these two projects.\u201c<\/p>\n\n\n\n

Director<\/strong>: Abdellatif Kechiche<\/summary>\n

Biography<\/strong>: After his family emigrated from Tunisia to France in 1966, he grew up in Nice. Made his stage debut at the Ar\u00e8nes de Cimiez (1978). Is influenced by Yasujir\u00f4 Ozu\u2019s films. Received the M\u00e9daille Charlemagne pour les M\u00e9dias Europ\u00e9ens, an award for achievements in integration, together with Fatih Akin (2008).<\/p>\n\n\n\n

Filmography:<\/strong> Voltaire ist schuld (2000), L\u2018Esquive (2003) Couscous mit Fisch
(2007) V\u00e9nus noire (2010) Blau ist eine warme Farbe (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Sofian El Fani<\/p>\n\n\n\n

Editor:<\/strong> Albertine Lastera, Camille Toubkis, Jean-Marie Lengelle<\/p>\n\n\n\n

Cast:<\/strong> Ad\u00e8le Exarchopoulos, L\u00e9a Seydoux<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Abdellatif Kechiche, Vincent Maraval, Brahim Chioua<\/p>\n\n\n\n

Production Company<\/strong>: Wild Bunch, Quat\u2018sous Films<\/p>\n\n\n\n

World Sales:<\/strong> Wild Bunch<\/p>\n\n\n\n

German Distributor:<\/strong> Alamode Film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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In the Name of \u2026<\/h4>\n\n\n\n

W imi\u0119 \u2026, Poland 2012, 96 min, Polish with German subtitles, director: Ma\u0142go\u015bka Szumowska<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Adam is a Catholic priest who discovered his calling as a servant of God at the relatively late age of 21. He now lives in a village in rural Poland where he works with teenagers with behavioural problems who fight and yell abuse. He declines the advances of a young blonde named Ewa, saying he is already spoken for. However, celibacy is not the only reason for his rejection. Adam knows that he desires men and that his embrace of the priesthood has been a flight from his own sexuality. When he meets \u0141ukasz, the strange and taciturn son of a simple rural family, Adam\u2019s self-imposed abstinence becomes a heavy burden. Ma\u0142go\u015bka Szumowska\u2019s visually powerful film, charged with striking imagery from Christ\u2019s Passion, dares to broach the still taboo topic of homosexuality in the priesthood. Confronted with his \u2018forbidden\u2019 desires, her protagonist experiences both moments of bliss and utter despair. A film about confused emotions, repression and loneliness \u2013 and the possibility of perhaps finding oneself after all. The film\u2019s topic quickly evokes associations such as pedophilia and sexual abuse. Yet Ma\u0142go\u015bka Szumowska points at a far different problem.<\/p>\n\n\n\n

Directors\u2019s statement<\/strong><\/p>\n\n\n\n

It\u2019s strange, but I wanted to make a film about this kind of yearning for love, affection, closeness. It sounds trivial, but this feeling of somehow being torn from the inside,a feeling of being unfulfilled in contacts with other people, this great longing for something strong and powerful, was the startingpoint for me. I found a short note in a newspaper, about a boy, a young man really, who killed a priest in a very brutal way. Even though this story was completely different, I suddenly got an idea, to tell a story about a priest who dares to love.<\/p>\n\n\n\n

Director<\/strong>: Ma\u0142go\u015bka Szumowska<\/summary>\n

Biography<\/strong>: Born in Krak\u00f3w in Poland in 1973, she graduated from the Polish National Film School in \u0141\u00f3d\u017a and went on to direct short films and documentaries before making her feature film debut in 2000 with Happy Man. She won the Silver Leopard at Locarno Film Festival in 2008 with 33 Scenes From Life.<\/p>\n\n\n\n

Filmography:<\/strong> Happy Man (2000), 33 Scenes From Life (2008), Elles (2011), Im Namen des \u2026 (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Micha\u0142 Englert<\/p>\n\n\n\n

Editor:<\/strong> Jacek Drosio<\/p>\n\n\n\n

Cast: <\/strong>Andrzej Chyra, Mateusz Kosciukiewicz, \u0141ukasz Simlat<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Ma\u0142go\u015bka Szumowska<\/p>\n\n\n\n

