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BERLIN FILM FEST PROMOTING CULTURAL PARTICIPATION, STRENGTHENING ENGAGEMENT, CREATING COMMUNAL EXPERIENCES

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Posted by Larry Gleeson

ACTIVITIES FOR AND WITH REFUGEES DURING THE 67TH BERLINALE

In 2017 the Berlin International Film Festival will again work towards furthering the integration of refugees. The Festival has always made a point of fostering understanding, tolerance, and acceptance, as well as responding to current events in society – not only with its film program, but also with many other activities.

The Berlinale will renew its collaboration with KulturLeben Berlin in order to promote the participation of the socially disadvantaged in the cultural life of the city. Tickets for vacant seats will again be available to people with low incomes at a 50 percent discount.

Last year several concrete projects were launched to support refugees. Due to the very positive feedback of the participants and the desire to achieve longer-lasting integration, these projects will be continued and expanded.

screen-shot-2017-01-31-at-2-16-06-pmA call for donations

The Berlinale would like to urge Festival guests and visitors to make donations to the children and youth department of Zentrum ÜBERLEBEN (formerly called the Behandlungszentrum für Folteropfer e. V.). This Berlin-based centre provides psychological, social, and integrative support to children and adolescents who have been traumatized by torture, flight, and/or persecution. In addition to individual therapeutic care, group activities are an important feature of the centre’s work. The money collected last year enabled adolescents who have experienced flight and trauma to attend a film camp. There they were able to try out different positions in front of and behind the camera, and creatively explore topics of their choice, some of which were autobiographical.

Donations may be paid into an account (banking details are at the bottom of this press release) or made at 17 donation boxes distributed around the Festival grounds.

Participation

Movie mentors for refugees
Within the scope of a “movie mentoring”-project, volunteers from Berlin’s non-profit refugee aid organizations are asked to register as mentors and accompany refugees to Berlinale screenings.
With this project the Berlinale wants to show its appreciation to volunteers for their engagement and strengthen existing relationships, as well as promote cultural exchange.

LOLA at the Berlinale
Within the scope of a collaboration with the Berliner Volkshochschulen (VHS: schools for adult education), the Berlinale is offering 160 free tickets to VHS “integration classes” and their instructors. They will be able to select from eight German films screening in the LOLA series of the Berlinale at the Zoo Palast.

Guest trainees
During the Berlinale around 20 guest trainees who came to Germany as refugees will be given the chance to take a look at various fields behind the scenes of the Festival in collaboration with the Beratungs- und Betreuungszentrum für junge Flüchtlinge und Migrant*innen (BBZ/ KommMit e.V.).

Generation: School projects for “welcome classes”
For eleven years now, the Generation section has offered pupils the opportunity to participate within the framework of a school project in the Berlinale. With educational staff that is well versed in cinema, these pupils may see and discuss films, as well as work on assignments about them afterwards.
Since last year, the Berlinale’s school program has been extended to include “welcome classes” (introductory German language classes for refugees). This year ten “welcome classes” are to participate in the program.

Banking details for donations:

Zentrum ÜBERLEBEN GmbH
Bank für Sozialwirtschaft
IBAN: DE82 1002 0500 0001 5048 00
BIC: BFSWDE33BER
Reason for transfer: “Berlinale helps 2017”

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(Source: Berlinale press Office)

 

 

#Berlinale, #BIFF, Berlin Film Festival

BERLINALE CAMERA 2017 FOR NANSUN SHI, GEOFFREY RUSH AND SAMIR FARID

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Posted by Larry Gleeson

berlinale_kamera_neu_img_175xvarSince 1986 the Berlin International Film Festival has presented the Berlinale Camera to film personalities or institutions to which it feels particularly indebted and wishes to express its thanks.

At the 67th Berlin International Film Festival, three personalities will be awarded the Berlinale Camera: film producer and distributor Nansun Shi (Hong Kong, China), actor Geoffrey Rush (Australia), and film critic and author Samir Farid (Egypt).

NANSUN SHI, PRODUCER, DISTRIBUTOR (HONG KONG, CHINA)

Nansun Shi is one of the most important and influential producers and distributors of the international film world. In the 1970s, following her studies in statistics and computer science in London, and before starting her career as a film producer, she was engaged in the field of television in Hong Kong.

In 1984, after working as executive director for Cinema City Studios for a number of years, Nansun Shi and renowned director Tsui Hark, founded Film Workshop, their own production company. It wasn’t long before its name was equated with hits at the box office. Their biggest international successes in this period include A Better Tomorrow (1986) by John Woo; Once Upon a Time in China (1991) with Jet Li, and Seven Swords (2005), both of which were directed by Tsui Hark. Produced in 2002, the multiple prize-winning thriller Infernal Affairs was the film on which Martin Scorsese based The Departed (2006).

