Best of International 2010

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60th Berlin International Film Festival

February 11-21, 2010
Berlinale Talent Campus #8
press review –
best of international
02/2009 – 03/2010
press office
Berlinale Talent Campus

Potsdamer Straße 5
D - 10785 Berlin
phone: +49 30 25920 518

fax: +49 30 25920 519
email: press.campus@berlinale.de
www.berlinale-talentcampus.de
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press releases
04/2009 – 02/2010
60th Berlin International Film Festival • February 11 – 21, 2010
Press release No. 9 Press contact:

boxfish events / Christiane Steiner
Thursday, February 18, 2010
Berlin International Film Festival
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Potsdamer Straße 5 D-10785 Berlin
phone/fax: +49 30 259 20 518 / -519
press.campus@berlinale.de
Berlinale Talent Campus #8 focuses on collaborative filmmaking

Camilo Sanabria from Colombia wins the Score Competition
Thursday evening, February 18, in the Theater Hebbel am Ufer (HAU 1-3), the eighth edition of the
Berlinale Talent Campus successfully concluded with the Closing Ceremony and the Award Ceremony for
this year's Score Competition. For six days, 350 young filmmakers from 95 countries had the unique
opportunity to meet each other and the film industry's best, up close and personal. Over 100 events brought
the Talents together with more than 150 invited international experts and Berlinale guests. During
workshops, master classes and training sessions, they discussed the various facets of the trade under the
banner "Cinema needs Talent – Looking for the Right People".
Filmmakers like Claire Denis (White Material), James Bond production designer Sir Ken Adam,
cinematographer Christian Berger (The White Ribbon), as well as directors Stephen Frears (The Queen),
Jasmila Žbanić (On the Path, Berlinale Competition) and Yoji Yamada (About her Brother, Berlinale closing
film), plus many more, shared their wealth of experience with cinema's next generation. Young Filmmakers
from Mexico, Africa and Eastern Europe presented their films in which they conveyed a confident, political
and modern viewpoint, painting an impressive picture of their countries and societies. The Campus
explored cross media, digital storytelling, financing, distribution and 3D, addressing these themes in daily
events.
Collaborative filmmaking was the centre focus of the eighth Campus edition. "Filmmaking is something to
do together. It's about being generous and accepting the dignity of other people," emphasised Shutter
Island producer Mike Medavoy during the opening panel. Animation film director Merlin Crossingham
(Chicken Run) stated: "Have passion, have drive, and don't forget to look at the people around you. They
need you and you need them, essentially." Actor, director and producer Gael García Bernal (Revolución)
added: "The support of professionals is essential to our own filmmaking. They will help you say what you
want to say."
In the hands-on trainings, Talents put collaborative filmmaking directly into action. In small, international
teams, they received intimate training with experienced mentors as part of the Script & Doc Station, Talent
Project Market, Talent Actors Stage, Talent Press and the Campus Studio for post-production and rough cut
editing.
The Score Competition came to a glamorous finish at the Closing Ceremony, during which the competition's
winner was announced and awarded. Finalists were asked to create a new score for a film excerpt from
David OReilly's Please Say Something (Golden Bear, Berlinale Shorts 2009). The first prize went to Camilo
Sanabria from Colombia, whose score was praised by jury members Klaus-Peter Beyer, Prof. Martin Steyer,
Martin Todsharow, Connie Walther and this year’s Score Competition mentor Alexandre Desplat (Fantastic
Mr. Fox, The Ghost Writer, Berlinale Competition) as an "imaginative well structured score which shows in
a detailed way its own personality". Sanabria won an invitation from Dolby to travel to Los Angeles for a
week-long visit to the city's sound studios. The second prize winner, Alexander Komlew (Germany), will be
granted an additional session with the German Film Orchestra Babelsberg to record another score.
Photos, information and up-to-date coverage can be found at www.berlinale-talentcampus.de and

www.talentpress.org
The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen
des Bundes in Berlin GmbH, funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German
Bundestag, in co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg as well as
Skillset and UK Film Council.

Wednesday, February 17, 2010

phone/fax: +49 30 259 20 518 / -519
talentpress.org
Berlinale Talent Campus launches a new website for emerging international film critics
The Berlinale Talent Campus is launching a new internet portal for emerging international film critics:
www.talentpress.org. This new portal is open to young film critics who are current or former
participants of the Berlinale Talent Campus' Talent Press programme. It offers them a year-round
possibility to publish their film and festival reviews from anywhere in the world. "This new website
will provide a forum where young, talented international film journalists can publish their
independent views on their latest discoveries in international cinema," say Campus heads Christine
Tröstrum and Matthijs Wouter Knol.
The Talent Press programme is one of the Berlinale Talent Campus' hands-on training opportunities to
which participants apply separately and exists since 2004.
The programme invites eight budding film journalists to the Berlin International Film Festival every
year and offers them an intensive look into the inner workings of an international film festival. During
the Campus week, they are guided by experienced film critics like Dana Linssen, Stephanie Zacharek,
Chris Fujiwara and Derek Malcolm. Their articles and reviews are published during the Berlinale at
www.talentpress.org, but also through the Goethe-Institut website (www.goethe.de) and FIPRESCI
(www.fipresci.org). In addition, select articles from these young film critics will be published in the
Berlinale edition of the trade magazine "The Hollywood Reporter", part of a cooperation that is now in
its second year.
The Berlinale Talent Campus' successful Talent Press programme, which supports independent and
high-quality film criticism, has now been picked up by the other international Talent Campus
initiatives. For the first time, a Talent Press programme for young Central American film journalists
will take place during the Talent Campus Guadalajara, which runs from March 11–15, 2010, during the
Guadalajara International Film Festival in Mexico. The up-and-coming film critics of the Talent
Campus Guadalajara will also be able to take advantage of and publish articles through the new Talent
Press website.

Sunday, February 14, 2010
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phone/fax: +49 30 259 20 518 / -519
Opening Ceremony of the Berlinale Talent Campus & Award Ceremony for the Berlin
Today Award
Jonah and the Vicarious Nature of Homesickness by Bryn Chainey wins the Berlin Today Award
2010
Festival Director Dieter Kosslick, together with the heads of the Campus, Matthijs Wouter Knol and
Christine Tröstrum, director Isabel Coixet and film composer Alexandre Desplat, opened the Berlinale
Talent Campus 2010 on Saturday evening (13.2.) in the Theater Hebbel am Ufer. Until February 18,
350 Talents from 95 countries will meet with renowned international experts at the Hebbel am Ufer
for countless workshops, master classes and panels, and to exchange views and experiences on a wide
array of filmmaking topics related to this year's Campus motto "Cinema Needs Talent: Looking for the
Right People". For these approx. 600 guests, the event's climax was the world premiere of the five
Berlin Today Award nominated short films. The Talent Campus Short Film Competition which
addresses this year the theme "Straight to Cinema" is supported by the Medienboard Berlin-
Brandenburg.
Berlin Today Award 2010: And the winner is…
The Berlin Today Award 2010 was awarded on Sunday evening (14.2.) during the festive "Dine & Shine
Talents Rendezvous". After a welcome by the Federal Government Commissioner for Culture and the
Media Bernd Neumann and Festival Director Dieter Kosslick, the award was presented to the short film
competition winner by Medienboard's managing director Kirsten Niehuus together with the three jury
members Heike Makatsch, Stephen Daldry and Peter Rommel. The seventh Berlin Today Award goes to
Bryn Chainey from Australia for the film Jonah and the Vicarious Nature of Homesickness. The
romantic science fiction tells the story of Jonah, who left his family and blasted-off in a homemade
spaceship. The Jury was impressed by the "the truly creative inventiveness of this film. We are […]
curious about what this talented filmmaker will come up with next". The film was produced by Anna
Wendt Filmproduktion. A public screening of the Berlin Today Award short films will take place during
the Berlinale Kinotag (Sun 21.2.) in CinemaxX 6 at 4 pm.
Soon after the Berlinale 2010 comes to a close, the five finalists for the Berlin Today Award 2011 will
be announced. Their short film ideas will be realised in collaboration with five production companies
and address the theme "You are Leaving the Familiar Sector". More information and photos from the
award ceremony at www.berlinale-talentcampus.de/berlin-today-award.
150 international experts at the 8th Berlinale Talent Campus
Until Thursday, February 18, about 150 internationally renowned filmmakers and Berlinale guests are
anticipated to join the Campus during the six event days. Amongst them are director Stephen Frears
(The Queen), production designer, architect and two-time Oscar® winner Sir Ken Adam, director and
actor Gael García Bernal (Revolución, Berlinale Special), film composer Alexandre Desplat (The
Ghost Writer, Berlinale Competition) and cinematographer Christian Berger (The White Ribbon), both
nominated for an Oscar®, director Claire Denis (White Material), director Yoji Yamada (About Her
Brother, Berlinale closing film), director Tom Tykwer (The International) and many more.
The complete Campus programme can be found at: www.berlinale-talentcampus.de.
Tickets for the general public or for accredited Berlinale guests are available at the corresponding
Berlinale Ticket Counters, or online at www.berlinale.de.

Thursday, January 21, 2010
Potsdamer Straße 5 · D-10785 Berlin

phone/fax: +49 30 259 20 518 / -519
Berlinale Talent Campus #8
The Future of Film: Intercontinental, Collaborative and Cross-media
“In the Limelight”: French Director and Screenwriter Claire Denis
“Cinema Unlimited – Intercontinental Connections”

One of the Berlinale Talent Campus' most fundamental goals is to support collaborative filmmaking
that goes beyond national and cultural boundaries. When it comes to successful collaboration,
however, the right contacts are necessary, especially when working in regions where there is no major
support from the regional film industry to work internationally. The panel "Cinema Unlimited -
Intercontinental Connections" brings together four filmmakers from four continents who successfully
worked outside the borders of their respective countries and were able to become part of an
international network: the Iranian director Rafi Pitts (The Hunter, Berlinale Competition 2010), the
Cameroonian director based in France, Jean-Marie Téno (Clando, Le Malentendu colonial), the
Argentinian director Natalia Smirnoff (Rompecabezas, Berlinale Competition 2010) and the two-time
National Film Award winner Madhusree Dutta, one of India's leading documentary filmmakers, whose
installation Cinema City will be presented as part of the Forum Expanded programme. The panel
participants will discuss, amongst others, what is important when creating a team and what shape a
successful international collaboration may take (Monday, 15.02.3010, 11:00 - 12:30, HAU 1).
“The Indie Filmmakers Guide to Cross Media”

For one hundred years of cinema, film stories have been restricted by running times and distribution
formats and platforms. However, new technologies are having a profound impact on film production
and storytelling: how does the art of storytelling change when audiences can engage with the
production process across multiple platforms and move from a passive viewing experience to active
collaboration? How does one develop stories and characters that speak to audiences across different
screens and devices? The Berlinale Talent Campus' series "The Indie Filmmakers Guide to Cross Media"
will examine these questions. Pioneers of the cross media movement and experts from interactive and
immersive storytelling will describe how to build story worlds that span multiple platforms and engage
audiences in powerful new ways. Additionally, these experts will address issues like how to access new
financing sources, marketing strategies and distribution possibilities that take into account cross
media models. The series will be moderated by Liz Rosenthal, a pioneer in digital film production and
marketing who works as the Digital Distribution Strategy Advisor of the UK Film Council and founded
"Power to the Pixel" (from 14:00 - 15:30 on Monday, 15.02.2010, HAU 2, Tuesday, 16.02.2010. HAU 3,
and Wednesday, 17.02.2010, HAU 3).
“In the Limelight”: Claire Denis

On Monday, February 15, 2010 (17:00, HAU 1), the acclaimed French director and screenwriter Claire
Denis will give Talents personal insight into her work as part of the Campus' "In the Limelight" series.
Denis' first film, Chocolat, brought her straight to Cannes, screening in competition in 1988. In 1996,
Denis won the Golden Leopard in Locarno for Nénette et Boni and in 2005 she presented Towards
Mathilde in the Forum section of the Berlinale. Her latest films are 35 Shots of Rum and White
Material, which was screened in competition at the Venice International Film Festival in 2009.

Monday, November 30, 2009
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phone/fax: +49 30 259 20 518 / -519
Federal Government Commissioner for Culture and the Media to support

the 8th Berlinale Talent Campus 2010
Actress Kerry Fox to mentor the new Talent Actors Stage
The Berlinale Talent Campus (February 13-18, 2010) has secured its financing thanks to the project
funding of the Federal Government Commissioner for Culture and the Media (BKM). Minister of State
for Culture and the Media Bernd Neumann has said: "Dieter Kosslick's idea to establish a platform for
aspiring film talents during the Berlinale has proved very valuable. Not only the Festival - which has
successfully presented a number of films by former Campus participants - but also all of Germany as a
location for culture and film production profit from this initiative. The Campus successfully acts as a
sustainable network for international talents in the local film business; this was most recently evident
at the Campus Short Film Competition Berlin Today Award, whose youngest award-winner Wagah is a
joint project by India and Germany, and received the German Short Film prize in Gold."
The Campus team, Project Manager Christine Tröstrum and Programme Manager Matthijs Wouter Knol
are very happy to welcome the BKM as one of its funders, alongside the MEDIA - Training programme
of the European Union and the founding partners Medienboard Berlin-Brandenburg and Skillset/UK
Film Council.
Actress Kerry Fox to mentor the new Talent Actors Stage

The eighth Berlinale Talent Campus is broadening its hands-on programme and will, for the first time,
offer training in acting with the new Talent Actors Stage.
The Talent Actors Stage provides a wide variety of training opportunities in acting technique, working
with dialogue, casting and camera acting. This Hands-On Training is not only intended for actors: it
also focuses on interdisciplinary collaboration with directors, producers, screenwriters and
cinematographers in order to encourage exchange between different areas of filmmaking.
The mentor of Talent Actors Stage will be the New Zealand actress Kerry Fox, who made an
international breakthrough in 1990 for the film An Angel at My Table directed by Jane Campion. In
2001, she was awarded the Silver Bear at the Berlinale for her role in Patrice Chérau's sensational film
Intimacy. She has appeared in a number of compelling roles, including in Danny Boyle's dark comedy
Shallow Grave and Hans-Christian Schmid's Storm, which brought her back to the Berlinale in February
2009. Currently, Kerry Fox is starring in the hit West End play “Speaking in Tongues” at the Duke of
York’s Theatre (London) and appears on screen in Jane Campion's Bright Star.

Tuesday, November 3, 2009
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phone/fax: +49 30 259 20 518 / -519
Campus draws Talent
Record applications to the Berlinale Talent Campus
Stephen Daldry to chair the Berlin Today Award jury, French composer Alexandre Desplat will
mentor the Score Competition
"Cinema Needs Talent: Looking for the Right People" is the theme for the upcoming Berlinale Talent
Campus. The Campus itself is far from lacking talent: In its eighth year of existence, the Campus has
once again reached record numbers of applications from young international filmmakers. The interest
has never been stronger: 4773 applications from 145 countries, nearly a thousand more than last year.
Applications came in from 13 new countries as well, including Burundi, Guinea, Montenegro and Saint
Lucia. 350 filmmakers will be selected and invited to attend the Campus from February 13-18, 2010,
during the 60th Berlin International Film Festival. The six-day-long event at Theater Hebbel am Ufer
offers them the opportunity to examine various aspects of their fields of work and to promote the idea
of 'collaborative filmmaking'.
Stephen Daldry to chair the Berlin Today Award jury

Five short films on the theme "Straight to Cinema" were created with the support of Medienboard
Berlin-Brandenburg as part of the current Berlin Today Award cycle. They will celebrate their world
premiere at the opening of the Berlinale Talent Campus on February 13, 2010. The winning film will
be selected by a jury headed by British director Stephen Daldry, three-time Oscar®-nominee for the
films The Reader, The Hours and Billy Elliot. The Berlin Today Award will be awarded during the "Dine
& Shine Talent Rendezvous" on February 14, 2010.
Meanwhile, the Berlin Today Award 2009 winning film Wagah is celebrating recent distinctions: The
film received the German Short Film Award in Gold for documentaries, awarded by the Federal
Government Commissioner for Culture and the Media Bernd Neumann on October 29, 2009, including
30,000 Euro in prize money, as well as the 25,000 US Dollar-endowed Black Pearl Award for Best
Documentary Short at the Middle East International Film Festival (MEIFF) in Abu Dhabi (directed by
Supriyo Sen, produced by Detailfilm).
Alexandre Desplat will be the Mentor of the Score Competition

French composer and Golden Globe winner Alexandre Desplat has committed to mentor the Score
Competition. Desplat, born 1961 in Paris, is one of the most versatile and sought-after composers of his
generation. He made his international breakthrough in 2004 with the remarkable composition for The
Girl With the Pearl Earring. Since then, Desplat has composed the award-winning scores for films such
as Syriana, The Queen and The Curious Case of Benjamin Button. He has received numerous awards, as
well as two Oscar® nominations and in 2005 a Silver Bear for the film score to The Beat That My Heart
Skipped (directed by Jacques Audiard).
The Score Competition offers three young composers or sound designers the opportunity to compose
new scores for a pre-selected short film and record them with the German Film Orchestra Babelsberg,
with final mixing at the Film and Television Academy (HFF) "Konrad Wolf". The scores will premiere
during the Campus, and the best score will be chosen by a jury and awarded during the Closing
Ceremony. The winner will receive a trip to the finest sound studios in Los Angeles, sponsored by
Dolby.

Tuesday, July 21, 2009

phone/fax: +49 30 259 20 518 / -519
Cinema Needs Talent: Looking for the Right People

Berlinale Talent Campus #8, February 13 – 18, 2010
From February 13-18, 2010, the Berlinale Talent Campus will open its doors at the Theater Hebbel am
Ufer and welcome 350 young filmmakers from all over the world during the Berlin International Film
Festival.
The eighth Berlinale Talent Campus will address the theme "Cinema Needs Talent: Looking for the
Right People". For many filmmakers, teaming up with the right people to inspire and support them and
to create a collective vision is the essential element of successful filmmaking. The upcoming Berlinale
Talent Campus will tap into these thoughts and ask how the development of personal craftsmanship
and the experience of choosing the right people intertwine to build gainful long-term creative
collaborations. "Teamwork is the key to success. It's about daring to ask the vital questions together in
order to exceed your own limits and to keep that one essential goal in sight: to make a great film. This
theme also reflects the Campus, which has, since the beginning, strived to connect young
international filmmakers with their colleagues and established professionals, always in the spirit of
encouraging collaborative filmmaking”, says Programme Manager Matthijs Wouter Knol.
The application deadline for the Berlinale Talent Campus #8 is October 7, 2009. Producers, directors,
actors, cinematographers, screenwriters, editors, production designers, film composers, sound
designers, film journalists and visual artists from all over the world are invited to apply online through
the Campus website, www.berlinale-talentcampus.de.
The Campus application also includes applications for the numerous additional hands-on training
programmes: Talent Press, Score Competition, Doc- and Script Station, Talent Project Market, Campus
Studio and Berlin Today Award.
2nd Talent Campus Durban, South Africa

The second edition of Talent Campus Durban will take place from 24-28 July, 2009, during the 30th
Durban International Film Festival. For five days, young African filmmakers will examine the
theoretical and practical approaches to filmmaking under the motto "Roots and Shoots: Creating a
New African Cinema". Particular focus will be given to developing new partnerships within the African
filmmaking world. "We are very happy about the success of the Campus Abroad projects that we've
organised in cooperation with film festivals in Durban, Sarajevo, Guadalajara and Buenos Aires. The
Berlinale Talent Campus is one of the Berlinale's strongest exports," says Campus Project Manager
Christine Tröstrum. More information is available at: www.cca.ukzn.ac.za/talentdiff2009.htm

Thursday, July 2, 2009

phone/fax: +49 30 259 20 518 / -519
Shooting begins for the Berlin Today Award 2010 "Straight to Cinema"
The Astronaut on the Roof by Spanish director Sergi Portabella starts off the next round of the Campus
short film competition.
On July 7, 2009, shooting begins in Berlin for The Astronaut on the Roof, a comedy about two young
screenwriters torn by the trials and tribulations of developing a screenplay who end up shamelessly
quoting the films of their director idols. The film is one of five short film project finalists for the
Berlin Today Award 2010, the short film competition of the Berlinale Talent Campus. 250 young
filmmakers from 65 countries submitted projects ideas inspired by the competition's motto "Straight to
Cinema".
Sergi Portabella's short film will be realised with the production company Penrose Film: "The
experience of shooting in Berlin with a German production company and meeting all these new people
is so exciting. I’m learning a lot and having a great time. And I'm absolutely sure we're going to do a
great film," says Sergi Portabella about his project. The shoot will take place until July 12 in Funkhaus
Berlin in Berlin-Koepenick and other locations.
On July 16 the first clap will be heard in the CCC studios of Berlin-Spandau for Jonah and the Vicarious
Nature of Homesickness by Bryn Chainey. This science-fiction romance about Jonah, who leaves his
family to glide through space and time in a cardboard spaceship, will be produced by Anna Wendt
Filmproduktion.
Shooting for the third project to be realised in Berlin, By Night by Juan Diaz B. from Columbia, will
begin August 1. The romantic love story of Martin and Camille and their life in a wondrous parallel
universe will be produced by Knudsen and Streuber Filmproduktion.
The shoot for Hum will begin in Ireland on July 18. The project, by director Rebecca Daly, will be
realised near Dublin by Lichtblick Media.
The final project for this year's competition will be the documentary film Reflection by Giorgi
Mrevlishvili from Georgia, produced by the production company A-FILM until the end of August in the
Caucasus (Georgia).
The five short films will be realised until the end of 2009 with support from Medienboard Berlin-
Brandenburg and in-kind contributions from the film industry. The five finalist films will celebrate
their world premiere during the opening of the Berlinale Talent Campus 2010 (February 13 – 18, 2010).
A jury composed of prominent filmmakers will select the winning film and bestow it with the Berlin
Today Award. More information at www.berlintoday.de.
If you would like to interview or follow the finalists during their film shoots, please don't hesitate to
contact us: boxfish events, Christiane Steiner, Tel.: 030 25920-518, email: press.campus@berlinale.de.
60. Berlin International Film Festival • February 11 – 21, 2010
Press Release # 1 Press contact:

boxfish films / Christiane Steiner
Tuesday, April 28, 2009
Internationale Filmfestspiele Berlin

phone/fax: +49 30 259 20 518 / -519
Berlin Today Award 2010: Short film projects from Georgia, Australia,
Spain, Ireland and Colombia are headed "Straight to Cinema"
While the five Berlin Today Award 2009 short films on the theme "My Wall" successfully travel to
festivals around the world, the new round of the Berlinale Talent Campus' short film competition is
underway. 250 young filmmakers from 65 countries responded to the call for project ideas on the
motto "Straight to Cinema". The motto for the Berlin Today Award 2010, which is supported by
Medienboard Berlin-Brandenburg for the eighth year in a row, encourages young filmmakers to take
inspiration from the power and possibilities of cinema and develop a short film for the big screen. In
addition to Campus Talents, producers from the Berlin-Brandenburg area interested in realising a short
film project could also apply. 15 pre-selected Talents and 10 production companies were invited to
present their projects at a "Producers’ Meeting" during the Berlinale Talent Campus. The Talents and
producers then voted, providing a basis for the jury's deliberation, in which representatives from the
Berlinale Talent Campus, Medienboard Berlin-Brandenburg, KurzFilmAgentur Hamburg and the Berlin
Today Award e.V. participated.
The following five Talent-producer teams were selected by the jury to continue to the Berlin Today
Award 2010 finals:
Sergi Portabella from Spain will realise The Astronaut on the Roof together with Penrose Film. The
comedy follows two young screenwriters torn by the trials and tribulations of developing a screenplay
who disrespectfully quote the films of their favourite directors. By Night, by Juan Diaz B. from
Colombia, will be realised in collaboration with Knudsen und Streuber Filmproduktion. The film tells
a love story about Martin and Camille, a couple living happily in a world where night never falls, until
Martin discovers that Camille is living a second life in an alternate reality. The Georgian filmmaker
Giorgi Mrevlishvili will realise his documentary film project Reflection with A-Film Productions.
Giorgi will organise an outdoor film screening in the remote Georgian village Ushguli during which he'll
make a portrait of the village's residents. In the film Hum, Rebecca Daly from Ireland tells the story of
a woman who flees her daily life and searches for perfect silence in an abandoned house. The project
will be produced by Lichtblick Media. Finally, Anna Wendt Filmproduktion will produce Jonah and
the Vicarious Nature of Homesickness by Bryn Chainey from Australia. The film is a science-fiction
romance about Jonah, who has left his family and glides through space and time in a cardboard
spaceship.
The five short films will be realised until the end of 2009 with support from Medienboard and in-kind
contributions from the film industry. The five finalist films will celebrate their world premiere during
the opening of the Berlinale Talent Campus 2010 (February 13 – 18, 2010). A jury composed of
prominent filmmakers will select the winning film and bestow it with the Berlin Today Award. More
information at www.berlintoday.de.
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best of
international print
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Georgia Today
04.12.2009
Issue #488
04.12.09 - 10.12.09
Giorgi Mrevlishvili’s ‘Reflections’ to be screened at Berlinale
Young filmmaker Giorgi

Mrevlishvili’s newest
documentary, “Anarekli”
(Reflections), will be screened at
the upcoming sixtieth annual
Berlinale. The German-Georgian
co-production has been
nominated for Berlin Today
Awards, beating out tough
competition of about 250
international entries. The 10-
minute documentary features
the local population of the
mountain region of Svaneti in the
process of film viewing.
According to filmmaker Mrevlishvili, the emotions and the inner nature of

humans are reflected upon the faces of the spectators when they watch a
film – the moments of this sincerity when in touch with the art of moving
pictures have been the major focus of the film. The “reflections” of the film
upon the viewer and the “reflections” of the spectator’s inner self on film
recorded by the camera seem to reveal more about the viewer and the film
medium than one might expect.
The population of the remote Ushguli village was invited to see three well-
known Georgian short films: “Record,” “Kvevri” and “Serenade,” which
turned out to be quite an experience both for younger viewers, who had
never had a chance of seeing the films before, and for older viewers, who
knew a lot about the films. Mrevlishvili stressed the importance of public
viewings because he thinks filmmaking is in the first place a way to find one’s
own self.
“The public was welcoming and excited to watch films in the open, and was
eager to discuss the films after the show,” Mrevlishvili said.
Several other contemporary filmmakers have explored Mrevlishvili’s current

theme of viewing and being viewed. For example, Iranian filmmaker Abbas
Kiarostami’s recent work showed women watching Shakespeare. Kiarostami
said his film promises to reflect and to reveal not only the inner nature of the
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spectator but of the film medium itself, exposing its potential to influence
the viewer and its viability to compete against the rivaling media of TV and
the Internet.
For Mrevlishivili, who previously studied journalism at Tbilisi State University,

film is the medium that has the ability to enrich and alter an individual, to
search for an alter ego. He said the documentary film genre allows him to get
a closer look at his contemporaries and at the processes that take place in his
country.
The remote region of Svaneti was purposefully chosen as the location for the
film in order to explore changes developing in Georgia as a result of recent
events. For example, globalization, the development of tourism and waning
population due to unemployment have all taken their toll on the region,
which is famous for its centuries-long history of disobedience, revolt, high
crime and cultural traditions.
Svaneti, often considered a museum under the open skies, is gradually

becoming a tourist attraction with Svanetians increasingly engaged in the
hotel industry and small business. The village of Ushguli, where the film was
actually shot, is situated more than 2,200 meters above sea level and once
was one of the most densely populated rural districts in Europe.
Mrevlishivili contrasts the history of the region with Svaneti’s push to adapt
itself to the market economy in spite of natural or economic challenges.
Severe conditions have for centuries formed the tough character of
Svanetians, both proud of their homeland and resistant to any changes, he
added.
It is not accidental that Mrevlishivili chose the region of Svaneti and its
population as an object of artistic reflection in the epoch of drastic
innovations after the fall of the Soviet rule. Back in the 1920s filmmaker
Michail Kalatozishvili created an emotionally charged portrayal of Svaneti and
its people in his film “Jimshuante” (The Salt of Svaneti) that reflected the
changes within the society as a result of the influence of the Communist
regime.
How current changes in the country reflect upon Svaneti and its population
today and how these changes are reflected in the film medium remains to be
seen at the festival screening of Mrevlishvili’s documentary at the sixtieth
annual Berlinale from Feb. 11-21.
Story by Lily Khositashvili

4.12.2009
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German News
01/2009
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German News
02/2009
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Goethe-Institut Kolkata
April / May 2009
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Macau Post Daily
23.02.2010
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Macau Post Daily
19.02.2010
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Macau Post Daily
22.12.2009
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Nisi Masa
November 2009
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Ponto Final (Macau)
24.02.2010
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Ponto Final (Macau)
31.12.2009
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Telegraphindia.com
09.09.2009
Museums can apply
It looked like any other government office meeting at first, but

turned out to be quite exceptional. People associated with
museums, buildings or institutions in the state, which need
renovation or are worthy of preservation, were being encouraged
to apply for funds by the Union ministry of culture.
"The existing scheme for financial assistance to museums has

hardly been availed of by an institution from the state except the
state government," said culture secretary Jawhar Sircar. This despite the fact that many of the
these are in desperate need of money or repair ' and funds up to Rs 2.5 crore are available for
an institution!
So it is application time now. Bali Granthagar, Acharya Bhavan, Federation Hall, the residence
of Jadunath Sarkar, where the Centre for Studies in Social Sciences was located earlier, the
residence of Bankim Chandra Chatterjee, Anandaniketan in Bagnan, Asutosh Museum in
Calcutta University, museums in Bishnupur, Baruipur, Malda, Raiganj ' several are in the queue.
No deserving place will be turned away, promises Sircar. The funds will be allocated according
to requirement. Though he reminds: "Rs 2.5 crore is a lot of money for a museum."
To facilitate preservation of heritage, the ministry will hold a month-long training on

conservation of paintings in the city, with the help of the Lucknow-based National Research
Laboratory For Conservation Of Cultural Property, from August 18. Long live heritage.
Wall within the mind
Wagah, a 13-minute documentary film by Supriyo Sen that won the Berlin Today Award 2009,
was screened at Studio 21 at Dover Terrace on July 25. Sen's earlier documentaries such as Way
Back Home and Hope Dies Last In War dealt with the Partition. Wagah is the third film in this
series.
The Berlin Film Festival had invited films on the idea of the "wall"
to celebrate the 20th anniversary of the fall of the Berlin Wall.
Sen's documentary was one of five chosen from 200 entries.
"The protagonists of my film are three youngsters selling DVDs at

the Wagah border who realise what boundaries are from the
words and actions of the border guards. I wanted to show the
point of view of children," he says.
Sen feels that making documentary films is not easy. He said while interest in documentaries is
growing, funds don't pour in and shorts cannot be shown to a large audience, unlike commercial
releases.
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Inspired by a crow
The Bengali obsession with Sukumar Ray seems to be growing by the day. After the sighting of
cakes in the shape of Sukumar's creatures, news came in of an event featuring his "nonsense
verse". Asthaee, a centre for recitation and audio drama, organised an evening on Ray's poetry
rendered by children. It also featured the reading of a play and poetry of other authors by
grown-ups on the theme of Barsha (the rainy season).
Then comes news of a magazine called Drighanchu, for which a "wholesome JU branch" claims
responsibility. The bilingual magazine, in Bengali and English, can be called a tribute to the
great humourist, the creator of Drighanchu, the mysterious crow (picture above) who caws and
flies off, leaving behind a huge discourse on what the sound meant. There are several
references elsewhere to Ray.
The magazine is, more importantly, about comic book art or its new-age avatar, graphic story-
telling. It makes a few pertinent observations. As the introduction points out, the city in the
summer of 2009 "overbearingly resembled a comic book". "Panels, mainly rectangular of varied
proportions made of paper, textiles or polymer were strewn across the city, not advertising
consumer products but 'characters' and 'collectives' engaged in a communal circus called the
parliamentary elections....These panels consist of faces and figures and sentences resembling
rudimentary 'thought balloons' used in comic strips."
Only if the real-life panels made us as happy as comic strips.
Art summit
The second edition of the India Art Summit, in association with Sotheby's, will kick off at the
Pragati Maidan, New Delhi, on August 19. Akar Prakar from Calcutta will be the lone participant
from the city at the four-day art fair that promises over 1,000 works worth over Rs 40 crore
from 54 galleries, 18 of which are international. Anish Kapoor's Cloud Gate sculpture in Chicago
will be on display.
Akar Prakar will represent senior artists like Ganesh Haloi, Aditya Basak and Chhatrapati Dutta,
along with the younger Adip Dutta and Debraj Goswami. The Hindusthan Park gallery will
release a book on sculptor Sarbari Roy Chaudhury.
"Many international galleries would like to test the waters here for a few days, especially those
from the UK, US and West Asia, vis-a-vis setting up shop," says Neha Kirpal, associate director,
India Art Summit.
The secret of desire
From Feluda's Charminar to Ray smoking on his pipe, pop culture in Calcutta is chock-a-block
with images of heroes, real or fictional, smoking.
Once upon a time, smoking was cool. An 84-year-old woman, an asthma patient admitted to a
south Calcutta hospital for three days, was having a chat with her nurse. "I asked her what she
had liked about her husband when she married him. She smiled and said 'anek cigarette kheto
(he used to smoke a lot)'," the nurse said.
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Thebusinessoffilmdaily.com
November 2009
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Theguardianlifemagazine.blogspot.com
30.01.2010
The Figurine in Rotterdam
THE filmmaker Kunle Afolayan left Lagos

for the Netherlands on Wednesday to
attend the yearly Rotterdam International
Film Festival. At the fiesta, reputed to be
one of the major film festivals in Europe,
he will show his wave making The
Figurine. Thereafter, he will go to
Germany to be part of the Berlin
International Film Festival, which opens
on February 9. Afolayan, alongside Oliver
Hermanus of South Africa and Caroline
Kamya of Ugandan will be sitting on a
panel to discuss the state of African
Cinema. Dorothy Wenner will moderate
the session. From Berlin, Afolayan will
head to Washington DC in the United
States for a command showing of the film
at the Smithsonian National Museum of Arts in Washington. He spoke to Moviedom
before he left…
So where are you headed to right now?

