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LOW BUDGET FILM FORUM 2010 Powered By Docstoc

                 11 – 18 DECEMBER 2010
                     Les Arcs, France

Leading directors and producers join European film students & graduates
          for case studies and workshops on low budget films.

Tutors & Speakers...................................................................5
Workshop Groups...................................................................7
Tutors & Speakers Biographies.............................................13
Case Studies..........................................................................18
       Adrienn Pal.....................................................56
Participant Biographies........................................................61


Leading directors and producers join European film students & graduates for case studies
                      and a showcase of the best low budget films.

11 – 18 December – Les Arcs, France

Low Budget Film Forum comprises a festival, conference and graduate training workshop all
in one, presented at the Festival De Cinéma Européen des Arcs, programmed and organized
by The London Film School in partnership with La fémis, Paris, The National Film School of
Denmark and Budapest Academy of Drama and Film.

This year the Low Budget Film Forum is collaborating in a co-production with the Villages
des Ecoles within the Festival de Cinéma Européen des Arcs to intergrate one to one
meetings with forum participants in the professional Village des co-production and
introduce their feature projects to industry professionals from across Europe.

Low Budget Film Forum aims to provide participants with the tools to develop and deliver
successful, strategic approaches to marketable low-budget filmmaking in Europe. The
conference also aims to offer a high level of debate and exchange amongst industry peers
on current low-budget filmmaking practive in Europe. By comparing and contrasting
funding, filmmaking, distribution and marketing approaches from four European countries,
we hope to have an impact on future policy and practice.

Running from 11-18 December, 2010 in Les Arcs, France, it is the third Low Budget Film
Forum, the first, ‘A Fistful of Euros,’ taking place in London in 2008 with the second, ‘For a
Few Euros More,’ in Budapest, 2009. The Event focuses on sharing the best ideas in low
budget filmmaking across Europe. “Recent events all around the world mean the creative
community need to build value. Every new Euro gets you more of a film but it loses you
some autonomy and a spur to creativity, learning to work with the right numbers helps you
to build a career where the deal follows the film rather than the other way around,” says
LFS Director, Ben Gibson.

Low Budget Film Forum features three detailed case studies of the best contemporary
European co-produced films at under 2M€: from the UK, France, Hungary and Denmark.
The event is generously supported by the EU MEDIA Initial Training programme.

Screenings begin on Saturday 11th December with student participant films and run
throughout the week. Case studies include R (Denmark), Oxygen (Belgium) and Adrienn Pal

Participants and partners
London Film School
La fémis, France
Budapest Academy of Film and Drama
The National Film School of Denmark

EU MEDIA Initial Training Programme

                             TUTORS & SPEAKERS

      Surname      Name       School/Company/Film               e-mail                   Topics Covered

Mr   Gibson       Ben        LFS                    b.gibson@lfs.org.uk             Producing
Ms   Glover       Margaret   LFS                    m.glover@lfs.org.uk             Screenwriting
Ms   Gillett      Suzy       LFS                                                    International Relations
Mr   Des Forets   Jean       Petit Film             desforets@petit-film.com        Producing
Ms   Tingaud      Julie      La fémis               julie.tingaud@femis.fr          International Relations
Mr   Rosso        Thomas     Why Not Productions    thomas@whynotproductions.fr     Distribution
Ms   Fekete       Ibolya     Budapest Academy       fekete.i@t-online.hu            Directing
Mr   Bober        Philippe   Co-Production Office   bureau@coproductionoffice.eu    International Sales
Ms   Chafer       Olimpia    Co-Production Office   olimpia@coproductionoffice.eu   International Sales
Ms   Jacobson     Dagmar     DFFB Berlin            d.jacobsen@aliasfilm.de         Producing/Screenwriting
Mr   Lindholm     Tobias     R                      tobias.lindholm@mail.dk         Directing
Mr   Noer         Michael    R                      stine.frey@nordiskfilm.com      Directing
Mr   Ezra         Rene       R                      rene.ezra@nordiskfilm.com       Producing
Mr   Radoor       Tomas      R                      tomas.radoor@nordiskfilm.com    Producing
Mr   Van Nuffel   Hans       Oxygen                 havanu@gmail.com                Directing
Mr   Phylpo       Dries      Oxygen                 dries@aprivateview.be           Producing
Ms   Kocsis       Agnes      Adrienn Pal            oblomovafilm@gmail.com          Directing
Mr   Pustzai      Ferenc     Adrienn Pal            pusztai@kmh.hu                  Producing


                                                                                           Project brought
Mr/                                             School /
       Surname       Name       Nationality                        Contact Details        to the Activity (if
Ms                                               Other
Mr    Barrett      James        British       LFS          (+44) 7902454399               Hamish the Bard
Mr    Chambers     James        British       LFS          (+44) 7837242766               Hamish the Bard
Mr    Giraud       Alain        French        LFS          pagiraud@gmail.com             The Ascension
                                                           orsi@orsinagypal.hu            Balatan
Ms    Nagypal      Orsolya      Hungarian     LFS          (+36) 302651169                Submarine
Ms    Volavka      Nicole       British       LFS          nicole_volavka@hotmail.com     Prude
                   Ditte                      Den Danske
Ms    Baekgaard    Milste       Danish        Filmskole    dmb@filmskolen.org             T.B.A
                                              Den Danske                                  Assassination in
Mr    Jerek        Jacob        Danish        Filmskole    jaj@filmskolen.org             Dubai
                   Mikkel                     Den Danske
Mr    Nissen       Jersin       Danish        Filmskole    mjn@filmskolen.org             Liv
                   Elisabeth                  Den Danske                                  Summer in
Ms    Poulson      Victoria     Danish        Filmskole    evp@filmskolen.org             Europe
                                                           vincent_le_port@hotmail.com    Hurray! One
                                                           (+33) 670370482                Shroud for two
Mr    Le Port      Vincent      French        La fémis                                    Dropouts
                                                                                          Hurray! One
                   Pierre-                                 pe_urcun@hotmail.com           Shroud for two
Mr    Urcun        Emmanuel     French        La fémis     (+33) 681401276                Dropouts
                                                           nanga-oly@hotmail.fr           Velvet
Mr    Nanga-oly    Christophe   French        La fémis     (+33) 670914854                Communism
      Arrighi de                                           marine.arrighidecasa@free.fr
Ms    Casanova     Marine       French        La fémis     (+33) 622618128                The Waiter
Ms    Philippon    Rose         French        La fémis     (+33) 672996979                The Waiter
                                              Budapest     bagota.bela@gmail.com
Mr    Bela         Bagota       Hungarian     Adademy      (+36) 305711541                Severence
Mr    Loth         Balazs       Hungarian     Adademy      info@balazsloth.com            Exit
Mr    Schwechtje   Mihaly       Hungarian     Adademy      schwechtje@gmail.com           Heat
                                              Budapest     szocs.petra@gmail.com
Ms    Szocs        Petra        Hungarian     Adademy      (+36) 204751070                Atropine
Ms    Zomboracz    Virag        Hungarian     Adademy      virazs@gmail.com               Afterlife

                             WORKSHOP GROUPS

GROUP A                      GROUP B                         GROUP C

James Barrett                Pierre-Alain Giraud             Orsolya Nagypal
Producer, UK, LFS            Writer-Director, FR, LFS        Writer-Director, HG, LFS
Jamie Chambers
Co-Writer & Director, UK,    THE ASSASINATION IN
LFS                          DUBAI                           ?
                             Jacob Jerek                     Ditte Milste Baekgaard
SUMMER IN EUROPE             Producer, DK                    Producer, DK
Elizabeth Victoria Poulson
Producer, DK                 EXIT                            VELVET COMMUNISM
                             Belazs Loth                     Christophe Nanga-Oly
ALTROPINE                    Director, HG                    Director, FR, La fémis
Petra Szocs
Writer, HG                   HEAT                            AFTERLIFE
                             Mihaly Schwechtje               Virag Zomboraracz
PRUDE                        Director, HG                    Writer Director, HG
Nicole Volavka
Director, UK, LFS            THE WAITER                      LIV
                             Rose Philippon                  Mikkel Jersin Nissen
SEVERENCE                    Writer/Director, FR, La fémis   Producer, DK
Bela Bagota                  Marine Arrighi de Casanova
                                                             HOORAY! ONE SHROUD FOR TWO
Director, HG                 Producer, FR La fémis           DROPOUTS
                                                             Vincent Le Port
5 projects                   5 projects                      Director, FR, La fémis
                                                             Pierre-Emmanuel Urcun
                                                             Producer, FR, La fémis

                                                             6 projects

                      Low Budget Film Forum III

                               Les Arcs France


                         11-18 December 2010

Suzy Gillett +44 78101 44489
Thomas Russo +33 6704 61250

Saturday 11 December – DAY 1
                Registration with Suzy and Thomas
                OPENING NIGHT FILM
                También la lluvia d'Iciar Bollain
21.00           Welcome supper

Sunday 12 December – DAY 2
                 INTRODUCTION Ben Gibson/Suzy Gillett /Thomas   Manoir Prince R1
10.00 – 10.30
10.30 – 10.45                                                   Manoir Prince R1
                 WORKSHOP 1
10.45-13.15      Group A Co-production Forum Thomas Rosso       Manoir Prince R1
                 Group B Screenwriting Margaret Glover
                 Group C Directing Ibolya Fekete
13.15 – 14.30
                 Lunch, meet & greet
                                                                DVD Salle 2000
15.30-17.30      Case Study 1 ‘ADRIENN PAL’ Screening
                 Film Schools programme 1
                 Heavy Heads/Elisabeth Poulsen
                 I don’t want any stone in my                   Salle 2000
                 A Portrait of You/Pierre-Alain Giraud
                 The Cheap Copy/Virag Zomboracz
                 Case study 1 talk ‘ADRIENN PAL’
                 Ferenc Pusztai producer                        Manoir Prince R1
                 Chair Ibolya Fekete

                 Low Budget Film Forum Supper

Monday 13 December – DAY 3
                WORKSHOP 2
                Group B Co-production Forum Thomas Rosso          Manoir Prince R1
                Group A Screenwriting Margaret Glover
                Group C Producing Ben Gibson
11.15-11.30                                                       Manoir Prince R1
13.00 – 14.30
                Lunch, meet & greet
                                                                  Salle 1800
15.30-17.00     Case study 2 ‘OXYGEN’ screening
                Film Schools programme 2
18.00-18.30     In the Darkness there is light/Jacob Jarek
                                                                  Salle 2000
                Everything is New/Jamie Chambers
                Cold Grove/Mihaly Schwechtje
                Case Study 2 Talk: ‘OXYGEN ’
19.30 – 20.00   Hans Van Nuffel – director
                                                                  Manoir Prince R1
                Dries Phylo – producer
                Chair Suzy Gillett

Tuesday 14 December – DAY 4
                  WORKSHOP 3
                  Group A Producing Ben Gibson /Jean des Forets   Manoir Prince R1
                  Group B Directing Ibolya Fekete
                  Group C Co-production Forum Thomas Rosso
11.15-11.30                                                       Manoir Prince R1
13.00 – 14.00
                  Lunch, meet & greet
14.30 – 16.00
16.30-17.30       FESTIVAL INDUSTRY TALK – Of Gods and Men –
                                                                  Manoir Prince R1
                  distribution in UK and France
                  Film Schools programme 3
                  Dream Baby Dream/ Christophe Nanga-oly
18.00-19.30                                                       Salle 2000
                  Naked Pact / Orsi Nagypal
                  Epilogue/Balazs Loth
                  Hide and Seek/Petra Szocs
20.30-22.00                                                       Salle 1800
                  Case Study 3 ‘R’ Screening
                  VILLAGE DES CO-PROD PARTY

Wednesday 15 December – DAY 5
                WORKSHOP 4
9.30-12.00      Group B Producing/ Ben Gibson / Jean des Forets
                                                                    Manoir Prince R1
NB EARLIER      Group C Screenwriting
START           Margaret Glover/ Dagmar Jacobsen
                Group A Ibolya Fekete
12.00 -13.15
                PHILIPPE BOBER The Co-Production office
13.15 – 14.00
                Lunch, meet & greet
14.30 –         SKIING/NETWORKING
                APPLE talk
18.00-19.00     Daily Motion Awards - Cocktail

                Film Schools programme 4
                Dream Baby Dream/ Christophe Nanga-oly
20.00-21.30                                                         Salle 2000
                Naked Pact / Orsi Nagypal
                Epilogue/Balazs Loth
                Hide and Seek/Petra Szocs

Thursday 16 December – DAY 6
                Distribution Thomas Rosso - Why Not Productions
                                                                    Manoir Prince R1
9.30-11.15      International Sales Olimpia Pont Chafer - The co-
                production Office
                Sign up for one to one tutorials Jean des Forets/
                                                                    Rooms to be indicated
11.30-13.00     /Margaret Glover/Dagmar/Olimpia Pont Chafer/
                Thomas Rosso/Ibolya Fekete
11.15-11.30                                                         Manoir Prince R1
13.00 – 14.00
                Lunch, meet & greet
14.30 –         SKIING/NETWORKING
                                                                    Manoir Prince R1
16.30-1800      DIRE Line-up
18.00-20.00                                                         Salle 2000
                DIRE Conference
                Film Schools programme 5
20.30-22.00                                                         Salle 2000
                Moussem les morts / Vincent/Pierre-Emmanuel

Friday 17 December – DAY 7
                Sign up for one to one on writing and directing   Rooms to be indicated
                Ibolya /Margaret/Dagmar
13.00 – 14.00
                Lunch, meet & greet
                Case Study 3 ‘R’ talk
16.30-17.30     Co-directors Tobias Lindholm / Michael Noer       Manoir Prince R1
                producers / Rene Ezra/ Thomas Radoor
                Chair Suzy Gillett
15.30 –         Conclusion
18.00           Closing Night Film

                Closing Night Supper

Saturday 18 December – DAY 8

10.00           DEPARTURE

                       TUTORS & SPEAKERS BIOGS 2010


                                      Ibolya graduated as a high school teacher of Hungarian and Russian
                                      language and literature. After graduation she worked as a freelance book
                                      editor and film critic. From 1980, she wrote screenplays for several
                                      feature films and then turned to making documentaries in 1989. From
                                      1990 to 2002 she worked at the Hunnia Film Studio. In 1991 Ibolya was
                                      one of the inventors and a collaborator in “Central Express”, an East
                                      Central European current affairs programme with participation of
                                      independent filmmakers from the region. This programme was
                                      broadcasted by several TV-channels in the region, also by RAI DUE (Italy),
                                      FR3 (France), NHK (Japan) and SBS (Australia).
                                      She made her first feature film “Bolse Vita” in 1996. Her films have been
                                      present at over 50 international film festivals in Europe, North- and
                                      South America and Asia. She has shot internationally in English, Russian,
                                      Spanish, Croatian, Romanian etc.

                                      Since 2003 Ibolya has been teaching at the Hungarian Film Academy.

London Film School Director

Since 2001 Ben Gibson has been Director of the London Film School. As an independent producer and as Head
of Production at the British Film Institute (BFI) from 1988-98 he commissioned and produced films by Terence
Davies, Derek Jarman, Carine Adler, John Maybury, Lynn Ramsay, Patrick Keiller, Gurinder Chadha, Andrew
Kotting, Isaac Julien and many others. His feature credits include Love is the Devil, Beautiful People, The Long
Day Closes, Wittgenstein and Under the Skin. He was also a partner in The Other Cinema and Metro Pictures

during the ‘80s, and UK distributor of Godard, Almodovar and many
others. He has worked as a freelance producer, a theatre director and a
film journalist for the MFB, Framework and other publications. He was a
co-founder of LIFT (London International Festival of Theatre) in 1981,
Committee member of EFDO, and founding Chairman of The Script Factory
in 1992.

