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CineLink – Project Development Workshop Sarajevo 2-6 April /

2018

CineLink – Project Development Workshop Sarajevo 2-6 April / 2018
CineLink – Project Development Workshop Sarajevo 2-6 April / 2018

Content

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CineLink Workshop Schedule

 

Film Screenings

 

NIGHTLIFE

NEVER LEAVE ME

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CineLink Projects

 

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BALAUR

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CHEMISTRY

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DESKMATE

12 THE ELEGY OF LAUREL

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FIUME O MORTE

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SAFE PLACE

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SUMMER NIGHT, HALF PAST TEN

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WAR AND WAR

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CineLink Drama Projects

 

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ANATOMY OF CRIME

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BAD BLOOD

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FRUST

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GREATER THAN THE DEATH

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THESEUS

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CineLink Tutors

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CineLink Team CineLink Selection Board

 

CineLink Workshop Schedule

MONDAY, 2 APRIL, Cinema Meeting Point

18:15 – 20:00 Welcome Drink

20:00 – 21:30 Screening of the film NIGHTLIFE (Damjan Kozole, SI/MK/BA, 2016)

TUESDAY, 3 APRIL, Hotel Holiday

9:30 – 11:00

Producer’s Talks: Strategizing for Coproduction Market by Jovan Marjanović and Amra Bakšić Čamo

9:30 – 11:00

Director’s Masterclass by Damjan Kozole Renowned Slovenian director Damjan Kozole will reflect on his latest film NIGHTLIFE will discuss the position of truth and its depiction in the film.

11:00 – 11:30

Coffee break

11:30 – 13:00

Project development meetings (per personal schedules)

13:00 – 15:00 Lunch

15:00 – 16:30 CineLink Drama Group Work: State of Industry by Meinolf Zurhorst

15:00 – 18:30 Project development meetings (per personal schedules)

20:00 – 21:30, Cinema Meeting Point Screening of the film NEVER LEAVE ME (Aida Begić, BA, TR, 2017)

WEDNESDAY, 4 APRIL, Hotel Holiday

9:30 – 11:00

Director’s Masterclass by Aida Begić Renowned Bosnian filmmaker Aida Begić will discuss the complex relation between reality and fiction in her latest film NEVER LEAVE ME with emphasis on the challenges of creating a feature film based on actual events in the war realm.

9:30 – 11:00

Producer’s Talk: Working with first and second time directors by Čedomir Kolar “If ever there was a constant fact in my career, it is that the large majority of my productions were films of first or second time directors.”

11:00 – 11:30

Coffee break

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11:30 – 13:00

Project development meetings (per personal schedules)

13:00 – 15:00 Lunch

15:00 – 16:30 CineLink Drama: Project Development at HBO Europe by Gabor Krigler

15:00 – 18:30 Project development meetings (per personal schedules)

20:00 – 22:30 Networking Dinner

THURSDAY, 5 APRIL, Hotel Holiday

9:30 – 11:00

CineLink Talks: Developing phase and pre-production period - THE IMPORTANCE OF IT by Labina Mitevska (producers & directors)

11:00 – 11:30

Coffee break

11:30 – 13:00

Project development meetings (per personal schedules)

13:00 – 15:00 Lunch

15:00 – 16:30 CineLink Talks: How to deal with success of a first feature by Eilon Ratzkovsky (producers & directors)

15:00 – 18:30 Project development meetings (per personal schedules)

Friday, 6 APRIL, Hotel Holiday

9:30 – 11:00

Project development meetings (per personal schedules)

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CineLink Projects 2018

BALAUR

RO

A 35-year-old woman, religion teacher, priest’s wife, gets involved with a 16-year-old student. He starts confessing to the priest.

Writer: Octav Chelaru Director: Octav Chelaru Producer: Radu Stancu Delegate Producer: Livia Radulescu Production Company: deFilm Production

Livia Radulescu Production Company: deFilm Production Attending CineLink Workshop: Octav Chelaru, Livia Rădulescu
Livia Radulescu Production Company: deFilm Production Attending CineLink Workshop: Octav Chelaru, Livia Rădulescu

Attending CineLink Workshop:

Octav Chelaru, Livia Rădulescu

SYNOPSIS:

Mrs. Ivanovici is a 35-year-old woman living in northern Romania, in a conservative and religious town. She has

a boring marriage with an older priest and she teaches

Religion classes at a local high school. She is also the moth-

er of three boys.

One day, being frustrated, Mrs. Ivanovici challenges one of her students up to the point of really insulting him. When the student comes to ask for an apology, even though she’s surprised by his audacity, she does apologize and offers him a ride home. The 16-year-old boy gets comfortable and starts speaking about his difficulties being a euro-orphan. She comforts him and hugs him, and, by surprise, the boy gets the wrong idea and grabs her breasts. She drives away. The boy suddenly invades her life and he wants to meet her everywhere, not only at school. Mrs. Ivanovici is also attracted by his sense of freedom. Half constrained, half bewitched, Mrs. Ivanovici has sex with the young boy, and she gets gradually trapped in this relationship full of desire and guilt. As the film progresses, the boy starts using religion as a weapon to sexually advance his relationship with Mrs. Ivanovici, as she’s beginning to raise barriers. The boy con- fesses to her husband, the priest, about his relationship with an older woman, without specifying her name. The stress becomes unbearable for Mrs. Ivanovici and she leaves her younger lover. Angry, the boy reveals to the

priest that the older woman is, in fact, his wife.

AUTHOR’S STATEMENT:

I have always been interested in religious people and

Religion in general. I’ve grown up in a place where reli- gious conservatism, prejudice, fear of the unknown, they

all played a great part in my upbringing. The moment I read about the story that happened in my small home-

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town about a high school student committing suicide after

a relationship with his Religion teacher (also the wife of

a priest), I thought that, even if it’s a tragedy, there’s no hidden meaning to it. But the story kept coming into my conversations with my parents that still live there. They told me a thing that I didn’t know: the whole communi- ty, including the priest, was supporting the woman, the Religion teacher, as she was undergoing prosecution. Then

it hit me. Everybody knew. I understood that the level of

hypocrisy was through the roof. After a while, I decided to make a film inspired from this real fact, changing basically everything except the mere existence of the relationship. And the feeling it gave me.

I love edge-of-the-seat thrillers. If my disbelief is suspend- ed and if the story is smooth, I get caught in the genre tropes, always trying to anticipate what’s going to happen next. From the point of view of a director, managing to reproduce reality and, at the same time, alter it to pursue

a given goal is always a difficult task. The audience is used

to various kinds of portraying danger, anguish and hope, usually ignoring the portraying itself and focusing more on the human perspective of the story, as in what would the audience do if they were the protagonist. The latter is the area I’d like to focus on while telling this story. The pro- tagonist of this film can be easily judged on the one hand for being a bad mother, a bad wife or a bad teacher, but, on the other hand, who can blame our need for love and understanding? For obtaining this balance, I’m planning to

create the appearance of a small horizon that widens by discovering the surroundings through selfdiscovery.

DIRECTOR’S BIOGRAPHY:

OCTAV CHELARU started making amateur films when he was 14-years-old, using his relatives and classmates as actors. While he was studying Computer Science in college,

he directed music videos, commercials and experimental videos, and produced short films for other directors. Among the short films he directed, we mention OCCUPIED (2015) - winner of the Best Romanian Short at Timishort IFF; PRIVATE PARTY (2017) – selected for Tirana IFF and Les Arcs FF; and BLACK CLOTHES (2017), financed by the Romanian Film Center and produced by Radu Stancu (deFilm), selected in competition for Locarno IFF and Valladolid IFF. Currently, Octav is in development with his debut feature, BALAUR.

PRODUCER’S BIOGRAPHY:

RADU STANCU is a film producer, owner of production company deFilm, in Bucharest. His graduated Sound and

Editing, then Film Production. He grew his career gathering successful shorts, animations, feature films and documen- taries, including: short film HORIZON (P. Negoescu, 2012) - selection at Semaine de la Critique; short film RAMONA

(A. Cretulescu, 2015), a coproduction - Canal + Award at

Semaine de la Critique; feature film THE WORLD IS MINE

(N.C. Tanase, 2015), a co-production - Special Jury Mention East of the West competition at Karlovy Vary IFF; MARIȚA

(C. Iftime, 2017), a co-production – FEODORA jury Best

Film in the East of the West competition at Karlovy Vary IFF. He is in different stages of production with several films, including a feature film directed by Paul Negoescu.

COMPANY PROFILE:

IdeFilm was conceived as an independent production com- pany in 2009, gathering a group of young filmmakers that share common passions and values. We stand for efficien- cy, constantly balancing the artistic vision with the financial and organizational framework in a fun and stressfree envi- ronment. deFilm engages all types of cinematic produc- tions with a diverse portfolio including various approach- es and styles. Our productions have gathered over 200 selections at festivals around the world: Cannes, Locarno, Karlovy Vary, AFI, Curtas Vila do Conde, Namur, Brest, Transylvania IFF, Cottbus and many more. Examples include the short films RAMONA (dir: Andrei Cretulescu, 2015) and HORIZON (dir: Paul Negoescu, 2012), feature films THE WORLD IS MINE (dir: Nicolae Constantin Tanase, 2015) and MARIȚA (dir: Cristi Iftime, 2017), and more recently the stop motion animation THE LAST CUSTOMER (dir: Serghei Chiviriga, 2017), selected in 11 major international festivals dedicated to the genre. We are currently in different stages of production with four shorts, two animations, four doc- umentaries and four feature films. Examples include the

feature film NEVER LET IT GO (dir. Paul Negoescu), now in post-production, where deFilm handled all production servicing as delegate producer.

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CHEMISTRY

RO

After an injury on the handball court, Ana will be confronted with her body and with an entire corrupt society.

Writer: Adina Dulcu Director: Adina Dulcu Producer: Tudor Giurgiu, Bogdan Craciun Production Company: Libra Film Productions

Bogdan Craciun Production Company: Libra Film Productions Attending CineLink Workshop: Adina Dulcu, Bogdan Craciun
Bogdan Craciun Production Company: Libra Film Productions Attending CineLink Workshop: Adina Dulcu, Bogdan Craciun

Attending CineLink Workshop:

Adina Dulcu, Bogdan Craciun

SYNOPSIS:

After a childhood spent in the working class neighborhood of a small industrial town on the shores of the Black Sea, Ana Petreanu is now captain of a major handball team and married to the financial manager of the factory that sponsors the club. But a serious injury clouds this perfect picture. Ana is con- fronted with the limitations of her own body and her most intimate fears. The team’s management hire a renowned physiotherapist, Frenchwoman Emilie, in order to bring Ana as quickly as possible back on the court. Only Emilie tries to make Ana aware that a return to the court could endanger both her career and her health. Marius, Ana’s husband, is displeased by the complicity the two women harbor and doesn’t take kindly to this stranger’s intrusion. Especially since Emilie is a lesbian… However, his apparent jealousy conceals something else. After a domestic argu- ment, Marius reveals that the factory and the team will soon be liquidated, which is why management has been pressuring Ana to play to her full potential—they want to sell the club for the highest price they can get once the season ends. Ana is mortified. All along, her battle with her own body had only been a prologue to her battle with an entire cor- rupt societal system. After a lifetime’s struggle out on the court, Ana readies herself for the ultimate match: the one that will tell her what price she needs to pay, in order to regain her own freedom.

AUTHOR’S STATEMENT:

I question myself since a long time about personal identity and personal construction, about the position we take within a corrupt socio-political context and the conse- quences it engenders; a questioning that is both social and intimate. The real-life event that inspired my story was the sudden dissolution in 2013 of the Oltchim chemical factory

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and its attached handball club, one of the best in Europe at the time. It is the most eloquent example for corruption and deindustrialization in Romania. This is the society I want to talk about, one gangrened by postcommunism transformed into savage capitalism and by archaic tradi- tional values transformed into intolerance. The sporting world, in conjunction with the industrial world - both of them in decay - struck me as the most appropriate back- ground for Ana’s story. The title enfolds all the values I want to explore: the industrial chemistry of the factory and its ultra-polluted environment, the chemistry of the bodies thrashing on the handball court, the organic chem- istry installing between Ana and Emilie and condemned by everyone. It’s this multiplicity I would like to capture, between the atmosphere of a social drama and a more intimate and poetic film. Ana’s story speaks about the emancipation of a woman in search for her own freedom, who runs into the ruthless wall of a patriarchal society marred by corruption and rejection. I would like this film to speak about Romania and the look I take at it as a woman, but also that it carries the grain of universality that pushes us toward a questioning about individual freedom, regardless of our nationality, cul- ture or gender. And last, but not least, it’s also a story about that kind of encounter that overwhelms and changes our lives. Call it friendship, love, alter-ego, soul mate or chem- istry, we all need a mirror in order to better see ourselves…

DIRECTOR’S BIOGRAPHY:

ADINA DULCU graduated from National University of Theatre and Film of Bucharest and obtained a Masters degree in film studies at Université Toulouse2. She lives between Romania and France and has developed a mul- ti-layer career as a producer, scriptwriter, head of develop- ment and assistant director. Enriched by all these experi- ences, she began developing her own projects.

Her first short film as a director, NETWORK UNAVAILABLE, has just concluded its international festival circuit, includ- ing festivals like Mumbai, Dublin, CEE Vienna or NexT. Adina is currently in post-production with her second short, THE ISLAND, and in development with her first fea- ture, CHEMISTRY, initiated at L’Atelier Scénario Fémis and supported by a development grant from theMRomanian Film Centre.

PRODUCER’S BIOGRAPHY:

Producer TUDOR GIURGIU is the founder of Libra Film Productions company, as well as of the film distribu- tion company Transilvania Film. He is also co-founder of Cityplex – local cinema chain (11 screens) and the founder and President of Transilvania Int’l Film Festival – TIFF (1st and the most important Int’l festival for feature films in Romania). Between 2005-2007, he was President-General Director of the National Romanian Public Broadcaster while in 2007 he initiated GOPO Awards, annual awards for best achieve- ments in local filmmaking. Tudor Giurgiu is Member of the European Film Academy and he was also jury member in several international film festivals (Ludwigsburg, Crossing Europe Linz, Reykjavik, Prague, Angers, Amazonas) and member of the international jury of Emmy Awards 2012.