I am off to The Netherlands for the Rotterdam Film Festival to screen The Figurine.
From there, I will head to Germany for the Berlin International Film Festival and
then to London. From London, I will go to America, back to London and so on. In
short, I will be away until March, if not April.
Tell us about the invitation to the United States?

It is from the Smithsonian National Museum of Arts in Washington, came through
the curator of the museum. I think they saw the trailer somewhere and were
convinced that it would be a good film to see. So, the film as I am told, would be
shown to a select audience. Afterwards, I’m expected to give a talk on African film
industry. I will also be at the African Film Festival in New York for a premiere of
the film. I am happy that the New York premiere is a reality because after the
London premiere, which witnessed a huge turnout of people, I got a deluge of mails
and phone calls from America, that I must bring the movie there. As far as I’m
concerned, The Figurine has made it purely on its merit. I mean take Rotterdam for
example; the entries had even closed before they called me. They want the film at
all costs and they are excited to see it.
How much support is coming from government?

Government? Abeg make we talk another matter. I have written letters and I all I
get is ‘you have produced a quality film…keep the flag flying’. Is that what will
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take me around? Don’t you know how much it costs going round to promote works?
Look, all efforts to get the government to see what I’m doing as part of its
rebranding campaign has not succeeded. For many years, Nigerian films were not
invited to foreign film festivals, but today everything has changed. I can name one
or two films that have been so invited. Here is a product that is in high demand
here and there and someone wants me to write loads of letters before he accedes
to my request for support. When I go abroad, they introduce me as Nigerian
filmmaker Kunle Afolayan and not just a filmmaker. All I get arepromises and no
fulfillment of the promises. At the Abuja premiere of the film, the Minister for
Information and Communication, Prof Dora Akunyili, pledged government’s support
for the film’s international screenings. But I still dey wait for the actualisation of
madam’s promises.
So when are you expected back?

I will be back in March, all things being equal. And when I return, I will hit location
to direct a romantic comedy for a telecommunication company. We are still going
to take The Figurine around. I found out that quite a number of people have not
seen the film. So we are going to do the Easter run at the National Theatre and at
major cinemas across the country. I took the film around during the Yuletide and it
was well received. In fact, at the Silverbird Cinemas, it had a turnover of N15
million, an unprecedented sum for any Nigerian film at the cinema. So, we will
return to the cinemas during the Valentine commemoration and during Easter. I
think, as I have often said, the challenge is to stay creative and make good films. It
is not getting into my head yet. With all the success Irapada achieved, it didn’t get
into my head.
So, when will The Figurine be on VCD?

Ah, not now o. We need to recoup our investments. But seriously, we will do that
soon. There is a collection of academic essays on The Figurine being written by
some professors in Nigeria and abroad. Maybe when it is done, we will release the
DVD along with the collection.
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Tribuneindia.com
05.07.2009
Gutsy reels, real voices

Independent documentaries are no longer the neglected poor country cousins of mainstream
cinema. Bold unique topics and a group of young filmmakers have created a dynamic space for
this genre, writes Saibal Chatterjee
BEING independent in a business that

demands complete adherence to established
practice can never be easy. Yet the tribe of
intrepid Indian filmmakers who choose to
exist outside the system and make
documentaries about social and political
issues of import has only swelled in both
quantity and quality in the recent times.
Needless to say, Indian cinema is much the
richer for it.
Supriyo Sen’s Wagah takes a well-documented border event and expands it into an examination of the
complex ideas of nationality, identity and borders drawn by man
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Tribuneindia.com
05.07.2009
Gutsy reels, real voices

Independent documentaries are no longer the neglected poor country cousins of
mainstream cinema. Bold unique topics and a group of young filmmakers have
created a dynamic space for this genre, writes Saibal Chatterjee
BEING independent in a business that demands complete adherence to established practice

can never be easy. Yet the tribe of intrepid Indian filmmakers who choose to exist outside
the system and make documentaries about social and political issues of import has only
swelled in both quantity and quality in the recent times. Needless to say, Indian cinema is
much the richer for it.
In fact, Indian cinema wins more

global accolades these days for the
work of its independent
documentary filmmakers than for
the output of their better known,
better publicised counterparts who
operate within the mainstream
fiction filmmaking space.
Filmmaker, curator and distributor

of independent documentaries A still from Anwar: Dream of a Dark Night by Anwar Jamal
Gargi Sen says, "Both in terms of
form and substance, today’s documentary makers are able to experiment far more than
ever before. These are exciting times indeed. What is really heartening is the sharp
increase in the number of women filmmakers in this space."
That explains why India is seeing a dramatic proliferation of festivals dedicated exclusively
to documentary and short films. Open Frame, organised by the Public Service Broadcasting
Trust, has become a regular fixture on New Delhi’s annual cultural calendar. Persistence
Resistance, a festival of independent documentaries hosted by Magic Lantern Foundation
in the national Capital, has also emerged as a major annual event.
And now apart from the Union Government-mandated biennial Mumbai International Film
Festival (MIFF) of Documentary, Short & Animation Films, Kerala has its own event
designed to celebrate the variety and power of independent documentaries. The
International Documentary and Short Film Festival of Kerala is in its second year and is
already showing signs of vibrancy.
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Getting popular
Sen, who attended the Second Kerala documentary festival that was held in
Thiruvananthapuram from June 19 to 25, says "The queues that I see here for the
screenings are absolutely amazing. In Delhi, too, the audience for documentary films is
growing steadily." She should know. Sen is the brain behind the Persistence Resistance film
festival and Under Construction, a label created for the dissemination of independent
Indian documentary films.
"Films that exist outside the established distribution network are always bound to face
some difficulties," she admits. But Sen is quick to add that the kind of films that she
distributes have begun to "break away from the logic of temporality" that govern the world
of regular fiction films. "Much older films like Anwar Jamal’s Call of the Bhagirathi,
Madhusree Dutta’s I Live in Behramapada and Reena Mohan’s Kamlabai, made in the 1990s,
are still in great demand," she says.
Filmmakers like Jamal and Dutta are still as active as ever, constantly pushing the
boundaries of cinematic expression in their own individual ways. Mumbai-based Dutta has
since made films like Sundari: An Actor Prepares, inspired by a play about a popular
female impersonator on the early 20th century Gujarati stage; Scribbles on Akka, a film on
the life and work of 12th century saint-poet Mahadevi Akka; Made in India, which is a study
of the diverse visual cultures of contemporary India; and Seven Islands and a Metro, which
delves into the various faces of Mumbai.
Inspired minds
New Delhi-based Jamal recently wound up a film titled Anwar: Dream of a Dark Night,
which explores the space between the creative dynamics of a docu-drama and the
narrative conventions of fiction through the real-life story of a slumdweller who plans and
constructs a small movie hall in his village on the India-Bangladesh border. Jamal follows
his protagonist, who also happens to be his namesake, through his daily rag-picking routine
in Delhi before joining him on his voyage back to his roots to rediscover himself.
"Straightforward documentaries do not interest me anymore," says the filmmaker, who is

currently working on a powerful expose of the worsening agrarian crisis in the cotton belt
of Punjab.
Young blood
While the seasoned players in the independent documentary domain are still going strong,
a new breed of young filmmakers has also emerged in the recent years to provide a fillip to
the movement. One of the most notable talents among them is Supriyo Sen, whose new
film, Wagah, earlier this year won the prestigious Berlin Today Award in the Talent Campus
of the last Berlin Film Festival.
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The 12-minute film focuses on the
ritual closing that takes place
every evening on the border gates
between India and Pakistan and is
watched by cheering spectators on
both sides.
Sen’s remarkable film takes a

well-documented border event and
expands it into an examination of
the complex ideas of nationality,
identity and borders drawn by
man. The renowned German Young filmmakers like Supriyo Sen have not only given
filmmaker Wim Wenders, reading a fillip to to the independent documentary making
the citation for Wagah, described but have also won international awards
the film as "a convincing manifesto
against any wall that divides people."
Those who have seen Sen’s two-part documentary, Way Back Home, which records a
personal and intimate journey undertaken by his ageing parents back to their ancestral
home in Barisal, Bangladesh, and Imaginary Homeland, can see in Wagah a clear reflection
of his principal humanist concerns as a filmmaker.
Supriyo Sen and many other filmmakers of his ilk are worthy successors of men like Anand
Patwardhan, whose powerful 1971 film, Waves of Revolution, which recorded the police
repression of the total revolution movement in Bihar, and Prisoners of Conscience, which
looked at the plight of political prisoners during the Emergency, laid the foundation of the
independent documentary movement in India. The edifice that has come up is quite
impressive and sturdy.
Patwardhan has since made no-holds-barred political documentaries that have exposed
corruption, debunked the merchants of communal hate and questioned India’s nuclear
programme. Many talented filmmakers like Rakesh Sharma have added their weight to the
independent documentary movement with films that have laid bare the horrors of the
Gujarat riots of 2002.
And it isn’t just political filmmaking that is gathering momentum in India despite the many
obstacles that confront them. Many younger directors are increasingly experimenting with
new forms and ideas.
At the International Film Festival of Rotterdam two years ago, documentary filmmaker
Vipin Vijay’s experimental Video Game bagged the Tiger Award for the best short film.
In a celebrity-obsessed nation, the achievement may have gone largely unnoticed, but
what the Rotterdam jury said of the film put things in perspective: "Video Game is yet
another illustration that there’s more to the cinema of India than can be contained within
the received wisdom which seeks to encompass it by reference to a dualism opposing
Satyajit Ray to Bollywood`85"
The young Kerala filmmaker, a direction and screenplay-writing graduate of Kolkata’s

Satyajit Ray Film and Television Institute (SRFTI), is one of numerous Indian film school
products who, free from the shackles of commerce, are pushing the cinematic envelope.
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The question is: do the men who control the industry’s purse strings possess the ability to
detect the innate potential of these filmmakers?
New ideas
The Rotterdam jury clearly did. They described Video Game as a "new kind of road movie"
that "shows a relentless, complex post-modern intelligence as it processes everything
within its view, within its memory, within its wide range of cultural references." In the
context of the sort of cinema that the media usually propagates in this country, that
citation could well be about a film from another planet.
Other student filmmakers have also made their mark in recent years. The only Indian film
to make it to the ‘official selection’ of the Cannes Film Festival two years ago was Chinese
Whispers, directed by SRFTI product Raka Dutta. Dutta’s film was in the Cinefondation
section, set up in 1998 to facilitate a concerted search for fresh global filmmaking talent.
The section presents a selection of 15 short and medium-length cinematic essays from film
schools.
The Kolkata-based film institute, named after a master who still remains the benchmark
against which all Indian filmmakers are assessed, was represented in Cannes in 2002 by
Tridip Poddar’s In 2006, another SRFTI graduate, Anirban Dutta, was in Cannes with his
diploma film, Tetris.
This year, a completely different bunch of young short-film makers were at the world’s
premier film festival — alumni of Subhash Ghai’s Whistling Woods International film
institute. Nine films made by students of the institute were showcased in the Cannes Short
Film Corner.
Ghai, on his part, seemed as excited as the youngsters who had flown in to unveil their
diploma films. "Today’s Indian filmmaker is far more confident and focussed than we were
when we went to the Film & Television Institute of India," he told this correspondent. "He
has far greater exposure to all kinds of cinema — so by the time he is out of the institute,
he knows exactly what kind of cinema he will serve."
This clarity and the emergence of new formats of filmmaking have given independent
documentaries a huge boost. As Gargi Sen, whose Under Construction has acquired
numerous outstanding films for distribution, puts it, "the space for different forms of
cinematic expression has grown dramatically in recent years."
Fresh approach
As newer technologies emerge, a fresh approach to moviemaking also takes roots.

Democratisation does have a flip side. Not every work that springs forth from this churning
is of exceptional quality, but the intense activity that newer, cheaper modes of filmmaking
generate throws up exciting prospects. Today, if you make a good enough film on your
mobile, chances are you could end up going places with that little piece of work.
Earlier this year, Delhi hosted the second International Film Festival of Cell Phone Cinema
and a global jury chose several films for cash awards. ‘Mobile’ filmmaking is fast
developing into a legitimate cinematic pursuit. The first prize for video films made on
mobiles went to a film that demonstrated what a human being can achieve with his or her
hand. A film about rainwater harvesting bagged the second prize.
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It’s all happening out there. The only thing that remains is mainstream distribution of
independent documentaries a la Michael Moore’s Fahrenheit 9/11 and Sicko. Madhusree
Dutta’s Seven Islands and a Metro did get a multiplex release in Mumbai, the first for an
Indian documentary, but that trend is yet to catch on.
Indian independent documentaries have conquered many frontiers over the years. There is
no reason why you won’t crack the mainstream distribution code sooner rather than later.
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Adevarul.ro
23.02.2010
Berlinala îi iubeşte pe români
George Piştereanu, Florin Şerban şi Ada Condeescu
Oamenii de film din România au

participat la ateliere de lucru şi
au luat trei premii la
prestigiosul festival din
Germania. EdiŃia aniversară(a
60-a) a Festivalului
InternaŃional de Film de la
Berlin (11 - 21 februarie) a fost
cea mai primitoare şi mai
generoasă cu cineaştii români
din întreaga istorie a acestui
important eveniment.
Nu pot şti cu exactitate câŃi români au participat anul acesta la Berlinală, însă numărul lor
este de ordinul zecilor. Să ne gândim numai la cele patru producŃii româneşti selecŃionate
de Festival: două lungmetraje („Eu când vreau să fluier, fluier" de Florin Şerban, în
competiŃie şi „Portretul luptătorului la tinereŃe" de Constantin Popescu jr în secŃiunea
„Forum") şi două scurtmetraje („Colivia" de Adrian Sitaru şi „Derby" de Paul Negoescu în
secŃiunea „Berlinale Shorts").
Cum fiecare dintre aceste filme a fost reprezentat la Berlin, pe lângă regizor, de mai mulŃi
membri ai echipei (uneori aceiaşi: de pildă, actriŃa Clara Vodă a avut roluri în trei din
patru), deja trecem de 20.
StudenŃi festivalieri
Nu trebuie să neglijăm, însă, Berlinale Talent Campus, care reprezintă, de opt ani, „o
academie creativă şi o platformă de networking". De-a lungul a şase zile de festival, 350 de
tineri cineaşti şi critici de film din întreaga lume participă la ateliere, cursuri şi dezbateri
cu nume mari ale industriei cinematografice.
Anul acesta, au fost acceptaŃi în Campus, pe baza experienŃei lor anterioare, şase români:
Mihai Bauman (regizor), Radu Gorgos (operator), Mircea Nestor (regizor), Cristian Nicolescu
(monteur şi sound designer), Erzsebet Plajas (critic) şi LetiŃia Ştefănescu (monteur şi
producător).
De asemenea, regizorul Paul Negoescu, selecŃionat la a treia ediŃie consecutivă în festival,

a fost invitat, alături de confratele său britanic Paul Wright, la o discuŃie cu „studenŃii"
despre scurtmetraj, moderată de către Maike Mia Hoehne, curatoarea secŃiunii „Berlinale
Shorts".
„Talent Campusul se vrea mai mult un program de networking", observă regizorul Mihai
Bauman. Singura parte din program cu finalitate este Berlin Today Award: aici sunt
selecŃionate cinci scurtmetraje, al căror buget de producŃie va fi asigurat integral de către
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Festival. Însă procesul e complicat şi se întinde pe durata a doi ani. Participantul român
adaugă: „În rest, sunt foarte multe workshop-uri - panel-uri, cum le zic ei - discuŃii,
întâlniri, conversaŃii de tot felul, un fel de ateliere «practice», dar care nu sunt practice
deloc etc. E bine că poŃi ajunge la Festival şi poŃi intra în principiu gratis la filme după ora
18.00, dacă prinzi un bilet."
Programul celor şase zile de Campus era acelaşi: dimineaŃa ateliere şi cursuri, plus excursii
la PiaŃa Europeană de Film (asociată cu Berlinala), iar seara - filme (la proiecŃiile de până
la ora 18.00, biletul nu era gratuit pentru „studenŃi"). „Pe scurt, nu era nimic obligatoriu",
adaugă Mihai Bauman. „Dacă un om voia doar să stea sau să umble prin muzee, era liber să
facă doar asta, că nimeni nu îi Ńinea socoteala".
Luarea unei decizii privind programul personal era destul de dificilă. ParticipanŃii îşi
alegeau workshopurile după temă şi/sau invitaŃi, însă puteau să nu mai găsească bilete sau
să nu fie acceptaŃi, iar atelierul nu se ridica mereu la înălŃimea aşteptărilor: „De cele mai
multe ori, o gazdă şi invitaŃii aveau o discuŃie despre tema respectivă, după care urma
sesiunea de întrebări şi răspunsuri, dar uneori era totul atât de suprarealist în acel
moment, încât mulŃi îşi vedeau de ale lor prin alte părŃi".
În opinia regizorului român, pentru a profita la maximum de Campus, un cineast trebuie să

aibă „abilitatea de a alege între multe lucruri care se întâmplă în acelaşi timp".
Mihai Bauman observă că, pe durata festivalului, a avut două momente în care chiar a
învăŃat ceva. Mai întâi, la Film Market, care este „un organism viu": „Acolo se întâmplă tot
timpul ceva şi este imposibil să nu intri în vorbă cu cineva, cunoscut sau necunoscut". Apoi,
la o întâlnire cu Michel Reilhac, director general al ARTE France Cinéma; acesta a abordat
subiecte de interes pentru participanŃi, precum „transmedia", relaŃia dintre internet şi
film sau noi tendinŃe în spaŃiul media.
Regizorul român îi împarte pe colegii săi de Campus în două categorii: „Unii erau
superentuziaşti, alŃii foarte blazaŃi. Primii erau superactivi, socializau puternic, întrebau,
chestionau, alergau; ceilalŃi erau mult mai relaxaŃi, nu mergeau la workshop-uri, îşi
alegeau câteva filme şi, în rest, se distrau. Între toŃi ăştia erau tot felul de oameni
confuzi, care încercau să scoată sensuri şi idei din ce se întâmpla în jurul lor. Regulile şi le
stabilea fiecare, nu a stat nimeni să tragă «talentul» de mână şi să îi zică: uite, fă aia, fă
aialaltă, întâlneşte-te cu ăla şi cu ălălalt şi gata, Ńi-am asigurat viitorul. NemŃii ne-au dat
terenul, depindea de fiecare cum îl cultiva".
Mihai Bauman se
declară mulŃumit de
experienŃa sa:
„Talent Campusul a
fost pentru mine ca o
pistă de lansare. Am
cunoscut oameni
care la un moment
dat vor avea
contribuŃia lor în
cariera mea şi asta
este ceea ce
contează. Când a
apărut primul om cu care am stabilit un contact despre care eu cred că poate să fie serios,
atunci Campusul şi-a dovedit sensul pentru mine".
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De la piaŃă la petrecere
Ca şi la ultimele două ediŃii de Berlinală, România a avut un stand de prezentare, foarte
vizibil şi vizitat, în cadrul PieŃei Europene de Film, de care s-a ocupat AsociaŃia pentru
Promovarea Filmului Românesc (APFR). Mihai Gligor, directorul adjunct al APFR, remarcă:
„Cred că anul acesta a fost unul foarte bun. După ce în 2009 criza s-a simŃit atât la Berlin,
cât şi la Cannes, unde a fost un număr mai mic de acreditări din industrie, anul acesta am
simŃit că lucrurile par să-şi fi revenit.
Am avut un număr mare de vizitatori la stand, lucrul acesta fiind generat şi de prezenŃa
consistentă a filmelor româneşti în Festival. Astfel, cred că standul şi-a atins scopul, acela
de promovare şi susŃinere a cinemaului românesc, a industriei de film din România,
precum şi a filmelor româneşti de la Berlinală."
Dintre vizitatori, selecŃionerii de festivaluri erau interesaŃi de „ce mai e nou" în
cinematografia românească, de filmele nou-apărute sau care urmează să apară; fiecare
cerea recomandări în funcŃie de festivalul pe care îl reprezenta. Jurnaliştii cereau în
special informaŃii despre filmele româneşti selecŃionate la Berlinală, dar şi date specifice
despre anumite producŃii autohtone. Iar producătorii străini solicitau informaŃii despre
companii de producŃie româneşti şi despre oportunităŃile de a filma în Ńara noastră.
Tot APFR a organizat şi petrecerea românească, care, ca şi anul trecut, a avut loc în
„Salonul Roşu" şi s-a bucurat de mare succes printre participanŃii la Festival. Au fost peste
500 de invitaŃi: cineaştii, jurnaliştii şi criticii români prezenŃi la Berlin, alături de nume
importante ale industriei de film - selecŃioneri, producători, reprezentanŃi ai fondurilor de
finanŃare străine, agenŃi de vânzare, distribuitori sau regizori străini. „Cred că 2010 a fost
cel mai bun an pentru români la Berlinală, o dovadă fiind şi premiile obŃinute de filmele
româneşti", conchide Mihai Gligor.
Opiniile unui premiant

În ceea ce-i priveşte pe cineaştii români premiaŃi, am discutat cu Adrian Sitaru, al cărui
scurtmetraj „Colivia", foarte apreciat la festival, a intrat în palmares. Cineastul, aflat
pentru prima dată la Berlinală, se declară uimit de eveniment: „E un festival mult mai
prietenos decât îmi imaginam pentru un eveniment de această amploare şi cu atât de
multă «industrie» implicată. Este asemănător cu Sundance la numărul spectatorilor: doar
acolo şi la Berlin am mai văzut săli aşa de pline la scurtmetraje, indiferent de oră".
Adrian Sitaru a avut şi întâlniri cu coproducători, actuali sau potenŃiali ai noului său
lungmetraj, pentru care încă strânge bani, aşa că nu a văzut decât două dintre cele cinci
grupaje de scurtmetraje din competiŃie: cel din care făcea parte filmul său şi cel care
includea „Derby" de Paul Negoescu. Cineastul român observă: „Mi-a plăcut mult filmul care
a câştigat Ursul de Aur, dar de celelalte două nu sunt convins. Chiar dacă sunt bune, filmul
lui Paul îl consider mai bun. Eu sunt mulŃumit în general cu orice premiu, e un feedback
pentru ceea ce faci, chiar dacă ştiu că este unul subiectiv."
Deplasarea criticului de film Mihai Fulger la Berlin a fost sprijinită de Institutul Cultural
Român.
Nou record de audienŃă
În general, pentru un român, nu doar cineast, aflat pentru prima dată la un festival de
clasa A (cum mai sunt cele de la Cannes sau Locarno), Berlinala este eclatantă. Timp de
zece zile, indiferent de filmul prezentat şi de secŃiunea în care este acesta inclus, toate
sălile, de la Berlinale Palast, „inima" festivalului, până la cinematografele de la periferia
metropolei, sunt pline şi arhipline, cum foarte rar vezi la evenimentele din România. Chiar
şi la proiecŃiile rezervate presei, de multe ori, trebuia să aştepŃi la coadă înainte de a
intra şi nu era deloc exclus ca, dintre sutele de scaune ale sălii de cinema, să nu găseşti
niciunul liber.
ConferinŃele de presă, cu echipele filmelor din selecŃia oficială, au loc în general la puŃin
timp după vizionările de presă. Însă în cazul producŃiilor cu regizori şi/sau actori din
categoria „staruri" (Martin Scorsese cu Leonardo DiCaprio, Ewan McGregor şi
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Pierce Brosnan fără Roman Polanski etc.), jurnaliştii care doreau să prindă un loc în sala de
conferinŃe, deseori neîncăpătoare, trebuiau să renunŃe să vadă şi finalul filmului; altfel,
erau nevoiŃi să urmărească vedetele din picioare sau, şi mai rău, pe ecranul imens din
piaŃă.
La ora când scriu aceste rânduri, nu cunosc încă numărul total al biletelor vândute la
ediŃia aniversară a Festivalului, însă acesta era aproximat, înainte de ultima zi, la 300.000,
ceea ce reprezintă un nou record de audienŃă pentru Berlinală, unul dintre cele mai iubite
festivaluri de film ale lumii. „Lucru nemŃesc", ar fi comentat Nenea Iancu, care ştia el ce
ştia atunci când a ales să se mute la Berlin...
Premiile românilor la Berlin

România a câştigat trei premii la Festivalul InternaŃional de Film de la Berlin. Ursul de
Argint - Marele Premiu al Juriului şi Premiul „Alfred Bauer", destinat filmelor inovatoare,
au revenit peliculei „Eu când vreau să fluier, fluier", regizată de Florin Şerban, iar Premiul
DAAD, oferit de Serviciul German de Schimburi Academice, a fost decernat scurtmetrajului
„Colivia", de Adrian Sitaru.
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Africavenir.org
Feb 2010
Monday, February 15th, 11:00 / HAU 1: Cinema Unlimited:

Intercontinental Connections
Madhusree Dutta (Cinema City, Berlinale Forum Expanded), Rafi Pitts (The Hunter,
Berlinale Competition), Natalia Smirnoff (Puzzle, Berlinale Wettbewerb), Jean-
Marie Teno (Sacred Places). Moderated by Vincenzo Bugno. In cooperation with
Berlinale Forum expanded and World Cinema Fund.
Looking for the right people gets trickier when one isn’t on home ground. A range
of international film professionals discuss and share their experiences on how they
prefer to connect and collaborate in their region or abroad. They will talk about
how they built up networking platforms and co-productions, especially when there
is no major support from the regional film industry. Jean-Marie Teno (Sacred
Places, The Colonial Misunderstanding), Cameroonian filmmaker, has been
producing and directing films for over twenty years. Joining him on the panel is
Iranian filmmaker Rafi Pitts, whose latest film The Hunter features in this year’s
Berlinale Competition. The panel includes Madhusree Dutta, Indian filmmaker,
curator and activist, whose interdisciplinary installation project “Cinema City“,
exploring questions about the relationship between urban space and cinema, will
be presented at the 2010 Berlinale Forum expanded. Last but not least, Argentinian
filmmaker Natalia Smirnoff, who took the step up from assistant to the director’s
position with Puzzle, presented in this year’s Berlinale Competition.
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Africavenir.org
Feb 2010
Wednesday, February 17th, 14:00 / HAU 1: Shotgun Stories: African

Cinema Attacks
Kunle Afolayan (The Figurine), Oliver Hermanus (Shirley Adams), Caroline Kamya
(Imani, Berlinale Forum), Tom Tykwer (Produzent von Soul Boy, Berlinale
Generation Special). Moderated by Dorothee Wenner. In cooperation with Heinrich
Böll Foundation, Berlinale Forum and Berlinale Generation.
There’s a whole new generation of African filmmakers ready to shoot films which
might blow our minds away: as they don’t match the image of African cinema that
we are used to. Many young directors choose urban Africa as a location to tell
stories of love and hate; they prefer hip hop to traditional drums in their scores
and are eager to portray lifestyles yet to be discovered beyond Kampala,
Johannesburg, Nairobi or Lagos. Although filmmaking in most African countries is
more difficult than in other parts of the world, this new generation refuses to be
silenced by those who try to control their work by means of funding, tough political
oppression or simply due to lack of interest. The headwinds from home blow just as
strongly as they do from countries in the North, but they aren‘t strong enough to
stop this movement. This panel offers a platform to exchange ideas for the future
of African cinema based on personal experiences, new strategies and individual
films. It’s time for action: moving images can be used as sharp weaponry in a
warfare against ignorance.
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Africine.org
02/2010
Talent Campus au Festival de Berlin (11 > 21 février 2010)