In addition, as co-founder of Distribution Workshop, she was committed to her role as distributor of Chinese-language films. She was also the Vice Chairman of the Media Asia Group, one of the largest Asian film studios. In 2011 she served on the jury of the International Film Festival in Cannes, and in 2014 she received the Best Independent Producer Award in Locarno. In 2013 the French government honored Nansun with the title of Officier de I’Ordre des Arts et des Lettres; in 2015 the Udine Far East Film Festival, with the Golden Mulberry Life Time Achievement Award.

She has close ties with the Berlinale: in 2007 she was a member of the International Jury, and since then has been a regular guest at the Festival. In 2011 she presented Late Autumn (dir: Kim Tae-Yong) in the Forum; and in 2012 Flying Swords of Dragon Gate (dir: Tsui Hark) in the Competition section, where it screened out of competition. Most recently, she produced The Taking of Tiger Mountain, which was a big hit in China.

Nansun Shi will be awarded the Berlinale Camera in the cinema at the Martin-Gropius-Bau at 12.30 pm on Friday, February 10, 2017. Fred Tsui will give a speech in her honor. First awarded in 2016, this prestigious prize will now be presented annually to an outstanding producer.

GEOFFREY RUSH, ACTOR (AUSTRALIA)

For over 40 years, Geoffrey Rush has been recognized as one of the world’s most remarkable character actors. He is equally at home on stage and screen. The Australian is among the few to have ever won the “Triple Crown of Acting”: the Emmy, Oscar, and Tony – as well as countless other awards for his performances. He has starred in eight films presented at the Berlin International Film Festival.
Rush made his stage debut when he was just 20. In the following years, he developed an extraordinary repertoire of classical theatre roles. He first performed on screen in 1981. For his tour-de-force portrayal of the highly dysfunctional but brilliant pianist David Helfgott in Shine (dir: Scott Hicks, 1996), he won an Academy Award. He also received Golden Globe and Oscar nominations for two period dramas, Shakespeare in Love (dir: John Madden) and Quills (dir: Philip Kaufman), and participated with them in the Berlinale Competition in 1999 and 2001 respectively. Rush starred in The Tailor of Panama (dir: John Boorman), which was also screened in the 2001 Competition. In 2003, he portrayed Captain Hector Barbossa, one of the villains in Pirates of the Caribbean (dir: Gore Verbinski), for the first time. The huge international success of this adventure film led to three sequels – in all of them Rush plays the roguish Captain.
In 2006, Rush returned to the Berlinale Competition, appearing in the drug film Candy (dir: Neil Armfield). In 2011, he could be seen in the Berlinale Special, in Tom Hooper’s touching drama The King’s Speech. Among many other prizes, he received the BAFTA Award for Best Supporting Actor for this film. Rush’s most recent appearance at the Festival was in 2013 when he presented the thriller The Best Offer by Giuseppe Tornatore in the Berlinale Special.

In this year’s Competition program he is playing the lead in Stanley Tucci’s Final Portrait (out of competition). Geoffrey Rush will be awarded the Berlinale Camera at the Berlinale Palast at 7.00 pm on Saturday, February 11, 2017.

SAMIR FARID, FILM CRITIC, AUTHOR (EGYPT)

Samir Farid is one of the most eminent film critics and authors of the Arab world. As an expert on cinema, his advice and opinions are in demand worldwide. As a film critic he has accompanied the Berlinale for decades.
He first trained his sharp eye for film during his studies at the Higher Institute of Dramatic Arts at the Academy of Arts in Cairo. In 1965 he began his career as a critic at the Egyptian daily Al-Gomhoreya, where he worked for 38 years. During this period, he co-founded the National Festival of Short and Documentary Films (1970), the National Festival of Feature Films (1971), as well as the Egyptian Film Critics Association (1972). Since the early 1970s, Farid has also been a member of the FIPRESCI, the international federation of film critics. Over the course of his long career, he has used his extensive knowledge while serving as a jury member at many world-renowned film festivals.

For a few years during the 1980s, he was also a correspondent for the trade magazine Variety. In 2004 he began working for the daily Al-Masry Al-Youm. Farid is the author and translator of more than 60 books on Arab and world cinema. For his achievements and contributions to the discourse on cinema, he received the Cannes Film Festival Gold Medal in both 1997 and 2000, as well as Lifetime Achievement Awards at the Osian’s-Cinefan Festival in New Delhi in 2012 and at the Dubai International Film Festival in 2013.

Samir Farid will be awarded the Berlinale Camera at the Berlinale Lunch Club at 12.30 pm on Wednesday, February 15, 2017. Journalist and FIPRESCI Secretary General Klaus Eder will give a speech in his honour.

Modelled on a real camera, the Berlinale Camera has 128 finely crafted components made by Dusseldorf-based goldsmith Georg Hornemann.