COMPANY PROFILE:

Libra Film is one of the most important Romanian pro- duction company, the only one which has been granted three times (2009, 2011, 2014) development support by MEDIA Programme for its slate of projects. In 2006 Libra produced the local box-office hit LOVE SICK, by Tudor Giurgiu which premiered at Berlin IFF, Panorama section, then Katalin Varga, by Peter Strickland, was named the European Discovery of the Year at the 2009 European Film Awards and awarded Silver Bear for Outstanding Artistic Contribution at Berlinale 2009. OF SNAILS AND MEN, directed by Tudor Giurgiu is Romania’s box office hit in 2012, awarded in Warsaw, Valladolid, Sankt Petersburg IFF. Libra is the Romanian co-producer of HISTORY OF LOVE, Radu Mihăileanu’s adaptation of Nicole Krauss’ bestseller, starring Gemma Artenton and Derek Jacobi. In 2016 Libra Film co-produced the third feature film of Romanian direc- tor Iulia Rugină, BREAKING NEWS, which premiered at Karlovy Vary IFF 2017 where young actress Voica Oltean won a Special Jury Mention for the Best Newcomer. During the autumn of 2017 Tudor Giurgiu shot his new fea- ture film IN THE BEAT OF A HEART, a love story that takes place in Spain. The film is co-produced with the Spanish

company Tito Clint Movies and with Czech company Evolution Films. Currently Libra Film is developing several projects among which CHEMISTRY, first feature of director Adina Dulcu; Tudor Cristian Jurgiu’s second feature film project, entitled AND THEY MAY STILL BE ALIVE TODAY selected for the TorinoFilmLab’s FrameWork programme. Tudor Cristian Jurgiu, is known for JAPANESE DOG; THE WINDSEEKER, first feature of director Mihai Sofronea.

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CineLink Projects 2018

DESKMATE

TR

At strict, repressive boarding school miles from anywhere, Yusuf’s anxious to get his mysteriously sick friend to hospital.

Writer: Ferit Karahan Director: Ferit Karahan Producer: Ferit Karahan Production Company: FK Films

Director: Ferit Karahan Producer: Ferit Karahan Production Company: FK Films Attending CineLink Workshop: Ferit Karahan

Attending CineLink Workshop:

Ferit Karahan

SYNOPSIS YUSUF (12) goes to a strict, all-boys boarding school in a mountainous part of Turkey miles from the nearest town. Like Yusuf, most of the students come from poor village families. Yusuf’s mother has plans for the years ahead and merges these in her mind with Yusuf’s future. In a word, she expects great things of him and reminds him of this fre- quently during their phone conversations. Although Yusuf feels lucky to be the only one of eight siblings getting an education, it bothers him that his grades are only mediocre. When he wakes in his dormitory to go to school one morning, Yusuf realizes that his best friend, MEMO, is too sick to get out of bed or even speak. SELİM, the teacher in charge of the boarding house, sends Yusuf with Memo to the sickbay. Here, Memo vomits and seems to get even worse. Yusuf then decides to tell Selim, who in turn tells the head teacher. But the head is preoccupied with the school’s central heating system, which packed up that morning, and sends the teacher away, telling him to give the boy a painkiller. When he takes it, the painkiller simply aggravates Memo’s condition. In the end, Yusuf finally persuades Selim that Memo needs to go to hospital. Memo is bundled into a car, but by now the snow is coming down so thick and fast that they don’t even get out of the school grounds. Memo is returned to the sickbay. At this point, the head intervenes and sets about getting one of the ambulances marooned on the snow-bound roads to come the school. At the same time, he starts to ask questions about when and how Memo got sick. During the discussions that follow, Yusuf reveals that Hamza, the teacher in charge of bathing, handed out a cold-bath punishment to Memo and two of his friends. Hamza is summoned to the sickbay, where he explains that cold baths are a punishment he gives regularly and that no student has ever got sick because of it. He therefore refus-

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es to be held responsible. As the investigation deepens, it transpires that Memo was brought back secretly to his dormitory by Kenan, the teacher on boarding-house duty that night. Everyone is now sure that they are faced with a child abuse case and goes into shock. Kenan is given a grill- ing. At first, his vague and evasive answers only strengthen suspicions. But when he realizes what he stands accused of, Kenan claims that Memo came knocking on his door in the middle of the night frozen and soaking wet; when he (Kenan) woke up and answered the door, he learned that Memo had taken a bath in the boiler room. He then told Memo to keep quiet about the whole episode because he didn’t want anyone knowing that he fell asleep on duty. When Memo’s condition steadily deteriorates, Yusuf becomes increasingly upset and uneasy. The school com- munity was already uptight, but the breakdown of the heating system has made everyone more aggressive. It isn’t long before not just teachers, but also students and mainte- nance staff are embroiled in the incident. While the boiler man on duty the night before is summoned to the sickbay, the other two students given cold-bath punishments are questioned. Meanwhile, the head and his teachers are jostling to pin the blame on each other. With the heating not working, the head tasks the teachers with emp- tying the arctic classrooms and sending the boys to the boarding house. Yusuf secretly borrows the sickbay prefect’s phone and calls his mother. When he tries to tell his mother that his friend is badly sick, she shoots back, “Never mind your friends, put your mind to more serious things.” When Yusuf returns to the sickbay, the boiler man is there. The man reports that Memo and Yusuf came to the boiler room the previous night asking to take a bath, that he gave his

permission, but that by the time they left the boiler had stopped working. Yusuf is forced to confess how the pipe in the boiler-room fell on Memo’s head. Hours after it was first requested, the ambulance arrives to pick up Memo, who is now showing no signs of life at all. The schoolboys are fooling around noisily during school bath-time. Yusuf is washing at a marble basin with a couple of other boys, his head covered in soap suds. When he rins- es off with a scoop of water, we see that a swathe of hair has been shaved off down the middle of his head, giving the effect of a set of train tracks.

DIRECTOR’S STATEMENT:

I spent six years of my childhood at a boarding primary school. And the reason I wanted to make this film has a lot to do with the fears that remain with me from those boarding school days. Fear is as old as humanity itself; and schools are one of the places that most effectively perpet- uate the tradition of spreading fear and using it as a disci- plinary tool. At boarding schools in particular, these fears tend to be many layered. Of course, not all the teachers I encountered were bad; they, too, were continuing a tradi- tion learned earlier in life: inspiring fear! Strike fear into the hearts of children to make them grow up. Don’t let them

object to anything

bodies was later applied to our minds. I realize today that to control children is essentially to control the future. Of course, we weren’t exactly saints ourselves. “You’re worse than the teachers” was a regular refrain for most stu- dents. We were infused with cruelty before even having the chance to learn what compassion was. It is hard to describe the violence we perpetrated against one another. The only thing we knew was that if you wanted to count for some- thing, you needed to bully people as much as you could. According to Jacques Lacan, the family plays a pivotal role in the transmission of culture and in its formation at an individual level. It is the family that creates what we know as ‘humanity’ and brings the social and cultural order into being. Children become part of this order through the fam- ily. But taking away a child’s family ties and attempting to substitute them with other artificial bonds will damage the social order first and foremost. Through Yusuf’s story, the film sets out to examine the prevalence of lies in oppressed societies and the ramifica- tions of even a single trivial lie. It also seeks to question the innocence of an entire society. Friendships, family bonds and social relationships become nebulous when they are formed in a world full of fear. Such

The control exercised over our young

relationships can never be relied upon. Lies and truth are bound up together. All these things are grey like the school walls. Our relationship insecurities both now and in future derive from these grey fears. In other words, Deskmate is the film of a long tradition; it is a film of fear.

DIRECTOR’S & PRODUCER’S BIOGRAPHY:

FERIT KARAHAN was born in Mus in 1983, Turkey. He is Kurdish film director living in Istanbul. He started working as an first assistant director on feature films. His short films BEFORE THE FLOOD and YUSIV’S DREAM have been screened at numerous festivals and have won awards and honorable mentions. His feature debut THE FALL FROM HEAVEN premiered at the Antalya Golden Orange Film Festival and won Best Film. Also won Best first Film Prize at the Ankara International Film Festival, and was later screened at more than 15 festivals and won more the 10 awards.

COMPANY PROFILE:

FK Film is an independent Istanbul -based production company which aims to support authentic storytelling, pro- ducing thought-provoking feature, short and documentary films.Through our international co-productions, we strive to reach audiences around the world. FK Film is led by Ferit Karahan and Gülistan Acet.

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CineLink Projects 2018

THE ELEGY OF LAUREL

ME

The travels of a self-sufficient professor through several episodes of life and fantasy, in order to overcome contemporary narcissism.

Writer: Dušan Kasalica Director: Dušan Kasalica Producer: Jelena Angelovski, Production company: Meander Film

Jelena Angelovski, Production company: Meander Film Attending CineLink Workshop: Dušan Kasalica, Jelena
Jelena Angelovski, Production company: Meander Film Attending CineLink Workshop: Dušan Kasalica, Jelena

Attending CineLink Workshop:

Dušan Kasalica, Jelena Angelovski

SYNOPSIS Filip (56) is a university history professor. With his wife Katarina (48), takes a short vacation in a seaside resort. In the leisurely atmosphere of the hotel complex, the two of them use every moment to relax, to indulge. They meet new friends and abandon themselves to the monotonous, snug ambiance. They actualize their seemingly ideal relationship through decadent self-care rituals. During an organized party, Katarina, however, realizes that there are problems in their marriage that cannot be overcome. She leaves Filip and returns to the city. Filip, refined and armed with self-confidence, accepts this new circumstance in his life with unusual ease. He spends his days at the resort with new friends, recounting his experiences from which he has somehow always come out a winner. On a beach nearby, he meets Ivana (30), a waitress in the hotel, whose kindness Filip interprets as a come-on. The short break ends, as well as the tourist season in the resort. Ivana suggests to Filip that they return to the city together. Filip keeps following his “intuition”, seeing Ivana’s youthful candour as seductiveness. On the way to the city, they stop to rest at a gas station. Ivana tells him that she will stay there and wait for a girlfriend who she has not seen for a long time, and that she’d return home with her instead. Filip, refined and armed with self-confi- dence, accepts this new circumstance in his life with unusual ease. Back in the city, after an evening spent with colleagues, he arrives to Katarina’s apartment. Katarina asks him to stop doing that, and to let her know when he would come to take his things from the apartment they once shared. The following day, Filip goes to the college where he teaches. In the large amphitheatre, Filip’s trivial lecture is attended by only three students. Filip refined and armed with self-confi- dence, accepts this new circumstance in his life with unusual ease. Having nowhere to go, he travels to the little mountain village in which he was born. In this new setting, he tries to create a meaningful routine. However, the late autumn is cold and long, neverending almost in this small, isolated place. A white billy-goat appears in the yard of his house. Unaware of where it came from, Filip asks his closest rela-

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tives, Dara and Uroš, about the origin of the meek animal. Wandering around the village, Filip’s attention is caught by the logging activity nearby. On his way there, he notices

tourists - a young man and woman who pass through their village by car. When he finds out that it is a case of illegal log- ging, Filip tries to prevent it. He reports it, and then collects evidence by photographing the process. His noble effort is prevented by an angry dog from which Filip escapes by hid- ing in the car. He falls asleep. It is a cold and dark evening. Tourists go night skiing. Filip wakes up. Realizing that he is alone, deep in the woods, he starts the car and heads home. However, driving too fast on dark terrain, he accidentally hits the tourist he had previously seen with the young woman in the village. However, Filip panics, does not get out of the car, and continues to the village. Filip, refined and armed with self-confidence, accepts this new circumstance in his life with unusual ease. Filip tries to return to the comfortable life he has led thus far in the countryside. One foggy morning, he follows the white billy goat along the road to the forest. He and the animal walk deep into the woods, and in a small clearing, Filip notices a flame. As he approaches it, he hears

a young woman’s voice calling for help. He sees a silver snake

in the flames, and moves to help it. When the flame goes out, the silver snake starts talking to Filip, and decides to repay him for his help, but as a beautiful young girl. Filip and the young girl start a passionate romance. On their way to get water from a spring, Filip sees his old mother. He invites his new family to go home and have a lunch together. During the lunch, the Serpent Girl assigns a task to the old Mother

- to go high up the mountain and fetch her best sheep wool.

The old woman finds no support in her son, drunk on the girl’s beauty, and is forced to go to the mountain. During the cold autumn night, she fails to fulfil the task. She returns home without the wool, but with magpie eggs. The following morning, the girl protests because she sees the old woman’s return as a provocation, and gets the mother thrown out of the house. Lonely, tired, Mother wanders through the vast, cold fields. She starts a fire and calls upon Hosts (mythical creatures) to help her. Hosts suggest that the elderly woman

go to the forest and see the Elder, the one who knows answers to any ailment. The flame in the field is seen also by the Girl, and she and Filip follow Mother to the forest. In the forest, the Elder instructs Mother that she will find salvation only if she accepts a new youth for herself, without her son in it. The old woman rejects this offer, deciding to stay with her son despite the steep price and unhappiness. This noble, unselfish act breaks the spell – the Girl returns from where she came, the Elder and Hosts disappear, and mother and son remain alone. Filip accepts this new circumstance in his life with great difficulty. He is shattered by the pointlessness of the efforts needed for him to live as a dignified and strong man. Filip returns to the city all alone. A meeting with his daughter Jovana is cancelled and he wanders lonely through an appliances store in the mall, looking for ways to start his life once again.