Une vingtaine d'Africains consolident leurs acquis
Une vingtaine d'Africains prennent part cette année à

la 8ème édition de Talent Campus, qui se déroule dans
le sillage de la 60ème édition du Festival international
du film de Berlin.
Quand la sonnerie retentit, c'est le top départ d'un

nouveau round d'échanges avec un visage différent. La
ronde se fait dans la gaieté. Le face à face entre les
participants au Talent Campus et le groupe d'experts
Fortuné Bationo
installe un climat de retrouvailles dans la salle.
Pourtant ceux qui échangent entre eux avec une telle intensité ne se sont jamais
rencontrés auparavant. Parmi les heureux admis au Talent Campus, certains
n'auraient peut-être jamais eu l'occasion d'acculer de questions certains consultants
comme ils le font d'un air si détendu.
Voilà l'esprit du Talent Campus, qui se veut un centre

d'apprentissage convivial et d'approfondissent des
connaissances cinématographiques auprès de gens
reconnus dans le monde du cinéma.
La formule de varier les interlocuteurs obéit à
l'ambition d'élargir au mieux les acquis, de trouver les
meilleures réponses aux attentes multiples. Et ça
El Hadji Samba Sarr et Christine marche puisque des sourires sont souvent au rendez-
Tröstrum, Directrice du Talent vous, quand vient le moment de changer de personnes
Campus
ressources.
Une vingtaine d'Africains en provenance de plusieurs

pays participent à cette expérience enrichissante.
Producteurs, futurs réalisateurs, réalisateurs,
scénaristes…... ils sont issus de plusieurs maillons de la
chaîne cinématographique et rêvent tous d'une
carrière intéressante, qui passe aussi par ce type de
rencontre. Les 350 participants du Talent Campus leur
offrent l'occasion de semer des liens et de mieux
évaluer les chemins qui leur restent à faire.
C'est justement ce qui a conduit Mirabel Awuah,

étudiante au National film and Television Institut du
Ghana (NAFTI), à postuler à cette 8ème édition du
Talent Campus : "Je suis venu faire des rencontres
intéressantes et voir les meilleurs films pour me
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permettre d'évoluer dans mon travail", affirme-t-elle. Le Nigérian Idi Nasuru

abonde dans le même sens, en voyant dans sa présence à cet immense conclave
une chance de cueillir de nouvelles armes professionnelles.
Le réalisateur sénégalais El Hadj Samba Sarr est aussi heureux d'être là. Il apprécie
beaucoup cette idée de faire se croiser plusieurs différentes nationalités. "Le
Talent campus du festival de Berlin est une excellente tribune de rencontres,
d'échanges, de développement de capacité et de projet. Le FESPACO gagnerait à
intégrer ce genre d'activités dans son programme en vue de contribuer au
développement du cinéma en Afrique".
Pour la réalisatrice béninoise Ingrid Agbo, la rencontre ici avec un scénariste de
comédie était un souhait longtemps caressé. Pour elle, le cinéma est un réseau
qu'il faut intégrer. Les contacts, la jeune réalisatrice les positionne comme autant
de futures promesses de travail en commun.
Bärbel Mauch, consultante au Talent Campus, a aussi eu une séance de travail à

bâtons rompus avec certains africains. À un réalisateur qui disait vouloir mettre les
bouchées doubles au niveau de la technique, elle a répondu que l'histoire d'un film
est sa meilleure substance. Un jeune réalisateur sud africain a penché pour cette
perception, en évoquant sa propre expérience. Justement, tous les participants
peuvent voir le travail de leurs amis en allant sur les ordinateurs disposés dans
certaines salles. Une impressionnante mine de découvertes.
À la 60ème édition de la Berlinale, les jeunes Africains peuvent se mettre à rêver

aussi qu'un jour, à l'image de cet important festival, les abords de certaines salles
de cinéma en Afrique abriteront des messages qui fonctionnement comme un bel
hommage à leur travail: "je recherche un ticket de film à acheter, il n'y en a plus
en vente".
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Africultures.com
13.02.2010
Berlinale Talent Campus 2010 8ème édition.
Dans le programme : Shotgun Stories: African Cinema AttacksBerlin | Allemagne |

13|02|2010 > 18|02|2010 www.berlinale-talentcampus.de
The Berlinale Talent Campus taps into the unique atmosphere of a great festival to bring
together young talents and experienced professionals. The experience of the latter meets
the inspiration of the former - a very vital platform for the film world to participate in.
Since 2007, the Berlinale Talent Campus takes place in the three venues of HAU - Theater
Hebbel am Ufer.
The Campus takes place parallel to the Berlinale and works as an intensive week-long
academy. Creative professionals from every field of the film industry are available as
speakers, teachers and partners for discussion. A number of guests from the festival's
programme sections are also invited to discuss their work with the talents and thus help
integrate the Campus into the Berlinale. A great number of Campus lectures and
discussions are intended for the public and can be attended by anyone. Tickets are sold
under the same terms as other Berlinale screenings and events.
350 talents from all over the world

Talented young people from around the world involved in all areas of filmmaking are
eligible to apply to the Berlinale Talent Campus: screenwriters, directors, producers,
cinematographers, actors, film editors, art directors, production designers, composers,
sound designers, journalists, and visual artists. Over 350 of them are invited to Berlin to
reflect on their cinematic ideas in workshops, lectures and panel discussions, and to work
on their projects in specialized hands-on studios.
Increasing importance is given to supporting structurally weak film countries by inviting

talents from these regions to take part in the Campus. A similar aim motivated the "export"
of the Campus idea to other countries: meanwhile festivals in Buenos Aires (Argentina),
Durban (South Africa), and Sarajevo (Bosnia-Herzegovina) are organizing their own annual
Campus with the support from Berlin. The first official Talent Campus Guadalajara took
place as part of the Guadalajara International Film Festival 2009 in Mexico. It has a
regional focus on up-and-coming filmmakers from Central America and the Caribbean.
Cinema Needs Talent: Looking for the Right People

Each Berlinale Talent Campus attends to a focus topic to which part of the programme is
dedicated and for which renown experts are invited. The Berlinale Talent Campus #8
during the Berlinale 2010 will address the theme "Cinema Needs Talent: Looking for the
Right People".
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For many filmmakers, teaming up with the right people to inspire and support them and to
create a collective vision is the essential element of successful filmmaking. The upcoming
Berlinale Talent Campus will tap into these thoughts and ask how the development of
personal craftsmanship and the experience of choosing the right people intertwine to build
gainful long-term creative collaborations. "Teamwork is the key to success. It's about
daring to ask the vital questions together in order to exceed your own limits and to keep
that one essential goal in sight: to make a great film. This theme also reflects the Campus,
which has, since the beginning, strived to connect young international filmmakers with
their colleagues and established professionals, always in the spirit of encouraging
collaborative filmmaking", says Programme Manager Matthijs Wouter Knol.
Partners
The Berlinale Talent Campus is truly a joint project: initiated by Berlinale Director Dieter
Kosslick, prepared and organized by a project team headed by Matthijs Wouter Knol und
Christine Tröstrum, funded by the Federal Government Commissioner for Culture and the
Media upon a decision of the German Bundestag, in co-operation with MEDIA - Training
programme of the European Union, Medienboard Berlin-Brandenburg, Skillset and UK Film
Council as well as 40 other partners, embassies and cultural institutes.
The Berlinale Talent Campus has developed into one of the most exciting initiatives of the
Berlinale. Meanwhile it can boast of numerous success stories: co-operations which were
conceived here, careers which began here, ideas which originated here - and their visible
results can frequently be seen in the Berlinale programme. Regular cooperation also occurs
at the Berlinale Co-Production Market where producers and film financiers are introduced
to selected projects by Campus participants within the framework of the "Talent Project
Market".
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Africultures.com
17.02.2010
Berlinale Talent Campus #8: talentpress.org - Berlinale Talent Campus launches

a new website for emerging international film critics Feb 17, 2010
The Berlinale Talent Campus is launching a new internet portal for emerging
international film critics: www.talentpress.org. This new portal is open to young
film critics who are current or former participants of the Berlinale Talent Campus'
Talent Press programme. It offers them a year-round possibility to publish their
film and festival reviews from anywhere in the world. "This new website will
provide a forum where young, talented international film journalists can publish
their independent views on their latest discoveries in international cinema," say
Campus heads Christine Tröstrum and Matthijs Wouter Knol.
The Talent Press programme is one of the Berlinale Talent Campus' hands-on
training opportunities to which participants apply separately and which exists since
2004.
The programme invites eight budding film journalists to the Berlin International
Film Festival every year and offers them an intensive look into the inner workings
of an international film festival. During the Campus week, they are guided by
experienced film critics like Dana Linssen, Stephanie Zacharek, Chris Fujiwara and
Derek Malcolm. Their articles and reviews are published during the Berlinale at
www.talentpress.org, but also through the Goethe-Institut website
(www.goethe.de) and FIPRESCI (www.fipresci.org). In addition, selected articles
from these young film critics will be published in the Berlinale edition of the trade
magazine "The Hollywood Reporter", part of a cooperation that is now in its second
year.
The Berlinale Talent Campus' successful Talent Press programme, which supports
independent and high-quality film criticism, has now been picked up by the other
international Talent Campus initiatives. For the first time, a Talent Press
programme for young Central American film journalists will take place during the
Talent Campus Guadalajara, which runs from March 11-15, 2010, during the
Guadalajara International Film Festival in Mexico. The up-and-coming film critics of
the Talent Campus Guadalajara will also be able to take advantage of and publish
articles through the new Talent Press website.
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Agencia EFE
18.02.2010
Talent Campus de la Berlinale premia a un compositor colombiano
Berlín, 18 feb (EFE).- El compositor colombiano Camilo Sanabria fue premiado hoy
por el Talent Campus, un foro para los jóvenes talentos, que se celebra
paralelamente al festival de cine de Berlín.
El jurado que entrega el galardón argumentó, en un comunicado, que las
composiciones musicales de Sanabria para la gran pantalla son una "obra llena de
fantasía" que exhiben "una personalidad propia hasta en el detalle más pequeño".
El premio, concedido en el apartado de "Score Competition" -alusivo a las bandas
sonoras originales- permitirá a Sanabria, de 34 años, pasar una semana en uno de
los mejores estudios de sonido de Los Ángeles (EEUU).
En segundo puesto, dentro de esa misma categoría, quedó el compositor alemán
Alexander Komlew, que grabará una de sus obras con la Deutsche Filmorchester de
los estudios de cine Babelsberg, en la localidad de Potsdam, a las afueras de Berlín.
La octava edición del Talent Campus de la Berlinale reúne en la capital alemana a
cerca de 350 jóvenes promesas del cine internacional procedentes de un centenar
de países.
El certamen, que tiene lugar en el Teatro "Hebbel am Ufer" de la capital alemana,
sirve como punto de encuentro para jóvenes talentos de las distintas disciplinas
cinematográficas.
Cineastas, productores, directores de fotografía y compositores de bandas sonoras
se dan cita en Berlín para presentar sus últimos trabajos, participar en talleres y
asistir a conferencias impartidas por profesionales consagrados en el cine, que este
año incluyeron a la realizadora española Isabel Coixet. EFE
nvm-xac/ih/cr
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Agencia EFE
14.02.2010
Berlín recibe a 350 jóvenes promesas del cine internacional
Berlín, 14 feb (EFE).- Berlín recibe durante esta semana a cerca de 350 jóvenes
promesas del cine internacional, de más de 100 países, que participan en la octava
edición del Talent Campus.
Este certamen, que tiene lugar en el Teatro "Hebbel am Ufer" de la capital

alemana, se desarrolla en el marco de la Berlinale y está dirigido a servir como
lugar de encuentro para todos aquellos jóvenes talentos que comienzan a
despuntar en alguna disciplina cinematográfica en sus respectivos países.
Directores, productores o directores de fotografía se reúnen aquí cada año para
mostrar sus creaciones, debatir, y participar en talleres o conferencias.
Para poder asistir, los talentos deben rellenar previamente un formulario y
remitirlo a la organización, junto con una muestra de su trabajo audiovisual.
Ya sea en las salas de cine -habilitadas para las conferencias- o de forma informal
en la cafetería, cualquier lugar sirve para discutir sobre cómo atraer al espectador,
cómo realizar una producción con vistas a presentarla en un festival, o cómo
reflejar una estética determinada.
Como foro de discusión alternativo a la Berlinale, para todas estas promesas supone
una oportunidad única e inmejorable para lanzarse al mercado del séptimo arte, en
una edición en el que tema central en torno al que giran todos los debates es
"Straight to Cinema" (Directo al cine).
Además, el Talent Campus cuenta con el galardón "Berlin today award", que
premia al mejor corto entre todos los enviados y que este año cuenta con el
proyecto del realizador español Sergi Portabella como uno de los cinco finalistas.
Portabella llega a Berlín con "The Astronaut on the Roof", una comedia de doce
minutos basada en el "sin sentido" que trata sobre dos guionistas que intentan
inventarse una historia para crear una película.
Otro de los platos fuertes del Talent Campus es la intervención de profesionales ya
consagrados, que imparten conferencias sobre temas concretos de la actualidad
cinematográfica, entre los que destaca la presencia de la directora española Isabel
Coixet.
El Talent Campus es un Festival que se ha extendido también por otras ciudades
del mundo, como Sarajevo, Delhi o Buenos Aires. EFE
xac-pb/rz/ibr
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Agencia EFE
14.02.2010
Coixet cree que la Berlinale es el festival de cine más auténtico que

existe
Ximo Albors
Berlín, 14 feb (EFE).- La directora española Isabel Coixet ha afirmado hoy que la
Berlinale es el festival de cine "más auténtico y real que existe, donde la gente sale
con ganas de hacer películas" y ha añadido que, en los pocos días que lleva por
Berlín, varios productores le han ofrecido, "ya, cuatro cintas para dirigir".
Coixet ha concedido una entrevista a EFE después de su participación en el Talent
Campus, un apartado de la Berlinale en el que unos 350 jóvenes de todo el mundo,
interesados por el cine, tienen encuentros con productores y directores
internacionales.
Para la directora, lo más importante a la hora de hacer cine es "no dejarse llevar,
sobre todo al principio, por la amargura de pensar que otros triunfan y yo no".
Según aconseja a los nuevos jóvenes creadores, "toda la energía que se pierde con
ese tipo de pensamientos negativos no sirve para nada. Lo importante es hacer la
película".
En ese sentido, la directora catalana recuerda cómo ella misma cayó en ese error y
se mantuvo, después de su primera película, "Cosas que nunca te dije" en 1995,
ocho años sin hacer nada en cine.
En la Berlinale, Coixet se siente como "en casa", pues este fue el festival que le dio
a conocer hace 18 años y al que ha vuelto, contando con esta vez, en otras cinco
ocasiones, algunas de ellas para competir en la sección oficial con "Mi vida sin mí"
(2003) o "Elegy" (2008) y otras como jurado, como en la edición anterior.
La Berlinale es un festival "puro, donde te vas con ganas de hacer cine", al
contrario de lo que pasa en otras alfombras rojas "donde todo se basa en el
glamour, y a veces en un glamour artificial".
Durante estos días, Berlín "se llena de personas interesadas en el mundo del cine y
se habla de cine de verdad", afirma la directora, para apuntar que, en las pocas
horas que lleva en la capital alemana, ya le "han ofrecido dirigir hasta cuatro
películas de nacionalidades distintas".
La realizadora catalana, que se considera "tímida e intimista", señala que no tiene
mitos en el mundo del celuloide y que lo importante es "saber que existen muchas
maneras de poder contar lo que se quiere".
"Para contar una historia, uno tiene que trabajar, encontrar su voz y su propio
punto de vista", afirma, para añadir que, a ello, ayuda mucho el ser "humilde y
tener un punto de inocencia, así como ver buenas películas y escuchar buena
música".
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Coixet cree que en la tarea del creador "no todo tienen que ser cintas largas o
producciones para la gran pantalla" y manifiesta que "en un corto de tres minutos o
incluso con una secuencia de fotos se puede contar una interesante historia".
La realizadora emplaza así a los cineastas y nuevos creadores a abrir la mente y
observar "la situación de interconexión existente entre las diferentes maneras de
hacer cine y de contar historias".
Interesada por experimentar nuevas opciones, actualmente prepara una grabación
para el festival de cortos de internet Notodofilm, para lo que hace uso de una
"Harinezumi", una mini cámara de 9 centímetros y 50 gramos de peso, con la que
también realizará un proyecto para el New Museum of Contemporany Art de Nueva
York.
Sobre sus películas, Coixet considera que son como "sus hijos" y por tanto "cuesta
cuando una productora quiere cambiarte partes del guión o a algún personaje", al
tiempo que cree que, de las discusiones "entre los egos de las personas que se
dedican al cine, siempre sale algo positivo".
A sus 49 años, la creadora española trabaja ahora en la escritura del guión del que
será su próximo proyecto para cine, una película con la productora Mediapro sobre
la vida de un personaje real y que acontece en los años 40. EFE
xac/rz/ibr
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‫‪Aljazeera.net‬‬
‫‪16.02.2010‬‬
‫نيلرب ناجرم تالافتحا يف كراشي اكيبيارت ةحودلا‬
‫ةمركملا ةكم ‪ 2010 13:18‬رياربف ‪ 16‬ءاثالثلا ‪ :‬ثيدحت رخ‬
‫ا‪ :َ +ّ/‬ا‪8‬ه‪!7‬م وا"‪56‬ر ا"و"( "!‪3.4‬ن ا"و‪./ 0‬ا‪ ,-‬ا"‪ &'" ()!*+‬إ"‪ $‬أ"! ها اع ل رآ د‬
‫يئامنيسلا اكيبيارت ةحودلا ناجر‪B‬م يذيفنت رابك نم ةعومجم عم يرطقلا بابشلا نم‬
‫ةيونسلا ىركذلاب يفتحت يتلا "يلانيلريب" ةيخيراتلا ةيئامنيسلا ةيلافتحالاب‬
‫‪.‬يلودلا يئامنيسلا نيلرب ناجر‪B‬م سيسأت ىلع نيتسلا‬
‫نم تاكراشمب زيمتي يذلا ‪" Shutter Island،‬بعرلا ةريزج نجس"وا ‪ ًOP‬ا"‪.M‬ض اول "‪ IJKJ‬ا"‪-H‬‬
‫‪ 8‬إ"‪ $‬ةحودلا ناجر‪B‬م يمعاد زربأ نم نينثا‬ ‫‪./‬ا‪ ,-‬ا"‪ ()!*+‬آ& ر‪., /‬زي و‪ U‬آ*‪ ،(J+T‬و‪ً S‬‬
‫ةيلافتحا م‪B‬استس ‪،‬ملاعلا يف امنيسلا ةعانص ةبخن عم يعامتجالا لصاوتلل ةديرفلا صرفلا‬
‫ماع لكشب رطقو اكيبيارت ةحودلا ناجر‪B‬م ةناكم خيسرت يف ةيئامنيسلا "يلانيلريب"‬
‫‪.‬ةيلودلا امنيسلا ةعانص عاطق نمض نييساسأ نيبعالك‬
‫ةيئامنيسلا "يلانيلريب" ةيلافتحا يف كراشملا اكيبيارت ةحودلا ناجر‪B‬م قيرفل مضنيسو‬

‫لوصحلل حشرملا ‪،‬يطبق ردنكسا جرخملاو ناجر‪B‬ملل ةيذيفنتلا ةريدملا ‪،‬رملاب ادنامأ ةدايقب‬
‫‪،‬يراوكلا ةديمحو ؛ةدحاولا ةقيقدلا مالفأ جرخم ‪،‬يناث ل‪ W‬لصيف نم لك ‪،‬راكسوألا ةزئاج ىلع‬
‫‪.‬ةدعاسملا ةجرخملا‬
‫ةحودلا ناجر‪B‬مل ةيذيفنتلا ةريدملا ‪،‬رملاب ادنامأ تلاق ‪،‬عوضوملا ىلع ا‪B‬قيلعت ضرعم يفو‬
‫‪ ً0 8‬أ‪ &5Y‬ا"!!رت " ‪:‬يئامنيسلا اكيبيارت‬ ‫‪3.4 &,ُ-‬ن ‪ ".U‬ا"‪ ()!*+‬ا"و"( ‪ [7* (Y‬ا"‪ً Z 7+‬‬
‫نيدعاولاو بابشلا نم امنيسلا عانص عيجشتو ثح ا"و" ‪ *S (Y‬ا"‪ ،!*+‬ا‪7U‬ا ًء !‪ [J‬ا"ءوب ‪$J‬‬
‫‪.‬ةد‪ 3-‬ة‪ 8`K" !-‬زر‪.^ _M^ `U‬ع ى] ًا"‪ Berlinale Talent Campus، S‬ب‪B‬اوملا جمانرب ربع‬
‫و‪ ً"0 e,M-‬آ& ‪ &'Y‬و‪!0‬ة و‪.K (OU‬اء ‪3.4‬ن ا"و‪./ 0‬ا‪ cMU Id*/ $J ,-‬ا"!‪Ub‬ت ا"!!‪a‬ة إ"‪_ 3 $‬‬
‫يمنت نأ ا‪B‬نأش نم يتلا تايلاعفلاو ةطشنألا نم ا‪B‬ريغو لمعلا شروو ضورعلا يف ةكراشملا‬
‫اكيبيارت ةحودلا ناجر‪B‬م ةرود تايلاعف جوتت ةزيمم لامعأب جورخلل م‪B‬لمع قافأ عسوتو م‪B‬ب‪B‬اوم‬
‫‪ 2010".‬ماعل يئامنيسلا‬
‫=‬
‫=‬
‫اكيبيارت ةحوو‪.0‬ص آ& ‪W &'Y‬ل ‪ ( h‬و‪!0‬ة ا"‪,‬اري ‪ $J‬إ‪g‬ع ُق و‪ (M77‬أر ‪3.4‬ن ا"‬
‫ةكبش ىلع ةصاخلا م‪B‬تاقيلعتو م‪B‬تاكراشم لالخ نم نيلرب يف م‪B‬تكراشم لوح يئامنيسلا‬
‫"رتيوت"و "كوبسيف" لثم ةفلتخملا يعامتجالا لصاوتلا عقاومو تانودملا ربع تنرتنإلا‬
‫قيرف تالخادم نيريثكلا رظتني ذإ ‪،‬ةيلودلا ةيئامنيسلا ةيلافتحالا ‪B‬ذ‪ B‬لوح م‪B‬تاعابطنا سكعو‬
‫دو‪./ 0‬ا‪ ,-‬ا"‪ ()!*+‬ورآ‪ cM" I4/‬أ‪ &!3‬ا"'ر وا"‪bJM7‬ت ‪0‬ل ه‪ B‬ا"‪d7‬ه‪.‬ة ا"‪ )!*+‬وا"‪ *K‬ا"و" ‪ .‬لا‬
‫‪.‬ورًا ‪P`U‬رة ‪" !S‬رجيوليز ‪B‬ينير" ا‪ :O‬ا"‪7‬ا‪ &S‬ا‪ ،(!738‬ا ‪S ًOP‬ر ا"!ه‪ &Z .‬ا"*‪!H‬‬
‫تاناجر‪B‬م مخضأو زربأ دحأ تابيترتو سيلاوك ى] ًا"‪"، S‬ناخوراش" دويلوب ةيدن‪B‬لا امنيسلا‬
‫‪.‬ةيملاعلا امنيسلا‬
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B26.info
22.02.2010
Premio para el talento colombiano!

En una sala concurrida del teatro Hebbel am Ufer se llevó a cabo la ceremonia de
premiación de la la octava edición de la Berlinale Talent Campus en la que el
colombiano Camilo Sanabria arrasó con el primer premio.
Durante seis días 350 jóvenes cineastas de 95

países tuvieron la oportunidad de compartir
experiencias y trabajar en equipo con los grandes
del cine en aras de aprender lo que los llevará a dar
lo mejor de sí en la profesión. En más de 100
eventos entre los que se cuentan mesas redondas,
sesiones de capacitación y talleres; 150 expertos
internacionales de todas las facetas del séptimo
arte invitados por la Berlinale, se dieron a la tarea
de discutir con ellos el tema “el cine necesita
talento, busca la gente adecuada”.
Camilo Sanabria El talento no se desarrolla solo, es un trabajo de

equipo, fue la máxima a la que llegaron los
Foto: David Ausserhofer © Berlinale
2010 cineastas veteranos. “El cine funciona sólo en un
equipo y para tener éxito, es necesario la apertura,
la generosidad y el respeto por los demás", aseguró el productor islandés Mike Medavoy en
el panel de apertura. El actor, director y productor Gael García Bernal afirmó: " El apoyo
de otros cineastas, es el más importante para tu propio cine. Ellos te ayudan a decir, lo
que tu quieres decir.”
La directora Claire Denis (Chocolat), el diseñador de producción de James Bond Sir Ken
Adam, el director de fotografía Christian Berger (The White Ribbon), así como los
directores Stephen Frears (The Queen), Jasmila Zabanic (En el Camino) y Yoji Yamada
(Otouto, película de clausura de la Berlinale), y muchos más, compartieron su amplia
experiencia con la próxima generación del cine. Los jóvenes directores de México,
Colombia, África y Europa presentaron sus películas en las que transmitieron un punto de
vista político y una imagen impresionante de sus países y sociedades. Temas de actualidad
como narración digital, financiación, distribución y 3D fueron foco en los eventos
realizados diariamente.
En una ceremonia deslumbrante se entregaron los premios Score Competition. El primer

premio se lo ganó el colombiano Camilo Sanabria. La puntuación dada por los miembros del
jurado, Klaus-Peter Beyer, Prof. Martin Steyer, Todsharow Martín, Connie Walther y el
mentor de Score competition de este año Alexandre Desplat (Fantastic Mr. Fox, The
Ghost Writer) fue la superior. “Es un trabajo con imaginación estructurada, que revela en
detalle su propia personalidad”, fue la alabanza del jurado. Sanabria se hace merecedor a
un viaje de una semana a los estudios de sonido en Los Ángeles otorgado por Dolby.
Claudia Zea-Schmidt
© 2010 B26 Verlag KG, Berlin
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China.com
16.02.2010
《约拿和乡愁》剧照
新浪娱乐讯北京时间2月16日消息，据国外
媒体报道，正在进行的第60届柏林电影节的“天才训练营”(Berlinale Talent
Campus)开幕式及“柏林今日”(Berlin Today Award)奖颁奖典礼日前分别在柏林Hebbel am
Ufer剧场举行，浪漫科幻片《约拿和乡愁》摘得该奖项。将持续至2月18日的天才训练营单元中，将有
约150名世界级知名导演参加。
“天才训练营”
天才训练营”单元开幕优秀电影人济济一堂
柏林电影节总监，德国电影人迪埃特-克斯里克(Dieter Kosslick)与天才训练营的负责人马蒂斯-

诺尔(Matthijs Wouter Knol)与克里斯汀-特洛斯洛姆(Christine Trostrum)、导演伊莎贝尔-柯赛特(Isabel
Coixet)以及法国电影作曲家亚历山大-戴斯普拉(Alexander
Desplat)于柏林当地时间2月13日(周六)晚在Hebbel am
Ufer剧场为2010年柏林电影节的“天才训练营”单元开幕。天才训练营将持续到2月18日，在这几天的活
动中，将有来自95个国家和地区的350名电影人才参与，他们将在Hebbel am
Ufer剧场与知名国际级电影专家欢聚一堂。天才训练营的主要活动形式包括工作坊、高级讲习班和专题
讨论组以及围绕今年训练营的座右铭“电影需要天才——
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寻找最合适的人”有关的话题进行讨论并交换观点、分享经历。对于参加天才训练营单元开幕式的
近600名宾客来说，开幕式的高潮部分是获得“柏林今日”奖提名的五部短片的全球首映。
将进行至2月18日的天才训练营单元中，将
会有大约150名国际知名导演和柏林电影节的嘉宾参与到为期六天的研习活动中，其中包括导演史蒂芬
-弗里尔斯(Stephen Frears)、曾获两座奥斯卡小金人的美工设计师、建筑师肯-亚当(Ken
Adam)爵士、同获奥斯卡提名的电影作曲家亚历山大-戴斯普拉和摄影师克里斯蒂安-伯格(Christian
Berger)、导演克莱尔-丹尼斯(Claire
Denis)、导演山田洋次(他执导的影片《关于她的哥哥》是本届柏林电影节的闭幕影片)等。
浪漫科幻片获“
浪漫科幻片获“柏林今日”
柏林今日”奖
随后，“柏林今日”奖在当地时间2月14晚揭晓，澳大利亚导演布林-切恩尼(Bryn
Chainey)凭影片《约拿和乡愁》(Jonah and the Vicarious Nature of
Homesickness)摘得第七座“柏林今日”的奖杯。这部浪漫科幻影片讲述了约拿离开家人、在一个人造飞
船里被发射升空的故事。评委会表示他们为该
片卓越的创造力所震撼，并且非常好奇这位极具天分的导演接下来会为大家带来怎样的作品。这部影
片将在2月21号下午四点进行公开放映。
在本届电影节临近尾声时，将会公布下届电影节“柏林今日”奖的提名影片。下届的主题为“You are
Leaving the Familiar Sector”，五部提名电影将会是与五家不同的电影制作公司合作的作品。
(Carol)
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Cinencuentro.com
19.01.2010
Peruanos en la Berlinale 2010

Este año un nuevo grupo de talentos peruanos estarán presentes en el Festival de
Berlin 2010.
Por un lado se encuentran los tres participantes en

el, siempre ansiado por estos lares, Talent Campus.
Uno de ellos será el joven director Brian Jacobs,
quien hace unos meses obtuvo uno de los premios
en el Concurso de cortometrajes convocado por
Conacine, con su corto Animales domésticos (ver el
trailer).
Por su parte la realizadora Tilsa Amanda Gonzales

tiene en su haber cuatro trabajos en cortometraje
documental, entre ellos Los niños del terremoto,
una mirada a los niños que sobreviven en Pisco, a
más de dos años del terremoto. Además, viene
trabajando en el largo documental La Cantuta en la
boca del diablo.
El trío de peruanos se completa con Enid “Pinky”

Campos, quien ostenta una de las carreras más destacadas dentro de la producción
cinematográfica peruana reciente. Entre las películas en las que ha intervenido se
encuentran Paloma de papel, Días de Santiago, Dioses, El acuarelista, y los
cortometrajes El diente de oro y Taxista.
Finalmente hay que destacar la programación del corto El segundo amanecer de la

ceguera, rodado en Madrid por el peruano Mauricio Franco Tosso, el cual ha sido
elegido como único representante del cine realizado en español, dentro de la
sección Shorts del festival. Esta sección presentará 25 filmes de 15 países.
El segundo amanecer de la ceguera está protagonizado por la los cubanos Orisel

Gaspar y Abel Fowler. Rodado en Madrid en formato HD, el corto aborda la
monotonía que consume la vida de muchas parejas de amantes. Entre otros
trabajos de Franco Tosso destaca el corto Barrunto, inspirado en el cuento de Juan
José Sandoval.
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Cineuropa.org
18.02.2010
Formazione – Europa
Diario dal Berlinale Talent Campus - Giorno 2
Berlino,16/02/2010 - Oggi la giornata al Berlinale Talent