“As a programmer, distributor, writer and producer in the 1980’s, I didn’t
hear directors talking about school. I was part of a convention of
scepticism about directors learning formally. Although the ‘Movie Brats’ –
Coppola, Lucas et al – has emerged in the US, we thought what marked
them out was the film’s they’d seen – they brought a Nouvelle Vague
sense of history to studio film- making. Some had been technically trained
at schools, but we weren’t quite sure what as. Instead, Roger Corman’s
production company New World, or the BBC Drama Department, or
Universal TV for Spielberg who couldn’t get in at the university of southern California – these seemed to be the
very best schools for directors. Ehen we did talk about film school, it was about the continental greats Lodz
(pronounced ‘Wooj’), FAMU, VGIK and IDHEC, not USC, UCLA, Tisch, NFTS or LFS, here and in the States. Only
the mysterious Eastern European factories had the dusty eccentricity to appear glamorous to cinephiles.

As head of production at the British Film Institute in the 1990’s, I saw it as part of my job to discover good
filmmakers who wouldn’t choose or couldn’t afford film school. The ones I found had mostly been to art
school – Andrew Kotting, Chris Newby, John Maybury and many others. The few people who had been to film
school such as Terrance Davies and Carine Adler testified they’d done their time at the back of the class with
the outsiders. The films they made seemed interesting in exact proportion to their ‘unofficial’ status. I
concluded that film school was largely for cinematographers, designers, sound people and editors. For
directors, it might be a place to cleaver defy stuffy teachers and make some trouble, but in the end it was
probably best just to go out and make films, somehow. (Like many other critics of film school, I’d failed to get
into one myself, as a 21-year-old budding theatre director, so my ego provided me with a motive.)

I had a lot to learn. I came to realise that BFI Production was itself a kind of school – a demanding creative
environment for low-budget film-making, putting a definite value on innovation. I also discovered that the
first film schools has been invented not to train the privileged to be bosses and lord it over the ‘technical
grades’, but to open film-making up to people with no family money or connections. Then I saw many
middlebrow, crude and ingratiating short films made by directors who claimed they’d avoided training because
schools were unrealistic and ‘arty’. In 2000, I landed a job running a very good film school, The London Film
School. Now I was thinking on my feet.

Directing is a practical job, so schools have to train directors without any pointless generalising. For me at the
LFS, the main answer is that all students should make many films according to precise rules, and only get
theoretical after they’ve shown them to others. We have a studio which helps directors to learn simply by
doing. And the school makes students spend time looking at other people’s films.

But the LFS doesn’t offer a degree in ‘Directing’. Instead it says ‘Film-maker’, and we recruit people who want
to get to a high level with cameras, editing, sound, sometimes producing and design, as well as just directing.
Students arrive as ‘writer-directors’ and at the end of the course many stick at craft jobs, but execute them
much better having been made to direct along the way. This method is lovingly stolen from the Eastern Bloc
schools and then updated in technology, but not in educational psychology.

From the perspective of an international school like the LFS (only 30 per cent of its student are born in the UK),
film-making in the UK can look faux-industrial, but in attitude not scale: too orthodox, over-specialised and
under-educated. In places where it seems to be happening – Copenhagen, Seoul, Mexico City, Barcelona,
Taipei – they operate differently: they say ‘I’m directing this now, then I’m co-writing something which Y will
direct and I have a project to produce for Z...’ Perhaps the best way to train directors is as everything”.
Ben Gibson, from an interview with Time Out


Margaret Glover graduated from the Yale School of Drama, where she
worked with both emerging and established writers and directors, including
Athol Fugard and August Wilson. After leaving drama school she worked in
production off-Broadway and in regional theatres in and around New York.
Since moving to the UK, she has worked as script editor and producer in
television on several award-winning serials and single dramas, for both
children’s and prime-time audiences. She is currently Senior Lecturer in
Screenwriting at the London Film School, where she also oversees the
development and production of the graduation films. Margaret also
continues to consult and read for the UK Film Council and Regional Screen
Agencies as well as several independents in the UK and Europe. Her
screenwriting credits include Shadows in the Sun with director David
Rocksavage and Kisna with director Subhash Ghai.


                                             After studying sociology and journalism at the Free University of
                                             Berlin, doing various research projects for the FU Berlin as well as
                                             the National Audiovisual Institute of Paris, the Agnelli Foundation
                                             of Turin and the Festival dei Popoli of Florence, among others,
                                             she completed the German Film and Television Academy’s (dffb)
                                             program in film production (1983- 1987). At the same time are
                                             directing her own film projects, she developed an interest in Film
                                             production. This lead to the founding of Ma.Ja.De. GmbH. Upon
                                             creation of arte the European cultural television channel, a new
                                             business branch opened up: preparing German versions for
documentary films from the world over, which has driven the business of alias film & sprachtransfer since
1995. From 1995 to 2003 as business manager and partner of integral Film GmBH since 2000, she has
produced and co-produced films like “Anna’s Summer” from Jeanine Meerapfel, “Toscha” from Benoît
Jacquot, “L’Annulaire“ from Diane Bertrand, and other coproductions with European partners.
In 2004 she founded Selavy Filmproduktion with Paul Miller (Cologne) and Christian Baute (Paris). The first
coproduction “El Otro” from Ariel Rotter won two Silver Bears at the 2007 Berlinale. She cofounded Selavy
GmBH Co. KGwith Christian Baute (Paris) und Clementina Hegewisch (Berlin) in 2010. The first projects are an
animation film by Simon Rouby in coproduction with Naja Films Paris, then the German-Israeli feature film
“Our Inheritance” from Martina Reuter (Script) and Dror Zahavi (Director) and “The Pink Rabbit” from Marc
Rothermund. Since 2006 she has been an instructor in the production program of the dffb. She has been a
member of several funding bodies (latest: 9 years with the film funding arm of the BKM: German Federal
Representative for Culture and Media). Since 2007 she has regularly consulted for SOURCES2. She is a
member of the European Film Academy (EFA).


Based in Paris, Jean des Forêts has been working in the production field for more than 10 years.
                                         He has been trained through EAVE 2007 and ACE 19. From 2001 to
                                         2010, he has been a partner and a producer in Les Films du requin
                                         where he has produced short and feature length films amongst which
                                         Agua Fría de Mar by Paz Fábrega, winner of the Tiger VPRO Award in
                                         Rotterdam 2010 and Héros by Bruno Merle, opening film in Cannes
                                         Critic's Week 2007. In 2010, he has started a new company, Petit Film,
                                         aiming at producing low-budget feature films in very close
                                         collaboration with distributors and international sales representatives.
                                         The company has an international profile and lines up titles from
Mexico, Uzbekistan, Argentina as well as French films. He regularly works as an expert or a consultant for
various training organisations and institutions such as EAVE, MEDIA International, Binger Film Lab, Audiens.

International Sales

Olimpia Pont Chafer was born in Albaida (Spain) in
1980. In 2002, she obtained a Master of Arts in Audio-
Visual Communication at the University of Seville,
Spain and in 2003 her Master of Arts in Cinema
Science at the University Paris 8. In 2004, she
obtained a Master of Arts in Cultural value of
cinematography and audio-visual heritage at the same
university. She made her Higher Education Diploma in
History and Analysis of Spanish Cinema in 2005, and
took part in a Master class organised jointly by the
Femis in Paris and by the Filmakademie BW in
Ludwigsburg, Germany. She did an internship at
distributors like Dogwoof, London and sales
companies like The Match Factory. In addition to this, she
worked for some festivals like the Mexico City International Contemporary Film Festival and the Seville
European Film Festival. In March 2008, she started working for Coproduction Office as Marketing and Press
coordinator, and at the same time as sales agent for Spanish speaking territories.
Since November 2009, she is Head of Sales of the company.

International Sales

Phillipe Bober established Coproduction Office in 1987, the sales division of his group of companies (co-
                                    )producing / selling a very select number of daring and engaging feature
                                    films, and a home for uncompromising filmmakers. The Coproduction
                                    Office has a reputation for discovering and nurturing new talent. As a
                                    producer, Phillipe Bober was involved in the early films of Lars Von Trier
                                    (Breaking the Waves, Europa, The Kingdom), Lou Ye (Suzhou River),
                                    Carlos Reygadas (Japon, Battle in Heaven), Roy Anderson (Songs from a
                                    Second Floor, You the Living), Jessica Hausner (Lovely Rita, Hotel,
                                    Lourdes), Kornel Mundruczo (Pleasant Days, Delta) and Ulrich Seidl (Dog
                                    Days, Import Export).

International Relations Manager

Following a degree in filmmaking at St Martin’s in 1988 Suzy Gillett moved to Paris to work on Jean–Paul
                             Goude’s 1989 Bicentenary Parade, staying six years. Gaining hands on experience
                             in production and assistant directing on film, French and British television series
                             and independent documentaries. Returning to the UK in 1994 to work at Peter
                             Gabriels’ Real World multimedia then to World Circuit records of Buena Vista
                             fame, she variously ran ScreenStation a film club screening world cinema
                             documentaries for 5 years and was Director of the annual Mosaiques Film
                             Festival at the French Institute London for 5 years also co-ordinating the French
                             Film Seasons with Unifrance and screenwriting workshops Scenarios with La
                             Femis and the London Film School and where she now works International
                             Relations Manager and coordinates MEDIA training programmes, including the
annual Low Budget Film Forum.

Thomas Rosso graduated in Philosophy and Film Studies from the Ecole
Normale Supérieure and obtained an MBA from the ESSEC Business
School in 2005. After beginning in the movie industry at Why Not
Productions as an assistant for Arnaud Desplechin and Claude Lanzmann,
he was director and programmer at the Cinema du Panthéon theatre in
Paris. He organised La fémis’ 20 anniversary in 2006 and was then hired
as an assistant for La fémis’ Head of Studies and Directing Department.
Since 2009 he has been in charge of theatrical distribution and DVD in
Why Not Productions.

Interntional Relations Manager

                                    Born in 1972 in Japan, Julie Tingaud graduated from ESSEC Business
                                    School. After working for more than 5 years in an agency specialized in
                                    movie events (La Fete du cinema), she went back to school to get a Media
                                    Master Degree from ESCP Business School. In 2000, she was sent be the
                                    French Foreign Affairs Ministry to Japan to be the Audiovisual Attachee at
                                    the French Embassy. Spending 2 years in Tokyo, she organized the Tokyo
                                    Showcase with TFVI, help Unifrance for the Yokohama French Film
                                    Festival, invited French DJ to perform in Tokyo night clubs… After 2 years
                                    of being a busy PR girl, she came back to France to settle down and enjoy
                                    life. In 2005, she joined a production company for one year (Le Bureau)
                                    where she worked as an assistant to Betrand Faivre. Since 2007, she has
                                    been a Project Manager at La fémis in charge of international, Media
                                    programs, internships…


Adrienn Pal


 R is a confrontational case study of the power hierarchy in a Danish prison. We follow Rune in his hopeless
                      struggle to survive. It's hardcore, surprising and above all honest

Committed to carrying on the tradition of Dogme 95, directors Michael Noer and Tobias Lindholm wanted to
create a prison drama that did not rely on outworn clichés (noble prisoners, evil guards, escape attempts, hope
triumphing, etc.) but was an attempt to capture the reality of prison life through one man's subject
experience. With R, a movie which plays like something out of Kafka, they have done just that.

Prisoner "R" has been incarcerated for violent assault. It is his first conviction so he is, naturally, terrified of
what awaits him in Horsens State Prison (a notorious tough penitentiary in Denmark, now closed; R was filmed
on location there). Hand-held camera follow R through the humiliating dehumanizing intake process (the strip
search, the surrender of personal objects), and then up into the ward which now will be his home. R has been
placed with hard-core lifers, prisoners who are fully institutionalized, giant blunt-edged muscled men, who
stare at the more slight figure of R, with his bleached hair and handsome face (the actor is a dead ringer for
Kurt Cobain), as though he is bait. They practically drool as he goes by.

Pilou Asbaek, a young Danish actor, plays "R" (the character's real name is Rune), and it is a fantastic star
performance. He is in nearly every shot, and Asbaek doesn't miss a beat in R's relentless transformation from
newbie to brutal survivor. He is riveting to watch. Rune is a bit OCD in his desire to have a clean space to live
in. He sits in his cell scrubbing the dingy radiators, rubbing away at the windows. He takes it upon himself to
clean the tiles in the vile bathroom. A small character detail such as this shows Noer and Lindholm's shared
gifts as storytellers. The success of a story like this one, that, let's be honest, we've all seen before, depends on
observations with that type of specificity.

One of the best things about R, and why it works so well, is its disinterest in filling us in on how prison works,
its insistence that whatever Rune knows is what we know also. We are not ahead of him in any way. Rune isn't
given a manual on how to survive prison and so we are deprived of information as well. The dynamics of the
relationships (who to trust, who to cozy up to for protection) are complex and a false move would mean
death. The claustrophobia of the real-life setting, the caked-on grime of the windows, the stink of the
bathrooms, the sweat in the weight room, is palpable. Directors Lindholm and Noer are not interested in
presenting a simplistic morality play here. They do not glorify the prisoners; they do not demonize the guards.

Prison is terrible for all involved, but the directors are not sentimental either. It is clear that society needs to
protect itself from such prisoners, and that there are those people who are beyond rehabilitation. But what a
terrible and bleak conclusion to have to draw, and what does that mean for first-time offenders like Rune, who
should get out in two years? Will he have been hardened beyond repair by then, so that the only life available
to him is a life of criminality?

Rune befriends a fellow prisoner named Rashid, and this brings me to the element of the film that stood out
the most for me. R is a fine drama—with intense performances, a pitch-perfect sense of pace, and a coherent
structure—that does not do anything particularly new. But what is fresh and original here is the portrayal of
the divide between the "Arab" prisoners and "The Danes." The animosity between these two groups is so bad
that they are kept on different wards. A timely and sometimes taboo issue for Denmark at the moment, R,
being a prison drama, is capable of compressing this issue and showing it in its most extreme state, with no
room to breathe, no room to get away from one another to take the edge off. R is not at all misty-eyed about
the chances for reconciliation and understanding. The friendship between R and Rashid, and the surrounding
prisoners, brings all of this into sharp relief. The world of R brought to mind Kipling's famous (and depressing)
statement, "East is East and West is West (and never the twain shall meet)." R is unafraid to stare that divide in
the eye, call it out, name it. There are no pulled punches. R has the courage of its convictions, from start to


Screenwriter graduate from the National Film School of Denmark, 2007.
Tobias Lindholm wrote the screenplay for the short film "Hawaii" (2006), directed by Michael Noer. He has also
written several episodes for the DR TV-series' “Sommer” (2007) and “Borgen” (2009/2010).
Recently Tobias Lindholm has written the screenplay for Thomas Vinterberg's film “Submarino” (2010,
Berlinale Official Selection) and is now writing on a new Vinterberg film, yet to be titled.
“R” is a writer-director collaboration between Tobias Lindholm and Michael Noer and marks their feature film
debut as directors of fiction. Noer & Lindholm are currently developing their next film together.

R / R (2010)Writer / Director
Submarino / Submarino (2010) Writer


Noer graduated from the National Film School of Denmark, 2003. He has several award winning documentary
films to his credit. “Vesterbro” (2007) screened at numerous international festivals including CPH:DOX, where
it won a Jury Prize. “Doxwise Diary” (2008 – www.doxwise.dk) stirred international media attention when it
was released on MySpaceTV. “The Wild Hearts” (2008) was selected for the Dox Award competition at
CPH:DOX. Michael Noer just premiered with the documentary “Son of God” which premiered at the 2010
edition of CPH:DOX. “R” is a writer-director collaboration between Tobias Lindholm and Michael Noer and
marks their feature film debut as directors of fiction. Noer & Lindholm are currently developing their next film

R / R (2010) Writer / Director
Vesterbro / Vesterbro (2008) Director
De Vilde Hjerter / The Wild Hearts (2008) Director


Tomas Radoor graduated from The Danish Film School in 2003. Since then he has produced a vast and varied
array of movies such as the action film “Ambulancen” (2005), the gritty documentary about Haitian gang
conflicts “Ghosts of Cité Soleil” (2006), The children’s movie “Frode og alle de andre rødder” (“Frode and all
the Other Rascals”, 2008), the comedy “Oldboys” (2009), the hard-hitting drama “R” (2010) and the animated

comedy “Olsen Banden på de bonede gulve” (“The Olsen Gang gets Polished”, 2010). Radoor has also
produced two comedic TV-series “Mr. Poxycat & Co.” (2007) and “Manden med de gyldne ører” (“The Man
with the Golden Ears”, 2009).