DIRECTOR’S STATEMENT:

THE ELEGY OF A LAUREL deals with the ego of a man who is part of the comfortable Yugoslav middle class that had first built and then silently watched the destruction of a system. Without clear ideological, cultural and political critique of its reality, this generation wishes to keep living its romantic self-sufficiency, represented in this story through the char- acter of Filip. At first sight, Filip is the ideal man - handsome, refined intellectual with a mission to educate University youth; this film, however, emphasizes the constant conflict between Filip’s selfsufficient superficiality and the inner world that rips him apart. Film’s structure divides into the prologue and several milestones in Filip’s life in which he doesn’t face his problems, doesn’t solve them, choosing rather to pretend he couldn’t care less. He escapes to a fan- tasy world, where he meets fantasy creatures like Serpent Girl, Hosts, and Mother – also a fairy-tale character in this story. He goes deep into the collective heritage similar, for example, to the fairy-tale of Stribor’s Forest. Fantasy char- acters are treated in the Slavic tradition: the serpent is not just a dangerous animal, but it also talks, grants wishes, has relationships with people. Mythical creatures are not simply feared or loathed; they are friends, equal to the humans who meet them directly, like old acquaintances. A similar character treatment helps maintain the tone that ranges from realism of the resort, the city and the village, to fairy- tale realism, which therefore becomes an organic part of the film. Real objects, nonprofessional actors, costumes, lack of masks or make-up will surely contribute to this effect, so the visuality of this part of the film will be based on the authenticity of the Mountain Durmitor. Visually, the “uncanny” effect can be achieved through the treatment of night scenes. Given that these scenes require wider plans to represent the lostness of our heroes in the never-end-

ing vastness, day for night techniques will be used. Scenes will dominantly be long takes, contributing thus to charac- ter-building. A longer take after a spoken replica, reaction of an actor or a static frame will guide the atmosphere towards humor or absurdity, so that our characters appear as hapless wanderers. Reality and fantasy intertwine as commonplace, realistic images that are integral, logical part of the narrative. Fantasy world changes Filip, who then tries to begin a new, more dignified life.

DIRECTOR’S BIOGRAPHY:

DUŠAN KASALICA was born in 1987 in Montenegro. He graduated film directing from the Faculty of Drama Arts in Montenegro, where he works. He participated in Sarajevo Talents, Berlinale Talents, Locarno Filmmakers Academy. His short film A MATTER OF WILL won the Heart of Sarajevo award for the best short film of the 21st Sarajevo Film Festival and was screened in other prestigious festivals around the world. His short film SOA won Special Jury Mention at 23rd Sarajevo Film Festival, and several other awards on other festivals. He is currently developing his first feature film THE ELEGY OF LAUREL and producing feature film YOU HAVE THE NIGHT by Ivan Salatić with whom he founded production company Meander Film.

PRODUCER’S BIOGRAPHY:

JELENA ANGELOVSKI graduated from the Academy of Arts in Belgrade after which she completed her MA at the Faculty of Political Sciences. After ten years of working in theatre as an actress, she then worked at the College of Electrical Engineering and the Academy of Arts in Belgrade as an asso- ciate, and lecturer. Since 2013 she was working for one of the leading Serbian production company. She has also been working as a developing executive, production manager, executive producer. In 2016 she produced her debut inde- pendent feature fiction film, Wind. In 2017, she participated in EURODOC regional group and LisbonDocs.

COMPANY PROFILE:

Meander Film is a new Montenegrin film production compa- ny based in Nikšić. Its founders are two young Montenegrin film directors - Dušan Kasalica and Ivan Salatić. Meander Film will strive to connect with both local and foreign artists and young authors. The idea is to open and strengthen a cultural exchange and awareness, while encouraging criti- cal thinking. In addition to this, our goal is to improve and strengthen the relationship of the modern Montenegrin audience with the contemporary audiovisual production, since film is still a field in development in the context of Montenegro’s cultural system.

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CineLink Projects 2018

FIUME O MORTE

HR/FR/SI

Italian poet D’Annunzio entered Rijeka in 1919 declaring an independent micro-state, soon making it the most liberal place on Earth.

Writer: Igor Bezinović Director: Igor Bezinović Delegate producer: Fabrizio Polpettini, Tibor Keser Production company: La Bête, Restart Co-producer: Marina Gumzi, Nosorogi (Slovenia)

Restart Co-producer: Marina Gumzi, Nosorogi (Slovenia) Attending CineLink Workshop: Igor Bezinović, Fabrizio
Restart Co-producer: Marina Gumzi, Nosorogi (Slovenia) Attending CineLink Workshop: Igor Bezinović, Fabrizio
Restart Co-producer: Marina Gumzi, Nosorogi (Slovenia) Attending CineLink Workshop: Igor Bezinović, Fabrizio

Attending CineLink Workshop:

Igor Bezinović, Fabrizio Polpettini, Tibor Keser

SYNOPSIS FIUME O MORTE! is stylistically conceived as an eclectic collage film consisting of different filmmaking approaches. It is framed in a limited time and space. Set on the territory of Fiume/Rijeka, a town which had a population of 50,000 citizens, it takes place on just 21 square miles defined by the limits of D’Annunzio’s territory. It is also set in a period which extends to a bit more than a year – the events that the film is dealing with set of in September 1919 and last till Janunary 1921 – but aims to remind of synchronicities between the past end the present on the same territory. The concept is to make the stylistic collage by using three dominant methods: voiceover narration, archives and reconstructions. All these historical events are undeniably photogenic. There are plenty of adventures and eccentric characters related to those whimsical Fiume years that deserve to be reinterpreted in a cinematic form. First of all, we have D’Annunzio’s solemn arrival in Fiume, in his red convertible car, followed by an army of 1000 Italian deserter soldiers. Most of them were veterans of the First World War and they would later remember this day as the “Santa entra- ta”. Among the adventurers that took part to the Fiume adventure there were many aviators that would often fly up in the airs to flood cities with propagandistic flyers. The most famous, was certainly Guido Keller, a young Milanese, heir of a Swiss aristocratic family, who flew to Rome to throwdirty chamber pots over the Italian parliament. Life in Fiume was a sort of continuous artistic performance made of nudity, drugs, and various sexual or political prov- ocations. This aesthetic reappears each year, even if for a brief moment and in a rather sugar-coated form, during Rijeka’s carnival. The city found a considerable part of its economical resources in piracy, its militia would kidnap or ransack the foreign boats that dared approaching the Kvarner

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bay. Everything, in Fiume, contributed to the creation of a unique iconography that was, at the same time, proto-fas- cist and libertarian. The discourses, even the way they dress, the black shirts and the flags, they way they saluted each other, their esoteric, mystic and sometimes nudist meetings organised by a group named Yoga, directed by Guido Keller himself. The film will be exploring the lives of a group of young people from another time, that were mostly right wingers, extremists in fact, who believed in nationalism, gender equality, liberalization of drugs, health insurance and retire- ment for all, freedom of belief but also defense of the right to be an atheist, all of this with a constitution where music was considered the supreme principle.

The 1919 occupation of Fiume is usually divided into 3 phases:

1. an enthusiastic occupation sparked by Italian nationalism

and irredentism and an unsuccessful attempt of a military coup – this phase lasts till the end of 1919,

2. internationalization of the movement, emergence of left-

ist tendencies. On a theoretical level an attempt to build an utopia, on a practical level an atmosphere of disillusioned

waiting - till the end of 1920, 3. dissolution of D’Annunzio’s movement in december 1920, which soon results in Mussolini’s takeover of Italy.

The film would treat events from all three phases, but the biggest emphasis would be placed on in second phase (1920), in which the idea of a annexing Fiume to Italy dis- solved, and an idea of Fiume as an independent libertarian state based on an anarcho-syndicalist Constitution evolved. D’Annunzio leaves the town the last, in January 1921. He soon starts the construction of his hillside estate in the town of Gardone Riviera overlooking the Garda lake, where he’ll remain isolated until his death. The extravagant inte-

rior resembles to a “fascist lunapark”. On one wall a metal head of an eagle is found. It’s the head which D’Annunzio’s legionaries cut off from the Fiume eagle on the town tower in November 1919, in order to make the Habsburg two headed eagle resemble the Roman one headed eagle. D’Annunzio’s rooms are visually compared to the normal living rooms of the citizens of Rijeka today, the living rooms of the citizens who performed in the reconstructions of his venture in this film.

DIRECTOR’S STATEMENT:

I was born and raised in Rijeka, and I am deeply interested

in this brief moment in history during which this rather ordinary European provincial town became, for a few months, a powerful attractor for international avant-garde artists. The film explores the life and times of the protagonist of this collective experience, who shared an unexpected explosion of enthusiasm and the ubiquitous artistic pro- vocative spirit that permeated Fiume during D’Annunzio’s schizophrenic political experience.

The anarchist sociologist Hakim Bey (TAZ – Temporary Autonomous Zones, 1991) describes Fiume as a “pirate zone”, independent from the established powers. The historian Claudia Salaris, defines the city as a sort of “cos- mopolitan microcosms”. There are several literary and historical works dedicated to D’Annunzio’s Fiume, both by Italian and Croatian authors but, beside some TV report- ages, there has never been a real documentary on the subject. There is a consistent amount of archival material related to this period, but my intentions are more to rec- reate the avant-gardist spirit of those times than to tell the facts in a chronological order. My references in the use of archives, can be traced in the work of directors such as Jay Rosenblatt, Jean-Gabriel Périot or Mohammadreza Farzad.

I want the citizens of contemporary Rijeka to be part of

the film, for some re-enactments will take place during the city’s carnival. The history and identity of Rijeka are particu- larly interesting. Those who inhabited in this city between 1918 and 1945, have been living in seven different states without ever moving:

Austro-Hungarian Empire, Kingdom of the Serbs, Croatians and Slovenians, Regency of Kvarner, Free State of Fiume, Italy, Germany and Yugoslavia. Today the city is part of an eight state, Croatia. The visual identity of the film and some animated sequenc- es will be inspired by Futurist art and the work of Fortunato Depero. I also intend to have a voice over, that will lead the narration form the point of view of citizens of Fiume from those times, both Italians and Croatians. Two buildings will play an important role: The Governor’s Palace in Rijeka,

from which D’Annunzio would speak to the crowd, and the Vittoriale degli Italiani, a house-mausoleum, built between 1921 and 1938, on the shores of Lake Garda, where D’Annunzio retired after his Fiume defeat. DIRECTOR’S BIOGRAPHY:

Igor Bezinović was born in Rijeka in 1983. He graduated in Philosophy, Sociology and Comparative Literature from the Zagreb Faculty of Humanities and Social Sciences and Film and TV Directing from the Zagreb Academy of Dramatic Art. He directed about a dozen short films, including VERUDA -

A FILM ABOUT BOJAN (which won Oktavijan -best Croatian

documentary award in 2015), a feature length documen- tary THE BLOCKADE (won Oktavijan in 2012, awarded at Jihlava IDFF) and a feature-length fiction film A BRIEF EXCURSION (premiered at IFF Rotterdam 2017, won Zlatna arena - best Croatian feature film award in 2017, along with 6 other national and international awards).

PRODUCER’S BIOGRAPHY:

Tibor Keser is a producer living and working in Zagreb, Croatia. His areas of interest include film (fiction, docu- mentary and experimental) and video. He is working as a producer with Restart (http://www.restarted.hr) producing shorts and documentaries. After graduating in Economics

at the University of Zagreb, he enrolled into the Academy of

Dramatic Art in Zagreb graduating in film and theatre pro- duction. He is a guest lecturer for Palunko – a scriptwriting program by the Croatian Film Association. He is a member of Kino Klub Split – Cinema Club Split. He actively pursues

workshops and festivals, including the 7. Sarajevo Talent Campus in 2013, EURODOC 2015, Berlinale Talents 2016 and Jihlava Emerging Producers 2017.

COMPANY PROFILE:

Restart is a multifaceted organization focused on produc- tion, education, distribution and exhibition of creative documentary films and series. In 2014 Restart also started producing fiction films. Restart was founded in 2007 and people working in Restart are younger film experts. Our films were screened as part of the program of film fes- tivals such as: Hot Docs (Toronto, Canada), Karlovy Vary (Czech Republic), Rotterdam Film Festival (Netherlands), FID Marseille (France), Zurich Film Festival (Switzerland), DOK Leipzig (Germany) and hundreds more. Restart runs several film projects - documentary and fic- tion film production, distribution of documentary films, a documentary cinema and an educational program in doc- umentary film.

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CineLink Projects 2018

SAFE PLACE

Director: Juraj Lerotić Writer: Juraj Lerotić Producer: Boris T. Matić Production company: Propeler Film

Attending CineLink Workshop:

Juraj Lerotić, Boris T. Matić

Boris T. Matić Production company: Propeler Film Attending CineLink Workshop: Juraj Lerotić, Boris T. Matić HR

HR

Boris T. Matić Production company: Propeler Film Attending CineLink Workshop: Juraj Lerotić, Boris T. Matić HR

SHORT SYNOPSIS

The film’s subject matter is the sudden mental illness of a fam- ily member. It tells the story of first hospitalisation, escape and

attempted rehospitalisation. The cause of illness is never revealed,

to the family, the doctors as well as the viewer. The film takes place

within 48 hours.

LONG SYNOPIS

After Damir tries to take his own life, his mother and brother have no other choice but let him be hospitalized. Despite having confidence and faith, they soon witness the noncha- lance and indifference of the doctors. When Damir escapes and appears on the doorstep, they decide to respect his decision and not to place him back in hospital. Attempting to help the person whose actions and behaviour they understand less and less, they find themselves in a totally unfamiliar

territory. Their everyday life is fundamentally changed, as if they are fighting a war invisible to anyone else. Despite their love and care, Damir’s mother and brother realize they are totally unequipped to deal with the circumstances.

In their forty-eight-hour search for help they encounter the ineffi-

ciency and chaos of the system, as well as the elusiveness of the illness, the mystery of human nature, and finally the brutality and banality of death.

