2nd Session Catalogue

WORKSHOPSESSIONBçNSKçŠTIAVNICASLOVAKIA

NDAUGUST23rd— 28th

2015

WORKSHOP AWARDS:

ORGANIZERS

FUNDERS

Projekt se uskutečňuje za podpory Ministerstva kultury České republiky

ASOCIÁCIANEZÁVISLÝCHPRODUCENTOV

The workshop is supported by the Slovak Audiovisual Fund / Podujatie fi nanč ne podporil Audiovizuálny fond

INDEX

About DOK.IncubatorWorkshop AwardsTeamTutorsGuestsObserversStudents

6 91722263032

NotesOrganizersMedia ProgrammeScreening FormEvaluation FormWho is WhoLocationMapPractical info

170177180183191196200201202

LISTOFPROJECTS

Cheer Up /FI/ 36Christy Garland, Thor Ochsner, Liisa JuntunenDreaming of Europe /DK/ 48Michael Graversen, Rebekka Jorgensen, Lise Saxtrup, Sofi e RørdamHoly Cow /DE, RO, AZ/ 62Imam Hasanov, Philipp Gromov, Veronika Janatkova, Andra PopescuKakuma (Emergency Exit) /BE/ 74Lieven Corthouts, Jan De Coster, Emmy OostThy Father's Chair (Obsolescence) /IT/ 86Antonio Tibaldi, Alex Lora, Enrica CapraTo the Amazon /CO, IR, BE, UK/ 98Clare Weiskopf, Gustavo Vasco, Nicolas Van HamelryckUkrainian Sheriff s /LV, UA, DE/ 112Roman Bondarchuk, Kateryna Gornostai, Darya Averchenko, Uldis CekulisH*Art On /CZ/ 124Andrea Culková, Thomas Ernst, Kateřina Doležalová

Guest ProjectsDiagnosis /PL/ 135Ewa Podgórska, Małgorzata WabińskaJourney to Success /SK/ 141 Daniela Meressa Rusnoková, Janka VlčkováThe City of the Sun /GE/ 147Rati Oneli, Ramiro Suarez, Dea Kulumbegashvili

ConsultationsFreedom Under Loads /SK/ 154Happily (Un)Faithful /SK/ 158Racing with Time /SK/ 162Waking up the Listening Body /SK/ 166

ABOUTDOK.INCUBATOR

6/7About DOK.Incubator

Workshop structure

DOK.Incubator is a six-month long workshop for the whole creative teams (director, editor, producer), well established on the national level, who aim to break into the international market. Experienced editors, producers, sales agents, PR and marketing experts tutor them long-term throughout the postproduction period of their documentary projects. The tutors lead the participants to conclude the strongest possible dramaturgy of the fi nal

cut and to reach a wide international audience by a clever distribution and marketing strategy. Sharpening the editing, emphasizing fi lm's international potential and introducing the new distributional opportunities online, the workshop supports high-end documentaries to reach global audience and to establish their producers and fi lmmakers on the international scene.

1st Session: May — June DRAMATURGY, AUDIENCE BUILDING

Starts with screenings and dramaturgical analysis of the participation projects, provides intensive editing sessions and depending on the development in the editing rooms, the producers work on positioning of their fi lm on the market – developing unique selling point, target the audience and prepare fi rst drafts of fi lms' marketing strategy.

2nd Session: August — September MARKETING AND DISTRIBUTION STRATEGY

First test screenings in the presence of industry decision makers, who give feedback on the narrative structure, release strategy and the sale potential of the fi lms. The participants design a detailed distribution plan and fi nalise marketing outcomes in accordance to the target audience: texts, visuals, trailers.

3rd Session: OctoberFINAL SALES PACKAGE, PRESENTATION

A work-in-progress presentation of the fi lms, followed by individual meetings with key European broadcasters, sales, festival selectors and distributors. Session focuses not only on the fi lm packaging but also on the future steps of the projects, their sales, festival possibilities and specifi c off ers.

WORKSHOPAWARDS

10/11 WORKSHOPAWARDS

BEEP and SPOON are two of the top Czech postproduction facilities that are housed under one roof of the PORT#58, a place where ideas come to life.

Unheard of sound post-production service – that is BEEP. Opening with fi eld recording and equipment rental, going on to voice casting, dialogue recording and editing not to mention a multifarious SFX library. Continuing with Foley recording and editing, music composition and production as well as music recording and editing. All this adding up to fully professional custom sound design including editorial and mixing, be it stereo or multi-channel.

SPOON – full of magnifi cent technology, experienced team and unconditional faith in progress makes imagination real. Visual post-production house that stands up to very high standards simply because there is no other way. We edit, animate, create eff ects and prepare to airing excellent quality. Data management, offl ine, grading, online, computer graphics, dubs and DCP are our fi eld of work.

Special off er for DOK.Incubator participants:Documentary video and sound postproduction inclusive of DCP mastering:3 days of 5.1 cinema sound mix3 days of sequence grading on Quantel PabloDCP master production & master control projection

Very special price 3500 EUR

Contact:

BEEP/ SPOONLukáš Moudrý(+420) 603 491 459(+420) 233 380 [email protected], [email protected]

Address for both companies:Tusarova 857/58170 00 Praha 7

Post-production cruise in the valueof 7000 EUR 3 full days on board of colour corrections3 smooth sailing days of sound mixing and a bonus of DCP master production

12/13WORKSHOPAWARDS

Your future co-production partner and visual post from Prague.

The i/o post company deals with visual postproduction for feature fi lms and documentaries since 2005.

We have completed over 40 feature fi lms and documentaries, as well as dozens short student fi lms and cinematographic art projects.

We are proud co-producers of many Czech and foreign feature fi lms and documentaries and seek for new interesting international projects.

Come along and become part of this large family of satisfi ed fi lmmakers. We love fi lms and look forward to work on yours!

Our services cover complete visual postproduction workfl ow – 35mm scan, 4K color grading, vfx, offl ine, online, 6K fi lm recording, DCP processing and RED ONE MX, EPIC-X and DRAGON digital cameras.

Contact:Jordi NiubóTel: +420 604 703 308E-mail: [email protected]

IO PostDigital fi lm & TV visual postproductionDienzenhoferovy sady 1150 00 Praha 5Czech Republic

DCP mastering in the value of 1.500 EUR

WORKSHOPAWARDS

Independent Film Week Participation (September 20th — 25th)

The Independent Filmmaker Project (IFP)

Founded in 1979, IFP is the largest and oldest not-for-profi t dedicated to independent fi lm in US. It represents a growing network of 10,000 storytellers around the world, and plays a key role in developing 350 new feature and documentary fi lms each year.

IFP guides storytellers through the process of making and distributing their work. It off ers creative, technological and business support through year-round programming, which includes Filmmaker Magazine, Independent Film Week, Envision, The Gotham Independent Film Awards, and the Independent Filmmaker Labs. IFP’s latest initiative, the Made in NY Media Center by IFP, is an incubator space developed with the Mayor’s Offi ce of Media and Entertainment, where storytellers from multiple disciplines, industries, and platforms can create, collaborate and connect.

Special DOK.Incubator off erThe project selected by the IFP, New York will have a chance to participate at the Independent Week in New York and have individual meetings with leading Northern American broadcasters, festival representatives, sales and distributors, but also other international fi lm professionals. The award covers accommodation and accreditation, however, doesn’t cover travel costs.

Contact:IFP30 John Street Brooklyn, NY 11201

Milton TabbotTel: (212) 465-8200 (212) 465-8200Fax: (212) [email protected]

14/15WORKSHOPAWARDS

Sound mixing in the value of 3.000 EURequals 3 days of fi nal mix with sound engineer in the sound studio

STUDIO VIRTUAL Complete sound services for fi lm, TV and radio. Studio Virtual® provides complete sound editing services for full-length features. From on-site recording, through dialog editing, ADR, foleys, special sound eff ects from our database, sound-designing to fi nal mix into DOLBY DIGITAL Surround EX, etc. More than 120 fi lms have been fi nalized in our Studio in the Dolby formats.

Special off er for the DOK.Incubator participants: SOUND POSTPRODUCTION PACKAGE3 DAYS OF CLEANING and EDITING PRODUCTION SOUNDS2 DAYS OF SOUND DESIGNING--------------------------------------3.400 USD (3.000 EUR)

Contact:Pavel DvořákPhone: +420 257 312 525 Mob: +420 608 332 313e-mail: [email protected]

AMP, spol. s r.o. – STUDIO VIRTUALnám. 14. října 2150 00 Praha 5www.studio-virtual.cz

WORKSHOPAWARDS

VoD encoding including 5 subtitled versions in the value of 4.000 EUR

IPEDA Independent Pan European Digital Association

in cooperation with

Under the Milky Way aggregator for digital distribution on global VoD Platforms like iTunes, Google, Amazon, Netfl ix

UNDER THE MILKY WAY is a service company dedicated to the digital distribution of fi lms and audiovisual programs. Its main activity is to act as a content aggregator for several Video on Demand (VoD) platforms (iTunes, Sony, Google…). Besides, the company also develops WAVEBACK, an online Social Media Marketing tool for fi lm industry professionals, and is also involved in the IPEDA association.

Contact:Vincent Lucassen Under The Milky Way+43 664 212 4995 www.underthemilkyway.com

18/19TEAM

Andrea Prenghyová /CZ/Head of ProductionJindřich Kavina /CZ/

DOK.INCUBATOR

Graduated in journalism at Charles University and in documentary direction at FAMU. She has been working as a reporter for the Refl ex magazine, shooting and producing documentary fi lms for the Czech Television as well as for private broadcasters. In 2001 she stood at the birth of the Institute of Documentary Film, which under her 10 years leading developed into the biggest NGO supporting documentary fi lms in the Eastern European countries. From 2003 to 2007, she was a member of EDN Executive Committee. In 2006 and 2007, she joined a working group creating the proposal of the new Czech cinema law, in the years 2007 and 2008 she participated at creating of Audiovisual Training Coalition. Since the year 2011 she is free lance working as lecturer (FAMU, University of New York) director, producer and expert. With DOKLeipzig she started DOK.Incubator training project focused on new tools in documentary marketing and distribution.

Mail [email protected]. /CZ/ + 420 777 823 111

Head of ProgramJindra is currently fi nishing his studies at Tomáš Baťa University in Zlín majoring in production – he already produced several short student fi lms there. He started his career and found his passion for production at the Jihlava International Documentary Film Festival – during 9 years he held several positions within the production team (during last years assistant of production and head of volunteers). He also worked in production of several other fi lm events such as CINEMA Mundi festival or the student fi lm festival REC fest, where he held the position of Program Director and Executive Director.


Program ManagerTereza was graduated at the Film Faculty of Academy of Performing Arts in Prague and works as a documentary director, journalist and translator from Italian. Author of fi ve documentary projects – e.g. Grandmap, or Double life of Saint Vit, awarded on the international festival of science documentaries AFO in 2006. Since 2003 she’s a member of a non-profi t organization TRK, aiming to reconstruct a Czech-German cross border communication and creative activities among teenagers. As a journalist and fi lmmaker she deals with gender issues, social, political and historical context of the daily life and cultural identity of a nation.

Mail [email protected].: /CZ/ + 420 608 982 420

Tereza �imíková /CZ/

From 1999 to 2007, Sylvia worked in the Department of Media and Audiovision of the Ministry of Culture of Slovakia. Since 2007 she works at the Slovak Film and Television Academy as Executive Secretary.

Mail [email protected]. /SK/ +421 907 536 600

ProductionSylvia Dydňanská /SK/

After attending the University of Economics in Prague Hana had worked in many diff erent business areas until she decided to pursue a fi lm career with focus on documentaries. Since 2008 she has worked as freelance translator as well as journalist reporting from major fi lm festivals and cultural events in the Czech Republic for the leading Prague-based media in English including The Prague Post or Prague Daily Monitor. During three years she lead the program department of the Jihlava International Documentary Film Festival and helped develop creative documentaries as part of Creative Group for Social Aff airs and Documentaries in Czech Televison for nearly two years.


Consultation/Observer coordinatorHana Gomoláková /CZ/

20/21TEAM

Tomáš successfully fi nished the Film school in Zlín. During his studies he cooperated on about twenty fi lms and now he continues his education at Hradec Králové University, studying informatics and new technologies. He works in company 3heads, developing technical equipment for recording sport matches.

Mail [email protected] Tel. /CZ/ + 420 605 012 276

Peter was born in 1988. He is a fi fth-year student at the Film and Television Faculty of The Academy of Performing Arts in Bratislava. During his studies, he has worked on several festivals and workshops as a technician. He has cooperated as an editing assistant on a few documentaries, e.g. Velvet Terrorists of Peter Kerekes. Peter has cooperated as a fi lm editor in the feature fi lm dé but of Iveta Grofova, Made in Ash. Last year, he was a member of the student jury on IFF Bratislava.

Mail: [email protected]. /SK/ +421904820935

Technical Support

Technical Support

Tomá� Kraus /CZ/

Peter Morávek /SK/

Myrtille was born in 1995 in France. She studied at the SSLMIT (School of Modern Languages for Interpreters and Translators) of the University of Trieste in Italy. She is currently studying Intercultural Communication and Management at ISIT in Paris.

Mail: [email protected]. /CZ/ +420 775 500 722

Workshop AssistantMyrtille Mamelle-Perrot /FR/

TEAM

Tereza Ritterová (born in 1988) graduated from Multimedia and language culture at UHK (2012) – she also completed the program Animation as a learning tool (VIA university, Viborg, Denmark). She has been continued in Film and Theatre Studies at Palacký University in Olomouc. During this study she worked as an intern at the postproduction company Films at 59, the production company Tigress production (both based in Bristol, GB) and for the event East Doc Platform in Prague, where she has been assisting since then. She also worked for local international festival (One world in Mladá Boleslav, Jihlava International Documentary Film Festival, PAF – Festival of Animation Film, AFO – Academia Film Olomouc).


Program AssistantTereza Ritterová /CZ/

Last year Petra graduated in English and Portuguese – translation and interpreting at Comenius University in Bratislava. At present she continues her studies in mission and charity work. For many yeas she has been a volunteer interpreter for NGOs oriented on human development and participates in organizing conferences, seminars and meetings focused on communication, building human relationships and accompanying in life crisis as well as on its prevention and intervention.

Meeting CoordinatorPetra Ko�tová /SK/

22/23

François Sculier /FR/EditorFrancois Sculier lives in Paris, but he loves to leave Paris to travel elsewhere. His directorial work as well as his work as an editor have led him to Greece, to Iran, to Burkina Faso, to Morocco, and to Russia.Before directing movies, this self-taught fi lm-maker began his career with the editing of many short fi lms in the 80's. A fortuitous meeting with Joris Ivens and a collaboration with Jean-Daniel Pollet were decisive. Since then he directed short narrative fi lms but especially documentary fi lms that were screened in many festivals. He has been an editing trainer at the Femis, Lussas and Cinédoc. He wishes to pursue and maintain a balance between these three aspects of his work, directing, editing and training.

Sigrid Dyekjær /DK/Producer /Danish Documentary/Sigrid Dyekjær has worked as a producer on both feature fi lms and documentary fi lmssince 2000. She was the producer of ”The Monastery”, winner of the JorisIvens Award at IDFA in 2006, and nominated for a European Film Award and several other Awards. Sigrid Dyekjær is one of the most experienced producers in Denmark both when it comes to national documentary fi lms, but also international documentary fi lms in fi nancing, producing and creative consulting on fi lms. In her spare time she teaches at the National Film School of Denmark, as well as doing master classes and lectures at fi lm schools around the world and courses in documentary fi lmmaking like “Bridging the Gab”, and pitch sessions around the world. She is educated in dramaturgy from the University in Århus, and has been a part owner of the production company Tju –Bang Film before she became part owner of Danish Documentary Production.

TUTORSTUTORS

Per K. Kirkegaard /DK/EditorPer is one of the most established editors in the Danish fi lm industry. He edited numerous critically acclaimed documentaries and features, among them, Accused, awarded with the European Film Academy Discovery Prix Fassbinder. His latest merits include fi lms like Armadillo, for which he awarded an Emmy for best editing of a long format documentary; TPBAFK: The Pirate Bay Away From Keyboard, recently selected for the Berlin Film Festival; The Sound of a Revolution, a Greenlandic documentary, premiered at this year's CPH:DOX; and Chuck Norris VS Communism, selected for this year's Sundance Film Festival World Cinema Documentary competition.

Yael Bitton /CH/EditorYael has been working extensively as a fi lm editor since 2000, for both cinema and television. She has been editing in the USA, France, and Switzerland, cutting mostly documentaries and experimental fi lms; her fi lms have been shown in festivals worldwide, and won numerous prizes. Yael currently works a lot with young fi lmmakers, accompanying them in their creative process. She currently tutors students at the HEAD in Geneva. In the past she has also participated at Greenhouse, tutored at FEMIS, CINEDOC, at New York University, DCTV, and has taught fi lm-making in psychiatric hospitals.

Anne Fabini /DE/EditorAnne is a successful editor of both documentary and fi ction fi lm. MORE THAN HONEY, an international co-production directed by Markus Imhoof, won the most prestigious national awards for documentary in Germany, Switzerland and Austria respectively. Her fi lms HOUSTON (2013) by Bastian Günther and RETURN TO HOMS by Talal Derki premiered at Sundance Film Festival, with RETURN TO HOMS winning the World Documentary Grand Jury Award in 2014. BEYOND PUNISHMENT a recent collaboration with Hubertus Siegert, is winner of the Max Ophüls Prize Best Documentary 2015. Her work has been nominated several times for Best Film Editing at the German Film Award (2009- BERLIN CALLING , 2013- MORE THAN HONEY , 2014- HOUSTON). In February 2014 she was awarded the German Film Critics Award for Best Editing for HOUSTON.

Claas Danielsen /DE/Filmmaker & festival and script consultantAfter working as a journalist and getting practical training in fi lm production companies he studied documentary directing at the Munich Film Academy. He made seven documentaries of which several did an extensive festival tour, won international awards and were sold to European broadcasters. In 2000 he became Head of Studies of Discovery Campus, an internationally highly respected training initiative for documentary professionals and up-and-coming talents who want to enter the international non-fi ction market. In April 2004 Claas Danielsen was appointed Artistic and Managing Director of the International Leipzig Festival for Documentary and Animated Films, the biggest German and one of the leading documentary festivals worldwide, which he has developed into an important meeting place of the international non-fi ction industry.

24/25 TUTORS

Peter Jäger /AT/Sales consultant /AUTLOOK Filmsales GmbH/Born in Belgium, studied law and philosophy; was a fi lmmagazine ‘Commercial & Marketing Director’ and a ‘Marketing & Acquisitions Consultant’ for several major independent fi lm distributors and fi lm exhibitors. In 2005, together with Austrian producers founded and became CEO of Autlook Filmsales. Peter is a distribution panel member of MEDIA Programme and an expert-panellist for several major Festivals as well as a jurymember of the Vienna and Flemish Filmfund, regularly invited as guest-lecturer on ‘International Distribution & Marketing’ to Film academies & National Film Institutes.

Philippa Kowarsky /IL/Sales agent /Cinephil/Philippa Kowarsky graduated with an M.A. in Communication Policy Studies, at City University of London. From 1993 she has been working in the Film & TV industry in various fi elds such as production, development and sales. In 1997 Philippa established Cinephil, a sales and co-productions company home to independent international productions, strategizing, marketing, distributing and selling documentaries worldwide. Cinephil also acts as a co-producer and executive producer, raising fi nance for fi lms and following through projects to their completion. In 2014 THE ACT OF KILLING represented by Cinephil was nominated for the Academy Awards©. In 2013 Philippa was nominated for the Academy Awards as THE GATEKEEPERS producer.

TUTORS

Anaïs Clanet /FR/Sales agent /Wide House/Anaïs Clanet has been involved with cinema industry since 2005, working for the website www.allocine.com, where she conducted interviews and covered press screenings to supply the database with updates for documentary titles such as The Kid Stays in the Picture. Anaïs pursued her master studies in History and Audiovisual Theory. In 2006, she started an internship at Wide Management and took care of the international sales of the documentary catalogue. In 2007, she became Head of Sales and Acquisitions and took care of the fi ction sales department as well. Anaïs Clanet and Loïc Magneron later opened Wide House, an independent documentary organization focused on documentary sales.

Freddy Neumann /DK/Publicist / Neumann PR & Communication/Freddy has 25 years of experience with media consulting and strategic handling of image for companies, individuals and products. The last 15 years specializing in the Danish and international movie industry based in self-owned company. His focus area includes daily execution of press strategy with the responsibility of creating, maintaining and evauluating the client's positioning in the media landscape. He has developed and eff ectuated campaigns and strategies for numerous documentary and fi ction fi lms, which has succeded in moving the message of the fi lm from the screen of the Cinema and TV to the agenda of the media.

26/27GUESTS

Marek Loskot /CZ/Researcher /State Cinematography Fund/After the theory and history of the fi lm and audiovisual culture studies at Masaryk University, Marek has become the chairman of the international student jury on 46th, 47th and 48th year of International Competitive Festival of short fi ction fi lm Brno Sixteen, TIC Brno, 2005–2007. He has been working as the programmer of the student festival Zlinský pes – International Film Festival for Children and Youth and became the Art director of International Competitive Festival of short fi ction fi lm Brno Sixteen in 2011. In 2014, the former coordinator of the European project FIND, at Masaryk University has become the researcher at State cinematography fund, Czech Republic.

GUESTS

Eva Rybková /CZ/Senior programmer /One World HRFF/Eva Rybková is programmer at One World International Human Rights Documentary Film Festival where she in charge of festival programming and is member of the Final Film Selection Committee. She is also in charge of the social impact festival activities. Previously she worked as journalist and TV producer for local as well as international media outlets in Prague, Czech Republic and New York, USA. She has academic background in human rights and international aff airs and before joining One World she worked for NGO focusing human rights and democracy promotion.

Joost Daamen /NL/Senior programmer /IDFA/Joost Daamen / Senior Programmer, IDFA, Netherlands Over the past twenty seven years, IDFA has become one of the world’s leading documentary fi lm festivals, screening up to 300 documentaries to an audience of over 250.000. IDFA is more than just a screening location for creative documentaries – it is also a place for fi lmmakers to meet each other and to come in contact with independent producers, buyers and potential fi nanciers. Includes two markets – Docs for Sale (online), a market backed up by an extensive database and catalogue, and the FORUM, Europe's largest pitching FORUM and gathering of commissioning editors and independent producers. IDFA Bertha Fund, formerly known as the Jan Vrijman Fund, supports documentary fi lmmakers and festivals in developing countries. IDFA 2015 takes place from 18-29 November.

Tor Vadseth /NO/CEO /Nordnorsk Filmsenter/Tor is the CEO of Nordnorsk Filmsenter, an independent regional centre for short and documentary fi lms supported by the three counties in North Norway (Nordland, Troms and Finnmark) and the host municipality, Tromso. The main goal of the fi lm centre is to support fi lm makers in the region through our production grants and to assist and develop the fi lm industry in northern Norway.

Lars Meyer /DE/Senior programmer /DOK Leipzig/Lars Meyer, born in 1974 in Bremen, studied German Literature, Theatre Studies and Journalism in Berlin and attended the script writing academy in Munich. From 2001 to 2002 he managed the cinema in the Schaubühne Lindenfels Leipzig. Since then he has worked as a freelance radio journalist and fi lm critic, especially for MDR Figaro, and as employee for fi lm festivals. From 2005-2011 he has coordinated the international "Animation Exchange Forum“ for the Filmfest Dresden. Since fi ve years he is member of the selection committee at DOK Leipzig. He also works for the festival as a programmer.

Martin Horyna /CZ/Senior programmer /Karlovy Vary IFF/Martin Horyna is a member of Program Department at Karlovy Vary IFF since 2011. At present, he is in charge of documentary fi lms and administrates the festival video library. His previous experience as a fi lm journalist and critic includes working for iNDiEFiLM.cz, a Czech website specialized in independent and auteur cinema, which he co-founded in 2009.

28/29

Jarmila Outratová /CZ/Head of Industry /Jihlava IDFF/Jarmila Outratová started her career as an acquisition and programme manager for HBO/Supermax kids channel. After couple of years working for a distribution company she decided to set up her own business focused on music production and international distribution of documentary fi lms. Since 2013 she has worked as the Head of Industry Offi ce at Jihlava IDFF organizing for example the project named Emerging Producers.

Viera Langerova /SK/Slovak Audiovisual FundViera Langerova is a fi lm journalist, with a graduate degree in Film and Theatre Studies and a postgraduate degree in Cultural Studies and Intercultural Communication from Charles University, Prague. She is a consultant of various fi lm festivals, a curator and a lecturer in Asian Cinema at the Film and TV School of the Academy of Performing Arts in Prague.

Vladimír �tric /SK/CEO /Creative Europe Desk/Vladimir Štric is a Slovak fi lm director. After his degree in fi lm and TV directing at FAMU in Prague in 1980, he worked as an assistant director .in Bratislava Slovak fi lms Since 2006, he is the artistic director of the International Film Festival Cinematik in Piestany.