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(Source: Berlinale Press Office)

 

#Berlinale, #BIFF, Berlin Film Festival, Berlinale Talents

BERLINALE TALENTS 2017 COURAGEOUS ENCOUNTERS

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Posted by Larry Gleeson

COURAGEOUS ENCOUNTERS WITH AGNIESZKA HOLLAND, ANA LILY AMIRPOUR, ANDRES VEIEL, CHRISTO, DAVID OREILLY, GOB SQUAD, ISABEL COIXET, JOÃO MOREIRA SALLES, PAUL VERHOEVEN, RAOUL PECK AND OTHER EXPERTS

On its 15th anniversary, Berlinale Talents once again offers the public and its 250 Talents a diverse program of events, and proves that it’s still young enough to keep reinventing itself.

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Berlinale Talents Program Manager, Florian Weghorn (Photo via berlinale.de)

“This year’s theme, ‘Courage: Against All Odds,’ couldn’t feel timelier. While segregation is on the rise elsewhere, we stand in solidarity with those who believe in respect and the diversity of culture. Every year, our audiences, guests and Talents prove with their courage and love of cinema that together we’re stronger and more creative,” comments program manager Florian Weghorn.

The everyday bravery of today’s film professionals takes centre stage at the 25 public events at HAU Hebbel am Ufer from February 11 to 16, 2017. In addition, Berlinale Talents presents five public screenings of outstanding alumni films from this year’s Berlinale festival program. All in all, Berlinale Talents can once again boast impressive results in its talent development: 93 films, made with the contributions of 131 alumni, are screening at the Berlinale this year.

Completing the Circle – Alumni Return as Experts and Friends

The constantly growing network of successful alumni also contributes towards the Berlinale Talents program itself. Alumna Ana Lily Amirpour, who came to international prominence with her debut feature A Girl Walks Home Alone at Night, shares her creative process with the audience in a brainstorming session drawing on influences ranging from Bruce Lee to Back to the Future. The Mexican cinematographer Diego Garciá, who participated at Berlinale Talents in 2014, returns as an expert at the “Camera Studio” after recently shooting with Apichatpong Weerasethakul, Carlos Reygadas and Paul Dano, as well as lensing the visually stunning indie film Boi Neon.

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Courage Is a Good Idea – Movers and Shakers of the Summit

Exploring the risks and strategies of the profession, the guests of Berlinale Talents take the audience on a journey through personal, creative and cinematic moments of courage. On the opening panel, the president of the International Jury, Paul Verhoeven, returns to Berlinale Talents to discuss his most recent film, Elle. In “No Longer There: The Art of Disappearance,” artist Christo highlights the role courage plays in creating temporary artworks which are then deliberately allowed to vanish again.

Berlinale Talents amplifies the trends and voices of the film program in the festival. Taking a break from his two film premieres, Haitian filmmaker Raoul Peck visits Berlinale Talents for a talk with the expressive title “Shock of the Real: History as Provocation.” And tracing the impact of past revolutions and revolutionaries on today, the documentary filmmakers Andres Veiel and João Moreira Salles delve into archival material from their two festival films.

In “post-truth” times, cinematic storytellers are faced with the challenge of having to redefine their roles as purveyors of truths – both as critics and as activists – while at the same time maintaining their own attitudes and humor. The summit addresses this by hosting advocates of free-spirited cinema from Europe and beyond, including Polish director Agnieszka Holland. Isabel Coixet presents her new short film, It’s Not That Cold Siberia, a journey to the origins of inspiration, followed by an in-depth conversation on stage. And Sally Potter provides insights into how she transforms the film set into a safe haven in which her actors can allow intimacy and personal truthfulness to unfold freely.

Core Mission: Cultural Exchange

Hosting participants from over 70 countries makes cultural exchange an important element of Berlinale Talents. The panel “Doc Different: Co-Producing Culture” assembles bloggers, curators and filmmakers to discuss how new technologies enable us to rethink joint documentary production as a continuous process of democratic exchange. Against the backdrop of political developments in Turkey, the panel “Between the Lines: Film, Critique” gathers Turkish filmmakers and journalists who explain how independent platforms and films can offer and preserve a space for critical voices. And to promote courageous filmmakers in the Arab world, Berlinale Talents once again hosts the award ceremony of the Film Prize of the Robert Bosch Stiftung for International Cooperation Germany / Arab World.

Together We’re Strong – Brave Collectives

More than ever, the public programme of Berlinale Talents allows audiences to experience new collective forms of collaboration. Production designer Alex McDowell (Minority Report, Fight Club) and a team of interdisciplinary experts engage the audience in an onstage world-building session to visualize the future of cities caught between surveillance and spectacle. Members of the much loved Berlin-based performance art collective Gob Squad take the audience on an even more immersive journey. Their emphasis has always been on free interaction and open narrations with multiple outcomes; at Berlinale Talents they playfully transfer their approach to the current hype surrounding Virtual Reality. And animation “wunderkind” David OReilly philosophizes with Maike Mia Hoehne also about the new roles of the viewer, as exemplified in his new computer game Everything which has its world premiere at Berlinale Shorts.