Production Company:<\/strong> Mental Disorder 4<\/p>\n\n\n\n

World Sales:<\/strong> Memento Films International<\/p>\n\n\n\n

German Distributor: <\/strong>Constantin Film<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Notebook<\/h4>\n\n\n\n

A nagy f\u00fczet, Hungary, Germany, France, Austria 2012, 112 min, German, director: J\u00e1nos Sz\u00e1sz<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

\u201cA soldier father guides his family with a firm but understanding hand. He gives his two 13-year-old sons a notebook in which they are to write down their everyday experiences. It\u2019s the Second World War, the family is broken up, and the boys are taken to their grandmother\u2019s village to take shelter in her house. But the old woman would rather nurse a bottle of booze than care for her own flesh and blood. Thus instead of finding a safe refuge, the brothers fully experience the cruelty of war and the utter absence of love. Nothing good can come of the situation, and the bitter reality is reflected in their matter-of-fact, emotion-deprived entries in the notebook. The picture graphically portrays the war through the eyes of children \u2013 but differently than we\u2019re used to in such cases. Wholly unidyllic, the film takes a brutal look at the loss of illusions and the forced transformation of the protagonists into adults (or whatever the war makes of them). Moreover, the cruelty the brothers learned out of necessity extends beyond the end of the conflict, and thus we may perceive the film as a broader social critique. This elegiac motion picture benefits from Christian Berger\u2019s dazzling camerawork.\u201d (Karlovy Vary International Film Festival) Based on the worldwide bestseller by the Hungarian born Swiss author \u00c0gota Krist\u00f3f, The Notebook is a postmodern antiwar drama, an oppressive parable about what war does to children and intensely describes the misery of entire populations in Eastern countries.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

The Notebook is a war film with no war, a story about innocent but cruel children who resist all morals. It is the story of early adolescent, murderous twin boys. Two bodies, one spirit; two bodies, one will. They speak the same way and they finish each other\u2019s sentences, always on the same wavelength. One boy thinks of something and the other carries it through. When they kill, it is an act of justice. Two bodies and one soul.<\/p>\n\n\n\n

Director:<\/strong> J\u00e1nos Sz\u00e1sz<\/summary>\n

Biography<\/strong>: J\u00e1nos Sz\u00e1sz was born in Budapest in 1958. He studied drama and stage direction at the Academy of Theater and Film Arts, and spent four important years at the National Theater Budapest. For the stage, he directed Ghosts by Henrik Ibsen, The Deer King by Carlo Gozzi and A Streetcar Named Desire by Tennessee Williams.<\/p>\n\n\n\n

Filmography:<\/strong> Temet\u00e9s (1998), A Holocaust szemei (2000), Opium: Diary of a Madwoman (2007), Das gro\u00dfe Heft (2013)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Christian Berger<\/p>\n\n\n\n

Editor:<\/strong> Szilvia Ruszev<\/p>\n\n\n\n

Cast: <\/strong>Ulrich Matthes, Ulrich Thomsen, Andr\u00e1s Gy\u00e9m\u00e1nt , L\u00e1szl\u00f3 Gy\u00e9m\u00e1nt<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> P\u00e1l S\u00e1ndor, S\u00e1ndor S\u00f6th<\/p>\n\n\n\n

Production Company:<\/strong> Intuit Pictures, AMOUR FOU Vienna, Dolce Vita Films, Hunnia Filmst\u00fadi\u00f3<\/p>\n\n\n\n

World Sales:<\/strong> Beta Cinema<\/p>\n\n\n\n

German Distributor: <\/strong>Piffl Medien<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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The Patience Stone<\/h4>\n\n\n\n

Syngu\u00e9 Sabour, France, Germany, Afghanistan 2012, 98 min, Persian with German subtitels, director: Atiq Rahimi<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/p>\n\n\n\n