Campus è iniziata alle 11 con l'incontro "The secret life of
sound": il regista inglese Peter Strickland (Katalin Varga
[trailer, film focus] Orso d'argento nel 2009) e il sound
designer tedesco Stefan Busch (Profumo - Storia di un
assassino [trailer]) ci hanno parlato della loro passione per il
disegno del suono e delle trascurate potenzialità del suono in quanto strumento
narrativo ed espressivo autonomo rispetto all'immagine.
(L'articolo continua qui sotto - Inf. pubblicitaria)
Troppo spesso il suono è meramente funzionale, ricalca o amplifica messaggi già
estrinsecati a livello visivo. Ma Strickland e Busch, entrambi grandi ammiratori dei
rumori industriali di Eraserhead e in generale del lavoro sul suono di David Lynch,
sono per la forzatura, lo straniamento, per un dialogo non necessariamente
pacifico e coerente tra audio e immagine (vedi il pervasivo ed inquietante suono
meccanico sovrapposto ai fruscii e rumori "naturali" in una scena di corsa in un
campo in Katalin Varga); ma sono anche per una ricerca costante di nuove
"epifanie sonore", di foley registrati e creati ad hoc per ogni film, per ogni scena:
"Sembra che in tutti i film ci sia sempre lo stesso cane" scherza Busch, un po'
indignato; e a ragione, visto il lavoro fatto per Profumo, dove praticamente ogni
singolo suono è stato messo in risalto tramite un assiduo lavoro di ricerca e
invenzione.
Alle 14 ci siamo spostati al teatro della HAU 1 per un incontro con Christian
Berger, l'eccezionale direttore della fotografia famoso in particolare per la sua
collaborazione con Michael Haneke. Il simpaticissimo Berger ci ha accompagnati in
un viaggio cronologico attraverso gli episodi principali della sua carriera,
soffermandosi sul discorso estetico soggiacente alla fotografia di ogni film (dalle
riprese in HD di Caché [trailer, film focus] al raffinatissimo bianco e nero de Il
nastro bianco [trailer, film focus]), raccontandoci l'evoluzione del rapporto con
Haneke fino alla totale sintonia raggiunta (pare che sul set per i due non sia
necessario neanche rivolgersi la parola) e confrontando le diversissime modalità di
lavoro da un regista all’altro, Haneke e Gitai in particolare…il tutto arricchito da
pettegolezzi e aneddoti salienti (Isabelle Huppert sul set de La pianista ne ha
combinate delle belle!).
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Cineuropa
25.02.2010
Berlinale Talent Campus Diary: Day 3

Berlin 17/02/2010. Today at the Berlinale Talent Campus, between a discussion with
legendary Japanese director Yoji Yamada and the psychedelic video performance of
Iceland artist Ásdís Sif Gunnarsdóttir, we managed to sneak into a rather private event:
Call it Fiction, the presentation of the Talent Campus’ script station.
At a round table, 12 young screenwriters (selected among the talent meant to take
advantage of an assistance and mentoring programme), introduced by tutors, presented
their projects and spoke of the process of writing, editing and revising their work during
the Campus.
Sitting in a corner, out of the cold Berlin winter, we let ourselves be transported to the
most diverse narrative universes and locations: from Israel to the seafront of Marseilles,
from post-war Bosnia to a small Baltic island.
The stories (some still in the embryonic stage, others almost ready for the screen) included
an on-the-road, difficult relationship between a vampire and gypsy woman; the
psychological journey of an actor trying to liberate himself from his oppressive father; a
pop star’s trajectory from dissatisfied and decadent gigolo to a happy and responsible
protector of a community of only women; the difficult choice of a Pakistani girl in the US
struggling with her terrorist brother…and many more. The stories are all different from one
another, but are very clearly share the topos of the journey/sense of loss as a pivotal
moment in a character’s psychological arc.
While the most significant aspect of the event was without a doubt the open sharing of
approaches, the spirit of a collective work in progress, we admit to having been seduced
above all by the narrations and to have awaited anxiously the beginning of a new story.
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Dohatribecafilm.com
15.02.2010
Berlinale Blog: The Berlinale Talent Campus
Berlin has Film Fever. The noise and fury of film deals, premieres and networking is
a sight to behold!
I've been to lots of film festivals around the world, but I never get used to their
hectic pace and nonstop activity. You don't need to drink coffee here; you can just
drink the adrenaline straight out of the air.
As I'm closely involved in creating the DTFF Film Education Programme this year,
my main interest at Berlinale is the Talent Campus. It's one of the best film training
forums in the world, with 350 carefully selected talents from 95 countries taking
part. From February 14th - 18th they come together in Berlin for an intensive 6 day
series of workshops covering every aspect of the film industry.
Today and tomorrow we'll be chasing 8 Arab Filmmakers to ask them about their
Talent Campus experiences. Pinning them down for an interview is easier said than
done: they work in to the night with leading experts from the industry and barely
have time to eat or sleep. Catching them between workshops long enough to stop
and talk is tricky, but we've managed to track down 5 out of the 8 Arab filmmakers.
We'll be heading over to the Talent Campus shortly. But first, we're shooting an
interview with Japanese director Sabu (no second names darling, I'm an artist!)
whose Manga cartoon-inspired Kanikôsen has been wowing audiences here in Berlin.
As I type, he's 3 minutes away, better go! More from me tomorrow after I've
investigated the Berlinale Talent Campus and met the filmmakers of the future.
Ben Robinson - Education Programmer

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Cineuropa
23.02.2010
Berlinale Talent Campus Diary: Day 1

From today, we will be publishing the diary written for four days by our correspondent
Myriam Raccah. New ways of making movies are appearing in the European panorama,
which involve audience participation, the web and other media platforms.
Berlin 15/02/2010 – Our Berlinale Talent Campus (EFEA) has begun with The indie
filmmakers' guide to cross media I, the first in a series of discussions on alternate ways of
creating, producing and distributing films within the new media.
Today they spoke of how a narrator’s possibilities have been revolutionised by mass media
distribution and the increasingly more active role of users, no longer traditional spectators
but true co-creators of the cultural products consumed.
Three guests spoke about their projects. Lance Weiler discussed his upcoming film Him
(Arte France Cinema Award at Rotterdam’s Cinemart), a seemingly run-of-the-mill sci-
fi/horror film that, however, besides being traditionally released in cinemas, will be
“created organically” through overlapping narrative worlds on several media platforms (a
series of downloadable episodes, a game, "micro-narrations" for cell phones, a way for
users to intervene directly in the story and so forth).
Alexandre Brachet’s new project Prison Valley (scheduled for a 2010 release) is a
"webdocumentary" on the prison business in Colorado, which blends filmic vision and
interactive interfaces in a new viewing experience. On the film’s website, after an
introductory trailer of several minutes, users are asked to register. Then they are
catapulted into a virtual reconstruction of the places shown in the documentary where,
using a mouse and other medial tools, they can access sequences from the film, listen to
its soundtrack and look at photographs. As well as discuss live or almost live with the film’s
subjects or watch other films on the its themes.
Last, but not least, is the 2008 Emmy award-winning co-production between Swedish
broadcaster SVT and The Company P, The Truth About Marika. Martin Ericsson spoke to
us about the brilliant "media conspiracy" that shook all of Sweden. In conjunction with a TV
show on the disappearance of a girl with ties to a mysterious cult, the filmmakers
"penetrated" the doubt that it was a true story. Through weekly TV debates, blogs,
appeals, symbols in public spaces and so forth, the craze over the search for the girl
spread throughout the entire country, leading audiences to interact with the media
content and simultaneously transform it into – joke of all jokes - a kind of cult.
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Cineyteatro.es
03.11.2009
Stephen Daldry y Alexandre Desplat en el Talent Campus de la Berlinale 2010

Los más jóvenes creadores internacionales encontrarán su voz en este entorno
El director de cine y teatro británico

Stephen Daldry y el compositor francés
Alexandre Desplat tomarán parte en el
Talent Campus a celebrar del 13 al 18 de
febrero en el Theater Hebbel am Ufer
berlinés como parte de los eventos de la 60
edición del Festival Internacional de Cine de
Berlín. Los más jóvenes creadores
internacionales encuentran su voz en este
entorno y la edición de 2010 promete
romper récords.
Hasta el momento, se han registrado 4.773

solicitudes de 145 países, casi 1.000 más que
este año. Nuevas naciones se suman tales
como Burundi, Guinea, Montenegro y Santa
Lucía. Han sido invitados 350 cineastas a un
evento de seis días, durante los cuales se
examinan los diversos aspectos de los campos
de sus acitividades creativas y desarrollan las
ideas de creación cinematográfica
comunitaria. No en vano, el lema del Campus
reza "El cine necesita talento: en busca de la gente adecuada".
Cinco cortos creados bajo el lema "Straight To Cinema" con el apoyo de

Medienboard Berlin-Brandenburg competirán por el Berlin Today Award Circle. El
ganador lo será a juicio de cinco jurados, liderados por el director británico
Stephen Daldry, creador de "Billy Elliott, quiero bailar", "Las horas" y "El lector". El
premio se entregará el 14 de febrero durante el llamado "Dine&Shine Talent
Rendezvous".
El compositor francés ganador de un Globo de Oro Alexandre Desplat ha sido

nombrado mentor de la competición de bandas sonoras. Nacido en 1961 en París,
es actualmente uno de los músicos más solicitados desde que en 2004 se diera a
conocer internacionalmente por la banda sonora de "La joven de la perla", la
película inspirada por un retrato del pintor holandés Vermeer y a la mayor gloria de
la entonces prometedora Scarlett Johansson. Desde entonces, ha sido premiado por
sus creaciones para "Syriana", "La reina" y "El curioso caso de Benjamin Button",
entre otros.
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Cineyteatro.es
03.07.2009
El director Sergi Portabella se dirige hacia la Berlinale

2010 en su 60 edición
Comienza a rodar el corto "The Astronaut On The Roof"
("El astronauta en el tejado") con el que concursará en
la "Berlinale Talent Campus"
El próximo 7 de julio comienza en Berlín el rodaje de

"The Astronaut On The Roof" ("El astronauta en el
tejado") dirigido por Sergi Portabella, quien
concursará con este cortometraje en la competición
"Berlinale Talent Campus", correspondiente a la
edición a celebrar en febrero de 2.010. Al igual que
Portabella, 250 jóvenes cineastas procedentes de 65
países enviaron proyectos a esta sección, que se
celebrará bajo el lema "Straight to Cinema" ("Directo
al cine").
"El astronauta en el tejado" parte como una hilarante

comedia dentro de ese subgénero conocido como "cine
dentro del cine". En el corto de Portabella, asistiremos a las tribulaciones de dos guionistas
por desarrollar un guión, para finalizar vergonzosamente imitando las películas de sus
directores más admirados.
El cortometraje se produce desde la compañía Penrose Film se rodará hasta el 12 de julio

en Berlín, tanto en la Funkhaus como en una localización en Köpenick. H dicho Portabella:
"La experiencia d rodar en Berlín con una productora alemana y el conocer a todo el
equipo que me acompaña es extraordinariamente excitante. No sólo estoy aprendiendo
cada día sino que me divierto mucho. Yestoy completamente convencido de que vamos a
hacer una muy buena película".
El 16 de julio dará también su primer golpe de claqueta Bryn Chainey conJonah and the
Vicarious Nature of Homesickness", romance y ciencia ficción en la que el joven Jonás
abandona su familia para deslizarse a través del espacio exterior. Produce Anna Wendt
Filmproduktion. Dos días después, el 18 de julio y en Dublín, dará comienzo el rodaje de
"Hum", de Rebecca Daly, que será distribuido por Lichtblick Media.
El 1 de agosto comenzará el rodaje de la tercera producción, esta vez a cargo del

colombiano Juan Díaz B. y "By Night". La romántica historia de Martín y Camila y el
maravilloso universo paralelo que crean para vivir sus vidas será producido por Knudsen
und Streuber Filmproduktion.
Con las ayudas financieras de Medienboard berlin-Brandenburg, estod cortos serán

mostrados al público antes de final de año en salas. De entre todos los rodados, los cinco
finalistas serán estrenados durante la próxima Berlinle 2010, en la Brlianle Talent Campus,
que se desarrollará del 13 al 18 de febrero del año próximo. Un jurado del que se
desconocen todavía sus componentes elegirán el cortometraje premiado con el Berlin
Today Award.
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Sergi Portabella, nacido en 1980, ha sido cámara de "Teté Montoliú, una mirada" (2007), de
Pere Pons y de "Calvario" (2002), de Javier Asenjo. También ha sido director de fotografía
de "Mola ser malo" (2005), de Àlam Raja y con Fernando Ramallo. Y de "Diminutos del
calvario", una serie de doce cortometrajes.Y ha sido corresponsable del guión y director de
"Requiem" (2004).
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Cineytele.com
18.02.2010
NoticiasCine FESTIVALES, MERCADOS Y PREMIOS

Berlinale Talent Campus lanza un nuevo sitio web para los nuevos críticos de
cine
Berlinale Talent Campus ha anunciado el lanzamiento de un nuevo portal de
de Internet dedicado a los nuevos críticos de cine internacionales:
www.talentpress.org. Este nuevo portal está abierto a los jóvenes críticos de
cine que son o han sido participantes en el programa de talentos del
programa Berlinale Talent Campus.
Los críticos podrán publicar sus comentarios sobre

películas y festivales de cualquier parte del mundo
durante un año. 'Este sitio web ofrecerá un foro donde
jóvenes y talentosos periodistas internacionales
especializados en cine pueden publicar sus opiniones
independientes sobre los últimos descubrimientos del
cine internacional', han declarado los directores del
campus, Christine Tröstrum y Matthijs Wouter Knol.
El programa Talent Press es, desde 2004, uno de las oportunidades de formación
que ofrece este campus, asociado al Festival Internacional de Cine de Berlín. El
programa invita a ocho periodistas de cine en ciernes al certamen y les ofrece
una visión particularmente intensa del funcionamiento de un festival
internacional de cine.
Durante la semana de celebración del campus, son guiados por críticos de cine
con experiencia, como Dana Linssen, Stephanie Zacharek, Chris Fujiwara y Derek
Malcolm. Sus artículos y comentarios son publicados a través de la web
www.talentpress.org, de la web del Instituto Goethe (www.goethe.de) y de la
Fipresci (www.fipresci.org). Además, algunos de los artículos son seleccionados
para su publicación en la edición especial de la revista 'The Hollywood Reporter'.
El programa Talent Press ha tenido el suficiente éxito como para ser imitado
ahora por otra iniciativa similar, que tiene lugar en el Festival Internacional de
Cine de Guadalajara (Méjico). Por primera vez, el certamen acogerá un
programa de talentos entre los jóvenes periodistas iberoamericanos entre los
días 11 y 15 de marzo de 2010. Los trabajos que se produzcan en el certamen
mejicano también se podrán consultar en la página recientemente inaugurada.
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Dear Cinema
14.02.2010
Berlin Today Award to Bryn Chainey from Australia news
In the ongoing 60th Berlinale, the seventh Berlin

Today Award went to Bryn Chainey from Australia
for the film Jonah and the Vicarious Nature of
Homesickness. The romantic science fiction tells the
story of Jonah, who left his family and blasted-off in
a homemade spaceship. The Jury was impressed by
the "the truly creative inventiveness of this film”.
The award was presented to the short film

competition winner by Medienboard's managing
director Kirsten Niehuus together with the three
jury members Heike Makatsch, Stephen Daldry and
Peter Rommel. A public screening of the Berlin
Today Award short films will take place during the
Berlinale Kinotag. The Berlin Today Award is the
Talent Short Film Competition of the Berlinale
Talent Campus and is supported by the Medienboard Berlin-Brandenburg.
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Dear Cinema
09.02.2010
India at 60th Berlinale: Of Hope and Promise
By Nandita Dutta
All those attending the 60th edition of

the Berlin International Film Festival
from February 11-21 will get a good
deal of Indian Cinema this year. From
Culinary cinema to Forum Expanded,
Indian presence can be felt almost
everywhere. It is a major shift from
Berlinale 2009 when Indian presence in
the festival was marked by only a short
film Wagah by Supriyo Sen. Two days for
the festival to begin, Dearcinema gives
you an account of India at Berlinale this year:
The Generation 14plus competition of the Berlinale will open with Dev Benegal’s
Road, Movie. In this moving homage to the mobile cinema culture of India starring
Abhay Deol and Tanishtha Chatterjee, the director pays tribute to the place where
screen, light and audience come together in a magical event. Umesh Kulkarni’s
Vihir will also be screened under Generation 14plus section. Vihir is the story of
two adolescent boys who are cousins and best friends standing on the cross roads of
life. Generation is a special section for children and youth in Berlinale in which
extraordinary short and feature-length films are presented in two competitions,
Kplus and 14plus.
Laxmikant Shetgaonkar’s The Man Beyond the Bridge has made it to the
competition for the Best First Feature Film Award wherein Debut feature films
from various sections compete. The prize money consists of 50,000 Euros which is
distributed between the Director and the Producer.
Delhi based filmmaker Anusha Rizvi’s debut feature film “Peepli Live” will be
screened as a part of Berlinale ‘Special’ in the 60th edition of the festival. The
Berlinale Special is part of the festival’s official programme and presents recent
works by contemporary filmmakers and re-screens historical works.
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The Panorama section of the Berlinale will screen Kaushik Ganguly’s Just Another
Love Story, a film in which noted Bengali director Rituparno Ghosh plays a gay
filmmaker. Rituparno Ghosh’s character is called Abhiroop Sen in the film, who is a
documentary filmmaker from Delhi. He is in love with the DoP of the film. The film
tells the story of making of a documentary film on the celebrated Jatra actor
Chapal Chaduri, who plays himself in the film. Ritu also plays the role of young
Chapal Bhaduri.
Another milestone for Indian Cinema will be achieved with the screening of Shyam
Benegal’s Manthan based on the White Revolution in Gujarat in the 4th Culinary
Cinema. “In The Food For Love” is the motto of Culinary Cinema which will screen
eleven films revolving around the relationship between food and love, nature, and
the environment.
Karan Johar’s My Name is Khan starring Shahrukh Khan and Kajol will also be
screened ‘Out of Competition’ in the festival.
Apart from the screenings, “Cinema City”, an installation project initiated by

Indian filmmaker, curator and activist Madhusree Dutta will be on display in several
cinema foyers under ‘Forum Expanded’ at the 60th edition of the Berlinale this
year. It explores the questions about the relationship between urban space and
cinema. Forum Expanded is a programme that explores the intersections between
film and other arts.
That’s not all. 5 Indians are a part of Berlianle Talent Campus which is a six day
creative summit for upcoming film makers. Siddharth Mathawan ( Production
Designer/Art Director), Megha Lakhani Desai (Director), Sankhajit Biswas (Film
Editor), Thomas Jacob (Director) and Kartik Nair (Film Critic) will participate in
Berlinale Talent Campus which will be held from February 13-18.
As an action packed Berlinale marks the beginning of the year 2010, we hope Indian
Cinema goes places this year!
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Derstandard.at
03.11.2009
Stephen Daldry übernimmt Jury-Vorsitz
Der Regisseur ist Wettbewerbsteilnehmer der vergangenen Berlinale - Fünf Kurzfilme sind beim
Today Award im Rennen um den Preis
Berlin - Regisseur Stephen Daldry ("Der Vorleser") übernimmt bei der 60. Berlinale
den Juryvorsitz beim Berlin Today Award. Bei dem Preis des Talent-Campus gehen
fünf Kurzfilme ins Rennen, teilten die Internationalen Filmfestspiele Berlin (11. bis
21. Februar 2010) am Dienstag mit. Mit rund 4.800 Bewerbungen aus 145 Ländern
verzeichnete der Nachwuchs-Campus einen Rekord. 350 junge Filmschaffende
werden ausgewählt.
Der Talent-Campus im Theater Hebbel am Ufer mit Diskussionen, Workshops und

Filmvorführungen gilt als Sprungbrett für den Nachwuchs. Daldrys
Bestselleradaption "Der Vorleser" mit Kate Winslet und David Kross lief bei der
Berlinale 2009 im Wettbewerb. (APA)
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Diariodigital.sapo.pt
24.02.2010
Berlinale: Portugueses perdem ingenuidade no Talent Campus
Os portugueses selecionados para o Berlinale Talent Campus enalteceram a

experiência de aprendizagem com numerosos consagrados do mundo do
cinema, à margem do Festival de Berlim, mas ficaram a saber que a Sétima Arte
é sobretudo uma indústria.
«Perdi todas a ingenuidade aqui, acho que o cinema é a sétima indústria, e

também pode ser uma arte, mas não o contrário», disse à Lusa Miguel Clara
Vasconcelos, interpretando o sentir geral.
Para o Talent Campus 2010 foram selecionados este ano cinco portugueses, entre
perto de cinco mil candidatos de todo o mundo.
Diário Digital / Lusa

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‫‪Dohatribecafilm.com‬‬
‫‪16.02.2010‬‬
‫نيلرب يف تاشرو‬
‫اندراوم ‪ ,‬ةعطاقتم انتريسم ‪,‬ة باشتم انمالحا‬

‫‪.‬ةدحاو انتغلو ‪,‬ةكباشتم‬
‫برعلا نيبو وملا نع ثحبلل ينعفد ام اذ ‬

‫ةرابع و و "سوبماك تنيلات " يف نيكراشملا‬
‫ةلود ‪ ٩٥‬نم بابشلا تائم عمجت ةيلك نع‬
‫م نم دحاو لك ‪,‬ةدارالاو ةب وملا م طبرت ةفلتخم‬
‫"!درًا لعجتل ةفرعملاو ةربخلا باستكإل ىعسي‬
‫‪.‬ةيعادبالاو ةينفلا تامصب كرت ىلع‬
‫م رايد اوكرت نيذلا بابشلا نم تارشعلا كلان ف‬

‫لمع تاشرو يف ةكراشملل نيلرب اورضحو‬
‫‪.‬فد لا قيقحتو ةركفلا ةرولبل جاتنالاو امنيسلا ءاربخ ءاقلو ةيئامنيس‬
‫ناتسكاب سرادم يف يمالسالا نيدلا ميلعت لوح يقئاثو مليف جارخا ىلع لمعي ‪،‬يبد نم ‪,‬يداف‬
‫‪.‬برغلا يعدي امك "نييبا رالا " ءاشنا ىلع ريثأت يا ميلعتلا ةقيرطل ل و‬
‫يف يلاعلا ميلعتلا ةعباتم نيب ام طبختي ‪ ٢٣ !ً*!+‬رمعلا نم غلابلاو ينانبللا باشلا ‪,‬كرام‬
‫ةعباتم ىلا ةعفديس تيم او لاجملا اذ يف " فافختسالا " نا ما ‪,‬نانبل نطو يف امنيسلا لاجم‬
‫‪.‬ةدحتملا تايالولا يف ميلعت‬
‫تاشرو يف ةكراشملل عوبسا ةدمل لمع كرتي نا ررق ندنل يف شيعي يذلاو ينيطسلفلا لساب‬
‫‪.‬فقاوملاو ءار‪,‬لا رييغت ىلع ةردقلا حنمتس يتلا ي ف ‪,‬ةيموجنلا ىلا لوصولاب ملحي ‪,‬امنيسلا‬
‫يذلا لئا لا رداكلا اذ نم طيسب ءزج م ىفطصمو ناميا ‪,‬دمحا ‪,‬مساق ‪,‬ايدان ‪,‬ايلاد ‪,‬لساب ‪,‬كرام ‪ ,‬يداف‬
‫‪.‬عادبالاو مالحالاب قفخي‬
‫م عيراشم يف صوغلاو برعلا بابشلا نم ديزملا ةلباقم ديرا ‪..‬تاءاقللا ذ نم دعب وترا مل‬
‫تاودالا حنمو ب اوملا ءاشنا ىلا فد ت يتلاو ةحودلا يف انتاشرو يف نيكراشمللو مكل ا لقنأل‬
‫لام‪,‬لا نم ريثكلا سكعت تاءاقللا ذ نا ةقثاو اناو ‪ ..‬يئامنيسلا راوشملا ةعباتمل ةمزاللا‬
‫‪.‬رابتعإلا نيعب ا ذخأن نا انيلعو تافوختلاو‬
‫"ميكح لأست الو برجم لأسإ" ‪:‬لثملا لوق ىلعف‬
‫‪.‬تنرتنإلا ىلع انعقوم اوعبات نيبو وملا عيمج عم تاءاقللا ةد اشمل‬

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Dohatribecafilm.com
15.02.2010
Berlinale Blog: The Berlinale Talent Campus
Berlin has Film Fever. The noise and fury of film

deals, premieres and networking is a sight to
behold!
I've been to lots of film festivals around the world,

but I never get used to their hectic pace and nonstop activity. You don't need to
drink coffee here; you can just drink the adrenaline straight out of the air.
As I'm closely involved in creating the DTFF Film Education Programme this year,
my main interest at Berlinale is the Talent Campus. It's one of the best film training
forums in the world, with 350 carefully selected talents from 95 countries taking
part. From February 14th - 18th they come together in Berlin for an intensive 6 day
series of workshops covering every aspect of the film industry.
Today and tomorrow we'll be chasing 8 Arab Filmmakers to ask them about their
Talent Campus experiences. Pinning them down for an interview is easier said than
done: they work in to the night with leading experts from the industry and barely
have time to eat or sleep. Catching them between workshops long enough to stop
and talk is tricky, but we've managed to track down 5 out of the 8 Arab filmmakers.
We'll be heading over to the Talent Campus shortly. But first, we're shooting an
interview with Japanese director Sabu (no second names darling, I'm an artist!)
whose Manga cartoon-inspired Kanikôsen has been wowing audiences here in Berlin.
As I type, he's 3 minutes away, better go! More from me tomorrow after I've
investigated the Berlinale Talent Campus and met the filmmakers of the future.
Ben Robinson - Education Programmer

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DW-world.de
22.02.2010
Best of Berlinale Talent campus # 8

Six intensive days of cross-cultural exchange through every discipline of
filmmaking. What a week. We got to know the secrets of famous filmmakers like
british filmmaker Stephen Daldry (three-time oscar nominee THE READER, THE
HOURS, BILLY ELLIOT), we were listening to the mindsparkling stories of Academy
Award nominated film director Stephen Frears. We met bosnian screenwriter, artist
and director Jasmila Zbanic, german legendary Fassbender actress Hanna Schygulla
and so on. I could keep counting for ages...We really enjoyed this week and we are
sad to say good-bye. Join us with this years highlights of the Berlinale Talent
Campus #8!!!
Are You Ready for Your Close-up?

You're an actor. Or an actress. You know how to bring a character to life. But then
you arrive at a film set one fine morning for the first time. And suddenly, you are
kind of lost. There are so many technical details you have to keep in mind when
you play in front of a camera. "If we move the lights for only 5 inches", DOP Tom
Fährmann explained to the participants of the Close-up acting workshop, "you
might look five years older or younger." Certainly something you would not want -
looking older that is. Fährmann shared plenty of secrets with talents and gave them
crucial advise. So at this workshop actors were eager to pick up things they never
learned at drama school.
Shine & Dine

Delicious food, delightful company and one radiantly smiling director - that is Shine
& Dine. A dinner event where you might find yourself feasting on spicy seafood
next to directors such as Stephen Daldry or Tom Tykwer and actresses like Heike
Makatsch. Traditionally, the Dine & Shine also is the celebration ceremony for the
Berlin Today Award. Bryn Chainey for his short film JONAH AND THE VICARIOUS
NATURE OF HOMESICKNESS.
Claire Denis in the Limelight

Sixty one year old French director Claire Denis convinces the audience with her
honest and charismatic appearance. Films such as "Chocolat", "Nénette et Boni" and
"Beau travail" made her one of France's most important directors of all times. In
the limelight session she talks openly about her cooperation with cinematographer
Agnès Godard and script writer Jean-Pol Fargeau. After the talk in HAU 1 she even
took the time to talk to talents. Claire Denis proved that she is not just a great
director but also a great personality.
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Be brave! - Kill your darlings!