As part of the “Drama Series Days” and supported by ARRI and Medienboard Berlin-Brandenburg, the case study “On Location: Berlin Station” provides a multidisciplinary tour of the production processes and digital workflow behind the hit espionage series Berlin Station, which was just recently shot in the German capital. On the subject of film production, three panels during the “Producers Day” put courageous producers and funders in the spotlight. They take on topics such as gender equality in the field of production, successful relations between co-producers and how to systematically support filmmakers who are willing to take financial and narrative risks.

The complete program of Berlinale Talents will follow shortly.

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(Source: Berlinale Press Office)

 

#Berlinale, #BIFF, Berlin Film Festival, Documentary, World Premiere

World Premiere: DREAM BOAT documentary to screen at Berlin Film Festival

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Posted by Larry Gleeson

World Premiere of DREAM BOAT

by Tristan Ferland Milewski

Official Selection – Section Panorama Dokumente Berlinale 2017

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A cruise ship and 3,000 men – it is a universe without heteros and women that usually remains a mystery to the outside world. Once a year the DREAM BOAT sets sail for a cruise exclusively for gay men where most passengers are united by the wish to live life dreamboat_berlinauthentically as themselves in a protected place: Dipankar from India escaped an arranged marriage and now throws himself into the action to find his dream man. But the gay community‘s ideal of masculinity increasingly becomes a tight corset for him. Ramzi from Palestine was persecuted by the police in his home country, Palestine, for being gay and had to start a new life in Europe with nothing. The Frenchman Philippe was let down by his family when he was bound to a wheelchair. The more important is his long-term relationship with his partner, and his gay substitute family. Martin from Austria enjoys the hedonism and abundant choice of men to the full and gives perspectives on how to deal with HIV today. Marek from Poland, has everything he needs to stand out on the men’s market, thanks to his trained body. However, he feels lonely in the crowd. Now the countdown is on for seven days of hunting for freedom, love, and happiness – but on board are also their personal stories, their doubts and uncertainties…

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ABOUT THE DIRECTOR 

Tristan Ferland Milewski has directed numerous documentary portraits about top pop acts like Madonna, among others and was responsible for the script and direction of the documentary series MAKE LOVE – ONE CAN LEARN HOW TO MAKE LOVE (nominated for the German Television Prize 2017). DREAM BOAT is his first feature-length documentary for theatrical release.

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Dream Boat Director , Tristan Ferland Milewski (Photo courtesy of Koelner Filmpresse)

The film has been produced by the award winning production company gebrueder beetz filmproduktion (Sundance, IDFA, SXSW).

 

DREAM BOAT

Deutschland  2017

92 Min. / OmU

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(Source: Press release courtesy of Koelner Filmpresse)
#Berlinale, #BIFF, Berlin Film Festival, Venice International Film Festival

Berlin Panorama 2017 Program Complete

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Posted by Larry Gleeson

Powerful European Auteur Cinema / Three Surprising Indie Gems from China and Hong Kong / Brazil Well-Represented with Five Films

With the invitation of 24 further feature films, the selection for the Panorama 2017 program has been completed. 51 works from 43 countries have been chosen for screening in the section, including 21 in Panorama Dokumente and 29 feature films in the main program and Panorama Special. 36 of these films will be celebrating their world premieres at the Berlinale, while the program also features six international and nine European premieres

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The German production Tiger Girl by Jakob Lass will open this year’s edition of Panorama Special at Berlin’s Zoo Palast cinema, along with the previously announced Brazilian production Vazante.

In Tiger Girl’s fast-paced narrative, a strong friendship develops between two women, one in which conventional value systems begin to unravel, in what amounts to a veritable moral portrait of the underbelly of today’s German republic. Daniela Thomas’ Vazante represents for its part the programme focus “Black Worlds”, which is also reinforced by the freshly confirmed inclusion of the South African production Vaya by Akin Omotoso, which offers an immersion in the urbanity of Johannesburg.

The fourth film from Brazil is Como Nossos Pais (Just Like Our Parents) by Laís Bodanzky, who depicts the everyday lives of three generations in Sao Paulo as a pyrotechnic display of individual passions and existential delusions staged with a sublime naturalness. The short animated film Vênus – Filó a fadinha lésbica (Venus – Filly the Lesbian Little Fairy) by Sávio Leite rounds off Brazil’s strong presence at this year’s edition of Panorama.

With Discreet, US indie director Travis Mathews, a chronographer of a gay Western modernity, is showing his second film in Panorama. An eerie soundscape floats atop his often elliptically edited story, which revolves around a man approaching middle age who gets caught up in the darker depths of his past.