Somewhere, in Afghanistan or elsewhere, in a country torn apart by a war \u2026 A beautiful woman in her thirties watches over her husband in a decrepit room. He is reduced to a vegetative state because of a bullet in the neck, and not only is he abandoned by his companions of the Jihad, but also by his brothers. One day, the woman starts a solitary confession to her silent husband. She talks about her childhood, her suffering, her frustrations, her loneliness, her dreams, her desires \u2026 She touches him, kisses him, things she could never have done before, even though they have been married for the past 10 years. Therefore, this paralysed man unconsciously becomes \u2018syngu\u00e9 sabour\u2019, a magic stone which, according to Persian mythology, when placed in front of a person shields him from unhappiness, suffering, pains and miseries. In this wait for her husband to come back to life, the woman struggles to survive and live. She finds refuge in her aunt\u2019s place, who is a prostitute, and the only relative who understands her. The woman seeks to free herself from suffering through the words she delivers audaciously to her husband. But after weeks looking after him, she will actually reveal herself in the relationship she starts with a young soldier \u2026 With the production of The Patience Stone Atiq Rahimi succeeds in transforming the written words of his novel of the same title into spoken words and moving pictures.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

Because what is exciting and challenging for a writer-director, is finding a way to exceed one\u2019s own book to show and say in his film all the things he didn\u2019t manage to write using words. The book\u2019s central idea is the myth of Syngue Sabour, the patience stone, a stone on which you can shed your misfortunes, your complaints, your secrets until it\u2019s so full it bursts. In this story, the stone is the husband, a warrior paralysed by a bullet in the neck. The woman, to bring him back to life, has to pray from morning till night for 99 days. But that prayer soon turns in to confession. She murmurs into his ear all the things she has kept locked inside her for so many years.<\/p>\n\n\n\n

Director<\/strong>: Atiq Rahimi<\/summary>\n

Biography<\/strong>: Atiq Rahimi was born in Kabul in 1962. He was seventeen years old when the Soviet Union invaded Afghanistan. He fled to Pakistan during the war and was eventually granted political asylum in France in 1984. After the fall of the Taliban in 2002, Rahimi returned to Afghanistan, where he filmed an adaptation of his novella Earth and Ashes (Other Press). He has become renowned as a maker of documentary and feature films, as well as a writer. The film of Earth and Ashes was in the Official Selection at Cannes in 2004 and won several prizes. Since 2002 Rahimi has returned to Afghanistan a number of times to set up a Writers\u2018 House in Kabul. His novel The Patience Stone (Other Press) won the Prix Goncourt in 2008.<\/p>\n\n\n\n

Filmography:<\/strong> Earth and Ashes (2003), Stein der Geduld (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Thierry Arbogast<\/p>\n\n\n\n

Editor:<\/strong> Herv\u00e9 de Luze<\/p>\n\n\n\n

Cast:<\/strong> Golshifteh Farahani, Hamid Djavadan, Hassina Burgan<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Michael Gentile<\/p>\n\n\n\n

Production Company:<\/strong> The Film, Razor Film Production<\/p>\n\n\n\n

World Sales: <\/strong>Le Pacte<\/p>\n\n\n\n

German Distributor: <\/strong>Rapid Eye Movies<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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Zaytoun<\/h4>\n\n\n\n

Israel, United Kingdom 2012, 107 min, English, Arabic, Hebrew with German subtitles, director: Eran Riklis<\/p>\n\n\n\n