R (Tobias Lindholm, Michael Noer, DK, 2010), Producer
Parterapi (Kenneth Kainz, DK, 2010), Producer
Olsen-banden på de bonede gulve (Jørgen Lerdam, DK, 2010), Producer
Oldboys (Nikolaj Steen, DK/SE, 2009), Medvirkende, Producer
Frode - og alle de andre rødder (Niels Christian Meyer (Bubber), DK, 2008), Produktion
Det perfekte kup (Dennis Holck Petersen, DK, 2008), Producer
Mr. Poxycat & Co. (Nikolaj Lie Kaas, DK, 2007), Producer
Dear God (Lise Birk Pedersen, DK, 2006), Produktion
Ambulancen (Laurits Munch-Petersen, DK, 2005), Produktion
Ghosts of Cité Soleil (Asger Leth, DK/US, 2005), Produktion
Frunk (Mikkel Serup, DK, 2003), Produktion


René Ezra graduated from The Danish Film School in 2003. Since then he has produced the Academy Award
nominated short “Helmer & søn” (“Helmer & Son”, 2006), “Sprængfarlig bombe” (“Clash of Egos”, 2006) and
the TV-series “Mr. Poxycat & Co.” (2007), which he produced with Tomas Radoor. He developed “Til døden os
skiller” (“With Your Permission”, 2007) and has recently produced “Oldboys” (“Oldboys”, 2007”) the TV-series
“Manden med de gyldne ører” (“The Man with the Golden Ears”, 2009) and the drama “R” (“R”, 2010). Ezra
was titled ‘Producer on the Move’ at Cannes Film Festival 2006.

R / R (Michael Noer & Tobias Lindholm, 2010)
Parterapi / Therapy (Kenneth Kainz, 2010)
Oldboys / Oldboys (Nikolaj Steen, 2009)
Manden med de gyldne ører / The Man with the Golden Ears (TV-series, Simon Bonde & Mike Spooner, 2009)
Mr. Poxycat & Co. / Mr. Poxycat & Co. (TV-series, Nikolaj Lie Kaas, 2007)
Helmer og Søn / Helmer & Son (Short, Søren Pilmark, 2006)
Sprængfarlig bombe / Clash of Egos (Tomas Villum Jensen, 2006

DKK 4,755,000 (€637,714)


TOM (Stef Aerts) and his brother LUCAS (Maarten Mertens) are young men who suffer from cystic fybrosis, a
genetic disease that slowly destroys their lungs. Tom is struggling to cope with his short life expectancy and
hangs around with a gang of hoodlums. In the hospital, he meets XAVIER (Wouter Hendrickx), a young man
suffering from the same illness but behaving like a top athlete. Xavier is a confirmed optimist, even when he is
dumped by his girlfriend ANNELEEN (Marie Vinck). Tom takes in Xavier’s energy and joy of life. He roams the
hospital grounds and falls for the charms of quirky ELINE (Anemone Valcke), who has been quarantined for
months due to an infection. They are not allowed to touch and can only talk to each other over the phone. Yet,
they start a romance. When Tom’s brother Lucas dies during lung transplantation surgery, Tom is
inconsolable. He seeks refuge among his rough friends, avoids Xavier and breaks up with Eline. But one day, he
again crosses Xavier’s path who gives him back his taste for life…OXYGEN is compelling, romantic, funny and
heartbreaking. It’s a drama about having little time and not wanting to miss out on anything.


Hans Van Nuffel (°1981) is a graduate from the Brussels RITS film academy. His graduation project was the
highly acclaimed short film THE END OF THE TRIP (Het Einde van de Rit), which won him a prestigious
‘Wildcard’ from the Flemish Audiovisual Fund. With the wildcard, Hans was able to direct a second short film,
FAL (2007), a hard-boiled drama about a revengeful African arms dealer. FAL won an award at the “Leuven
Kort” Filmfestival and the Jury Award at the 2008 Montréal World Film Festival. Hans subsequently directed
the stylish short NIGHTHAWKS (Nachtraven), a dark vampire tale. Hans is considered one of Flanders’ most
promising new talents. During the past two years, he has been working on his feature film debut ADEM


Dries Phlypo (°1977) started his movie career as a projectionist in Bruges arthouse theatre LUMIERE, for which
he also programmed the children’s movie section “Lessons in the dark’. Dries joined A Private View in 2004. He
produced with Jean-Claude van Rijckeghem OXYGEN and THE OVER THE HILL BAND and was Line Producer on
LONG WEEKEND, A PERFECT MATCH and MOSCOW, BELGIUM. Dries Phlypo has produced three shorts:
ROMANCE by Douglas Boswell (2005), MOMENT DE GLOIRE by Hendrik Moonen (2006) and Academy Award
nominee TANGHI ARGENTINI by Guido Thys (2007).

Dries Phlypo is member of the board of Flemish Film Producers’ Association, member of ACE – Ateliers du
Cinéma Européen and member of the European Film Academy.


In Production:

“LENA” Christophe Van Rompaey, feature, 100’, Co-Producer

In Development:

“VINCENT AND THE END OF THE WORLD” Christophe Van Rompaey, feature, 100’, Producer
“BRASSERIE ROMANTIEK” Joël Vanhoebrouck, feature, 90’, Producer
“MILO” Berend Boorsma & Roel Boorsma, feature, 90’, Co-Producer
“EEN KLEINE KANS” Nicole Van Kilsdonk, feature, 90’, Co-Producer
“QUIZ ME QUICK” Jan Matthys, TV series, 10x 50’, Co-Producer
“OLLIE” Norbert ter Hall, TV series, 4x 50’, Co-Producer


“OXYGEN” Hans Van Nuffel, feature, 98’, Producer
“NAWEWE” Ivan Goldschmidt, short, 18’, Co-Producer
“EEP!” Rita Horst, feature, 80’, 35mm, Co-Producer
“THE OVER THE HILL BAND” Geoffrey Enthoven, feature, 100’, HD, Producer
“MOSCOW BELGIUM” Christophe Van Rompaye, feature, 90’, s16, Line Producer
“DUNYA EN DESIE” Dana Neuchestan, feature, 100’, 35mm, Co-Producer
“A PERFECT MATCH” Miel Van Hoogenbemt, feature, 110’, s35, 2006, Line Producer
“MOMENT DE GLOIRE” Hendrik Moonen, 8’, short, s35, 2006, Producer
“THANGHI ARGENTINI” Guido Thys, 13’, short, s35, 2006, Producer
“L’UNION FAIT LA FORCE” Hanne Phlypo, 18’, short, HD, 2006, Producer
“ALIVE – KATE RYAN” Jakob Verbruggen, music video, 1’30’’, s16, 2006, Producer
“BONKERS” Martin Koolhoven, feature, 80’, HD, 2005, Production Manager
”LONG WEEKEND” Hans Herbots, feature, 90’, s16, 2005, Line Producer
 “HOMMAGE – JAN HOET” Dany Deprez, docu, 20’, beta digi, 2004, Line Producer
“ROMANCE” Douglas Boswell, short, 14’, s16, 2004, Producer
“PORTABLE STONES” Orla Barry, experimental feature, 40’, DVcam, 2003, Producer
“THE MARCH, THE DESERT,…” Els Dietvorst, feature, 80’, DVcam, 2003, Production Manager
“LES YEUX DE LA MER” Dany Deprez, short, 20’, DVcam, 2002, Production Manager


Piroska (Gabor) was born too late. An enormous nurse in the terminal ward of a Budapest hospital who spends
her working hours staring blankly at a wall of cardiac monitors, assisting doctors when they try to revive those
whose hearts give out and changing adult diapers, she escapes the monotony of her job, the overexposure to
death, and a deprecating husband (Znamenak) at home by retreating into her childhood. More than anything,
she retreats from loneliness.

Triggered by the arrival and rapid passing of an old woman with the same name as the eponymous girl she
remembers as her best friend until the age of 10, she embarks on an obsessive investigation into her
whereabouts, following clues that take her, and the audience, on a journey through assorted strata of
Hungarian society.


Ágnes Kocsis was born in Budapest in 1971. She received her diploma from Eötvös Loránd University, at the
faculty of arts, Budapest. She majored in polish language and literature; aesthetics; and film-theory and
history. During her studies she worked for the National Film Archive, and wrote articles in film journals. In
1992 autumn semester and 1993 spring semester she attended to the Faculty of Film Studies of the Jagiełło
University of Cracow, Poland with a scholarship. In 2000 she was admitted to the Academy of Drama and Film
in film directing, where she finished her studies in 2005. In 2003 during two semesters she attended to the
Centro Sperimentale di Cinematografia in Rome with a scholarship studying directing and scriptwriting. Her
short film The Virus won the third prize of the Cinefondation at the 59 Festival de Cannes, and Fresh Air, her
first feature film, was presented at the same edition of the Cannes Film Festival in the section of the Semaine
Internationale de la Critique, and was among the 4 films nominated for the Discovery Award of the European
Film Academy in 2006. Fresh Air so far has participated more than 70 international film festivals winning 14


KMH Film aims to provide opportunities for young artists. Several short and feature films and also
documentaries were created in the workshop of KMH Film. Among others such feature projects were
produced there as Fresh Air (2006) by Ágnes Kocsis (world premier in Cannes, was nominated for the European

Discovery Award of the European Film Academy, won 14 prestigious international awards, was invited for
more than 70 international film festivals) and The Investigator (2008) by Attila Gigor (world premier and two
awards in Karlovy Vary official competition, 19 major international film festival awards, including the FIPRESCI-
award). In 2006 Ferenc Pusztai had become one of the ACE producers. In 2007 he turned to be a member of
the European Producers Club, the European Film Academy then he attended at the Rotterdam Lab / Cinemart
and also was selected to the Producer on the Move / 60th Cannes Film Festival. In 2009 he participated in the
EAVE program. In early 2010, on the 41st Hungarian Film Week he became the Best Producer of the year 2009.
In May, 2010 Ágnes Kocsis's second feature, entitled Adrienn Pál was completed and starts its international
career in the Un Certain Regard section of the 63rd Cannes Film Festival, where it won the FIPRESCI-award.


2010 - Adrienn Pál / directed by Ágnes Kocsis
Feature film, Hungarian-Dutch-French-Austrian co-production
Length:                    135 min
Shooting format:           35 mm
Producer:                  Ferenc Pusztai (KMH Film)
Co-producers:              Tom Dercourt (Cinéma Defacto)
                           Oliver Neumann (Freibeuter Film)
                           Els Vandevorst (Isabella Films)
                           Attila Árpa
Ágnes Kocsis (Oblomova Film)
63rd Cannes Film Festival – FIPRESCI-award

2010 – Team Building / directed by Réka Szabó
Feature film, Hungarian-English-German co-production
Length:                   94 min
Shooting format:          HD
Producer:                 Ferenc Pusztai (KMH Film)
Co-producers:             Oliver Damian (27 Films)
                          Chris J. Taylor (Superkrush Films)
41st Hungarian Film Week – Best First Film Award
41st Hungarian Film Week – Best Producer Award

2010 - Czukor Show / directed by Tamás Dömötör
Feature film, Hungarian – Swedish co-production
Length:                    80 min
Shooting format:           HD
Producers:                 Ines Matiz (Dropout Film)
                           Ferenc Pusztai (KMH Film)
Co-producer:               Martin Persson (Anagram Produktion AB)
Award / Festival:
41st Hungarian Film Week – Best Producer Award
13th Shanghai Film Festival – Official Competition

2008 - 7 Minutes In Heaven / directed by Omri Givon
Feature film, Israeli-French-Hungarian coproduction
Length:                     110 min
Shooting format:            35 mm
Producer:                   Marek Rosenbaum (Transfax Films)
Co-producers:               Ferenc Pusztai (KMH Film)
                            Elie Meirovitz (EZ Films)
24th Haifa International Film Festival - Best Feature Film 2008 Award
Warsaw International Film Festival – First Prize „Competition 1-2”

2008 - The Investigator / directed by Attila Gigor
Feature film, Hungarian-Swedish-Irish co-production
Length:                     110 min
Shooting format:            35 mm
Producer:                   Ferenc Pusztai (KMH Film)
Co-producers:               Martin Persson (Anagram Produktion AB)
                            Macdara Kelleher (Fastnet Films)
                            Thomas Eskilsson (Film I Väst)
39th Hungarian Film Week: Best writer
39th Hungarian Film Week: Best editor- Arany Olló award
39th Hungarian Film Week: Best actor
39th Hungarian Film Week: Best genre film (Moziverzum Award)
39th Hungarian Film Week: Best director (Green Raven Award)
39th Hungarian Film Week: Best film (Green Raven Award)
43th Karlovy Vary International Film Festival: Special Mention Of The Jury – official competition
43th Karlovy Vary International Film Festival: FFIC Don Quijote prize – official competition
24th Warsaw Film Festival: FIPRESCI-award
38th Kyiv International Film Festival: Yves Montand Award (best young actor)
Bursa International Silk Road Film Festival: Best Film
10th Bratislava International Film Festival: Best actor
Cleveland International Film Festival: Best Eastern European Film Award
Media Wave 2009 IFF: Best director
Media Wave 2009 IFF: Best DOP
Hungarian Film Critics Award: Best First Feature film
Hungarian Film Critics Award: Best script
Hungarian Film Critics Award: Best actress
Hungarian Film Critics Award: Best actor
Pécs IFF: special mention
Malaga Fancine: Best actor, Youth Jury’s Prize, Audience Award.