DIRECTORS STATMENT

A major theme of the film is the loss of control and a feeling of

artistic. The film is reduced to the most acute, to a short time span and a clear situation that can be put in a nutshell: save the loved one. The characters are, due to unforeseen events, forced to be focused exclusively on the present and the decisions they have to make. They rarely have time to reflect, experience or analyse what hap- pened– they simply go headlong into situations. The directing style

is

raw, devoid of embellishments and rhetoric garnishes – the viewer

is

given the opportunity to witness the characters’ struggle without

distractions.

It would be contradictory to structure the film about loss of control

and death in a pure dramatic form based on the unity of place, time and action. At one point, the film goes beyond its firm fictional framework and enters the realm of meta-cinema and autobiogra- phy. The form is thus suddenly disrupted, same as the characters’

lives. In the same way the characters’ lives are disrupted by a trau- matic situation, the film is disrupted by a contradictory storytelling strategy. The viewer’s illusion is undermined and, at the same time,

a new dimension reveals itself.

DIRECTOR’S BIOGRAPHY:

JURAJ LEROTIĆ was born in 1978, in Kiel, Germany. He graduated from the Academy of Dramatic Art in Zagreb, the Department of Film and TV Directing. His last, mid-length film, THEN I SEE TANJA was premiered at Rotterdam Film Festival, and broadcast on ARTE.

COMPANY PROFILE:

deficiency when faced with matters of life and death. Despite all the

Production company Propeler Film was founded by Boris T. Matić in

Selected filmography:

effort and care - illness (and life in general), simply has its own plans which unfold with relentless brutality. The theme of mental disorder and how it affects the family rarely features in art films, despite its frequency in reality. Death is also mostly presented as a casual one-dimensional genre motif or is opti- mistically paired with a “new beginning”. The sudden loss usually

2001. In 2003 Propeler Film launched Zagreb Film Festival. Propeler Film has produced films which have won more than 100 interna- tional awards on festivals such as Cannes, Berlinale, Sundance FF, San Sebastian FF etc.

makes the characters stronger, giving the impression that death has

2018

/ MALI – A feature film by Antonio Nuić.

a

less absurd, more cathartic and motivational dimension.

2017

/ IVAN – A feature film by Janez Burger; ŽABA – A feature film

The invisible, omnipresent force of death which manifests itself unexpectedly and mightily, a meaningless event which offers no answers, which makes no one smarter of braver, death as a motif which follows no linear causality and eschews reason is a rare motif and usually fails to overcome the sentimental gloom. Beside my own personal urge to deal with these subjects, it seems that mental illness and death – despite the scientific advances – are still topics that are ignored in the contemporary society, which gives further reasons for making this film; reasons broader than solely

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by Elmir Jukić.

2015 / LIFE IS A TRUMPET – A feature film by Antonio Nuić; ZAGREB

STORIES Vol. 3 – A feature-length omnibus film, part III, consisting of six shorts films. 2014 / MONUMENT TO MICHAEL JACKSON – A feature film by Darko Lungulov. / Eurimages; 2014 / JUDGMENT – A feature film by Stephan Komandarev. / Eurimages 2013 / CIRCLES – A feature-length film by Srdan Golubović. / Eurimages

2012 /ZAGREB STORIES Vol. 2 – A feature-length omnibus film, part

II, consisting of six short films.

2010 / MILA IS LOOKING FOR SENIDA – A feature-length documen-

tary film directed by Robert Tomić- Zuber.

2009. / DONKEY – A feature-length film by Antonio Nuić; 2009 / ZAGREB STORIES – A feature-length omnibus film, consisting of nine short films.

2008 / BUICK RIVIERA – A feature-length film by Goran Rušinović

2006 / BORDER POST – A feature-length film by Rajko Grlić. / Eurimages; 2006/ ALL FOR FREE – A feature-length film by Antonio Nuić.

2005

/ GRAVEHOPPING – A feature-length film by Jan Cvitković.

2004

/ SEX, BOOZE AND SHORT FUSE– A no-budget omnibus film

with three stories about football fans, directed by Zvonimir Jurić,

Antonio Nuić and Boris T. Matić.

2003 / THE ONE WHO WILL STAY UNNOTICED – A feature-length film

directed by Zvonimir Jurić.

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CineLink Projects 2018

SUMMER NIGHT, HALF PAST TEN

RS/RO

A small town organises a festival for the Serb-Romanian friendship. Actress Ana is in charge, but nothing goes as planned.

Writer: Ivana Mladenović Director: Ivana Mladenović Producer: Jelena Mitrović, Baš Čelik Co-producer: Ada Solomon, Hi Film Production (Romania)

Čelik Co-producer: Ada Solomon, Hi Film Production (Romania) Attending CineLink Workshop: Ivana Mladenović, Carla Fotea
Čelik Co-producer: Ada Solomon, Hi Film Production (Romania) Attending CineLink Workshop: Ivana Mladenović, Carla Fotea

Attending CineLink Workshop:

Ivana Mladenović, Carla Fotea

SYNOPSIS After years of misfortune and sentimental failures in Romania, Ana, a 33-year-old actress, returns in early May to her hometown of Kladovo, Serbia, right across the Danube from Romania, in order to stabilize her health. Unaware of her hypochondria, she accuses symptoms of suffocation and anxiety and she involves her entire family in a series of medical investigations. Even though they wel- come her back wholeheartedly and support her, they can- not help noticing that she is overreacting. So, unavoidably, they start to make fun of Ana’s exaggerations. Her doctors are also trying to assure her that everything is ok and they offer an alternative treatment: getting married and having kids. Ana is still unconvinced of the diagnosis, so her frus- trations and anxiety push her into a relationship with much younger local boy, Nikola (20). And so, besides the shame of seeming crazy in the eyes of her family and doctors, she now has to face public shaming by the small, but very judgemental community of Kladovo. Gossip travels faster than good news, so her parents find out immediately about her new love interest and strongly disapprove. Confronted with the indiscrete concern of her neighbours, Ana realises the small town is as she left it: full of reciprocated envy for the neighbouring Romanian city of Drobeta Turnu Severin, but still organising a festival to celebrate their friendship; situated close to a power plant, but still facing regular power cuts; and, as all small communities are, ridden by gossip. As summer is approaching, Ana is invited to be the face of the Serb-Romanian Friendship Festival (because of her successful life in Romania) - a yearly musical event that celebrates“ the friendship between people”, cultural exchange and Serb-Romanian traditions. The festival takes place on the power plant, so-called Friendship Bridge con- necting Kladovo and Drobeta Turnu Severin, built by the dictators Ceaușescu and Tito. However this part of Serbia is facing some Romanian-Vlach minorities issues and other

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political intrigues, while the political party leaders are try- ing to make Ana declare which side she’s on. After being the target of the gossip running around the town and scared by a possible panic attack, Ana wants to avoid the attention. However, she decides to help the organisers by inviting some musician friends from Romania, including her ex-boyfriend Andrei and his new wife, Romanian star Anca. Before the start of the festival, Andrei and Anca arrive to Kladovo and are welcomed by Ana. While showing them the festival venue and the city, Ana realises that Anca is everything she is not, but wishes she could be: free, beau- tiful, extravagant, unapologetic, not concerned by public opinion. Ana’s admiration and envy towards Anca makes her even more anxious. In the agitation before the festival, Ana loses her emotional stability and misinterprets Andrei’s signals. In an alone moment with Andrei, Ana confesses she still has feelings for him and offends Anca, but Andrei rejects her. Later on, Ana herself rejects drunk Nikola who appears in front of her house during a stormy night and starts openly declaring his love and his plans for a life with Ana. This whole conundrum makes Ana realize that her physical symptoms are actually caused by her sentimental problems. As if her sentimental life was not giving her enough prob- lems, the festival begins and nothing goes as planned. Anca goes missing, skips the concert and ruins the evening. A heavy rain starts to fall and disperses the crowd gathered for the event. While everything is falling apart, Ana gets the blame for the mess. In the aftermath of the event, a leaflet full of gossip about the festival organisers is shared among the locals and Ana has to face again the judgment of the Kladovo community. At an after party with all the artists who were supposed to sing at the festival, Anca and Ana get a chance to talk. Anca shares the seemingly unreal story of a rape case. And, even though Ana cannot really tell if Anca is sober enough

to be serious or not, her perception of the star’s presumed liberty and openness changes. The film ends with Ana helping Anca shoot her new music video in the beautiful surroundings of Kladovo. Anca jumps off a clip and lands on a mattress, surrounded by her crew.

DIRECTOR’S STATEMENT:

SUMMER NIGHT, HALF PAST 10 is inspired by the novel with the same title, written by Marguerite Duras in the 50’s. And, even though I do not wish to make a word to word adaptation of the book, I am aiming to portray a strong female character dealing with the hardships of love. In spite of its seeming drama, the film will abound in absurd com- edy and humor. More precisely, the envisioning of the film is like this: Marguerite Duras’ drama meets Milos Forman’s “The Firemen’s Ball”. In the films I have made so far, I showed a particular inter- est in the problem of social marginalization. I followed characters who had just been released from prison key episodes that marked their reintegration into society. In this experience, I was not just a witness who recorded

their actions, but, starting from their past life experiences,

I tried to create contexts that allowed them to react in an

authentic manner, beyond the distinction between film and reality, as a natural extension of their private lives. This time

around I will tell a story that I am very familiar with and in a background that I know very well. Still, I plan to keep using both professional and nonprofessional local actors as in my previous film “Soldiers. Story from Ferentari”, for authentic- ity and local colour.

I was born and raised in Kladovo, Serbia, the town where

the action of the film takes place, and part of the film is based on my own experience there. The background of the film is very important: the town of Kladovo will be present- ed both as a community full of envy towards neighboring Romania with its political intrigues regarding ethnical minorities and as an idyllic region with an abundance of sights and a breathtaking landscape. Moreover, I want to include the visual motif of the power cuts – a contradicting phenomenon for a city that’s right next to a power plant. The Serb-Romanian relationship is very sensitive in the community of Kladovo and I believe I have the unique advantage of observing its dynamics both as an insider and as an outsider. This will help me portray the tensions and the friction between the two neighboring cities of Kladovo and Drobeta Turnu Severin with humor and lightheartedly. This conflict will also be present in the main character as she will be divided by her double identity and ethnicity.

DIRECTOR’S BIOGRAPHY:

IVANA MLADENOVIĆ became known as director of fiction short films and documentaries that were presented in festi- vals worldwide. Her fiction feature debut SOLDIERS. STORY FROM FERENTARI premiered in Toronto International Film Festival 2017 and went on to be included in the Official Competition at San Sebastian International Film Festival 2017. She was awarded the prize The Heart of Sarajevo for Best Documentary for her film Turn Off the Lights, which premiered at Tribeca Film Festival in April 2012.

PRODUCER’S BIOGRAPHY:

Since setting up Hi Film Productions in 2004, ADA SOLOMON has produced films presented and awarded in the most prestigious festivals such as Berlin, Cannes, Venice and Sundance. Her latest achievement is the Silver Bear for Best Director for AFERIM! by Radu Jude. She has coproduced with numerous European countries - France, Germany, Italy, Spain, Austria, Hungary, Sweden, Croatia, Netherlands, Belgium, Czech Republic, Bulgaria - and has released her films in over 40 territories. She has served as a line producer for foreign international projects such as Franco Zeffirelli’s CALLAS FOREVER and Maren Ade’s TONI ERDMANN. Ada Solomon is a National Coordinator of EAVE, graduated of ACE, is a member of the board of European Film Academy and was awarded with the Co-production Award by Eurimages.

COMPANY PROFILE:

Hi Film Productions is a Romanian independent company with a rich portfolio that includes Romanian fiction feature films as well as documentaries and international co-pro- ductions. With a strong focus on promoting Romanian cinema and talent, our projects have involved directors such as: Cristian Nemescu, Radu Jude, Alexandru Solomon, Adrian Sitaru, Paul Negoescu, Răzvan Rădulescu, Ștefan Constantinescu, Constantin Popescu.

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CineLink Projects 2018

WAR AND WAR

GR

Returning from war to attend his father’ s memorial ceremony, Ilias embarks on a journey for inner peace and reconciliation.