What a day with Susan Korda! One whole lecture dedicated to explore the magic of
the editing room. If you listen to editor, director, writer and lecturer Susan Korda
(is there something that this faboulous woman can´t do?), you surely get to know -
there is something magic about editing!!! "Forget thinking about continuity - just
feel the emotion!" That is only one of her good advices. Korda is long-time Campus
expert: she teaches at NYU Tisch school of arts. Even if you stick to your material
and don´t know, how to find a way out: this woman will show you, how you can kill
your darlings and weave together the best material from a daunting excess of
footage! SPECIAL SESSION - she also gave her advice to one talent in an private
audience - what a chance!- So, let´s cut!
Shooting Suspects - Documentary Filmmaking

This lecture was the most serious one so far. Laura Poitras, Fredrik Gertten and
Anat Zuria talk about the difficulties that a political documentary filmmaker has to
face. Gertten for instance has been sued by Dole for the film "Bananas". Laura
Poitras explains her faszination with her ambivalent protagonist who used to be Bin
Laden's bodyguard. Anat Zuria had to take precautions to protect the woman she
portrays in "Black Bus", a film that deals with the ultra-orthodox separation of men
and women in Israel.
Casting Internationally
"Does he or she infront of me interest me - or does he bore me?" It´s a hard and
simple truth, that one of the most famous casting directors and producer of "The
Godfather" and "American Graffitti" reveals on stage. Hollywood producer Fred
Roos made it simple "It is a struggle. If you believe in yourself, than hang on to it
and study acting seriously as an art." Second day of the Campus was an encouring
start for young actors. The panel "Casting Internationally" was a relief for all those
young actors who desperately wonder: how do casting directors find actors abroad?
And how, when, why do they recognise me as an upcoming fresh talent on screen?
High professionals as famous German actress Heike Makatsch, US casting director
Lina Todd and German casting director Simone Bär (Inglourious Basterds)gave a
deep inside on the secrets of how you'll make a director fall in love with you.
Master of Ceremony - it's Dieter Time

If you have not encountered one of these legendary moments with festival director
Dieter Kosslick, you have not fully experienced the Berlinale Talent Campus. Why?
It's hard to explain, really. There is only a few people who can make others smile
and laugh like Kosslick. At least as far as festival directors are concerned. Kosslick
is one of the reasons Hollywood stars flock to Berlin no matter how high the snow
and how frosty the air. And he's definetely worth a talent's while.
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== boxfish events
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Cinema Needs Talent

"Don't shoot on an oilrig." That is one of the many advices talents were inspired by
by director Isabel Coixet, one of Spain's leading ladies in film. This morning's
lecture focused on the topic: Cinema Needs Talent. And where else in the world
can one find such multitude of young talent and established big shots at once than
at the BTC? The panel at HAU 1 was one of excellency. Three-time Academy Award
nominated director Stephen Daldry of Great Britain confessed his secret of success:
He surrounds himself with people who are more experienced than himself. And
Daldry ties close knots with his favoured screen writer Sir David Hare whom he
involves in every step of the filmmaking process - from script wiriting to the editing
room. If you happen to be an actress you should try to tie close knots with Daldry -
your chances of winnng a golden boy (Academy Award) could not be higher! Talent
producers were thrilled by Mike Medavoy. The outstanding producer paved the way
to such landmark films as Apocalypse Now, Platoon, and Shutter Island. The latter
one of four films for which Medavoy worked with Martin Scorsese. Asked by a
talent, at what point he stops a director who goes way over budget, Medavoy
displayed a telling smile, took a breath and responded: "There are certain directors
I stay back and move out of the way. Marty [Scorsese] is one of them." And surely
Francis Ford Coppola plays in that league.
The final advice was however given by Isabel Coixet. She learned from painful
experience that the most talented people you can work with won't help you to
create a marvellous film if they are simply not nice. As a director you'll end up
screaming at them. And honestly, who would want that?
A Composer´s Dream continues

Next step of the score competition. Two days after the recording with renowned
Deutsches Filmorchester Babelsberg the three young composers have the chance to
edit and mix their final scores at the professional editing studio Waveline. But time
is runing short and all three of them are trembling: What a chance for Vladimir,
Alexander and Camillo - a very special guest is just about to arrive. Today the
three will meet one of the hottest names in Hollywood: two-time oscar-nominated
and Golden Globe Award-winning French film composer Alexandre Desplat is going
to have a look on their work! Half an hour in private with the famous tutor of this
year's score competition...join us in this very special moment!
Risks and side effects of Global Speed Matching

Did you ever talk to twenty like-minded individuals within one hour? No? Just join
the Berlinale Talent Campus Global Speed Matching. But be aware. Whenever the
bell rings it's time to move on in the row. No matter how well you got on with your
last counterpart. Side effects might include a dry mouth, dizziness and abrupt
exhaustion. But with twenty new business cards in your pocket an early
convalescence is forseeable. And if not, just call your new friends. They will cure
you.
‫=‬
‫=‬
‫‪DW-world.net‬‬
‫‪22.02.2010‬‬
‫ن اب أم ا

اه ا
ا‬
‫‪ /‬ا اه‪ +, -‬ا *) (& ا ب & آ‪ $‬أ"ء ا وا ار ل و ا ‬
‫ ! ن ا
‪ ! ً" #‬داً ا
اه ا
ا إ( '& ‪$%‬‬
‫‪ (+* (! -‬ا
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‪.*+‬‬
‫‪ &7‬ا‪ & (+‬د ا
اه ا& ا
رآ‪.‬‬
‫‪ "6 7‬أام‪2 ،‬أ ‪3‬ن & ا ( ا ‪2‬و ‪ $ 1‬ان "‪/‬‬
‫ا اه‪ "-‬أو "‪ 3‬ا اه‪ EF, ،"supmaC tnelaT„ "-‬ا (ن ا ب & آ‪$‬‬
‫أ"ء ا ‪ ،‬أ ر‪ ,‬ا ‪ ،‬و‪K‬آب ‪H‬ات ‪2,23‬ة & ‪H‬ل أوراش‬
‫ا ‪ ،*O $‬وآ‪ N 7‬ا ‪M‬ات ا ‪ ,‬ن ‪L‬ر ا (& ا ‪.‬‬
‫و دورة ه‪7‬ا ا م‪ ،‬و‪2 /‬ى ‪ Q‬أ‪,‬م‪ ،‬ا ‪V 350 /‬ب و‪ & V‬ا اه‪ -‬ا ( ا ‪2U‬ة‪ ،‬وا ‪2 &,7‬ا & ا ( دو ‪ ،‬إ ‪,2 /‬‬
‫ & ‪ /‬ه‪3 X‬ن & ا ( ا ‪2‬و ‪ ،‬إ‪W‬ر "‪ /‬ا اه‪."-‬‬
‫"و;ح اؤ" =ط أ""‪+ #‬ل ا

‪ +‬‬
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‫"ذج‬
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‫و * ‪ d ،$‬ا ‪2‬را‪ Q‬ه ‪V‬ط ا ‪2‬م و ‪ &L‬ا ه وأ‪L‬ر ا‪b‬م ا ‪2,‬م ا ب‪ ،‬آ‬
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‫ا‪b‬م ا ‪U‬ة إ‪W‬ر درا‪2 ،`Q‬م ‪2‬د & ا ‪"3‬ت ا ‪3 & ،‬ن‬
‫ا‪b‬م ا رودام‪ ،‬وز ` "آ‪s(F ` H ",L L‬ة ا *\‪ ،‬وه‪7‬ا ا * ه‬
‫أ‪ ً\,‬ا ‪7‬ي ‪3‬ء ‪ 2t‬إ ‪.& /‬‬
‫أ‪ 2‬ا ‪7‬ي ‪L* EQ‬ة ا ‪2‬ى ‪6 " 7‬ث ‪Q‬ات‪ E, &L, ،‬أن ‪ $ُ,‬و‪,‬ل ه‪7‬ا‬
‫ا‪Wk‬ر "آ‪ d‬أ‪ 2‬أن ‪w) F‬ة وأ" ‪2 d‬اً ‪ $i‬ه‪7‬ا ا ‪ /‬ا ‪2‬و ‪ &L ،‬أ‪Q‬ذي‬
‫ ‪2‬ر‪ Q‬ا ‪ ،,2 FV‬و‪ ً 3 2 2‬ا ‪2‬ر‪ ،Q‬و‪2‬د" ة ‪ L ،W‬ا ‪ 2‬ا ‪7‬ي ‪ d‬ه‪7‬ا ا م‪ ،‬ر‪ o‬أن ذا‬
‫ا‪"Lk‬ت ا \ * ‪ &L,‬ذي ‪3‬دة & ا ا ‪ *L ،‬ا * آ"‪ d‬أ ‪ ،x ً 3 y‬وا ‪U‬رة ‪F &L‬دة ا ‪ L‬وآ‪ N 7‬ا ‪U‬ت‪،‬‬
‫ ‪ L‬أ‪ 2‬أن ا *‪L‬ة ه ا ‪ d73‬ا (& ‪ /‬ا ‪2‬ى ‪2 2‬ى"‪.‬‬
‫=‬
‫=‬
‫ا‪ #72‬ا‪ & #‬ى ا@ ود ا?>ا' وا"‬
‫ع ت ا ‪2‬ى & أوراش ا ‪ $‬ا ‪KF UUO‬ت ا‪Hk‬اج وا ‪ ,U‬وا‪Mk‬ءة‬
‫وا * ت ا ‪ ,‬أو ا ‪M‬ات‪* ،‬دي ‪2‬اش ‪2 ًi‬م ‪2‬ى رك "‪H z‬ص‬
‫‪ 2‬ا‪b‬م ا ‪ (6‬و‪ ,e‬أ‪L‬ره ‪2 /‬ى أ‪,‬م ا ‪2‬ى ا ‪ ،‬ون ‪{ E‬‬
‫ا‪QK‬ر‪ &,‬ا ‪ &UUO‬ه‪7‬ا ا ‪F‬ل & آ‪ $‬أ"ء ا ‪ .‬و‪ 2‬ا‪*Q‬د ‪2‬اش آ‪i‬اً & ‪H‬ة‬
‫ه‪Kc‬ء ا ر‪ &,‬ا ‪ , &,7‬ن ‪F‬ل ا‪b‬م ا ‪ (6‬ات أورو رة ‪ $i‬ا ة‬
‫ا‪ " b‬ا ‪.2 "i‬دي‪.‬اف ‪ ZDF‬وة ‪ ARTE‬ا *" ا‪ ." b‬ه‪Kc‬ء ا ‪O‬اء ‪2Q‬وا‬
‫ا ب ا رآ& ‪ ,e‬أ‪L‬ره ‪ ,‬إ ‪ /‬أم و‪ ، , &L, (6‬آ ا‬
‫أ‪L* ً\,‬ة ‪2‬اش‪ & ` F, ،‬ا ‪ &L‬أن ‪,‬رآا إ"ج ه‪7‬ا ا *‪.‬‬
‫آ‪V N 7‬ءت ا ‪ 2U‬أن ‪ $,‬دي‪ ،‬ا ‪7‬ي ‪e,‬ر ‪L‬ة & آن أ‪6‬ء و ` و‪ 3‬ا ء { ا (& ا آ"&‪ +*, 2 ،‬ا *)‬
‫ ` ون ‪"k‬ج `‪ .‬و‪2 ,‬اش أن ) ا ‪ E $‬آ‪ $‬ه‪7‬ا ا ‪ & L‬ا *"& ا *& ‪ /‬ا ‪i‬ت ا‪Hb‬ى وا ا‪ &o‬ا ون‬
‫ ر‪ E,‬أه ‪2‬ث ‪H‬ل ا ‪2‬ى‪ .‬و‪,‬ا` ا أي ا‪* " b‬ام هآ`‪ ،‬ا ‪ 2 - e‬ا وا *‪,s‬ن "‪ ،‬ا ‪7‬ي‬
‫‪ & &L‬ا ف ‪ F /‬إ‪ & ,‬آ‪ ،‬وا* ا‪6K‬ن ‪H‬ل ا ‪2‬ى ‪ 7* /‬و‪ (6‬ك آ‪ .‬آ‪ , N 7‬ا ( ا "‬
‫ا ب رك ‪ ،*H‬ا ‪7‬ي ‪F $‬ل ا‪"k‬ج وا‪Mk‬ءة أن ) ا ف ‪ /‬آ‪ $‬ه‪Kc‬ء ا (& ا ه& ه أه ا‪*Q‬د ` ‪H‬ل أ‪,‬م‬
‫ا ‪2‬ى ا ‪.d‬‬
‫'‪ ' $‬ة *&ف !*( آر ا‪ B‬ا

‬
‫أ‪2F 2‬ي ‪ ,‬أ‪ ً\,‬أن آ ا ت ا * وا‪ ""k‬ا ه أه ‪2‬ث ` ‪H‬ل‬
‫ه‪ [7‬ا *ة‪ ،‬و‪ y\,‬ه‪7‬ا ا ق‪ d 2 " :‬أن ا )‪ w‬وأن ا *"& آ‪L $‬ن ‬
‫ا در‪ / &,‬ا *ه ‪ .‬آ أ" ‪ & d3‬روح ا ‪ 2‬ا آ ‪ ،‬أ&‬
‫أ‪2‬اً أ" ‪ & &LtQ‬إ ء ا ‪L‬ت وا \‪ o E N‬ا ‪ L ،&,U‬اآ‪ d‬ا ‪& iL‬‬
‫ا ‪2U‬ات ه"‪.‬‬
‫ ‪ &L‬ا ( ا ‪U‬ي ا ب ‪c,‬آ‪ 2‬أ‪ ً\,‬أ"` ا ‪ / iL‬ا ى ا ‪ ،‬و‪ Mk‬إ ‪/‬‬
‫ا‪ 3‬وع ا ر‪ ,‬ا ‪7‬ي ‪3‬ء ` ` ه ‪ E‬ا ‪O‬اء وا ‪V 2 ،&F‬رك أ‪2‬‬
‫أ‪ ً\,‬ور‪ 2 )H $ V‬ا ‪ ،,U‬و ا ‪ & iL‬آر ا ‪U‬ر‪ &,‬ا ‪ &,7‬ا أم ‪" $i‬د ""‬
‫أو ‪ slumdog millionaire‬و‪U‬ر أ"‪ ،d,L‬ا ‪7‬ي ‪2F `*U,‬ي (ً " ‪U E d3 2‬ر ‪ ،1‬وأ " ا‪ ` M‬و‪ `W‬ورد[‬
‫‪ /‬آ‪ $‬أ‪ ،Q‬ا ذ‪ 3‬وا ‪2‬ا( أ"ً آ‪i‬ة‪ ،‬و ` ا ‪ & iL‬إ‪"L‬ت ا ‪L‬ات ا ا ‪2,2F‬ة‪ ،‬ا " و ‪K L ،‬‬
‫"‪2‬رك إ‪ ." "L‬أ‪ 2‬ا ‪ & iL‬ا ‪ ,U‬وا "ج و‪ +U‬ا‪ b‬ان‪ ،‬وه ‪ [7 2 Q‬ا ‪O‬ة ا ‪.U `(s Q‬‬
‫ا ‪ Q :L‬آم‬
‫ا‪ & : 3‬ز"‪2‬‬

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== boxfish events
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DW-world.net
17.02.2010
Hrvatski talenti na “Berlinale Talent Campusu“

Berlinale Talent Campus svake godine okuplja mlade talente iz cijeloga svijeta
Na filmski festival u Berlin doputovala je i grupa mladih

talenata iz Hrvatske. U sklopu "Berlinale Talent Campusa"
posjećuju radionice, sklapaju kontakte s redateljima,
scenaristima i producentima iz cijelog svijeta.
U Talent Campus koji okuplja mlade talente, ove godine
primljena je i 28-godišnja Bojana Burnać iz Zagreba. Burnać
je studirala filmsko i televizijsko snimanje na Akademiji dramske umjetnosti u Zagrebu, a
posljednjih godina radila je nekoliko kratkih i dugometražnih igranih filmova. U okviru
Talent Campusa posjećuje radionicu koja se sastoji od nekoliko članova, a predavanja im
drži direktor fotografije i iskusni snimatelj Stefan Koubek. On je, izmeñu ostalog,
proslavljen i po snimcima iz filma Antikrist.
Burnać govori o svojim dosadašnjim utiscima: ”Ono što je meni najdragocjenije je
činjenica da mogu raditi na sebi. Primjećujem razlike izmeñu sebe i drugih ljudi, izmeñu
mog znanja i znanja drugih sudionika. Upoznajem velika imena, a to je najbolje iskustvo.
Grupa je mala, imamo privatnu komunikaciju i na vrlo izravan način mogu osjetiti koje su
razlike što se tiče znanja izmeñu snimatelja u Zagrebu ili Hrvatskoj i svjetskih snimatelja
kao što je Koubek. Nastojim popunjavati ta prazna polja koja imam.”
”Prvo euforija, a što poslije?!”

Bojana Brnać
Sudjelovanje na Berlinale Talent Campusu jedno je osobno iskustvo,

kaže Burnać. No ne zna koliko je to uopće važno za hrvatsku filmsku
scenu, jer su opće vrijednosti poremećene. Još je mnogo onih koji
smatraju da su nagrade na festivalima i natječajima namještene,
priča mlada djevojka. Na Talent Campus se prijavila kako bi upoznala
mnogo ljudi iz različitih zemalja, te kako bi čula njihove priče i
iskustva. ”Ideja Talent Campusa mi se veoma sviña, povezivanje mladih ljudi kako bi se
spojili u neku meñunarodnu suradnju. No ne vjerujem da će se takvo što dogoditi. Tijekom
ovog tjedna svi smo hiperaktivni, svi smo pozitivni, svi bi mnogo pričali jedni s drugima.
Poznavajući ljude, nakon tjedan dana, kada se svatko vrati u svoju zemlju i grad, mislim
da ćemo se vratiti i u svoju lijenost”, smatra Burnić.
Na Berlinale Talent Campusu svake godine sudjeluje 350 mladih talenta iz 95 zemalja.
Autorica: Selma Filipović, Berlin, Odg. urednica: Marijana Ljubičić

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== boxfish events
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DW-world.net
15.02.2010
INSPIRED MINDS
One-to-one with film historian and author Peter Cowie
Peter Cowie - for the 60th anniversary presented his new book “The Berlinale - The Festival”
Peter Cowie is the former international publishing

director of Variety and the founder of the
International Film Guide. He has also been working
with the Berlinale Talent Campus since it was
established.
Educated at Cambridge, Peter Cowie began writing about film in the early sixties.
He has contributed to many of the world's leading newspapers and periodicals,
including the New York Times and London’s Sunday Times. Other aspects of his
work include a great interest in Scandinavian cinema and in the work of American
film directors as diverse as Francis Ford Coppola, Orson Wells and John Ford.
Peter Cowie this week talks to Breandáin O’Shea about his road to film, his
encounters with of the 20 century’s great filmmakers and what he feels makes
European films so distinctive.
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Dw-world.net
08.02.2009
IN FOCUS My Wall
My Wall - The 2009 Berlin Today Award
Five young film makers from the Berlinale film

festival's Talent Campus produce five short subjects on
the theme of "my wall". Sabine El Chamaa's
"Promenade" follows the fortunes of a woman who
rebuilds a home for herself inside the walls of her
ruined house. Gina Abatemarco made hers a
documentary, in which the wall offers protection
against the violence of nature. Supriyo Sen chronicles a quirky ritual on the
Pakistani-Indian border. Markus Dietrich gives us his take on what really happened
the night the Berlin Wall fell in 1989. For his film, director Paul Cotter had the
Berlin Wall put back up again. And DW-TV gives us a peek behind the scenes of all
five shoots.
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== boxfish events
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Eleconomista.es
20.02.2010
Berlinale: un hervidero de creatividad del nuevo cine mundial

20/02/2010 - 11:58
Realizadores mundialmente conocidos como el británico Stephen Frears, la francesa Claire

Denis o el japonés Yoji Yamada compartieron su experiencia con jóvenes directores de 95
países en talleres y encuentros organizados durante la 60ª Berlinale, que termina en la
noche del sábado con la atribución del Oso de Oro a la mejor película.
Aun cuando en el concurso oficial la Berlinale suele invitar a grandes realizadores --este
año Martin Scorsese, el chino Wang Quan'an o Roman Polanski, ausente por sus problemas
judiciales-- el festival de cine alemán es una "verdadera plataforma para los jóvenes
cineastas del mundo entero", como lo dijo el presidente del jurado, Werner Herzog.
El actor, director y productor mexicano Gael García Bernal, quien llegó a Berlín con otros
nueve realizadores del filme colectivo "Revolución", añadió: "el apoyo de los profesionales
es esencial para realizar nuestras películas. Ellos nos ayudarán a decir lo que tenemos que
decir".
La brasileña Zita Carvalhosa, presidenta del jurado de cortometrajes --el Oso de Oro en
esta sección fue otorgado el miércoles al joven sueco Ruben Ostlund-- destacó "la
incesante creatividad que se percibe en el mundo de los jóvenes cineastas. Hay una gran
esperanza de renovación".
El cortometraje de Ostlund reconstruye, desde el punto de vista de unos testigos en la

calle, que filman con sus teléfonos móviles, el fallido intento de un asalto a un banco en
Estocolmo.
Zita Carvalhosa explicó porqué se había premiado este cortometraje: "esta película es una
verdadera reflexión sobre nuestra época y el papel que desempeñan los medios de
comunicación. Filmada con una única cámara, en un solo plano-secuencia. Los diálogos son
perfectos y con mucho humor".
En la sección Talent Campus 350 jóvenes realizadores de 95 países tuvieron durante la

Berlinale la oportunidad única de encontrarse entre ellos y de establecer contactos con
personalidades de la industria del cine.
Uno de estos audaces jóvenes, al mismo tiempo periodista, ofreció "en directo" durante
una rueda de prensa a uno de los productores de la película "Shutter Island", de Scorsese,
Mike Medavoy, su talento y el guión "de una historia de terror" que ya tiene terminado.
Medavoy le respondió: "déjeme su tarjeta".
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== boxfish events
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"Hacer una película es algo que concierne a varias personas. Hay que trabajar en equipo.
Es algo que tiene que ver con la generosidad, con aceptar estar hombro a hombro
dignamente al lado de otras personas", enfatizó Medavoy.
Más de 100 eventos fueron organizados durante los diez días del festival berlinés con unos
150 invitados y expertos internacionales. Durante talleres, conferencias magistrales y
sesiones de trabajo discutieron los diferentes aspectos de la profesión bajo el título
general "El cine necesita talento - Buscamos la gente adecuada".
Claire Denis (Chocolate), el diseñador de producción de varias películas de James Bond, Sir
Ken Adam, el director de fotografía Christian Berger (La cinta blanca, de Michael Haneke),
la bosnia Jasmila Zbanic (En el camino) y Yoji Yamada (Otuto, película que clausuró el
festival), entre otros, compartieron su experiencia con la próxima generación de cineastas.
El director de películas de aninación Merlin Crossingham (Chicken Run) recomendó por su

lado a los jóvenes "tener pasión, echar hacia adelante, y no olvidar mirar con atención el
mundo a su alrededor. Eso es lo que necesitan esencialmente".
jo/it
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English.news.cn
17.02.2010
New trends in filmmaking -- buzz on 3D, new media at Berlin Film Festival
by Tracey Gudwin
BERLIN, Feb. 16 (Xinhua) -- "Avatar," James Cameron's 3D film, is either a dirty

word or a rebirth for cinema, depending on which filmmaker who will talk to you
at this year's Berlin Film Festival.
The festival, or Berlinale, celebrates its 60th birthday with old cinema friends,
like Fritz Lang's 1927 classic "Metropolis" and some newcomers, like Yuen Woo-
ping's martial art flick "True Legend" in 3D.
The future of cinema and moviemaking comes at a crucial point in history as the
financial crisis of last year continues to linger and begs to ask the question of what
will bring more people to the movies?
"If there is a 3D film we like, of course we will screen it. But it will not change the
festival," Festival Director Dieter Kosslick told Xinhua.
This year over 400 films are playing at the festival, 11 of those will be screened in
3D.
Stereoscopic photography, or 3D, first made its way into the public with the
Lumiere Brothers' film "The Arrival of A Train" in the early 1900's. The 3D
photography uses special cameras to record two perspectives (left eye and right
eye) to create the depth illusion of a three-dimensional image.
"We saw it coming last year," Bekki Probst, head of the European Film Market
(EFM), told Xinhua. This year's EFM has newly assigned viewing rooms at the Astor
Lounge to accommodate sales agents showing their films in 3D.
Robert Ross, a U.S. film buyer, told Xinhua that the technical innovation had not
yet reached his genre. "I think right now it's a niche market, but anything that
brings people to the market, whether it's Blue Ray or 3D, is a positive change."
Julian Pinn, director of Distribution Services at DOLBY, who was involved in the
world premiere of Cameron's "Avatar," explained why 3D was a financially viable
solution for producers and theater owners.
"3D has around three times the box office potential as 2D... People are more
inclined to see a movie in 3D and more willing to spend the extra money."
When it comes to budgeting for a film, story telling also contributes a great deal
to the decision of how to shoot your project.
"3D has to be able to work in a story based atmosphere," said Max Penner, the
stereographer of Europe's first live action 3D movie "Street Dance."
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A clip of the film "Street Dance," which centers on a group of street dancers in a
dance competition, was shown recently at the festival to an audience of young
cinema enthusiasts.
Joachin De Smedt, a Belgian filmmaker, attended the "Street Dance" lecture

because he was developing his own 3D feature.
"People will go to see a film just because it's in 3D, but I don't think an intimate
French story needs the technology to come alive," he told Xinhua.
Beyond cinema, television and DVD, new media forms such as social networking
websites are shaping how young directors transmit their narrative stories.
"Young filmmakers are used to thinking in multi-platform ways," said Matthijs Knol,
program manager of the Berlin Talent Campus.
French Internet director, Alexandre Brachet, who runs the web documentary "Gaza
Sdreot," spoke to the Berlin Talent Campus about using social networking, gaming,
mobile applications to generate online audience participation.
Brachet's documentary project, "Gaza Sdreot," tells the simultaneous tale of life
on both sides of the Palestinian and Israeli border, in Gaza (Palestine) and Sdreot
(Israel). Online, viewers can choose to interactively flip between the characters on
both sides of the border and comment.
This year's Berlinale is a true indication that the motion picture industry has
arrived at a media crossroad.
"We are all on Facebook, Myspace and cellphones," said Berlin Talent Campus
Program Manager Knol. "It's not that people have to use 35mm film to be
recognized as filmmakers anymore."
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German Information Centre Pretoria
16.02.2010
Berlinale Talent Campus attracts the “Right People”
Berlinale Talent Campus 2010 begins
Festival Director Dieter Kosslick, together with the heads of the Campus, Matthijs Wouter
Knol and Christine Tröstrum, director Isabel Coixet and film composer Alexandre Desplat,
opened the Berlinale Talent Campus 2010 on Saturday evening (February 13) in the Theater
Hebbel am Ufer. As part of the ceremony, the five films competing for the Berlin Today
award were screened.
Until February 18, 350 Talents from 95 countries will meet with renowned international
experts at the Hebbel am Ufer for countless workshops, master classes and panels, and to
exchange views and experiences on a wide array of filmmaking topics related to this year's
Campus motto "Cinema Needs Talent: Looking for the Right People". For these
approximately 600 guests, the event's climax was the world premiere of the five Berlin
Today Award nominated short films. The Talent Campus Short Film Competition which
addresses this year the theme "Straight to Cinema" is supported by the Medienboard Berlin-
Brandenburg.
Participants for the Berlin Talent Campus come from all

over the globe. This year alone over 4700 applications from
145 countries were received for the limited spaces. Africa is
well represented for this 8th Talent Campus with 11 film
and sound artists from seven different nations. There are
nine directors, producers or screenwriters taking part from
Mozambique, Kenya, Nigeria, South Africa, Ghana and
Zambia, one composer from Kenya and a film critic from
South Africa.
The Talent Campus is an exceptional opportunity both for

exposure to film professionals, but also to an extraordinary
mix of personalities and talents from diverse cultures.
Numerous “graduates” go on to produce award-winning
films and sustain successful careers in the film industry. The
GIC has profiles of African participants from two previous
campuses (see links below), and one of them, Carol Kamya,
had the world premier of her first feature-length film “Imani” this weekend (February 12-
14) at the Berlinale itself.
Berlin Today Award 2010: And the winner is…

The Berlin Today Award 2010 was awarded on Sunday evening (February 14) during the
festive "Dine & Shine Talents Rendezvous". After a welcome by the German Commissioner
for Culture and the Media Mr. Bernd Neumann, and Festival Director Dieter Kosslick, the
award was presented to the short film competition winner by Medienboard's Managing
Director Kirsten Niehuus together with the three jury members Heike Makatsch, Stephen
Daldry and Peter Rommel.
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The seventh Berlin Today Award went to Bryn Chainey

from Australia for the film “Jonah and the Vicarious
Nature of Homesickness.” The romantic science
fiction tells the story of Jonah, who left his family
and blasted-off in a home-made spaceship. The Jury
was impressed by the "the truly creative inventiveness
of this film. We are […] curious about what this
talented filmmaker will come up with next".
Soon after the Berlinale 2010 comes to a close, the

five finalists for the Berlin Today Award 2011 will be
announced. Their short film ideas will be realised in
collaboration with five production companies and address the theme "You are Leaving the
Familiar Sector".
(© Berlinale)
The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a
business division of the Kulturveranstaltungen des Bundes in Berlin GmbH, funded by the
Federal Commissioner for Culture and the Media upon a decision of the German Bundestag,
in co-operation with MEDIA - Training programme of the European Union, Medienboard
Berlin-Brandenburg as well as Skillset and UK Film Council. The German Foreign Office also
supports the Talent Campus and the Berlinale World Cinema Fund, which aims to support
films from key regions like Africa and introduce them to a German audience.
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Globo.com
15.02.2010
Jovens promessas do cinema se reúnem em evento em Berlim

Da EFE
Berlim, 14 fev (EFE).- A capital alemã recebe, durante esta semana, cerca de 350 jovens
promessas do cinema internacional, de mais de 100 países, que participam da oitava
edição do Talent Campus.
O evento, que acontece no Teatro "Hebbel am Ufer", em paralelo ao Festival de Berlim,

serve como ponto jovens talentos que começam a despontar em alguma técnica
cinematográfica em seus respectivos países.
Diretores, produtores e diretores de fotografia, entre outros, se reúnem a cada ano para
mostrar suas criações, debater, e participar de oficinas e conferências.
Para poder participar, os talentos devem preencher previamente um formulário e remetê-

lo à organização, junto com uma mostra de seu trabalho audiovisual.
Como fórum de discussão alternativa no Festival de Berlim, para todas estas promessas
trata-se de uma oportunidade única para entrar no mercado da sétima arte, em uma
edição na qual tema central de todos os debates é "Straight to Cinema" ("Direto ao
Cinema").
Além disso, o Talent Campus conta com o prêmio "Berlim Today Award", que escolhe o
melhor curta entre todos os enviados.
Outro dos pontos fortes do Talent Campus são os discursos de profissionais consagrados,
que dividem conferências sobre temas concretos da atualidade cinematográfica.
O Talent Campus é se estendeu também por outras cidades do mundo, como Sarajevo,
Délhi e Buenos Aires. EFE
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Guide2croatia.net
24.01.2010
Croatian Film at the European Film Market

Description:
Croatian Audiovisual Center will have its own exhibition space as a part of the
European Film Market. The European Film market will be held as a part of the
Berlin International Film Festival and will star on February 12th. The Croatian
exhibition is set to promote the new Croatian film production. The European Film
Market is a major industry meeting point for the international film industry. Croatia
is honored to be one of the 130 countries which will participate in this famous film
trade fair. As a part of the fair, Croatia will organize promotional screening of four
Croatian films: Blizine by Zdravka Mustača, Vjerujem u Anñele by Nikša Sviličić,
Ljubavni život domobrana by Pave Marković and Croatian Shots 2009, a selection of
recent short film production.
The 8th Berlinale Talent Campus will be held from 13th to 18th February also as a
part of Berlinale. The Berlinale Talent Campus is a weeklong series of lectures and
workshops which gathers talented actors, producers, editors and other filmmakers
from around the world with the purpose of networking young film professionals.
This year, Berlinale Talent Campus will host Croatian filmmakers. Filmmakers who
will attend the Talent Campus are: Romina Vatusić – actor, Tiha Gudac – producer,
Dario Juričan – director and Martin Semenčić, sound designer and composer
Attending the European Film Market and Talent Campus will be a good opportunity
for young filmmakers to show their abilities and achievements to the whole world.
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Happyfish.ro
03.02.2010
Film , 03.02.2010 - 12:58

inapoi la STIRI
Paul Negoescu, invitat la Berlinale Talent Campus

În cadrul festivalului de film de la Berlin, pe data de 15 februarie, Paul
Negoescu va fi invitatul unui panel discussion din Berlinale Talent Campus
Va dezbate, împreună cu regizorul Paul Wright, soarta filmului de scurtmetraj,

schimbările datorate noilor tehnologii şi despre cum un concept vizual poate fi
transformat într-un scurtmetraj. ConferinŃa va fi moderată de Maike Mia
Hoehne, curatoarea secŃiunii Berlinale Shorts.
Cei doi regizori au fiecare un scurtmetraj în competiŃia acestei ediŃii a
Berlinalei.
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Hollywoodreporter.com
20.02.2010
Camilo Sanabria wins score competition

Alexander Komlew places second
By Scott Roxborough
Columbian composer Camilo Sanabria has won the Score Competition at this year's
Berlinale Talent Campus.
Sanabira won for his imaginative re-scoring of David O'Reilly's short"Please Say
Something," last year's short film Golden Bear winner. The young Columbian
composer wins a week-long trip to Los Angeles to work in some of Hollywood's best
sound studios.
Second prize-winner Alexander Komlew of Germany wins a recording session with

the German Film Orchestra at Studio Babelsberg.
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15.02.2010
Students make pitches at Berlin talent market

Three scripts out of record 267 submissions to receive award
By Kartik Nair
Feb 15, 2010, 04:58 PM ET
BERLIN -- Laura Astorga from Costa Rica was given five minutes to make a pitch for
"Princesas Rojas," a feature-length film about the vagaries of a revolutionary
family's fortunes under the shadow of Nicaragua's Sandinista Revolution. Astorga's is
one of three projects in the spotlight at this year's Talent Project Market, a
collaborative interface that provides up-and-coming filmmakers from the Berlinale
Talent Campus the opportunity to meet seasoned film financiers from the Berlinale
Co-Production Market.
Three scripts, screened from a record 267 submissions, receive an award from the
VFF (German Collecting Society for Inhouse and Commissioned Production of Film
and TV Programs) and the chance to conduct a formal pitch at the Talent Highlight
Pitch.
"My Sweet Euthanasia," from the Israeli writer-director team of Sharon Maymon and
Tal Granit, is a dark comedy set in a Jerusalem retirement home, the residents of
which invent a self-euthanasia device. The pitch by Sri Lankan-born English
filmmaker Asitha Ameresekere for "Kin," a feature-length sequel to a short film he
made, tells the story of a mother who sends videotaped messages to her son
serving in Iraq, and continues to do so even after being informed of his death.
Kirtak Nair, from India, is a participant of Talent Press, a training program of the
Berlinale Talent Campus.
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30.11.2009
Monday, Nov. 30, 2009