GUESTS GUESTS

Michal Kondrla /CZ/Trailer editorGraduated in fi lm editing from The Academy of Performing Arts in Bratislava, where he participated as an editor on various awarded documentary and fi ction shorts. Since fi nishing his postgraduate studies of fi lm art and multimedia at VŠMU Bratislava in 2015, he continues teaching at the editing department. As an assistant lecturer he helps co-organizing international workshop for editors, European Editing Masterclass. He works as a freelance editor of both documentary and fi ction fi lm. His recent work includes editing of documentaries All My Children, Okhwan-Mission Impossible. Nowadays he’s working as director on development of the documentary about visionary Štefan Klein and his fl ying car - Reach the sky (participant of Ex Oriente Film 2015).

Vincent Lucassen /NL/VOD distributor /Under the Milky Way/Vincent Lucassen was born in the Netherlands. He studied sociology at the University of Wageningen and worked as a lobbyist in Brussels. After fi nishing his study at the Media Academy in Hilversum he moved to Vienna where he set up the production company WILDart FILM, together with Ebba Sinzinger. In 2001 he co-founded dok.at, the Association for the Austrian Documentary Film, in 2004 he created DocuZone Austria – a collaboration between right holders to promote fi lms in the age of digital. DocuZone was part of the world’s fi rst international digital cinema network: CinemaNet Europe. In 2011, Vincent became part of Under the Milky Way and is fi lm aggregator for Germany, Poland, Austria, Switzerland, Hungary, Bulgaria, Romania, Czech Republic, Slovenia, Slovakia, the Baltics and Turkey.

Peter Kerekes /SK/Director, Producer and LecturerPeter studied fi lm directing at the Academy of Performing Arts (VŠMU) in Bratislava in the years 1991 – 1998. He ended up teaching the same subject at the same institution, where he founded the feature and documentary fi lm studio together with Dušan Hanáko. He fell for documentary storytelling ever since his fi rst documentary about Slovakian poet Erik Groch. His feature documentary Cooking History (produced by Austrian director and producer Georg Misch) was awarded at many international festivals, such as Hot Docs and DOK Leipzig, and even nominated for the renowned Prix Arte 2009 European Film Award. His latest fi lm Velvet Terrorists also off ers a somewhat diff erent view on history. It tells a story of three men who made an attempt at crushing the communist regime in Czechoslovakia, with varying success. Based on the idea that what marks one political system as terrorism, another will justify, the fi lm also looks at how the discourse on terrorism changes with the political context.

30/31 OBSERVERS

Lucia Ka�ová /SK/Lucia studied fi lm production, worked for various TV’s in Slovakia as a producer.She did a documentary directing course at NFTS, London and fi lmed her fi rstmovie with co-production from Slovak TV, which she fi lmed, edited and produced. Currently Lucia is studying documentary directing at VSMU Bratislava and working on a script for her fi rst feature-length documentary-working on a script for her fi rst feature-length.

Nele Jeromin /DE/Nele Jeromin was born in 1985 in the Ruhr area and lived in Oberhausen till 2006. Then she moved to Hildesheim (Lower Saxony) to study "Scenic Arts". 2012 she fi nished and started to study “Media Art” with focus on directing at the Academy of Media Arts in Cologne. There she discovered in addition to her already existing passion for documentaries her interest in directing fi ctional fi lm. During her study she works as a freelance media educator and editor.

Małgorzata Wabińska /PL/She’s graduated from Film Production at National Film School in Łódź and Programme for Creative Producers at Wajda School. She also studied Econometrics at the Economic and Sociological Department, at Univeristy of Łódź. She participated in documentary workshop conducted by Leszek Dawid and Iwona Siekierzyńska (nominated for students‘ Oscar). She was production manager of short fi ction “Dragonfl ies” which was presented in the short competition during Venice International Film Festival in 2007. She collaborated with National Film School as a production manger, SBS Public Relations Agency and Media Factory in Łódź as a budgeting specialist and producer. From 2008 she was responsible for DOLBY sound mixes coordination and marketing. She was also manager and one of the idea given of project about history of the fi rst postwar Fiction Film Factory in Poland (in Lodz). It was cross-media project, supported by Polish Film Institute and Lodz Film Comission. In 2013 she established her own production company, Entertain Studio. The fi rm is focused on creative documentaries. The company is a member of Polish Audiovisual Producers Chamber.

OBSERVERS

Mieneke Kramer /NL/Mieneke Kramer graduated the Dutch Film and Television School in 2012. One graduation fi lm, Magnesium, got selected at Sundance. After graduating in 2012 Mieneke starts to work as a freelance editor. Her fi rst job is an assisstant editor job at the Steve McQueen movie 12 Years A Slave. In the three years after that she cut several short drama’s, two long documentaries and is now working on two more. In spring of 2015 her fi rst feature ‘Prince’, of director Sam de Jong, is released in the Netherlands. Prince opened at the Berlinale and will also be in American cinema’s August 2015.

Carlotta Kittel /DE/Carlotta Kittel graduated from the fi lm school "Konrad Wolf" in Potsdam-Babelsberg in 2013. During studies she spent a year abroad at the Polish fi lm school PWSFTviT in Łódź. For several years, Carlotta has worked as a freelance fi lm editor, editing assistant and editing consultant for both documentary and fi ction fi lms. She also started a 2-year postgraduate "Meisterschülerstudium" at Filmuniversität Babelsberg, in which she develops, directs and edits a feature documentary fi lm. Her fi lms were screened and have won awards at numerous festivals. Carlotta is a member of Bundesverband Filmschnitt Editor e.V., the German Editor´s Association.

Maria Krauss /PL/She graduated in history at Warsaw University, In 2007 started to work with fi lm producer Ozumi Films. In 2012 together with fi lm producer Joanna Plesnar founded a production company Plesnar & Krauss FILMS. Worked on such a titles: “Secret Sharer” dir. Peter Fudakowski; “Salt” dir Maria Lloyd; “Nous Filmos Le Peuple” dir Ania Szczepanska; “Bloody Daughter” dir. Stephanie Argerich; “The Dead and the living” dir. Barbara Albert; “An Enemy to Die For” dir. Peter Dalle; “The Art of Chopin dir. Gerald Caillat; „At the Edge of Russia” dir. Michał Marczak. She has wide experience in international co-productions.

32/33STUDENTS

Martin Vronsky /SK/Martin Vronsky is currently student of documentary fi lmmaking at Peters Kerekeš atelier. His bachelor studies were done in Banská Bystrica so he is taking slightly diff erent approach at VŠMU. Currently he is focusing on documentaries based on strong sociohistorical context with overlap to present time. Martin is working on his fi nal student movie of magister degree where the main subjects are anti-regime computer games created during late 80s in Czechoslovakia.

Jana Durajová /SK/After years spent by focusing on advertising, Jana has decided to switch for her aff ection to documentary fi lms and photography. She is currently fi nishing her Masters degree at the Documentary department of the Film and Television Faculty at the Academy of Performing Arts in Bratislava.

Ivana Hucíková /CZ/Ivana has just recently graduated from the Academy of Performing Arts in Bratislava in documentary directing. For her fi nal school short fi lm she chose to make a very intimate and gentle portrait of a family, which consists of only women - 4 generations of mothers and daughters sharing not only one big house together, but some life similarities as well. Ivana has recently been working on fi nding themes for her debut fi lm.

Dorota Vlnová /SK/Dorota Vlnová lives in several places around Slovakia, where she also gets inspiration for her fi lms and stories. She fi rst studied fi lm theory at the Film and Television Faculty at the Bratislava Academy of Performing arts but later switched to documentary fi lm. Now she's working on a movie about a place, where people lost the reason to live and had to fi nd substitutions to chase away misery (as there are many lokations like this in Slovakia). She's preparing to spend one semester at Falmouth University College.

STUDENTS

LISTOFPROJECTS

36/37

CHEER UP

Fine Cut: In September 2015Film Release: November 2015

Approximated Length of the Current Cut: 72 min

Planned Length of the Cut: 70-85 min and 52 min

Status of the Film: We are currently in the editing phase of the fi lm and hope to lock the picture after the next workshop, which in August 2015 or at the workshop.

We are waiting for replies from Media Fund in Canada and Broadcaster in Denmark. After that the fi nancing is in place.

Urgent Problem/Needs:

Financing Plan for the Whole Film:

The edit. We need to focus on that to get the fi lm on the right track. The editor is on paternity leave until beginning

of August so we will resume editing then. That is the biggest concern.

Confi rmed:Media development support 25 000 €YLE 38 000 €Finnish fi lm foundation 165 000 €AVEK (fi nland) 30 000 €Finnish Church Media fund 10 000 €Rovaniemi City (Finland) 10 000 €Super Channel (Canada) 35 000€ (50 000CAD)Hot Docs completion fund 42 000€ (60 000 CAD)

Applied for:Canadian Media FundDR (Denmark)DFI (Denmark)

Miia, the soft-hearted but ambitious coach of Finland’s worst competitive cheerleading team, is sick of losing. So she takes a dream trip to the motherland, Texas, where she’s inspired by the American mindset and focus of the world’s best cheerleaders. Returning to Finland a tougher coach with a take-no-prisoners approach, she pushes her girls to the breaking point… but is that what the team really wants? Is that what Miia really wants?

For Aino and Patricia, the team is the least of their concerns as they fi ght more important battles in their teenage lives. For them cheerleading is a comfort, a stepping stone along the path of life, but for Miia, it’s all she thinks she has, until life steps in and surprises her.

Cheer Up is a tender, heartwarming, entertaining documentary that explores the pressure on young women to be the best, while trying to fi gure out who they are, love themselves and defi ne what success means, on their own terms.

38/39 TEAM

EDITOR: Thor OchsnerThor Ochsner was born in Copenhagen, and raised in Luxembourg. He graduated both from European Film College and the National Film School Denmark with a focus on editing.In 2011 he directed, edited and animated "1989", a short fi lm that premiered at Sundance, Rotterdam and Krakow.Now Thor edits documentaries at Danish Documentary and DR (Danish Radio)Recent work includes (with Kasper Leick, A Klipper) The Newsroom – Off the Record, dir. Mikala Krogh/prod.Sigrid Dykjær/Danish Documentary

PRODUCER: Liisa JuntunenLiisa Juntunen established napafi lms ltd in 2009. She has produced documentaries and has currently in production feature documentary fi lms such as Ice Queens (Christy Garland, Canada) and Grey Violet (Reetta Aalto, Finland). Napafi lms produced fi rst short fi ction fi lm in 2015 – Mother. Several of the production were international coproductions such as DoxWise Finland 2012, with all 5 Nordic countries (Finland, Denmark, Sweden, Norway, Iceland), Mother with Croatia and Ice Queens with Canada.

DIRECTOR: Christy GarlandChristy's fi lms unearth compelling, intimate stories using a style that combines observational documentary with fi ctional narrative technique. From 2010-2011, Christy took part in the Binger Film Lab in Amsterdam. Award-winning THE BASTARD SINGS THE SWEETEST SONG premiered on CBC Documentary and DR2 Denmark, look for it on Netfl ix. It was recently featured in the European Documentary Network DOX magazine.napafi lms ltd.

PRODUCTION COMPANY

Napafi lms oy was established in 2009 by Liisa Juntunen. Napafi lms has produced several short documentaries and has currently in production a couple of feature documentary fi lms such as Cheer The F**k Up (by Christy Garland, Canada) and Grey Violet (by Reetta Aalto, Finland). Napafi lms produced fi rst short fi ction fi lm in 2014 called Mother, directed by Otto Kylmälä. Majority of

the projects of the company have been or are international coproductions such as DoxWise Finland, 2012, between all fi ve Nordic countries (Finland, Denmark, Sweden, Norway, Iceland), Mother with Croatia and Cheer The F**k UP with Canada. Currently napafi lms is developing along with documentary fi lms also a short and a feature length fi ction fi lms.

40/41

Social Media Strategy:With social media the building awareness depends entirely what is to be done in each country. If a theatrical distribution is to be done then possibly a local FB site is best to create. If there are TV sales for each country the emphasis is on the VOD sales, which can be done globally and co-ordinated from one site and page. In that case the FB campaigns for women fi tting in our target group will be created. Release not only offi cial trailer but 1-5 short clips, which can be spread in social media (Instagram, FB) freely. The marketing can be done for VOD as “watch with your family” and marketed on adult women sports

groups, therapist groups and of course cheerleading related groups. Global bought campaigns are expensive, so it has to be carefully selected where to buy a campaign, otherwise it has to be relied on earned visibility: people sharing and talking about it for us.After a while from the release short up-dates from the main characters can be published (if they agree) to give a sense of follow up. This might help with possible DVD sales, which would follow later on if people want to buy the DVD as a present and so forth.

PR Opportunities / Story Angles / Press Strategy:In countries where cheerleading is recognized as a sport the local big cheerleading competitions can be taken advantage of. Eg. National championships usually come across in news and there for people are more aware of the sport at the time. Although as this is not an actual “sports”

fi lm this visibility is used as bringing across the message of the fi lm: cheerleaders who don’t care about winning or loosing. These competitions can be used for marketing the fi lm to the cheerleaders, but to have visibility in the competitions an approval of the organisers is needed.

Success Criteria:Success comes from as many viewers as possible in diff erent countries.

In this case it can be from TV and VOD sales. Festivals determine the success for the fi lm makers.

Key values* worst cheerleading team* sexy=entertaining, serious (we can not use the word sexy

in marketing)*comedy

* exoticness of the arctic circle. But wether it should be addressed as arctic circle or Finland is still unsure.

FILM MARKETING

Relevant PR Partners: None yet

Marketing and Distribution Co-Partners:

Documentary, sport, human interest

Core Audience:Women 30+Parents of teenage daughters. mothers of cheerleaders.Former/current cheerleaders WorldwideParents (mothers) are great consumers of family products and any kind of support groups/sports/services that can help them to keep going in the everyday life. They have friends, therapist, sport groups and are sharing experiences generously to each other. It is important to get the right kind of message to be spread from mouth to mouth to make them understand that them but also their

teenage daughters will get something substantial out of the fi lm. The message has to be credible in the eyes of teenagers as well or they will not go to movies with their moms. Parents spend time online, but also consume magazines, watch movies in theatres if they can go there together with friends of family to make it more special. Alternatively they use VOD.Teenagers won’t go to cinemas to watch a documentary, but will watch it online. Possible several times to share the experience with their friends too.

Potential Ambassadors:Ambassadors can be celebrity mothers, who are former sports women or have a strong sports background. Can be cheerleading associations (but this is rather unlikely as they have very conservative values, in which our fi lm might not fi t). Sportswomen, who have no family yet,

but are 30 + can be ambassadors as well. This kind of ambassadors would be important for the teenagers. They can’t relate to mother-ambassadors, but to someone closer to them.

Positioning:Suggestions:– This is the funny fi lm about girls who try to do hard

sports and have some rough shit to go through.– It’s the funny fi lm about the cheerleaders who try to get

better at their sport.

– It’s the fi lm about the cheerleaders, who can’t win, but it doesn’t matter.

None yet

Film Genre and Sub-Genre:

Marketing Elements: The visuals will have the juxtaposition of cheerleader girls, who are not perfect. They can slip or do a mistake

in a photo. Or they can look sad/ serious, while being a cheerleader.

Facebook page: www.facebook.com/cheerthefup

Twitter and other pages: INSTAGRAM – CHEERUP

Film website: TBA

Publicist / PR-Agent: none yet

42/43

What is your biggest challenge for your film’s launch/release? Internationally:The TV/digita release date. How much time we can get time from the YLE the broadcasters is still unsure.

What Kind of Distribution you Want to Go for and Why you See the Potential? – Festivals, this is “easy to sell” festival fi lm for getting

audiences, there are light and sexy elements with serious back stories.

This will be done with the help of our sales agent.– TV, to reach wider audiences the fi lm appeals ALSO to

youth audiences. Entertaining, but has serious back stories. With Sales Agent.

– VOD, For the audiences engaged to the subject matter. Cheerleaders will watch it from here and friends

together especially if someone has already seen or heard something about it. Parents will watch it with their teenagers at home. This can be ran by ourselves, but we need to make sure when and with which countries we can do it.

– USA is a market we don’t have a clear plan for yet. The market there can be big, but fi nding the right partners is a big task. This needs to be discussed with sales agent as well.

Intended Festivals / Markets: Please see distribution strategy.

Intended Presales/Sales: Scandinavian countries, Eastern Europe, China, South Korea, Japan, Taiwan, UK, USABefore mentioned are countries where Cheerleading is

“big” and they are competing successfully in international level.

DISTRIBUTION

Distribution Format: DCP and other formats which requested/ recommended by Sales Agent

Pre-Sales Done:

Not yet attached, but we would like to get into negotiations as soon as possible. We have received interest

from several sales agents during the production, though. First look deal with Autlook Sales.

What are the Primary Drivers for Releasing Your Film?1. Career launch2. To get women/girls to see the fi lm and feel happier in

their own lives

3. But oh boy, we would like to get paid too. So Money is one motive for sure.

Launch of the Film

International / Local Distribution Strategy:

Finland, Canada

Sales Agent:

International:Festivals from November 2015 onwards if fi lm is done by then. The launch of the fi lm would be either at: IDFA 2015 (fi lm is submitted), Rotterdam 2016 (submission DL 15th October), Berlin 2016 Sundance 2016 (offi cial submission DL 31st August, late submission 28th September)Sundance and IDFA are screening fi lms NOW, need to contact Sundance programmers soon.If none of above mentioned succee the Plan B is: Tribeca 2016, South by South West 2016.

Plan C is to launch at Hot Docs 2016 (this will be decided in November if nothing else has worked out wether to submit or not)Vision du Reel is not a right festival for this fi lm to launch.

National:Theatrical release autumn 2016, depends on festival launch and YLE. I would prefer in early September 2016 after the school brake. DocPoint festival 2016 in Helsinki (January) can only be possible if international premiere has been before or is at other festival simultaneously. Other wise it has to wait until 2017.

We will aim for as wide festival circuit as possible and that’s why to aim for A-festivals in the beginning. Success at Festivals will give us, the fi lmmakers, the professional acknowledgment, which we wish to get. Also it will help with all the prizes and reviews with the VOD launch.We do not aim for theatrical releases as such. Teens pirate a lot, so not any kind of release on TV or Digital anywhere has to be on a global date. Also festivals don’t take fi lms, which have been aired on TV anywhere because of the piracy. Finland/ YLE are under negotiation about the release date, Canada and Superchannel have realease date fi xed on 1st of January, 2017.If we launch the fi lm accordjng to Plan A, we would need

ideally a year before the TV/Digital release. IF we launch according to plan B or C the festival circuit will be smaller/shorter. Ideally the TV/digital would not be until late autumn/ winter 2016. Same goes for theatrical release in Finland and Canada.

VOD release date will be the same as Broadcast release date. Ideally soon after festivals, but not too soon to cut it short. The word of mouth might still be circulating it should be taken advantage of with the VOD realeas. Especially younger audiences don’t like “old” releases. With mature audiences it can be more fl exible, but as we want them BOTH to watch it sooner is better than later.

What Are Your Biggest Distribution Concerns?With whom to do VOD distribution? What are the pros and cons with diff erent companies providing VOD services?USA is a big question mark at the moment. There can be huge potential for the fi lm (even though it is in Finnish),

but needs careful planning and the right partners. Should we handle the USA distribution separately and exclude it from the general Sales Agent deal and fi nd a local partner for the US distribution?

44/45 SWOT ANALYSIS

Strengths Production: We have all the material to make an excellent and sellable fi lm.

Marketing: Entertaining, appealing subject matter.

Distribution:

Weaknesses Production: No name producer and director.

Marketing: No name producer and director.

Distribution: No previous fi lms at A festivals by the fi lm makers.

Opportunities Production:

Marketing: The whole cheerleading community (former cheerleaders included) to be “automatically” interested in the fi lm.

Distribution: Possible to enter to big festivals and get wide distribution.

Threats Production:

Marketing: Relying too much on the festival success.

Distribution: VOD distribution - challenging fi eld, fi lm won’t fi nd the audience.

TIME SCHEDULE FOR YOUR LAUNCH AND DISTRIBUTION

Activities /Distribution window

Goal / Core audience

Date /Period of Time

Festival launch Plan A Aiming for A-festivals. IDFA, Berlin, Sundance, Rotterdam

Nov 15 –Feb 16

Festival launch Plan B South by South West, Tribeca March 16 – April 16

Festival launch Plan C Hot Docs May 16

If plan A falls through:

TV/Digital release Global date for any public screenings, TV, VOD

September 16

If plan A doesn’t fall through the schedule is postponed according to it

OTHER COMMENTS:CHECKING CURRENTLY FOR OTHER CHEERLEADING DOCS!”This is the fi rst cinematic author driven documentary about cheerleaders.”*important to know for territories and marketing points

46/47 NOTESNOTES

48/49

DREAMING OF EUROPE

Fine Cut: September 1, 2015Film Release: January 1, 2015

Approximated Length of the Current Cut: 150 min.

Planned Length of the Cut: 58/90min.

Status of the Film: We are currently aiming for having a rough cut for the next workshop. We have engaged an assistant editor to help the editor, Rebekka with a few of the scenes. Meanwhile, the director, Michael is working on the structure.

We are in the process of fi nding out how to work best around the challenge that we need to cut a short version for TV (DR) and a long version for festivals. First priority is to get the long version ready for the festivals of the fall. Afterwards, the TV version will be fi nalized. We have applied for Nordic Panorama Forum.



It is a challenge to work on both versions almost simultaneously keeping the slightly diff erent target audiences in mind. As we are in danger of ruining our chances at festivals by having the TV version screened before possible festival screenings, we need to carefully manage our agreement with DR.

Second, our aim is to strengthen the fi lm’s international appeal. Especially the TV version risks being entangled in the harsh debate about immigration and borders currently

dominating the Danish media. If this happens before international festival screenings, we risk that the fi lm will be hijacked by our national media and the political agenda and used as a brick in a political game. If the TV-version gets its own life in this way before international launch, it might loose its international appeal. We are highly interested in receiving thoughts and ideas on how best to make the fi lm relevant and engage an international audience through media outlets, the title, tagline and posters, etc.

BUDGET: € 323.374FINANCED: € 275.168

Danish Film Institute: € 170.470Danish Broadcasting Corporation: € 104.698

Wasiullah is on the most important journey of his life. A journey through Europe in search of asylum and a home, and an inner journey, in search of an identity and life as an ordinary teenager.

‘Dreaming of Europe’ is a character-driven drama about the 15-year-old Wasiullah. He is one out of hundreds of unaccompanied refugee children who arrive in Denmark every year, struggling to get permission to stay, are rejected – and then disappear. Hidden from society’s view hundreds of children every year disappear into an unknown world of rejected asylum seekers. A world, that exists outside of rules and norms of Danish society. A world based on rumours and lies. A world, where you can only live one day to the other as you never know what tomorrow will bring. In ‘Dreaming of Europe’ we follow 15-year-old Wasiullah’s journey from the asylum centre in Jægerspris to life as an illegal refugee in the streets of Copenhagen. He invites us into a world that exists side by side of our ‘real’ society, but which only few of us know about. Wasiullahs story is harsh. However, even though he lives

a life on the dark side of Danish society, a life that many would consider hopeless, ‘Dreaming of Europe’ is – more than anything else – the story about a young man fi ghting a brave fi ght for an identity and a place to call home.In spite of the adversity he is experiencing, Wasiuallah is also just a teenager trying hard to create a life similar to the lives of other young people. A life full of friends, girlfriends, selfi es, Facebook-updates, silliness and pranks. Our ambition is to create a documentary that does not point fi ngers, but depicts the part of Denmark that we might know exists and even meet regularly, but never really notice. Our hope is that ‘Dreaming of Europe’ will arouse debate and international attention, and that it will serve as a starting point for a discussion about the true terms of Denmark’s allegedly unique and world famous welfare system.

50/51 TEAM

EDITOR: Rebekka JørgensenRebekka, Danish fi lm editor, graduated from the National Film School of Denmark in 2013. Since then she has worked with interactive documentary, factual TV, art fi lm and dokumentary. Especially documentary has court her interst; the dynamics of working with the unpredictable and fl uidity of the material.

PRODUCER: Lise SaxtrupProducer and CEO at KLASSEFILM, graduated from University of Copenhagen. Has produced a line of creative, award winning documentaries. As the ambition has grown with the company, she is also engaging in production of interactives and games. Apart from being the fi nancially responsible and head of fi nancing, she works as creative producer to content and distribution. She is currently taking a Diploma in Management, arts and culture.

DIRECTOR: Michael GraversenMichael is a graduate from the National Film and Television School in the UK. At the NFTS he found his voice within intimate and poetic fi lmmaking that deals with existential themes in complex emotional situations and environments. His fi lm “The Last Night Shift” earned him a nomination for the Liv&Død Prisen in his native Denmark and his portrait of a childrens asylum centre in Denmark, “No Man’s Land”, was selected for IDFA and 25+ international festivals winning prizes at Tehran, Hamburg and Beograd. Michael has a BA in Film, Media Studies and Psychology from Copenhagen University and before joining the NFTS he worked as a cultural journalist at the national broadcaster in Denmark (DR). Previously he directed the documentary “Toxic Ground” about pollution in his hometown, Grindsted. “Toxic Ground” aired on DR2 and was selected for CPH:DOX.