Writer: Elizampeta Ilia Georgiadou, Efthimis Kosemund Sanidis Director: Efthimis Kosemund Sanidis Producer: Yorgos Tsourgiannis Production Company: Horsefly Productions

Yorgos Tsourgiannis Production Company: Horsefly Productions Attending CineLink Workshop: Efthimis Kosemund Sanidis,
Yorgos Tsourgiannis Production Company: Horsefly Productions Attending CineLink Workshop: Efthimis Kosemund Sanidis,

Attending CineLink Workshop:

Efthimis Kosemund Sanidis, Yorgos Tsourgiannis

SYNOPSIS Athens, today. Ilias (35) has just returned from war to attend the memorial service of his recently deceased father, Achilleas, who was a high ranked military officer and died during his absence, before they had the chance to find a middle ground. In the ceremony, his son, also named Achilleas (3), who has grown while he was away, is present, together with his wife, Elli (40), and the rest of the family. Ilias struggles to perform a speech for Achilleas and spends the rest of the evening with mixed feelings. But no one seems to really care as alcohol is already flowing, violently shifting the formal tone of the memorial. While his family leaves, Ilias stays behind, as Titos, a friend of his father’ s, insists to talk to him alone. Then, Titos hands Ilias with a sealed envelope containing a key and an address; Achilleas had apparently bought a small cabin in a rental room site a few years back. He wanted his son, Ilias, to have the key. Ilias chooses not to share the story with his wife. The follow- ing days find Ilias trying to connect and restore some kind of normality. Elli prompts Ilias to spend some time alone with his son. During a visit of their at the supermarket, Ilias accidentally meets Christos, an army man who was at the same division with Ilias during the war but returned after suffering a mental breakdown. Christos is enthusiastic, but Ilias doesn’ t say much, as if wanting to avoid him. Driving back home, an overwhelmed Ilias abruptly stops the car, picks up Achilleas and hails a cab. Later, that same day, Ilias is crossing the sea with his son, to seek out the address of his father’s room. Inside the boat, Ilias has to confront a really upset Elli over the phone, but manages to somehow calm her, telling her they will be back in a few days. After a long trip, Ilias and Achilleas arrive in the room rental site, a place outside a small town, surrounded by nature, and meet the owner of the rooms, Karina (60). Ilias shows her the key, announcing the death of his father and, to Ilias’ surprise, Karina breaks into hope-

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less tears. Still sobbing, she suggests that they could stay at his father’ s room but Ilias avoids it and settles in another one instead. The next morning, Ilias leaves his son with Karina and enters his father’ s space for the first time to dis- cover a reclusive retreat: a few books, mostly poetry, some philosophy, a few clothes. Browsing over his notebooks, Ilias finds poetry verses written by Achilleas. But there seems to be nothing of or about Ilias. Confronted by what seems to be the secret life of his father and overwhelmed by feelings that he doesn’ t necessarily have names for, Ilias rushes out of the room in anger. He takes Karina’ s truck without asking and spends the night in the woods, sleep- ing in the wild. Returning at dawn, Karina, who has had to involuntarily babysit Achilleas, comes out of the room and starts hitting him until she exhausts herself. Ilias spends the following days wondering around aim- lessly with regulars of the lodgings, leaving while he does, Achilleas to Kalliopi (30), one of the regulars, a young woman whom he just met. Ilias collects random information about his father. One morning when Karina is absent, Ilias sneaks into her room looking in vain for a trace of Achilleas. Again, nothing. A few days later, Karina reveals to Ilias that, in spite of his belief, his father was filled with remorse about his joining the war. Dumbfounded, Ilias rushes into his father’ s room, collapses on the bed and falls into a deep sleep. Left without guard- ianship, young Achilleas opens the door, enters the nearby forest and arrives at the top of a steep cliff. Ilias wakes up alone and searches for Achilleas nervously, only to find him in the main building, playing with Karina. The next day, Achilleas is inexplicably burning up with fever next to a worrying Ilias. At dusk, the fever disappears. Ilias begins receiving phone calls from a concerned Elli which he initially entertains but then begins to ignore. At the same time, he starts to gravitate more and more towards his son. They seem to be having their first happy

moments together, enjoying the setting and its surround- ings. But these moments are still marred by memories of war. One morning, while Ilias is watching Achilleas playing around him, he calls Christos and tells him that he has just lived the best moment of his life, right there. Days later, on the occasion of Karina’ s birthday, she and her friends are going out on an excursion. At some point, Ilias draws away and bursts into tears for the first time. After the party is over, Ilias kisses with Karina. The next day, father and son drive to town to repair a broken generator. At the backyard of the mechanic’ s, Ilias finds a tropical jungle, same with the one in his war memories. He starts running deeper and deeper in it, leaving his son behind. Achilleas, exploring the room, is mesmerized by a fully equipped mechanic welding some metal, looking like an ancient warrior. Achilleas forms his first word.

DIRECTOR’S STATEMENT:

This is the history of mankind as I understand it. Born into this world, we begin our constant struggle, our wishful quest for a certain utopia; a chance that we might just be in this word of endless cruelty and furious beauty. In a contemporary landscape of global interconnection and of omnipresent violence, the urge for another way of life seems as critical as ever and I feel nostalgic for a world I have never experienced or ever known existed. In the story, we shape a geography of two opposing shores divided by sea; Athens, constructed, artificial, civilized, a city that gave birth to the military careers of our characters, and the room rental site, wild, immersed in nature, inexplicable, an environment depicted as a possible dream-come-true, as a materialized utopia. This universe translates into the transformative journey of the protagonist, Ilias, from a state of inner unrest to a kind of reconciliation and peace. In the story, Ilias deals with war and war. The first one is a fictitious, unnamed war he has just returned from and after which he tries to restore some- thing of a normality and recover. But the second war is an internal one, as he deals with his past and future, his role as a son and that of a father at the same time. The backstory between father and son is suggested throughout the story and defines Ilias’ actions. His father, Achilleas, an officer of the army, was mostly absent during his son’ s upbringing. Ilias tried to fill that void by following in his father’ s foot- steps, also becoming an army man. His later decision to join the war fills his father with remorse, a possible cause for his death. Ilias’ arc reminds me of Oedipus, in the way that he contin- ues to struggle while aware of his destiny. At the end of the

story, poetically, Ilias returns to the tropical jungle, to the war zone, accepting the inevitability of war. Throughout the story, war never leaves sight of the hero. This notion of

a higher cosmic order hovering above the characters fits a

larger personal cosmology of a mundane, banal yet tran- scendental world that I have tried to film in my previous

work, of a rich state of things hidden under the surface, of

a world within a world.

DIRECTOR’S BIOGRAPHY:

Born with dual Greek/German nationality, EFTHIMIS KOSEMUND SANIDIS studied Informatics Engineering, and then Contemporary Arts at Le Fresnoy - Studio National in France. His films have won acclaim at festivals around the world. His debut short film, IL (2014, 16’), won the Pack & Pitch award at Sarajevo while in development, followed by a world premiere in the Pardi di Domani section of the Locarno Film Festival. He shot his next two films, ODETTE (2015, 16’) and UNBUILT LIGHT (2017, 29’), while in resi- dency at Le Fresnoy, with the latter opening in competition

in Sarajevo IFF. ASTROMETAL (2017, 15’) was nominated for

a Golden Lion in the Orizzonti section of the 74th Venice International Film Festival.

PRODUCERS’S BIOGRAPHY:

YORGOS TSOURGIANNIS is an independent film producer and the founder and managing director of the Athens based production label Horsefly Productions. Yorgos Tsourgiannis began producing films and numerous TV commercials in various capacities, both independently and with other production companies after graduating with an MBA from the University of Southampton in 2001 and a Masters in Audiovisual Management (EMAM) from Rome in 2002. He has been selected by the Greek Film Centre to be EFP’s Producer On The Move in 2010 and is a member of the ACE network of producers, the Hellenic Film Academy and the European Film Academy.

COMPANY PROFILE:

Horsefly Productions is the production label of Athens based independent film producer Yorgos Tsourgiannis. Since its inception in 2004, it has produced and co-pro- duced a number of award winning short and feature films. Valuing its network of collaborators in Greece and abroad and promoting strong authorial vision, Horsefly is commit- ted in bringing unique Greek films closer to international audiences.

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CineLink Drama Projects 2018

ANATOMY OF CRIME

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Following an inconceivable crime in a secluded mountain village in Yugoslavia in 1960s, when a pregnant woman is murdered and her baby stolen from her womb, a renowned big city attorney takes on the case to defend a childless village woman, who has been accused of the murder.

Creator: Vuk Ršumović, Ana Tomović Writer: Vuk Ršumović, Ana Tomović Director: Vuk Ršumović Producer: Mirko Bojović, Uglješa Jokić Production Company: BaBoon Production, Work In Progress

Genre: Crime drama Format: 12 x 52’ Based on book Truth about Šefka by Fila Filota

12 x 52’ Based on book Truth about Šefka by Fila Filota Attending CineLink Workshop: Vuk
12 x 52’ Based on book Truth about Šefka by Fila Filota Attending CineLink Workshop: Vuk

Attending CineLink Workshop:

Vuk Ršumović, Mirko Bojović, Uglješa Jokić

on book Truth about Šefka by Fila Filota Attending CineLink Workshop: Vuk Ršumović, Mirko Bojović, Uglješa

SYNOPSIS OF THE SERIES:

In 1969, an unfathomable murder stuns a secluded village in Yugoslavia: a pregnant woman is killed and her baby cut out and taken from her. VAHIDA HODŽIĆ (27), a child- less village woman who claimed the murdered woman’s baby as her own, stands accused of the murder. Despite the incriminating circumstances, she pleads innocence. Sensing that the case is psychologically far more complex than meets the eye, the most prominent Belgrade lawyer, PETAR MANAKI (65), decides to take charge of the beautiful VAHIDA’s defence, running up against widespread popular anger. His struggle for Vahida’s life will lead to the unravel- ling of the many dark secrets of this village cut off from the world that will forever change the lives of its residents. The series follows the investigation and the trial, through to the final verdict, as well as the significant events and specific circumstances surrounding the murder.

CREATORS STATEMENT My great influence, François Truffaut once said: “Life has more imagination than we do.” I couldn’t agree more with the gentle and fearless French filmmaker. The idea for ANATOMY OF A CRIME came from the newspapers. I read an article about the murder case that happened back in the 60’s in former Yugoslavia. It was described as the most gruesome crime in the history of the country. Not only that. A crime like that never had happened anywhere in the world. I was immediately intrigued. But actually, it was not the crime itself that attracted me. It was the setting and the specific isolated patriarchal community. And above all, the complexity of the woman accused of murder, the

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young and beautiful VAHIDA. The story of VAHIDA is a story of a modern femme fatale. She was demonized by rural community as a childless woman. In the end, the vicious crime made her a new per- son and gave her a new life. She went through a horrifying experience to become socially and spiritually liberated. My approach to telling the story is driven by strong creative intention. The aim is to reveal a much bigger, underlying issue - the misogynistic and bigoted community of an iso- lated mountain village. Genre-wise, this is a gripping who- dunit and a serialized procedural in the vein of HBO’s The Night Of. And visually, it should be a slow building, atmos- pheric crime drama. The camera should be slow paced, but moving more often than not. As a contrast to the dark and sinister storyline, it will be warm and bright in colors. ANATOMY OF A CRIME is a suspenseful whodunit, as well as an authentic depiction of an era, a complex court drama, a compelling character study and a social commentary on a patriarchal misogynist society.

CREATOR’S BIOGRAPHY VUK RŠUMOVIĆ is an award winning writer/director. He studied film & theatre at the Faculty of Drama Arts in Belgrade and Analytical psychology in Belgrade and Zürich. His feature film NO ONE’S CHILD won three awards at the Venice Film Festival and over 35 awards all over the world. He is an EPI European TV Drama Lab alumni and an active member of European Film Academy. He is a professor of Film at the FMK in Belgrade. Besides his commitment with cinema and TV he also works in the theatre.

ANA TOMIĆ was born in 1979 in Belgrade. In 2004 she graduated Theatre Directing at the Faculty of Dramatic Arts in Belgrade. She is currently on the PHD program at the Faculty of Dramatic Arts in Belgrade. She direct- ed both contemporary and classic plays, most notably:

“Creeps” by Lutz Hübner at the Belgrade Drama Theatre; “halFlife” by Filip Vujošević at Atelier 212 in Belgrade; “The Return of Casanova” by Arthur Schnitzler at the Serbian National Theatre in Novi Sad; “A Boat for Dolls” by Milena Marković at the Serbian National Theatre in Novi Sad; “The Woyzcek – Hinkemann Case” based on the plays by Georg Büchner and Ernst Toller at the Bitef Theatre in Belgrade; “Romeo and Juliet” by Shakespeare at Oberhausen Theatre in Oberhausen, Germany; “Finger” by contemporary Albanian playwright from Kosovo Doruntina Basha; “Crime and Punishment” by Dostoevsky at the Yugoslav Drama Theatre in Belgrade; “Mother Courage and Her Children” by Bertolt Brecht at the National Theatre in Belgrade; “Autumn Sonata” by Ingmar Bergman at The Croatian National Theatre in Rijeka, Croatia. “A Boat for Dolls” participated at “Forum of Young Theatre Directors” at La Mamma theatre in New York and at “New plays from Europe” Festival in Wiesbaden, Germany. It was pronounced the best performance of the year in Serbia, winning 6 awards in total. Ana and Vuk have been collaborating in theatre and in film. They co-wrote the script for the award winning feature film “No One’s Child”. “Anatomy of a Crime” is their first collab- oration on a TV series.

PRODUCER’S BIOGRAPHY:

MIRKO BOJOVIĆ was born 1970/03/02 in Belgrade, Serbia.

Graduated at Faculty of Dramatic Arts in Belgrade in 2000.

1991. Mirko started his career in TV and film business in

small TV station “Studio B” as video editor. He was working there until 1994. when he enter TV and Film Editing studies on Faculty of Dramatic Arts in Belgrade. Between 1994 and 2000, parallel with studies, he worked as TV editor on all major TV stations in country: BK, B92, RTS, BBC Belgrade bureau and WTN news agency. He was working on all gen- res of television, from news to TV movies. After graduation,

in 2000 he joined production house “Arhitel” and that is beginning of his professional move towards production. In addition to the editing of documentaries, Mirko began working as a line producer and executive producer. After five years in Arhitel, Mirko moves to The Netherlands in

2005. He got employment in UN as director and producer

for various videos and live programmes. Being passionate for movie making, he joined forces with his long time

friend and colleague fom Faculty of Dramatic Arts, Vuk Ršumović, and started BaBoon Production (Belgrade) in 2007. Mirko is 2016. EAVE Producers Workshop graduate and voting member of EFA.

COMPANY PROFILE:

BaBoon Production is a Belgrade production company founded in 2007 by established film authors that aims to develop cinematographic projects within the Serbian and global audio-visual panorama. BaBoon Production works with young as well as with acclaimed authors, who are committed to quality in storytelling, with new sensibil- ities, and who express a fresh point of view on current topics. All projects are carefully constructed with artistic integrity to serve their true function – arousing emotion in the audience. BaBoon has gathered under one roof the credits from more than 120 short and long feature films, documentaries, TV programmes and series as directors, scriptwriters, editors, producers, co-producers, executive producers and line producers. NO ONE’S CHILD (2014), tri- ple winner of the International Critic’s Week at Venice Film Festival, awarded more than 30 prizes so far, and screened at numerous Festivals on all continents is an example of how BaBoon works.

Founded in 2007, WORK IN PROGRESS is the leading film servicing company in Serbia. The company is headed and owned by Andjelka (Angie) Vlaisavljevic, a UCLA educated MFA graduate and Line Producer working in film and tel- evision production since 1979. Work In Progress employs approximately 100-150 local crew members during pro- duction and cooperates with 500-1000 local companies and vendors. Over the last 9 years it has serviced over 30 foreign film productions from the USA, UK, France and Italy.