2006 - Fresh Air / directed by Ágnes Kocsis
Feature film, Hungarian production
Length:                     109 min
Shooting format:            35 mm
Producer:                   Ferenc Pusztai (KMH Film)
36th Hungarian Film Week – Best First Film – Sándor Simó Award
Festival du Film Européen, Brussels – Main Prize - Iris Award for Best Film
Reykjavik International Film Festival - Honorable Mention
Pécs International Film Celebration - Main Prize – Golden Benjamin Award
European Film Academy - Nominated for European Discovery Award
Warsaw International Film Festival - FIPRESCI Award
Barcelona l’Alternativa - Special Mention
Bratislava International Film Festival - Student Jury's Prize for the Best Film
Delhi IIWFF - Best Director
Hungarian Film Critics Award - Best First Feature Film
Hungarian Film Critics Award - Best Actress Award for Júlia Nyakó
Hong Kong International Film Festival - Special Mention
San Jose Cinequest Film Festival - Global Vision Award

In preparation

Four More Years / directed by Tova Magnusson, under post-production
Feature film, Swedish-Hungarian co-production
Length:                  Approx. 90 min

Shooting format:          HD
Producer:                 Martin Persson (Anagram produktion AB)
Co-producer:              Ferenc Pusztai (KMH Film)

Sin Alma / directed by Sebastion Moreno, under post-production
Creative documentary, Hungarian-Chilean co-production
Length:                    Approx. 90 min
Shooting format:           35 mm
Producer:                  Bruno Bettati(Jirafa Films)
Co-producers:              Ferenc Pusztai (KMH Film
The Other Side of Sleep / directed by Rebecca Daly, under post-production
Feature film, Hungarian-Irish-Dutch co-production
Length:                    Approx. 90 min
Shooting format:           35 mm
Producer:                  Macdara Kelleher (Fastnet Films)
                           Morgan Bushe (Fastnet Films)
Co-producers:              Ferenc Pusztai (KMH Film)
                           Reinier Selen (Rinkel Film BV)

Berberian Sound Studio / directed by Peter Strickland, under pre-production
Feature film, Hungarian-English co-production
Lenght:                   Approx. 90 min
Shooting format:          35 mm
Producer:                 Keith Griffith(Illuminations Films)
                          Robin Gutch (Warp X)
Co-producers:             Ferenc Pusztai (KMH Film)

The Man Who Didn’t Get Shot / directed by Attila Gigor, under development
Feature film, Hungarian-Swedish-Irish co-production
Lenght:                   Approx. 120 min
Shooting format:          35 mm
Producer:                 Ferenc Pusztai (KMH Film)
Co-producers:             Martin Persson (Anagram Produktion AB)
                          Macdara Kelleher (Fastnet Films)
                          Tomas Esskilson (Film I Wast)

Onetwothree / directed by Balázs Krasznahorkai, under pre-production
Feature film, Hungarian production
Lenght:                   Approx. 100 min
Shooting format:          HD
Producer:                 Ferenc Pusztai (KMH Film)
Co-producers:             ászló Demeter (Duna TV)

Afterlife / directed by Virág Zomborácz, under development
Feature film, Hungarian production
Lenght:                     Approx. 110 min
Shooting format:            16mm
Producer:                   Ferenc Pusztai (KMH Film)
Co-producers:               under negotiation with French, Belgian
                            and Polish co-producers

Rodolfo / directed by Attila Árpa, under development
Feature film, Hungarian production
Lenght:                    Approx. 100 min
Shooting format:           35 mm
Producer:                  Ferenc Pusztai (KMH Film)

Co-producers:            under negotiation

Eden / directed by Ágnes Kocsis, under development
Feature film, Hungarian production
Lenght:                   Approx. 120 min
Shooting format:          35 mm
Producer:                 Béla Tarr (T&T Filmműhely)
                          Ferenc Pusztai (KMH Film)

                                PARTICIPANT BIOGS 2010


                           JAMES BARRETT
                             James was born in 1980 and developed a passion for photography in his teens. He
                             graduated with BA Honours from the University of Sheffield in 2003 (History) and an
                             MA from the University of Witwatersrand in 2005 (Political Science). James made a
                             film with youngsters at Camp Thoreau-in-Vermont in 2002 where he also helped to
                             run the darkroom over several magical summers. He captured some of his MA
                             research on social movements on video. In 2005 James worked as a
                             photographer/researcher in Palestine culminating in a publication on the role of the
                             Occupation and World Bank in the Palestinian economy. He went on to work with
civic organisations, until enrolling at LFS in 2007. He will use his training at LFS to work within film cooperatives
with an eye to creating critical fiction and documentary.

Jamie Chambers was born in Edinburgh where he attended St Mary's
Music School. Going on to study music at Oxford University with a Leask
scholarship, Jamie found his extracurricular interest in filmmaking
beginning to overtake his curricular studies in medieval plainchant. He is
currently studying at the London Film School where he has been
awarded a Skillset bursary and awards from the Robertson Trust and the
Scottish International Educational trust. Jamie is Artistic Director of the
Transgressive North artistic community, a group of Scottish artists, filmmakers and musicians based in
Edinburgh. The TN currently has two micro-budget feature films in post-production; Everything is New, an
outreach-arts collaboration with Dalit 'untouchable' children in south-east India (Executive Producer and
Narrator Irvine Welsh), and Into the Woods, a microbudget feature shot with community actors about the
fortunes of young people in a small Scottish town undergoing political change.

                          PIERRE-ALAIN GIRAUD
                           Pierre-Alain Giraud has a master degree of engineering from les Arts et Metiers
                           (ENSAM - 2005) and will graduate from the London film school in 2010. He worked
                           as a cultural attaché in Iceland from 2005 to 2007, producing projects with French
                           and Icelandic artists. He directed short films, music videos, animation videos and is
                           finishing a feature length documentary on the Icelandic record label Bedroom
                           Community. He edited and was director of photography of several short films. He
                           also composes and records music with Angil and the Hiddentracks and did the music
                           for a play at the national theatre in Iceland in October 2010. Among other project,
he is currently working on videos and music for an exhibition of Gabriela Fridriksdottir and will be director of
photography of Cuello Negro, feature film to be shot in 2011 in Chile.

Orsi Nagypal is a Hungarian filmmaker, who escaped the glitzy
world of advertising to study at the London Film School. She is most
interested in human beings, in everyday people and how they deal
with their own life, relate to each other and the society that
surrounds them. Orsi tried herself in many roles at the LFS, but
enjoyed directing and editing the most. She graduated as
writer/director with the short film “Naked Pact” – with distinction.
After all this she was granted funding for her next short, “Cold
shower” by the Hungarian Filmfund. This short is set in a high-school theatre summer camp, where a new boy
joins the group. He is of gypsy origin – this shakes up the relationships between the group members. Orsi is
currently developing feature scripts in Hungary, interested in how the social changes after 1989 are affecting
today's individuals.

                            Nicole Volavka trained in music, dance and drama as a child, before studying
                            Psychology and Philosophy at Sheffield University. She started her film career
                            working in Acquisitions at Miramax Films, before moving into the production side
                            as Assistant To Director Michael Caton-Jones on the BBC Films feature “Shooting
                            Dogs” in Rwanda. Her recent short “Survivor” was part of her MA in Filmmaking at
                            the London Film School where she was a recipient of a Skillset Scholarship.
                            “Survivor” (starring Shaun Parkes) has shown at nine international film festivals,
                            winning Best Script and Best Actor at the BFM Festival and is now being developed
                            into a feature at the BBC Writer’s Room. “Laundry”, her graduation film, is a
                            mother-daughter story set in Croatia against the background of the Balkans War. It
                            has been in competition at Motovun Film Festival, Rushes Soho Shorts Festival,
                            Estoril, Portugal and Women In Direction, Spain.

                                     Ditte Milsted is 27 years old. She is born and bred in Copenhagen,
                                     Denmark. In her teens Ditte was very interested in photography and
                                     thought of becoming a photographer. That changed in high school when it
                                     became clear that Ditte wanted to work with moving images – film! After
                                     graduating high school Ditte worked to earn money to go to Japan.
                                     Returning from Japan she knew that she wanted to work with films,
                                     however she didn’t know exactly where within the business she wanted to
                                     make a career. Therefore she moved around a bit exploring several
different parts of the business. Ditte was a short time intern at the fiction department DR Drama at DR – the
Danish national broadcaster. Ditte attended The European Film College 2003-04 and later took a Bachelor
Degree in Film- and Media Science from the University of Copenhagen. Besides her studies she has been
working on others and her own low-budget productions. In 2006 Ditte was an intern at the Danish office of
MTV and has also worked part time at Nordisk Film in the International Sales Department. Presently Ditte is a
producer student at The National Film School of Denmark and has just finished her second year. Besides
making films Ditte loves to watch and discuss them. She is a big fan of Sofia Coppola and P.T. Anderson, whom
both make film just the way films should be made – with an eagerness for storytelling and a strong visual
language. Besides film and film making Ditte loves to travel and attend photography exhibitions.


 - Romantic Nostalgic (working title), 2009 (in post production). 20 min., fiction, The National Film School of
Denmark. Producer.
- The Letter, 2008, 15 min., fiction, The National Film School of Denmark. Producer.
- Yater Spoon, 2008, 8 min., fiction, The National Film School of Denmark. Producer.
- Grandma and Bob, 2007, 28 min., documentary, The Danish Film Workshop. Director, producer,
photography, editing.

                             Jacob Jarek was born in 1981 in Krakow, Poland. He emigrated with his family to
                             Norway in 1984 where he grew up. Jacob had a normal childhood until he saw the
                             movie "Dead Man" in 1995. The movie changed his life and he has been dedicated
                             to cinema ever since. Jacob lived one year in Chile as a teenager. He studied in
                             Denmark at the European Film College, where he fell in love, and subsequently
                             moved to Denmark in 2005. In Denmark Jacob has worked in the film industry,
                             among others for Nimbus Film and on his own projects. Jacob has a BA in Arts in
                             Film Science and a MA in Arts in Media Production, both from Norway, and
                             graduates as a film producer from The National Film School of Denmark in June
                             2011. Interested in live action as well as animation, and has a goal of making
                             international projects.

Filmography (producer)

4 unread messages, short film, 8 min (2008 - producer)
Bad chemistry, short film, 23 min (2007 - writer/producer)
Mon Amour, music video, 4 min (2005 - producer/editor)
At the National Film School of Denmark, 2007-2011:

Herluf & Emma, short film, 17 min (2009 - producer)
Nima, animated short, 7 min (2008 - producer)
Charlie Charlie, short film, 8 min (2008 - producer)
At the European Film College, 2003-2004:
Abafuka, final project short, 7 min (2004 - writer/director)
Ice Ice Baby, short film, 4 min (2004 - writer/director)

Born in Copenhagen Denmark, in 1980. He went to Copenhagen Business School, followed by Curtin
University, Perth Australia. After having completed his Bachelor’s degree, he finally reached his present
                               destination at The National Film school of Denmark. Now, as a producer he is very
                               active and has recently completed a number of interesting Short Films in Denmark
                               among others the Greenpeace collaboration, “For A Clean World” (16mm). Mikkel
                               Jersin N also founded the Copenhagen based production company Skyline Art in
                               2006, which has been a platform for numerous minor productions. His most
                               recent production the Danish/Palestinian documentary “Palestinian Strings” was
                               his first film as a director. He has, however, directed music videos and shorts in
                               the past. I.e. he produced and directed the most recent music video for the
                               Danish number-one best selling artist 2008; Sys Bjerre. However, mostly his work
                               has been as a Producer, which is where his true ambition is to be found. Before
                               his work with films began, he worked as a travelling journalist for the Danish
                               nationwide newspaper Berlingske Tidende, This took him several times around
the world i.e. to Australia, Asia, North-, South- and Central America in which he lived while studying Spanish.
His adventures while travelling have formed a platform from where his great interest in cultures has developed
and hence an unlimited source of inspiration for his films. His favourite film at the moment is City Of Good by
Fernando Meirelles, but he is also strongly inspired by “Pi” by Darren Aronofsky. He believes that “film” is the
most powerful media of all and his personal dream is to help create films with the ambition to make a
difference for the people watching them.

Elisabeth Victoria Poulsen will finish as a producer at The National
Danish Film School summer 2011. Before the school she worked as
producer assistant to Ib Tardini at Zentropa Film from 2001-2005 on
feature films as Open Hearts, Inhertance, Manslaughter, In Your Hands
and 1:1. From 2005-2007 she worked as producer assistant at Cosmo
Film on TV-series as Anna Pihl & Christmas in Valhalla. Paralel she's
been producing shorts among other

13:03 Frank Boysen, Nordic Panorama 2008. Elisabeth lived in
Luxembourg from 1994-1998 when she was a teenager and feels
European in her heart. She would love to produce movies across borders.

                       Vincent Le Port was born in Brittany in 1986. After one year in a preparatory class in
                       literature and two years in a technical audiovisual school, he entered La fémis where he
                       directed two documentaries, Minotaure Mein Führer and Dance of the invisible
                       inhabitants de la Casualidad, two short-features, Grand Guignol and Finis Terrae, and
                       his first long-feature movie, Moussem Les Morts (selected in Torino and Belfort's film

After being graduated in Business, Commercial and Media Schools, Pierre-
Emmanuel Urcun entered La fémis in the production department. At the same
time, he directed fiction and documentaries, mainly about football, suburbs and
music. He is also responsible for audiovisual workshops and communication at
Diambars, an African NGO whose aim is to use passion for football as a driving
force for education. At last, he finished the production of a short-feature in stop-
motion, which he also co-wrote and co-directed. He is now working on the
production of long feature films, animated pictures, exhibitions and installations.

Christophe Nanga-Oly is graduated in visual art study and director study. His cinema tries to reconcile the
visual writing with the storytelling. His only purpose is to catch the intimacy of the characters.

                                         2010 Reve bebe reve
                                             Fiction, 60mn, Hd, film de fin d’etude
                                         2009 Moussa,
                                             Fiction, 12mn, 35mm scope
                                         2008 Echangeur porte de bagnolet dec 07
                                              Documentaire, 26mn, dv
                                              Dans ses bras, tu devrais dormer d’abord
                                              Fiction, 38mn, dv
                                              Inouie Melodie
                                              Fiction, 12mn, 16mm
                                            2007 Bord (moyen-m) 35mn, dv
                                              Se souvenir de peu de peau
                                              Essai, 20mn, telephone
                                              Donne a qui chute
                                              Fiction, 8mn, 16mn
                                              2004 Anomal
                                              Essai, 9mn, dv
                                              Devenir/To Become
                                              Essai, 60mn, dv
                                            2002 essai, 5mn, dv

I was born in Paris in 1985. Before La Femis, in Production Department, I used to study
French Literature, Theatre and Cinema at La Sorbonne Nouvelle. In La fémis, I was a
production and post production manager for 7 short films with multiple directors. For
my degree, this year, I produced ‘Don’t want any Stone in my Cherry ‘, directed by
Louise Arhex. This short film is selected in many festivals (Taiwan, Beijing, Belgium,
Pristina). I am interested in Chinese cinema and production on which I wrote my
dissertation. This spring, I have worked on Lou Ye’s next film (Bitch/Chienne). I am now
working at Les films du Lendemain with Kristina Larsen.

                   I was born in Paris in 1986. Before La fémis in Scriptwriting Department, I used to study
                   French Litterature at la Sorbonne. During La Femis, I wrote Finis Terrae, a short film directed
                   by Vincent Le Port. I also wrote four feature films and another one in English during a trip in
                   New York as part of an exchange program between La fémis and Columbia University. I am
                   now co-writing a feature film for a film production company, 1902 Productions, and
                   working on a tv series project, Bloody Milk, that won a special prize at CNC (National Centre
                   of Cinematography) last summer.

                                                 Béla Bagota was born on the 17th April, 1985, in Budapest,
                                                 Hungary. He started his studies at Eötvös Lóránd University on
                                                 Film Theory and Film History – Hungarian Language and
                                                 Literature departments. He won a place at University of
                                                 Theatre and Film, Budapest as a film and television director in
                                                 2005. He made a lot of short movies in the school as writer and
                                                 director (Mea Culpa – 2006, Dark Box – 2007, Side by Side -
                                                 2008), as editor (Bloody Mary – 2007, Golgotha – 2008) and as
                                                 assistant director too. He worked for the Hungarian Television
                                                 (m1) in a documentary series with András Kepes (Különös
történetek) and he directed one part of a short film series called Hajónapló for the television (Frustration –
2009). He worked as an assistant of director in Kornél Mundruczó’s feauture film, Tender Son – The
Frankenstein Project 2008-2010. He graduated with a short movie, With Clean Hands in 2010.

                              • New York Film Academy, New York - film degree
                              • University of Film and Television, Hungary – film director (masters: Ferenc
                              Grunwalsky HSC, János Kende HSC)
                              • Budapest Cinematography Masterclass 2003 (masters: Vilmos Zsigmond ASC
                              and László Kovács ASC)
                              • University of Szeged – television communication expert, MA degree

• Golden Drum 2008
• Best Director 2010 - Kimera International Film Festival
• Silver Effie 2008
• Audience Award 2010 - Kimera International Film Festival
• Best Film 2001 - OFF Open Film Festival
• Seattle International Film Festival 2010 shortlisted
• Brest International Short Film Festival 2010 shortlisted
• Recontres Henri Langlois' International Festival 2010 Focus Program
14 other international festivals shortlisting works.
Recent short films (over 60 productions)
• Epilogue (colour, HD, 15, 2009, writer-director-co-producer)
• C-version (colour, HD, 10’, 2007, writer-director, Aranyszem Cinematography Festival Best Cinematography
• The End (colour, 35mm with DI, 5’, 2006, dop-co-producer, dire• Hide’n’Seek (black&white, dv, 5’, 2005,

                                Born in Budapest, in 03.11.1978.

