Nisimazine SUNDAY 15 MAY 2011 Cannes #3 A Magazine by Nisi Masa, European Network Of Young CinemA 17 fillescast from 17 Filles, photo by Martina Lang Footnote Sundance Institute
NISIMAZINE CANNES Sunday 15 May 2011/# 3 A magazine published by the NISI MASA in the framework of a film journalism workshop for young Europeans with the support of the ‘Youth in Action’ programme of the EU EDITORIAL STAFFEditorial Director of Publication Matthieu Darras Editor-in-Chief/Layout Maartje Alders Editor Jude Lister Tutor Paolo Bertolin by Ľuboš Bišto (Slovakia) Contributors to this issue Ľuboš Bišto, Levente CzehelszkiLet’s imagine that the Cannes Film Festival all co-create is actually made out of personal Andris Feldmanisis a film. It is not a film featuring the stars, impressions captured by the eyes. They are Anne-Sophie Meusburger, Martina Langnor a documentary about what happens in the best cameras you can get anywhere. In Elisabeth Renault-GeslinCannes. It is a multi-genre piece that can this way you are the director of photography Miklós Vargha, Patrícia Veszpremionly be seen once in a lifetime. No reruns as well. But let’s not forget that you are the Coordinators Jass Seljamaa, Merli Antsmaaare possible. Everyone involved with the screenwriter, editor, and costume designer Eva Ujlakyová, Jana Dandárováfestival is a star in this movie. The old star as well. If you thought you were not busysystem has to make way to the new rising enough, then maybe you should reconsider. NISI MASA 99 rue du Faubourg Saint-Denis,stars of Cannes. We all have our parts and we 75010, Paris, France.all have to stage something during the course Anything is possible here. So there is just Phone: +33 (0)9 60 39 63 38of the festival. Sooner or later, we all explore one thing to keep in mind. There would be in Cannes: +33 (0) 6 32 61 70 26what it means to be an actor in Cannes. May- no festival and no film if it weren’t for you. email@example.com now, when realizing it, we can walk the That is the reason why you should care about www.nisimasa.comred carpet better than the celebrities. the looks of your own movie. And even if I am not sure what my part of the film willWe are also the directors of this film. We can look like, I know I will try to make it as fullmake decisions and change the course of ac- as I can.tions. Some of us are having our directorialdebuts; others are enjoying the routine of the64th Cannes film directing. The film that we BY MARTINA LANG (AUSTRIA) , picture of the day
interview interviewSundance InstituteAlesia WestonCelebrating its 30th birthday, the SundanceInstitute is strongly represented this yearin Cannes with five films that benefitedits Feature Film Program selected.Nisimazine met the Program’s associatedirector Alesia Weston. Photo by Miklós Vargha (HUNGARY)How does the Sundance Institute Feature Film Program work?The year-round Feature Film Program is designed to support emer-ging filmmakers working on their first or second features throughScreenwriters Lab, Directors Lab, a Creative Producing Lab, aswell as Awards or Grants (the Sundance Institute/NHK Filmma-kers Award, the Sundance Institute l Mahindra Global Filmma-kers Award). Beyond these, the support of the Sundance Institutecontinues throughout the life of the film from inception throughcompletion. In the Screenwriters Lab, the fellows are mentored byveteran screenwriters. The month long Directors Lab provides anopportunity to work with a professional cast and crew on four, fivescenes from the script under the guidance of creative mentors.The Sundance Institute is celebrating its 30th birthday. Howhave your operations changed since the beginning, three de-cades ago?The program has evolved a great deal since it began with the Direc-tors and Screenwriters Labs. Over the years, under the leadershipof Michelle Satter, it has become increasingly comprehensive, ex-tending the support throughout the life of a project at key stages ofthe process. We have seen that our ongoing presence can make thedifference between a film getting made or not, or encourage it to Five films of the Cannes film festival were supported by Sun-find its best form. So, we are always thinking of new ways to help dance Institute’s Feature Film Program: Porfirio, Marthathe filmmakers move forward. Marcy May Marlene, Elena, The Slut, Return. Can you tell us something about them?What are the criteria for entering your feature film programme? They are all so different and individual to the filmmakers. But inThe typical point of entry is the Screenwriters lab. We look for all cases, there is an originality to the ideas or a new perspectiveoriginal voices, stories we haven’t seen before or, in some cases, on something we may already know. The filmmakers have beenfamiliar stories told in new ways. Filmmakers working on their first stubborn (in the best sense) about honoring their vision, which isor second feature from the US and international ‘regions of focus’ increasingly difficult, given the collaborative nature of the mediumare considered based on full length screenplays and their previous and pressures facing them nowadays. The films are disquieting,work (i.e short films, theatre pieces, visual art or other writing). thought provoking and risky and we are always proud to stand behind that.Sundance is focused on independent films. Are they still ‘inde-pendent’? Does cinema matter?The term independent has obviously evolved and morphed over I think it does matter, more and more, given its reach and potentialthe years, and represents films made in a variety of ways. In almost to broaden what we know and understand about the world. There isall the cases of filmmakers we work with, there is very little real still nothing quite like the intimate access it gives us into the mostinfrastructure to support them – their vision is their own (whether unlikely places – be it to worlds away or the bedroom in the houseit is an original story, or requires them to forge a new technique, next door or the mind of a teenager. And as pure entertainment ornon traditional structure, or tone) while working within certain an art form, I can’t imagine a world without it.parameters of the form – and the producers are piecing it togetherin entrepreneurial ways. Even though there is a larger ‘independent By Ľuboš Bišto (Slovakia)film industry’, I don’t think there is any question that it is poweredby an independent spirit and independently constructed films.