Previews at Cinecitt\u00e0<\/p>\n\n\n\n

Synopsis and Infos<\/strong><\/summary>\n

Synopsis<\/strong><\/strong><\/p>\n\n\n\n

Beirut, Lebanon, in 1982 is a dangerous place for anyone, not least a young Palestinian refugee like Fahed. He skips school to sell gum and cigarettes on the city\u2019s streets. Lebanon is in the midst of a savage civil war and Fahed and his friends instead of joining the PLO prefer playing football in the rubble- strewn streets of Beirut. But Fahed\u2019s life takes a tragic turn when his father is killed in a bombing raid and an unusual one when an Israeli Air Force pilot who he witnesses parachuting out of the sky is captured. And he makes a perilous decision: to return to the land of his ancestors and plant the olive tree his father had been nurturing before his dead he frees the captive Israeli pilot Yoni. In return, Yoni must agree to take Fahed to Israel. As their journey progresses, Fahed and Yoni must overcome bitter differences built up over generations in order to survive the dangers as Palestinian, Syrian, and Lebanese soldiers chase them across war-torn Lebanon. A tenuous friendship takes root and strengthens with every hurdle they overcome to reach a land they both consider home. From acclaimed Israeli filmmaker Eran Riklis, Academy award-winning producer Gareth Unwin, and producer Fred Ritzenberg, comes Zaytoun, the powerful and moving story of an unlikely friendship that comes to fruition in two nations on the verge of war.<\/p>\n\n\n\n

Director\u2019s Statement<\/strong><\/p>\n\n\n\n

Zaytoun is a road movie, a war movie, a buddy movie. I wanted it to be serious and yet full of humour, realistic and yet a fantasy, true to the region and yet universal. I believe the result is all of the above with my view of the fragile, explosive, pessimistic, seldom optimistic fabric of the Middle East and its never ending conflicts.<\/p>\n\n\n\n

Director<\/strong>: Eran Riklis<\/summary>\n

Biography<\/strong>: Eran Riklis was born in 1954. He has been active in the movie world since 1975. After graduating from Beaconsfield National Film School in England, he made his first film in 1984, On a Clear Day You Can See Damascus, a political thriller based on a true story. Seven years later, he shot Cup Final, later hailed by international critics and selected in several film festivals (among which were Berlin and Venice). The Syrian Bride (2004) and Lemon Tree (2008) won worldwide acclaim. Riklis lives in Tel Aviv.<\/p>\n\n\n\n

Filmography:<\/strong> Auswahl: Vegvul Natan (2002), Pituy (2002), Die syrische Braut (2004), Lemon Tree (2008), Die Reise des Personamanagers (2010), A Soldier and a Boy (2011), Playoff (2011), Zaytoun (2012)<\/p>\n<\/details>\n\n\n\n

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Camera:<\/strong> Dan Laustsen<\/p>\n\n\n\n

Editor:<\/strong> Herv\u00e9 Schneid<\/p>\n\n\n\n

Cast:<\/strong> Stephen Dorff, Abdallah El Akal, Alice Taglioni<\/p>\n<\/div>\n\n\n\n

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Producer:<\/strong> Frederic Ritzenberg, Gareth Unwin<\/p>\n\n\n\n

Production Company:<\/strong> United King Films Ltd., Far Films, Bedlam Productions Ltd., Eran Riklis Productions Ltd.<\/p>\n\n\n\n

World Sales: <\/strong>Path\u00e9 International<\/p>\n\n\n\n

German Distributor:<\/strong> Senator Film Verleih<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n<\/div>\n<\/details>\n\n\n\n