PRODUCER ASSISTANT: Sofi e RørdamSofi e Rørdam works with diff erent institutions, grassroots and storytellers focusing on the issues of human rights and the human spirit. Through promotion of conscious media and training on how to visualise information she hopes to encourage critical refl ection on our contemporary world. Sofi e has lived and worked in diff erent parts of Asia, most recently in India with the online documentary fi lm festival Culture Unplugged, a platform designed to bring voices from overlooked communities to the world’s attention providing a space for global citizens to exchange and explore social, cultural and political ideas. Sofi e holds a MA in visual culture studies and a BA in fi lm and media studies from the University of Copenhagen.

PRODUCTION COMPANY

Klassefi lm www.klassefi lm.dk

Metafi lmwww.metafi lm.dk

52/53FILM MARKETING

Relevant PR Partners: See below


Intimate portrait fi lmIdentity, youth culture, asylum, refugees, European politics, welfare system,

Core Audience:Families with young people. Especially this group will be targeted through the national TV screening as they often watch DR together as a family. DR often focuses on social and political relevant themes, but with the personal and human dimension in front. The fi lm will provide insight into a world unknown to most people and will generate discussion and can become a common point of reference to be discussed at school, work and among friends and family. It should provide refl ection on how we experience and act in our society and with the people around us. Youth. Young adults in high schools and universities. This is the group who can identify with Wasi and his coming-of-age issues and what he wish and expect in life as a young man. As a young person you will see the commonalities in Wasi and what you share with him, but

also how your own life, safe and sound in school and with a family to provide for and support you, is so drastically diff erent to Wasi’s. This should make young people refl ect on their own privilege and respect for others. Decision – and opinion makers like NGO’s, interest groups, academics and politicians. As a part of the launching strategy we would like to arrange special screenings for these groups to push a public debate and create interest for the fi lm. Do we as a society hold responsibility for the young refugees, the unaccompanied minors? While it is taken for granted that our welfare society care for and hold responsibility for providing the best possible conditions for a safe childhood, we almost close our eyes to the destinies of these young refugees as they are denied asylum and left on their own.

Safe the ChildrenRed CrossDanish Refugee Council

Anders Thomsen, Danish Broadcasting Corporation (DR)Olav Hergel, PolitikkenMichala Bendix, Director, Refugee’s Welcome


Potential Ambassadors:We have already initiated cooperation with NGO’s such as Safe the Children, Red Cross, Danish Refugee Council and we have a long list of relevant organisations that might

become relevant. However, we plan to carefully pick only a few of these larger, infl uential NGO’s who have strong youth sections and enjoy public trust and respect.

Facebook page: none yet

Twitter and other pages: none yet Film website: none yet


Positioning:We wish to position ourselves as a contribution to the debate about both the Danish and the European asylum and immigration policies and about the Danish welfare model. All are issues that most people will already have a strong sense of and clear opinion about. The fi lm does not provide an answer to what is ‘right, ‘wrong’ or ‘just’, but it prompts to refl ection and questioning of the Danish system and the parallel society that undeniable exists. How do all these dynamics co-relate? Can we close our eyes and deny the existence of ‘invisible’ groups just because they have an illegal basis? What roles do we as a society and as individuals hold and how do we act upon those? These are the kind of questions and thoughts we hope to evoke in people and hopefully add angles and nuances to whatever strong opinions and views they might have held beforehand. Furthermore, we wish to hold on to the youth-perspective in the story and Wasi’s journey, physically as well as mentally, from childhood to manhood. We aim to position the fi lm through this aspect as well, so that the audience will come with an expectation to explore the development of Wasi as a human being in all what

he going through during these important years in his young life. We would like the audience to refl ect on how your identity and self-image is formed and what it means when these years are spent in highly unstable environments where relations and surroundings are constantly changing – even nationality and language. You learn to expect that the world will let you down and you are on your own. However, even a teenager in a stable and safe environment can relate to the emotions and the struggles of defi ning who you are and what you stand for, of loneliness and being constantly misunderstood. Thus, the audience should also expect to fi nd a universal human story. Moreover, Wasi is a smart and good-looking young man with a remarkable life. We would like to emphasize this aspect so the especially the young audience also come to watch the fi lm with a fascination and slight excitement about his journey and person. And also expect to fi nd a young man that after all also just wants to be a teenager who play around with friends, listen to music, fl irt with girls and being exceedingly preoccupied with outer appearance.

Marketing Elements: This week, we have our second meeting with art director, Casper Heijkenskjold about the poster, main stills etc. We have discussed the focus of the promo art and work on an idea of a labyrinth of identity. We want to stress Wasi’s vulnerable identity in artefacts like passport,

identifi cation marks and numbers etc. All these identities Wasi has been forced to have or take and these therefore symbolises the feeling of not belonging and not being free to choose who you are and want to be.

54/55

PR Opportunities / Story Angles / Press Strategy:– Actuality and news value. Both in Denmark and all around Europe are the refugee crisis and the border policies pressing and much debated topics. We should take advantage of the fact that the issue receives a lot of media attention at present. However, we really would like to avoid being to entangled in a detailed and political motivated debate and instead push the statement that the issue is about responsibility. It is a collective responsibility as a society and as human beings to one another.

– The close relationship between Michael and Wasi is unique. We will highlight the intimate and personal portrait, which is off ered to the audience. They are invited to get an insight into a world that are hardly seen or captured. It is a rare opportunity to get close to a young man and his physical as well as mental journey and search.

– We want a prominent Danish journalist/opinion maker to write an essay in a leading newspaper possibly together with an interview with Michael. This will give us an opportunity to set the direction for the debate before the TV premiere, so the fi lm will not be abused in some political power game, but we can provide a context and position the fi lm beforehand.

– In Denmark and other European countries it is a fact that our labour market are in need of hands. Many industrial directors and leader points to this problem to

counter the harsh tone on immigration in the media. We would like the fi lm to be a contribution to this debate showing that many resourceful people are denied asylum. As a society we miss out on people who are very valuable, both in manpower and in spirit.

– The politicians tell us that we as a society do not have the resources to take care of all the asylum-seekers. But we will point to the fact that by closing our borders and leave these children and young adults behind, we actually throw away resources. These children are in many ways ‘gold’ for our society. They are exceptionally clever, strong and independent having made their way all through Europe, fought for survival and managed extreme diffi culties. They come with a strong will and determination to success in life, integrate and contribute to society. Wasi will not be presented as a victim, but instead as a resource and a fi ghter. - We would like the fi lm to question the statements by media and certain politicians that refugees and in this case especially the children – the unaccompanied minors – really are a serious problem and pose a threat to our welfare system. We will attempt to fi nd leading economists to back up this argument by the use of facts and numbers to show that the negative campaigns against asylum seekers are out of proportions. Hereby adding a human dimension to cold numbers, empty phrases and clichés.

FILM MARKETING

Success Criteria:

Your Unique Brand Value:

– The fi lm should have an international premiere at a prominent international festival and from there do long festival rounds.

– We are expecting 500.000 viewers for the TV premiere at DR.

– The fi lm should be shown at least on Swedish and Norwegian TV also.

– We will succeed in bringing the fi lm to both a national and international audience. We will set Denmark and its welfare system in an international perspective as well as bringing the international perspective to Denmark

making clear that it is impossible to separate the two ‘worlds’ and close in on yourself as a country. As societies in a global world we are highly interconnected.

– We will become a part of DR School’s initiative “On the Run” and we will prepare a campaign connected to DR’s website and social media sites.

– We will develop educational material in cooperation with a humanitarian organisation and do tours and screenings with these organisations.

– We’ll be part of the ‘travelling’ festivals in Denmark and internationally.

We are currently in the process of looking into other fi lms and their marketing strategy. We will study ‘Days of Hope’ (Ditte Haarløv Johnson, 2013, ‘Suitable’ (Katrine Philp, 2013) and ‘A Home in the World’ (Andreas Kofoed, 2013) among others. However, we do have to consider that the refugee issue, policies and the public opinion have changed a lot in the

past few years after the release of these fi lms, and have become a lot harsher and is as pressing as ever. Further, as Michael’s previous fi lm ‘No Man’s Land’ (2013) is the forerunner for ‘Dreaming of Europe’, so there is considerable experience and learnings to draw from the successes and obstacles of its marketing and distribution.

Budget for Marketing and Promotion:

(1) IDEAL version (covering/including all your ideas and wishes)

€ 20.134

(2) TIGHT version (covering the absolute minimum of activities that you fi nd necessary … mark in the budgets what amounts are confi rmed, which not)

€ 13.422

Social Media Strategy:We will work with the previous mentioned organisations to include the fi lm in their communication and campaigns on social media. Their channels give the fi lm credibility and will prolong its life outside festivals and TV-screenings. There are currently many new private initiatives and civil movements emerging as a response to the harsh direction of the media debate as people feel they need to take the issue into their own hands. These initiatives are smaller and less bureaucratic than most of the classic aid-organisations and do not have to be as cautious and correct as the larger organisations. We will approach these to

share the trailer and arrange screenings or debates in their local neighbourhood whenever appropriate. In general we plan for the trailer to be spread as much as possible on social media also identifying prominent opinion makers and media people to share the trailer on their personal sites. We will also rely and use our own private and professional network for this.We plan to be a part of DR’s theme on their educational portal ‘On the Run’ to be launched this fall hereby becoming a part of their online platform as well as other educational and youth platforms.

56/57

What Kind of Distribution you Want to Go for and Why you See The Potential? We aim to take part in various international fi lm festivals focusing on social and political issues like Human Rights Arts and Film Festival, Movies that Matter, One World, Human Rights Watch Film Festival etc. We wish to arrange screenings and debates with prominent people from the countries in which we screen suing our network of partner organisations and their Scandinavian as well as international departments.Further, we wish to take part in fi lm festivals for children and youth such as BUSTER, Odense Film Festival (Børn og unge program), Mo & Friese Kinder Film Festival, BUFF – Børn – og Ungdomsfi lmfestival i Malmø, NUFF – Nordisk Ungdoms Filmfestival, Many of these festivals also

arrange events and screenings outside the festival period like the ‘travelling’ concept with screenings around the country reaching an audience who usually do not attend festivals or even watch documentaries. Our director, Michael, has a lot of experience with these festivals and alternative models as his previous fi lms have participated in a number of these.We have identifi ed a long list of diff erent creative initiatives and festivals, courses, workshops, youth networks etc. that we plan to attend and use methodically. However, most of these are in Denmark and we would like to get ideas for relevant international initiatives and events.

Intended Festivals / Markets: First priority IDFA and CPH:DOX – if this does not come through, we will make a strategy to reach the festivals of the spring.

Intended Presales/Sales:

Intendended Territories:

Networking: Private and professional network both within the fi lm industry, the TV- and news industry and the NGO world.

DISTRIBUTION

Distribution Format: A long festival version and a shorter TV-version.

Pre-Sales Done:

–

What are the Primary Drivers for Releasing Your Film?• Money• Career launch• Mission – we want support topic of the fi lm, change

the world• Something else – what?

It is a visionary strong fi lm. It is a huge sign of trust that Michael has been able to follow Wasi who has allowed the camera to get extremely close during these many years. It is a big responsibility to honour this trust and handle the delicate matter in a most respectful and sensitive way.

Therefore, there is a very personal mission behind the fi lm as Wasi’s future are at stake. For most people the Danish and European immigration policies means nothing more than indiff erent – or frightening – words and numbers. For Wasi and the many young asylum seekers like him, they mean life or death. Giving a face to these numbers seems to us to be of uttermost importance. We strongly believe that it is stories like Wasi’s that can infl uence how people relate and understand the matter.

What is your biggest challenge for your film’s launch/release?

We will work on creating strong cooperation with the previous mentioned partner organisations’ youth sections and develop educational material that can be used in schools and youth institutions. The groups often arrange traveling festivals and screenings and presentations

around the country. We would like these organisations to include the fi lm in their communication and campaigns on social media. We should further research diff erent online activities and campaigns it could become a part of.

–

Sales Agent:

We have to be extremely careful and conscious around Wasi as a person and his possible presence in Denmark around fi lm premiere. He is vulnerable, rather unpredictable and his plans and moods are ever changing. It is our responsibility to protect him and keep him away from most media attention. He should not be interviewed

or used in promotion of the fi lm, at least not while he is in Denmark. If he is back in Italy at the time, we could allow a trusted journalist to visit him to write an in-depth feature – if Wasi himself would like to, obviously. We need to have a clear strategy and method to handle this beforehand.


Denmark, Scandinavia, greater Europe. If well received, potentially, a more global distribution later.

What Are Your Biggest Distribution Concerns?That the refugee issue becomes too explosive and we will not be able to handle how the fi lm is used. And that this

aspect of the fi lm will overshadow all other facets and qualities of the fi lm and Wasi’s person.

58/59 SWOT ANALYSIS

Strengths Production: We have very unique and powerful footage (and plenty of it) during the many years Michael has been following Wasi.

Marketing: The news value and actuality of the refugee issue. The personal side of the story which diff ers from most of the general news about the issue.

Distribution: The many channels due to the various organisations, civil movements and media attention currently on the issue.

Weaknesses Production: As Wasi’s journey has not ended and a is constantly taking new turns, there is always the chance that something unexpected happens and we will not be ready with the fi lm in time for this falls’ festivals.

Marketing: There is a fi ne line between catching the audiences’ attention and staying true to the story and what is best for Wasi.

Distribution: That the fi lm will be overshadowed by too many other ‘similar’ stories. That the audience feel bombarded with the refugee issue and we do not manage too highlight all the other aspects of the fi lm and Wasi’s journey.

Opportunities Production: We can make use of Wasi’s fruitful life on social media as a graphic dimension as well as an interesting layer to the story.

Marketing: Wasi is an energic, charming and good-looking young man. We can use his character to strongly counter the media’s stereotypical image of an asylum-seeker as a ‘weak victim’.

Distribution: Despite the harsh debate on the refugee issue, there are many new important and exciting civil movements and private initiatives coming up to counter the wicked media coverage. This means many new channels and great people ready to spread other messages, views and visions.

Threats Production: That Wasi gets cold feet and his situation will somehow hinder a release. All the ethical concerns related to this.

Marketing: That the fi lm will be ‘hijacked’ by politicians or interest groups and used for harsh political debates and agendas where Wasi’s illegal existence will become dominant.

Distribution: That the slightly diff erent strategies and focus points for the national and international distribution clashes.





IDFA November 2015

CPH:DOX November 2015

TV (DR1) December 2015

60/61 NOTESNOTES

62/63

HOLY COW

Fine Cut: October 2015Film Release: November 2015


Planned Length of the Cut: 80 min

Status of the Film: We have been shooting for more then 2 years and the last shooting has been just completed. From February on we are working parallely on the editing with the editor Philip Gromow. In this time we have examined the footage to defi ne the dramaturgy and started working on the rough

cut. As we are based in three diff erent countries, we are working in time blocks. The editing is scheduled till the middle of October, when the sound design and the colorgrading start. We aim for a release in Automn 2015, preferably at IDFA, Sundance, Rotterdam.



A very specifi c problem is to defi ne the narrative skeleton of the documentary, the opening and the ending scene are not yet agreed upon. We want to focus on the closing scene and work on the fi ne-editing.

From the production side we are focusing on the strategy how to reach out to our audiences, proceed it the marketing plan and build the visual identity of the fi lm.

AZERBAIJAN € 61.550 30,67%Doha Film Institute Grant confi rmed € 40.000 19,93%Georgian National Film Center confi rmed € 1.000 0,50%Prince Klaus Tickets Fund confi rmed € 550 0,27%Hubert Bals Postproduction Fund TBA € 20.000 9,97%GERMANY € 95.000 47%Arte ZDF confi rmed € 58.000 28,90%Berlin Bradenburg Medienboard confi rmed € 30.000 14,95%Rise & Shine MG confi rmed € 7.000 3,49%ROMANIA € 44.149 22%European Cultural Foundation confi rmed € 1.400 0,70%Sundance Documentary Fund TBA € 30.000 14,95%Conset own investement confi rmed € 12.749 6,35%TOTAL FINANCING PLAN € 200.699 100%Financing in place € 150.699 75%

One man's dream of bringing a European cow in his picturesque village in Azerbaijan unsettles the conservative community that wants to keep their secular traditions intact.

Are the people from Lahic village ready for the global century or they want to hold on to their own pace and traditions? “Holy Cow” is about the confrontation of two big cultures, world outlooks, about innovation and the old ways, about tolerance, changes and free human spirit.

High in the Caucasus Mountain, one can fi nd the most beautiful and ancient human settlements in Azerbaijan, the Lahic village. Here, old traditions and lifestyle are still being preserved. In this conservative Muslim community lives Tapdig and he has a dream: to buy a European cow, to improve the condition of his poor family.

He found out from TV that a European cow can provide up to 40 liters of milk per day, if well taken care of, 4 times more than a local cow. He is bewildered with the cow’s beauty, height and its peculiar features fascinate him. He wants to call it Madona. But his wife does not want to take care of such a strange cow as she is off ended by her husband's interest for this animal and also afraid of the reaction of the other villagers. The Old Men are taking the most important decisions regarding life in the community and they do not want such a cow in their village because they say its milk is full of chemicals and harmful for them. This creates a dramatic tension in the small community, with confl icts that sometimes can lead to hilarious situations.

64/65 TEAM

EDITOR: Philipp GromovPhilipp Gromov was born in 1983 in St Petersburg and is living in Germany since 1997. He studied music at the University of Music (HfM) Detmold. Since 2004 he is working as a freelance editor and is living in Berlin. His main interest lies in the fi eld of documentaries and music productions. Gromov has worked on national and international productions in several countries in Europe and Asia. His experience, knowledge and feeling for the right cut and the right fl ow help him to create unique masterpieces.

PRODUCER: Veronika JanatkovaVeronika Janatkova joined Kloos & Co. Medien in 2011 as a producer for documentaries and a project manager for cross-media projects. Among others, she worked on the ARTE-productions IT'S MORE THAN TV, YOU DRIVE ME CRAZY and AWAY FROM ALL SUNS. Before joining Kloos & Co. Medien, she worked as a producer and production manager in Prague and Paris with a focus on creative documentaries. She is a graduate of FAMU, Prague and alumni of the European Workshop "ExOriente", "ArchiDoc" and "Clearview".

PRODUCER: Andra PopescuHolding a BA degree in Photo-Video/Cinema Studies from National University of Fine Arts in Bucharest and a MA degree in Philosophy and Political Science from West University in Timisoara, Andra Popescu is an experienced cultural worker across diff erent platforms and institutions in Romania and Azerbaijan. As an emergent producer, she participated in workshops such as Caucadoc Documentary Project Development in Tbilisi 2012, Young Professionals GoEast Wiesbaden 2013, Robert Bosch Co-production Prize Berlin 2014, Sarajevo Talents 2014, Qumra Meetings in Doha 2015.

DIRECTOR: Imam HasanovImam Hasanov graduated from Baku State University of Art and Culture in 2002 with a degree in Film and Theatre Directing. In 2006 he started working as a director for the national television on several short TV reportages and soap-operas. Currently, his fi rst documentary short "THE VIRGIN'S HAPPINESS OR THE INVISIBLE SIDE" is in the post production stage and he is also developing a short fi ction fi lm. He was a participant of Berlinale Talents 2014.

Kloos & Co. Medien

PRODUCTION COMPANY

Kloos & Co. Medien, founded by Grimme Award winner Stefan Kloos and his partner Anja Dziersk, produces high quality documentaries for TV and cinema. Our fi lms have been selected by more than 100 fi lm festivals, won awards like Max Ophüls Prize, First Steps and Grimme Prize, and have been honoured at e.g. Sundance & Hot Docs. We are experienced in international co-production and successfully collaborate with broadcasters worldwide incl.: ZDF, BR, WDR, MDR, RBB, SWR, ARTE, YLE, DR, and

POV/PBS. We focus on creative documentaries and like to combine classic docu work with cross-media concepts or animation. PLANET GALATA was the fi rst cross-media project by ZDF/ARTE. We are members of AG DOK & EDN and regularly participate in major industry events. In 2008, Kloos & Dziersk also founded the world sales company RISE AND SHINE that today ranks among the top global documentary distributors.

66/67

Social Media Strategy:We have a Facebook page with 324 likes and we will continue to update it in regard with the presence of the fi lm to diff erent festivals, screenings, workshops.

Our sales agent Rise and Shine World Sales has been working with Noise Promotion PR that will support us in our release campaign as well as with the theatrical release in Germany.

PR Opportunities / Story Angles / Press Strategy:Leading subject of the fi lm is being open minded, confronting traditions, migration, Azerbaijan.Azerbaijan has been present in news only recently – Eurovision and recently the European Games. But in

general people know very little of this country. We will work with the news from there as well as from Caucasus. We want to reach out to milk companies and agriculture chambers.

Success Criteria:The fi lm to be screened at as many festivals possible and to reach a cult status in its own country, Azerbaijan. We would like to release at an A festival such as IDFA, Sundance or Berlinale.

For success we would be happy to get to 40+ festivals and have more than 10 territories sold for the TV version. The fi lm will be released theatrically in Germany. Ideally we would like to start in 10 – 15 cinemas in spam of 6 month.

Your Unique Brand Value:Unique opportunity to see a fi lm from Azerbaijan and get an inside view to the culture.

FILM MARKETING

Relevant PR Partners: tba

Marketing and Distribution Co-Partners: Sales Agent Rise and Shine World Sales, German theatrical release

Film Genre and Sub-Genre: Documentary fi lm, social driven, human interest

We will have a very honest and funny fi lm about making our dreams come true, prejudices against the unknown and staying true to our own traditions. This fi lm will not only give an insight into the traditions and the people of Azerbaijan, but it will also show how human beings handle change and react on globalization when it aff ects them directly- even if it is the smallest village in the mountains of Eurasia.Classic fi lm festivals will be drawn to the feature length edit of the fi lm; non-theatrical and educational outlets will be happy to have a choice of the 52mins TV-edit, as those events would be framed by Q&A or discussions.We believe our story can talk to the audiences worldwide and we are working on the reach out to the television slots together with our sales agent RISE AND SHINE WORLD SALES, one of the leading boutique sales agents for documentary in the world.

Our primary audience are art house and documentary lovers. We will reach them at fi lm festivals and by event

based theatrical distribution. As a reference could be mentioned the fi lm Domino Eff ect. We want to attract also people interested in the Caucasus. The fi lm brings a unique opportunity for an inside view into the culture of a country we know so little about. We reach them through cultural organisations and travel agencies. Film raises question on integration and "being opened to new". We want to partner up with organisations focusing on cultural exchange and on those protecting cultural herritage. It is crucial for us to bring it to the local Azerbaijani audiences, in culture centers and organize community screenings in alternative spaces, on a cinema on wheels approach. We hope that the international recognition of the fi lm will allow a theatrical release in Baku. For this, we count on a strong social media campaign to constantly engage with our audience and to keep them updated on the next screenings.

Core Audience:

Positioning:We would like them to wonder where Azerbaijan is on the map and be curious to fi nd out how are common people living there.

Find a parallel in their daily life – how to open our minds towards "a new"?

Facebook page: www.facebook.com/fi lm.holy.cow

Twitter and other pages: tba

Film website: tba

Publicist / PR-Agent: Noise Film PR, Yard Promotion (street PR)

Potential Ambassadors:tourist agencies, cultural centers, agriculture chambers, milk companies, associations preserving cultural heritage, cultural exchange, integration, migration centers, initiatives driven by the topic of opening borders

schools – unknown topic unknown country (educational licence)NGO based in Baku promoting young artists, next year’s focus is on cinema productions.

Marketing Elements: We are currently working on defi ning the visual identity and the fi nal version is yet to come.Taken in consideration that the village depicted in the fi lm

is famous for its handmade crafts and carpets, we would like the poster to give the same impression, of a carefully handmade craft.

68/69

International / Local Distribution Strategy: As the subject of the fi lm tackles universal social issues, the fi lm is coming from a region that is not well represented on the market and for the high cinematographic value, we count on a strong interest from major fi lm festivals. In the spring and summer season of 2016, we are aiming to leading festivals in former Yugoslavia such as Zagreb Dox and the Sarajevo Film, as well as Visions Du Réel, HotDocs, Planete Doc Review and the Sheffi eld DocFest.

The fi lm has been supported by Doha Film Institute and we are counting on screening at the DOHA Film Festival. Special attention shall be paid to specialized fi lm festivals in Eurasia, such as the South Caucasus Documentary Film Festival of Peace and Human Rights in Armenia/Azerbaijan/Georgia, the Antalya Golden Orange Film Festival in Turkey or the Open Documentary Film Festival Artdocfest in Russia. Furthermore we would like to screen it at the Eurasia Film Festival in New York.