                                Qualifications: University of Szeged: electronic media,UNIVERSITY OF
                                THEATRE, FILM AND TELEVISION BUDAPEST: filmdirector
                                Present studies: Eötvös Lorant University Budapest: film theory and history,

                             Egy szép nap (A Beautiful Day), 2003, feature, 22’
                             Büfé két ablakkal (Buffet with Two Windows); 2004, feature, 16 mm, 5’
                             Az utolsó férfi (The Last Man); 2005, feature, 6’
                             Az alma (The Apple); 2007, 16 mm, 21’
                             Örvény(Vortex);2008, HD, 28'
                             Különvonat(The Extra);2008.BETA.16'
                             Hideg berek (Cold Grove), 2008, feature, Super 8, 16’
                             Ünnep (Praline)2009, feature, RED 12'
Porcukor (Pounded sugar) 2011, feature, RED 30'

Szerelmi vallomás(Love confession)2005-2008 documentary, DV 85'
Best Script Award (for the script entitled ’Heat’) at the Hartley-Merill feature-film script competition, in 2005
The Most Promising Young Talent Award given by the Student Jury at the 38th Hungarian Film Week for ’The
The best Short Award in to the 40. Hungarian Filmweek (Cold Grove)
His first feautre script (Heat) was selected in 2009 on Cinelink Sarajevo and at the Binger Filmlab.
In this time this feature project (Heat)is in pre-production in the Újbudapest filmstúdió.


                                        2004-2009. University of Theatre, Film and Television, Budapest
                                        Motion picture department – screenwriter
                                        1999-2005.       Eötvös Loránd University of Sciences, German and
                                        Hungarian Linguistics and Literature
                                        ATROPINE (feature film, pre-production)
                                        HIDEAWAY (short fiction, 2009)grand prize – Faludi Ferenc International
                                        Film Festival
                                        THE SLAVEY (short fiction, 2007)
39. Hungarian Filmweek, Cinefest, TIFF (Romania)
TRACK CHANGE (short fiction, 2007, dir: Virág Zomborácz) writer
39. Hungarian Filmweek; Best Short, Best Script - Muuuvi International Film Festival, Romania; Student and
Short Film Festival Sleepwalkers Tallinn, Estonia; Alternative International Short Film Festival, Romania. Born
in 1981 in Cluj, Romania, Petra studied German and Hungarian linguistics at ELTE (Eötvös Lorand University of
Sciences) in Budapest before attending SZEE (University of Drama and Film).
         AS DIRECTOR

         -   Athens, New York, Tirana (2006) – short movie
         -   The Slavey (2007) - short movie
         -   Hail Mary (2008) - short movie
         AS WRITER

         -    Decameron 2007 (segment: Track Change)
         -    Atropin 2008


         -    2008: 39.th Hungarian Film Week competition participation with short movie The Slavey
         -    2008: 39.th Hungarian Film Week competition participation with short movie Track Change
         -    2008: Mediawave International Film Festival participation with short movie The Slavey
         -    2008: Cinefest International Film Festival participation with short movie The Slavey
         -    2009: TIFF International Film Festival participation with short movie The Slavey

 Virág ZOMBORÁCZ was born in 1985, in Budapest. She graduated as a
scriptwriter from the Hungarian University of Theatre and Film. Since this year
she continues her studies at the Moholy-Nagy University of Art and Design
attending the multimedia PhD programme.
She worked on several short films as director and writer as well. The Cat’s Role
In French Literature was her first short fiction film. It’s about two girls'
desperate effort to pass their exams and understand each other. Her second
one is Track Change, which is an adaptation of Boccaccio’s Decameron: a
renaissance story told in a modern but mystical way. The Cheap Copy is an
experimental short film about the fear of death. Besides film, literature, cycling,
power and mental diseases she also interested in experimental, media-art and
cross-media projects.

                          PARTICIPANT PROJECTS
Hamish the Bard................................................................................................70
The Ascension....................................................................................................71
Balaton Submarine.............................................................................................72
Hurray! One Shroud for two Dropouts.............................................................78
Velvet Communism............................................................................................83
The Waiter.........................................................................................................95
The Assassination in Dubai..............................................................................108
Summer in Europe...........................................................................................109

                            HAMISH THE BARD

                                                 Writers John Craine & Jamie Chambers
                                                              Director Jamie Chambers
                                                                Producer James Barrett


Portaran, a small town on the west coast of Scotland, is dying a slow death. There’s no fish in the sea, no jobs,
no opportunities, nothing to do and - now Lorna’s Café has shut down - nowhere to go but the bottom of a
whisky bottle.

The death of village matriarch Essie MacLean on New Years day seems to lay down the Gauntlet for Portaran.
There to pick it up are Hamish Begg, eccentric 22-year old wannabe bard who doesn’t want to grow up, and
Nigel MacFarlane, pompous, self-elected town bureaucrat on the edge of a mid-life crisis. Both think they
know what’s best for the town, and both are willing to go a long way to prove they’re right. In between them
are Nigel’s coquettish daughter Amy, Hamish’s amiable best friend Calum, and bourgeois restaurateur Sofia
Byrne, who Hamish takes an immediate smouldering dislike to.

As Hamish takes his stand against Nigel and Sofia’s ‘colonial invasion’ of Portaran, he finds Amy an unlikely and
engaging co-conspirator whose company he increasingly starts to enjoy. However, as he grows in confidence
and gains the support of the town’s disenfranchised youth, so Hamish’s destructive bardic personality
increasingly threatens to alienate those he loves and destroy the town he has sworn to protect.

As Hamish and Nigel struggle for the soul of Portaran, so the fates of everyone on both sides of the dividing
line will be thrown into turmoil, forcing Hamish to discover that ultimately, great sacrifices need to be made to
protect what he loves the most.

                                         THE ASCENSION

                                                   Writer/Director                 Pierre-Alain Giraud


The opening sequence will be running through the whole film, behind the other actions and in a wider format.
At night in a forest, Jean (80 yo) piles up clown accessories on the ground.
Anne (45 yo) works in prison, in an office packed with folders. It’s raining heavily. After a tense interview with a
prisoner - disturbed by phone calls about a funeral - she trashes the plastic fixing her office window.
On the edge of the screen, the forest appears slowly as the sun rises.
Pieces of glass fall outside and water runs on folders. Behind a security glass, a prisoner witnesses the scene.
He won’t speak if Anne delivers a package to his son. The head of maintenance is fired. Anne gets new shelves
and a window she can open.
On the edge of the screen, Jean collects wood.
The witness is found dead, veins cut with pieces of glass. His package is still on Anne’s desk. She rips off dozens
her family photos and jumps outside the window.
Jean puts fire to his belongings.
To prepare funerals for her father, Anne lives temporally at her mother, Jeanne. Aimé, the caretaker, has a
room hidden between Jeanne’s kitchen wall and Otto’s flat, Jeanne’s lover. Aimé collects there hundreds of
stolen objects from the building. Furious, Anne destroys the kitchen, leaving holes in the wall. Jeanne uses the
holes to send secretly messages to Otto. Threatened to be discovered, Aimé hands the messages from a wall
to another, interfering in their contents and their relationship. Anne understands the game.
Jean puts some make up on.
Otto is at the hospital. They have the visit of the clown Jean, making them a show.
On the edge of the screen, Jean dressed as a clown climbs up a tree with a rope in his hands.
Otto tries to hide all the evidences of Jeanne’s presence in the room, without success.
The sun had risen, clown shoes are hanging on top of the frame.


                                                               Writer/Director Orsi Nagypal
                                                                    Producer Ferenc Pusztai


East and West-German unity at the lake Balaton in the early 80's – from a 9 year old Hungarian boy's point of
view. Sunshine, DDR nudists and family troubles in a decaying system, where having fun can be a bit difficult.

1982, Lake Balaton, the sea of Hungary – the biggest lake of Central-Europe. In 1982 it is the most popular
holiday destination of the region – the workers of the east block can't afford to go to the real sea. However, it's
more than just sunshine, beach, hearty Hungarian food and girls in bikinis: it is the ultimate meeting point for
the divided German families to catch up. The East-Germans are allowed to come here, the Wessies can easily
afford it. The location is provided by very accommodating Hungarian families renting out holiday rooms and
opening up holiday business – making half-illegal good profit on this absurd separation. And naturally this
whole get together is spiced up by the zeitgeist of the 80's in the eastern block: cold war has entered everyday
life, everyone is talking about monitoring, reporting on suspicious political (or any) activities, but people are
tricking the unjust system in any way they can, to - despite all the efforts of the ruling Party - have fun.

Nine year old Hungarian boy, Tomi and his mother, Anna are spending their holiday at the lake – working at the
guesthouse of Anna' sister. The highly serviced guests are West-Germans with deutschmarks and Mercedes
meeting their less fortunate Trabant-driving East-German relatives at “Hungary's Sea”. The usual family
tensions are spiced up with the long suppressed conflict of the absurd political situation of the divided country.

Meanwhile Tomi finds new friends at the camping site and hangs out with two East German medicine students
who are collecting “vicious western” LP's in Hungary. As Tomi needs an explanation to his new beach-friends
about his missing father, he comes up with a story inspired by the many american soldier-movies that are
already sneaking in through the iron curtain. He tells them that his dad serves as a secret commando in a
submarine, parked right in the middle of the shallow lake.

Instead of laughing at the absurd idea, the paranoid citizens of the cold war take it rather seriously. Tomi is so
wrapped up in his lies that he starts to believe his own madeup story. He keeps observing the lake and the
other holiday-makers through granny's opera glasses. This stirs up the already tense gettogether of East-West
German families, who fear the presence of the Stasi.

As Tomi spots her mom together with one of the German boys in a misleading situation, he runs and destroys
the boys' sacred music collection. This earns him a huge slap on the face. As he runs away from all this and sits
alone gazing towards the lake, he notices a conning tower emerging from the water. He takes an airmattress
and swims towards the submarine to look for his father. When Tomi doesn't show up for dinner, the stirred up
community goes looking for the boy to figure – is there a secret submarine in the lake?

1982, summertime at a village at Lake Balaton, Hungary. Tomi, a 9 year old, skinny, brown-haired, tanned boy
is moving large pieces of luggage and furniture into a tiny, dark back-room, peevishly. He complains to her
mother, that there is not even a bed for him to sleep in, and no television to watch either. His mother, 36 year
old tall, good-looking Hungarian Anna tells him to be happy for being at the lake at all, whilst struggling to
move a huge cupboard out of the room. She also tells him that he shouldn't watch those stupid Rambo and
Rocky films on vhs tapes all day anyway. As the cupboard gets stuck in the door, she gives up and looks around

Piri, the strong-boned and strong-headed sister of Anna, owner of the beach-guesthouse is getting ready for
the West- German guests: she cleans and cooks frantically, giving orders to her daughter, Monika, a 14 year
old skinny teenager with fervent hormones. Piri brings freshly cut flowers into the guest-room, where Tomi
picks up his last bags. Piri tells him not to sulk, as they are all giving up their comfy rooms for the West-
Germans, cause they need their “hard money”. She gives Tomi a red-and-blue checkoslovakian air-mattress
and an air-pump. Tomi shrugs his shoulders and disappears.

In the kitchen Piri and Anna are working hard on the welcome dinner. Piri asks Anna when she will finally tell
the truth to her son about his father. Anna asks her to keep the secret, as she is worried about how Tomi
would react to the fact that his father emigrated three months ago. Piri disagrees with Anna on lying about this
for this long.

That evening they all sit around the neatly set table at the porch. Half of the chairs are empty though, the
guests are late. Piri is getting worried about her money while the kids are nagging her for food. Finally the
doorbell rings. Piri shoots out excitedly to let the guests in. At the door she finds Johann, 45, and Ursula, 43
who ask about the whereabouts of their relatives. Piri tells them they are late. Ursula spots the set table in the
background, but Piri doesn't invite them in. They stand around a bit embarrassed, and Johann asks Piri to tell
his brother that they are staying at the nearby camping, waiting for them.

Piri goes back to the table disappointed and tells the others that only the East-German relatives showed up.
Anna resents that Piri didn't invite them for dinner, but Piri answers edgily that this is a guesthouse and not
the salvation army. Anna goes silent.

Next morning is sunny and hot. Tomi is standing in the overheated, oil-stinky “langos” bakery-hut at the beach
with Monika. (lángos: dough fried in lots of oil, served with cheese and sour cream, very popular Hungarian
beachsnack). Monika tells him what to do – the two of them run the bakery, constantly fighting each other.
Most of the customers are Germans. The two cousins make a game out of recognising, who is from the East,
and who is from the fantastic West, who is local and so on. Whoever looses the game, has to clean up the
biggest, most oily pans at the end of the morning shift. The kids recognise nationality by the ruling stereotypes
blooming in Hungary. The West Germans are all rich, beautiful and sophisticated, their eastern relatives all
painfully poor, cheap and rube. The Romanians are all hairy, the Czechoslovakians funny but ugly, and the
extremely rare Italian, English or French tourists are all exciting weirdos from Paradise itself.

In the afternoon Tomi sneaks into the nearby camping, which is packed with East German families, who can't
afford the guest house rooms, let alone hotels around Balaton. Here Tomi meets two young boys, Karl and
Heinrich, both 20, medical students, who came to Hungary by their museum-piece MZ motorbike. They are
here to buy records that are either forbidden or simply not available in the DDR: Rolling Stones, The Doors,
Beatles and so on. For them, Hungary is almost a western, and for sure a capitalist country: many things are
available, if you can afford them. They spent most of their money on the LP's and cassettes and now try to stay

by the lake as long as they find people to feed them. Tomi speaks okay German so they get along well. Tomi
likes their bike, their records, and the two Germans treat him like a little brother – and live on free langos.

Tomi spends the evening at the boys' tent along with some other holiday-maker kids. They make a “record
admiring session” where they are allowed to look at the covers, and Heinrich plays some songs on his guitar.
None of them speak or understand English, so they sing the songs in “jibberish”. Tomi spots the cover of the
Yellow submarine: he really likes the colorful figures. Monika joins in the gathering unexpectedly, wearing
excessive make up, looking blank. She sits between Tomi and Heinrich, commanding Tomi to translate for her.
Monika's German knowledge is limited to numbers and basic expressions she uses at the bakery.

As Tomi refuses to translate, she starts picking on him, and asks him about the whereabouts of his dad. Tomi
knows that something is wrong with his mother's explanation about his father's sudden disappearance, but
doesn't know, what to say. Monika starts to guess. What's the big secrecy about. Maybe he doesn't even have
a father. Tomi blushes and gets angry. The others turn towards them now and listen to their fight. Otto, a 12
year old German-Hungarian boy with glasses gives quick translations for the Germans around. Monika
continues guessing about Tomi's dad: maybe he is a secret agent? A spy. A traitor, a rat! Tomi freaks out. He's
angry and frustrated.

Suddenly he starts to speak. He stutters and stammers. He explains that his father is working in secret indeed,
but not as a rat. As a soldier. But where, there is no war here? And that's the moment when Tomi comes up
with the perfect explanation, that he will also believe himself: his father serves on a submarine! But where the
heck, ask the others shocked. Here, at lake Balaton. There is a supersecret commando right here, in the lake,
and that's where his dad serves as a sergeant. The others doubt him, but can't deny the possibility of such
secret submarine.

By the time Tomi and Monika go home for dinner, the West German guests arrived – a huge, shiny Mercedes
Benz is parking in the garden. Piri gives Monika an angry speech about coming home too late and wearing
make-up. Tomi escapes to the back-room, where Anna is already air-pumping his mattress for him for the

From this night on, Tomi spends all his free time to find traces of the submarine. The next day he finds an old
pair of opera-glasses in the attic and keeps observing the surface of the water. He spends hours gazing towards
the lake with the glasses, sometimes also observing other interesting things among the holiday-makers with it
as well.

Johann and Ursula are sitting on the beach. Ursula is once again quarreling with Johann about entering the
Communist party. Johann refuses this angrily. Ursula thinks it's stupid, as this way he will never get promoted
and can never work as a real engineer. Instead of answering, Johann is wondering whether his little brother
will show up here this year at all, remembering that last year their reunion only lasted two days. Ursula claims
that this is due to the wife of Wolffie, who is a high and mighty bavarian bitch. At this point they both agree
on. Johann spots Tomi with his opera-glasses looking towards them, and gets upset about being monitored.
Ursula tells stolidly that they are being monitored all the time anyway. Johann stands up sighing and goes for a
beer. Other East-German holiday makers around them get more and more frustrated though, some of them
quickly hide their illegally gained West German magazines.