The original style of Moroccan filmmaker Hicham Lasri was already apparent at Panorama 2015 in The Sea is Behind and on display again last year in Starve Your Dog. Now he returns for the third time with Headbang Lullaby, a visually stunning psychedelic fairy tale swimming in vibrant color and full of absurd situations, which also takes a long socially critical look at the history of Lasri’s native Morocco.

Naoko Ogigami already enchanted audiences in Berlin with Megane in 2008 and Rentaneko in 2012. In her most recent film Karera ga Honki de Amu toki wa (Close-Knit), the Japanese director employs contemplative, focused imagery to honor a potential matter-of-factness for non-normative sexuality and the value of families that are defined by love and care and not by conventions.

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Three modern arthouse films from China and Hong Kong shed some fresh light on the complex upheavals afoot throughout the vast country. Establishing alternatives for one’s self within authoritarian systems is a great step towards individual freedom: In Bing Lang Xue (The Taste of Betel Nut), we experience the whirlwind of young love on a resort island, while in Ghost in the Mountains and Ciao Ciao, a French co-production, we bask in the breath-taking landscapes of the Chinese highlands through the power of adept cinematography.

In his New Zealand film One Thousand Ropes, Samoan director Tusi Tamasese creates mythic images full of tension and concentration to relate the story of Maea, the baker and male midwife with the healing hands, whose personal demons play an integral role in his everyday life.

Today whole hordes of young cosmopolitans are drawn to Berlin by the promise of happiness that the city has come to represent – three films that pay tribute to this vision in extremely different manners are gathered at Panorama: the psycho thriller Berlin Syndrome by Australian director Cate Shortland, featuring Teresa Palmer, Max Riemelt and Matthias Habich; the feminist fairy tale The Misandrists by Berlinale regular Bruce LaBruce; and the para-pornographic work of underground science fiction Fluidø, by Taiwanese-American artist Shu Lea Cheang.

Europe

Thirteen more films have been confirmed for the final selection from Europe alone. These include works like the Spanish debut feature Pieles (Skins) by Eduardo Casanova, Rekvijem za gospodju J. (Requiem for Mrs. J.) by Serbia’s Bojan Vuletić, Ferenc Török’s 1945 from Hungary and God’s Own Country, Francis Lee’s feature-film debut from United Kingdom. Teona Mitevska returns with a bitter depiction of Macedonian adolescents trying to get their bearings in When the Day Had no Name. Also returning to Panorama are Norwegians Ole Giæver, with the emancipatory and philosophical self-examination Fra balkongen (From the Balcony), and Erik Poppe with Kongens Nei (The King’s Choice), which deals with the Norwegian king’s resistance to the German armed forces in World War II.

Luca Guadagnino will show his French-Italian account of summer love, Call Me by Your Name, featuring Armie Hammer, Timothée Chalamet, Michael Stuhlbarg and Amira Casar, a screen adaptation of André Aciman’s novel of the same name, co-written with James Ivory.

The Belgian-French-Lebanese co-production Insyriated by Philippe Van Leeuw is an intense chamber drama featuring Hiam Abbass as a woman trapped in the family’s apartment while a war rages on outside. Kaygı (Inflame) by Ceylan Özgün Özçelik tells the story of the incremental roll-out of wide-spread censorship of the press in Turkey and its effect on the work of a young female journalist. And finally there is Georgian director Rezo Gigineishvili’s Hostages, in which a longing for freedom and independence escalates into a readiness to use violence for young Soviet citizens during an airplane hijacking set in 1983.

The Panorama Audience Awards for Best Feature Film and Best Documentary will be presented for the 19th time together with radioeins and for the first time in co-operation with rbb television. In 2016, over 30,000 audience members cast their votes. On the Berlinale Publikumstag, February 19, the winning films will be presented in CinemaxX7 following the awards ceremony.

For the fifth time, the Heiner Carow Prize will be awarded to a documentary, fiction feature or essay film in Panorama in co-operation with the DEFA Foundation for the Promotion of German Film Culture. Following the presentation of the award on February 16 in Kino International, the Heiner Carow film Bis dass der Tod euch scheidet (Until Death Do Us Part, GDR 1979) will be shown.