What Kind of Distribution you Want to Go for and Why you See The Potential? – festival release (sales agent Rise and Shine, PR agency

Noise promotion)– theatrical / community and alternative distribution

(theatrical distributor Rise and Shine Cinema, Noise promotion & Yard promotion (GE)

– TV – ARTE coproduction (Wunderwelten slot)– TV international sales / television/cable/ cable VOD/

Broadband Digital/VOD (Rise and Shine World Sales)

– cinema on wheels: we plan to screen the fi lm in the village of Lahic, Azerbaijan and in an independent theatre in Baku;

– educational license – unknown region – collaboration with schools

Intended Festivals / Markets: – former Yugoslavia such as Zagreb Dox and the Sarajevo

Film– Visions Du Réel, HotDocs, Planete Doc Review, Sheffi eld

DocFest. – fi lm festivals in Eurasia, such as the South Caucasus

Documentary Film Festival of Peace and Human

Rights in Armenia/Azerbaijan/Georgia, the Antalya Golden Orange Film Festival in Turkey or the Open Documentary Film Festival Artdocfest in Russia. Furthermore we would like to screen it at the Eurasia Film Festival in New York.

DISTRIBUTION

Distribution Format: DCP, DVD, Blue Ray, DIGITAL FILES (Apple ProRes, H264), HDCAM

Sales Agent: RISE & SHINE WORLD SALES

What are the Primary Drivers for Releasing Your Film?• Money• Career launch• Mission – we want support topic of the fi lm, change

the world• Something else – what?

Career Launch, Mission – bring a fi lm from Azerbaijan to international audiences, increasing the independent cinema production in Azerbaijan, in a context imbued with propaganda, Money, Travelling, Networking

Launch of the Film

The way it will be received by the authorities in Baku, if they will allow a domestic theatrically release or not. Internationally the challenge is get people attracted to Azerbaijan and a vision of a simple man from remote

village in the middle of the country. What can bring the spectators to cinemas? How to make them fi nd the parallel (being open-minded to new) in their life?

Pre-Sales Done: ARTE coproduction – Wunderwelten

For the international premiere, we are aiming for a release at IDFA 2015. Other options would be Sundance, Rotterdam or Berlin. For the release in Azerbaijan and Germany, we are considering Novruz Day, 21st of March. It is of special importance in the culture and the celebration of it is also depicted in the fi lm. During that period people

are more sensitive towards the topic of traditions. In Baku, it will be premiered in an alternative space, in the only independent theatre in Baku, Oda Teatri, a place where the director, Imam Hasanov is staging his theatre plays. If the fi lm will achieve international recognition, we are hoping for a theatrical release in Baku, as well.


Intended Presales/Sales: Sales are being handled by our sales agent. The fi lm is being produced in coproduction with ARTE (France &

Germany region). We are aiming for social driven slots, culture and travel slots.

Intendended Territories: Western Europe and Scandinavia, territories of former Yugoslavia, North America, Caucasus,

Turkey, Russia, Arab World

Networking: We are working with the sales agent Rise and Shine World Sales, in Germany Rise and Shine Cinema is the theatrical distributor. PR – Noise fi lm promotion will support our fi lm at the

festival tour and promote in Germany the theatrical release as well. Yard promotion – street marketing for the German release

What Are Your Biggest Distribution Concerns?Enough interest in Azerbaijan? Will cinemas be booking? Opt for a good period for the release (March 2016?)

70/71 SWOT ANALYSIS

Strengths Azerbaijanexoticfi rst time director – new discovery talentopening up the bordersmigration – very current topic

Distribution: possible festival recognition

Weaknesses unknown directorcannot talk about the politics directlytoo local/simple story

Opportunities migrationborderscultural herritage

Threats nobody interested in the subject / countrynot famous director or a name associated

Marketing: migration – parallel with the migrants could be precieved as inappropriate

Distribution: how to form the message how to bring the politics through?





festival submission festival audiences from now on

facebook, press kit, visual identity, poster

CV of the fi lm from August 2015 on

festival release festival audiences November 2015

market screening @ Berlinale Industry February 2016

press screening press End of February

booking cinemas theatrical release February

press campaign (6 weeks before the release print the materials)

contacting journalists, promotion tv, press, radio, newsletter

February

street promotion theater audience Feb / March 2016 in 2 rounds, 1 month and 1 week before the release

72/73 NOTESNOTES

74/75

KAKUMA

How to build a home in a place called ‘nowhere’?

Can you build a home in a place called ‘nowhere’? In Kakuma refugeecamp in Kenya 200.000 people are building a community. 16-year-old Claude lost sight of his parents during a tribal confl ict. We follow him from the moment he arrives in Kakuma until he’s 18 and has exhausted all opportunities. Nyakong 8-years-old was

left alone in the camp by her mother. While fi nding a new family, she enrolls in a class of 150 pupils. Can Kakuma really become a new home? Or is this almost-city a false bubble, where the only option is to continue your journey to Europe?

Fine Cut: 25 September 2015 (picture lock)Film Release: 20 November 2015 (IDFA) or 20 January 2016 (Sundance)



Status of the Film: last shooting period in Kakuma fi nalised in July 2015– fi rst rough cut of the fi lm in place, with 1st try out of

a (factual) voice over in order to structure the narrative arch

– we are approaching a writer to write the defi nite voice over

– message to the audience is clear now: how the refugee camps seem places of opportunities at fi rst for young people arriving there. How they discover gradually that

there is a glass ceiling and that the opportunities stop at the age of 18. That they need to leave their new ‘home’ again in order to build up an adult life and that the only way is taking the boat to Europe. In this way the Western audiences might start to see “the boat refugees” as “humans, as people who were once children that already did a tremendous accomplishment in their childhoods…

– music is being composed but has not yet been added to the rough cut.



EDITING:– fi nd a better dramatic arch– how to carve out the bigger theme in the

fi lm’s structure, alongside the 3 very intimate stories– how to better set up the character of the voice over

(= the narrator)– fi nd a strong ending for each of the characters

– how to make this a fi lm fi t for theatrical release (contentwise and stylewise)

FUNDING:– we need extra fi nancing to cover extra editing, extra

consulting, the writer for the voice over, additional clean up in image and sound post-production, animation in the opening credits.

for request

76/77 TEAM

EDITOR: Jan De CosterJan De Coster graduated as a fi lm director at Brussels fi lmschool RITS. With fellow student Lieven Van Baelen he made in 2000 the short fi lm “The Thread”, which was met with a wide response in several European festivals. Jan De Coster assists choreographer and director Vandekeybus in realizing two short movies for which he wrote the script as well as did the editing. The friendship with Wim Vandekeybus leads to a collaboration on “Los Hervideros”, a short fi lm Jan De Coster wrote, directed and edited. For Inti Films Jan De Coster edited Renzo Martens’ “Enjoy Poverty” which would become the opening fi lm of IDFA in 2008. Since then Jan De Coster has edited a wide range of documentaries, mainly in Brussels and Amsterdam, but also in Vilnius and Madrid.

PRODUCER: Emmy OostEmmy Oost studied Germanic Literature and Linguistics and started working as a fi lm producer for Johan Grimonprez, an internationally acclaimed fi lmaker and artist from Belgium who directed a.o. Double Take (premiered in Berlinale & Sundance). Since 2009 within her company Cassette for timescapes, she mainly focuses on documentary and crossmedia projects with social or political engagement. She received the support of Creative Europe for a slate about migration.

DIRECTOR: Lieven CorthoutsLieven Corthouts is a self-thaugt fi lmmaker who travelled the world before living in Ethiopia for 10 years. There he made 2 feature documentaries: My Future and Little Heaven. Both fi lms are about teenagers and their fi ght to get further up in life , brought in a very intimate and positive way. My Future (2009, 50’) won the Prize Best Debut at Miradasdoc. Little Heaven (2011, 70’) premiered at IDFA, was sold by Taskovski and obtained support from the Bertha Britdoc Connect Fund.

Cassette for timescapes

PRODUCTION COMPANY

Cassette for timescapes produces fi lms that combine innovative vision and social or political engagement. We focus on documentary and all its crossovers: to art, to fi ction, to digital interactive. Cassette for timescapes is a small company around producer Emmy Oost and 2 collaborators. We prefer to remain small and fl exible in order to keep up the close connection to our directors. We prefer to remain small and fl exible in order to be able to experiment and develop thoroughly.

78/79

Social Media Strategy:Goals:1st phase: create awareness among the fi rst line stake holders: followers of aid organisations or communities around the issues of migration (Eg. UNHCR, Red Cross, Unicef, … ). Have several leading bloggers on the subject talk and/or tweet about the fi lm. 2nd phase: – cooperation with online newspapers/broadcasters:

via positive stories and via short fi lm clips about family reunifi cation in the big refugee camps, we will inform viewers about the fi lm screenings & we will engage viewers to click through to the accompanying interactive doc FIND ME IN KAKUMA. Eg potential cooperation with The Guardian;

– engage parents via the theme of unaccompanied children;

– attach a well known personality that does charity work, in order to engage his/her followers;

– engage young adults via the accompanying interactive doc FIND ME IN KAKUMA, where we meet the characters from the fi lm in bite size pieces.

Target Audience:– Adults interested in politics, current aff airs.– 1st line followers of the big humanitarian organisations

UNHCR, Red Cross, Unicef, …– Late teenagers (17, 18 years old)– (Young) Adults interested in documentary and fi lm

MessagesWe show where boat refugees come from.We tell positive stories of a refugee camp.We’ll address an emotional universal theme: children having to live without their parents. What if you would lose all contact with your children/parents?Western people have diffi culties understanding what the camp is, we show the basics of the reality of refugee camps, the daily life.Exceptional and unique closeness of Lieven to the people and the daily life in Kakuma

Platforms:– Wikipedia page (info seekers on the net)– Twitter – Vimeo (trailer and fi lm clips, behind the scenes footage,

how to footage (eg. How do they build a concrete house in Kakuma, how does the registration offi ce look like, enjoy a soccer game in Kakuma…)

– Facebook (posts about the daily life in the camp, updates about screenings and festival selections, personal stories of the 3 characters from the fi lm, exclusive images from the camp (unique position of Lieven), in depth articles about subject coming from newssites, the importance of International Refugee Day, International Day of Peace, etc..., fi lm fragments linked to our Vimeo account...

– Website

Potential partners:– We’ll be building up a relationship with bloggers such as

BLERI LLESHI in Belgium (https://blerilleshi.wordpress.com) and Deborah Goldberg at Voice of Witness, both having a background in documentary and now dedicated to the themes of social change and human rights.

– We’ve analyzed the social media content and reach of NGO’s and will provide them content about the KAKUMA- documentary , adapted to the diff erent platforms, which they can share with their audience. Ngo’s such as Médécins sans Frontières, International Organization of Migration, Caritas, 11 11 11, ECRE (European Coucil of Refugees and Exiles), Kauri (Belgian meeting point for sustainability), UNHCR...

– Online newspapers and newswebsites (De Morgen, The Guardian, MO*, Le Soir...)

Example FB-post: daily life in the camp

FILM MARKETING

Relevant PR Partners: The Guardian (LOI)


creative documentary, social impact, human issues, …

Core Audience:1) adults interested in politics, current aff airs2) 1st line followers of the big humanitarian organisations

UNHCR, Red Cross, Unicef, …They go to fi lm festivals & watch television.3) Late teenagers (17, 18 years old).

They will watch in school context. Schools will organise special cinema screenings.Or they are on the internet and should be triggered by the interactive documentary FIND ME IN KAKUMA to watch the fi lm.

Potential Ambassadors:UNHCR, Red Cross, Unicef, … BUT during fi lming Lieven has avoided any cooperation with aid organisations. Also during distribution we prefer

to take a distance from the negative stigma that is attached to many of these organisations.

Positioning:We get a very deep inside view about the everyday workings of the big refugee camps. We learn how children take all opportunities off ered to them to build a better life against all odds. Refugee camps seem places of opportunities at fi rst but gradually young adults discover

that there is a glass ceiling and that the opportunities stop at the age of 18. Western audiences might start to see the refugees in Europe not just as economical migrants but humans, as people who were once brave children that already did a tremendous accomplishment in their childhoods…

Belgium: public broadcaster VRT, possible cinema distribution via DocPoppies, potential festivals Docville & Mooov, school distribution networks Lessons in the dark,...

Internationally: not yet known, potential interest from Arte & Al Jazeera (ask for a rough cut)


Marketing Elements: – poster & main still: should market refugee camps

as positive places and refugee teenagers as active community builders.

- FIND ME IN KAKUMA: an interactive web documentary online that engages Western audiences through stories of unaccompanied minors in Kakuma. Help them to fi nd back their parents!

- If you donate to the search app “KAKUMapp”, you will help them in real time to fi nd back their families. As a Western viewer, you can have local impact, you can actively do something.

Facebook page: Kakuma Documentary

Twitter and other pages: @KakumaDoc Film website: not yet in place – “FIND ME IN KAKUMA “, the interactive web project linked to the fi lm, is in development. A 1st version will be available for end November 2015.

Publicist / PR-Agent: not yet known

80/81

PR Opportunities / Story Angles / Press Strategy:Positive stories of a refugee camp: they are not just white tents with people waiting around. They are people that actively build a community.

How children build up a new life, all by themselves and the dignity with which they do it.

Success Criteria:To make an attractive fi lm, with a clear message and a good positive trailer coming out of that.So that as much audiences as possible will see the fi lm and that their understandings of the refugee camps are

changed. Only then, audiences will have the correct information to judge that the West should invest more in these camps instead of closing its borders.

Your Unique Brand Value:Overall conclusion: we want to stay away from negative words & tragedy in title and synopsis.Diff erence with other projects: - we show refugee camps a quite peaceful place with

opportunities (= positive image of Africa). We show the worksing of a camp without being an NGO fi lm.

- A lot of fi lms about journeys, while our fi lm is one of a PLACE

- Children and teenagers in their daily lives, constructin something positive (instead of oly recovering from war).

Budget for Marketing and Promotion: The interactive project FIND ME IN KAKUMA that will be used as online promo tool for the fi lm: is part of a diff erent budget. Development funding is in place, we are now goring forward to secure production funding the coming 3 months.

Thight budget for the other marketing & promo costs:Poster & photos: 1500 euroTrailer: 750 euroFilm website: 2000 euroSocial media & comm. mngr 6 months: 6000 euroTotal = 10.250 euro

Ideal budget for the other marketing & promo costs:Poster & photos: 2000 euroTrailer: 1500 euroFilm website: 2000 euroSocial media & comm. mngr 12 months: 12.000 euroTotal = 17.500 euro

DISTRIBUTION

Distribution Format: 75 mins and a cut down to 60 mins – DCP, Apple ProRes, …

Pre-Sales Done:

not yet

What are the Primary Drivers for Releasing Your Film?• Money• Career launch• Mission – we want support topic of the fi lm, change the world

• Something else – what?

Launch of the Film

There are a lot of fi lms about migration and there is a lot of news coverage about migration. People should be triggered to go see a fi lm about refugees via a positive message. Therefore we try to avoid words like “migration”

& “refugee (camps)” and we have to clearly state what is in it for Western audiences (a positive, very intimate story + comprehension of the constant stream of refugees from Africa)

1 (Belgium, VRT)

Sales Agent:

INTERNATIONAL:4) world festival premiere: IDFA 2015 or Sundance 20165) festival tour: 2015-20166) cinema releases/ event releases: 20 June 2016, world

refugee day (with the webdoc)7) int broadcasts arte, Al Jazeera, BBC, …

BELGIUM:8) festival premiere: Mooov & Docville – April 20169) theatrical release: Doc Poppies around World Refugee

Day – 20 June 201610) tv broadcast VRT/Canvas summer or autumn 2016


International / Local Distribution Strategy: see above

82/83

Intended Festivals / Markets: IDFA, Sundance, Sheffi eld, …

Intended Presales/Sales:

BBC, Arte, YLE, ITVS, Al Jazeera, …

Intendended Territories:

Europe, Northern America, Northern Africa

Networking: Autlook: to make the project sexier (marketing) + work on event screenings (to change the world)Arte: to reach the bigger European audiencesAl Jazeera: to reach the local audiences in the Horn of Africa

IDFA: for credibility and market visibilityBritdoc: for outreach campaign

What Are Your Biggest Distribution Concerns?Audiences are fed up with migration stories. We need to talk about this fi lm without using the words ‘migrant’,

‘refugee camp’, … and clearly communicate a positive message and a very intimate insight.





International festival premiere: IDFA or Sundance:- FB page & twitter- 1st version of interactive doc “FIND ME IN KAKUMA” online

Festival audience +1st target audience: stakeholders as the followers of UNHCR, Unicef, Doctors without borders,…

- Online audience building: August – November ’15 – January 2016- Premiere: 20 November ’15 or 20 Jan 2016- Applying for The Good Pitch in Oct/Nov ’15?

Belgian festival premiere: Mooov April 2016- full web project “FIND ME IN KAKUMA” online

- 1st target audience, Belgian divisions: stakeholders as the followers of UNHCR, Unicef, Doctors without borders, …- Cooperation with Belgian newspaper

Online audience building: Nov ’15 – April ‘16- Premiere: 20 April ‘15

Cinema release INT & BE- full web project “FIND ME IN KAKUMA” online

Active cooperation with the Red Cross, UNHCR, … for audience building.+ Huge amount of followers of the webproject that can be informed about the cinema releases.+ Cooperation with The Guardian

20 June 2016: world refugee day

Television INT & BE- 2 versions available: 80 & 60mins- full web project “FIND ME IN KAKUMA” online

Active cooperation with the Red Cross, UNHCR, … for audience building.+ Huge amount of followers of the webproject that can be informed about the tv broadcasts.

Autumn 2016

VOD The edit of the fi lm has been followed by 2 Belgian schools. They and other schools will see the fi lm when fi nished through the distribution network “Lessons in the dark”.

2017

School circuit BE Find one of the good education distributors in the USA.Eg. we talked with Sue Turley of Ro*co fi lms.

2017

School circuit USA prime time CT2 / all audience 2017

84/85SWOT ANALYSIS

Strengths Production: unique access, long fi lming perioddedicated teamuse of aerial images of Yann Artus Bertrand

Marketing: important current aff airs subject matterdirector & producer with track record

Distribution: important current aff airs subject matterunique access

Weaknesses Production: tough working conditions in the campdirector has diffi culty with storytellinglimited fi nancinglots of postproduction clean up in image & sound

Marketing: What is our fi nal message?Do audiences want to see a fi lm about refugees?Incapability of the team to make a good pitch trailer

Distribution: No presales were possible yet, based on theme and previous trailers

Opportunities Production: Interactive webproject: can generate extra fi nancingGuidance by expert Jakob TuessenTo contact novelist Dave Eggers for the voice over

Marketing: Interactive webproject: online audience buildingEmotional universal theme: children having to live without their parents. What if you would lose all contact with your children/parents?Interest from the Guardian (online project)

Distribution: Interactive webproject: story continues online, additional content. Interest from Arte & Al Jazeera (60min)

Threats Production: Foreign languages, translation rushes takes time, happens incorrectlyLimited fi nancing

Marketing: Western people have diffi culties understanding what the camp is, to get the basics of the reality of refugee campsWhy do we care? (Boat refugees coming to Europe!)

Distribution: A lot of projects & news coverage about migration, refugees (saturation)A 75 and 60 min version necessary

NOTES

86/87

THY FATHER’S CHAIR (OBSOLESCENCE)After the death of their aging parents, two Orthodox Jewish twin brothers become hoarders. Under the threat of losing their home they have to face a radical cleaning of their house. An intimate film about memory, loss, adulthood and the fear of growing up.

Abrahm and Shraga, two twin Orthodox Jewish brothers, live in NYC in the home they inherited. Since the death of their parents, they have gradually stopped throwing away anything, becoming what is commonly known as ‘hoarders’, even though they are highly educated and sensitive people. The upstairs tenant threatens to stop paying them his rent, unless the twins proceed with a professional and radical cleaning of their apartment.

Unwillingly, Abrahm and Shraga open their doors to a specialized cleaning company. Although respectful, the presence of the cleaners in their home is an invasion of their intimacy and privacy. They start fi ghting to preserve their memories from the disruptive intervention of these intruders…

Fine Cut: September 2015Film Release: November 2015



Status of the Film: The version shown at the Trest session has been re-worked in June, following feedback received in Trest and after discussions with our consultants (Yael and François as fresh eyes). Subsequently we showed a link of the ‘June cut’ to Yael, and after a skype consultation with her on June 25th, we produced our latest version, see link. We believe this version is close to being a locked picture. We will listen to the experts and the colleagues’ reactions during the second Dokincubator workshop, we will then make fi nal changes and fi ne-tuning, and we plan to have the picture locked by the end of September.Concerning the fi nancing of the fi lm, on July 10th we

learned that the fi lm was selected by IFP’s ‘Spotlight on Documentaries’ (Sept. 25 – 29), where we are hoping to make contact with potential fi nanciers. We are currently working on applications to several American institutions and foundations (Tribeca, Sundance, Cinereach, Catapult, among others) to see if they will provide some fi nancial support. Contacts with some TV channels have given promising but not concluding results. In particular, the Italian RAI Cinema might be interested in pre-buying the fi lm when an Italian sub-titled version is made available.



The next workshop will be paramount to build around the artistic potential of the fi lm, as we foresee that it will be heading to festivals and seeking art-house distribution. We need to have a clear strategy concerning the sales agents/distribution timetable in relationship to the marketing and the publicists’ involvement, in view of maximising the impact of the fi rst showings of the fi lm. We also need to decide on the title (‘Thy Father’s Chair’ is the directors’ preferred title, but we’re still using

‘Obsolescence’ in the offi cial applications) and images, which will carry the mood of the fi lm. We believe the impact of the fi lm on the Orthodox Jewish community is much less of an issue now than in the previous version of the fi lm (the fi lm now is more about memory and loss than about two orthodox jews who are hoarders). We are leaning towards not using publicity images portraying explicitly the twins and their religious affi liations.

Confi rmed:Deferrals 30,000.00 € confi rmedTax credit 20,000.00 € automaticUnconfi rmed:Grants from Foundations 60,000.00 € tbcPre-buys from TV channels 80,000.00 € tbc

88/89 TEAM

EDITOR: Alex LoraWinner of a New York Emmy, fi nalist for the Oscars-Student Academy Awards, and winner of a Gaudi Catalan Academy Award, Alex Lora is a Fulbright Spanish fi lmmaker based in New York City who has screened twice at Sundance Film Festival as Offi cial Selection. Listed as one of the top 10 promising Spanish directors to watch for in Variety's Cannes Edition of 2014 and Editor at the Berlinale Talent Campus, his work has received over 100 awards in some of the most internationally-acclaimed festivals.

PRODUCER: Enrica CapraFounder and CEO of Graffi tiDoc, a Turin based company, she has produced mainly documentaries for the international market, both for TV and for theatrical release, selected at international festivals, and distributed all over the world. Among them, ‘Dust. The Great Asbestos Trial’ was awarded many prizes at festivals worldwide, included David di Donatello, Rio de Janeiro, Baghdad, Turin’s Cinemambiente.

DIRECTOR: Antonio TibaldiAntonio has directed 5 fi ction feature fi lms. His fi lms have screened at festivals such as Berlin, Sundance, San Sebastian, Rotterdam; and released by companies such as Miramax, Warner Bros., and Lion’s Gate. Antonio is also an activedocumentarian, making his own documentaries and collaborates with UNTV (United Nations TV) making documentaries to shed light on under-reported realities in South and Central America, Africa, and Asia.Graffi tiDoc

PRODUCTION COMPANY

Founded in 2004 by three partners, Graffi ti rapidly gained a solid reputation even across the country’s borders as a refi ned and high-level production company, both in terms of the quality of its authors and directors and in terms of subjects and issues engaged. Already since its fi rst works, mainly creative documentaries, Graffi ti developed projects alongside some of the best production companies on the European market, destined for the main

international TV channels, and selected at prestigious festivals. Graffi ti’s capability to work on the international market was repeatedly recognized and rewarded by the Creative Europe MEDIA Program, with the support granted to three of the company’s ‘Slate of Projects’ (in 2009, 2012 and 2015).

90/91

Social Media Strategy:Because the main target audience for the fi lm is a grown-up generation (45-65), the social media campaign doesn't need to be excessively aggressive, and can rely on the spreading, through a Facebook page, of some elements of the fi lm, in particular of a good teaser. The launch of the FB page should coincide with the selection of the fi lm to the fi rst important international fi lm festival, and the

page should become the centre for providing information and updates on the festival releases of the fi lm (in the fi rst phase), then on the theatres in which the fi lm is to be screened, and on the opportunity of meeting the directors or other opinion leaders, on the occasion of the screenings. FB page can also become a platform for bringing to our followers’ attention related articles.

PR Opportunities / Story Angles / Press Strategy:The press strategy should start from the evidence that the spreading of the hoarding disorder is wider than we commonly think, and that only in recent years (2013) specialists have started to think of it as a mental disorder. A galaxy still to uncover, the hoarding disorder, against all odds, doesn't touch only low-income, marginalised

individuals, but is present also among intellectuals and people well-off and with a good socio-cultural position, especially women. A collection of stories and testimonies in this sense could be proposed to magazines in coincidence with the release of the fi lm.

Success Criteria:An observational fi lm, by an exceptionally skilled fi lmmaker, edited in cooperation with another talented, award-winning editor and fi lmmaker, the fi lm should primarily fi nd its way at some 'A' festivals, where its aesthetic and cinematic qualities would be high-lighted. Ensuring 'A' festival selections on both sides of the

Atlantic is necessary to guarantee that the fi lm has a release in theatres and a life on the VOD and SVOD platforms. Winning awards at festivals would be a huge plus and would help ensure that the fi lm distinguished itself and fi nds its notoriety.