Monika asks Tomi for his glasses. He refuses her but asks why she needs them. After some hesitation Moni
tells him about the infamous nudist beach by the next village, where the East-German weirdos run around
naked. Tomi offers his glasses if he can come too. Monika agrees but wants to check the glasses first. As Tomi
hands it to her, she takes them and starts to run. Tomi runs after her.

At the house Piri is feeding the guests with home made cookies in an over-friendly and over-polite way.
Wolfgang, 42 year old handsome, but bit chubby man, and Julia, a skinny, blonde 40-year old are getting
embarrassed by this. As soon as Piri is out of the room, Julia complains about the quality of the room and the
profit-hungry Hungarians. Wolfgang tries to calm her down and tells her they are only here for a few nights,
just to see his brother. Then he asks her what they brought them as presents.

Anna is walking through the market packed with three heavy, overloaded bags full of food. Karl is at the black-
market section checking out audio cassettes. As he notices Anna, he hurries to help her. Anna doesn't speak
German, so she can't even refuse the eager boy. Karl walks her home and checks her out whenever she looks
away. He tries to flirt with her in a mixture of German, Hungarian and signlanguage. Anna tries to stay serious
but blushes as they say goodbye at the entrance of Piri's garden.

Piri noticed this and sits down with Anna to inquire about her personal, especially her sexual life. Anna blushes
and tells her she hasn't had sex for many months. Piri takes out a box and gives her a vibrator. She found this
amazing thing at a previous German couple's bag and she kept it. Anna blushes even more, Piri says she envies
the freedom of the West even more, ever since she found this miraculous thing.

Monika is running through the reed, in the knee-high water, looking for a good spot to lurk. Tomi arrives
behind her out of breath. Monika holds his mouth in full excitement and shows him to be quiet. She looks into
the glasses through the reeds and watches the nudist beach, her jaw dropping. Tomi reaches for the glasses
impatiently. Monika doesn't want to let them go. She sees naked men and women. She is mainly focusing on
nude male body-parts. When she finally sees one penis she looks away in disgust. Tomi then takes the glasses
and looks into it. He goes completely silent looking at naked women, especially seeing all kinds of naked
breasts. Monika tries to rip the glasses off his hands, but he doesn't let them go. They start to fight and the
glasses fall into the shallow water.

Wolfgang, Julia, Johann and Ursula sit at a beach restaurant and discuss family news. The conversation is a bit
jerky. Then Wolffie asks Johann about his job and his promotion. Instead of answering he asks about the
whereabouts of their son, Konrad. Julia tells them he couldn't come cause he is at a scout camp. Wolffie then
mentions the “order to shoot” policy and tells Johann that West Germany erected a memorial cross where the
poor forklift trailer guy was shot dead. Johann corrects him: Grosse was driving an excavator. Wolffie is
surprised that the East-Germans know about the incident at all, he thought the state kept it as a secret. Johann
tells him dryly that people find a way to communicate even in the DDR. At the end of the lunch Wolffie tries to
pay for the whole bill, but Johann refuses the “handout”. The wives have to step in to calm down the growing
tension, and agree that Wolfgang pays now and Johann can pay the lunch tomorrow.

Karl and Heinrich are chilling at the beach, looking at women. Karl spots Anna, who is there looking for Tomi.
Karl tells Heinrich about Anna and that he likes her. Heinrich thinks she is way too old, she could be his mom.
Karl laughs and stands up. He walks to Anna and starts to talk to her.

Tomi shows up at the beach, his glasses in his hands, all wet and muddy. He shakes the water out of it. Then he
looks into them, focusing on different people at the beach. He spots Karl and Anna, sitting together, laughing.
Karl is giving a massage on her shoulders.

Tomi goes all red and gets angry. Monika arrives all muddy and asks what he is looking at. Tomi sends her to
hell and runs away.

Tomi is at the tent of Karl, looking through their baggage. He breaks the LP's and tears the tape out of the
cassettes, frantic. Heinrich arrives to the tent and as he sees him he goes mad and slaps him on the face. Tomi
cries and runs away. Monika sees all this from the background.

Tomi is alone at the far end of the beach, with a blank look on his face. Then he spots something in the water.
He raises his opera-glasses. He sees the conning tower of a submarine! He runs down to the pier. He tries to
untie a little boat's rope. It doesn't work. Then he notices an airmattress on the beach, he grabs it and runs
into the water.

It's getting late, sun is going down. Johann and Ursula are having wine with Wolfgang and Julia at Piri's terrace.
Anna notices that Tomi is missing. They start to look for him. Monika finally tells everyone that she saw Tomi
going into the water. Looking for the submarine. Anna and Piri are clueless, they didn't know about the whole

The sisters and the four guests run to the lake in the dark to look for Tomi. Piri gets the police. As Anna tells
them, crying, that her son is after a stupid submarine, the two policemen freeze and turn ashgrey. Oops. Now
everyone is surprised. What's going on?

Tomi is in the water, the checkoslovakian air-mattress gave up, it hardly has any air left in it. Tomi manages to
hold on to it, but he is getting very tired. He screams for help. No-one is around. It's almost completely dark.

Anna and the rest of them get into the police motorboat and drive in the middle of the lake. Tension. Then
they stop. They find the air-mattress. Around them everything is silent and dark. And suddenly something
starts to move in the water. A conning tower comes up. Everyone is shocked.

A big “something” is emerging from the waves. The top part opens and a middle-aged man with big beard
comes out. Then Tomi comes out. He is wet, cold, but has a smile on his face. The leader of the water-lab
explains to them that they are monitoring the biological changes happening in the lower parts of the lake.
They need to find out why so many eels die in the lake lately.

Everybody calms down. Anna tells the truth about Tomi's dad to the boy. Tomi is sad and disappointed but
hugs his mother and promises her not to leave, ever. The water lab slowly goes under the dark, calm water,
and we can hear people having fun at some far away beach.



                                                                  Director             Nicole Volavka
                                                                   Writer              Laura Pliokoff

Sexual Awakening Comedy. A comic exploration of British prudishness told through the eyes of Katherine, a
sexually reserved 21- year-old who can’t face telling her devoted boyfriend she has never had an orgasm.On a
family trip to Loch Ness in Scotland Katherine meets her strapping uncle Max, who she begins to find
impossible to resist despite her best efforts. Meanwhile, her prudish mother is adjusting to her father’s young
hippy wife. And her promiscuous Grandfather is organizing a nudist swim across the Loch for charity.This is a
summer spent with an eccentric family coming to terms with the nature of their desires, their past mistakes,
and what it means to truly explore your natural impulses. Everything comes to a head at a debauched
Summer Solstice party when Katherine’s desire for Max distracts her from a tragic event …Will Katherine ever
be able to talk to her boyfriend about sex? And more importantly will she retain her inhibiting prudish ways, or
will she finally let it all hang out?

                                                                                      La fémis /France

                                                         Writer/Director Vincent Le Port
                                                        Producer Pierre-Emmanuel Urcun

When you're a loser lost with another loser in the absurdity of the Third World War, what can you do better
than becoming Emperor of the Sahara?

K. and C., about 25 years old, are friends. Weird friends : sort of dandy bums, aristocratic vagabonds. It's hard
being friends when the world has gone crazy : the Thirld World War has been raging for years now. Nobody
knows what triggered it or what is its purpose. Well, we kill each other, it makes time pass. K. and C. would like
to be part of it, in order to die sooner, but no clan would want them to fight for them. So they have nothing
else to do but wander in this desolate world and try to survive against all odds. But then, one day, they find a
way to participate in the global collapse. They just have to found an empire and go to war with that empire.
They look at a map of the world : the only unoccupied place, the only land that doesn't belong (yet) to anyone
and that is not at war, is tthat little yellow stripe in the middle of Africa...Emperors. They will become
Emperors of the Sahara. First, they will have to manage to flee Brittany, which is as in the Middle Ages.
Then, they will have to go to Senegal, recruit an army there and establish their empire. Most surprising is that
they will succeed.


The Third World War. Catholics fighting against Muslims, communists against capitalists, jews against arabs,
africans against europeans, rich against poors, women against men, gays against straights, chinese againt
japanese, ecologists against politicians, etc. Everybody for himself and God against all. Frontiers are
everywhere, but they don't mean anything now. So much civil wars in the heart of this huge world war. Return
of the chaos. Back to the Middle Ages. The madness inside humanity has exploded.

Two men are wandering in the waste lands of Brittany. K. and C. They seem completely alone. It is raining for
days and days now, and it's gonna keep raining like this for a long time. The earth has turned into mud. No sun
behind the grey sky. To protect themselves from the torrential rain, K. and C. have only this yellow plastic
raincoat which they share and hang up over their heads. There is no chief among them. They are just friends.
As if two autistic persons would have met and realize that they share the same autistic world. A pure
friendship. And if they couldn't live without each other, they have secrets they won't ever share with their
companion. They are not the same, still. K. is a little bit younger and crazier, C. is more clear-sighted, he acts
more than he is. He would like to be like K., completely mad, with no fear, a pure instinctive-man, a pure
anarchist, without moral nor value, but he is not, he is afraid to die, he has some remains of his education. He
is jealous of C.'s freedom.

They are fighting for noone. And nobody would like to have them fight for them. They are going south. They
are going to Sahara. It came to their mind that the desert was the only place in the world which was not part of
the world war. The only free place in the world. The only place they can own. They want to become the
emperors of Sahara. They have nothing else to do. Everybody needs to put a meaning to his life.

The first part takes place in Brittany. Our two drop-outs are trying to reach Brest where they could go on a
ferry and sail to Africa. But war is going on in Brittany too. People starving, men hanged on trees. Refugees.
Expatriates. Their journey will lead them into a battle, through a military camp, in swamps, in an upside-down-
world, and finally in Brest, where they will kill a policeman by mistake. Point of no return. They stare at the
ocean, the docks of Brest. Now, they have a good reason for leaving France...

The second part takes place in Senegal. Crowd. Sun. Heat. Dust. What the hell are we doing here ? Oh yeah.
Emperors. Emperors of Sahara.

The chief of Senegal, called « King of Sahel », has succeeded in unifying the country. No civil war. K. and C. are
wandering in the city like two modern Diogenes. Everybody think they are spies. Soon K. and C. are arrested.
As usual, in those cases, K. is peaceful, for him everything is normal, it's just another adventure, whereas C. is
terrified, crying in K's arms. The big mouth VS the man of fact.

In jail, they encounter two young men from Senegal, in a way their doubles. With them, they will recruit
people and go into the desert. They will succeed in founding their empire. Journalists from all over the world
will begin to talk about this new empire. Even if there is only a dozen vassals and only a few tents in it. Still, it is
an empire, their empire. The empire of the useless. They establish papers which name them as the owners of
the desert.

World War III is almost over. Because there is no more energy to make it. But countries discover that the
desert is a huge solar energy tank. K. and C. become rich : everybody needs their empire in order to put solar

They are captured by berbers who are sick of seing those two european neo-colonists wasting their land. They
ask for a lot of money against their freedom. But they realize that nobody cares for them, that noone will pay
anything for them. They don't have any value. They are just two drop-outs lost in this mad world. So the
berbers decide not to kill them and to just abandon them in the desert. They are lost, alone in the world. K. is
tired of the cowardice of C. They split.

The third part is a kind of epilogue. Decades later, K. and C. meet each other by chance in Brest. War is still
going on. K. is out of the world. He has gone completely insane. He almost doesn't recognize C.

C. tries to make a connection with his old friend, the only one he always had. To remind him of the journey
they did. K. doesn't react.

He leaves C. alone, crying on his lost youth.

         She seems so cold to me

         and I remember when I loved her

         Now we are strange

         No more in love

         But I still wish

         that I could hold her

         My dream of love has gone

         and I remember when I loved her

         (The Zombies, I Remember When I Loved Her)

First this synopsis was an adaptation of Beckett's Mercier and Camier, but it has changed a lot after the
discovery of the life of Jacques Lebaudy, who actually became the emperor of Sahara in the early 20 century
(well, only for a few weeks, before being put into jail, before coming back to France among sarcasms, before
being killed by his woman while he was trying to rape his daughter in order to give birth to a « pure race »...)
Still, from Beckett's novel, our story has kept the idea of a friendship between two weird and independant
characters looking for something (Mercier and Camier are looking for nothingness, C. and K. for a desert...),
and it will keep the kind of dialogues and situations Beckett's used to write and the sensation of a world about
to collapse. And most of all it will try to keep Beckett's humour and nihilism. But this moral nihilism won't be
for the sole purpose of shocking. Because K. and C. are cynical ans individualist, but it is not in provocative
way, it is not a political will, it is just the way they are.

The idea of this movie is to mix a huge story, almost an epic, like John Huston's The Man Who Would Be King,
Akira Kurosawa's The Hidden Fortress or Buster Keaton's The General with an aesthethics and an economy –
both are connected according to us – such as Werner Herzog's Stroszek, Jacques Rozier's Les naufragés de l'île

de la Tortue or Jean Rouch's Cocorico Monsieur Poulet. The movie has to turn into a kind of documentary
about the two actors and about the world that surrenders them. With a lot of unexpected and improvisation.
We are already thinking of those two actors who could bring their crazyness into this project.

The world war III could be in fact an invention of their mind to justify their journey, and quickly the
documentary aspect of the movie, showing the reality of the world, will melt with the fantasies of K. and C.
until the border beetween the dream and the reality will be blurred (it's not new, Don Quichotte is nothing but
that). Thus the war will be shown by little metaphoric and metonymic touches, it doesn't need to be shown
like in a big hollywoodian blockbuster (even if I'm a huge admirer of Steven Spielberg's War of the Worlds or
Alfonso Cuaron's Children of Men). Béla Tarr of Harmony Korine already succeeded in making kind of post-
apocalyptic movies with very few money.

‘I can tell the journey of Mercier and Camier because I was along with them all the time.’ The first line of
Beckett's novel is a perfect summary of what the film has to be. It has the greatness of an epic (I can tell the
journey), it is shot like a documentary (I was along with them), and it is about the journey of two friends,
nothing more. When we talk about the documentary aspect of the movie, we think principally of having a
small crew, and be receptive to all that may happen during the shooting. The movie has to be as schizophrenic
as the characters. Both are looking for greatness, epic, empires, etc. but without the means to accomplish it.
So the lack of money won't bring the movie into a kitsch or cheap object, at the contrary it will reinforce its
absurdity, its humour, and its beauty too, because it's gonna be the story of two dreamers fighting against the
world to make their utopia become reality. K. and C. have to be one of those duos that are beautiful because
of the absurdity of what they do, like Flaubert's Bouvard and Pecuchet or Sergio Leone's characters. It reminds
me of the documentary I've made in Argentina. It is about a man living all by himself in a ghost town which
used to be a mine of sulfur, in the middle of the Andes Cordillera, 150 miles far from the closest city. This
lonely man desperately tries to bring life to his memories, to the city where he was born, chasing his utopia
among ruins. It's not so far from our synopsis.

Well, the synopsis above is only the result of a first work (which is actually a 30-pages draft filled with various
dialogues, situations, notes...) And maybe it has to change. The main characters and the quest for the Sahara
have to be there, that's for sure. But then, perhaps the delirium about the world war III has to be forgotten,
not only for avoiding us production complexity but to reinforce the madness of the characters (if they are mad
in a mad world, it could be less efficient).

Pierre-Emmanuel and I are used to make our movies with very few money, for instance Finis Terrae, an epic
taking place in the Year 1000, shot in 35mm with 11.000€, or Moussem Les Morts, our first long-feature movie
that we shot in Morocco with only 15.000€. And both are not « appartment stories » but journeys through vast
landscapes and various shooting styles (Moussem Les Morts begins like a Brakhage movie and ends like Von
Stroheim's Greed or Gus Van Sant's Gerry... at our level, of course). Moreover, we were both born in Britanny,
we shot Finis Terrae there, so we can get extras, locations and means for almost nothing. It's the same with
Senegal, where Pierre-Emmanuel has been regulary working for 4 years now.