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CineLink Drama Projects 2018

BAD BLOOD

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A tragic family saga, set in the late 19th century in the heart of the Balkans, tells of kindred intrigues, passionate love affairs and bloody twists between Oriental beauties, patriarchal despots and bons vivants at the turning point for the old and tired Ottoman Empire when it is being eaten away by national desires of the local natives.

Creator: Milutin Petrović Writer: Vojislav Nanović Co-Writer (episode 1, episode 2, episode 3): Milena Marković Director: Milutin Petrović Producer: Snežena Penev Production company: This and That Productions

Genre: Drama Format: 11 x 45’ Based on Borisav Stanković’s literary works

11 x 45’ Based on Borisav Stanković’s literary works Attending CineLink Workshop: Milutin Petrović, Snežena
11 x 45’ Based on Borisav Stanković’s literary works Attending CineLink Workshop: Milutin Petrović, Snežena

Attending CineLink Workshop:

Milutin Petrović, Snežena Penev

SYNOPSIS OF THE SERIES:

Hadzi-Trifun is the head of a rich, powerful family and the leader of the Serbian community in the Balkan ottomans region. He adores his youngest son, the womanising Mita. He openly despises his elder son, the heartless Jovca. Beautiful Tasana, the widow of Trifun’s third, late son, suffers most though. Trifun is plotting against the Sultan’s local bey. He arranges the bey to be killed by Kolj, the chief of the Albanian clan. As a reward old Kolj wants the young Tasana for himself. Trifun secretly arranges Tasana and Kolj to meet. After she is raped by Kolj, she wants to expose Hadzi Trifun´s evil agreement, but Trifun brands her a whore and orders her to be killed. After the bishop’s pleas he changes the sentence and forces her to marry a mad local simpleton. Shortly after, Trifun dies in front of the family when he is told about the death of his sister. Ten years later Trifun´s son Jovca is a powerful landowner. Jovca spoils his daughter Vaska beyond all bounds, but openly derides Arsa and Mitke, the sons from his previous marriage. Jovca’s brother Mita is squandering his inher- itance. He only cares about his relationship with Stojna, a married servant girl. Stojna´s sleazy husband Tone uses their open secret relationship to blackmail Mita, who is forced to appoint Tone as overseer of his estate. Mita’s daughter Sofka and her cousin Vaska grow up into attrac- tive women. Sofka is naively and enigmatically eroticised, while Vaska falls pregnant with a servant. Jovca explodes with rage, curses his daughter and lives the rest of his life driven by obsessive hatred. Following the war, Vranje belongs to an expanded Serbia. Arsa, the son of Jovca, is now in power. Mita, who hasn’t been seen for years suddenly turns up out of the blue upon his release from Turkish prison. To avoid financial ruin Mita has to marry his

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daughter Sofka to Tomca, the son of Marko, a rich farmer who marries his son to Sofka just for the status of the Hatzi Trifun family. Sofka is ten years senior to the boy. After the wedding, following local tradition, Marko rapes Sofka. Devastated by what he has done, Marko leaves never to

return

beats, rapes and abuses Sofka in the most terrible man- ner. After a journey around Europe, Tomca returns with a German business partner. They plan to sell the estate to build a factory. Tomca throws Sofka out of the house with their child. Cradling her son in her arms, Sofka leaves what was once the wealthiest family house, built by her grandfather

Sofka’s husband Tomca has grown up and now

Hadzi-Trifun. She heads off along a winding road, over- grown with weeds.

CREATOR’S STATEMENT:

This script was written by one of the pioneers of Yugoslavian cinematography-director Voja Nanovic. He made an epic entirety, building in it a whole literal opus of Borisav Stankovic, one of the most important Serbian writers from the beginning of 20th Century. The golden thread of the most intimate national feelings woven into the velvet of the Orient, the touching love for ancestors, but the blunt condemnation of the moral perversions of its people’s past are just some of the pearls threaded into this chronicle. As you read this script, with your head in 19th century Vranje, you are confronted by Shakespearean twists, lov- ers’ tears and the cruelty of mad despots, while hearing the murmur of the Holy Foolishness of Dostoevsky’s poetic language and the evil scenes of Kurosawa’s best films leap out before your very eyes. The script achieves the age-old

ideal – be gentle towards viewers and merciless towards one’s heroes. ‘Bad Blood’ is almost a western whose char- acters and ritual action scenes are reminiscent of John Ford’s films. Action, intrigues and passionate love affairs are the blood which pulses through this epic story’s arter- ies, while layers of sediment of Balkan history, the depth of its canyons and the ricketiness of the bridges above them, a museum of anthropological values of customs and arte- facts, and the musicological potential of the best folk music row back through the veins towards the heart. Cost-effectiveness in the use of scenographic resources, an intelligently established balance between chamber and action scenes, the cunning use of the artistic potential of the epoch, skilful narration which provides a precise score for the final, lavish editing rhythm, a spectrum of main and episodic roles written in such a way that they clearly suggest a magnificent cast, the attractive juxtaposing of humour and dramatic situations, action and eroticism, and finally cliff-hangers worthy of the highest show busi- ness standards – all this suggests this project was cleverly thought out production-wise from the very beginning of the script-writing process. However, above all else, the current, contemporary nature of ‘Bad Blood’ showcases Nanovic’s view of civilization. Which side of the world (and not border) the author stands on is indisputable, grounding this project on the hardest stone of the fortress of human- ity. Rarely does one find an author who views the world he writes about with such human integrity. His attitude towards people, war, traditional values, women’s rights, child-rearing, money, and siblings and parents displays all the ethical grandeur of good art and the fundamental, edu- cational potential of positive, cultural policies. The script radiates the aroma of meals cooking on stoves, the taste of wine and Sofka’s lips, the songs of Gypsies and the clatter- ing of horses’ hooves, the overrowing rage of the wicked, but even more the overrowing curves of women.

CREATOR’S BIOGRAPHY:

MILUTIN PETROVIĆ was born in Belgrade in 1961, he gradu- ated from the Department for Film and Television Directing at the Faculty of Dramatic Arts in Belgrade in 1989. Filmography:

LAND OF TRUTH, LOVE AND FREEDOM (2000, 87’) SOUTH BY SOUTHEAST (2005, 90’) AGI AND EMMA (2007, 92’, feature film) HAVE I TOLD YOU I’VE BEEN ABUSED? (2009, 93’, documentary) THE LOOP (2015, 73’) TV short: Telephomania (1988); TV series: Home, Sweet Home (1987); educational drama series: Lyrics (1993);

a series of ‘live’ programmes: Hit of the Month (1985-

1987), The Timofejev Show on B92 TV station; cultural programmes: Friday at 10pm and Preaching; TV documen- taries: Cinematography or Bust (1992, 2x75 min.), Enigma Nižinski (1994), and MILORD (1998), a documentary series about Đorđe Marjanović; TV shorts: In the name of the people (2015), Our surroundings (2016-2017), and Plaško Hrabrović gets his own back (2016-2017, 10x30’.), pro- duced by RTS.

PRODUCER’S BIOGRAPHY:

SNEŽANA PENEV graduated Film Production at the Academy of Arts in Belgrade. She became a graduate of the EAVE Producers program in 2011. Snežana has pro- duced many internationally acclaimed fiction films and documentaries. MONUMENT TO MICHAEL JACKSON was supported by Eurimages and Media as well as BATTERY MAN, a feature documentary sold to over 10 worldwide broadcasters. Snežana recently produced IN THE DARK,

a feature documentary which premiered at the IDFA

2014 film festival and A GOOD WIFE a debut film by Mirjana Karanović (SUNDANCE 2016). She was selected by European Film Promotion to participate in the Cannes Film Festival Producers on the move and in 2015 became a voting member of the European Film Academy.

COMPANY PROFILE:

This and That Productions was founded in 2008 by young producers and filmmakers who wanted to make both cre- ative projects after their own hearts and offer production services to local and foreign productions. A little bit of this, and a little bit of that. Traveling to festivals with their award-winning films, they gathered a group of like-minded people. This and That recent productions are A GOOD WIFE (2016) by Mirjana Karanović, premiered at Sundance Film Festival 2016, MONUMENT TO MICHAEL JACKSON (2014) by Darko Lungulov, supported by Eurimages and Media, as well as BATTERY MAN (2012) by Dušan Čavić and Dušan Šaponja, a feature documentary sold to over 10 broadcasters worldwide. The long term aim is to create

a haven for people with energy and ideas and help their

visions get made. This and That is currently in post-produc-

tion with 3 films: a fiction feature ASYMMETRY by Maša Nešković, OCCUPIED CINEMA, a feature documentary by Senka Domanović and PATRIMONY, a short fiction by Senka Domanović, all supported by Film Center Serbia. Feature fiction MARA by Mirjana Karanović is currently in develop- ment, while feature fiction DARKLING by Dušan Milić is in the financing phase of production.

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CineLink Drama Projects 2018

GREATER THAN THE DEATH

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Levent, the chief of homicide bureau of an island, where no one has been murdered for 39 years, questions his existence with an intimate depression. He thinks that he has returned to life with the death body found in the middle of one of the oldest apartments in the island. During his first investigation, he discovers crimes that more corrupted, extraordinary and bigger than murder. And that leads him to questions of morality, ethics, and crime notions.

Creator: Arya Su Altıoklar, Samim Turkmen Writer: Tuna Dilligil Director: Erhan Yuruk, Boran Guney Producer: Metin Alihan Yalçındağ, Mehmet Altıoklar Production company: KısaKes Production

Mehmet Altıoklar Production company: KısaKes Production Genre: Black comedy Format: 12 x 45’ Original script
Mehmet Altıoklar Production company: KısaKes Production Genre: Black comedy Format: 12 x 45’ Original script
Mehmet Altıoklar Production company: KısaKes Production Genre: Black comedy Format: 12 x 45’ Original script
Mehmet Altıoklar Production company: KısaKes Production Genre: Black comedy Format: 12 x 45’ Original script

Genre: Black comedy Format: 12 x 45’ Original script

Attending CineLink Workshop:

Arya Su Altıoklar, Avni Tuna Dilligil Metin Alihan Yalçındağ, Mehmet Altıoklar

SYNOPSIS OF THE SERIES:

The conception of ethics, form of relations and value judg- ments in the post-modern world describe obvious crimes in an absolutely contradictory manner and praise its “vio- lent criminals” to the skies. The phenomenon and the sub- stance do not match anymore. The religious script peculiar to the world our story is set in states this concretely as

what you call the depth shall be great shallows,

the clever shall be crafty and the respectful insolent ” However, despite this straightforward statement, prophets of this religion deceives the society, just as the charac- ters that constitute our story, who represent a particular institution or a social body. Consequently, this shows us that even the simplest truth is distorted, extenuated and burked depending on the narrator. Amidst all this contra- diction between the phenomenon and substance at its peak, Levent, who runs the investigation of a murder case, will recognize the gruesome faces of the island’s notables, who are all suspects in the case. At the same time, he will run the first real investigation of his life as the chief of homicide bureau in a city that remained homicide-free for 40 years. His investigations, beyond itself, will turn into a

follows “

story that will make him question the dystopic island and his destiny.

CREATOR’S STATEMENT:

The new type of human profile that created by postmod-

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ern society can be summarize in one sentence; “I want, so be it, now.” This situation is inevitable in the current tech- nologies and transition process from farmer-manufacturer to consumer-industrial model of society. Maybe “I want, so be it, now” is the most critical point for human beings becoming a god. In fact, changing hair color of an unborn baby was a surreal idea in past decades but now it is very much real. This theism game yielded to capitalist system since early 90s and changed power relations between persons, international actors, and governments, which are getting more and more estranged from democracy, - societies relations. Whole society is deformed due to the idea of every person filled with the wish of submission and domination. It really whets our appetite to tell and listen to the story of a chief, who, far from being a god or a subject, tries to make sense of his existence on an island, which plays host to the extreme forms of the corrupt society, which changes only for worse, which is full of people feeling god rather than playing it, who create the living dead or the dead living.

CREATOR’S & PRODUCER’S BIOGRAPHY:

ARYA SU ALTIOKLAR is the founder and the director of International KısaKes Short Film Festival, a first film festival that unites university and high school students in its sec- tions for 8 years. The festival holds the highest application

rate around Turkey. The short films that are distributed are qualifiers for the Cannes Film Festival’s Short Film Corner and made its screening during 70th Cannes Film Festival. She has interests in various artistic fields such as ballet, cinema and theatre and recently directed 6 short films, 5 commercials and distributed 20 short films and four of her shorts won several awards from national short film compe- titions and all of her commercial films screened on national TVs as advertisement. She is the founder of Istanbul Talents Agency which promotes Middle Eastern talents to inter- national productions. She worked on CNN Turk for 1 year as assistant producer on tv program called Aykırı Sorular which got 20+ awards as “the best tv program of the year”. She worked as a video director in a play and acted on 2 theatre plays, 2 feature films, 3 tv-series, 2 music videos, 2 short films and won “Best Female Actor” award on 48hours Short Film Project in 2016.

SAMIM TURKMEN was born in 1996. He interested in literature and won awards with his stories. His poems published in various magazines. Lately, He continues his works in visual arts. He works as director, director of pho- tography, editor, and colorist in music videos and commer- cials. He worked as DOP and colorist on 5 short films and 1 internet series. The short films on which he worked as

a DOP, screened at several national and international film

festivals, including Cannes Film Festival. He is part of the

workshop team in KısaKes Short Film Festival and he is one of the production coordinator in KısaKes Production. He is Director of the short film THE SUN.