Your Unique Brand Value:The only fi lm comparable to 'Obsolescence/Thy Father's Chair', as far as we know, is a documentary fi lm called 'Almost there', produced in 2014 by Kartemquin and directed by Dan Rybicky. The fi lm, centred on the personality of a visual artist, Peter Anton, which is a hoarder, got funding from ITVS and KTO, and was well received at some festivals, even though its visual style is not so elegant and coherent, and many situations are visibly staged. In their marketing strategy, the word

'hoarder' is never mentioned, and the fi lm is cleverly defi ned as a 'coming-of-(old)-age' story. The visuals rely on the protagonist's graphic work. Compared to this example, the strength of our fi lm resides in its extreme visual elegance and cinematic language, and in the more appealing temper of our protagonists, two sweet and deeply honest men, who quickly attract the empathy of the viewer.

FILM MARKETING

Relevant PR Partners: N/A

Marketing and Distribution Co-Partners: N/A

Film Genre and Sub-Genre: Creative documentary (Human Interest)

Core Audience:

Though not being an exemplary case of 'engaged fi lm', promoting a precise social or political agenda, 'Obsolescence / Thy Father's Chair' digs on a category of people as widespread as generally despised: the hoarders. The fi lm gently invites its viewers to not judge these people, to overcome prejudices against them, and to see them as human beings who are dealing with –maybe in their own extreme way—with loss and fear of letting go of a past in which they were the children.

If we are able to promote this angle of the fi lm, we distance ourselves from hoarder as a theme, and the press and newspapers could discuss the condition of the twins on a human level. The non-judgemental quality of the fi lm should suggest a type of editorial coverage which aims at recognizing to hoarders their status of psychological suff erers (as anorexic people or manic depressive), not stigmatizing them as undesired 'paria' of the society.

Positioning: We would like people say that they have seen a compelling fi lm, full of tenderness, where against all odds, the main characters quickly become sympathetic creatures. A fi lm where viewers are forced to recognize that they care for the very same people they felt at fi rst repulsed by. We would also like viewers to think more in depth

on how to accept the passing of time, and possibly how recognizing the obsolescence of material things is a crucial part of growing up and becoming full-fl edged adults. A communication campaign suggesting this interpretation of the fi lm would help viewers to fi nd a deeper sense in the story they watch, and to relate to it on a human level.

Marketing Elements: We are in the process of considering the ‘visual campaign outfi t’ from several angles. We are leaning towards not visually over-emphasizing the twin brothers as being Orthodox Jews (we will not hide it completely, but we don’t think we need to underline it too much. The idea which is slowly imposing itself is that we should center our visual and communication campaign around the most 'universal' concepts of the fi lm (the struggle of growing up and forget the childhood; the objects in our life as solid deposit of the past and the memories; the acceptance of death and loss as part of the maturing...), de-emphasizing

the religious affi liation of the protagonists. This implies choosing images, which can convey this hiatus among an adult age and an insuffi cient or diffi cult acceptance of it.We also think that we should be careful in showing any images (in the publicity materials) of the house full of rubbish and to declare that the characters are hoarders. We do want to separate the fi lm from the many TV shows dealing with the hoarders, because we believe our fi lm is not about the hoarder issue, although the protagonists happen to, yes, be hoarders.

The main target audience for a feature length creative documentary like ‘Thy Father's Chair / Obsolescence’ is composed by the baby boomers generation (the 45-65 years old), which are still experiencing the complex and painful ‘farewell to their parents’ season of life. This segment of the population, both female and male, is the most apt to grasp the deep drama hidden in Abrahm's and Shraga's lives, their morbid attachment to the past, their refusal to throw away anything, which is a sort of Peter Pan syndrome, a form of extreme protest against adulthood, the time passing, and the necessity to move on from people you've loved.

A secondary target will be composed of the people being professionally or for personal reasons involved with psychological disorders: social workers, psychologists and psychotherapists, but also relatives of people being hoarders, or having other kinds of comparable disorders.Both these target segments are consumers of fi lms in theatres and VOD/SVOD, and are also reachable through the ‘traditional’ media (radio, TV, banners, online magazines and blogs…).

Potential Ambassadors:

Facebook page: N/A

Twitter and other pages: N/A Film website: N/A

Publicist / PR-Agent: N/A

Budget for Marketing and Promotion: N/A

92/93

International / Local Distribution Strategy: The fi lm has a wide international potential, due to the archetypal quality of its main characters and to the universality of the subject. We aim therefore to reach very diverse audiences, and potentially, all the countries that have theatrical circuits open to the release of high quality documentaries. We will need to work in close relation with an experienced world sales agent, which will

accompany the release of the fi lm from its world première, and ponder country by country to which distributor to entrust the fi lm to. We will try to make deals with global newspapers/web platforms (e.g. ‘The Guardian’ or ‘The New York Times’) for releasing a short version of the fi lm on their web platform just before the festivals, in order to maximise the impact of the fi lm globally.

What Kind of Distribution you Want to Go for and Why you See The Potential? 1 Festivals 2 Theatrical release 3 TV release 4 VOD-SVOD

Intended Festivals / Markets: European festivals (in order of date): IDFA / Rotterdam / Berlinale. US festivals (in order of date): Sundance / Tribeca / Hot Docs. Associated to those festivals there are

markets, in which the sales agents can negotiate the rights of the fi lm.

DISTRIBUTION

Distribution Format: DCP, Digibeta, Blu-ray

Pre-Sales Done:

N/A

What are the Primary Drivers for Releasing Your Film?• Money• Career launch• Mission – we want support topic of the fi lm, change the world• Something else – what? We love fi lmmaking, editing,

producing, distributing good fi lms, fi lms that not necessarily change the world but change ourselves, and suggest to viewers new perspectives, both in an aesthetic and intellectual sense.

Launch of the Film

We have to be careful with the religious affi liation of the protagonists: not to provoke a refusal in the very community they belong to; and with the concept of them

being ‘hoarders’, a condition that can cause a strong and immediate resistance in many viewers.

RAI Cinema (TBC)

Sales Agent:

The launching of the fi lm should correspond to its première at a key Festival. This is the moment in which we should maximise the impact of the fi lm through a good publicist and the amplifi cation of the press reviews on social media, thus setting the notoriety of the fi lm, and its successive selection at other festivals. The theatrical release in the main territories should ideally take place in the following months, exploiting the wave of visibility created by festivals. The ideal formula should be to have in as many cities as possible releases accompanied by one

of the authors. The selling of rights to the TV channels should allow a window of minimum six months before airing. The VOD and SVOD diff usion should come soon after the fi rst TV release, for maximising the curiosity of the audience.If the fi lm is not selected at ‘A’ festivals, we will target cultural, niche cable channels all around the world, preparing with the help of a good publicist a very good press kit, in order to help the channels to build their public discourse and thus enhance the interest towards the fi lm.


Intended Presales/Sales: The fi rst contacts are underway with some TV channels, which have a strong authorial policy, as it is the case for some Nordic channels like SVT or YLE.

Intendended Territories: After the release of the fi lm at one of the main festivals, the distribution strategy could target for theatrical distribution the countries most sensitive to high quality documentaries and art-house fi lms, like France and Germany. Also Italy and Spain, where the directors have

some notoriety, will be important. Being an English spoken fi lm, the Anglo-Saxon world could give a good response. Good national distributors, on a country-by-country basis, will be paramount for defi ning the national strategies.

Networking: We are going to talk and try to involve sales agents that are more sensitive to the cinematic quality of the fi lms and to the perspective of theatrical releases than to the TV airing.

This could also include sales agents dealing traditionally with narrative fi lms, but who also select also from time to time high-end cinematic documentaries.

What Are Your Biggest Distribution Concerns?Unlike most documentaries, we will probably not have a 1-hour version for TV airing. This could limit the wide

release of the fi lm on free and cable channels.

94/95 SWOT ANALYSIS

Strengths Production: Having a cinematic documentary with a specifi c observational style, with great access to its protagonists

Marketing: Because of our human angle on the subject (hoarders), we are likely to get interesting editorial articles on issues such as: memory, legacy, objects related to memory, the pain of losing ones parents, being forced into adulthood after death of parents, etc.

Distribution:

Weaknesses Production: Having a fi lm that is claustrophobic, shot all in one location with a lot of garbage…

Marketing: No use of twins photos where they are recognizable, we have no high quality production stills, only freeze-frames from time line and unused footage. Danger of making it look like a ‘Jewish’ or ‘Hoarder’ themed fi lm.

Distribution: Only having a feature length version (no TV duration version)

Opportunities Production:

Marketing: Present and launch the fi lm for its human values of memory, loss and fear of growing up. These are universal themes most human beings are interested in. Present a fi lm where the initial prejudice of the viewer (disliking /being repelled the protagonists who are hoarders) is turned 180 degrees in 85 minutes, simply by observing them, their behaviour and their humanity.

Distribution:

Threats Production:

Marketing: Danger of being mistaken for ‘another hoarders TV-like show’; ‘repulsion factor’ on audience about anything that is dirty about hoarders, etc. Risk of being confi ned to a niche audience interested in Jewish matters or in hoarders.

Distribution:





96/97 NOTESNOTES

98/99

TO THE AMAZON

A reflection on parenthood, responsibility and freedom, this is the intimate journey of a filmmaker to understand her mother’s unique, exotic and adventurous past.

After the tragic death of her eldest daughter, Val left everything behind –including her family–to live in the Amazon in search of her identity. Almost thirty years later her daughter Clare is pregnant and goes to the jungle in search of her mother as she seeks to reconcile the past and struggles to defi ne motherhood on her own terms while following her career as a fi lmmaker.

This fi lm refl ects on parenthood, career, responsibility and the need for freedom.

Fine Cut: Early SeptemberFilm Release: Late 2015 or early 2016



Status of the Film: We are in a rough cut stage. We are part of the Dok Incubator workshop where editor Anne Fabini (The Return to Homs) is our tutor. We know that the most crucial thing to develop right now is Clare’s voice and her emotional evolution as a character and that is what we are focusing our energies. We are also beginning the process with the composer: camilosanabria.comSimultaneously we are defi ning the postproduction plan, which probably will be done in Colombia using the services of the most professional studios. We

expect to have a fi ne cut in mid-september after Dok Incubator’s second workshop and be able to premiere in late 2015 or early 2016. We still need to make the 1-hour tv version of the fi lm. We are applying to several funds to assure the best possible quality and develop the marketing strategy of the fi lm.We are building a marketing and distribution plan both for Colombia and for the world as we look for a Sales Agent and pre-sales.



• feedback on the new texts (synopsis, tagline, logline) and poster proposals

• defi ne post production set-up (additional funding & partners, location, workfl ow, timing, coproduction)

• premiere: are we gonna make it to IDFA? (timewise) if not, Berlin or Sundance?

• establishing the distribution and marketing plans.• defi ne which music rights we have to pay:• kiss of fi re by Louis Armstrong (it sounds on a scene

where Clare and Val are dancing on new years eve)• fatal shore by Andrew bird (Clare listen’s to it while

thinking and smoking, and she is the director)

• entre dos aguas by Paco de Lucia (Val dances to it in her house)

• nights in white satin by Moody Blues (archive: Val plays it with her brother in 1986)

• concrete & clay by UNIT 4+2 (archive: David plays it with family in 1986)

• wherever you walk by Haendel sung by Val on an interview.

• The Wraggle, Taggle Gypsies, O! traditional scottish folk song (Val sings it in an interview)

• Prepare for IFP

On request

100/101 TEAM

EDITOR: Gustavo VascoAfter fi nishing fi lm editing studies at La Femis (2006-2010), I started my professional career in France as an assistant editor in feature fi lms, mainly with editors Martine Giordano and Julien Lacheray. Then I quickly began working as an editor in several French and Colombian productions. Thus, since 2011, I have approached both fi ction and documents.

PRODUCER: Nicolas Van HemelryckFilmmaker, photographer and architect. As a fi lmmaker his work has been awarded the IDFA Bertha Fund, the Tribeca Latin Fund, the Colombian Film Fund and he has been selected for the EAVE-Puentes Producers Workshop and IDFAcademy. He has worked for TV documentaries and for the feature-doc ‘Euritmia’. Between 2010-12 he was the producer of Violentology by the US journalist Stephen Ferry. His work has received national and international awards and has been exhibited in America, Europe and Asia.

DIRECTOR: Clare WeiskopfFilmmaker and journalist, Clare has been working on diff erent social topics for more than ten years, ranging from the armed confl ict in Colombia to the spread of cumbia music in the world. She won the Simon Bolivar Colombian National Journalism Award twice. She has been selected for IDFAcademy and her work has won the IDFA Bertha Fund, Tribeca Latin Fund and Colombian Film Fund (Proimagenes-FDC). She recently fi nished directing a couple of television documentary series in Colombia.CasaTarántula

PRODUCTION COMPANY

CasaTarántula is a Colombian Production Company devoted to fi lmmaking, specially author-driven documentaries. It combines the experience of Clare Weiskopf and Nicolas Van Hemelryck, who have worked for over 10 years in the design, development and production of audiovisuals. They began working together for TV on 2009 undertaking several subjects in Bosnia-Herzegovina, the United States and Spain. Clare Weiskopf won two Simon Bolivar Colombian National Journalism Awards with some of these productions. The company was created to produce To the Amazon, their fi rst feature-length documentary. To the Amazon began with a successful crowdfunding campaing that reached 142% of it goal from 322 funders in 28 countries.

After that it has been awarded the IDFA Bertha Fund, the Tribeca Film Institute Fund and the Colombian Film Fund, and has been selected for Dok Incubator, EAVE Puentes producers Workshop, IDFAcademy and IFP’s International Film Week. They are actually developing projects with other fi lmmakers and are beginning the development of their next fi lm.

102/103FILM MARKETING

Relevant PR Partners: none yet


Intimate Drama

Core Audience:1. WHO? Men and women who have had the dilemma between having a family and pursuing their career. WHY: interested, inspired and questioned by the character, her lifestyle and the environment.WHERE? Mostly in Europe and North America but also in Latin America. We will attract them to the cinemas because they like to go to the movies.

2. WHO? Parents (30-45)WHY? they can relate to it personally because they have been through the same confl ict.WHERE? Europe (middle and upper classes), North America and Latin America (educated middle class).Probably they will watch it online.

3. WHO? People interested in motherhood, family and women issues (Mostly women)WHY? They can use this story to get a broader understaning of contemporary issues. WHERE? Universities, NGO’s, study groups.Make educational screenings

WHAT INTEREST THEY HAVE? Women issues, sex equality, family vs. career.

Potential Ambassadors:1. HARD-CORE BUSINESS WOMEN, WRITERS THAT CARE ABOUT FAMILY VALUES, POLITICIANS, JOURNALISTS (BOTH MOTHER’S AND THOSE WHO DECIDED NOT TO BE MOTHER’S) AND MEN THAT CAN SUPPORT USINTERNATIONAL:• Arianna Huffi ngton, • Elizabeth Gilbert (writer)• Angelina Jolie• Isabel Allende

NATIONAL:• Florence Thomas (feminist writer on women issues)• Juanita León (director of politic news website : La silla

vacia)• Claudia Lopez (liberal politician)• Angelica Lozano (liberal politician)• Andrea Echeverry (singer)• Shakira (singer)• Margarita Rosa de Francisco (actress)• Ana Marta de Pizarro (Director of Bogota Theatre

Festival)• Diana Bustamante (Film producer) and Festival manager• Pia Barragan (Cine Colombia)• Diana Uribe (Hystorian)• Hector Abad Faciolince (escritor)• Ricardo Silva Romero (periodista)• El Malpensante magazine (intellectual) Angel Unfried y

Mario Jursich

2. WOMEN ISSUES ORGANIZATIONS & WOMEN NETWORK GROUPSINTL• Women aff airs institutions (study groups in Universities,

women-rights and organizations)• Liga de la Leche Internacional

COLOMBIA• Liga de la leche Colombia: http://lllcolombia.org/• Mesa Regional de Apoyo a la Lactancia Materna Bogotá

Cundinamarca

3. WOMEN & FILM ORGANIZATIONS / EDUCATIONAL: • WMM (Woman make movies) (Debra Zimmerman) • Women in Film• ROCO Films International (Sue Turley) / Sales agent• Chicken & Egg (Wendy Eggelbert)

4. WEBSITES AND BLOGS ON WOMEN ISSUES, MOTHERHOOD• momsrising.org : where moms and people who love

them go to change the world. “First, a handful of women came together, and then that handful became hundreds, the hundreds became thousands, and through friends telling friends, MomsRising is now more than a million members strong and growing!”

• mamasconpoder.org (Spanish version)

5. PROFESSIONALS SPECIALIZED IN MODERN PARENTHOOD• Carlos Gonzales• Jean Liedloff • Rosa Jove• Rebeca Wild• Laura Gutman

6. TED TALKS ON WOMEN ISSUES. • Jennifer Senior: a contributing editor at New York

Magazine, where she writes profi les and cover stories about politics, social science and mental health. In her book "All Joy and No Fun," she examines the social science around modern parenting.

http://www.ted.com/talks/jennifer_senior_for_parents_happiness_is_a_very_high_bar?language=en.

Positioning:A warm-hearted fi lm about women, this intense personal story debates on how you should balance family and the accomplishment of dreams, on a journey that takes two women into the Amazon. This fi lm will refl ect on parenthood, career, responsibility and the need for freedom.HOW:

• Making a marketing campaign that opens the debate on family vs. career but also focuses on Val’s exotic character, story and on the Amazon. • Making emphasis on the ‘Follow your dreams’ discourse.

Look for big women’s magazine, publisher, etc…


Facebook page: www.facebook.com/totheamazon

Twitter and other pages: none yet Film website: www.totheamazon.co


104/105

Social Media Strategy:– Find ambassadors (view list above) through connections

in journalism, fi lm, and directly.– Contact Ben Kempas and tell him about the idea to make

an international world premiere on mother’s day. – Set-up meeting with Andy from Distrify to begin

process.

– Find bloggers, journalists and writers that specialize on the topic of parenthood. (view list above)

– Find facebooks sites and websites that specialize on the topic of parenthood. (view list above)

PR Opportunities / Story Angles / Press Strategy:(What kind of stories connected to your fi lm you want to off er the news, what kind of media partners, events you need etc.)

EVENTS• mother’s day screening (premiere)

STORIES FOR PRESS• Valeries story of life + her books + her cd.• How Clare dealt with not growing up with a mother

ADDITIONAL CONTENT OR DISCOURSES• Educational material• Therapists treating women on crisis after giving birth.

Success Criteria:(Be ambitious)(Defi ne your most important marketing goals and success factors)• Specifi cally we would like to use the movie as an element

to support a topic that has been discussed in Colombia (and in many other countries like the US) for the last couple of years: parents maternity leave. Actually in Colombia fathers get 8 days and mothers 3 months. We, as parents, are convinced that this amount is unfair and distanced from the reality of having children and the demands this change has upon a family. We are getting in touch to ally with the organizations that are leading this cause. We think this should be considered both for mothers and fathers.

• Attract attention to women dealing with issues of contemporary parenting crisis (therapists, groups, etc…)

• Create discussions-groups about the role of Mothers in the contemporary world.

• Make money to: be able to take care of our daughter, sustain the family business, and assure funds to begin our next fi lm.

• Set us both as international fi lmmakers and our company as the leading company in Colombia in documentary fi lmmaking. Find new fi lmmakers to develop and produce their movies. Find partners in other countries to co-produce fi lms.

Your Unique Brand Value:

Marketing Elements: KEY VALUES1. Refl ection on the relationship mother-daughter2. Bourgeois British woman that lives a spiritual,

alternative lifestyle / free spirit3. What means to be a mother?4. A very emotional journey in the exotic Amazon

atmosphere, paradise.5. GuiltNOTE: explore the concept of Amazon (women warrior mythology)

POSTER: • Two faces and river: A mother and a daughter. The

mother is unconventional (hippyish). The Amazon river gives the atmosphere and is a symbol of the umbilical chord and at the same time separates the two women.

• Clare with the baby or pregnant and val paddling going away (on a canoe, on bicycle)

• Clare in the front (face) and val far away.• Include Val’s house• Trees• River

STILLS: NUEVAS:Casa valAereas selvaVal en biciVal con cesto en cabezaManos en panza

• Val and Clare in the canoe.

PRESS STILLS: • Val and the butterfl ies. • Amazon scenery.

• Clare (the fi lmmaker) is doing a fi lm about her mother, so she has great access.

• It’s in the Amazon (exotic and special place)

• Her mother is an attractive and inspiring character who had a remarkable and adventurous life.

Marketing and Promotion Finance Plan Possibilities: US – Women making MoviesUS – Impact partners COL – Proimagenes Fund

FILM MARKETING

106/107

What is your biggest challenge for your film’s launch/release? • It’s time consuming, we need allies, interns, partners and

friends. • We need a Sales Agent to help us build-up our

Distribution and Marketing Plans.

International / Local Distribution Strategy: • Prepare for Dok Incubator and IFP (meet Sales Agents,

Broadcasters, etc)• Find partners and build up a network according to our

ambassadors.• Look for a great International premiere and success

before showing it in Colombia.

• Premiere in Colombia and have the theatrical release on mother’s day 2016.

• then VOD in Colombia geo-blocked.• International theatrical release on mother’s day 2017.• then VOD.

DISTRIBUTION

Distribution Format:

• DCP, Bluray, DVD, VOD • 80’ and 1 hour version.

Pre-Sales Done:

INTERESTED SALES AGENTS AND DISTRIBUTORS• Dogwoof (Andy Whittaker) UK• Autlook (Andrea Hock) Austria• The Film Sales Co. (Lucas Verga and Patrick McSherry)

USA• Journeyman Pictures (Lucy Matthias) UK• Taskovsky Films (Irena Taskovsky) UK• HG Distribution (Henry Gagnon) France• Motion Pictures (Montse Portablella) Spain• Sideways Film (Kazz Basma) UK

• Content Media (Paige Feldman-Acquisitions Coordinator) USA + UK

OTHER INTERESTING SALES AGENTS AND DISTRIBUTORS• Roco FIlms (Sue Turley) USA• Women Make Movies (Debra Zimmerman) USA /

Educational• Cinephyl (Heather Wyer)

What are the Primary Drivers for Releasing Your Film?

Being such an intimate story with a universal theme we believe this fi lm will have the opportunity to reach a broad audience and have a long life since the festival run, to the TV broadcasting, VOD, until the community and educational screenings. A warm-hearted fi lm about women, this intense personal story debates on how you should balance family and the accomplishment of dreams, on a journey that takes two women into the Amazon. We aim to get the best Sales Agent for the fi lm. Amongst others we will do this at the IFP week in NY, Dok Incubator and Dok Leipzig where we have been confi rmed. We plan to fi nd ambassadors for the fi lm amongst hard-core business women (e.g. Arianna Huffi ngton, Elizabeth Gilbert), women & fi lm organizations (Women Make Movies, Women in fi lm, Chicken and Egg) and experts, journalists and bloggers on parenthood and family issues (momrising.org, Jennifer Senior, Florence Thomas) We want to build an international campaign with Ben Kempas to launch the fi lm on mother’s day at the same time as we organize events in several countries where women and family issues are discussed. We will use the free partnership with Distrify we won as the Best Project on the Edinburgh Pitch to be able to put and sale the fi lm globally on our website. This way we will

be able to build a broad database and connect directly with people interested on this fi eld.

• INTERNATIONAL PREMIERE-PLAN A: IDFA : 2015-11 (contact: Ally Decks)-PLAN B: Sundance 2016-01 (contact: Hussain

Currimbhoy)-PLAN C: Berlinale 2016-02 (contact: Javi Martin –

Delegate for Latin America)-2016: Festival run-International launch on mother’s day: 2017-05 (Theatrical

and VOD) Organize forum’s about women issues. We already contacted Ben Kempas to consider the possibility of working together.

• NATIONAL PREMIERE (COLOMBIA)-PLAN A: FICCI : 2016-03 (Invite press, engaged audiences,

hard-core business women. Make a private screening for them.)

-THEATRICAL RELEASE: National launch on mother’s day: 2016-05-08 Organize forum’s about women issues.

-VOD release 2016-08-01 when they come back from vacations (geo-blocked)

When we asked IDFA our concerns regarding distribution they replied:

"First of all, if you have a deal that is really important for the distribution of the documentary, we would take that into consideration because it is our interest that the fi lm is seen. That is why in clause 19 we take into account windows that might be required for theatrical and tv, so in line with we would also take into account worldwide VOD deals. In any case so far, and as far as I know, Netfl ix or HBO until know just like theatrical release has been limited to the lucky few in documentary. Also thru the distributor we work with in the Benelux, I know that for the example the Act of killing is on Netfl ix but they also

off er it thru VOD platform only aimed at the Netherlands.So in case there would be a deal like this, or something like a worldwide digital launch (this I see more and more often) we can discuss this and we will collaborate to get he best exposure for the fi lm.As far as platform, we have www.idfa.tv. That has documentaries with the IDFA label, available for free, of paid, in the Benelux but also worldwide, depending on the fi lm. This year the platform was adapted to screen for tablets, for now this is only the dutch side http://www.idfa.nl/nl/idfa-tvAnd partly on the English side http://www.idfa.nl/industry/idfa-tv"

Sales Agent:

• There’s nothing better that we could be doing with our lives at this moment.