<\/div>\n\n\n\n

Guests<\/h3>\n\n\n\n
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  • Daniel Abma<\/strong> (Director Beyond Wriezen)<\/li>\n\n\n\n
  • Ali Samadi Ahadi<\/strong> (Director 45 Minutes to Ramallah)<\/li>\n\n\n\n
  • Meisam Amini <\/strong>(Musician, Protagonist Can’t Be Silent)<\/li>\n\n\n\n
  • Negar Azerbayjani<\/strong> (Director Facing Mirrors)<\/li>\n\n\n\n
  • Mohamed Ben Halim<\/strong> (Tripoli Human Rights Film Festival)<\/li>\n\n\n\n
  • Andrzej Chyra<\/strong> (Actor In the Name of…)<\/li>\n\n\n\n
  • Christine Cynn<\/strong> (Producer The Act of Killing)<\/li>\n\n\n\n
  • Sawsan Darwaza<\/strong> & Ehab Al-Khatib<\/strong> (Karama Human Rights Film Festival, Amman)<\/li>\n\n\n\n
  • Nynke Douma<\/strong> (Field Producer Justice for Sale)<\/li>\n\n\n\n
  • Abu Eyad<\/strong> (Protagonist A World Not Ours)<\/li>\n\n\n\n
  • Anne Kodura<\/strong> & Friede Clausz<\/strong> (Director and Producer WASTELAND – So That No One Becomes Aware of It)<\/li>\n\n\n\n
  • Abdurrahim Adel Enwiji<\/strong> (Tripoli Human Rights Film Festival)<\/li>\n\n\n\n
  • Tom M.  Fassaert <\/strong>(International Jury)<\/li>\n\n\n\n
  • Lukas Foerster <\/strong>(International Jury)<\/li>\n\n\n\n
  • Tinatin Gurchiani<\/strong> (Director The Machine which Makes Everything Disappear)<\/li>\n\n\n\n
  • Bobo Jel\u010di\u0107<\/strong> (DirectorA Stranger)<\/li>\n\n\n\n
  • Hana Kulhankova<\/strong> (One World Filmfestival, Prag)<\/li>\n\n\n\n
  • Silvina Landsmann<\/strong> (Director Soldier\/Citizen)<\/li>\n\n\n\n
  • Moira Lang<\/strong> (Producer Norte, the End of History)<\/li>\n<\/ul>\n<\/div>\n\n\n\n
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    • Raymond Lee<\/strong> (Actor Norte, the End of History)<\/li>\n\n\n\n
    • Dr. Grit Lemke<\/strong> (International Jury)<\/li>\n\n\n\n
    • Barbara Lorey de Lacharri\u00e8re<\/strong> (Film critic)<\/li>\n\n\n\n
    • Patricia Litten<\/strong> (Actress)<\/li>\n\n\n\n
    • Patrick Marnham<\/strong> (Director Snake Dance)<\/li>\n\n\n\n
    • Gabriele Neudecker <\/strong>(Director Glorious Deserter)<\/li>\n\n\n\n
    • Kumjana Novakova<\/strong> (International Jury)<\/li>\n\n\n\n
    • Julia Oelkers <\/strong>(Director Can’t be Silent)<\/li>\n\n\n\n
    • Damien Ounouri<\/strong> (Directorr Fida\u00ef)<\/li>\n\n\n\n
    • Vadim Ostrovskiy<\/strong> (Director Picket)<\/li>\n\n\n\n
    • Sridhar Rangayan <\/strong>(Director Breaking Free)<\/li>\n\n\n\n
    • Ina Rossow<\/strong> (International Jury)<\/li>\n\n\n\n
    • Arash Setodeeh<\/strong> (Director Fire Under the Ashes)<\/li>\n\n\n\n
    • Yoav Shamir<\/strong> (Director 10% – What Makes a Hero?)<\/li>\n\n\n\n
    • Marc Schmidt<\/strong> (Director Matthew’s Law)<\/li>\n\n\n\n
    • Johanna Straub<\/strong><\/li>\n\n\n\n
    • Fereshteh Taerpour<\/strong> (Producer Facing Mirrors)<\/li>\n\n\n\n
    • Danis Tanovi\u0107<\/strong> (Director An Episode in the Life of an Iron Picker)<\/li>\n\n\n\n
    • Vladimir Tomi\u0107<\/strong> (Director Unfinished Journeys)<\/li>\n\n\n\n
    • Bram Van Paesschen<\/strong> (Director Empire of Dust)<\/li>\n\n\n\n
    • Vanina Vignal<\/strong> (International Jury)<\/li>\n\n\n\n
    • Jons Vukorep<\/strong> (Director Short for Vernesa B.)<\/li>\n<\/ul>\n<\/div>\n<\/div>\n\n\n\n
      <\/div>\n\n\n\n

      Accompanying Programme<\/h3>\n\n\n\n
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      Patrica Litten reads from \u201eA Mother Fights Hitler\u201c by Irmgard Litten<\/h4>\n\n\n\n