Regional news Sponsored by:
BMW is new sponsor of Berlin film festival
Susan Boyle's debut breaks U.K. chart record
Ottawa seeking input on retransmission fees
TOP STORIES
Kerry Fox to mentor Berlinale Talent Campus
COLOGNE, Germany -- New Zealand actress Kerry Fox ("Bright Star,"
"Storm") will act as a mentor at next year's Berlinale Talent Campus, the
five-day film school that runs Feb. 13-18 during the Berlin International
Film Festival.
French Rendez-Vous set for Mumbai

NEW DELHI -- The second Rendez-Vous with French Cinema in India
will be held December 2-6 in Mumbai featuring eight French films,
including a restored version of Jean-Luc Godard’s classic “Pierrot le
Fou."
Roman Polanski's release delayed

ZURICH -- Swiss authorities will not release Roman Polanski into house
arrest at his luxury Alpine chalet for a few more days, the French consul
said Monday.
World page
Home page
FILM
Alternative cinema content to pass $500 mil
LONDON -- Alternative content in theaters is set to become a money-
spinner worth more than $500 million globally by 2014 according to a
report Monday. AWARDS WATCH: Three of this year's
Michael Jackson doc gets DVD release date Golden Globes contenders haven't
LOS ANGELES -- Well, that's that: Sony's Michael Jackson
documentary "This Is It" has been set for release on DVD and Blu-ray even premiered yet, including
Disc on Jan. 26.
James Cameron's "Avatar."
'Breathless' takes top prize at Filmex
TOKYO -- “Breathless,” the debut feature from Korea’s Yang Ik-june
took the 1 million yen ($11,500) Grand Prize and the Audience Award on Awards Watch: Foreign
the final day of the Tokyo Filmex festival on Sunday. language
This year's European foreign-
Film page language contenders faced
innumerable hurdles.
TV
Seven wins Australian ratings year
SYDNEY -- The Seven Network has won the Australian TV ratings
season for the third year in a row, but rival Nine Network has claimed
victory in the key 25–54-year-old demographic after end of year ratings Monaco fest: Peace, love,
figures were released Sunday. movies
The Monaco International Film
Festival is fighting a war on
Canada pitches breakthrough TV comedies violence.
TORONTO -- After homemade dramas like "Flashpoint" cracked U.S.
network schedules, indie producers are readying Canadian-originated
sitcoms for primetime.
Ottawa seeking input on retransmission fees

TORONTO -- Canadian TV viewers are not just deciding who wins or
loses on popular local reality TV series such as "Battle of the Blades"
and "So You Think You Can Dance Canada."
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Television page
Int'l treaties: Follow the
money
The funds are out there, but
INTERNATIONAL BOXOFFICE wading through the myriad
details of international co-
Boxoffice charts production treaties is not for the
faint of heart.
France
Germany
Japan
FINANCE
Spain BMW to sponsor of Berlin film festival
United Kingdom COLOGNE, Germany -- BMW has signed on as a
main sponsor of the 60th Berlin International Film
Festival, replacing Volkswagen, who had pulled
out after years of providing cars for the festival and
its guests.
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30.11.2009
Kerry Fox to mentor Berlinale Talent Campus

Part of new acting programming called Talent Actors Stage
By Scott Roxborough
COLOGNE, Germany -- New Zealand actress Kerry Fox ("Bright Star," "Storm") will act as a
mentor at next year's Berlinale Talent Campus, the five-day film school that runs Feb. 13-
18 during the Berlin International Film Festival.
Fox will be part of a new acting programming called Talent Actors Stage, which will give
up-and-comers hands-on training in camera acting, dialogue and casting. Fox is no stranger
to Berlin, having won the Silver Bear for best actress in 2001 for Patrice Chereau's
"Intimacy." She was back in Berlin this year with Hans-Christian Schmid's competition entry
"Storm."
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03.11.2009
Stephen Daldry to chair Berlin Today jury

Composer Alexandre Desplat mentors Score competition
By Scott Roxborough
COLOGNE, Germany -- "The Reader" director Stephen Daldry will head the jury for
the 2010 Berlin Today Award, the short-film prize awarded at the start of the
Berlin Film Festival's Berlinale Talent Campus.
The three-time Oscar nominee will announce the winner of the 2010 Berlin Today
prize on Feb. 13. The Berlinale Talent Campus, a six-day mini-film school for up-
and-comers runs during the Berlin Festival.
French composer Alexandre Desplat, a two-time Oscar nominee (for "The Curious
Case of Benjamin Button" and "The Queen") also will be heading to Berlin this
winter, to mentor the festival's score competition. Three young composers will
compete to create the best new score for a short film, which they will all record
with Babelsberg's German Film Orchestra. The winner will be announced at the
Talent Campus closing ceremony.
Desplat is no stranger to Berlin. His score to Jacques Audiard's "The Beat My Heart
Skipped" won the Silver Bear for best music in 2005.
Talent Campus organizers said they have had a record 4,773 applications from 145
countries for next year's event, nearly a thousand more than for 2009. 350 young
filmmakers will be picked to attend event, which runs Feb. 13-18.
The 60th Berlin International Film Festival is set for Feb. 11-21.
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Indiewire.com
18.02.2010
Berlinale Talent Campus Ends, Names Score Winner
Filmmakers like Claire Denis, James Bond production designer Sir Ken Adam,
cinematographer Christian Berger (The White Ribbon), Stephen Frears, Jasmila
Žbanić (Competition film “On the Path”) and Yoji Yamada (Berlinale closing night
film “About her Brother”) all mentored a new class of filmmakers from Mexico,
Africa, and Eastern Europe in the 2010 Berlinale Talent Campus. This year’s
campus, which focused on collaborative filmmaking, explored cross media, digital
storytelling, financing, distribution and 3D.
“Filmmaking is something to do together. It’s about being generous and accepting

the dignity of other people,” “Shutter Island” producer Mike Medavoy enthused
during the opening panel. Actor, director and producer Gael García Bernal
added,“The support of professionals is essential to our own filmmaking. They will
help you say what you want to say.”
Camilo Sanabria of Colombia won the fest’s Score Competition, which was
structured around providing a score for Golden Bear short winner “Please Say
Something” by David O’Reilly. Sanabria’s score passed the test of jury members
Klaus-Peter Beyer, Prof. Martin Steyer, Martin Todsharow, Connie Walther and this
year’s Score Competition mentor Alexandre Desplat (who composed the music for
Roman Polanski’s Berlinale premiere “The Ghost Writer”).
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Indiewire.com
13.02.2010
Alexandre Desplat
Upon watching Roman Polanski’s awesome thriller, The Ghost Writer, I was
reminded of a few things. The film itself is a satisfying experience, aided by a few
wonderful elements: brooding set design, sterling performances, and an evocative
musical score. The last of those three elements belongs to Alexandre Desplat. This
is a man who has captured the hearts and minds of film audiences over a short
period of time, as he’s delivered diverse compositions that have elevated
otherwise tepid feature films (his score was the best thing about The Curious Case
of Benjamin Button). Thankfully, in the last year, Desplat has his name associated
with films that can leave him proud.
He’s deservedly nominated for an Oscar this year, for The Fantastic Mr. Fox.
Desplat’s score for Mr. Fox is similar to his work for Ghost Writer, wherein he’s
unafraid to sample various instruments and arrangements in order to serve the
narrative of the film. His next score to see American cinemas, belongs to Jacques
Audiard’s upcoming prison drama, A Prophet. It’s a busy time to be Alexandre
Desplat, and the man himself made a recent stop at the Berlin Film Festival (where
The Ghost Writer won Best Director for Polanski). Desplat spoke at the festival,
about his process, and The Hollywood Reporter has a recap:
Alexandre Desplat says he lost a year of his life in 2009. The French composer has
been working nonstop, delivering scores for films as diverse as Jacques Audiard’s
Oscar-nominated prison drama “A Prophet” to “Twilight” sequel “New Moon” to
Roman Polanski’s “The Ghost Writer” to Wes Anderson’s animated feature
“Fantastic Mr. Fox,” which earned Desplat his third Oscar nomination.
Desplat is in Berlin mentoring up-and-coming filmmakers at the Berlinale Talent

Campus, where on Wednesday he will give a masterclass on composing for the
screen.
“The main word or formula I would like to tell them is that movie soundtracks have
two axioms: function and fiction,” Desplat told THR. “And if there is too much of
one, the music goes into the wrong direction. There has to be function, because
music for film has to match and work with what is on screen. But if there is too
much function it becomes academic, boring. Fiction is there to bring action and
creativity. It is a very difficult balance.”
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Indiewire.com
21.01.2010
Berlinale Sets Special Program & Talent Campus Panels
The Berlin International Film Festival has announced 22 films to screen as part of
the 2010 Berlinale Special program, including 12 world premieres. The program
presents recent works by contemporary filmmakers and re-screens historical works.
Titles this year include Fritz Lang’s “Metropolis,” and the world premieres of Doris
Dörrie’s (“Cherry Blossoms”) “Die Friseuse” (“The Hairdresser”) and Hans-Christoph
Blumenberg and Alfred Holighaus’ documentary “Spur der Bären” (“Trace of the
Bears”). For more information on the Berlinale Special program, visit the festival’s
website.
In addition, the festival has also announced the schedule for its Berlinale Talent
Campus #8. The three panels are: “Cinema Unlimited – Intercontinental
Connections,” which brings together four directors from different continents, “The
Indie Filmmakers Guide to Cross Media,” and “In the Limelight: Claire Denis,” in
which the director will discuss her work. Visit the festival’s website for more on the
Berlin Talent Campus.
The 2010 Berlin International Film Festival takes place February 11 to 21.
indieWIRE has the complete list of previously announced competition films,
opening and closing films, and Panorama section titles.
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Internationalfilmguide.com
21.01.2010
Claire Denis to Attend the Berlinale Talent Campus
Acclaimed French filmmaker Claire Denis, whose most recent film, White Material
starred Isabelle Huppert and acreened at the 2009 Venice Film Festival, will be a
guest of the Talent Campus’ ‘In the Limelight Series’. The interview will take place
on 17 February at 17:00 in HAU 1. Her attendance is just one of the many events
that make up the Campus’ exciting programme at this year’s Berlinale.
Two strands in the Campus programme offer the chance to engage with
collaborative ideas beyond national boundaries. The panel discussion Cinema
Unlimited - Intercontinental Connections will bring together directors Rafi Pitts
(Iran), Jean-Marie Téno (Cameroon, based in France), Natalia Smirnoff (Argentina)
and Madhusree Dutta (India) to talk about international cross-border
collaborations. The event will take place between 11-12:30 on Mondat 15 Fenruary,
at HAU 1.
IFG contributor, founder of Power to the Pixel and Digital Distribution Strategy
Advisor for the UK Film Council will moderate the series The Indie Filmmaker’s
Guide to Cross Media, which aims to approach the future of narrative and
storytelling from an immersive, interactive point of view. The sessions will run
from 14-15:30 everyday from 15-17 February.
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Jawbone.tv
03.02.2010
The Indie Filmmakers' Guide to Cross Media/Berlinale Talent Campus
The Berlinale Talent Campus (Feb 13th-18th), taking place during the 60th Berlin
International Film Festival (Feb 11th-21st), is an international creative academy
and networking platform for 350 up-and-coming filmmakers from 95 countries. The
six-day-long event offers them the opportunity to examine various aspects of their
fields of work in lectures and panel discussions. This year's Campus main focus is
"The Indie Filmmakers' Guide to Cross Media", discussing the aspects storytelling,
distribution and financing of filmmaking in the digital age with experts such as
Karol Martesko-Fenster (Babelgum), Liz Rosenthal (Power to the Pixel), writer and
director Lance Weiler, Michel Reilhac (ARTE) and many more.
For more info visit www.berlinale-talentcampus.de or check out some of the
program details below.
The Indie Filmmakers’ Guide to Cross Media
Panel 1:
Extending the Story: An Introduction to Cross Media Storytelling
Monday, February 15th, HAU 2, 02:00pm
Technology is impacting on the art and craft of storytelling. Now that audiences
are engaging with media across multiple platforms and are moving from a passive
viewing experience to active collaboration, how does the art of storytelling
change? Experts in cross-media and interactive/immersive storytelling will describe
how to build story worlds that span across multiple platforms and engage audiences
in powerful new ways. With Alexandre Brachet, Martin Ericsson, Lance Weiler.
Moderated by Liz Rosenthal.
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Panel 2:
Extending the Finance: How to Produce Cross Media Projetcs
Tuesday, February 16th, HAU 3, Top Floor, 02:00pm
As storytelling extends beyond the big screen and the 90 minute feature, what is
the potential of building new financing partnerships across media industries and of
extending the value of the stories and intellectual property that you create? As
traditional film finance routes dry up, this session will suggest possible new
alliances and partnerships with online networks, multiplatform broadcasters,
brands, agencies and other new financiers. With Ben Grass, Karol Martesko-Fenster,
Michel Reilhac, Lance Weiler. Moderated by Liz Rosenthal.
Panel 3:
Extending the Audience: How to Distribute Across Multiple Platforms
Wednesday, Febraury 17th, HAU 3, Top Floor, 02:00pm
As audiences discover and engage with films across a rapidly expanding array of
platforms and devices, distribution strategies for independent film are evolving.
Looking at a variety of distribution case studies, speakers will demonstrate a
variety of models and lessons learned from making films available across multiple
platforms, sites and devices to simultaneous release strategies, special events and
digital word-of-mouth campaigns. With Lizzie Gillet, Karol Martesko-Fenster, Timo
Vuorensola. Moderated by Liz Rosenthal.
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Biographies of the experts:
Brachet, Alexandre
Paris-based e-producer and founder of the cross-media production studio Upian. He
merges cutting-edge technology and traditional techniques to break new ground in
made-for-broadband story-telling. His latest project is THANATORAMA.COM,
webdocumentary offering a journey into the arcane world of the funeral which won
the Grand Prix at the Web Flash Festival. He is co-producer of the online
documentary GAZA/SDEROT. It was nominated for the Emmy Awards and won the
Prix Europa in Berlin. In spring 2010, Upian will launch Prison Valley, a new
interactive documentary, co-produced by Arte.tv and directed by David Dufresne
and Philippe Brault.
Ericsson, Martin
Senior Designer and Creative Director of The Company P in Sweden, he has
instigate, written and designed more than twenty pieces of participative art
ranging from reality games, pedagogical games and Shakespeare adaptations to
massive Sci-Fi and Fantasy larps. He created THE TRUTH ABOUT MARIKA together
with the Swedish Television which won an Emmy Award for Best Interactive TV-
service in 2008.
Weiler, Lance
Award-winning writer and director, he is recognised as a pioneer for the way he
makes and distributes his work. His first feature THE LAST BROADCAST was
distributed in over 20 countries. Another feature HEAD TRAUMA had its world
premiere at the LA Film Festival in 2006.
Grass, Ben
Managing director of Pure Grass Films. He produced BEYOND THE RAVE and KIRILL,
winning a Webby for Best Drama Episode in 2009. He was formerly responsible for
Sony Pictures Digital in Europe and prior to that was senior Advisor for Corporate
Strategy at the BBC.
Martesko-Fenster, Karol
Founding member of CINELAN’s Board of Directors after being appointed General
Manager and Publisher of Babel Network Ltd's Film Division. He successfully
promoted Sally Potter’s film RAGE which reached whole new audiences through the
online distribution. Previously, he was a consultant for film and media ventures,
amongst others, Arts Alliance, FILMHAUS Vienna, and T5M.com. He also launched
Filmmaker Magazine, indieWIRE.com, as well as RES Magazine, The Virtual Film
Festival and co-produced WETLANDS PRESERVED: THE STORY OF AN ACTIVIST
NIGHTCLUB in 2008.
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Reilhac, Michel
Executive Director of ARTE France Cinema and Director of Film Acquisitions for
ARTE France. He was previously executive director of Forum des Images, general
manager of the American Centre and of the National Theater of Chaillot, as well as
executive director of the National Centre for Contemporary Dance. He started his
own production company MELANGE in 2000 producing three international feature
films CRY WOMAN, THE GOOD OLD NAUGHTY DAYS, and 7 DAYS, 7 NIGHTS. With his
own organisation ‘Les Arts Etonnants’ he is also producer-curator-author of
participatory events such as ‘Le Bal Moderne’ and ‘Le Goût du Noir’.
Gillett, Lizzie
Experienced producer came to London from New Zealand, where she had been
working as TV news reporter and programme maker. She planned to live the
dream, directing Panorama for the BBC or similar, but somehow wound up working
for Spanner Films instead, and by end of 2004 she was on board the Stupid beast as
Co-Producer of the feature film AGE OF STUPID.
Vuorensola, Timo
Finnish film director, he has directed short films, music videos and ads. He is
interested in the effect Internet has on traditional production models. He directed
STAR WRECK and is working on a new index of sci-fi comedy called IRON SKY.
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La Jornada
15.02.2010
La realizadora, junto con otros especialistas, abrió el Talent Campus de la

Berlinale
Hollywood está llevando el cine a la barraca, afirma la catalana Isabel Coixet
El actor estadunidense Ben Stiller firma autógrafos a su llegada al festival de Berlín,

en el que promueve Greenberg, cinta que protagonizaFoto Reuters
Eva Usi
Periódico La Jornada
Lunes 15 de febrero de 2010, p. a15
Berlín, 14 de febrero. La cineasta catalana Isabel Coixet (Mi vida sin mi, de 2003)
abrió junto con otros especialistas la edición número 8 del Talent Campus, en el
contexto de la Berlinale, al que han acudido unos 350 jóvenes del mundo para
escuchar las experiencias y consejos de expertos en los distintos aspectos de la
producción cinematográfica. Entre los participantes se encuentran los cineastas
mexicanos Andrés Montiel (El crimen del padre Amaro), Federico Cecceli (Los
Trashumantes), Alfredo Loaeza Locaido (El héroe), Astrid Rondero (Abril y Mayo) y
Enrique Vázquez Sánchez (Cerraduras).
En el contexto de su ponencia: El cine necesita talento: cómo conseguir la gente

adecuada en una producción, la directora exhortó a los jóvenes cineastas a no
dejarse influir por una tibia acogida inicial de una película y los exhortó a buscar
una voz propia y honestidad con las imágenes. Si uno es honesto en lo que filma, si
intenta buscar la verdad que se alberga en las imágenes, entonces las emociones,
los sentimientos y el cuestionamiento social están ahí.
Bicho raro en España
En entrevista con La Jornada la directora ganadora de tres premios Goya y con dos
postulaciones al Oso de Oro de la Berlinale, se dijo bicho raro en el contexto
cinematográfico español, una outsider, porque ha tenido la inquietud de viajar y
de producir en otros países.
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Declarada admiradora de la cultura japonesa, Coixet rodó en 2009 Mapa de los

sonidos de Tokio, y desde la producción de la cinta Cosas que nunca te dije (1996)
viaja constantemente a Los Ángeles. Eso de hacer películas en otros países es visto
con cierta desconfianza en España, y como algo rarísimo hacer películas en inglés.
La cineasta criticó a Hollywood, que está llevando al cine a la barraca, aludiendo a

la cinta 3D Avatar, que aunque significa explorar otras posibilidades
cinematográficas que están consiguiendo que la gente vaya a las salas, Hollywood
continúa haciendo películas que no arriesgan nada y las seguirá haciendo mientras
las logre vender. En México, en España e Italia se hacen cintas mucho más
arriesgadas, afirmó.
La directora advirtió que se vive un momento en el que el cine es menos relevante,

porque hay muchas más ofertas de diversión. Sin embargo, reconoció que así como
el cine no mató al teatro ni la televisión, al cine, el séptimo arte continuará.
Apoyo como a cualquier otra industria
Coixet saluda que en España se haya entendido que el cine es una industria, y que
se apoye como cualquier otra, pero además, es una industria que crea imagen. Una
película de Woody Allen hecha en Barcelona, por el sólo el hecho de que haya
aparecido Barcelona en el título y debido al eco que tuvo, ha traído muchísimo
turismo, afirmó, aunque advirtió a las jóvenes que no esperen encontrar a Javier
Bardem en cada esquina.
Coixet exhortó a no pensar en las subvenciones a la hora de forjar coproducciones

entre España y América Latina. Hay que hacer coproducciones que respondan al
interés de plantear una historia bien contada.
La cineasta recordó a dos directores mexicanos que la inspiran y que dijo admirar
mucho: Alejandro González Iñárritu, a quien califica de uno de los grandes
cineastas de nuestro tiempo, y Alfonso Cuarón, cuya cinta Y tu mamá también, le
mostró un México que no conocía.
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La Nacion Costa Rica
19.02.2010
Colombiano Sanabria gana premio a jóvenes talentos en Berlinale
Berlín, DPA. El cineasta colombiano Camilo Sanabria se alzó hoy con el premio Talent
Campus que el Festival Internacional de Cine de Berlín otorga a los jóvenes talentos.
El ganador fue dado a conocer esta noche en una gala celebrada en el teatro Hebbel am
Ufer, en el multicultural barrio berlinés de Kreuzberg, en la que estuvo presente, entre
otros, el actor mexicano Gael García Bernal.
Sanabria fue el seleccionado de entre los 350 jóvenes cineastas procedentes de 95 países
que participaban en esa sección de la muestra cinematográfica.
Durante seis días participaron en más de 100 eventos, en los que pudieron conocer a unos
150 profesionales del cine y tomar parte en talleres, debates y discusiones que giraron
sobre todo en torno a la idea “El cine necesita talento- Buscando los talentos adecuados”.
Algunos directores presentes en la sección oficial del festival, como Jasmila Zbanic (Na
Putu) o Yoji Yamada (About her Brother), compartieron sus experiencias con los jóvenes.
En la actual edición del Talent Campus, la octava, el tema del trabajo cinematográfico en
equipo cobró un protagonismo absoluto. “El cine funciona sólo en equipo y para tener éxito
se necesita ser abierto, generoso y mostrar respeto hacia los demás”, dijo en la apertura
de la gala el productor de la película de Martin Scorsese Shutter Island , Mike Medavoy.
“El apoyo de otros cineastas es lo más importante de nuestro cine”, agregó García Bernal.
“Ellos son los que les ayudan a decir lo que quieren decir”.
Los finalistas de la competición tenían que hacer una adaptación sonora de la película
Please Say Something , de David OReilly, ganadora del Oso de Oro de la Berlinale en 2009.
La adaptación de Sanabria es “una obra fantástica y estructurada que demuestra en

detalle una personalidad única”, alabó el jurado.
Sanabria ganó un viaje de una semana para conocer los estudios Dolby en Los µngeles.
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lajornadajalisco.com.mx
08.10.2009
Tendrá el FICG talleres para estudiantes de cine
La convocatoria, dirigida a profesionales avanzados en el séptimo arte
CECILIA DURÁN
Lanzamiento de las convocatorias de los nuevos talleres del Festival Internacional de Cine
de Guadalajara Foto: FOTO ARTURO CAMPOS CEDILLO
El Festival Internacional de Cine de Guadalajara (FICG) abrió las convocatorias para el

Docu-Lab y el Talent Campus Guadalajara, dos espacios de formación para los jóvenes y
posiblemente cuenten con la presencia de Jim Jarmusch, Wim Wenders, Bernd
Lichtenberg, entre otros.
El Docu-Lab es un laboratorio de documental para la instrucción e intercambio creativo del

quehacer audiovisual entre los experimentados de la cinematografía internacional y
profesionales principiantes o alumnos en formación avanzada del lenguaje audiovisual,
orientado al género documental y a todos los rubros de la realización, producción y
distribución. Su primera edición fue en la 24 edición del FICG y para la próxima se
realizará del 17 al 20 de marzo.
Está orientado a los estudiantes avanzados y jóvenes profesionales del audiovisual de

Iberoamérica involucrados en la realización de documentales como directores,
productores, directores de fotografía, sonidistas o editores.
“El Docu-Lab es una experiencia única, es un evento donde se analizan nueve

documentales, que cuenta con la coordinación de Nicolás Echeverría. Esperamos del Docu-
Lab tener dos o tres documentales que participaron este año, queremos tenerlos en
concurso en la sección oficial”, resaltó el director del FICG, Jorge Sánchez.
El Talent Campus es un encuentro intensivo de actividades-clases magistrales, mesas de

discusión, talleres, proyección de películas alternativas, citas con los expertos, visitas al
mercado de cine iberoamericano y reseñas cinematográficas- para estudiantes avanzados y
profesionales en formación de México, Colombia, Centro América y el Caribe. Se realizará
en colaboración con el Berlinale Talent Campus del Festival Internacional de Cine de Berlín
y el apoyo del Goethe Institut Guadalajara, del 11 al 15 de Marzo del 2010.
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“La pasada edición recibimos a 60 y para la próxima serán 70. Lo vamos a abrir no sólo a
actores, directores, productores, sino también a la crítica cinematográfica. Se va a
convocar a los jóvenes de los medios de comunicación para que durante la semana del
Talent Campus reconocidos críticos de cine, sean sus mentores y los estén guiando tanto
en reseñas de películas como en actividades del Festival. Nos parece interesante la
apertura porque entonces el Talento no cubre solo la producción, dirección, etcétera. sino
también incluye a la gente que habla del cine e informa al espectador”, dijo Ana de la
Rosa, organizadora de ambos eventos.
Añadió que el tema principal de la pasada edición fue la narrativa cinematográfica y el sub
tema fue Cuéntame tu película. “Este año consideramos importante reforzar el mismo
tema, con el subtema El arte de contar”.
Para conocer más detalles sobre las convocatorias de ambos eventos

www.guadalajaracinemafest.com. El FICG25 se realizará del 12 al 20 de marzo de 2010.
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Laprensagrafica.com
26.07.2009
El centro como inspiración

Un grupo de amantes del cine y la publicidad se ha lanzado a producir un
cortometraje de ficción justo en el corazón de una de las ciudades más
peligrosas de El Salvador. La cinta, que tiene como escenario principal el cine
Libertad, es un homenaje a los viejos cines y a las ilusiones de los marginados
de la sociedad salvadoreña.
Escrito por Blanca Abarca

Domingo, 26 julio 2009 00:00
El capitalino cine Libertad, con sus detalles Art Decó parapetados por ventas de
artículos inservibles y rostros de desempleados urgidos de pan, se ha convertido en
la fuente de inspiración de un grupo de amantes del cine y la publicidad, que se ha
lanzado a producir un cortometraje de ficción en el corazón de San Salvador, una
de las ciudades más violentas de El Salvador.
El proyecto cinematográfico se titula “Cinema Libertad”, cuyo guión y dirección

son de la autoría dEl Salvadoreño Arturo Menéndez, un joven cineasta y publicista
que ha estado tras la serie documental “Crónicas” –que se exhibió hace un lustro
por el Canal 12–, el corto de ficción “Paravólar”, así como el documental “U2 Vení
in the name of El Salvador”, entre otros proyectos.
La cinta, de unos 20 minutos de duración, cuenta la historia de cómo un niño y una

niña le devuelven la vida a la vieja sala de cine de San Salvador, la cual está
habitada por prostitutas, payasos, vagabundos y gente necesitada de hogar. (En la
realidad, el ingreso al edificio está vetado y se requiere de una autorización del
Ministerio de Hacienda.)
Por medio de un rayo de luz del sol y un poco de imaginación, los chiquillos
aprenden a contar historias con sombras, haciendo olvidar y olvidándose ellos
mismos de sus duras realidades. Un efecto que a menudo fomenta el cine.
La parte más difícil
Edgard Aquino, de 12 años, quien interpreta a Nacho, y Tatiana Grande, de 10

años, quien encarna a Ela, son los protagonistas.
El casting de los pequeños fue, a juicio del director, una de las fases más difíciles.
La selección obedeció, más que a sus dotes actorales, a la capacidad de transmitir

una energía que Menéndez necesitaba para sus personajes, aunque reconoce que
ambos han demostrado talento al momento de memorizar sus parlamentos e
intervenciones.
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En “Cinema Libertad” también participan experimentados actores, como Leandro
Sánchez, Regina Cañas, Patricia Rodríguez, Salvador Solís, Juan Carlos Mejía y
David Acuña.
“‘Cinema Libertad’ es un homenaje a los viejos cines de El Salvador que ahora

están convertidos en bodegas, iglesias o en lugares abandonados”, resume el
productor ejecutivo Carlos Figueroa de la firma Meridiano 89, quien recuerda al
cine Libertad como una de las mecas del cine salvadoreño durante el recién pasado
siglo.
El proyecto, cuenta Menéndez, surgió en 2008 después de divisar la ciudad desde

un billar del céntrico portal La Dalia.
El guión de esta cinta estuvo en el sexto lugar del Premio Berlín Ahora, la
competencia para cortometrajes del Campus de Talento del Festival de Cine
Berlinale (Alemania).
La filmación –que duró cinco días no consecutivos– se realizó entre la plaza, el cine
Libertad y calles aledañas a finales de junio e inicios de julio.
El rodaje se llevó a cabo justo en las tres semanas en las que la Policía Nacional
Civil (PNC) reportó 10 asesinatos en el centro capitalino. En El Salvador, a diario
son asesinadas un promedio de 12 personas. En lo que va de este mes, más de 250
crímenes ha sido cometidos con armas de fuego y objetos cortopunzantes en
diferentes puntos del país.
“La violencia antes solo se veía en las películas; ahora la violencia saltó de la
pantalla y está en las calles”, dice Figueroa.
“En esa parte de San Salvador estamos acostumbrados a no caminar, por las ventas
y la inseguridad, pero sí se puede caminar y disfrutar la belleza arquitectónica,
aunque las ventas o la suciedad le van cercando el paso”, cuenta Menéndez.
Al pelotón de producción, unas 25 personas, no le pasó absolutamente nada

durante la grabación, a pesar de llegar con cámaras de video, lámparas, monitores,
micrófonos, cables y toda una suerte de artificios tecnológicos al tan temido
centro.
“Nunca tuvimos ni una leve sospecha de que ‘nos iban a poner’”, cuenta
Menéndez.
El equipo incluso hasta cerró un par de calles durante un fin de semana para captar
una serie de imágenes en medio del pandemónium urbano.
“Dentro del caos hay belleza”, insiste Menéndez, quien prefirió filmar escenas en
contra picada en los edificios cercanos para aislar la contaminación visual por
publicidad y las ventas callejeras.
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“Solo basta ver hacia arriba para ver la belleza del centro”, remata Francisco
Moreno, director de fotografía del corto, para quien capturar el interior del cine
Libertad fue uno de los más grandes desafíos dentro de la breve cinta.
En la cinta, en la que hasta ahora se han invertido unos $55,000 (y la cuenta sigue
creciendo), se han involucrado las casas productoras salvadoreñas Unos Cuantos
Perros, Meridiano 89 y Freelance Studios. La posproducción del sonido correrá a
cuenta de la compañía colombiana Piso 53 Audio, que trabaja en soundround.
La película está en la fase de posproducción. Los creadores esperan exhibir la

cinta en agosto y no descartan mostrarla en los circuitos de cines capitalinos en el
último trimestre de 2009. La participación en festivales regionales e
internacionales también está en las cuentas.
A pesar de que “Cinema Libertad” aún no ve la luz pública, el proyecto ya cuenta

con una legión de fanáticos. Más de 600 personas siguen de cerca la evolución del
proyecto desde la red social Facebook, donde se pueden consultar avances de la
producción.
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Lashorasperdidas.com
27.01.2010
60ª EDICIÓN DEL FESTIVAL DE BERLÍN

por Mary Carmen Rodríguez
Polanski, Zbanic, Yimou, Vinterberg y Winterbottom pelearán por el Oso de Oro.
Entre los próximos 11 y 21 de febrero tendrá lugar la 60ª edición del Festival de
Berlín. La dirección del certamen ya ha dado a conocer gran parte de los alicientes
que tendrá esta edición.
En primer lugar hay que hablar de Werner Herzog que tendrá la responsabilidad de
presidir el Jurado de la Sección Oficial. El realizador alemán, que recientemente
ha estrenado su “remake” de Teniente Corrupto, ha participado en dos ocasiones
en la sección oficial de la Berlinale, en 1968 con Signos de Vida, con la que se llevó
el premio a la mejor ópera prima, y en 1979 presentó Nosferatu, Vampiro de la
Noche, que fue premiada por su diseño de producción.
Werner Herzog no estará solo, le acompañarán la realizadora y actriz Francesca