• To spark the conversation on parents dilemma between family and career.

• Making the fi lm is part of our process of becoming parents.

• Career & company launch• Money• Clare always wanted to make a fi lm about her mom.

Launch of the Film

108/109

What Kind of Distribution you Want to Go for and Why you See The Potential? We know this fi lm can have a great success on Festivals.We would like to have a world-class sales agent on board and work with him hand in hand. We need someone with experience in North America, a very important territory for our fi lm.

We expect to have a theatrical and VOD exposure and sale it to TV in several countries.We know the fi lm can have a long life in forums on women issues.

Intended Festivals / Markets: PLAN A: IDFA 2015PLAN B: Sundance or Berlinale 2016Theatrical, community, dvd, VOD, educational, (priority).

Intended Presales/Sales: INTERESTED BROADCASTERS• BBC (Joe Lapping) UK• Arte (Karen Michaels) France• Canal + (Iñigo Trojaola) Spain

• YLE (Jenny Westergard) Finland• MDR/ARD (Claudia Schreiner) Germany• Señal Colombia (Jaime Tenorio) Colombia

Intendended Territories: Europe, North America, Australia, South America.

Networking: Ambassador listFestival listMarketing partnersBloggersIDFA, TFI, Proimagenes, Dok Incubator.

What Are Your Biggest Distribution Concerns?• It’s our fi rst movie, and we want to be ambitious. • We are building the network. • The director should be able to keep the right to put

and sale the movie on the webpage to earn income, build a database and connect directly with interested

audience.

SWOT ANALYSIS

Strengths Production: • Independence• Finance in place for Post-production• Good team• Flexibility

Marketing: • Strong, inspiring character: Bourgeois British woman

that lives a spiritual, alternative lifestyle / free spirit.• A very emotional journey in the exotic Amazon

atmosphere, paradise.• A refl ection on the relationship mother-daughter.• Universal: through an intimate drama the fi lm sparks

the debate upon the dilemma of women today as they become mothers and feel the pressure to abandon their paths.

• Colombian fi lm with a high % of dialogues in English (For Hispano-American public)

Distribution: • The project has a good trajectory, support from visible

organizations• Many sales agents and broadcasters interested.• Dok incubator

Weaknesses Production: • Need fi nance to cover our salaries, marketing and

distribution.• We don’t have a co-producer.• It’s our fi rst movie.

Marketing: • It’s a documentary• It’s built upon remembrance and it doesn’t have so

much action.• Personal story• A % of dialogues is in Spanish (for International

audience).

Distribution: • No pre-sales• Colombia is a bad market for national fi lm and for

documentary (we hope to break the rule).• It’s our fi rst movie.• We are building our network

Opportunities Production: • The network we are building with EAVE, Dok Incubator,

IDFA.

Marketing: • Documentary is becoming trendy• Colombian fi lms success, specially, El abrazo de la

serpiente.• It can be use for educational purposes, allying with

women organizations and university studies on contemporary women issues.

• FDC-Proimagenes distribution funds.

Distribution: • IFP spotlight on documentaries selection.

Threats Production: • Issues during post-production.

Marketing: • Colombian fi lm’s bad box offi ce.• Not getting a good international sales agent.

Distribution: • Latin-american partly Spanish fi lm.

DISTRIBUTION

110/111 NOTESNOTES

112/113

UKRAINIANSHERIFFSThe mayor in a remote southern Ukrainian village picks up two guys — the smartest and the strongest, gives them shiny badges and an old Soviet-made car assigning them the title of village sheriffs. It will be a story about regular people taking action to build their own community life against the background of Ukraine’s revolutionary

transition, combining wildness and kindness, crime and compassion.

In the country with the largest police force among all the European states, there is one village with 3000 inhabitants who have no access to police service. And if someone calls, they never come. Actually, the police could make more problems than you had before. That’s why the mayor of Stara Zburyevka chose the smartest and the strongest guys in town, they have no guns, but they have been given a car and shiny tokens, and he named them Sheriff s. The fi lm portrays both sheriff s over the

last 3 years in absurd and serious cases. Sheriff s have been digging graves for lonely people, helped to organize important village celebrations as well as healing locals from alcoholism. It refl ects the situation in the whole country, where the state was failing and people started to overtake control in their own hands. The story about men’s friendship and struggle for justice on the background of turbulent times Ukraine is experiencing over the last few years.

Fine Cut: September 15, 2015Film Release: November 15, 2015



Status of the Film: We are about to fi nish the rough-cut fi rst version edit and will prepare some test screenings to collect the feedback from the fi rst sight audience.



The general rhythm of the rough-cut and the introduction with some of the main characters – is it clear enough to

the audience who is who in our fi lm. Structure and length of some scenes, also episodes order could vary.

on request

114/115 TEAM

EDITOR: Kateryna GornostaiStudied biology, and later journalism at the Kyiv Mohyla Academy in Kyiv. Then graduated from the School of the Documentary Film and Theater (Moscow) of Marina Razbezhkina and Mikhail Ugarov, returned home to Kyiv. Now I'm engaged in educational documentary programs and own documentary and fi ction fi lms projects.

PRODUCER: Darya AverchenkoShe studied at the Faculty of Journalism at Kyiv International University. She received postgraduate education at the Free University of Berlin.She’s a member of the Selection Board of the International Documentary Film Festival on Human Rights Docudays UA for eight years, produces documentary fi lms. Among them the award-winning Radunytsya, Cafe Voyage, Euromaidan. The Rough cut. Ukrainian sheriff s is a director's debut together with Roman Bondarchuk.

PRODUCER: Uldis CekulisUldis Cekulis created the independent production company VFS FILMS and won the International Trailblazer prize at MIPDOC in Cannes, which recognises the best documentary makers. He has worked on more than fi fty creative documentaries and TV productions both as a producer and sometimes also as a cameraman. Many of them such as Roof on the Moonway, DreamLand, Theodore, Three Men and a Fish Pond, Klucis, Ramin – have travelled around the world.

DIRECTOR: Roman BondarchukHas graduated from the Kyiv state university of theatre, cinema and TV. His teacher was Yuriy Illenko – a founder of Ukrainian Poetic Cinema school. Roman has created a number of short fi lms, documentaries and music videos. An author of the book of novels and contemporary art exhibition. The award-winner of national and international fi lm festivals.

PRODUCTION COMPANY

VFS Films VFS Films is a fi lm production company which houses a large group of fi lmmakers around a tight nucleus – best at telling human stories through award-winning documentaries or creative TV productions. With a skin rough enough to spend much time outdoors.

Docudays UASouth NGO organizes the Docudays UA International Human Rights Documentary Film Festival for 8 consecutive years. That is the biggest and most infl uential documentary fi lm festival in Ukraine. Through the festival we develop the democracy values in Ukraine and discover the prominent examples of documentary fi lmmaking from all over the world. Being inspired by the fi lms of our guests we create our own fi lms in which we express our position on the country’s top issues or tell to the world the local stories that matter to us.

Taskovski Films Taskovski Films is a Berlin based production company of independent documentary and fi ction fi lms. We welcome innovative, playful and risky forms of fi lmmaking capable of engaging and surprising audiences around the globe. Our passion is discovering new talent and authorial stories.

116/117

Social Media Strategy:Social media, of course, will play crucial role to raise our audience and make them curious about our story. And it should work from both sides – locally in Ukraine there is a lack of simple and “not much about war” stories, not only telling the truth from inside of the country, but also giving some inspiration, how to deal with situations and circumstances.In Ukraine we are in a quite good situation, because there is already very well established network of diff erent media by promoting the annual DOCUDAYS festival and for sure we will use those tested and trusted partners for our media strategy. Internationally we will fi rst of all

work in the coproduction countries Latvia and Germany. As example there will be wide article about the village in Latvian magazine RIGAS LAIKS, which is linked with the very popular opinion maker’s internet blog/magazine http://www.satori.lv This is important, because many other journalists are infl uenced by this “thinkers” journal and we hope to get some kind of viral chain reaction before the premiere in Riga. We also hope, that DOK.Incubator platform will help us to spread the message, as your reputation in creative documentary world is well respected, also IDF and EDN platforms will be used.

FILM MARKETING

Relevant PR Partners: Graphic artist Varvara Perekrest http://varvaraperekrest.com(poster design portfolio: http://cargocollective.com/awhatnot_posters)


Observational documentary, Human Interest / Social Is-sues, Author’s point of view / Political portray

Core Audience:First of all, this is a fi lm for those people who want to get a unique insight of the country, of the system and of the mentality of the Ukrainian people on the countryside.Actually, our protagonists represent also our potential core audience in Ukraine – ordinary people who expect changes and trust for their own country future, from the top (local decision makers) to the very bottom (simple people, students etc.).Regarding the outside Ukraine, a good selling point is that it’s not a new war movie in Ukraine, but this is a fi lm ABOUT Ukraine and the Ukrainian people, view to the country from inside before and during the war.

Curious people in the West who want to learn more about the war in Ukraine and European neighbouring country in general, WTF is going on there. We can count on wide student audience, dissidents in Europe and, of course, the huge East European audience with the same social experience in the past and similar political background. As name “sheriff s” could attract the western lovers, we can count on General public too. Especially because it’s a human interest story and could be appealing to everybody who is not insensible to the Ukraine issue and real people being inside of those events.

Potential Ambassadors:As both authors are also organizers of the very well recognized International Human Rights Film Festival DOCUDAYS, they have their own established network of freelancers, mostly university students, who could help us communicating appropriate news locally and globally. Of course, the most effi cient ambassadors will be our core

team members, as we know our story by heart and we learned a lot from our protagonists. We understand that it will take quite of our time, but starting to prepare for this mission and we should share the fi elds and media who, where, when and what will communicate.

Positioning:This is not another fi lm about war! It’s a fi lm about ordinary people and society.As Ukraine is still quite an issue globally and there are many fi lms made during the last 2 years, we should base our communication focus on the message, that we show simple people who are taking the action to rebuild their

own country. AND our story is told in a simple and light way, it’s touching and funny, our protagonists will make you cry and laugh. Of course the trailer and poster should communicate and strengthen this ambitious message, that what you see – you will get.


Marketing Elements: First of all, the poster should communicate the core elements of our story, including some absurdity or contradiction elements, which in most of cases are selling well. We should make also clear that sheriff s are not a police and they are doing their best in all kind of situations. The poster sketch will be presented in printed form at the workshop.The strongest tool could be a short fi lm’s promo clip virally distributed via social networks, which shows the tragicomic elements of our storytelling. There could be little danger to make it in a way that we laugh together with our protagonists and not about them – this should be clear enough from the fi rst sight. Also, it would be great to stress out our ambition to inspire others not to sit aside, but to give confi dence to understand, that also small actions could change the world.If possible it would be great to create short intro fi lms about each of our main protagonists – Mayor, Kolka

and his girlfriend Tanja, Sheriff s and Ikarus. Those fi lms should be placed on fi lm’s web site as well as used by viral communication, preferably in the context of some real topical events, we only need to build the little bridges between real life and situations in our movie. The draft of web site version is attached.It’s another value we have to refl ect, that there are a lot of unbelievable real stories told by Sheriff s themselves about diff erent and absolutely absurd situations they have experienced. So we plan to collect those stories in audio fi les and adapt them to good writing and to be short enough. The audio fi les could be furnished and adapted to potential radio usage, which could play very well especially for local marketing campaigns before the cinema release. This will be fantastic source for other journalists to dig deeper and to ignite them for more articles based on our protagonists.

Facebook page: (WILL BE CREATED AFTER THE 2ND WORKSHOP AND ROUGH-CUT FINAL VERSION DELIVERY – APPROX. MID SEPTEMBER 2015)

Twitter and other pages: (WILL BE CREATED AFTER THE 2ND WORKSHOP AND ROUGH-CUT FINAL VERSION DELIVERY – APPROX. MID SEPTEMBER 2015)

Film website: HTTP://UKRAINIANSHERIFFS.COM

Publicist / PR-Agent: Darya Averchenko / Roman Bondarchuk / Uldis Cekulis …

118/119

Success Criteria:Our protagonists have managed to change the justice system on a local level and how it works you will experience by watching our fi lm.With such an attractive protagonists we plan to reach as much as possible followers on our FB site and manage

optimal linking with fi lm’s web site. The important is to fi nd and use the right tags to be easy to fi nd by diff erent web search tools. Strong and passionate media partners will be crucial for our success by wide distribution.

Your Unique Brand Value:There is a feature documentary “Euromaidan. The Rough Cut” produced by Darya and Roman last year as well as feature length creative authors POV documentary done by our company 2 years ago “Documentarian”. Both fi lms have been very much authors driven, which often is a challenge for distribution, especially for TV. It is clear that social media nowadays play an increasing role into the marketing process and when the public starts to distribute pirate copies or start to make diff erent kind of remixes or other staff related to the fi lm, it’s a good sign, but you need to try to slightly control this spontaneous chain reaction and move it into the right direction. The FB sites https://www.facebook.com/EuromaidanRoughCut?fref=ts helped a lot to rise awareness and the tricky part is to keep the updated https://www.facebook.com/Dokumentalists?fref=ts We plan smart uses of those sites for the new fi lm announcements, but these actions should be carefully planned and we need to build unique bridges

between the previous fi lm projects and our new fi lm!For the “Documentarian” the local internet ticket sale deals and open-air summer season screenings performed extremely effi cient. The festival circle started after Leipzig premiere and it was successful, which we didn’t expected for the movie because characters speak almost all time in very local Latvian language. So this is good stimuli for us to prepare already beforehand good international distribution strategy, even the fi lm’s original language will be Ukrainian and Russian. This is work in progress at this point.Our unique brand value in this context is the trust achieved by our protagonists over the long period of research and adaptation. The presence of the fi lm team is not visible at all during diff erent situations you will not be able to fi lm normally. This story is told by and to Ukrainian citizens.

PR Opportunities / Story Angles / Press Strategy:We should make a very strong and convincing trailer in longer internet version and short TV spot version. In Latvia we have good cooperation with LTV, our main broadcaster and partner of our fi lm, that they place cinema release adverts into their advert slots as well as in their growing media portal www.lsm.lv The challenge is that both versions should contain all selling point elements we have in the fi lm: strong characters, humour and absurdity. The short intro fi lms about our main characters could be great additional tool to show the richness of this project. As many people worldwide have been following the

events in Ukraine via the very popular news portal VICE NEWS https://news.vice.com/topic/ukraine during the last 2 years, it would be great to negotiate about some kind of partnership, especially because they have also documentary section, but we need to fi nd a deal, which keeps our fi lm aside, but this could be the platform for diff erent side stories linked to the Sheriff s movie. This is a challenge worth trying.We should ignite press and media also to create their own headlines for the fi lm and our task should be to present variety of elements for the press to play with!

Budget for Marketing and Promotion: We have 10000EUR allocated in our budget for Cross media platform development and not more than 7300EUR for the advertising and promotional materials, including

festival copies, booklets etc. The detailed marketing and promotion budget will be developed until the end of August with our distribution partners.

DISTRIBUTION

Distribution Format: DCP

Pre-Sales Done: ZDF/arte, LTV, EER, LRT, SVT

Sales Agent: Taskovski Films

• Money• Career launch• Mission – we want support topic of the fi lm, change

the world

• Something else – what?

Launch of the Film We plan on festival and cinema releases fi rst and then TV followed in a longer term by VOD versions. Some episodes, which haven’t found place in the main story of our fi lm, will be distributed online even before the offi cial pre-miere.First of all, its cinema releases in Ukraine, Latvia, (Ger-many?) with the preferable premiere at IDFA 2015 (the submission form is already delivered and rough-cut will be sent for evaluation soon). If we succeed at the German

premiere at Berlinale (our ambitious task) then we will try to synchronize it with Latvian cinema release too, because our press is very much focused on Berlinale events, espe-cially if Latvian fi lm could play there.Overseas we would try to get into Sundance competition too. This would be the best plan. The cinema release could last for max 2 month and the TV premieres are expected after that.


As we have Taskovski Films on board as a distributor, this will be the issue we will discuss together in nearest time.

What are the Primary Drivers for Releasing Your Film?

To manage the proper post-production it in time, because we are still at rough-cut stage.


What Kind of Distribution you Want to Go for and Why you See The Potential? Festival, theatrical, television parallel to community screenings, VOD – it will be organized with our distributor Taskovski Films and other appropriate partners.

FILM MARKETING

120/121

Intended Festivals / Markets: IDFA, Berlinale, Sundance, Hot Docs (primary)

Intended Presales/Sales: will be discussed more in details with Taskovski

Intendended Territories: world wide

Networking: We already have an agreement with Taskovski Films.

What Are Your Biggest Distribution Concerns?During the last year and a half there have been many fi lms worldwide made about Ukraine, so our major challenge is to fi nd the right words and marketing tools to be heard and to make our unique selling point really visible and convincing enough to wide audiences.





Film’s WEB and FB site launch Awareness rising about our topic / general public

September/Early October 2015

Film trailer (short and long versions)

Awareness rising about our fi lm/ general public

October 2015

Press screening at Leipzig IFF Awareness rising about our topic / fi lm professionals

Late October 2015

Local media launch campaigns in Ukraine, Latvia and Germany, press screenings maybe too.

Awareness rising about our fi lm/ general public

November 2015

Premiere at IDFA Festival public November 2015

Regular updates on FB and fi lm site

General public October 2015 – May 2016

Premiere at Sundance Festival public January 2016

Premiere at Berlinale Festival public February 2016

Premiere in Riga General public February 2016

Premiere in Ukraine at DOCUDAYS festival

General public March 2016

DISTRIBUTION

122/123SWOT ANALYSIS

Strengths Production: Creative and passionate team, strong research and integration into the local community

Marketing: Great topic to communicate for diff erent audiences

Distribution: Professional distribution partner

Weaknesses Production: Remote location and limited resources

Marketing: Not enough skills in this fi eld

Distribution: Too many fi lms about Ukraine in the market

Opportunities Production: No fi nancial obligations at early stage have given much more freedom for creative team. At the editing stage point it is opposite, because partners involvement helps us to get rid of too much subjectivity

Marketing: There is really an option to change the world

Distribution: To spread the local topic for international audiences

Threats Production: Not easy location to shoot and there could be too many options for the right main story line.

Marketing: Not to lose the focus and coherence with the fi lm

Distribution: The language spoken is not English, so the edit should be done that the fi lm really communicates much more with images, situations and sounds instead of narrative line

NOTES

124/125

H*ART ON

How is possible that somebody who is so known for his cultural footprints at once disappear from his life and fi nally from history as well? Paris, January 16, 1940 a French-speaking couple (of Czech origin) expected to arrive at the GARE DE L'EST does not disembark from the Orient Express. The couple do not even appear that evening for the wild party with Henry Miller and Anais Nin in the rue Villa Seurat. 70 years later, young French animator, elderly Swiss left wing decadent and young

Czech guide from Muzeum of Chotebor create a map to the story of two unique fi gures of European modernity: social utopians, visionaries and discoverers of countless artistic, literary and advertising techniques MILADA SOUČKOVÁ and ZDENEK RYKR. Their thrilling story is the base to create a mirror refl ection of today's art reality nationwide in institutional, political context and also personal level.

Fine Cut: August 27, 2015Film Release: October 31, 2015

What is your distribution strategy?• a feature documentary for cinemas and TV• a big exhibition in the National Gallery in Prague• about 10 small exhibitions in diff erent cities in Czech

Republic, Germany, France, Slovakia and Switzerland• two radio documentaries - Czech Radio• an interactive application / simple documentary video

game

Target audience:15 + The popular detective story genre has been chosen to attract attention of more than just a few regular gallery goers. The ARTS DETECTIVE STORY PLATFORM target group represents all those interested in European design, advertising and contemporary visual arts trends and also curious of the origin of new ways of product, art and artists presentation.

What are the crucial parts of your project you want/need to work on during the workshop?Now we fi nished main part of the fi lming and we arestarting to build structure of the fi lm. Around end of Maywe would like to have a base structure of the rough cut.We would like to discussed structure of the story (twistpoint, obstacles etc.), what is the most strong and weakpart of our main characters, we would like to test if ourmeditative and strongly visual material could be perceivedin international context – not only in galleries but on thebig screens.

Our main characters are French and Swiss artistsOur locations fi lming were France, Swiss, Japan, CzechWe would like to meet french experienced producer todiscuss some possibilities of coproduction (game and fi lm), distribution plan and the presentations in France and Swiss.

126/127 TEAM

EDITOR: Thomas ErnstThomas is a fi lm-editor, post-production supervisor, scriptwriter, head of fi lm editing at Budapest Film Academy and tutor for ESoDoc and Verzio DocLab. He is the head and technical director of WellDone Post Production facility 1996–2002. AVID / Final Cut Pro workfl ow expert. He features fi lms like Bánk Bán with the academy award winner Vilmos Zsigmond., the Mr. Bean Cartoon series for Tiger Aspects London, commercials for worldwide leading brands and agencies, short fi lms, music videos and documentaries are on his long credit list. Through joining each project at a very early stage he co-creates the workfl ow and concept of the production together with the director and to guarantee a smooth editing and post-production process - from the beginning of the shooting to the screening of the fi nished edited fi lm.

PRODUCER: Kateřina DoležalováIn 2013 she obtained bachelor's degree at FAMU, fi lm production. Now she is fi nishing last year of magister study. During her studies she worked on about 20 student fi lms, including feature length debut fi lm by Vít Zapletal called Dust of the ground. In 2014 Kateřina replaced Pavlína Kalandrová in Duracfi lm. Nowadays Kateřina is working on three fi lm projects.

DIRECTOR: Andrea CulkováFilm director, visual artist, pedagogue and mother of three, currently working on the Sugar Blues movie. Sugar has become a major issue for her, both in herpersonal and professional life. She has 10 years’ experience with documentary fi lmmaking. Sugar Blues is her fi rst feature fi lm. Documentary fi lmography asdirector: Communique (2005), Life To Killed Frog! (2006), Beautiful Prague To Become Olympic (2007), Story Of House No. 100 (2008), Lise Forell – WithoutBorders (2011), Let's Heal The Czech Republic! (2013), Sugar Blues (2014, in production), ART DETECTIVE STORY (2015, in production)

PRODUCTION COMPANY

Duracfi lmPrimátorská 1009/45180 00 Praha 8 – LibeňCzech Republic

+420 774 138 838duracfi lm@duracfi lm.czwww.duracfi lm.cz

128/129

FinancingConfi rmed:

The Czech State Cinematography Fund 40,000 EURCzech TV (fi nancial subsidy) 12,000 EURCzech TV (internal expenses) 22,500 EUR

The investigation is a way to create a double portrait of Zdenek Rykr and his creative and life partner Milada Součková, in the context of 1930s Europe. The fi lm does not attempt a mechanical description of history. History is only mentioned in the context of the present and its help in diagnosing the contemporary art scene with its current problems, including economic and political infl uences. How does the artist break through national boundaries and become a concept in another cultural context? And on the contrary, what must happen for such a prominent creative and social fi gure to eventually fall through the cracks of history? Was it Rykr‘s scathing criticism, his colleagues‘ envy of his wealth, the impossibility of classifying his art, or the elegance with which he was able to combine advertising with art? Any one of these reasons could be why Rykr does not appear in textbooks and why, even among art historians, he is only known by a few insiders. But like a rare fungus, he remains a subject of fascination and admiration for the mycologist who discovers it. Součková and her literary work are not much better off . She may not have been as critical of and uncompromising towards her literary contemporaries, but for a change she fell through the cracks of political regimes and war. What is the magic formula that allows one to survive while another disappears? Contemporary artists, historians, actors, marketing strategists and a young guide from a regional museum dig through the past to actively create and verify the functionality of Rykr‘s art and advertising techniques and Součková‘s literary variations.Police historian Radek Galaš reconstructs the investigation at the scene below the Barrandov Bridge and reconstructs the death itself with the locomotive of the legendary Orient Express. His team demonstrates how the contemporary investigation unfolded, who went to inform the widow, who brought the body for autopsy, who spoke to friends, co-workers and employers to verify

what the dead man had been like, how he had behaved, and if anything indicated that he was suicidal. What about a suicide note? If one had been left behind, who destroyed it and why? On closer examination of the circumstances of the death there are more and more questions about whether it was in fact a suicide. The investigation reveals the couple‘s activities in the resistance and examines how they transported secret messages to Paris and London in liaison with the government in exile. It shows the risky steps that Rykr took to hide the families of Jewish owners and workers of the Piras advertising agency, as well as the decidedly negative role that Jindřich Chalupecký played in the last days of Rykr‘s life.The fi lm is not and does not want to be a detective story in the true sense of the word, where the only thing that interests us is who did it. With the same vigour we examine the characteristics, motivations and behaviour of all the participants and we expect that the only living thing that can „testify“ is the extensive work of both authors. Actors attempt through improvisation based on extant literary records to discover how they behaved and to uncover their characters. Meanwhile, the current stars of graphic design, advertising and marketing attempt to show how Rykr‘s advertising and design work are still inspiring today. Almost cut off from the world, the regional museum guide recycles her commentary, and shows visitors the crude and fi ctitious Rykr room, which due to lack of space he shares with another artist. At the same time, together with Vojtěch Lahoda we try to organize a large retrospective exhibition at the National Gallery and to encourage regional museums to restore Rykr‘s work. In the course of the long and thorough investigation, we fi nd that many fragments and observations have been located, but it is mostly up to us how to interpret the evidence.Project contains: fi lm, exhibition and interactive game.