      Reading<\/p>\n\n\n\n

      Infos<\/strong><\/summary>\n

      In 1931, the left-wing lawyer Hans Litten dared call Adolf Hitler to the witness stand and show him up publicly. Hitler never forgave him. In 1933, Litten was arrested and driven to suicide in Dachau in 1938. His mother, Irmgard, campaigned for his release for five years and in 1940 she published a report about the experience that was translated as \u201cA Mother Fights Hitler\u201d. Her granddaughter, the Nuremberg-based actress Patricia Litten, will read from this jolting testimony, accompanied by the cellist Birgit F\u00f6rstner. Hans Litten was arrested right after the Reichstag fire in 1933. He was tortured and abused for five years. He committed suicide in 1938. His mother did everything to help him, sending him encoded messages and lobbying high-ranking Nazis and the representatives of foreign governments. In vain. However, she refused to give up. Two years after her son\u2019s death, she published her report \u2013 first in France, then in the UK. It came out in Germany in 1947. Patricia Litten\u2019s reading not only commemorates the fate of a brilliant lawyer who defied Hitler but pays homage to a woman who was remarkable in her courage.<\/p>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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      Teargas makes Lemonade – ISTANBUL 2013<\/h4>\n\n\n\n

      Exhibition<\/p>\n\n\n\n

      Infos<\/strong><\/summary>\n

      Istanbul 2013 refers to the political uprising in Turkey. This year, a section of society stood up against Prime Minister Tayyip Erdogan\u2019s ruling AKP party, which has an absolute majority and has been trying to push through a conservative, Islamist agenda without heeding large parts of the population. A class taking photography at Nuremberg\u2019s technical university happened to be in Istanbul when the uprising began in Gezi Park and Taksim Square. \u201cThe spectrum of experiences ranged from singing under the trees in Gezi Park to fast running through the pungent fog of tear gas on Taksim Square.\u201d \u201cEverything \u2013 your skin, your eyes, your limbs \u2013 stings. And you can\u2019t scratch it like you would a mosquito bite. Only milk and lemon help alleviate the sting. But the mosquito is not a small insect here but a massive brutal superpower that sends out its troops,\u201d Susanne Kaiser and Katharina Scheidig on behalf of their class. Photos: Elmas Bagci, Kristina Becker, Susanne Kaiser, Philipp Kimmelzwinger, Karol Kowalski, Nadine Messerschmitt, Katharina Scheidig, Sabrina Toifl, Katharina Tr\u00e4g, Andreas Walter, Prof. Yvonne Seidel and Klaus Schwappach. Organizers: Studentische Projektgruppe in cooperation with KOMM-Bildungsbereich. The photos are on display in the stairwell of the K\u00fcnstlerhaus.<\/p>\n<\/details>\n<\/div>\n<\/div>\n\n\n\n

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      The \u2018Arab Spring\u2018 and the Power of Cinema<\/h4>\n\n\n\n

      Panel Discussion<\/p>\n\n\n\n

      Infos<\/strong><\/summary>\n

      For many years, the Nuremberg International Human Rights Film Festival has supported emerging human rights film festivals across the world, including for example the Karama Human Rights Film Festival that took place in Amman, Jordan for the first time in 2010. The political uprisings in the Arab world in 2011 and since have opened up new possibilities for examining the theme of human rights \u2013 even in countries where this was ruled out until recently. Film festivals have played a key role in this process from the start. In 2012, the first human rights film festivals took place in Libya and Tunisia in cooperation with the NIHRFF and other international festivals. NIHRFF director Andrea Kuhn will discuss the meaning of such events and film generally in times of political upheaval with Sawsan Darwaza, Ehab Al-Khatib (both Karama Human Rights Film Festival, Amman), Elyes Baccar (Human Screen International Human Rights Film Festival, Tunis), Mohamed Ben Halim und Abdurrahim Adel Enwiji (Tripoli Human Rights Film Festival, Tripoli).<\/p>\n<\/details>\n\n\n\n

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      Radio Z Talk <\/h4>\n\n\n\n

      Live Radio Talks at the Festival Lounge<\/p>\n\n\n\n

      Infos<\/strong><\/summary>\n

      The Radio Z team will broadcast live from a mobile studio in the festival lounge every night from Thursday, Oct 3. From 9 p.m. – 10 p.m. they will present interviews with directors, participants and organisers. The festival\u2019s evening programme will provide the live broadcast\u2019s main focus. Listen to Radio Z on 95,8 MHz or via live stream on www.radio-z.net. Following the nightly Live Act, the Radio Z DJs will take over and provide the entertainment in the festival lounge from 11 p.m. onwards.<\/p>\n\n\n\n