Panorama main programme and Panorama Special

1945 – Hungary
By Ferenc Török
With Péter Rudolf, Bence Tasnádi, Tamás Szabó Kimmel, Dóra Sztarenki, Eszter Nagy-Kálózy
European premiere

Berlin Syndrome – Australia
By Cate Shortland
With Teresa Palmer, Max Riemelt
European premiere

Bing Lang Xue (The Taste of Betel Nut) – Hong Kong, China
By Hu Jia
With Zhao Bing Rui, Yue Ye, Shen Shi Yu
World premiere

Call Me by Your Name – Italy / France
By Luca Guadagnino
With Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois
European premiere

Ciao Ciao – France / People’s Republic of China
By Song Chuan
With Liang Xueqin, Zhang Yu
World premiere

Como Nossos Pais (Just Like Our Parents) – Brazil
By Laís Bodanzky
With Maria Ribeiro, Clarisse Abujamra, Paulo Vilhena, Felipe Rocha, Jorge Mautner, Herson Capri, Sophia Valverde, Annalara Prates
World premiere

Discreet – USA
By Travis Mathews
With Jonny Mars, Atsuko Okatsuko, Joy Cunningham, Bob Swaffar
World premiere

Fluidø – Germany
By Shu Lea Cheang
World premiere

Fra balkongen (From the Balcony) – Norway
By Ole Giaever
World premiere

Ghost in the Mountains – People’s Republic of China
By Yang Heng
With Tang Shenggang, Liang Yu, Shang Meitong, Xiang Peng, Zhang Yun
World premiere

God’s Own Country – United Kingdom
By Francis Lee
With Josh O’Connor, Alec Secăreanu, Gemma Jones, Ian Hart
European premiere

Headbang Lullaby – Morocco / France / Qatar / Lebanon
By Hicham Lasri
With Aziz Hattab, Latefa Ahrrare, Zoubir Abou el Fadl, El Jirari Benaissa, Salma Eddlimi, Adil Abatorab
World premiere

Hostages – Russian Federation / Georgia / Poland
By Rezo Gigineishvili
With Merab Ninidze, Darejan Kharshiladze, Tina Dalakishvili, Irakli Kvirikadze
World premiere

Insyriated – Belgium / France / Lebanon
By Philippe Van Leeuw
With Hiam Abbass, Diamand Abou Abboud, Juliette Navis, Mohsen Abbas, Moustapha Al Kar
World premiere

Karera ga Honki de Amu toki wa (Close-Knit) – Japan
By Naoko Ogigami
With Toma Ikuta, Rinka Kakihara, Kenta Kiritani
World premiere

Kaygı (Inflame) – Turkey
By Ceylan Özgün Özçelik
With Algı Eke, Özgür Çevik
World premiere– Debut film

Kongens Nei (The King’s Choice) – Norway / Sweden / Denmark / Ireland
By Erik Poppe
With Jesper Christensen, Anders Baasmo Christiansen, Karl Markovics, Tuva Novotny, Katharina Schüttler, Juliane Köhler
European premiere

The Misandrists – Germany
By Bruce LaBruce
With Susanne Sachsse, Kembra Pfahler
World premiere

One Thousand Ropes – New Zealand
By Tusi Tamasese
With Uelese Petaia, Frankie Adams, Væle Sima Urale, Ene Petaia, Beulah Koale, Anapela Polataivao
World premiere

Pieles (Skins) – Spain
By Eduardo Casanova
with Ana Polvorosa, Candela Peña, Carmen Machi, Macarena Gómez, Secun de la Rosa, Jon Kortajarena, Antonio Duran “Morris”, Eloi Costa
World premiere – Debut film

Rekvijem za gospodju J. (Requiem for Mrs. J.) – Serbia / Bulgaria / Macedonia / Russian Federation / France
By Bojan Vuletić
With Mirjana Karanović, Jovana Gavrilović, Danica Nedeljković, Vučić Perović
World premiere

Tiger Girl – Germany
By Jakob Lass
With Ella Rumpf, Maria Dragus
World premiere

Vaya – South Africa
By Akin Omotoso
With Mncedisi Shabangu, Zimkhitha Nyoka, Nomonde Mbusi, Sihle Xaba, Warren Masemola, Zimkhitha Nyoka, Nomonde Mbusi, Azwile Chamane
European premiere

When the Day Had no Name – Macedonia / Belgium / Slovenia
By Teona Mitevska
With Leon Ristov, Hanis Bagashov, Dragan Mishevski, Stefan Kitanovic, Igorco Postolov, Ivan Vrtev Soptrajanov
World premiere

Supporting Film

Vênus – Filó a fadinha lésbica (Venus – Filly the Lesbian Little Fairy) – Brazil
By Sávio Leite

Already Announced Titles

Centaur – Kyrgyzstan / France / Germany / The Netherlands, by Aktan Arym Kubat
Honeygiver Among the Dogs – Bhutan, by Dechen Roder
Pendular – Brazil / Argentinia / France, by Julia Murat
The Wound – South Africa / Germany / The Netherlands / France, by John Trengove
Vazante – Brazil / Portugal, by Daniela Thomas

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(Source: Berlinale Press Office)

#Berlinale, #BIFF, Glashütte Original Documentary Award

ALMOST HEAVEN: A coming of age story in one of China’s largest funeral homes

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Posted by Larry Gleeson

Nomination for the Berlin International Film Festival’s Glashütte Original Documentary Award

ALMOST HEAVEN (UK, 2017) is a gentle portrait of a young girl coming-of-age and her start into the working world learning an unusual job. The first feature film by British Director Carol Salter will celebrate its world premiere at the section Generation 14plus of the Berlin International Film Festival and is nominated for the overall sections Glashütte Original Documentary Award. The prize will be presented during the official Award Ceremony in the Berlinale Palast. ALMOST HEAVEN is one of 16 documentaries that have been nominated for the Award.