A treatment of film based on shot material

130/131 NOTESNOTES

GUESTPROJECTS

134/135

DIAGNOSIS

director: Ewa Podgó rska producer: Małgorzata Wabińska

rough cut: –fine cut: –film release: –

confirmed: 100,400 EURtotal budget: 146,200 EUR

Entertain Studio

136/137TEAM

EDITOR: Małgorzata WabińskaShe’s graduated from Film Production at National Film School in Łódź and Programme for Creative Producers at Wajda School. She also studied Econometrics at the Economic and Sociological Department, at Univeristy of Łódź. She participated in documentary workshop conducted by Leszek Dawid and Iwona Siekierzyńska (nominated for students‘ Oscar). She was production manager of short fi ction “Dragonfl ies” which was presented in the short competition during Venice International Film Festival in 2007. She collaborated with National Film School as a production manger, SBS Public Relations Agency and Media Factory in Łódź as a budgeting specialist and producer. From 2008 she was responsible for DOLBY sound mixes coordination and marketing. She was also manager and one of the idea given of project about history of the fi rst postwar Fiction Film Factory in Poland (in Lodz). It was cross-media project, supported by Polish Film Institute and Lodz Film Comission. In 2013 she established her own production company, Entertain Studio. The fi rm is focused on creative documentaries. The company is a member of Polish Audiovisual Producers Chamber.

DIRECTOR: Ewa Podgó rska Born in 11.11.1981, Łó dź . She graduated from National Film School in Łó dź , as well as University of Łó dź (fi lmology and journalism). She also graduated DOK PRO – documentary program at Wajda School. During studies her main interest was documentary fi lm and experimental movie. Her debut was “The chicken and the egg”, 26 minute long documentary fi lm about diffi cult relation between mother and daughter. World premiere was on Festival Film de Femmes in Paris. Film was released as "The best Polish debuts 2012". She also wrote scripts to full length documentary fi lms:“Beyond mountains” which tells story of worn virgin in Albania, woman that had to be man and “Blind course” about visual impaired sailors that are going for trip of their life, sea course. Simultaneously she was working as press journalist. She published articles in the most important fi lm magazines in Poland like “FilmPro”, “Kino”. Mostly she wrote about fi lm, literature and art. She wrote series of articles about working methods of the most famous documentary directors (Herzog, Helmrich, Kossakovsky). She was a participant of Doc Lab Poland in 2015.

Cracks in paving stones are like skin imperfections, while the city street network is like veins, with red cars as blood platelets. The city breathes though its chimneys, air vents and sewer drains. Similarly to any human, it has parents and a concrete age. Its heart is beating somewhere and its mind has a location, too. The city can suff er from traumas and neuroses – at least that is Laurent, the world’s fi rst urban psychoanalyst, believes.The eccentric Frenchman has authored a unique method, according to which he has performed psychoanalysis of a few dozen cities, including inter alia Geneva, Beirut and Marseille. He has also been the head of the Urban Psychoanalysis International Agency for almost 10 years and now the time has come for him to visit the heart of Poland for the fi rst time, Łó dź - ‘ the post- ‘ industrial metropolis.Łó dź poses a diffi cult task for Laurent, and that is why he brings along his Polish- ‘ speaking assistant, Leo. Together they follow in the footsteps of legendary Don Quixote and Sancho Panza as they undertake to psychoanalyse a city where the death of the industry has been accompanied by the end of any belief in the future.The fi lm’s narrative structure is inspired by the actual mechanism of a therapeutic session. Laurent invites city residents to his therapeutic couch and the sessions start with a slightly comedic undertone. Laurent asks: “What animal is your city?” The answers vary, from stray dog and pigeon in a cage to elephant. The subconscious is triggered and with time the sessions become increasingly personal. They unravel the city’s hidden problems along with its people’s issues. It transpires that there’s method in this madness and that Laurent’s actions make a massive diff erence. The city infl uences its people as much as they infl uence the city.

The residents of Łó dź begin to understand their most hidden cravings, pains and desires. The camera follows some of them well into the depth of their everyday lives and their minds. Marked by its emotional intensity, it penetrates their private lives just to fi nd its way in the urban labyrinth just a short while later and go back to the beginning, i.e. the therapeutic couch. The jumble of subjective points of view fi nally generates an overall image of the modern city’s subconscious. The fates of individual residents intertwine and complement each other, making up one being that can become the subject of psychoanalysis.“Diagnosis” is a formal experiment and artistic interpretation of urban psychoanalysis. It is to take the viewer on an emotional journey to the insides of the modern city’s subconscious but also on a journey to the viewer’s own subconscious. The viewers are to feel as though they were lying on the therapeutic couch themselves. What answers will they give to the questions asked? And how will they see the place they live in afterwards?

Short synopsis

138/139

FinancingProducer's Investment confi rmed € 15 093,00Polish Film Institute (Development Fund) confi rmed € 11 905,00Polish Film Institute (Production Fund) applied for € 59 523,00TVP Kultura (LoI) confi rmed € 5 952,00Polish Institute in Paris (Partner) confi rmed € 1 500,00Municipal Centre of Cultureconfi rmed € 1 666,00in Bydgoszcz (Partner)Polish co- producer confi rmed € 4 761,00Regional Film Fund in Łódź to apply for € 10 000,00Co- producer / Broadcaster looking for € 35 800,00 Total Budget: € 146 200

Production Budget

Salaries and rigths € 58 200,00Equipment € 18 000,00Materials € 2 000,00Transport and accommodation € 14 000,00Locations € 2 500,00Other direct costs € 42 000,00Overhead € 9 500,00

TOTAL € 146 200,00

PRODUCTION COMPANY

Entertain Studio Entertain Studio is a fi lm production company based in Łó dź , set up in 2013 by Małgorzata Wabiń ska. The company’s mission is to produce formally interesting documentary movies for a wide audience. We create ideas for fi lms and we also look for interesting ideas to develop. The company has its own equipment and editing stations. Our activity in the IT sector enables us to freely use of IT solutions in the production process and promotion. Entertain Studio is a member of the Polish Audiovisual Producers Chamber of Commerce.

140/141

JOURNEYTO SUCCESS

director: Daniela Meressa Rusnoková editor: Janka Vlčkováproducer: Mario Homolka

rough cut: January 1, 2015fine cut: April 20, 2016film release: September 23, 2016


Leon Productions Jadranská 41841 01 BratislavaSlovakia

+421 (0)264 462 [email protected] http://www.leonproductions.sk

142/143TEAM

EDITOR: Janka VlčkováJana studied at FAMU and she is an established editor of documentary fi lms including Normalization by Robert Kirchhoff (nominee for the best editing at Slovak fi lm awards Slnko v sieti), Auto*mat by Martin Mareček, The Matchmaking Mayor by Erika Hníková, All for the Good of the World and Nosovice by Vít Klusák or feature fi lm Symptoms by Tomasz Wiński (winner of the best editing prize at student festival FAMUFEST).

PRODUCER: Mario HomolkaMario holds a MA degree from the University of Fine Arts in Bratislava in documentary production. He since worked in Czechoslovak television, as freelance documentarist, and sat in the board of National Slovak Television. In 1998 he founded LEON Productions and produced award-winning fi lms such as Jaro Vojtek’s Here We Are and The Border, Zuza Piussi’s The Grasp of the State, or Martin Šulík’s Milan Čorba.

DIRECTOR: Daniela Meressa RusnokováGraduated from Academy of Performing Arts Bratislava specializing in documentary. Her fi lm again about Slovak Gypsies entitled Soňa and her family was awarded special mention at Human Rights Film Festival Jeden Svět/ One World 2007 and recieved European Media Award Young Civis 2007. In 2008/2009 she received a Fulbright scholarship for research on dissertation theses at the San Francisco State University, with consultations at Harvard University. She completed her Postgraduate degree in 2014. Daniela as a mother of two is working as an independent documentary fi lm director, researcher and fi lm assistant.

A feature long time-lapse documentary fi lm project titled Journey to Success is a story of Mongolian women after fi fty who tries to escape her hopeless post-communistic reality through some “desperate” activity. UN development program "Slovak Aid" may make their dreams about better life true by cheese-making but is it possible with express aid projects? An observational

documentary fi lm on which we are working intermittently since 2005 shows the Mongolian reality and struggle. The development project ended, like most of the development projects – trivial. The Film refl ex one of the many aid projects and through Mongolian experience may serve as an inspiration to think about development aid as such.

Short synopsis

144/145

Fine Cut: April 20, 2016Film Release: September 23, 2016

Approximated Length of the Current Cut: –

Planned Length of the Cut: –

Status of the Film: Since we could do the additional shooting in Mongolia past July, fi lm is now in the stage of the second rough cut. We are adding the new scenes and rearranging the old cut.After this period we are planning to apply for

a postproduction grant at Slovak Audiovisual Found in September and continue fi nishing the fi lm in the editing, sound design, colour eff ects etc.


Core Audience:

It would be great to get feedback on this new rough cut from the tutors who know our work and who were meeting us and advising us at the last workshop in Czech

rep. Especially Yael Bitton and Ikka Vehkalahti.

People interested in documentary fi lms, festivals audience, art and fi lm clubs visitors, public TV, DVD, VOD - net Piano in Slovakia, Doc Alliance, people interested

in diff erent cultures, NGO managers, development help employees, schools.

Potential Ambassadors:Slovak Audiovisual Fund - grant for distribution support, Association of Slovak Film clubs and diff erent

NGO's dealing with development help, social topics as well as cross cultural issues.

Positioning:Family fi lm about development help to Mongolia, refl ecting not only cultural diversity but also common human problems and eff orts.

PR Opportunities / Story Angles / Press Strategy:Slovak development help goes to Mongolia. Teaching the Mongolians know-how of cheese making. How would it work in diff erent culture, environment and would it bring real help to the Mongolian family? Will the new business successfull?

Media: articles in daily newspapers about the new fi lms, fi lm magazine, Weekly news magazine, Weekly people life magazine, Enterpreneur magazine

Success Criteria:Festival release, festival competitions, high number of local cinema viewers, TV release

International / Local Distribution Strategy: Festivals, cinemas in Slovakia and Czech republic, VOD - Slovakia, DVD, public TV - Slovakia, Czech republic

What Kind of Distribution You Want to Go for and Why You See the Potential for Your Film There? 1. festival/theatrical2. cable VOD/Broadband Digital/VOD 3. television/cable4. community and alternative

We would cover the distribution in Slovakia with the distributor – Association of Slovak fi lm Clubs. In case of success we would hire a sales agent for foreign market. TV , cable and VOD distribution would be covered by our company. Community and alternative screenings would be covered with cooperation of professionals from NGOs.

146/147

THE CITYOF THE SUN

OFA, Liber8Films 17 Irakli Abashidze Street #180179 TbilisiGeorgia

+995 599 329 [email protected]://www.kulumbegashvili.com

director: Rati Onelieditor: Ramiro Suarezproducer: Dea Kulumbegashvili

rough cut: May 5, 2015fine cut: November 23, 2015film release: January 31, 2016


148/149TEAM

EDITOR: Ramiro SuarezRamiro Suarez graduated from the Academia International de Cinemai (Sao Paulo, Brazil) with the thesis in editing in 2006. He also studied in London Film School and has been editing fi lms and commercials for the last 10 years. Most recently was the editor of "Invisible Spaces" which premiered at Cannes International Film Festival and was nominated for Palme d'Or.

PRODUCER: Dea KulumbegashviliDea Kulumbegashvili was born and raised in Georgia. She knows the Georgian fi lm landscape extremely well, having worked in the fi lm industry starting as a runner and subsequently holding various positions including production designer and assistant director on international productions, such as Peter Weir’s The Way Back. In 2014 she wrote and directed a short fi lm which was nominated for Palme d’Or at the Cannes International Film Festival.

DIRECTOR: Rati OneliRati Oneli is a Georgian fi lmmaker. He specialized in Middle East Studies, as well as International aff airs both at Free University Tbilisi and Columbia University in New York. He currently pursues PhD in Philosophy at the European Graduate School. In 2014, he produced and edited "Invisible Spaces", a short fi lm which premiered at the Cannes International Film Festival and was nominated for Palme d'Or.

Chiatura is a ghost town in Western Georgia. Once a prosperous manganese mining town, it supplied the world’s 50% of fi nest manganese and at its peak employed up to 8,000 workers. Nowadays, it is semi-deserted with drastically reduced manganese production, slave-like toil, dangerous working conditions and pitiful wages for the miners.

Chiatura has been practically abandoned by the central government to its fate and is teetering on the brink of ecological and humanitarian catastrophe due to extreme pollution, unemployment and migration.

Chiatura is a post apocalyptic ghost town run by an international mining corporation intent on milking its last reserves. Here several remarkable and true stories intersect: a music teacher turned demolition expert sets out to fi nd the thieves who stole his precious construction metal that he hoped would pay for his son’s asthma treatment; a miner turned actor has to make a life-altering choice between giving up his dream by quitting theater or feeding his family by keeping his job at the mines and as a result becoming miserable; two malnourished multi-award winning champion athletes, who can only aff ord to eat once a day, have to overcome the odds and win the next Olympic games to survive. There is no clear dividing line between what is pure documentary and what is drama as long as I’m truthful and what I do serves to uncover what is concealed. Reality is very complicated in Chiatura, there are many sides of a story and I think the fi lm needs to approach everything very calmly, almost in a way of meditation. I prepare for this documentary fi lm as I prepare for a dramatic narrative fi lm: by having as few locations and scenes as possible but the ones with most

dramatic and emotional impact. This means distilling the story and the scenes to the bare minimum during the production and not just relying to create the fi lm in the editing process. I'm going to set up the takes that are as long as they need to be in order to maximally expose the inner nakedness of my protagonists and bring forth the reality so that it exposes itself. The most appropriate way to achieve it is through the long take. Long take is the only kind of method, at least in this fi lm, that would helps the uninterrupted reality to fl ow so that a very potent sense of fi lm time and space actually joins that of the viewer, creating another dimension where it’s possible for everyone to uncover their own version of the truth. Having now lived in Chiatura for more than 4 months, I fi rst hand experienced the city and became close/familiar with it'scitizens. I was able to choose and designate locations that will ultimately serve the purpose of the long take; such locations will be familiar and intimate to the protagonists and they will allow them to live in the space unhurriedly, as well allow the camera to track the protagonists without interruption. I will attempt to recreate the kind of atmosphere where nature is not a mere backdrop to the action but is a protagonist in its own right. I’m not going to shy away from the closeness of faces and other body parts of my protagonists. I also feel the need to sometimes have extreme close ups of dirty workers faces, of the wrinkles, their hardened and blistered hands. I think it's beautiful and very human.

The City of the Sun to me is a poetic essay of a grand human experiment that was abandoned half way. Through examining the individual memories and lives of our protagonists, I would like to explore the larger, collective memory of the city and that of a particular society.


150/151

We would like to start the distribution with the world premiere at the 2016 Berlinale given that the festival gives wide exposure to the documentary fi lms. Then, for the North American premiere we would like to have the Toronto International Film Festival, which is one of the best places for networking with buyers and distributors for the fi lm. Producer of the fi lm, Dea Kulumbegashvili has been a part of the Toronto International Talent Lab and had a preliminary interest in the concept and vision explored in

the fi lm. Dea Kulumbegashvili just attended the Berlinale Talent Campus as a 2015 fellow and introduced to the project to many diff erent labs and festivals, including WCF, Sundance, Jihlava, etc. We will be following up with them shortly.Our aim in the Dok Incubator is to develop the right strategy for marketing and distribution. It will be of invaluable importance to us.

STRUCTURE

Dramaturgy. Maintaining the original vision and reaching fi ne cut. Designing marketing campaign, sales tactic and fi nding a distributor.

FinancingConfi rmed:

€ 20,000 Producer´s investment€ 20,000 Georgian National Film Center

€ 40,000 Total confi rmed

Unconfi rmed:

€ 10,000 World Cinema Fund€ 25,000 Georgian Film Center € 10,000 IDFA Bertha € 15,000 Doha Film Fund

Total budget: € 50,000

What is your distribution strategy?

What are the crucial parts of your project you want/need to work on during the workshop?

CONSULTATIONS

154/155

FREEDOMUNDER LOADS

K2 studio s.r.o.Oráčska 1883106 BratislavaSlovakia

+421 905 233 [email protected]

stage of the film: production

rough cut: 30.9.2015fine cut: 31.11.2015film release: 1/2016

confirmed: 40.000 EURtotal budget: 45.000 EUR

Interviews wild old porters, who are engaged in this profession for decades, show their simple life philosophy gained through their hard work. Everyday life of porters is intensifi ed by pictures of the nature and animals. The documentary explains the essence of the porters´ profession that should be preserved in the High Tatras. As a symbol of humanity and humbleness.


156/157TEAM

PRODUCER: Alena KoščováAlena graduated at the Vienna University in Mass Media and Communication Science. Since 2012 she has been working in K2 studio and produced fi lms and series: Searching for the Shadow, Tales of the Tatras Peaks, The Polarman, Live for Passion, Suri.

PRODUCER: Róbert KarovičRóbert holds a MA degree from the Academy of Performing Arts in Bratislava in editing department. He is working as freelance editor and cooperates with directors (Pavol Barabáš, Róbert Šveda, Miriam Petráňova, Peter Kerekes, Ján Stračina…) and edited award-winning fi lms (Live for Passion, The Polarman, Pygmies, Trou de Fer – The Iron Hole…), TV series (Tales of the Tatras Peaks and Radost zo života – K2 studio, Fetiše socializmu – K2 production) and sitcom (Vitajte v meste, DNA production)

DIRECTOR: Pavol BarabášPavol Barabáš is the author of more than 30 mountain–oriented and adventure fi lms about people’s survival in extreme conditions. His fi lm were shot in inaccessible wilderness, on wild rivers, glacial peaks, as well as in deep caves far away from civilization. His fi lms present the manner in which one should treat the Earth. They emit love and respect for nature, enormous mental power and moral conscience. His fi lms have been awarded with more than 250 national as well as international prizes.

The topic of Tatras porters is internationally unique, because in all other European countries this profession has been replaced by helicopters and cable cars. The documentary has been shot in 4K technology that makes it even more interesting in long perspective.


What are the crucial parts of your project you want/need to work on during the workshop?We would like to focus on the consultation with an editor, fi nancial and distribution strategy.

STRUCTURE

158/159

HAPPILY(UN)FAITHFUL

SMART LIFE PRODUCTION, s.r.o.Dlha 1424905 01 SenicaSlovakia

[email protected]

stage of the film: development

rough cut: 11/2016fine cut: 1/2017film release: 2/2017


The structure of the fi lm is built around the story of a married couple where one of the partners committed adultery and now they are trying to deal with the new dynamic. The evolution of their relationship creates a timeline in the fi lm. A Chronic Womaniser in a long term relationship is another character of the fi lm. He has a compulsive need to be unfaithful, to seduce other women in relationships. The fi lm follows him through his everyday life, his love adventures as well as his decision to undergo therapy for his “addiction”. A love triangle of two men and a woman are the last supporting characters of the fi lm. Throughout the fi lm, various individuals describe their experience with infi delity or their perception about the topic. All of these short interviews are medium long shots in front of a creative background. They all answer one of these two questions: – Describe your feelings when you cheated on your partner for the fi rst time. – Describe your feelings when you fi rst found out your partner cheated on you.

The storyline is enriched by statements of experts that talk about the connection between infi delity, human nature and social settings. The fi lm is completed with the director’s commentary. The driving force of the documentary is her personal quest to fi nd out whether the idea of a happy family is worth believing in.

The fi lm is lightened by funny animations, metaphorical shots, humorous animations and clips from feature fi lms. Satire is also present. We do not make fun of the protagonists but we do joke about the human tragicomedy present throughout the ages. The struggle with passion and strong emotions has been part of humans and the societies in which they live for millennia.

Background music intensifi es the mood – positive, nostalgic, melancholic,... It is mostly instrumental. To illustrate the motives of the movie we use pieces which complement the scenes with humorous texts. Commentary helps to synthesize ideas, expose them more deeply, be witty, and complement the animations. The experts in the movie include a philosopher, a sexologist, an evolutionary biologist, a psychologist, an anthropologist, a historian, a demographer,... They are fi lmed in stylish locations which are symbolically related to the content of the interviews. Fill-in animations briefl y parody the “diagnosis”, explain the kinds of unfaithfulness and illustrate the various humorous or tragicomic situations from the lives of the unfaithful. The animation style has been inspired by the Czech movie “How Poets Are Losing Their Illusions”. We care about properly naming the most important and most controversial issues and problems related to unfaithfulness. We will support our claims by statistics and recent scientifi c studies.


160/161TEAM

PRODUCER: Lenka GondolováLenka Gondolova enjoys making fi lms on subjects that matter. Her short fi lm, called The Blind Man (2006), which she worked on with the director Marting Fazeli, was her fi rst as a producer. Since 2007 she has both initiated and co-organized fi lm festival NORDFEST – festival of Nordic cinema (now in its seventh year) and NOSTALGIA – the open-air summer cinema. She went back to fi lm-making in the summer of 2010 and accepted a post-production job on a series of documentary fi lms called THE HISTORY OF SLOVAK CINEMA where she worked with the award-winning director Diana Fabianova. Diana and Lenka later became a director/producer team and released Monthlies – a documentary fi lm about menstruation. They are currently working on a feature doc called Happily (un)Faithful.

DIRECTOR: Diana FabianováThe writer-director of the award-winning feature, The Moon Inside You (2009), Diana Fabiánová, is the documentary fi lmmaker of the Young Slovak Wave. Fabiánová has pioneered a personal, engaging documentary style, using animation, vintage fi lm clips and autobiographical elements as well as classic interviews, achieving a unique tone described by Variety as \"absolutely, riotously right.\" A native of Bratislava, she graduated in 2005 in Documentary Direction at Barcelona University\'s ESCAC (Graduate School of Cinema and Audiovisual in Catalonia), where she was tutored by Daniel Jariod and George Karpathy. By the end of the same year she subsequently won a scholarship to pursue the intensive Directing Documentaries workshop taught by Michael Rabiger at the Mallorca Film Academy.

1. Festivals2. Theatrical release3. Broadcasters4. DVD, VOD


What are the crucial parts of your project you want/need to work on during the workshop?I would like to have the feedback regarding the structure of the fi lm.The second very important aspect is to fi nd the possibles co-producers, pre buyers and an engaged distributor. Any advices and tips for the right persons are highly appreciated.

STRUCTURE

162/163

RACINGWITH TIME

ARINA s.r.o.Dulovo nám. 4821 08 BratislavaSlovakia

+421 220 708 983silvia@arinafi lm.skwww.arinafi lm.sk

stage of the film: fi nancing

rough cut: not yetfine cut: not yetfilm release: 14.06.2017


Birth is a physiological process, during which a newborn baby enters the world. It is a spiritual process, during which a woman becomes a mother through a natural process, which unfolds on its own. We seem to have lost connection with this process nowadays. Fear, convention, and the fast pace of life govern the lives of men and women. There is much scientifi c and folk knowledge about birth. The general view is that giving birth requires education. The modern world off ers birth preparation classes, talks with professionals, and physical exercises. Women tend to look for answers in the external environment. They put themselves in the hands of doctors and miss all the naturalness of the process. However, birth is a process that cannot be governed. Time and words lose their meaning. Intuition guides a woman’s body through the genesis of a new life. To rediscover this journey in the modern world, which is fi lled with information, images, and words, takes, paradoxically, a much greater eff ort than ever before. Comprehension of the whole process would not only lead to the birth of the child and the transformation of the woman, but also to the transformation of our whole society. The main line in the documentary UNSEEN WOMAN is the story of an at-the-moment pregnant woman, through which we will display the current state of Slovak health care, especially in obstetrics. At the same time, we will set-up enough space for the intimate portrayal of a pregnant woman’s feelings – her fetus is being constantly checked on. The fetus is in the forefront and the sense of individuality of the pregnant woman suff ers. Society considers pregnancy a joyful time in a woman’s life. It is over when a healthy child is born. There is tremendous pressure placed on women, especially nowadays when the pace of life is so fast.The woman’s partner will also be engaged in the shooting. The intimacy of their relationship and their feelings when their baby is about to be born will be captured. The shot material will be combined with pictures from their private archive. The images of a woman going through pregnancy are to visually substitute a description with words. Endless waiting in front of the doctor’s room can serve as an example of this. (In Slovakia, check-ups take place once a month.) Linking the images taken from diff erent environments and diff erent countries will enable a truthful visual depiction of the diff erences among the atmosphere and attitude of personnel in several places. The story of the pregnant Slovak woman is in contradiction with the story of a Czech woman, Stella. She has experienced violence when giving birth (harmful practices and techniques such as routine episiotomy, speeding

up of the birth, positioned on her back, manipulation, separation of the mother and child immediately after the birth). She is in a very diffi cult situation because nearly no one has accepted her feelings as true. She has experienced trauma and lost her partner. Now, she has started legal action against the hospital and doctors. Her story is key to opening a discussion on that topic and giving the women aff ected hope for healing. I do not think any caregiver wants to infl ict suff ering on anyone. Therefore, it is even more complicated for caregivers to admit that the work they do could cause someone harm. I perceive this as a misunderstanding between those who give and those who take. The opened discussion would give hope to women who will give birth in the future – cases like this would be likely to happen less often. Medical personnel would be given the option to view their work from a diff erent angle. The stories are complemented with the personal stories of the expert protagonists, who off er diff erent perspectives. Their opinions are not homogeneous despite the fact that they try to walk the same path. I will use the initiation method to fi ll the space dedicated for professionals. In the viewers’ eyes, they will not be “just” professionals speaking about facts. Through their own stories that are anchored in everyday life, they will draw the viewers in closer. To see them do their work or watch them at home will help us to “tune” to the same wavelength and fully understand their thoughts. The opinions presented in the movie will be confronted in a way that lets the audience form their own opinion. Individual shots will be connected with each other through same (or similar) everyday activities (i.e. riding a bike, examining a pregnant woman, giving birth etc.).