Comencini, el escritor Nuruddin Farah, el productor José María Morales, Yu Nan y
las actrices Yu Nan, Cornelia Froboess y Renée Zellweger.
Otro realizador, Stephen Daldry, se encargará del Talent Campus, un minifestival

de cortometrajes, que entregará el premio Berlin Today Award. Durante seis días,
además de verse los trabajos de jóvenes realizadores, se impartirán talleres. Para
asistir al Talent Campus se inscribieron más de 4.800 personas, de diferentes
nacionalidades, y tan solo 350 han sido las elegidas. Para los organizadores ha sido
todo un éxito de convocatoria ya que se ha superado con creces el número de
solicitudes que tuvo la pasada edición. De los proyectos presentados, el jurado,
encabezado por el director de Las Horas, Billy Elliot o The Reader, escogerá cinco
y de ahí saldrá el corto ganador.
El ganador
del Oso de
Oro en 2007
por La Boda
de Tuya,
Wang
Quan’an, se
encargará
de inaugurar
la 60ª
edición del
Festival de
Berlín con
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Tuan Yuan. El film irá a concurso.
También optarán al Oso de Oro las siguientes:
- The Ghost Writer de Roman Polanski (Francia-Alemania-Reino Unido). Tercera

participación de Polanski en la sección oficial de la Berlinale. Estuvo en el año 1965
con Repulsión, por la que se ganó el Premio especial del Jurado, y el FIPRESCI
otorgado por la crítica y en 1966 se llevó el Oso de Oro por Callejón sin Salida.
- Bal (Honey) de Semih Kaplanoglu (Turquía-Alemania). Primera participación.
- Der Räuber (The Robber) de Benjamin Heisenberg (Austria-Alemania). Primera

participación.
- Na Putu (On the Path) de Jasmila Zbanic (Bosnia Herzegovina - Austria- Alemania-
Croacia). Segunda participación, Zbanic se llevó el Oso de Oro en 2006 con
Grbavica.
- Shekarchi (The Hunter) de Rafi Pitts (Alemania-Irán). Segunda participación, en

2006 presentó It’s Winter.
- Caterpillar de Koji Wakamatsu (Japón). Segunda participación en la sección

oficial, en 1965 estuvo presente con Secrets Behind the Wall.
- En Familie (A Family) de Pernille Fischer Christensen (Dinamarca). Segunda

participación, en 2006 presentó En Soap con la que recibió el Gran Premio del
Jurado y el premio a la mejor ópera prima.
- En ganske snill mann (A Somewhat Gentle Man) de Hans Petter Moland (Noruega).
Segunda participación, en 2004 presentó The Beautiful Country.
- Eu când vreau sa fluier, fluier (If I Want To Whistle, I Whistle) de Florin Serban
(Rumanía-Suecia). Primera participación.
- Greenberg de Noah Baumbach (Estados Unidos). Primera participación.
- Howl de Rob Epstein y Jeffrey Friedman (Estados Unidos). Primera participación

en la sección oficial de la Berlinale, aunque con sus documentales Paragraph 175,
The Celluloid Closet y Common Threads: Stories from the Quit han estado
presentes y han sido galardonados en secciones paralelas del Festival de Berlín.
-Jud Süß de Oskar Roehler (Alemania-Austria). Tercera participación. En 2003

presentó Der alter Affe Angst y en 2006 Elementarteilchen.
- Kak ya provel etim letom (How I Ended This Summer) de Aleksei Popogrebsky
(Rusia). Primera participación.
- Mammuth de Benoît Delépine y Gustave de Kervern (Francia). Primera

participación.
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- Rompecabezas de Natalia Smirnoff (Argentina-Francia). Primera participación.
- San qiang pai an jing qi (A Woman, A Gun And A Noodle Shop) de Zhang Yimou
(China). Cuarta participación de Yimou en el Festival de Berlín, en 1988 se llevó el
Oso de Oro por Sorgo Rojo, en el 2000 se llevó el Gran premio del Jurado por El
Camino a Casa y en el 2002 se llevó el premio Afred Bauer, por la contribución
artística de Hero.
- Shahada de Burhan Qurbani (Alemania). Primera participación.
- Submarino de Thomas Vinterberg (Dinamarca). Primera participación.
- The Killer Inside Me de Michael Winterbottom (Estados Unidos- Gran Bretaña).

Sexta participación de Winterbottom en la sección oficial de la Berlinale. En 1995
presentó Besos de Mariposa, en 1998 I Want You, en 2001 El Perdón, en 2003 In this
World, con la que se llevó el Oso de Oro, y en 2006 compartió el premio a la mejor
dirección con Mat Whitecross por Camino a Guantánamo.
Fuera de concurso se verán:
- My Name Is Khan de Karan Johar (India).
- Shutter Island de Martin Scorsese (Estados Unidos).
- Please Give de Nicole Holofcener (Estados Unidos).
- The Kids Are Alright de Lisa Cholodenko (Estados Unidos-Francia).
- Otouto (About Her Brother) de Yoji Yamada (Japón). Este film se encargará de
clausurar la 60ª edición de este certamen.
El cine español ha encontrado una vez más su hueco en la sección Panorama. Ahí se
verá el documental Cuchillo de Palo de Renate Costa, la nueva película de Miguel
Albaladejo, Nacidas para Sufrir, una cinta protagonizada por Adriana Ozores, Petra
Martínez y Malena Alterio, y el primer largometraje de Oskar Santos, El Mal Ajeno,
un film que cuenta con la producción de Alejandro Amenábar y que está
protagonizado por Eduardo Noriega y Belén Rueda.
Coincidiendo con el 60 aniversario de la Berlinale se va a realizar una retrospectiva

a la historia del festival. Para ello el crítico David Thomson ha seleccionado algunos
de los títulos más representativos que han pasado por la Berlinale como La Noche
de Michelangelo Antonioni, El Cazador de Michael Cimino, Al Final de la Escapada
de Jean-Luc Godard, El Salario del Miedo de Henri-Georges Clouzot, El Imperio de
los Sentidos de Nagisa Ôshima o La Ley del Deseo de Pedro Almodóvar, que fue la
primera película que ganó el premio Teddy a la mejor cinta de temática
homosexual.
Pero el que será uno de los grandes alicientes de la Berlinale será la presentación,
el próximo 12 de febrero, de la versión restaurada de Metrópolis de Fritz Lang, en
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donde se incluyen los fragmentos inéditos del film que fueron descubiertos en
Argentina. El pase será amenizado por la orquesta sinfónica de Berlín y de la
dirección musical se encargará Frank Strobel. Cómo envidio a los futuros asistentes
a este evento.
A partir del 11 de febrero os iremos contando todo lo que suceda en el Festival de

Berlín.
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Latindispatch.com
08.02.2010
Interview with Javier Fuentes-León, Director of

“Contracorriente”
by Jason Farbman
Javier Fuentes-León, director of "Contracorriente"
As the Sundance film festival concluded last week, Javier Fuentes-León took home
the Audience Award for World Cinema Drama for his first feature-length film.
“Contracorriente” tells the story of Miguel (Cristian Mercado), a fisherman who is
expecting his first child with wife Mariela (Tatiana Astengo). At the same time, he
has been having a secret affair with a man, Santiago (Manolo Cardona), a visiting
painter renting a house in the village. When Santiago drowns, he returns to Miguel
as a ghost, and for the first time they are free to express their love without fear.
Yet Santiago’s ghost remains trapped in the village until his body is found and
properly buried, forcing Miguel to choose between the lies he has told and
confronting open homophobia.
Unlike most stories of gay love and openness about one’s sexuality,
“Contracorriente” takes place far away from an urban setting. Shot in a remote
fishing village in his native Peru, Fuentes-León’s project uses religion and magical
realism to create a work that is much more than the sum of premeditated parts. It
tackles the complicated issues of honesty about oneself, of machismo and what it
means to be masculine in Latin America.
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The Latin America News Dispatch had a chance to talk by telephone with Fuentes-
León in his home in Los Angeles.
In the past year gay marriage has been legalized in Mexico City and Argentina.
In Colombia big steps have been taken in terms of civil union rights. Obviously,
when you finish a movie you want to put it out, but is the present a better,
more receptive context to release “Contracorriente”? What is your view on the
relationship of art to social change?
Fuentes-León: I think cinema can help — art in general — can help change people’s
minds. I do think though what will really change people’s minds will always be
having somebody else next to them say, “hey, I’m gay.” Somebody they love or
admire or respect. And seeing them live their lives as who they are. I don’t want to
diminish the power of cinema and art, but I don’t want to overstate it either. This
is an issue that we’ve been dealing with for a long, long time. At some points it has
been something that’s more accepted, then definitely not, then back again. I’m
happy about a lot of the things that are happening in Mexico and Argentina and
Colombia and hopefully people will see this film as something they can relate to as
a love story and that will help be part of that movement that is making people
change their minds. Because I think it’s about time.
We are going to release it in Peru, we are going to release it in Colombia, and we

want to release it all over Latin America. We’ll see what the reaction is, but
getting into Sundance and winning [the audience award] has already made a big
splash of news in Peru and in Colombia. To have that kind of stamp, it’s great,
because it says to people “this is a movie you should see.”
You shot “Contracorriente” in a small fishing village in Peru, Cabo Blanco. Do

you think that brings an added authenticity?
Fuentes-León: My intention was not to talk about the political context of Cabo
Blanco, of a man in this particular town in Peru that deals with being gay or with a
homosexual relationship. I don’t even mention that it’s Cabo Blanco — you see it on
a few boats, some of them say Cabo Blanco, but I don’t even say it’s Peru. There
was even a line that was taken out that talked about Lima, because I wanted it to
be an archetype of a town, more than the political and social context of a specific
town and country. I guess that’s what helps people connect from other cultures,
because it looks like a small town that could be set in South Africa, or Italy, or
Colombia, or Thailand, or even maybe Louisiana you could find something like this.
Still from the film "Contracorriente"

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Fuentes-León: The guy who plays the painter — the Colombian actor, Manolo
[Cardona] — is a huge star in Colombia, but also in Latin America. He was the male
lead in Beverly Hills Chihuahua. So there’s an interest on his part in crossing over
and coming to the United States. Whereas Christian [Mercado], who is also a very
good actor, and very well-known in Bolivia, he’s not actually that known outside his
own country. He has an important role in Steven Soderbergh’s Che Guevara movie,
in the second film about Bolivia. I think Christian’s aspirations are not to be this big
star. For him the pressure was a little less because he didn’t really have this big
following of fans. That doesn’t mean it was easier. I think for both of them they
were challenging roles, and not just because of the physical aspect.
But for Manolo it was definitely a bigger risk, and people told him not to take it,
that this was a career suicide and blah blah blah. But he’s always wanted to be a
serious actor and in order to be that he needed to take roles that were not just
going to perpetrate the idea that he is a hot, macho guy. Which is what he’s done
in the past quite a bit. He’s always been the lover, the mafia guy, the cool
detective, you know. He wanted something challenging — which the physical aspect
was — but he also has to be vulnerable in this film, be sensitive, he has to be loved
and show it. So for him it was a big risk, career-wise. But he’s very proud and has
been wanting to support this film and go wherever it’s being shown. So we’re very
happy.
In the film, the heterosexual sex scene was shot very differently than those
with Miguel and Santiago. Was there a conscious effort to portray these
differently because the two male leads are heterosexual?
Fuentes-León: I had in mind the audience that was going to see this film, mainly a
Latin American audience. I made this film for as many people as can get to see it,
but I had the Latin American audience in mind, and I wanted to highlight the
romance and the love between the two men, and be a little bit careful about how
much to push that envelope. I didn’t want to lose [the audience], especially
because [scenes with Miguel and Santiago] come early in the movie. That’s one
side, but on the other hand, in terms of story, when Miguel and his wife have sex,
it’s really Miguel trying to prove to his wife and to himself that he is a “man” that
he wants to be and she needs him to be. It is a make-up sex, but a “proving that I
am a man” sex. It’s not only that I was afraid that one sex needs to be more
intense than the other, but storywise it makes sense that Miguel would be more
intense with his wife, at that moment in their relationship. That is when he is
trying to prove “I have forgotten the other one and I am not gay.”
You told audiences at Sundance that you could not find funding in the United
States for a film which dealt overtly with homosexuality and was also in
Spanish. Can you talk a bit about how you did get the funding?
Fuentes-León: Some governments — especially in Germany and in France — have

some money for project that are not shot in their own country, to help developing
countries with their film industries. We got that first funding in Germany because
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of [the Berlin Film Festival/Berlin Talent Campus]. Which is amazing, because this
is Germany, and this German producer is interested in a story in Peru. And I lived in
L.A., so there was no connection to Germany whatsoever. And it was through them
that we got our first funding. This other company in France heard about it and
came to us to read [the script]. They really liked it and applied to this government
funding from France which is for industries of developing countries. We got that
one too. Ironically, the governments of countries that had nothing to do with Peru
were the first ones to support this film.
After that, when you start having a bit more money, people start paying more
attention to you. The next chunk of money came from Colombia and Peru around
the same time. Peru also has a government fund, and funds five films a year — not
completely, but you get like $150,000. Which is how most films are made around
the world except in the U.S. and in India. There are some films made with
European money that are not dependent on the government, but even then they
get benefits for taxes and incentives. Pretty much all the other film industries in
the world depend on the governments a lot.
Do you think it’s easier to get a hearing for new voices or ideas when financing
comes through the government?
Fuentes-León: Well I think that what is good about all this government funding is
that directors have final cut. And in most cases you don’t have to return the
money. It’s basically a gift in most cases. In Hollywood if you have private money
that is invested in your film, those people need that money returned. And
hopefully they gain some money also. So there’s more of a pressure to perform, for
these films to connect with an audience and therefore there’s this whole obsession
with “Ok, this thing worked, this formula works, this actor works, this genre works.
Repeat it.” Where as film makers in France that very much funded by their own
government and don’t have to return that money, they have more freedom to fuck
it up. Therefore they can do whatever they want.
I’m generalizing of course, but that’s what the French government wants. They
take pride in the fact that they’re creating auteurs. Films are made in France with
the intention of being commercial successes, but definitely when you have a
government that doesn’t ask you to return the money and leaves you alone to make
the film you want to make, you are allowed to tell stories that are more out of the
norm. I even have a bit of private money from Colombia — quite a chunk of our
money came from Colombia — but I was always allowed to do what I wanted. Which
was great, and I don’t know if this would have been the case if it had been made —
well it would not have been made — under a Hollywood studio. I would not have
had that freedom, especially being a first time film maker.
I read that you finished medical school and then decided to pursue film.
Fuentes-León: I had always wanted to be in film. It’s just that when I came out of
high school and had to choose a career, that was not an option really. And not
because my parents didn’t want me to, but because there wasn’t really any place
to study film or even practice. And also in the society in which I grew up, all the
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men, all the boys would choose the typical five or seven conventional careers. Out
of those I chose medicine. I enjoyed studying it, but as I grew older and more
mature I realized this is not what I really want to do. So by the time I graduated
from medical school, which I had decided I needed to do, I had been accepted into
Cal Art [California Institute of the Arts]. I graduated from med school in April 1994
and by September of that same year I was already here studying film. So it wasn’t
like I finished medical school and just decided to become a film maker. I had
wanted to, but the decision to actually do it took me awhile.
What is your next project going to be?
Fuentes-León: Well it depends on which one gets financed. I have another one
that is a love story, this time between a man and a woman. It’s not a forbidden
love, but it’s not a love that people understand. The other one I’m about to finish
is a film noir, a psychological thriller, that takes place in L.A. I live here so I also
want to make films here, but I also want to continue making films in Peru or
wherever I can.
View the trailer for Fuentes-León’s “Contracorriente.”

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Nisimazine.eu
18.02.2010
Talent Campus #8: Notes on Claire Denis
By Eftihia Stefanidi (Greece), Thursday 18 February 2010
Whenever I’ve been to a Claire Denis talk, something mysterious happens: it is

absolutely impossible not to pay attention. Her scattered words remind me of
laundry hung out to dry on a line. As seen in the military milieu of Beau Travail,
each piece of clothing is completely autonomous, with its own gravity, and
enfolding its own full-blown meaning. Loosely hanging from the rope of language,
her words are almost interchangeable. As though you could move the ‘pieces’ of
the puzzle around, changing their place and meaning, and they would still fit. Her
idiosyncratic language easily results in expressions that are not very linear, but
more emotional, as if her mind speaks with symbols. And there is a similar feeling
with her films: studies of human behaviour, of people that have just arrived in a
place or are ready to leave, their delicate presence follows a poignant abstraction.
Trying to pin down her views during a Talent Campus

on-stage interview, I found it difficult to be concrete.
Her quotes are by far stronger than a tailored piece.
On being an assistant director: “I really enjoyed it

because I like being lazy; to float; to let it go.”On
future: “I always avoid looking towards the future. I
Beau Travail (1999) am happy to be where I am.”
On career: “Everything I did in my life was by chance.”
On working with Jim Jarmusch and Wim Wenders: “I felt happy to be with them.
They are people who are funny to work with, free in their minds.”
On her debut film, Chocolat: “The script for me was like a small book for children;
like images on postcards.”
On her collaboration with her writer, Jean Pol Fargeau: “I went to Marseille for a
weekend to meet up with J.P. Fargeau and I ended up staying for a year.”
On working with her cinematographer, Agnès Godard: “She

is a companion. She has no fear to try, which is the most
important thing in filmmaking." (For The Intruder, Denis
and Godard decided to rent and use only two lenses!) "We
are both small and shy; people thought we would not make
it, and that I would need someone stronger next to me.”
On casting: “Casting is not reasonable.” “People chose

themselves in a crowd…” “It is boring if you look for
someone perfect who will fit exactly to what’s in your
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mind. It is better to try to find a person that you connect and you are attracted to.
Then you can work out the character together.”
On her actors: “I chose actors that I am attracted to. There is no point of seeing
someone you do not connect with every day.”
On Béatrice Dalle: “When I proposed to her the role for The Intruder, I knew she
would probably be put off if I’d describe to her the actual storyline. So I just told
her she was going to play the queen of the north hemisphere. She agreed.”
On Grégoire Colin: “He was always trying to tell me negative things about himself,
so I would not want to work with him. I loved it!” “We are playing like cat and
mouse, and I really enjoy that.”
On the reason of making films: “Sometimes making a film is for one scene, not for
the whole story.”
I cannot agree more with this last quote.
Eftihia
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Pedestrian.tv
15.02.2010
Australian Wins At Berlin Film Festival February 15, 2010
Young Australian
filmmaker, Bryn
Chainey, has just won
the Berlin Today
Award - a prestigious
prize for up-and-
coming film talent at
the Berlin
International Film
Festival.
Chainey's short film

"Jonah and the
Vicarious Nature of
Homesickness" was selected by the competition's high profile Jury, including
actress Heike Makatsch, director Stephen Daldry and producer Peter Rommel. The
Jury said they were won over by the "the truly creative inventiveness of this film.
We are curious about what this talented filmmaker will come up with next". High
praise indeed.
Chainey's entry is a combination of live-action and stop-motion animation, about a

chap named Jonah who leaves his family and blasts into outer space. The film is so
new that it doesn't have a trailer yet, but you can get an introduction to Bryn's
work via his showreel:
Bryn Chainey Showreel from Bryn Chainey on Vimeo.
Four Australian feature films will show and compete in the main competition at the
Berlinale including thriller "Red Hill" starring Ryan Kwanten (Vinnie from "Home and
Away" who is now smoking hot and hanging with vampires in "True Blood") and
Steve Bisley, and the Rachel Perkins-directed Musical, "Brand Nue Dae".
Top image courtesy of Chris Erlbeck

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Ponto Final (Macau)
24.02.2010
Um realizador na Berlinale
Thomas Lim
English translation:
I guess we would all expect to hear that I have learnt a lot over the past weeks
here and have met a lot of people. Yes indeed, those are both very true, but even
more so, I think I have learnt more about my current place on an international
scale as a filmmaker. I guess this filmmaking journey is all about knowing myself
and knowing the most effective (but not necessarily the best) way to guide myself
onto the path that I desire to take. I have long known that I like to throw myself
into the ocean and then learn how to swim, because then I am forced into a
challenge that I created for myself and I will not let myself down. This character of
mine was also apparent in my previous decisions to move to Beijing to put myself
into the biggest platform in the Chinese world for an actor, even though I didn't
know anyone in China before, and had very little money with me back then. By
making my first feature film 'Roulette City' before making any short film, I knew I
was in for a hard time. But making films is about breaking the rules, so I didn't care
to follow the traditional route of making shorts before a feature. I knew I was going
to get bored by making say, five shorts before making my first feature. And who
knows, I might have lost the desire to make a feature if the journey took that long.
I am a huge believer of 'rage', and think that some passions die off if you wait too
long to express it, simply because waiting kills passion. However, back in my mind,
I also knew that the ambitious attempt of making a feature as my first film of any
length meant that I was learning by doing, and would be making a lot of mistakes. I
felt completely burnt out many times during the making of 'Roulette City', and only
a year and three months later today, I wished I would have made the film very
differently. This is simply because I spent every second of the past one year and
three months thinking, discussing, researching, and dreaming about filmmaking,
and I would like to think that I had grown as a filmmaker since the first day I
started writing the script for 'Roulette City'. Like we also know, I have shot three
interlinked short stories since 'Roulette City', and have named the first two 'Blue
Card' and 'Stamps'.
So anyhow, here I am at the end of the Berlin Talent Campus, which was part of
the 60th Berlinale Film Festival 2010. This is the first time that I've been to any
film festival and I am totally overwhelmed by what happened the past 10 days.
First, I arrived in Berlin on 10th Feb morning and immediately felt very welcomed
and comfortable. This is not my first time in Berlin (I was here in summer of 2003
as a backpacker, but was doing a bunch of European cities at one go back then).
The first impressions that I have of Berlin this time was that the weather was
freezing cold with snow everywhere, but the people extremely warm and helpful. I
checked into the hostel that the Talent Campus had arranged for the participants
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and wasted no time in getting acquainted with the many cinemas that will screen
films from the festival itself for the coming 10 days. One of the first things I
noticed here in Berlin was that the Berlin Film Festival advertisements were
everywhere. When I got to the shopping mall where they sell the festival movie
tickets, I was shocked to see the very long lines in front of the ticket booths even
before they were opened, These lines were there everyday and they kept getting
longer and longer, until when the final two days of the festival (because the public
can only buy movie tickets 3 days in advance). Many of the cinemas that screened
the festival movies were near the city centre in a place called Postdamer Plaz, and
some others were near metro stations. With my Talent Campus festival badge, I
could watch the festival movies for free and I took full advantage of this by
watching as many as six films a day when I had no campus activities, and two films
an evening during campus days. I must say, watching six excellent movies a day is
not very fun at all. It's like eating six huge meals a day.
During the campus days, I woke up every morning with a sense of gratitude. In a
sense, I reminded myself every morning that I was lucky to be one of the 350
chosen from 4700 to be here. In other words, there were many people who wanted
to come, but were not chosen. The campus days (13-18 Feb 2010) were long and
intensive. I get up at 7am in the mornings to get dressed and mark the campus
events/masterclasses that I want to participate in, and the movies that I want to
watch for the day. Then we all stand in line for about 30 minutes to book our
coupons for the events and movies we've chosen and the event coupons and movie
tickets are given out on a first come first serve basis. Standing in line was often a
great way to meet new people, and speaking of meeting new people, there were
really too many people to meet. Most of the participants were caucasians and after
a while, it really wasn't too easy for me to tell a European face from another in a
sea of westerners packed in say, a lecture hall. The participants of the campus
work in different areas of film. There were obviously directors and producers, but
also cinematographers, actors, screenwriters, and even location managers. The
campus masterclasses and events were also very packed in terms of schedule and
there was always something for everyone. In fact, there was often more than one
thing at the same time that interests me, so I was often torn and had to give up
one class for the other. The masterclasses, small group discussions, lectures, and
workshops are conducted by industry experts from all over, who were in town for
the festival. This year's experts include Stephen Daldry, Claire Denis and Yoji
Yamada, to name a few. All in all, I learnt heaps, and met A LOT of people in the
week long campus. I think my Facebook friends list will double by the time all the
campus talents got home and finally find time to Facebook each other. Speaking of
Facebook, the Talent Campus has a website (not Facebook page) that carries
information about all it's alumni and it works just like Facebook where all past
talents get the chance to update their work or personal information, and keep in
touch with one another. The Berlinale Film Festival itself is also very keen in having
the Talent Campus alumni send their new works to the festival in the future, and is
always proud to announce when they select a campus alumni's work to screen at
the festival. This is actually the part that excites me most. 'Roulette City' wasn't
selected for the Berlinale this year, but I am hopeful about the future.
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So that's an overview of what happened at the Talent Campus in general. For me
personally, there were other highlights too other than the standard campus
activities. First of all, I am receiving mentorship from a German industry expert on
my short films 'Blue Card' and 'Stamps'. I will continue to work with my mentor on
these short films till 26 Feb (it is 24 Feb as I write this passage now) and for now, it
is possible that I might combine the two short films into one, in a newfound,
interesting narrative form. I also shot a third short film that is connected in terms
of content to 'Blue Card' and 'Stamps', and I might just use footages from it work
into the new combined-version. In short, I might just combine the initially planned
three short films into one. Another highlight for me in Berlin this time was a call
from the Singapore embassy in Berlin for a casual meeting over coffee. So, I met
with the deputy chief of mission and the first secretary of the embassy, and it was
nice to feel the support from my country.
Speaking of my own country, I have moved back to Singapore a week before I came
to Berlin. In a sense, I have given up my apartment in Macau and moved my stuff
back to Singapore. Strangely enough though, I don't feel that I have left Macau at
all, probably because it's so near to Singapore and I could visit easily. I definitely
also hope to continue shooting films in Macau as the place is (I've said this so many
times) very beautiful.
And finally, updates on 'Roulette City'. Over the past week, I have just received
official notice that the film will screen at the Macau International Film and Video
Festival in Macau on 10th April (Sat) at 1700hrs. It will also screen at the Singapore
International Film Festival in Singapore, also in April. I guess that marks the
premieres of the film, and I look forward to seeing everyone in Macau again when I
return for the film's screening. The film has been re-edited to a short length, and is
75 minutes now.
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Rp.pl
24.02.2010

Marta Sikorska 01-03-2010, ostatnia aktualizacja 01-03-2010 12:52
Z polskim producentem filmowym Kubą Kosmą, uczestnikiem tegorocznej edycji

Talent Campus, rozmawia Marta Sikorska
źródło: PISF
Kuba Kosma. Fot. Marcin Kułakowski
+zobacz więcej
Talent Campus to warsztaty odbywające się podczas Międzynarodowego Festiwalu

Filmowego w Berlinie: wykłady mistrzów i liczne imprezy towarzyszące, w których
bierze udział kilkuset filmowców. To takŜe spotkanie młodych twórców z całego
świata i moŜliwość budowania sieci międzynarodowych kontaktów.
Wydzieloną częścią Talent Campus są indywidualne „treningi" filmowe. Wymagają

specjalnego zgłoszenia, ale gwarantują zakwalifikowanym duŜo specjalistycznych
zajęć praktycznych w kilku kategoriach.
Wzięcie udziału w Campusie to okazja spotkania najbardziej znanych i cenionych

ekspertów z branŜy filmowej. Wykładali tam juŜ między innymi: Stephen Frears,
Dennis Hopper, Charlotte Rampling, Tilda Swinton, Janusz Kamiński, Walter Selles,
Ridley Scott, Wim Wenders i Andrzej Wajda.
Czytaj rozmowę z Kubą Kosmą w serwisie Pierwsze Ujęcie PISF

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Theage.com
23.02.2010
Australian films win Berlin plaudits