Synopsis

Far from home, afraid of the dark, and terrified of ghosts, young Ying Ling is training to become a mortician in one of China’s largest funeral homes. Charming, cheeky and quirky, Ying Ling spends 24 hours a day with her fellow trainee morticians, living together and working in a basement with no daylight. She learns to perform spa and beauty treatments for the dead, speaking to them softly, watched by their family members. Against this backdrop, she forms a special friendship with a fellow mortician Jin Hau and they share the strangeness of working with the dead together. In their spare time, they go together to arcades and fast food outlets, bantering playfully with each other, a welcome relief from the daily grind at the funeral home. But when Jin Hau suddenly leaves the funeral home, Ying Ling is left to face the harsh realities of the job alone.

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ALMOST HEAVEN is a reflection on death and the fragility of life but also a reflection what it is like to be young and alive; a tender elegy to first love, friendship and caring for the dead.

Director: Carol Salter, UK, 2017, 75 Minutes, Color, 5.1

Stay tuned for more on ALMOST HEAVEN!

The Director. Carol Salter is an award winning documentary director and editor who has specialized in making intimate portraits of extraordinary people in other cultures. Her films, e.g. the semi long documentary Mayomi (2008) and the documentary short film Unearthing the Pen (2011) have been presented at many international film festivals winning numerous awards worldwide.

(Source: rische & co pr)

 

 

#Berlinale, #BIFF, Berlin Film Festival, Berlinale Talents, Documentary, World Premiere

Glashütte Original Documentary Award Jury

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Posted by Larry Gleeson

For many years now, the Berlin International Film Festival has been committed to documentary film and diverse documentary forms. This was evident not only in the programmes of the different sections, initiatives and special series but also in the European Film Market (EFM).

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Thanks to the support of Glashütte Original, watch manufacturer from Saxony, the Berlin International Film Festival is launching a new award, the Glashütte Original Documentary Award.

The Glashütte Original Documentary Award is endowed with € 50,000, funded by Glashütte Original. The prize money will be split between the film’s director and producer. A total of 16 documentary entries from the current programmes of the Competition, Berlinale Special, Panorama, Forum, Generation and Perspektive Deutsches Kino sections are nominated for the Glashütte Original Documentary Award.

The prize will be presented during the official Award Ceremony in the Berlinale Palast on February 18. In addition to the prize money, Glashütte Original will also provide the trophy, which will be finely crafted in the company’s manufactory in Saxony.

 

A three-member jury will pick the winner:

 

 

Daniela Michel (Photo by Fabrizio Maltese)

Daniela Michel (Mexico)
Born in Mexico City, Daniela Michel is a film critic and founding director of the Morelia International Film Festival, an annual event launched in 2003 to support a new generation of Mexican filmmakers. After studying filmmaking she received a degree in English Literature. She has curated retrospectives of Mexican cinema in and outside Mexico. Michel has also served on the Jury for the “Un Certain Regard” and “La Semaine de la Critique” sections of the Cannes Film Festival, the Venice Film Festival, the Sundance Film Festival, the Locarno International Film Festival, the San Sebastian International Film Festival, the International Documentary Festival Amsterdam (IDFA), the Sarajevo Film Festival, among other festivals, as well as the Rockefeller Foundation’s Media Arts Fellowships and the Rolex Mentor and Protégé Arts Initiative.

 

 

Laura Poitras (Photo by Jan Sturman

Laura Poitras (USA)
Laura Poitras, who was born in the USA, first studied at the San Francisco Art Institute and then The New School in New York. Her work crosses the boundaries of documentary film, journalism, and art. In 2006 she began her 9/11 Trilogy with the film My Country, My Country, for which she received her first Oscar nomination. This was followed by The Oath (2010), which like My Country, My Country, was shown in the Berlinale’s Forum section. With CITIZENFOUR, the third part of her trilogy, Poitras won the Academy Award for Best Documentary in 2015. With this film about Edward Snowden, she also took home awards from the German Film Prize, the Director’s Guild of America, and BAFTA. Her reporting on NSA surveillance has appeared in Der Spiegel, The Guardian, and the Washington Post, and received a Pulitzer Prize and the Nannen Prize for Press Freedom. In 2016, she mounted her first solo museum exhibition at the Whitney Museum of American Art. She is co-creator of the visual journalism project, Field of Vision.