Characters:

– woman with trauma Stella Fišerová and her lawyer Zuzana Candigliota, Czech Republic

– sociologist/anthropologist Ema Hrešanová, Czech Republic

– doctor Emilio Santos and his wife Marína Fernandez, Spain

– midwife Pamm Mielcke and birth in the Aarhus hospital, Denmark

– doula Penny Simkin, USA – pregnant woman Silvia, Slovakia– president of Slovak Midwifes and Nurses Iveta Lazorová,

Slovakia


164/165TEAM

PRODUCER: Silvia PanákováSilvia Panáková holds a MA degree from the University of Fine Arts in Bratislava in production, marketing and management. In 2003 she founded ARINA fi lm production and produced and co-produced feature fi lms and documentary: Fair play, The Lyricist, Blue Tiger, Time of Grimaces, My husband´s women, T.M.A., Before the fi lm is over etc. Fair play – nomination for Europen Film Award,15 nominations for Czech Lion, nnomination for Oscar, 4 nominations for Czech critics award and best fi lm at IFF Rome and IFF Arras.

DIRECTOR: Mária MartiniakováMária Martiniaková (born in 1977 in Košice, Slovakia) holds an MA degree from the Technical University of Košice in industry engineering. From 2000, she has worked as a freelancer (position: production manager) for Slovak TV and media companies (TV Markiza, TV JOJ, Hitchhiker Films, Forza production house, Quinta Essentia etc.). In 2009–2013, Mária studied documentary at the Academy of Performing Arts in Bratislava. She has focused on topics such as the meditation of death, breast cancer, children vaccination, and natural childbirth. She likes photography, traveling, and used to work as a volunteer for Slovak NGOs (Glen Slovakia – Mongolia, UNICEF Slovakia – Uganda, Platform – Rwanda and People in Peril – Kenya). Theatrical release (art cinemas) in Slovakia and

Czech RepublicTelevision release (public television) in Slovakia, Czech Republic, Denmark, Spain, USAVOD platforms – focus on documentary fi lmsDVD/Blue ray – version EN, CZ, SK, ES


What are the crucial parts of your project you want/need to work on during the workshop?1. Dramaturgy of the fi lm. 2. Financing options.3. How to obtain producers and distributors from abroad

STRUCTURE

166/167

WAKING UPTHE LISTENINGBODY

DogDocs o.z.Bratislavská 415/1501001 ŽilinaSlovakia

[email protected]

stage of the film:

rough cut: august 2015fine cut: not yetfilm release: not yet


10 actors and dancers in this project are from various countries from all over the world (Poland, Slovakia, France, Spain, Greece, USA, Canada…) and after completing the year and a half training; they will participate on creating the performance along with slovak choreographer Matej Matejka. One layer of the documentary (its preliminary title is Why are we here?) will try to capture the change in their physical expression during and after this process, another layer is more personal and refl ects the context of their lives. The environment created by the Studio Matejka off ers the space for a fi lmmaker to observe the progress of their unique work as well as the inner workings of community of people from totally diff erent backgrounds (some of dancers are of Bulgarian or South Korean origin, Matejka himself is originally Slovak, he used to live and work in Prague for many years and now he lives in Wroclaw along with his family).


168/169TEAM

PRODUCER: Tomáš KaminskýTomáš Kaminský (1971, Slovakia) has been in the media and fi lm industry in Slovakia since 1994, after his graduation from the Faculty of Arts of the Comenius University Bratislava. He has worked for several Radio and TV service providers, as journalist, scriptwriter and script editor, director and producer, and for independent production companies such as Monarch and Piknik Pictures, for various TV formats. He has also been involved in numerous documentary fi lm projects, and active in charity projects. In 2010, he established the independent docu-art production company Mandala Pictures. In 2012 he was selected by IDFF Jihlava as one of Emerging Producers 2013.

DIRECTOR: Adam HanuljakMA. Adam Hanuljak received his bachelor degree from a Documentary fi lm directing at the Academy of Performing Arts, Bratislava, Slovakia in 2008. In 2010 he graduated from a Science of Religions at the Faculty of Arts at Comenius University, Bratislava, Slovakia.Since the beginning of Hanuljak's professional career he directed three feature fi lms: About Young Parents 1 and 2, Protected Territory, and several short movies. His movie About Young Parents 2 won an audience price at the One World Festival in 2012, Bratislava, Slovakia.In 2010 Hanuljak was one of the three founding members of non profi t organization DogDocs, which aims on documentary fi lmmaking, audio-visual education and dance movies production.Since 2014 is making intern ArtD at the Academy of Performing Arts, Bratislava.

PRODUCER: Peter KotrhaMFA Peter Kotrha graduated 2008 from The Film and Television Faculty at the Academy of Performing Arts in Bratislava, Slovakia. His professional camera and postproduction freelancing career involves cooperating with production studios and nonprofi t organization on various awarded projects.In 2010 he was one of the three founding members of non profi t organization DogDocs, which aims on documentary fi lmmaking, audio-visual education and dance movies production. In 2012 Peter's camera and postproduction on Zvonky šťastia, got the best slovak documentary fi lm price at international Cinematik Festival, Piestany, Slovakia.

Festivals, independent distribution, TV


What are the crucial parts of your project you want/need to work on during the workshop?Find most important topics and DNA of the movie and dramaturgy.t

STRUCTURE

NOTESNOTES

ORGANIZERS

178/179

DOCincubator /CZ/DOK.Incubator is a think-tank founded in 2010 by experienced training providers to help documentary fi lmmaking to survive the current media crisis. We strongly believe only the productions with high quality production, which learn quickly about the new opportunities, will recover from the rapidly fading TV market.

In 2012 we established DOK.Incubator workshop focused on creative development of fi lms in post-production (editing, marketing and distribution). Since the demand for these fi elds was strong we started in 2013 to organize independent sessions with IDFA, Doc. Campus, Emerging producers and Copro Days . Thanks to Media Mundus we established overseas exchange of participants and tutors with IFP. In 2014 we added to our activities a four-day DOK.Restart distribution workshop in Poland (with Norwegian Film Institute and Wajda School) and project for Slovak documentary fi lm makers DOK.SK.

The NGO is based in Prague and employs a staff of fi ve throughout the year.

DOK Leipzig /DE/DOK Leipzig is an international Festival For Documentary and Animated Film, the largest German and one of the leading festivals for artistic documentary and animated fi lms. During the Cold War, the festival was a unique place of encounter for fi lmmakers from East and West. Since the fall of the Berlin Wall, DOK Leipzig has developed into one of the most dynamic festivals for documentary and animated fi lm, providing a highquality program and – since 2004 – additional industry off ers.

ORGANIZERS

ASOCIÁCIANEZÁVISLÝCHPRODUCENTOV

Association of independent producers /SK/Association was created in 2010 as a platform for protection of the interests of independent producers of audiovisual works. The object of its activities is to create a communication platform for producers, protect the interests of the audiovisual industry and promoting the common interests of members of the association, creating a platform for technological, business and ethical standards of the audiovisual industry, creating an environment for the implementation and protection of intellectual property rights, cooperation with regulatory authorities and other public authorities, particularly in the preparation of the regulatory environment, representation in international organizations, members of the audiovisual industry, statistical information and creating databases for the audiovisual industry and the mutual sharing of such information.

ORGANIZERS

180/181MEDIAPROGRAMME

The project is being realized with the support of the MEDIA Program of the European UnionMEDIA, the EU’s support program for the European audiovisual industry, makes it easier for independent European fi lmmakers to develop new fi lms, and to fi nd partners and audiences beyond national borders. Many of these fi lms are made by small and medium-sized businesses which fi nd it hard to fi nd fi nance. There are MEDIA schemes which can facilitate this. MEDIA also supports the development and distribution of thousands of fi lms each year, including feature fi lms, television drama, documentaries and new media.

In addition, the program helps fund training activities for both young and established fi lmmakers, new technologies and new platforms for delivery of audiovisual content of all kinds. MEDIA support is often critical as young fi lm and audiovisual businesses struggle to become established.

The program also makes a vital contribution to supporting cultural diversity and cross-border understanding of other cultures, including through support to hundreds of European fi lm festivals. Thirty-two countries participate in the program.

The Program also co-fi nances a Europe-wide network of MEDIA Desks. These provide advice and assistance to fi lmmakers wanting to access MEDIA support, and should the fi rst port of call of any fi lmmaker want additional information.

182/183 SCREENING FORM

YOUR NAME: NAME OF THE PROJECT YOU ARE COMMENTING ON:

1. Your first impression from the film:

2. What is the strong point of the rough cut?

3. What is the weak point the rough cut?

4. Ideas, inspiration, encouragement, suggestions:

190/191 EVALUATIONFORM

Workshop Evaluation Questionnaire WORKSHOP: 2nd WORKSHOP LOCATION: Banská Štiavnica /SK/ DATE: August 23rd – 28th, 2015 YOUR NAME: Have you attended DOK.Incubator Workshop 2015 as

Participating film project (international group/Slovak group) Observer

Title of your project (if applicable): ……………………………………… 1. Overall rating of this session of DOK.Incubator: Excellent Good Satisfactory Unsatisfactory Comments (optional): ………………………………………………………………………

……………………………………………………………………………………………….. 2. Your motivation for attending this training course: (please tick several answers if appropriate):

Development of knowledge and skills Development of a specific project Building a network of contacts Improving your company’s performance Finding a new job Other If other, please specify…………………………

3. How well were your objectives met?

Completely Well Partly Not very well Not at all

192/193 EVALUATIONFORM

4. What did you think of the training program? Relevance to your present job Very relevant Relevant Of little relevance Relevance to general career development Very relevant Relevant Of little relevance Content covered Too much About right Too little Level of content Too advanced About right Too elementary Level of other participants Too advanced About right Too elementary Length of event Too long About right Too short 5. What did you think of the trainers/tutors? In particular, how did you rate the trainers/tutors?

Knowledge of the subject Excellent Good Satisfactory Unsatisfactory Communication skills Excellent Good Satisfactory Unsatisfactory Relationship with the group Excellent Good Satisfactory Unsatisfactory Willingness to help and support participants Excellent Good Satisfactory Unsatisfactory

Comments (optional)………………………………………………………………………..

6. Did you receive any scholarship for attending the course? No.

Yes I received a scholarship from the Training Organisation to cover the participation fees;

Amount: € …………

Yes I received a scholarship from another source (please specify which one …………………………) to cover following costs:

Total Amount : € ………… 7. Do you plan to attend other Media training activities in the future? Yes No If ‘yes’, Please specify which one (if you know already)……………………………….. 8. Would you recommend this training activity/workshop to others? Yes No

2nd WORKSHOP SESSIONHow do you evaluate specific parts of the programme and the contribution of the tutors??

MARKETING + PROJECT DEVELOPMENT DAYS

Sunday August 23rd

1. Unfolding Audience by Freddy Neumann

Very useful Useful not very useful completely useless

2. Marketing Groupworks Freddy Neumann Very useful Useful not very useful completely useless Sigrid Dyekjaer Very useful Useful not very useful completely useless

3. Individual rough cut consultation (whole the workshop session) Yael Bitton Very useful Useful not very useful completely useless Anne Fabini Very useful Useful not very useful completely useless Per Kirkegaard Very useful Useful not very useful completely useless Francois Sculier Very useful Useful not very useful completely useless

Monday August 24th

1. Distribution: Evolution of the Revolution by Peter Jäger Very useful Useful not very useful completely useless

2. Producers’ Confession Very useful Useful not very useful completely useless

3. Individual consultation by Freddy Neumann Very useful Useful not very useful completely useless

DISTRIBUTION DAY

Tuesday, August 25th

1. Stay with your film by Sigrid Dyekjær


2. Festival Map by Peter Jäger Very useful Useful not very useful completely useless

3. Your film leads your strategy by Anaïs Clanet


4. VOD – European Future by Vincent Lucassen Very useful Useful not very useful completely useless

5. Festival Strategy by Claas Danielsen, Joost Daamen, Lars Meyer, Martin Horyna and Eva Rybková


194/195 NOTES

SCREENING DAYS

Wednesday, August 26th, Thursday, August 27th

1. Rough-cuts screenings, in depth analytic discussion


2. Individual Meetings, based on the morning screening Anaïs Clanet Very useful Useful not very useful completely useless Joost Daamen Very useful Useful not very useful completely useless Claas Danielsen Very useful Useful not very useful completely useless Philippa Kowarsky Very useful Useful not very useful completely useless Martin Horyna Very useful Useful not very useful completely useless Lars Mayer Very useful Useful not very useful completely useless Eva Rybková Very useful Useful not very useful completely useless

STRATEGY MAKING DAYS Friday, August 28th

1. Pilot Editing

Sigrid Dyekjær Very useful Useful not very useful completely useless Per K. Kirkegaard Very useful Useful not very useful completely useless Michal Kondrla Very useful Useful not very useful completely useless

2. Fishing in the Big Pond – distribution morning with sales agents Very useful Useful not very useful completely useless 3. Distribution strategy planning (please, select the tutor(s) you´ve worked with)

Anaïs Clanet � Very useful � Useful � not very useful � completely useless Peter Jäger � Very useful � Useful � not very useful � completely useless Philippa Kowarsky � Very useful � Useful � not very useful � completely useless Sigrid Dyekjær � Very useful � Useful � not very useful � completely useless

Any other comments you want to share with us

WHO IS WHO

WHO IS WHO

First name Surname Email Country Participation

Darya Averchenko [email protected] Ukraine Producer

Pavol Barabáš [email protected] Slovakia Director

Yael Bitton [email protected] France Editor

Roman Bondarchuk [email protected] Ukraine Director

Enrica Capra enrica@graffi tidoc.it Italy Producer

Uldis Cekulis [email protected] Latvia Producer

Anaïs Clanet [email protected] France Sales Representative

Lieven Corthouts [email protected] Belgium Director

Andrea Culková [email protected] Czech Republic Director

Joost Daamen [email protected] The Netherlands Festival Representative

Claas Danielsen [email protected] Germany Festival Representative

Jan De Coster [email protected] Belgium Editor

Jana Durajová [email protected] Slovakia Student

Silvia Dydnanska [email protected] Slovakia Staff

Sigrid Dyekjær [email protected] Denmark Producer

Thomas Ernst ernstfi [email protected] Hungary Editor

Diana Fabiánová [email protected] France, Slovakia Director

Anne Fabini [email protected] Germany Editor

Christy Garland christy@murmurfi lm.com Canada Director

Hana Gomoláková [email protected] Czech Republic Staff

Kateryna Gornostai [email protected] Ukraine Editor

Michael Graversen [email protected] Denmark Director

Philipp Gromov [email protected] Germany Editor

Adam Hanuljak [email protected] Slovakia Director

Imam Hasanov [email protected] Azerbaijan Director

Mario Homolka [email protected] Slovakia Producer

Martin Horyna horyna@kviff .com Czech Republic Festival Representative

Ivana Hucíková [email protected] Slovakia Student

Peter Jäger peter@autlookfi lms.com Austria Sales Representative

Veronika Janatková [email protected] Czech Republic, Germany Producer

Nele Jeromin [email protected] Germany Observer

Rebekka Jørgensen [email protected] Denmark Editor

Liisa Juntunen liisa@napafi lms.fi Finland Producer

Robert Karovič Slovakia Editor

Jindřich Kavina [email protected] Czech Republic Staff

Peter Kerekes [email protected] Slovakia Director

Per K. Kirkegaard [email protected] Denmark Editor

Carlotta Kittel [email protected] Germany Observer

Michal Kondrla [email protected] Slovakia Editor

First name Surname Email Country Participation

Alena Koščová [email protected] Slovakia Producer

Petra Koštová [email protected] Slovakia Staff

Petr Kotrha Slovakia Editor

Philippa Kowarsky [email protected] Israel Sales Representative

Mieneke Kramer [email protected] The Netherlands Observer

Tomáš Kraus [email protected] Czech Republic Staff

Maria Krauss [email protected] Poland Producer

Viera Langerová [email protected] Slovakia Journalist

Alex Lora Cercos [email protected] Spain Editor

Marek Loskot marek.loskot@fondkinematografi e.cz Czech Republic Czech cinematografi c fund

Vincent Lucassen [email protected] Spain, France, Austria Under the Milky Way

Myrtille Mamelle-Perrot [email protected] France Staff

Maria Martiniaková [email protected] Slovakia Director

Daniela Meressa Rusnoková [email protected] Slovakia Director

Lars Meyer [email protected] Germany DOK Leipzig

Peter Morávek [email protected] Slovakia Staff

Freddy Neumann [email protected] Denmark PR and Comunications

Thor Ochsner [email protected] Denmark Editor

Emmy Oost [email protected] Belgium Producer

Silvia Panáková silvia@arinafi lm.sk Slovakia Producer

Andra Popescu [email protected] Romania Producer

Andrea Prenghyová [email protected] Czech Republic Staff

Tereza Ritterová [email protected] Czech Republic Staff

Sofi e Rørdam Denmark Producer

Eva Rybková [email protected] Czech Republic One World HRFF

Lise Saxtrup sax@klassefi lm.dk Denmark Producer

François Sculier [email protected] France Editor

Tereza Šimíková [email protected] Czech Republic Staff

Vladimir Štric [email protected] Slovakia MEDIA Desk Representative

Antonio Tibaldi [email protected] Belgium Director

Tor Vadseth [email protected] Norway Funding Representative

Nicolas Van Hemelryck [email protected] Colombia Producer

Gustavo Vasco [email protected] Colombia Editor

Janka Vlčková [email protected] Czech Republic Editor

Dorota Vlnová [email protected] Slovakia student

Martin Vronský [email protected] Slovakia Student

Małgorzata Wabińska [email protected] Poland Producer

Clare Weiskopf [email protected] Colombia Director

ONE WORLD 2016international human rights

documentary film festival

7 – 16 / 3 / 2016Prague

Submission deadlineNovember 15, 2015

www.oneworld.cz

200/201LOCATION

DOK.IncubatorPenzion KlopačkaAndreja Sládkoviča 56/5969 01 Banská ŠtiavnicaSlovakiaGPS: 48.4579244N, 18.8915919E

1) Grand Matějaccommodation/restaurant

Kammerhofská 596901 Banská Štiavnicawww.grandmatej.sk

tel.: +421/903 404 533 - receptiontel.: +421/903 404 530 - hotel & restaurant managere-mail: [email protected]

2) Pension Nostalgiaaccommodation

Višňovského 3969 01 Banská Štiavnicawww.nostalgia.stiavnica.sk

tel.: +421/905 36 03 07e-mail: [email protected]

3) Hotel Salamanderaccommodation

J. Palárika 1969 01 Banská Štiavnicawww.hotelsalamander.sk

tel.: +421 45 691 39 92tel.: /fax: +421 45 692 12 62e-mail: [email protected]

4) Pension Isteraccommodation

Višnovského 4969 01 Banská Štiavnicawww.vvb.sk/cms/index.php?page=penzion-ister

tel.: +421/45 692 15 66fax: +421/45 692 15 67mobil: +421/918 937 674e-mail: [email protected]

5) Restaurant MONARCHIABreakfast/lunch – restaurant

A. Sládkoviča 2969 01 Banská Štiavnica

www.monarchia.stiavnica.sk/tel.: +421/905 360 307e-mail: [email protected]

6) Opening party

Skautský domUl. A. Pech 2 96900 Banská Štiavnica

Closing party:AURAStaromestská 657/8969 01 Banská Štiavnica

3

41

2

5

6

PRACTICAL INFO

Tourist Information

Nam. Sv. Trojice 3Banska Stiavnica 969 01tel.: 00421 45 694 96 53e-mail: [email protected]

www.banskastiavnica.sk/visitor/tourist-information-centre.html Opening hours:May – September: Mo-Sun 9.00 – 18.00October – April: Mo-Sun 8.00 – 16.00

Complete public transport webpage:www.idos.cz

Emergency call

Emergency call 112 Salvage and rescue service 155Police 158Fire rescue brigade 150

DOK.Incubator production

Jindra +420 775 704 691Andrea +420 777 823 111Tereza +420 608 982 420Hana +420 732 335 092Tomáš +420 605 012 276

SundayAugust 23rd

MondayAugust 24th

TuesdayAugust 25th

ThursdayAugust 27th

913

1115

1014

1217

1918

1620

2122

913

1115

1014

1217

1918

1620

2122

913

1115

1014

1217

1918

1620

2122

913

1115

1014

1217

1918

1620

2122

913

1115

1014

1217

1918

1620

2122

Welcome partySkautský dom

Welcome and Introduction

Plenary room

Unfold Your Film!by Freddy N

eumann

Plenary room

Individual editing consultationsSlovak film

sY. Bitton, F. Sculier, Per K

. Kirkegaard, A. Fabini

Plenary and Conference room, Room

3,4

Group A:Rough-cut consultations

editing tutorsEditing room

sFilm CVby Freddy N

eumann

Plenary room

Distribution: Evolution of the

Revolutionby Peter JägerPlenary room

Who Needs a Distributor?by Sigrid D

yekjær, Peter Jäger and Anaïs ClanetPlenary room

Group A: Rough-cut consultationEditing room

s

FridayAugust 28th

913

1115

1014

1217

1918

1620

2122

Farewell party AURA

International groupLocal Film

makers

Altogether

Plenary

Štiavnicaguided tour

Individual meetingsby Freddy N

eumann, Claas D

anielsenConference room

, Room 1

Farewell sessionPlenary room

Off program

WednesdayAugust 26th

SaturdayAugust 22nd

913

1115

1014

1217

1918

1620

2122

Registration - DOK.Incubator participantsProduction room

RegistrationSK projectsProduction room

Welcome and Introduction

Plenary room

Screening of 2 filmsfollowed by in-depth analysis and discussion

Moderated by H

ana Gom

oláková and Yael BittonPlenary room

Group workby Freddy N

eumann and Sigrid D

yekjær

Plenary room, Conference room

1,2

Group B:Rough-cut consultations

editing tutorsEditing room

s

preparation

Group A workPlenary room

Group B workPlenary room

Festival/distribution strategy consultationsRoom

s 1,2

Group B: Individual marketing meetingsConference room

Group A: Producers confessionPlenary room

Group A: Rough-cut consultationEditing room

s

Festival/distribution strategy consultationsRoom

s 1,2

Group A: Individual marketing meetingsConference room

Group B: Producers confessionPlenary room

Group B: Rough-cut consultationEditing room

s

PlenaryPlenaryPlenary

Upload Your Film!VO

D in Europe

Plenary room

Group B: Rough-cut consultationEditing room

s

Individual meetingsby Sigrid D

yekjær, Claas D

anielsenConference room

, Room 1

Festival Strategyfestival representatives

Plenary room

FILM screening copy DEADLINE

GROUP 1: Screening of 2 filmsfollowed by in-depth analysis and discussion

Moderated by Andrea Prenghyová

Cinema


Moderated by Sigrid D

yekjær

Plenary room

Screened films:Individual meetings

with festivals and salesConference, Plenary room

, Room 1,2,3

Not screened films:Editing consultation and

individual meetingsEditing room

s


Moderated by Andrea Prenghyová

Cinema

GROUP 2: Screening of 2 filmsfollowed by in depth analysis and discussion

Moderated by Sigrid-D

yekjær

Plenary room

Screened films:Individual meetings

with festivals and salesConference, Plenary room

, Room 1,2,3

Not screened films:Editing consultation and

individual meetingsEditing room

s

Friday meetings DEADLINE

Fishing in a Big Ponddistribution morning with sales agents

Plenary room

Trailer/pilot editingby Sigrid D

yekjær and Per. K

. Kirkegaard

Editing rooms

Individual meetingsConference and Plenary room

, room 1,2

Trailer/pilot editingby Sigrid D

yekjær and Per. K

. Kirkegaard

Editing rooms

2nd Session Catalogue

Documents

Transcript of 2nd Session Catalogue