This movie is a dream, a fantasmagoria. Like C. and K.'s dream, it is an utopia, a quest for nothing. The beauty
will be more in the journey than in the destination. We don't need a lot of money to do this movie, as we said
it would be a nonsense. We just need support to help us carry this dream in a mix of professionnalism and

                                          La fémis /France

            Writers Christophe Nanga-Oly, Olivier Demangel
                             Director Christophe Nanga-Oly


                                                           THE WAITER
                                                                                        La fémis /France

                                                          Writer/Director Rose Philippon
                                                      Producer Marie Arrighi de Casanova


FRANÇOIS, a thirty years old unemployed and clumsy guy was adopted. But he feels lost in his life ans chooses
to trace his family. He steals information from the Régional Service Social Department and discovers where his
birth mother, ELISE BURDINI, lives.

The following day, in the evening, he rings at her appartment to meet her. Unfortunately, Elise is organizing a
birthday party for her husband, ANDRÉ, a retired ténor. FABRICE, his half-brother, an anxious music school
teacher answers the entry phone ; he refuses to let François in as he doesn’t know the guy.

Ready for anything to meet his birth mother, François disguises himself as a catering assistant. He finds himself
serving his family and their guests with his colleague SONIA, a nice but scatterbrained thirty year old woman.

During the party, François gets the opportunity to talk to Elise, her biological mother, a 60 years old elegant
woman. When he explains her who he is, Elise gets angry and says she is not his mother. Elise leaves him,
François feels puzzled, he doesn’t know what to believe.

However, PHILIPPE, François’ second half-brother, a depressed and alcoholic doctor, goes to François and asks
him if they know each other : François’s face looks familiar to him... François is now sure Elise lies to him : she’s
his mother.

But François is clumsy and responsible for lots of big mistakes ; and Fabrice, his half Brother who wants the
party to be perfect, soon notices he is not a good employé at all. He keeps an eye on him…

During this night, François will awkwardly try to get the proof that Elise is his mother : his personal quest will
change everything for him, but also for The Burdinis, his family.


                                                          Writers Béla Bagota & Márk Bodzsár
                                                                          Director Béla Bagota
                                                                         Producer Júlia Berkes


“A crime, just like a text, exists only in its interpretations.
Reality, as the only interpretation, does not exist.”
Szilárd Borbély: The Side Story of a Murder

 The story takes place in the beginning of the 1990s in northeastern Hungary, near the Ukrainian-Hungarian
border. The central theme of the film revolves around an individual’s belief in the truth, constantly put to the
test by a surrounding greedy, corrupt and hypocritical environment.
 During the time before the change of regime, the truth, in all cases, had to be twisted into a half-truth or a lie
if it went against the interests of the party-state dictatorship or the official ideology. In the age of capitalism
and free speech that began in the 1990s, there was no more monopolized truth; various competing versions of
the truth took its place, often contradicting each other. The basic position of the film – in conjunction with the
above quote – is that truth does not, and can never exist objectively, palpably, or with an all-encompassing
validity, except perhaps in the sphere of abstract sciences. The truth of real life cannot be independent of
human lives: desires, memories, dreams, thoughts, and instincts. The truths of the real world are almost
impossible to untangle. The film explores the problems of this through an intricate crime story in which
personal tragedies and objective events are closely knit.

 The main character of the story is police captain KINCZEL, who works at the police headquarters in Miskolc as
a human protection detective. Two serious conflicts cast a shadow over his 37 birthday: his young wife has
been keeping a secret from him for months now, and this has caused tension to mount between them and has
made them drift apart. Also, his brother-in-law and partner has become involved in a corruption case, and
Kinczel would have to lie at the approaching trial in order to clear a man who is a relative, friend, and partner
all at once. Not to mention the fact that several other members of the police benefited from this corruption,
men with whom Kinczel should now be celebrating his birthday. The surprise party ends with a double conflict:
Kinczel has a fight with both his wife and brother-in-law.
 As they drive home in the rainy night, Kinczel’s wife divulges her secret: a few months ago she had an
abortion. In her husband’s view this is murder. He is overwhelmed by feelings of hatred, contempt, pity, and
love for this woman. When he makes a confused movement of his hand towards her, they swerve into a head-
on collision with a speeding motorcycle. Kinczel’s wife loses her life in the accident.

 The events above generally encompass the first third of the film, after which Kinczel recovers from his injuries
(but not his heartbreak) and returns to work. Back at the station, he is greeted by an atmosphere of animosity

owing to the earlier corruption case. His colleagues regard him a traitor, while his former partner and brother-
in-law considers him no less than a murderer: after all, it was Kinczel who was driving when the accident
happened. His boss assigns him to a murder case far from the city, as a kind of banishment and work therapy.
Kinczel must solve it without a partner, in cooperation with the local police department. The area is a rapidly
developing wine country, and it would be a shame if the robbery-assault of a reputed wine-maker would drive
away the tourists.
 Kinczel accepts the case so he won’t have to sit alone any more in the half-finished suburban apartment
where everything reminds him of the past he shared with his wife. At this point he has no idea that the road
leading to the town near the Ukrainian-Hungarian border will only intensify the problems that led to the
seemingly fateful “accident.”

 Kinczel unravels the threads of the intricate crime, which stretch across the border into the Ukraine, with the
help of the sharp eye of a professional detective, until he meets JELENA, of Ukrainian descent, and her four-
year-old son ANDREJ. The woman’s husband, the child’s father, is murdered while Kinczel is in town, most
likely by the same people who committed various other robberies in the area. Over the course of the entire
investigation, Kinczel is tormented by a hostile atmosphere. The local police and border guards regard him
more as an enemy than a colleague. A few of the townspeople are nice to him, but mostly they are reserved
and distrustful. Jelena and Andrej are the only ones who welcome his help with wholehearted gratefulness;
they show this by offering their own help. After a while, Kinczel looks upon the remote house in which Jelena
lives alone with her son as a kind of safe haven.

 Kinczel finally discovers that the local police are in on the robberies and that the burglaries leading to murder
serve a petty, local interest: the owner of the town’s tavern was left out of the wine business and because of
the patronage slack he started to owe increasingly larger amounts of money to a Ukrainian mafia organization
with whom he would have liked to construct a motor-sport course, so something other than wine would draw
in tourists to the area. The tavern-owner planned and carried out the robberies directed towards the wealthier
wine-makers with the help of his younger brother who works at the police department. All they wanted to do
was a few breaking-and-entering jobs, not murder. They are guilty of only one murder, the first one, and even
that was just an “accident.”

 But a second murder was committed, where the victim was Jelena’s husband. The perpetrator in this case was
Jelena herself, who did it in order to rid herself and her little boy from the terror of an alcoholic husband. By
the time Kinczel sees the whole story clearly, he is already too emotionally involved with the woman and her
son, and he must find an answer to the following dilemma: either he keeps quiet about the truth, thus saving
her from prison and giving himself a chance to live a fuller life at the side of Jelena and her son, or… revealing
the truth, and as a result, once again severing himself from everyone…


     Writers Zoltan Maczko, Andra M. Kovacs, Akos Inotay, Balazs Loth
                                                Director Balazs Loth
                                               Producer Peter Fulop


                                    EXIT - a Thriller behind the Iron Curtain

The Hungarian communist police of the seventies are desperate to solve its most brutal serial murder case
ever - and hide it deep from Western eyes. But the only lead to the killer is buried in the mind of a man with
total amnesia. Will he ever remember? And if he does - who will listen?

1972, Eastern Europe, Communist Hungary. A young photographer, MARK (35) recently suffered an accident
causing him total amnesia. He now lives in a run-down apartment house, in the city of Budapest. His only
visitors are a former military doctor and his nurse, LAURA (29). As Mark convalesces, his eyes are sensitive to
light and heʼs been strongly advised not to leave the apartment. Heʼs even more strongly pressed to remember
his buried memories that may save the life of a photo-model, Anna, whoʼd probably been kidnapped by a
mysterious serial killer. During the exhausting process of artificially recalling his memories via experimental
KGB injections, Mark soon discovers that heʼs suspected to be much more than just a possible witness of a
possible crime. Heʼs accused of having committed the murders himself... Mark has to escape, and as he does,
he realizes that the apartment heʼs been living in, the people he thought he knew and everything heʼs been
told - are all fake. A copy of his apartment was built like a film set, and all the people he met there were
merely playing their parts. Heʼs become the subject of a weird reconstruction experiment, conducted by the
communist police. Heʼs now a fugitive and the primary target to ZAK (48), head of the investigation, a former
official of the dreaded and corrupt, but long ago abolished State Protection Authority. Zak passionately
believes that Mark is guilty, while the fake nurse Laura - who turns out to be a criminal psychiatrist - is going
after her deepest intuitions... She believes Mark is innocent. Time is way too short, and the only thing he can
be sure of is that heʼs been accused of murder and the communist police want to catch and hide him from
Western eyes - whatever the cost.

Genesis of the story

When three years ago, after completing and ultra low budget feature film (Itʼs No Fairy Tale, produced by our
own Celluloid Workshop filmmaking group) we decided to create a typical genre film based on a unusual
Eastern European setting, we all knew itʼs going to be a challenge.

Creating an auteur film seemed to be somewhat easier because of the lack of story line and visual traditions.
But creating a psycho-thriller in a low budget environment, introducing not more than four central characters
and a small number of locations proved to be an exhausting mission.

Our biggest problem developing the idea of Exit has always been the opposition of limited resources and
maximum excitement. There must be a feeling of amnesia right from the guts, a strong empathy based on the
protagonistʼs claustrophobic situation that take us all through the disturbing atmosphere of a locked
apartment. We have to create a believable behavior pattern for Mark to cope with this difficult situation in an
understandable and sympathetic way. At the same time we had to find a way to show the world outside the
apartment - thatʼs why we created his memories and dreams which should take us closer to the truth.

What proved to be even more of a challenge was creating three dimensional characters. We examined such
films as Se7en, The Game, Heat and other quite typical genre movies based on realistic characters. We found
that the success of these action driven films was that these larger than life stories were played with realistic
and motivated characters. Even the most successful recent blockbusters like The Dark Knight and Inception
tend to create real-life protagonists among unusual circumstances.

My ambitions for the film

We all knew that leading audiences and giving them a somewhat new idea in an extremely popular genre is
not easy after films like Memento or El Maquinista. There is something Eastern European about the idea of
forgetting your past and start it all over again. What we believe is that a genre film with smart twists placed in
an usual environment can result a third element: a lot of depth to our story. We do not want to emphasize any
historical relations or parallels - but we do think that Exit can be as universal a story as typically Eastern

After considering several versions of the original idea we agreed that we have several ambitions during the
creative process of writing and producing the film:

- we are interested in a character fighting for his truth without any proven evidence on his
- we aim for the catharsis of a Greek tragedy: however, our protagonist wonʼt get punished for his parentsʼ
sins, but for his forgotten crimes (if he ever will)
- we are interested in motivated characters and reality-based conflicts providing a sense of believability and
authenticity for our larger than life story
- for the success of our future projects we have to create an exciting and some way spectacular movie for a
wider scale of audience: a psycho-thriller based on genre standards and introducing new concepts and ideas
like the fake apartment, the memory serum dreams, and a crazy escape with a mixed image of life and
memories and the epilogue scene
- for establishing an artistic direction we must create a film with soul: with three dimensional characters,
understandable motivations and fates and attitudes controlling their stories.

The social and cultural context

Exit is supposed to be a universal story understandable anywhere in the world. We aimed for an archetypical
story of a man losing his memories, facing great problems with the solutions buried in his mind and wanting to
remember no matter what the price is.

However, the idea of getting clean, getting rid of the past is somewhat typical Eastern European. Our history is
full of dark periods better not remember - and Exit is full of memories rather not vivified. This young man,
Mark is like a new born baby. Although the basic idea of global and unrecoverable amnesia has always been
debated by experts, we feel itʼs worth playing with the question: what if? What if a man will never ever
remember again? In his relative point of view heʼs innocent like a baby - but heʼs definitely not in legal terms.
This idea of getting rid of memories, of “doublethink” has been part of our common history for a long time.

The idea of placing the story in a run-down housing estate typical in the everyday life of an Eastern city has
long been born during our development process. The building is another character: a silent trace of past,
passing away slowly during the story, almost burying secrets and truth forever. There are a large number of old
houses in the heart of Budapest to be demolished in the near future. Some of them had been constructed by
architects at the turn of the 19th century, they were reused for lower classes during socialism, never
renovated, and now they wait for their certain death. These walls have seen a lot - and have got no respect for
a long time.

Other characters, Zak and Laura represent special attitudes: Zak, a passionate cop going after his instincts,
much more than his evidences; and Laura, a psychiatrist, as professional as vulnerable. They all have their own
aims and truth - but in a complicated situation like this, they all fail.

The cinematic context

As a great admirer of quality genre films, I tend to accept the way an everyday moviegoer thinks. Weʼre
astonished by spectacular pictures, exciting stories and unique experience - but weʼre always are effected by
human fates.

Archetypical stories cite characters with easily understandable backgrounds, aims and desires. These basic
plots are the very basis of reaching large audiences - and this is something we go for.

But weʼre quite aware of the fact that Exit is not an archplot story - itʼs pretty much of a miniplot, open ending,
limited spaces, few characters. Even though, I believe in the strength of Greek tragedies, I believe in asking
questions rather than answering them in a simplifying manner.

Exit is reflecting to brilliant examples such as Se7en, Memento, The Game, Heat, The Shawsank Redemption or
even The Usual Suspects. These films were all successful in grabbing a piece of Bfilm tradition, extrapolating in
to another level, building realistic characters and context and generating something completely new.

We absolutely accept the traditions of storytelling - but try to do it on a higher quality level as it is being done

The storyworld - the temporal and physical setting

The story of the film takes place in Eastern Europe. Itʼs Hungary, but the location seems to be quite
generalized: these apartments, houses, streets and characters are all typical motifs of the Eastern block. It is
the 70s, and absolutely not high tech. Our important goal is to create a setting where some items we can see
may refer to our modern life but the environment is a mixture of modernity and tradition. We deliberately go
for a sense of timeless surroundings: most of the furniture and set pieces are from the past, in some cases the
turn of the 19th century - but these pieces are always mixed with recent tools and equipment.

The story is set somewhere in Eastern Europe, in Hungary, one of the then communist countries. Although
politics is not at all involved in the story, this Eastern European setting adds a feeling of greyness and
delapidatedness to the atmosphere.

The building belongs to a former housing estate parts of which have already been pulled down. Nowadays this
is a more or less deserted area of the city with this building being almost the only survivor. However tenants
are moving out.

The house in which the main character lives plays a crucial part in the film serving as an important and
atmospheric location all through the film. The characters are confined in this house. During the course of the
story we gradually become familiar with this mysterious building. It is a normal, everyday building with grey
walls, dark staircases, railings and long corridors but it is also threatening, and one gradually develops the
feeling that the unthinkable may have happened here.

Parts of the house also appear in the dreams and nightmares of the main character. In these visions the house
is almost like a maze, and the main character can be trapped there forever unless he finds a way out (an exit,

Thus it also represents the mental state of the character, his amnesia, his solitary confinement and the state of
being lost. It also represents the past, it has a secret and we have a feeling that eventually it will unveil the

But itʼs also important to know that this setting will never appear as a solid, recognizable building for
audiences: the first half of the film is entirely set in a apartment and only confusing dreams refer to the
physical reality of the location.

In the second half, we take a short trip through the corridors and staircases of the location - but these are all
just flashes of reality in comparison with the ʻsafeʼ area of Markʼs apartment.
Testing Exit: Epilogue, an award winning short

Epilogue, a short psycho-thrliller of 14 minutes has been finished this year and proved extremely successful in
the international festival circuit. Epilogue was produced with Exit in mind: its primary aim was creating a teaser
both atmospherically and artistically. This year, 14 festivals invited into their competition programs, including
Seattle International Film Festival, Sehsuchte International Film Festival, Recoutres Henri Langlois Festival,
Brest Short Film Festival Festival Program and 8 more festivals internationally. Up to Oct 2010, it won the
Kimera International Film Festival Best Director Award and Audience Award, and Aranyszem Cinematography
Festival Best Cinematography Award.