COMPANY PROFILE:

Since 2015, KısaKes Short Film Festival expands its borders and started to produce its own visual services. With our young and dynamic team, we care to initiate unique - prac- tical solutions. Kanal D International is a global media company creating world-class content for all platforms. With its innovative approach on management and creative projects, Kanal D International reaches to a wide profile of audience globally. Kanal D takes advantage of being part of Doğan TV Holding; the dedicated media player in Turkey with more than 25 years of experience and has combined all multimedia assets. Besides being the largest national TV channel in Turkey for the past 25 years, Kanal D has also earned a great success as a global content provider. Kanal

D International distributes programs and formats around

the world, and develops, finances and co-produces new

titles for the international market. The team works with some of the best creative talents in the business, with a catalog containing a diverse and exciting range of program- ming spanning drama, mini-series, soap opera, programs, BluTV originals and a library. Kanal D International has over 100.000 hours of programs and 60.000 episodes. Kanal D International reaches audiences in more than 150 countries and territories, including Europe, Eastern Europe, South America, Latam, Americas, Africa, Asia, MENA region, Middle East, Balkans and the Far East.

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CineLink Drama Projects 2018

FRUST

Hate, spin & fake.

Creator: Srđan Vuletić Writer: Srđan Vuletić Director: TBC Production Company: TBC

Genre: Drama, crime, comedy Format: 6 x 52’ Original script

Attending CineLink Workshop:

Srđan Vuletić

BA

Company: TBC Genre: Drama, crime, comedy Format: 6 x 52’ Original script Attending CineLink Workshop: Srđan

SYNOPSIS OF THE SERIES:

Vedran, an introvert young writer who works as a DJ at

a local station lives unassuming life with promiscuous

roommate Dino. Vedran accidentally kills a local drug dealer, thus becomes an unknown hero, both in public and cyberspace. Even the girl he secretly admires is adored by courage by unknown killer. Vedran can’t claim his glory as he can’t share his secret, which doesn’t stop other people to pretend to be killers for the sake of self-promotion. Police is confused, a local drug mob is confused - hunt for real killer is on.

Vedran, empowered with the unknown hero situation decides to clean his city from bad people - his list is very long, as he simply hates almost everyone.

STORY DEVELOPMENT FOR SEASON TWO:

Vedran finally gets accolades for his literary work and gets the stipendion in Belgrade, Serbia. He moves there strong-

ly wishing to lead normal, boring life of a writer. But, old

habits kick in.

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CREATOR’S STATEMENT:

Living in a world where truth is just side effect of reality, liv- ing in the world where a hate, spin and fake dominate I find it important to dissect the mechanics of this same world.

CREATOR’S BIOGRAPHY:

SRĐAN VULETIĆ directed and scripted many documen- taries: I BURNT LEGS (1993), WAR CINEMA, MARCH 8TH IN WAR, and short films: HOP, SKIP & JUMP - Berlin Film Festival Panorama Award; TRIP TO THE MOON; 10 MINUTES – Best short film European Film Academy. First feature SUMMER IN THE GOLDEN VALLEY (2003), received its world premiere at the Toronto Film Festival, and won numerous awards, including the Tiger Award at the Rotterdam Film Festival. His second feature, IT’S HARD TO BE NICE (2007) opened the 13th Sarajevo Film Festival, won Best Actor Award at Sarajevo Film Festival, Mont Blanc Scriptwriting Prize at Hamburg Film Festival. Member of the European Film Academy.

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CineLink Drama Projects 2018

THESEUS

RS

A couple of troubled detectives investigate a series of crimes linked to nothing but a killer looking for justice and personal closure, the two ingredients of the Greek myth he is about to weave.

Creator: Panagiotis Iosifelis Writer: Panagiotis Iosifelis, Eleni Sideri Director: TBC Producer: Eleni Pnevmatikou Production Company: Pnevma Productions

Genre: Crime drama Format: 8 x 60’ Original script

Genre: Crime drama Format: 8 x 60’ Original script Attending CineLink Workshop: Panagiotis Iosifelis, Eleni
Genre: Crime drama Format: 8 x 60’ Original script Attending CineLink Workshop: Panagiotis Iosifelis, Eleni

Attending CineLink Workshop:

Panagiotis Iosifelis, Eleni Sideri

SYNOPSIS OF THE SERIES:

Aristoteles (43), a detective at the Homicide Department

with serious family issues and his team are investigating

a weird ritualistic murder that happened in an area near

Athens. The victim was a man named Apostolou (53), an ethnic-Greek. citizen from Central/North Europe with ties to the extreme right trans-European networks. Ηis body was found violently dismembered, except the upper part. The lips of the victim were sewn, wedged in his throat. There were small strips from a comic book relating the story of an ancient Greek hero, Theseus. The strips found

in the victim’s throat described the killing of Sinis the Pine

- Bender –whom Theseus tied on two pines, after having

them bent, and then, he released the pines to return to their original state.

The Europol specialist, Hava (35), an ethnic Bosnian, raised in North Europe (maybe Germany) after receiving asylum during the war in Bosnia Herzegovina (1992-1995), is send to Greece to contribute to the investigation. Inevitably, Aristoteles and Hava have to work together. Hava also has

a hard time navigating through the present Greek reality,

as it seems painfully familiar yet foreign to her. Both Hava and Aristoteles, intuitively or instinctively, believe that this

is the first in a series of murders. Their theory is quickly

confirmed- soon after the first one, a second murder occurs, equally horrifying. The identities of the victims as well as the fact that this is the first time that ritualistic

murders happen in Greece, generate publicity of massive proportion, inside and outside of Greece. Hava, Aristoteles and the investigative team are realizing that the murderer follows a pattern: the killer copies the killings performed by Theseus, the mythical hero, on his coming to age -and manhood- journey from Troezen to Athens.

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Soon the killer strikes again. Despite their horrific and abominable nature, the murders have multiple and differ- ent interpretations. The public sees behind the murders a vigilante, whose kills are symbolic, who wants to clean soci- ety from today’s villainy, criminals, scum, just like the myth- ical Theseus. That is why the killer gets a status of hype among the Greek society. Aristoteles and his team think that they ‘ve come across a corruption network, political and economic, a face – off. Hava senses from the start that these murders feel personal, but being a foreigner cannot immediately decode their mythological aspect. Gradually both Aristoteles and Hava come to believe that Theseus resembling murders, serve as a smoke screen, in order to misdirect the police investigation and scare of the parties involved. However, each and every interpretation is as revealing on Theseus’s characteristics as is on their own deepest, darkest fears and wishes.

CREATOR’S STATEMENT:

Theseus is seemingly a story, of a modern Greece. The set- ting of the action and the investigation is Athens. From the north suburbs to Piraeus and from the crowded and mul- ticultural districts of the “historic center” to the Acropolis. In a constant dialogue between the past and the present. Between then and now. The crime investigation plot func- tions as an excuse for the Greek society, with its contra- dictions and its complexities, to unfold. In this sense, it is story that can touch the discontent of different European and global audience. But beyond the surface it is a story about revenge. The kind of revenge that takes years to plan and absolute accuracy to execute. At the same time, this is a story about justice:

the tormenting relation between personal and social/

institutional justice. But most importantly, this is a story about love and betrayal, about secrets and the pain they can cause once revealed. It’s also about closure and the catharsis they can bring about. Theseus is a story about modern day Greece, with real, solid characters and a nar- rative structure that follows the example of similar series made in Denmark and the US.

CREATOR’S BIOGRAPHY:

PANAGIOTIS IOSIFELIS is a Thessaloniki based screenwriter and Associate Professor in Screenwriting, School of film, Faculty of Fine Arts, Aristotle University of Thessaloniki. He also teaches screenwriting in two Creative Writing -Master Degree Programs at Hellenic Open University (E.A.P.) and at University of Western Macedonia. He has worked as a script editor in many projects for the National Film Center of Greece and has, also, participated as a member of the jury in Festival committees (Balkan Fund at Thessaloniki Film Festival, Thermaikos Film Festival, Taratsa Film Festval etc). His work includes several feature and short fims scripts and approximately fifty (50) TV episodes in all the major broadcasts in Greece - most of them in crime series. Besides his screenwriting work, he published two collec- tions of short stories. He is a member of Greek Writers Guild and member of the Greek Film Academy. Lately, he signed an option agreement contract for a crime series with Atlantique Productions, a well known French production company based in Paris.

PRODUCER’S BIOGRAPHY:

ELENI PNEVMATIKOU is a director and producer. She is a graduate of Aristotle University of Thessaloniki, Faculty of Arts-Film School and she is currently doing her Master Degree Applied Clinical Sociology & Art, at the interin- stitutional MA program of the University of the Aegean, Department of Sociology and the University of Western Macedonia, School of Fine Arts. She has already been member of the production team in 3 feature length films and is currently producing the forth one. She has also participated in more than 9 short films and videoclips, while she has directed more than 20 promo and recap videos for educational and cultural events. Since 2015 she is the director and editor of the TEDx Thessaloniki events. Her graduation-short film EMERGING ADULT is being screened during University lectures of Psychology in Greek Universities (Athens, Thessaloniki, Crete), since 2015. Eleni also directed, produced and edited the short documentary

FRIDAY NIGHT @EIDOMENI at the Idomeni refugee camp, in 2015. COMPANY PROFILE:

PNEVMA PRODUCTIONS is a newly founded Greek audiovisual production company, established in 2015 in Thessaloniki. The main object of Pnevma Productions is the production of audiovisual works of diverse nature: edu- cational, videos, tutorials, corporate videos, promotional videos & commercials (fiction & documentaries), as well as any other ype of audiovisual material. Feature Films: SUBURB in collaboration with Panos Iossifelis and Christos Goussios (currently in production); KATAHGIO ΙΙ: THE ICE PATH (2017); TV Series: SOUKOUTOU TOU APOUTHOU (a series about the School of Fine Arts of Aristotle Univesrity of Thessaloniki); Short Films:

LITBRIDGE, 2017; LES DIPNOSOPHISTES (2016); BITTER HOUR (2015); PYGMALION LA NOUVELLE HISTOIRE (2013).

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CineLink Tutors

32 CineLink Tutors Franz RODENKIRCHEN (*1963) is a Berlin-based, internationally working script consultant and tutor.
32 CineLink Tutors Franz RODENKIRCHEN (*1963) is a Berlin-based, internationally working script consultant and tutor.

Franz RODENKIRCHEN (*1963) is a Berlin-based, internationally working script consultant and tutor. Apart from individual script consultations, he works as a tutor for TorinoFilmLab, the Script Station of Berlinale Talents, CineLink Sarajevo, SEAFIC (SE-Asia Fiction Film Lab), dffb Berlin, a.o. With Françoise von Roy he runs Script Circle, a bi-monthly script development workshop in Berlin and the script consulting workshop „Six Days of Practice“ for film professionals. In the past 20 years, he has worked on many independent film projects from all over the world. www.

solace23.com.

Marietta VON HAUSSWOLFF VON BAUMGARTEN is a Swedish screenwriter member of the Swedish Drama Union and the European Film Academy. She wrote and co-produced CALL GIRL, which won the FIPRESCI Prize at the Toronto International Film Festival and was shown in numer- ous festivals worldwide. Since 2007, she has been connected as a script consultant with Torino Film Lab, Binger Film Lab and the Venice Biennale College Microbudget lab, on films including THE BABADOOK, DJECA, CHILDREN OF SARAJEVO, HI-SO, LOS HONGOS, LES QUOTTRO VOLTE, BEYOND /SVINALÄNGORNA, H., THE FITS, MEDITERRANEA, DIAMOND ISLAND, BLANKA and so on. Other related programmes are Qumra, as well as the Doha Hezaya Lab (2016/17); Feature Expanded (with Visual Artists making features); Bridging the Dragon (Europe-China); TIFF STUDIO Toronto; Boost Rotterdam; Rutger Hauer Master Classes; Generation Campus Moscow; Script Lab Russia; the Balkan Film Fund Athens; Talent Campus. In addition to this Marietta consults privately on feature films, and has worked with filmmakers from more than 45 coun- tries. She also writes and develops Television Drama for some of the important Scandinavian production houses. Marietta has been in juries for main competition in CPH:DOX Denmark and San Miguel, Mexico as well as in numerous selection committees around the world. Marietta is a citizen of N.S.K, and a Minister of the micro-nation Elgaland-Vargaland, or K.R.EV.

Minister of the micro-nation Elgaland-Vargaland, or K.R.EV. Marten RABARTS (New Zealand, 1961) is a Head of
Minister of the micro-nation Elgaland-Vargaland, or K.R.EV. Marten RABARTS (New Zealand, 1961) is a Head of

Marten RABARTS (New Zealand, 1961) is a Head of EYE International and was appointed in 2015. Previously, he was Head Development & Training of the NFDC - National Film Development Corporation in Mumbai, India. He was Artistic Director of Binger Filmlab in Amsterdam for 12 years. In Mumbai in short time Rabarts set up NFDC LABS, the successor to the NFDC Film Bazaar Labs which he had led since 2008. Rabarts began his working life as an actor and a dancer, after which he worked among others in London at PolyGram Filmed Entertainment and Working Title. He was involved with films like PRISCILLA QUEEN OF THE DESERT by Stephan Elliott, Derek Jarman’s EDWARD II, SAFE by Todd Haynes and KIDS by Larry Clarke. At Binger Filmlab in Amsterdam he developed PROJECT 10: STORIES FROM A FREE SOUTH AFRICA (Sundance, Berlinale 2004) and many award winning feature films and documentaries, including the Oscar-nominated BULLHEAD. In India, Marten was involved in the critically acclaimed film THE LUNCHBOX, the Indian Oscar submission THE GOOD ROAD and Cannes-Un Certain Regard film TITLI. Furthermore, Rabarts is a member of the advisory board of Torino Film Lab, CPH: DOX Lab and Clinik Kathmandu.

Eilon RATZKOVSKY has produced feature films and TV series over the past 25 years, as CEO of July August Productions, an Israeli production company which he created in 2003. Among the 22 films that he produced are THE BAND’S VISIT, MOUNTAIN, ZERO MOTIVATION – all of which participated and won prizes in major film festivals. He produced more than 12 TV series in Israel, some of which have been remade into local versions around the world. In the last couple of years, he has been tutoring for TorinoFilmLab and the Biennale College Cinema and serving as the head of TFL Extended. He is the CEO of “Quiddity”, a content company that specializes in developing high quality TV dramas for European networks. Currently lives in Turin, Italy.