Stephanie Bunbury
February 23, 2010
Callan McAuliffe in a scene from Hannah Hilliard's Franswa Sharl.
AN AUSTRALIAN short film about a cross-dressing boy who wins a holiday resort beauty competition
won the Crystal Bear for best short film in the Berlin Film Festival's children's section, Generation K-
plus. A jury of children described Hannah Hilliard's Franswa Sharl as ''non-stop fun … for a moment
we forgot the world around us''.
Over on the Berlinale Talent Campus that offers support to new filmmakers, Australian Bryn Chainey
won the campus' award for the best short film with Jonah and the Vicarious Nature of
Homesickness. A jury of professional filmmakers praised the film, about a boy blasting away from
his family in a home-made spaceship, for its ''truly creative inventiveness''.
Franswa Sharl was based on a real story from Hilliard's co-writer Greg Logan. ''I'd made some dark-
themed films, all about parent-child relations,'' says Hilliard, who graduated from the Australian
Film and Television and Radio School in 2007. ''I was ready to move on to a feature but I thought it
was such a charming story I wanted to make something that was warm, real and funny. I thought it
would be a tonal challenge, a change from my usual films where people die or get stalked.''
It was an eventful shoot in Port Stephens, marred by heavy rain on the very day they had to film the
poolside beauty competition. On the plus side, the young star Callan McAuliffe was signed up by
talent agency William Morris while filming and has now played the lead role in Rob Reiner's latest
film, Flipped, about a romance between eighth-grade opposites. ''He's actually shooting the role of
Quick Lamb in Cloudstreet television series currently,'' she says, ''so he's about to be a Hollywood
star.''
The Berlinale ended on Saturday with the announcement of the winners in its main competition.
The festival's Golden Bear went to Bal (Honey), Semih Kaplanoglu's film from Turkey about the
relationship between a boy who mysteriously begins to stutter and then lapses into silence and his
father, a bee-keeper. It was one of many striking films at the festival about relationships within
families, which emerged as an unexpected festival theme.
The other big winners were Florin Serban's If I Want To Whistle, I Whistle - a film about a young
delinquent in a reform school who falls in love with his psychologist, made with a mixed cast of
actors and real-life juvenile detainees - which won both the jury's grand prize and the Alfred Bauer
memorial prize for a film of particular innovation. The win confirms Romania's position as a source
of consistently strong, low-budget films over the past few years.
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The one award by Werner Herzog's jury that may have been seen to be courting controversy was
the best director's gong for Roman Polanski, a clear gesture of support for the 76-year-old maestro
under arrest in Switzerland.
His film The Ghost Writer, a thriller about a seedy British administration starring Pierce Brosnan
as a thinly disguised Tony Blair and Ewan McGregor as his amanuensis, had something of the
eeriness of his early films such as Knife in the Water, but was sluggish stuff by comparison with
contemporary thrillers full of action and fast cutting.
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Timeoutbengaluru.net
10/2009
Fest of fury
The handful of pieces in this short film festival will forever alter the way you view moving
pictures, says Jaideep Sen.
You’d have to steel yourself from sniggering

reprehensibly over Tomer Eshed’s Our
Wonderful Nature, an animated short about
the mating habits of the mouse-like water
shrew. Sure, you could pay heed to the
“contains animal violence and sex”
warning. But then, it does add, “Enjoy.”
When you’re left chortling over two of the
male mammals fighting over a female, it
may even slip your mind to consider that
this film by the Jerusalem Art School
student figures as one among the more
amusing pieces in a festival that includes separate segments on the theme of neighbours,
and of walls.
The festival, titled “Love + Death = Happiness”, being hosted by the Goethe Institut this
fortnight and curated by Robin Mallick, promises a collection of new short films from
Germany and other parts of the world.
The three segments in it are “In the Neighbourhood”, “Walls around the World”, and “Best
of Filmfest Dresden: New Short Films from Europe”. Mallick, who has in the past, played
prominent roles at the Filmfest Dresden international short film festival, and with the
European Coordination of Film Festivals, knows a thing or two about mixing things up for
audiences. So when you go in expecting some hard-hitting material in the first segment,
what you get instead is a host of fresh animation efforts (each one of which has amassed
immense accolade), and an abundance of unrestrained belly laughs.
The first segment “discloses numerous challenges to cope with your neighbours”, says the
curatorial note, leading into the second part, which begins in Berlin, and moves on to the
“physical and psychological” walls in Indonesia, on an Arctic island, and finally, at the
Indo-Pak border. That’s where you’d be completely thrown off guard.
If there’s any hint of political incorrectness

here, it’s do with a bored woman and an
equally bored man in the split-screen
animated short Sofa, by Hyekung Jung. The
woman re-ascertains her red polka-dotted
underclothes while slamming her cat against a
sofa, as the man attempts mounting his couch
in frustration.
In Window with a View, Vera Lalyko toys with

“illusion glasses” – a fancy contrivance of
“windows of the future”. Daniel Nocke’s No
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Room for Gerold finds three morphed animal flatmates – Ellen, Armin, and Roger; gnu,
hippo and rhino – sitting around a table to tell their fourth friend, Gerold, a crocodile, that
he must leave. Sebastian Peterson’s Diary of a Perfect Love is about a heartsick young
factory-worker buck believing his life will change on his 29th birthday, when he meets a
gorgeous fille. In Stefan Müller’s Mr Schwartz, Mr Hazen & Mr Horlocker, the character
Schwartz plays the irate neighbour who calls in the cops to quell a ruckus. While Jan
Thüring’s The Raft finds two starving, half-crazed castaways – Marty and Ernest – lost at
sea, coming to knives over a fish that a seagull drops over their heads. The lone stark cut is
in Florian Grolig’s White, lending the message, “In the middle of white is monotone
balance… one definition of space is the absence of embarrassing contact.”
That the festival presents an impossibly mixed bag of selections – in films that will have
you guffawing boisterously over topics normally considered with restraint, and gravely
pondering over trivial subjects – there’s also the aspect of the various techniques that it
brings together. Hand-drawings, puppets, clay, 3D computer animation, and mixed media –
like Bert Gottschalk’s Framing, which experiments with modified footage, drawings on
photo and video, to capture collages of the building-facades of a city in single frames of 8
millimetre-film, all put together to the music of Schubert. The process – any which way, is
never easy, as Thüring, in a “making of” feature, explains how his ten-minute film took
months to shoot, and over a year and a half in post-production. “It was a hard struggle to
achieve the quality of images that we wanted,” he says.
The non-animated shorts in the second

segment feature Paul Cotter’s The Berlin
Wall, a (fictionalised) account of a 75 year-
old man building a wall, to recreate
memories of how he first met his wife.
Bagus Wirati Purba Negara’s Indonesian film
Musafir follows two garbage collectors on
the streets of Jakarta. Sabine El Chamaa,
who has spoken about her childhood amidst
the war in Lebanon, has an elderly woman
reconstructing the rubble of her destroyed
home – inside the new place she’s relocated
to, in Promenade. Steve Pillar Setiabudi
tracks a working day with Jakarta’s food carts in Rhythm of a Day, and Sakiti Parantean’s
Pork or Chicken? follows Novi, a 10-year-old Chinese girl on the same streets, while Gina
Abatemarco’s My Super Sea Wall finds the inhabitants of Kivalina, an Arctic island, stacking
sandbags to keep rising water levels out. Supriyo Sen’s Wagah captures the ceremony of
the closing of the border between India and Pakistan.
The stunning final segment covers suspense – with a bomb set to go off in the duo Lars
Jandel and Tom Zenker’s Ray of Hope, horror and fantasy – in Edouard Salier’s 4, and
infatuation – in Michael Watzke’s The Secret Sound. Jane Linfoot’s Youth presents an edgy
roughing-out story of adolescence that ends up being more worrying than enjoyable, but
it’s Spela Cadez’s Lovesick, a charming (puppet-work) love story that begins with a
dolorous hero having his heart taken out on a tray, that will ultimately leave you choking
on emotions that you’d be certain are as yet undefined.
Source : Time Out Bengaluru ISSUE 10 Friday, November 27, 2009

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Transindex.ro
03.03.2010
kérdezett: Dunai László

VÖRÖS SZİNYEG
Fiatal erdélyi filmkritikus menni Berlinale
Plájás Erzsébetet több mint 5000 jelentkezı közül választották be a filmfesztivál alatt
zajló Talent Campus nevezető képzésre. Élményeirıl kérdeztük.
Erzsébet (Betti) marosvásárhelyi születéső, a kolozsvári Sapientia egyetem Fotó, film,

média szakának végzıs diákja 2 éve kezdett filmkritikával foglalkozni. Idén sikerült eddig a
legnagyobbat dobbantania, hiszen a Berlinale ideje alatt profiktól leshette el a szakma
fortélyait.
Mi a Berlinale Talent Campus?
Plájás Betti: A Talent Campus tulajdonképpen egy hat napos intenzív filmes képzés,
melyet 2003 óta szerveznek meg a Berlinale ideje alatt. A képzésekre 350 fiatalt
válogatnak be az egész világból: rendezıi, operatıri, vágói, színészi, produceri,
díszlettervezıi, zeneszerzıi szekciókba lehet jelentkezni.
Valamelyest elkülönül ezektıl a Talent Press tréning, amely kimondottan

filmkritikusoknak, illetve filmes újságíróknak szól, ide pályáztam én.
Lefordítottam három publikált filmkritikámat angolra, majd a nagyon pontosan, németesen
megtervezett jelentkezési lappal együtt múlt év szeptemberében elküldtem azt.
Decemberben telefonáltak, hogy beválogattak.
Mibıl álltak a foglalkozások?
Az idei Talent Campusnak a „Cinema Needs Talent: Looking for the Right People” („A
mozinak tehetség kell: a megfelelı embereket keressük”) volt a jelmondata. Az állt a
középpontban, hogy milyen sokat számít és mennyi minden múlik azon, ha a rendezı
megtalálja a megfelelı embereket a filmjéhez.
Elsı ránézésre nagyon kaotikusnak nézett ki az egész, mert minden foglalkozásnak volt
valami hangzatos címe, melyet ha elolvastál, fogalmad sem volt, hogy mirıl is szól, de
nagyjából két kategóriába lehetne sorolni a Talent Campus eseményeit.
Az elsıbe a kerekasztalbeszélgetések vagy panelek tartoztak, amelyen bárki részt

vehetett, és ahol híres meghívottakkal lehetett beszélgetni. Például Isabel Coixet arról
beszélt, hogy mennyire fontos volt számára az, hogy a megfelelı stábtagokkal dolgozhat
együtt.
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A Cinema Unlimited Intercontinental Connections címő panelen egy iráni rendezı, Rafi
Pitts elmondta, mennyire érzıdik a filmen, hogy a stáb miként állt hozzá a forgatáshoz,
milyen volt a kapcsolatuk egymással, mert minden, ami a kamera mögött zajlik, az
egyúttal ott van a képen is.
A kerekasztalbeszélgetéseken egyébként, bár neves szakemberek beszélgettek, érdekes

gondolatokon kívül nagyon sok gyakorlatias tapasztalatot nem lehetett szerezni.
A másik kategóriába a hands-on-training programok tartoztak. Ezek sokkal

gyakorlatiasabbak voltak, mint a panelek. Ami nekünk az újságírásképzés volt, hasonló
tréningeken vehettek részt a filmrendezık, operatırök stb. Például a résztvevık közül
három filmzeneszerzı Alexandre Desplat-tal dolgozhatott együtt, és azalatt a néhány nap
alatt egy animációhoz kellett zenét szerezzenek, melyet aztán rögzítettek.
A dokumentumfilmeseknek ott volt a Dokstation vagy a forgatókönyvíróknak a

Scriptstation, ahol igazi profikkal tudták megbeszélni a forgatókönyveiket. Ezek
természetesen szőkebb körben zajlottak, mint a beszélgetések, és az emberek jobban
megismerhették egymást.
A Talent Press keretén belül nekünk keményen kellett dolgozni, minden napra volt egy
feladatunk. Meg kellett nézzünk egy filmet, vagy egy elıadást kellett meghallgassunk,
minek utána rohantuk a szerkesztıségbe, hogy megírjuk a cikket, amelyet aztán
megbeszéltünk a mentorokkal. Kicsit azt érzem, hogy így sokmindenbıl kimaradtam, de a
képzésbıl sokat tanultam. Ez megérte.
Mit vártál el a képzésektıl, mielıtt elmentél?
Tanulni szerettem volna. A Talent Press-tıl azt vártam el, hogy visszajelzést kapjak a
munkáimat illetıen. Eddig írogattam filmkritikákat, de úgy igazából nem volt, aki
elmondja, hogy mi az, amit jól csinálok, és mi az, amin változtatni kellene, ezért kíváncsi
voltam szakemberek véleményére. Ezt megkaptam, ugyanakkor azzal, hogy minden nap
határidıre kellett írjak, egy nagyon stresszes szerkesztıségi helyzetbe kerültem, amit még
nem tapasztaltam, de nagyon izgalmas volt.
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A Talent Campustól pedig azt vártam el, hogy lehetıleg minél több filmessel ismerkedjem
meg, és olyan kapcsolatot alakítsak ki velük, hogy amikor hazajövök, bármelyikükkel fel
tudjam venni újra a kapcsolatot, és megbeszélhessek velük akár egy filmtervet is.
Hogyan lehet ismerkedni a Berlinálén, hogyan közeledsz egy emberhez?
Nem voltak különösebb „preferenciáim” az ismerkedést illetıen, mert ha valaki konkrétan

érdekel, megnézem a profilját a Talent Campus adatbázisában, és azon keresztül fel
tudom venni vele a kapcsolatot. Így izgalmasabb volt, mert ott voltál 350 emberrel egy
helyen, majd spontánul elkezdtél valakivel beszélgetni.
Fogalmad sem volt, hogy ki ı, vagy honnan jött, és rendkívül érdekes történeteket
hallhattál. A hostelben is folyamatosan lehetett ismerkedni. Elsı este például felmentem a
hostel bárjába anélkül, hogy bárkit is ismertem volna. Már a liftben megismertem egy dán
zeneszerzıt, aki 5 évet tanult Szentpétervárott a konzervatóriumban. Nagyon érdekes
beszélgetés alakult ki, amibe aztán egyre többen kapcsolódtak bele.
Nem féltél attól, hogy a filmkritikában menı trendekkel, vagy azokkal a témákkal,
amelyekrıl beszélnek, nem vagy tisztában, és ettıl esetleg kompexusaid lesznek?
Nem volt idım, hogy komplexusokat alakítsak ki, mert minden annyira gyorsan zajlott.
Persze feszélyezett az, hogy nincs sok gyakorlatom az újságírásban, mert alig két éve írok
a Filmtettnek, és többnyire csak filmkritikákat. De ilyen szempontból mentség volt
számomra az, hogy nem vagyok újságíró, és elsısorban tanulni mentem oda, éppen azért,
hogy gyakorlatban lássam, miként mőködik mindez nemzetközi szinten.
Mint romániai magyar filmkritikusra, filmes berkekbıl érkezıre, hogy tekintettek rád a
résztvevık?
Nagyon érdeklıdıek voltak, mert olyasmit hoztam, amirıl eddig nem nagyon tudtak,
hiszen ha Romániából jössz, elvárják, hogy román filmkritikával foglalkozzál. Az erdélyi
magyar fogalma számukra egy egészen új dolog volt.
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Arról ugyan nem beszéltem (a bemutatkozásban viszont írtam), hogy az erdélyi magyar
filmgyártás a némafilmes korszakban milyen nagy volt itt, de Oliver Baumgarten, a Talent
Press vezetıje, rákérdezett arra, hogy Erdélyben milyen irányba tart a filmgyártás, és
lehet-e szó erdélyi magyar filmgyártásról a jövıben.
Mit mondtál neki?
Román vagy magyar kezdeményezésbıl egyelıre nem látom ennek esélyét, csak akkor
valósulhatna ez meg, ha jönne egy külföldi befektetı, és létesítene egy filmstúdiót
Kolozsváron, vagy Erdély valamelyik nagyobb városában.
Ez pedig nemzetiségtıl függetlenül a régió filmeseinek lenne nagy lehetıség, itt kapnának
támogatást a projektjeikhez. Kérdés, hogy valakit érdekel-e.
A jó az, hogy Erdély kezd kicsit központba kerülni több, külföldön befutott koprodukcióval,
amit itt is forgatnak. Például a Biblioteque Pascal, ami román-magyar-német-angol
koprodukció, messzemenıen kiemelkedik a kortárs magyar filmek közül.
A tévébıl mindig olyan nagynak, elérhetetlennek és távolinak tőnik minden ilyen nagy
fesztivál, mint a Berlinale vagy a Cannes. Testközelbıl milyen volt ezt megtapasztalni?
Jó a kérdés, mert tényleg az van, hogy minden, ami nagy dolognak tőnik, közelrıl mindig
egészen más. Én abban éreztem ezt a másságot, hogy a hihetetlen mennyiségő
sajtóanyagban, újságban és kiadványban, de a Talent Campus programjában is a hangzatos
és izgalmasnak igérkezı címek is csak egyszerő, idınként akár unalmas beszélgetéseket
vagy eseményeket takarnak.
Éppen ezért szándékosan kerültem a vörösszınyeges bevonulásokat. A tévében nagyon jól

mutatnak, meg a helyszínen is biztos van egy hangulata. De azért, mert lefotózol egy híres
sztárt vagy kapsz egy autogrammot, nem kerülsz hozzá közelebb, és te sem leszel
különlegesebb ember. De hát ezen nincs is nagyon mit csodálkozni, mert a reklám, meg a
külsı csillogás úgysem az, amit tesközelbıl megtapasztalsz, és nem is feltétlenül jobb.
Melyek azok a trendek, melyek az európai filmgyártásban megfigyelhetıek? Mire kell

figyeljen például egy romániai filmes, aki európai filmet akar készíteni?
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Nagyon sok olyan rendezıt ismertem meg, akik olyan helyekrıl jönnek, ahol egyedül nem
tudnak filmet csinálni, mert nincs anyagi lehetıségük, vagy akár politikai okok miatt,
például Közel-Keleten.
Most azt látom jó értelemben vett trendnek, hogy nagyon sokan külföldön tanulják a filmes
szakmát, például Németországban vagy Angliában, aztán hazamennek, és az otthoni
sajátos témát a nemzetközi filmes nyelvezettel viszik vászonra. Ha ezt megcsinálják, és
hazai közönség nagyon nincs is, de Európában nagyon szívesen fogadják ezeket a filmeket.
Tehát a koprodukciókról beszélsz.
Igen. Szerintem egy romániai filmes számára ez egy nagyon jó lehetıség. Itt van például a
Robert Bosch Foundation, ami Európában a kelet-nyugat filmes koprodukciókat támogatja
anyagilag. Nagyon sok optimista javaslatot hallottam, sokan mondták: ha van egy
filmötleted, pályázd meg. Németországban is, vagy nagyon sok más országban, ha tetszik
nekik a terved, és sajátos témát dolgozol fel, biztosan támogatják.
Jó példa erre a román film esetében a kommunizmus témája, és az egyedi filmstílus,

amivel ezt bemutatják, nagyon megtetszett a nyugatiaknak. Vagy ott van a Varga Katalin,
amelyet külföldön el lehet adni, holott sok erdélyi nem szereti, mert érzi a
hiteltelenségét, meg a hamisságot az egészben.
Ugyanígy beszélhetünk a török származású, de Németországban rendezı Fatih Akin-ról. A

Talent Presses résztvevık között volt egy török lány, akitıl külön megkérdeztem, hogy mi
a véleménye Akin filmjeirıl, és azt válaszolta, hogy Törökországban egyáltalán nem
szeretik – ahogyan ı sem –, mert nem érzik magukénak.
Most kérdés, hogy kinek, vagy egyáltalán meg akar-e felelni egy rendezı saját
közönségének, és úgy általában mi a célja a film elkészítésével. A kinek és miért kérdések
tisztázása után a koprodukció lehet egy pozitív dolog, de ha trendet csinálnak belıle –
azért, mert külföldön viszik, mint a cukrot -, akkor visszataszítóvá válhat.
Mint fiatal erdélyi filmkritikus, hogy látod, meg lehet-e ebbıl élni itthon, akár úgy,
hogy külföldi piacra dolgozol? Hogy tudod most eladni magad, mint egy erdélyi kritikus?
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Hát nem nevezném magam filmkritikusnak, inkább csak aspiránsnak. Még nem néztem
utána igazán a lehetıségeknek, de elsı ránézésre lehetetlennek tőnik ebbıl megélni, és
nem azért, mert Romániában élek.
Nemzetközi szinten is tény, hogy a filmkritika maga alatt van, az embereket nem érdekli a
színvonalas filmújságírás, és a sajtóorgánumoknak nincs pénzük megfizetni szakembereket.
A közönség oldaláról meg az embereket nem igazán érdekli a filmkritika, legtöbben arra
kíváncsiak, hogy hány csillagot kapott a film, thumbs up, thumbs down, vagy milyen
ratingjei vannak.
A filmkritikának nem csak az a célja, hogy felkeltse az emberek érdeklıdését a film iránt,
hanem az is, hogy a film megnézése után többet nyújtson az olvasónak, elemezzen,
összefüggésekre hívja fel a figyelmet, de erre nagyon kevesen kíváncsiak. A filmipar
szempontjából pedig teljesen irreleváns.
Jelenleg szívesen pályázok filmfesztiválokra és képzésekre filmes újságírás és tanulás

céljából. Sajnos nincs tudomásunk arról a sok lehetıségrıl és pályázatról, ami adott, vagy
akár filmek finanszírozásával vagy ösztöndíjakkal kapcsolatos. Az pedig nagyon hasznos
lenne, ha elkezdenénk utánanézni, hogy hova lehet menni, milyen lehetıségeink vannak,
milyen ötletekre és filmtervekre bólintanak rá a hazai és külföldi pályáztatók.
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Uncut.at
05.03.2010
Ein Oscar für Christian Berger?
Der für den Oscar nominierte

österreichischen Kameramann
Christian Berger sprach in
Berlin im Rahmen einer
„Cinematography Master
Class“ über seine Arbeit.
Am Dienstag, den 16.02.10 war Christian Berger als Redner im Berliner HAU
Theater im Rahmen des Berlinale Talent Campus zu Gast. Als Michael Hanekes
Standard-Director-Of-Photography schon lange eine Legende unter den
europäischen Kameramännern, ist er spätestens seit „Das Weiße Band“ auch
international ein mehr als nur geschätzter Meister seines Fachs: Das Schwarz-Weiß-
Drama brachte ihm ja schließlich eine Oscarnominierung ein und ein Gewinn gilt als
durchaus möglich.
Was zuerst im Gespräch mit den Teilnehmern des Talent Campus aufgefallen ist
waren Christian Bergers schlechte Englischkenntnisse. Diese störten nie im
Verständnis, doch hinderten das Kameragenie sichtlich daran, wirklich vollständige
Antworten zu geben. Beispielsweise warf er, wenn er ein englisches Wort nicht
wusste, einfach den deutschen Begriff dazu ein („It was especially difficult with
the behindert boy“).
Großteils ging es um die Zusammenarbeit mit Michael Haneke. Christian Berger

betont, dass er keine Regisseure mag, die die Kameraauflösung überhaupt nicht
planen und Sätze wie „das bleibt dir überlassen“ von sich geben. Für Berger ist es
wichtig, dass der Regisseur eben genau weiß, was dieser möchte. So simpel dies
klingt, es ist meistens nicht der Fall. Haneke ist wiederum das andere Extrem: Alles
ist genau geplant, er weiß genau was er will, Spielraum bleibt kaum, improvisieren
steht nie am Programm. Berger selbst hat aufgehört Haneke große Gegenvorschläge
zu machen – Dieser ändere ohnehin nie seine Meinung.
Besonders interessant war das Gespräch wenn es um die digitale Kameratechniken

ging. Christian Berger bezeichnet sich als alles andere als einen „digital enemy“.
Trotzdem verpönt er viele Firmen, die hinter digitalen Kameras stehen. Seiner
Erfahrung nach werden viele Versprechen gemacht und nur wenige gehalten. Er hat
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„Caché“ auf HD gedreht und ist mit dem Look des Films letztendlich zufrieden.
Nichtsdestotrotz gab es unzählige Probleme bei der digitalen Aufzeichnung, an die
man, wenn man auf 35mm dreht, nie denken muss. Etliche Kleinigkeiten
funktionierten nicht und besonders herausgehoben hat Berger die mangelnde
Kooperationsbereitschaft von Sony. Letztendlich habe das Drehen auf HD durch die
Komplikationen in der Post-Produktion mehr gekostet als wenn „Caché“ von Anfang
an auf 35mm geschossen wäre.
Die Veranstaltung lief unter dem vielversprechenden Namen „Cinematography

Masterclass“. Es war auch für ein Publikum, welches mit Kameraarbeit kaum
vertraut ist, ein großes Erlebnis ein visuelles Genie wie Berger am Podium zu
haben. Und nun, nachdem er den Hauptpreis der American Society of
Cinematographers vergangenes Wochenende erhielt, ist der Oscar auch in mehr als
nur greifbarer nähe. Wollen wir die Daumen drücken, Herr Berger hätte es
verdient!
Senad Halilbasic (themovieslave)

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Variety.com
03.11.2009
Talent Campus pulls record numbers

Berlin youth event attracts 4,773 filmmakers
By ERIK KIRSCHBAUM
BERLIN -- The Berlinale's Talent Campus has received a record number of

applications -- 4,773 young filmmakers from a record 145 countries -- for the event
running during the 60th Berlin Film Festival Feb. 11-21, the festival said on
Tuesday.
Under the heading "Cinema needs talent: Looking for the right people," the six-day
long Talent Campus running Feb. 13-18 at the Theater Hebeel am Ufer in Berlin has
been deluged with applicants for its eighth annual event with 1,000 more than last
year competing for the 350 spots. There are applicants this year for the first time
from 13 countries, including Burundi, Guinea, Montenegro and Saint Lucia.
Five short films based on the theme "Straight to cinema" will get their world
premiere at the opening of the Talent Campus on Feb. 13 and the Berlin Today
Award jury, headed by helmer Stephen Daldry, will pick a winning pic.
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Wicklowpeople.ie
24.02.2010
Arklow animator at Berlin campus

Wednesday February 24 2010
A TALENTED young animator from Arklow is enjoying a career enhancing stint in Berlin at
present after he was chosen from 4,000 applicants to attend the Berlinale Talent Campus
and Berlin Film Festival.
Eamonn O'Neill (21) from Cherryfield graduated from IADT Dun Laoghaire at the end of last
year and recently set off for Berlin where he is currently attending workshops, lectures
and talks given by professionals in his industry by day and mingling with the other students
and stars by night.
The Irish Film Board asked Eamonn to write a daily blog about his experiences in Berlin and
he has been updating this on the Irish Film Board website (www.irishfilmboard.ie) as he
goes along.
Having already built up a good reputation within the animation industry with award
winning films 'My Day' and 'On the Quiet' Eamonn is working at The Barley Film Studious in
Dun Laoghaire as an Animator/Director.
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Young-germany.de
17.02.2010
By 2031, every film director will have been to a Berlinale Talent

Campus
The Berlinale Talent Campus is an

initiative for talented future filmmakers
and was first established in 2002 by
Berlinale-director Dieter Kosslick. His
goal for the Talent Campus was to assist
up-and-coming filmmakers in the film
industry. Every year for five days during
the Berlinale, the Talent Campus gives
350 participants from all five continents
the chance to take part in workshops
and discussions as well as to learn from
professional film directors.
HAU - main location for the Talent Campus events
Since 2003, the idea of the Talent Campus has expanded on international grounds.
These Campus International editions share the same structure as the original
German Campus, supported by their regional film partners. Today, the Berlinale
Talent Campus can count three additional partners to their international program:
Kiev (Ukraine,) Cape Town (South Africa) and Delhi (India).
Last Saturday, Dieter Kosslick opened the eighth edition of the Berlinale Talent
Campus and welcomed 350 talents from
95 countries. With the largest number
of applicants to date (more than 5000),
Kosslick then made a projection that in
2031, every film director will have
taken part at a Berlinale Talent
Campus. With this year’s motto
“Straight to Cinema“, the Talent
Campus focuses on the importance of
cinema culture and
encourages filmmakers to “keep it
simple, make it grand!“
The "Berlin Today Award" Crew
The Opening Ceremony premiered the five short films competing for the Berlin
Today Award, which were realised through financial aid from Medienboard. The
winner of the Berlin Today Award was selected on Sunday: Congratulations to Bryn
Chainey and his fantastic and very unique film “Jonah and the Vicarious Nature of
Homesickness“.
=
== boxfish events
=
The coming days are filled with

workshops and discussions for the
participants. Although only the most
talented can join the Talent Campus,
many events are open to the public. On
Monday, I went to a workshop called “Be
Kind – Rewind“, hosted by Mr. David M.
Thompson, a well-known British tv and
film producer.
The host of the evening: Mr. Thompson
Four short films were screened and

afterwards discussed with the director
and Thompson on stage. Thompson
pointed out that, in general, shorts are
a “fantastic challenge“, because it is
more difficult to put a story into ten
minutes than into two hours. All four
films mastered this challenge and were
wonderful productions. The shorts took
place in all corners of the world: in
Finland, a small town in the U.S., and
Chinatown. The film about Chinatown
by Shelly Silver (“Five Lessons and Nine
Thompson and Silvers discussing "how the other half lives” Questions about Chinatown“), brought
up some interesting discussion topics about how we don’t know how the “other
half“ lives, because we don’t care. The audience was enthusiastically participating
in this discussion.
All in all, I thought it was an extremely valuable and important opportunity to be

able to ask the directors questions about their production. “Be Kind - Rewind“ gave
us the chance to do just that. Thank you!

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60th Berlin International Film Festival

Berlinale Talent Campus #8

Berlinale Talent Campus

phone: +49 30 25920 518

Press release No. 9 Press contact:

Berlinale Talent Campus #8 focuses on collaborative filmmaking

Photos, information and up-to-date coverage can be found at www.berlinale-talentcampus.de and

Press release No. 8 Press contact:

Potsdamer Straße 5  D-10785 Berlin

Press release No. 7 Press contact:

Press release No. 6 Press contact:

Potsdamer Straße 5 · D-10785 Berlin

“Cinema Unlimited – Intercontinental Connections”

“The Indie Filmmakers Guide to Cross Media”

“In the Limelight”: Claire Denis

Press release No. 5 Press contact:

Federal Government Commissioner for Culture and the Media to support

Actress Kerry Fox to mentor the new Talent Actors Stage

Press release No. 4 Press contact:

Stephen Daldry to chair the Berlin Today Award jury

Alexandre Desplat will be the Mentor of the Score Competition

Press release No. 3 Press contact:

Potsdamer Straße 5 · D-10785 Berlin

Cinema Needs Talent: Looking for the Right People

2nd Talent Campus Durban, South Africa

Press release No. 2 Press contact:

Potsdamer Straße 5 · D-10785 Berlin

Press Release # 1 Press contact:

Potsdamer Straße 5 · D-10785 Berlin

Giorgi Mrevlishvili’s ‘Reflections’ to be screened at Berlinale

Young filmmaker Giorgi

According to filmmaker Mrevlishvili, the emotions and the inner nature of

Several other contemporary filmmakers have explored Mrevlishvili’s current

For Mrevlishivili, who previously studied journalism at Tbilisi State University,

Svaneti, often considered a museum under the open skies, is gradually

Story by Lily Khositashvili

Museums can apply

It looked like any other government office meeting at first, but

"The existing scheme for financial assistance to museums has

To facilitate preservation of heritage, the ministry will hold a month-long training on

Wall within the mind

"The protagonists of my film are three youngsters selling DVDs at

Only if the real-life panels made us as happy as comic strips.

The secret of desire

The Figurine in Rotterdam

THE filmmaker Kunle Afolayan left Lagos

So where are you headed to right now?

Tell us about the invitation to the United States?

How much support is coming from government?

So when are you expected back?

So, when will The Figurine be on VCD?

Gutsy reels, real voices

BEING independent in a business that

Gutsy reels, real voices

BEING independent in a business that demands complete adherence to established practice

In fact, Indian cinema wins more

Filmmaker, curator and distributor

"Straightforward documentaries do not interest me anymore," says the filmmaker, who is

Sen’s remarkable film takes a

The young Kerala filmmaker, a direction and screenplay-writing graduate of Kolkata’s

As newer technologies emerge, a fresh approach to moviemaking also takes roots.

Berlinala îi iubeşte pe români

George Piştereanu, Florin Şerban şi Ada Condeescu

Potsdamer Straße 5 D-10785 Berlin

‫نيلرب ناجرم تالافتحا يف كراشي اكيبيارت ةحودلا‬

‫ةمركملا ةكم ‪ 2010 13:18‬رياربف ‪ 16‬ءاثالثلا ‪ :‬ثيدحت رخ‬

柏林电影节总监，德国电影人迪埃特-克斯里克(Dieter Kosslick)与天才训练营的负责人马蒂斯-