      Radio Z DJ: Philip Manthey \/\/ HipHop bis Bass 3.10.2013
      Radio Z DJ: Im Anschluss Radio Z DJ: Axel Nerlich \/\/ Lo-Fi 4.10.2013
      Radio Z DJ: Christian Seitz \/\/ Elektronisches 5.10.2013Uhr
      Radio Z DJ: Christian Mosbacher \/\/ Avant Pop & Beats 6.10.2013
      Radio Z DJ: jazz:pa \/\/ Future HipHop 7.10.2013
      Radio Z DJ: Christian Seitz \/\/ Elektronisches 8.10.2013
      Radio Z DJ: Thomas Singer \/\/ Gute Gitarren 9.10.2013<\/p>\n<\/details>\n\n\n\n

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      Concerts<\/h4>\n\n\n\n

      Every night from 10 p.m. onwards, there will be live bands (seven in total) supporting the festival with unplugged performances in the lounge.<\/p>\n\n\n\n

      Powered by Musikverein (www.musikverein-concerts.de) and Bekassine Records. Free Entry!<\/p>\n\n\n\n

      Infos<\/strong><\/summary>\n

      Formfree<\/strong> \u2013 Kammer-Indie 3.10.2013, 10 p.m.
      Featuring two charming voices and the gentle pulsating sounds of acoustic guitar and piano.<\/p>\n\n\n\n

      Tjian<\/strong> \u2013 Indie\/Folk 4.10.2013, 10 p.m.
      A sound like an early Beck flipside, on which Adam Green covers a Jeffrey Lewis song.<\/p>\n\n\n\n

      Schleuse<\/strong> \u2013 Experimenteller Folk 5.10.2013, 10 p.m.
      There are five of them on stage and they tell stories about wind machines, god particles and sometimes about a particular animal who only crawls out from the sea at dusk.<\/p>\n\n\n\n

      DRNTTCKS<\/strong> \u2013 Sound gegen Sound 6.10.2013, 10 p.m.
      DRNTTCKS pit sound against sound in their live improvisations. Guitar layering, clanging, buzzing and humming escalate into an unreal collage of noise.<\/p>\n\n\n\n

      Georg Ober<\/strong> \u2013 Songwriter 7.10.2013, 10 p.m.
      Georg Ober brings together all the beauty of those songs you\u2019ve somehow already heard before. His version of Acoustic Folk captures elements of Grunge as well as the balladic moments of a Neil Young Unplugged evening.<\/p>\n\n\n\n

      The GoHo Hobos<\/strong> \u2013 Cheesy Country, Folk & Singalong 8.10.2013, 10 p.m.
      The GoHo Hobos draw their inspiration from the migrant workers who roamed America. They are carrying a repertoire of traditional tunes, Americana, country and folksongs in their rucksacks, as well as a good dose of humor.<\/p>\n\n\n\n

      YAPIandFRE Y<\/strong> \u2013 Accustic Offbeats 9.10.2013, 10 p.m.
      Their classy offbeat, combined with English and French lyrics highlights the subtropical character of their sounds.<\/p>\n<\/details>\n\n\n\n

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      <\/p>\n","protected":false},"excerpt":{"rendered":"

      \u2190 back to Archive NIHRFF 2013 Award Winners International Human Rights Film Award Nuremberg Norte, the End of History, Norte, hangganan ng kasaysayan, Philippines 2013, 250 min, director: Lav Diaz […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"class_list":["post-34107","page","type-page","status-publish","hentry"],"mb":[],"mfb_rest_fields":["title"],"_links":{"self":[{"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/pages\/34107","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/comments?post=34107"}],"version-history":[{"count":16,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/pages\/34107\/revisions"}],"predecessor-version":[{"id":34272,"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/pages\/34107\/revisions\/34272"}],"wp:attachment":[{"href":"https:\/\/www.nihrff.de\/en\/wp-json\/wp\/v2\/media?parent=34107"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}