                                                         Writer/Director Mihaly Schwechtje
                                                                    Producer Laszlo Kantor

Józsi (26) is a goatherd living in a small village in Hungary. The enterprise he works for is planning to build a
goat milk and cheese plant on a goat farm in the near future, from money won on European Union tenders.
Józsi has been working here since the spring, alone at first. Later on Karcsi (30) is hired to work the night shift
and Pete Hudák (13) is hired to help out during the day. Pete’s mother is raising Pete and his little brother on
her own and they need the money. Józsi’s father dies in the spring so he only has to support himself and his
mother (44), who does not have a job. Karcsi has been living with them for a while and is his mother’s secret
lover. A few weeks earlier Erika (22), a university student in Budapest majoring in journalism, had befriended
them. She came to the village because she wants to write a book on village life in Hungary. She met Józsi while
relaxing on the backwater of the Tisza River and has been observing him ever since. The moment he saw Erika,
Józsi knew she must be from Budapest; she was too refined to be from around here. He was happy when the
girl asked if she could observe them on the goat farm, because this way he’d be able to see her. He had fallen
for her instantly. Erika has a butterfly tattoo on her shoulder blade, which he finds so erotic that he goes to see
an old drinking buddy of his father’s, who learned how to do tattoos in prison, and asks him to do a tattoo of
an eagle on his arm. To him the butterfly symbolizes fragility, while the eagle symbolizes strength, and in this
way they would be a perfect match. During the beginning of their relationship Erika looks down on Józsi and
doesn’t like him very much. But since she needs him because of the book she is willing to tolerate Józsi’s vulgar
attempts at flirting, which don’t mean a thing to her as she is the lover of the country’s most famous
newscaster, Szilárd Fazekas (56). They met at the university, and Fazekas is her teacher. Over and beyond
gathering stories for her book, the village is the perfect getaway for the secret lover affair. The professor
enjoys visiting the beautiful and ambitious, but terribly untalented budding writer. Erika’s feelings toward Józsi
change, however, when she sees him assist a birthing nanny goat. She sees the sensitive being behind the
rugged exterior.

One day, when Józsi is alone on the farm, Karcsi shows up with a man who offers them a deal: he wants to
trade not-pregnant goats for pregnant ones from the farm, and would pay them for each one. Karcsi sees
opportunity calling, while Józsi is afraid of being found out, loosing his job and future. Karcsi is quite
headstrong and convinces Józsi to agree to the deal, assuring him they will not get caught as the goats will not
be exchanged all at once, but only a few at a time. They’ll tell Boss (38) the kids are dying from some sort of
epidemic. Everything goes smoothly for a couple of days. Neither Pete nor Erika notice anything amiss.
Suddenly, however, people start showing up from the village wanting to trade goats, who should not have
knowledge of the business. The situation is getting very uncomfortable for Józsi. Then one day the man they
are doing business with shows up late and Pete arrives just as the goats are changing hands. As soon as the
man leaves Józsi finds Pete and warns him to keep his mouth shut. He is unable to make the boy swear on
keeping the secret as Erika shows up on the farm.

 Erika visits Pete’s family at their house to see how they live. Pete isn’t home: he is with his secret love Eszter
(15), the Mayor’s (47) daughter. Pete’s mother tells Erika about Józsi’s trading deal and tells her they won’t
report it to the police because they are afraid of trouble. At the urging of her lover, Erika calls the police and
reports the two goatherds. The police quickly pick them up and the boys spend the evening in a holding cell.
The police try to beat a confession out of them, but they allege they have nothing to do with the whole affair,
or even the farm itself, and since they were hired off the books their connection to the goats cannot be
proven. Józsi thinks Pete was the one who ratted them out. Before Erika goes back to Budapest she goes to see
the boys at the police station. She does not tell them it was she, who turned them in.

 When not on the goat farm, Pete is on the levee: Eszter lives right across the street. The river is flooding and
the villagers are working to keep the water from spilling over the levee. Pete helps out with the work so he can
keep an eye on Eszter’s house. One day, as he is helping pile sandbags, he sees Eszter’s father arriving home.
He runs to greet his sweetheart and the Mayor invites him inside for a mug of hot chocolate. When looking out
of the kitchen window, Pete spots some of the pregnant goats from the farm. Due to the involvement of the
Mayor in the whole affair, Józsi and Karcsi are released.

 One day Eszter demands that Pete tell her what he wants from her. Pete is too embarrassed to tell her he
loves her. Eszter gives him a kiss and tells him to let her know when he knows what he wants.
 Józsi’s boss decides to take his enterprise somewhere else after the incident and leaves the farm with all his
things. After his release Józsi goes out to the farm to see if anything’s been left. He finds a few bales of hay,
which he loads onto his tractor. He drives to the village in search of customers to buy the hay. He goes to the
Mayor’s house too and runs into Eszter at the gate. Pete happens to be sitting on the levee with his brother at
the time, waiting for Eszter to get home, with a bouquet of flowers in his hand. He has decided to tell her he
loves her. But when he sees Józsi, he wants to run away. He hasn’t seen Józsi since he was released and is
terribly afraid of him. The two boys have nowhere to hide, so they jump the levee. Pete’s brother is quickly
pulled in by the current. Pete swims in after him, to pull him out. Meanwhile Józsi sells the hay to the Mayor
and heads for home on the tractor. The road leads right beside the levee. He spots the two boys in the water
and goes to help them, but only pulls Pete’s brother out of the water. He leaves Pete, who has run out of
strength, to drown. He believes it was he who reported them to the police. He gives Pete’s little brother, who
has lost consciousness, a hard slap. He comes to and Józsi drops him off in front of his house. In the afternoon
a police cars pulls up in front of Józsi’s house and the police come in looking for him. They take him to see the
Mayor who, it turns out, considers him a hero for saving Pete’s little brother. They take him to see Pete’s
mother, who asks for God’s blessing upon the hero who saved her son. Józsi is then swarmed by reporters,
only to be rescued by Erika, who has returned to the village upon hearing the news. She had thought her story
had come to a close when Józsi had been arrested, and had gone back to Budapest. That evening everyone in
the pub touts Józsi as the village hero. It is then that he finds out it was Erika who had turned him in. He leaves
the pub to go to the goat farm, where he takes a rope and hangs himself from a branch of a pear tree. The
branch, however, breaks under his weight and he does not die. The next morning he attends Pete’s funeral
where Mr. Fazekas happens to be interviewing Erika as the person who knows the most about the case. Her
book, an exposé of the truth, already has a publisher. During the course of the afternoon Józsi is awarded the
title of Honorable Citizen.


                                                             Writers Petra Szocs, Gergo Nagy
                                                                         Director Petra Szocs
                                                                      Producer Ivan Angelusz

The thirteen-year-old András lives in a small Transylvanian town with his mother and
His grandparents in and old family house. His father immigrated to Switzerland.
As he has some eye-disorders since his birth, he has to be treated with a special drop: Atropine. The film
begins in the hospital, where András shares the ruiny room with six other children. Their game: they give each
other some objects, and they have to guess from the shape what it is. Éva visits him, and brings him some
presents from his father.
Éva is at the rehearsal. She plays the cello. A 40-year-old man, István enters the building with a big bunch of
flowers. He hears the music. He is waiting in the corridor for a while. Éva plays Schubert, but she enters too
late. She laughs. The orcherstra starts again. István enters the toilet, puts the plowers on the radiator and jerks
off. After the rehearsal István invites Éva to the cinema. They watch The Sound of the Music. Éva is reserved,
but she has a good time with him.
The children at the hospital play their game with old farts who are lying in their beds: they touch them and try
to figure out, who is that person. Once they feel a dead body.
Éva goes to the jail to sign the divorce-papers with his ex-husband, Daniel. He kindly tries to flirt with him.
András comes home. He feels that something has changed, but he cannot tell what. At the evening Éva has a
serious talk with him: he tells him, that he’s gonna have a new stepfather: István. András is surprised: István
was an old family friend, a friend of his father. He could never imagine him as a stepfather. Éva tries to
persuade him: he’s a good guy, and they’ll be a nice family together. Finally he accepts, that his mother wants
to have a new husband, because he hasn’t seen his father since years. Although his father regulary sends him
postcards and gifts (like a walkman and a Polaroid camera) from Switzerland. András finds out whole stories
about his father, who lives in his imagination very alive.
Éva and István ask for the passport. They want to immigrate to Hungary. The next week Éva is fired from the
At night the police searches the home of Éva and the grandparents. They don’t find anything but they say
something about Éva’s husband in jail: that they know that the samizdats are somewhere in the house and
they promise to come back. After they leave, Éva cries, but István comforts her.
          After the honeymoon, the family moves to the flat of István. Éva is pregnant. András finds hard to get
accomodiated with the new environment. Furthermore, István tries to
reform András completely: he forbids him to go to theathre rehearsals, because, he adds,
András has to learn a lot more; he tries to raise him in his own protestant and conservative way. Éva tries to
avoid the conflicts, and she completely ignores András’ complaints. András
continues his little fights for his independence, and the only thing giving him hope is that he
believes that he’ll meet his father, and then everything will change. They argue a lot, and the

relationship between István and him (so between his mother and him as well) becomes worse.

István writes a letter. He opens a Switzerland-guidebook and watches some pictures about Geneva. Then he
calls a friend, who has already been there, and asks something about the fountain, whether it works at night as
well; and how the women there are. One day the postman brings a tiny package. András opens the door. There
would be need of her mother’s or stepfather’s signature, but the postman is lazy, and lets him sign for them.
He gets the package. Inside there is a swiss knife, but the pack is not from Switzerland, but from Bucharest.
András puts the package in the postbox. Éva practices at home, sometimes András accompanies her at the
piano. She has the feeling that she plays worse and worse. Once-twice a week she gives private lessons, but
she hates to teach, it doesn’t satisfy her. Then István comes in, and reaches him the knife, together with a
letter from his ”father”. András tries to do everything to get in touch with his father. He asks all of the
relatives and friends if they know anything about him.

One afternoon he goes to the Citadel, where prisoners do their communal work. His father is not among them.
He reads his letter from ”Switzerland”, about the fountain. He smiles bitterly. Éva miscarries. András and
István spend a lot of time together. The family unexpectedly gets the passport to Hungary. The time of
departure is near. András wants to stay -and tries to influence his mother not to go. In his disappointmen the
starts to simulate blindness. Before the departure András has to undergo his annual eye-test at the
oftamology. His pupil is dilated with a special drop called Atropine. The effect of the drop lasts 2 days. During
this period he can see only unclearly shapes. As they leave the hospital, strange noises can be heard – the
noise of gunfire and screaming.

At home András gets more and more tense. With the Atropine in his eyes he’s even more sensitive to sounds
and smells. He feels a strong repulse against his step-father. He puts some more drops in his own eyes,
because he hopes he can stop his parents to travel this way. The parents leave the country by train. András
waits for the connection, but – because of his bad sight – he gets on an other train, which takes him back to
his hometown (he follows another woman instead of his mother). He goes to his grandparents. The next day
when he goes out for the first time with a clear eye-sight he is wondering. The light almost hurts but he is
happy. In the district Ceausescu-portraits are being burnt by the kids.

This is a mixed world: we are in the eighties, but in Transylvania everything is in a leeway, so it looks like if we
were in the sixties, furthermore, the old people live their life like they were living in the 40s. The picture deals
with the topic of communism and politics only osculatory, it’s not about political events – those function only
as a background for the personal story of András.

The imagery of the picture would be realistic, with the use of filmdocuments. At the end of the film, there
would be a lot of obscure, expressionistic images, because of the state of András. The script has five chapters:
Wedding, Honeymoon, Migration, The Letter-writer and Atropine.


                                                                                          Virag Zomboracz

MOSES is a 18-year-old boy, life is before him. He is living in a small, hidden Hungarian village. Behind the
beyond his father is the pastor: a proud, healthy man, with strong, religion-based opinions and high
expectations. Moses can't fit into these expectations. His first step in real life is to get into the neurological
department of the psychiatry of the County Hospital. Moses is hypochondriac. He has so many fears he
basically can't live.

The father feels ashamed by the situation. Makes an effort not to show it, so it always can be seen. The other
day all of a sudden gets heart-attack and dies. Moses has all his theories about human vulnerability proven.
The family collapses.

On the funeral Moses is the only one who is able to see his father roaming in the mourning crowd. The father
looks alive, with the difference of being slightly luminescent and being able to walk through things.
With the help of the local shaman, Moses tries to liberate the ghost. According to the shaman’s instructions he
is looking for the buried treasure, the vengeance, the undone business...


                                  The National Film School of Denmark/Denmark

                                                                                Mikkel Jersin Nissen

Set in the year 1085, the girl Liv, 11, lives with her uncle in an isolated peninsula in Sweden guarding sheep
along with the dog Niels. In her spare time she practices archery and shows a tremendous talent. Her bow,
made from incredible craftsmanship, is the only memory left from her father. Every evening her uncle tells her
stories of her father, who seem to be a mighty Viking.

One day the peninsula is attacked by foreign Viking pirates. They brutally kill Niels the dog, and as they notice
Liv’s beautiful bow, they decide to take her along. In her prison cage on the Viking ship she encounters the boy
Erik, 13. The Viking boat finally arrives at a small village and the two kids are sold as slaves. They end up as
workers in the local blacksmith. He is not particularly happy with his purchase since he bought the whole load
of two kids and a bow – only to get his hands on the bow.

One night they take all the resources and food they can carry and run towards the forest – Liv succeeds in
steeling back her father’s bow.

And this is where the adventure starts. Liv and Erik alone in the deep woods of Scandinavia – a scary place and
also the home of black wolves and wild bears. The two kids must learn to take care of themselves and they
must find their way home.

From the first night on, they are being hunted by black wolves. During the day, when the wolves leave them
alone, they must learn how to make fire, find food in the forest - they must become adults even though they
are just kids. They encounter much peril and danger, but eventually they make friends with the wolves. They
journey on and finally reach a small coastal village from where they can travel home.

When Liv arrives, she finds her Father and his Viking crew there. They have been away for many years on
quests in far away countries. Finally they are united.

                                  The National Film School of Denmark/Denmark

                                                                      Writer/Director Ali Abbasi
                                                                           Producer Jacob Jarek


«The Assassination in Dubai» is a fictionalised account of the assassination of Hamas commander Mahmoud
Al-Mabhouh in January 2010 in a hotel in Dubai. The film is based on the widely available CCTV footage
tracking the arrival of the assassinators (allegedly from Mossad), their surveillance of the victim, the
subsequent murder and the getaway. This existing CCTV footage of the event is from 19 hours prior to the
murder to after it, and is uncanny because it is real. However, it is shot from distance and big parts and many
angles are missing. In «The Assassination in Dubai» all the missing parts will be filled in, in fictionalized form,
crossing archive footage with fiction with the intent to get closer to what happened, with whom, why and
how. Basing heavily on research, the writing process will try to get as close as possible to the truth and the
known facts. The subsequent production will treat the film as fiction, with the intent of telling a thrilling,
shocking and uncanny story about a real assassination operation: an operation with secret meetings, change of
disguises, diversions and lethal consequences.

                    SUMMER IN EUROPE

                               The National Film School of Denmark/Denmark

                                                   Producer Elisabeth Victoria Poulson


Juliet 18, lives in Copenhagen and has just graduated from high school. Last summer she met Marco from
Rome at the Roskilde Festival. Marco is dark, handsome and some years older than Juliet. Ever since the
Roskilde Festival Juliet has been dreaming about meeting Marco again. Juliets best friend Sarah is fed up
hearing about Marco and suggests that they travel though Europe and head for Marco in Rome. Juliet is
delighted. The girls take off by train and have the summer of their life on their way through Europe...


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