photos by Andris Feldmanis, Martina Lang and Miklós Vargha
in focus // from top to bottom: Augustine, Khibula, The Train Station l’Atelier As Wide as the WebAmongst film profes- ple living far away become inhabitants of a giant global village. But has the internetsionals, the expression got the potential to connect movies with the audiences just as movie theatres used‘new media’ tends to to do?become the new life- The media consumption of the youngerline –after the 3D- for generations is radically different from thatattracting audiences. of the older filmgoers. They watch videos and films on YouTube, they blog, face-Nisimazine investigated book or tweet their preferences. Could these platforms become a new channelon how the projects at between movies and the audiences? Pro-this year’s L’Atelier ducers, filmmakers all seem to be aware of the influence and impact of new media,face –and embrace- the yet the success at prestigious festivals still enjoys utmost priority. However, the sparkchallenges of online is there; some projects are in full swing on Online casting & gloomy prophecymarketing. the Internet. Online castings, aid campai- gns, short films available in VOD: global A newcomer, Alice Winocour, posted marketing online is now fully available online the call for casting for her first“Auteur cinema became disconnected with feature Augustine, thus opening up the and more cost-effective.wide audiences”, so the disillusioned sta- world of acting to the less celebratedtement goes. Art house films are targeted circles looking for talents still undisco-at prestigious festivals and at the circles An Iraqi multimedia campaign vered. Among Cannes’ recurrent parti-of professionals in order to win support cipants is David Verbeek, who premie- The selection of L’Atelier stretches fromfor upcoming projects; just as most of the red R U There last year in Un Certain one end of the globe to the other: 15directors and producers selected in L’Ate- Regard. His new project Full Contact projects, 15 countries, 15 patterns of alier where they look for funding for their further highlights his obsession of dis- rich tapestry of themes and genres. Fromsubsequent films. It is also common sense connectedness through technology as existentialist fantasies (Of Our Economicto say that internet connects people. Peo- a gloomy prophecy for the new media. Situation), through the dissolution of identity in a virtual reality (Full Contact) Certainly, using this mere technology for to the violent immobility of youth (Lu- promoting the film is part of the whole ton); from a political thriller (El Mudo) project. Yet, many projects still rely on to a coming-of-age youth drama (Il Sud the prestige of festivals, which remain è Niente), from suicide bombers (The the most reliable ways of connecting Train Station) to quixotic patriarchs (Mr with potential audiences. This is the Kaplan). case for example of Georgian filmmaker George Ovashvili, who comes to Cannes National identity is marketable in itself. to develop his second feature, Khibula, Mohamed Al-Daradji, a rising Iraqi direc- after the success of The Other Bank. tor - as his producer Isabelle Stead states - “resurrects Iraqi film industry from the Of course, websites and other new media brink of extinction”. He did it through a have long become channels of promotion multimedia campaign exploiting all pos- for filmmakers. It is a widespread saying Follow our coverage online on sible platforms, from social networking today that “if you do not have a profile through radio and television to the wide on Facebook, it is as if you did not even www.nisimazine.eu screen, in order to bring relief and aid exist”. Although there is no proof or New videoblog of to the people of a shattered country. His guarantee that more people will turn up film-to-be The Train Station will show a on cinema screenings, yet, it is already Indian independent cinema different side to the stereotypes connected building a solid relationship with new to Iraq as a war-torn country, just like Al audiences. This is one possible future of Photo Gallery Daradji’s previous films did. Meanwhile, cinema. his production team showcases a new mo- Extra reviews del of “engaging with audiences beyond By Patricia Veszprémi (Hungary) the cinema”.
36 illustration: giadafiorindi.altervista.org INTERNATIONAL FESTIVAL OF SHORTFILMS DOCUMENTARIES AND SCREENPLAYS 22-30 JULY 2011 | REVINE LAGO - ITALY