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Turin, Italy. | CineLink Project Development Workshop 2018 Damjan KOZOLE is a Slovenian filmmaker whose directing
Turin, Italy. | CineLink Project Development Workshop 2018 Damjan KOZOLE is a Slovenian filmmaker whose directing
Turin, Italy. | CineLink Project Development Workshop 2018 Damjan KOZOLE is a Slovenian filmmaker whose directing

Damjan KOZOLE is a Slovenian filmmaker whose directing credits include the critically-acclaimed SPARE PARTS, 2009 worldwide released SLOVENIAN GIRL and NIGHTLIFE, 2016 winner of Best Director Award at the 51st Karlovy Vary IFF, among others. SPARE PARTS was nominated for the Golden Bear at the 53th Berlin IFF and Sight & Sound ranked it among the ten most important films of the New Europe. Kozole is also the respected author of many documentary films.

Aida BEGIĆ was born in Sarajevo. She graduated in directing at the Sarajevo Academy of Performing Arts. Her graduation film PRVO SMRTNO ISKUSTVO (FIRST DEATH EXPERIENCE) was presented at The Cinéfondation Official Selection of the Cannes Film Festival. Her debut fea- ture SNIJEG (SNOW) was premiered at Cannes 2008, Semaine de la Critique where it won the Grand Prix and 30 further festival awards from around the world. SNOW was nominated for a European Academy Film Award, Discovery Section. In 2009 she founded an independent production company Film House. Her 2nd feature film DJECA (CHILDREN OF SARAJEVO) premiered in Un Certain Regard, Official Selection of the Cannes Film Festival 2012 where it won Special Distinction of the Jury. She wrote and directed short film Album, part of omnibus BRIDGES OF SARAJEVO that had its world premiere as Official Selection of the Cannes Film Festival in Special Screening section. She produced documentary feature 100 MILLION DOLLAR HOUSE directed by Rešad Kulenović. Aida Begić is teaching Directing at The Academy of Performing Arts Sarajevo and she is member of AMPAS, EFA, SACD and UFRBiH. Her 3rd feature film about Syrian orphans, NEVER LEAVE ME, won Audience award at Pingyao FF 2017 and it is screened at many festivals around the world.

Čedomir KOLAR was born in former Yugoslavia, in the city of Rijeka on the Adriatic coast of Croatia. He graduated in film production at the Belgrade Academy of Dramatic Arts. Since 1991, he has been acting as producer for Noé Productions in Paris. His credits include BEFORE THE RAIN by Milcho Manchevski, AFRICA MY AFRICA and KINI AND ADAMS by Idrissa Ouedraogo, AS YOU LIKE ME by Carmine Amoroso, TRAIN OF LIFE by Radu Mihaileanu, THE ADOPTED SON and THE CHIMP by Aktan Abdykalykov, NO MAN’S LAND by Danis Tanović and his short film in the collection of films 11’09”01-SEPTEMBER 11, produced by Galatée films and StudioCanal. In 2003 he started the new Paris based production entity, A.S.A.P. Films, together with the director Danis Tanović and his fellow producer Marc Baschet. 2005: HELL (L’Enfer) by Danis Tanović, written by Krzysztof Piesiewicz in collaboration with Krzysztof Kieslowski; WELL TEMPERED CORPSES by Benjamin Filipović. 2006: SOUNDS OF SAND by Marion Hänsel. 2008: TRIAGE by Danis Tanović; BESA by Srđan Karanović. 2010: WOMB by Benedek Flighauf; THE LIGHT THIEF by Aktan Arym Kubat (aka Abdykalykov); CIRKUS COLUMBIA by Danis Tanović; BLACK OCEAN by Marion Hänsel. 2013: AN EPISODE IN THE LIFE OF AN IRON PICKER, by Danis Tanović; LA TENDRESSE, by Marion Hänsel; THE LUNHCBOX by Ritesh Batra. 2014: Tigers by Danis Tanović. 2016: Albüm by Mehmet Can Mertoglu; Centaur by Aktan Aryim Kubat. 2017: Foxtrot by Samuel Maoz. Čedomir is the Academy Award nominee (BEFORE THE RAIN by Milcho Manchevski) and the Academy Award winning producer (NO MAN’S LAND by Danis TanoviĆ) as well as the EFA- Eurimages co-producer of the year 2017.

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34 Labina MITEVSKA started her acting career as a teenager in 1993, playing Zamira in Milcho
34 Labina MITEVSKA started her acting career as a teenager in 1993, playing Zamira in Milcho

Labina MITEVSKA started her acting career as a teenager in 1993, playing Zamira in Milcho Mancevski’s Golden Lion awarded BEFORE THE RAIN. In 1996 she entered into a successful collaboration with Michael Winterbottom. Following WELCOME TO SARAJEVO they worked together in I WANT YOU. For these accomplishments she was chosen as one of the Shooting Stars at the Berlinale in 1998. Her acting carrier continued around Europe, creating over 20 roles in films shot in Germany, Czech Republic, Turkey, Italy, Bulgaria, and Slovenia. In 2001, Labina, her sister Teona and their brother Vuk established the production company SISTERS AND BROTHER MITEVSKI. All their films are European coproduction. Their last film, WHEN THE DAY HAD NO NAME by Teona S. Mitevska premiered at the Berlinale, Panorama Special 2017, travels around the world on festivals and receives wide distribution including South East Asia and China. The company in 2016 coproduced SIERANEVADA by acclaimed director Cristi Puiu / Cannes Film Festival 2016 and NIGHTLIFE by Damjan Kozole / Karlovy Vary Film Festival, 2016. They are currently in postproduction of their short drawing animation EDNA, animated and directed by Vuk and postproduction the new film of Teona, GOD EXISTS, HER NAME IS PETRUNIJA. Their latest coproduction is the new film by Bilge Nuri Ceylan THE WILD PEAR TREE. In 2014 she was chosen to be part of Producers on the Move during Cannes Film Festival, she is EAVE national representative and member of the European Film Academy.

Elma TATARAGIĆ was born in Sarajevo in 1976. She graduated Dramaturgy (Screenwriting and History of Cinema) at Sarajevo Academy of Performing Arts and obtained her Master of Science degree and PhD in Film and Literature. She has been with Sarajevo Film Festival since it was founded in 1995, where she now works as selector for Competition Program. She co-wrote short film FIRST DEATH EXPERIENCE and wrote and produced short NORTH WENT MAD. She has produced and co-written the feature film SNOW shown at Cannes 2008 – Semaine de la critique where the film won the Grand Prix. The film has been shown at over 80 festivals and won over 30 international awards. She is General Secretary and a member of Filmmakers Association of BiH. She has been teaching screenwriting at Sarajevo Academy of Performing Arts since 2002, now as a professor. She is member of European Film Academy. She has published a book on screenwriting and is also works as a script consultant and was a delegate for Rome Film Festival in 2012 and 2013. In 2016 she has completed her short fiction film I REMEMBER, which is suc- cessfully touring the world film festivals, At Berlinale 2017 the film she wrote WHEN THE DAY HAD NO NAME directed by Teona Mitevska had its premiere in Panorama Special selection. Currently two feature films that she has written STITCHES and GOD EXISTS AND HER NAME IS PETRUNIJA are in post-production.

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| CineLink Project Development Workshop 2018 Izeta GRADEVIĆ is the Creative Director of Sarajevo Film
| CineLink Project Development Workshop 2018 Izeta GRADEVIĆ is the Creative Director of Sarajevo Film

Izeta GRADEVIĆ is the Creative Director of Sarajevo Film Festival since 1996. At the position of Director of the Festival, she was in charge of launching of the project in 1995. Since then, she is one of the creators of development strategies of the Festival. She was educated at Faculty of Architecture (B.A. in Architecture) and Academy of Visual Arts in Sarajevo (1981-1983). Great part of her working experience is related to theater and film, but she did significant contribution to the nation visual art scene through numerous projects, such as curating part of national collection for ArsAevi Museum of Contemporary Arts in Sarajevo. As for the Sarajevo Film Festival, she is member of the selection boards for Competition Program – feature film, CineLink, Talent Campus, Sarajevo City of Film, Work in Progress.

After his studies of Cultural Management in Vienna, Birmingham and Chicago, Gabor GREINER worked as a journalist and film critic at Austria’s largest web-based cultural magazine, cycamp. In 2003, he moved to Brussels to take charge of the distribution support department of the MEDIA Program at the European Commission’s Film Fund, which was created to support the European audiovisual sector. In 2009, Gabor became acquisitions executive at the international sales agent, The Match Factory, specializing in edgy art house films from all over the world. In August 2010, Gabor moved to Berlin to take over acquisitions of the French-German sales com- pany, Films Boutique, winner of the Golden Bear in 2017 and the Golden Lion in 2011 and 2016.

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CineLink Drama Tutors:

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CineLink Drama Tutors: 36 Meinolf ZURHORST, after studying History of Art, Film and Television and Anthropology
CineLink Drama Tutors: 36 Meinolf ZURHORST, after studying History of Art, Film and Television and Anthropology

Meinolf ZURHORST, after studying History of Art, Film and Television and Anthropology work as

a Film critic and author of almost 20 books about cinema and actors. In the Eighties co-founder

of a production company which produced special interest programs for German TV, in particular for Voice of Germany. In the late Eighties co-founder of second company for post- and film-pro- duction. Co-writer and director of several documentaries, the most known ones about two German stars, Götz George and Mario Adorf. 1992 commissioning editor in the cinema department of ARTE in Strasbourg, since 1994 director of this department. Since 2000 head of the ARTE film department of the ZDF (ZDF is one of ARTE’s shareholders), which acquires and co-produces movies for ARTE. Expert for EAVE and ACE, jury member at several international festivals, lec- turer at Film Factory in Sarajevo. ZDF/arte’s recent co-productions are for example UPSTREAM by Marion Hänsel, THE UNTAMED by Amat Escalante, POKOT by Agnieszka Holland, CLAIR OBSCUR by Yesim Ustaoglu, PYROMANIA by Erik Skjoldbjærg, THE OTHER SIDE OF HOPE by Aki Kaurismäki, A FANTASTIC WOMAN by Sebastian Lelio or MR. LONG by Sabu. Upcoming films are for example FOXTROT by Samuel Maoz, GRAIN by Semih Kaplanoglu, WHERE LIVE BEGINS by Carlos Reygadas, FANNY LYE DELIVERED by Thomas Clay, REFUGE by Eran Riklis, JUPITER’S MOON by Kornél Mundruczó and THE SQUARE by Ruben Ostlund.

In 1999 Gabor KRIGLER heard the siren call of TV drama and ended up on the writing staff of a daily soap at Grundy UFA. Having emerged to the level of story editor, he burnt out quickly and left after 4 years of hard labour. Based on his experiences, he wrote a book on TV writing and was subsequently invited to teach scriptwriting and dramaturgy at various institutions, among them the prestigious University of Theatre and Film Arts in Budapest. In 2006, he co-founded

a script consulting firm and spent the following years as a hired gun, doing script editing and

writing. Gabor was offered the job of script development executive at the fledgling Local Original Production department at the Budapest office of HBO Europe in 2010. Since then he has been promoted to Creative Executive, which means he is responsible for all creative aspects of devel- opment and production on all Hungarian HBO shows as a producer, the latest being the third season of Golden Life, a crime thriller/family drama. In this role, he also assisted in the launch of original production for HBO Europe in the Adria region.

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CineLink Team

| CineLink Project Development Workshop 2018 CineLink Team Amra BAKŠIĆ ČAMO has produced numerous award-winning

Amra BAKŠIĆ ČAMO has produced numerous award-winning short films, videos, documen- taries, television programmes and feature films, including Danis Tanović’s AN EPISODE IN THE LIFE OF AN IRON PICKER, which won the Jury Grand Prix and the Silver Bear for Best Actor at the Berlin International Film Festival in 2013, and his DEATH IN SARAJEVO, which won the Silver Bear this year. Baksić Čamo is Head of the CineLink regional co-production market and project development programme of the Sarajevo Film Festival. A member of the ACE and EAVE networks and the EFA, she works at the Academy of Performing Arts in Sarajevo as a lecturer in the production department.

Arts in Sarajevo as a lecturer in the production department. Jovan MARJANOVIĆ has been involved in
Arts in Sarajevo as a lecturer in the production department. Jovan MARJANOVIĆ has been involved in
Arts in Sarajevo as a lecturer in the production department. Jovan MARJANOVIĆ has been involved in

Jovan MARJANOVIĆ has been involved in the Sarajevo Film Festival since 1999, first as a techni- cian and programme coordinator and later as the CineLink manager. He is now on the festival’s Executive Board as Head of Industry. Marjanović has produced a number of award-winning doc- umentaries, shorts and feature films and consults for several international film institutions. He was on the Board of Management of the Bosnian National Film Fund from 2011 and headed it from 2014 to 2016. He has served as the National Representative of Bosnia and Herzegovina to Eurimages since 2006. He holds an MSc from the Cass Business School in London, and teaches Film Business at the Academy of Performing Arts in Sarajevo.

Armin HADŽIĆ is a CineLink Industry Coordinator. Finishing master degree in production at the Academy of Performing Arts of the University of Sarajevo. Produced and coproduced short films, TV Program, documentaries. Employed as producer at Marletti.

Maša MARKOVIĆ graduated from the Faculty of Arts of Charles University in Prague (Aesthetics). Maša is a long-term team member of CineLink and she currently working as CineLink Coordinator. She used to work at Institute of Documentary Film in Prague, coordinat- ing Ex Oriente Film training programme, organizing meetings and matchmaking at When East Meets West, Ties That Bind, East Doc Platform, Connecting Cottbus and others.

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Notes

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Notes

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CineLink workshop is supported by CineLink Co-production Awards: CineLink Drama Award: CineLink Partners CineLink
CineLink workshop is supported by
CineLink Co-production Awards:
CineLink Drama Award:
CineLink Partners
CineLink Drama Partners