 

 

Samir (Photo courtesy of Dschoint Ventschr Filmproduktion)

Samir (Iraq / Switzerland)
Samir was born in Bagdad and moved with his family to Switzerland when he was seven years old. In the 1980s, after studying at Zurich University of the Arts (ZHdK) and training to be a typesetter, he began working as a cameraman, director, and screenwriter. Over the years he has made more than 40 short and full-length films. In 1994, he – and documentary filmmaker Werner Schweizer and producer Karin Koch – took over Dschoint Ventschr (spoken like Joint Venture) Filmproduktion, which concentrates on promoting young Swiss talents. Samir has directed both fiction and documentary films for the cinema and television – including Snow White (2005), which received multiple awards – as well as many stage productions. His documentary Iraqi Odyssey was screened in the Berlinale Panorama in 2015 and submitted by Switzerland for an Oscar for Best Foreign Language Film.

 

The following films are nominated for the Glashütte Original Documentary Award:

Competition (1)

Beuys – Germany
By Andres Veiel

Berlinale Special (1)

La libertad del diablo (Devil’s Freedom) – Mexico
By Everardo González

Panorama (5)

Belinda – France
By Marie Dumora

El Pacto de Adriana – Chile
By Lissette Orozco

Erase and Forget – United Kingdom
By Andrea Luka Zimmerman

Fünf Sterne (Five Stars) – Germany
By Annekatrin Hendel

Istiyad Ashbah (Ghost Hunting) – France / Palestine/ Switzerland / Qatar
By Raed Andoni

Forum (5)

For Ahkheem – USA
By Jeremy S. Levine and Landon Van Soest

Maman Colonelle (Mama Colonel) – Democratic Republic of Congo / France
By Dieudo Hamadi

El mar la mar – USA
By Joshua Bonnetta and J.P. Sniadecki

Mzis qalaqi (City of the Sun) – Georgia / USA / The Netherlands / Qatar
By Rati Oneli

Tigmi n Igren (House in the Fields) – Morocco / Qatar
By Tala Hadid

Generation (3)

Almost Heaven – United Kingdom
By Carol Salter

Shkola nomer 3 (School Number 3) – Ukraine / Germany
By Yelizaveta Smith, Georg Genoux

Soldado (Soldier) – Argentina
By Manuel Abramovich

Perspektive Deutsches Kino (1)

Eisenkopf (Ironhead) – Germany
By Tian Dong

All nominated films will celebrate their world premiere at the Berlinale 2017.

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(Source: Berlinale Press Office)

#Berlinale, #BIFF, Berlin Film Festival, Documentary

World Premiere FOR AHKEEM: A story about a girl that never gives up

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Posted by Larry Gleeson

Nomination for the Glashütte Original Documentary Award at Berlin Film Festival

FOR AHKEEM (USA, 2017) is the coming-of- age story of an extraordinary young girl who never gives up as she strives to balance school, family, and trauma within the challenging world of being a Black teenager in America. This feature documentary by Jeremy Levine and Landon Van Soest will celebrate its world premiere at the section Forum of the Berlin International Film Festival and is nominated for the overall sections Glashütte Original Documentary Award. The prize will be presented during the official Award Ceremony in the Berlinale Palast. FOR AHKEEM is one of 16 documentaries that have been nominated for the Award.

Beginning one year before the fatal police shooting of a Black teenager in nearby Ferguson, Missouri, FOR AHKEEM is the coming-of-age story of Daje Shelton, a Black 17-year-old girl in North St. Louis. She fights for her future as she is placed in an alternative high school and navigates the marginalized neighborhoods, biased criminal justice policies and economic devastation that have set up many Black youth like her to fail. After she is expelled from her public high school, a juvenile court judge sends Daje to the court-supervised Innovative Concept Academy, which offers her one last chance to earn a diploma. Over two years we watch as Daje struggles to maintain focus in school, attends the funerals of friends killed around her, falls in love with a classmate named Antonio, and navigates a loving-but-tumultuous relationship with her mother.

As Antonio is drawn into the criminal justice system and events in Ferguson just four miles from her home seize the national spotlight, Daje learns she is pregnant and must contend with the reality of raising a young Black boy.

Through Daje’s intimate coming of age story, FOR AHKEEM illuminates challenges that many Black teenagers face in America today, and witnesses the strength, resilience, and determination it takes to survive.

Stay tuned for more on this poignant film!

(Source: rische & co pr)

 

#BIFF, Berlin Film Festival

Berlin Film Festival Announces GWFF Best First Feature Award Jury

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Posted by Larry Gleeson

Since 2006, when it introduced the GWFF Best First Feature Award, the Berlinale has been even more committed to supporting the next generation of film makers. The award is endowed with 50,000 Euros, donated by the GWFF (Gesellschaft zur Wahrnehmung von Film- und Fernsehrecht), a society dedicated to safeguarding film and television rights. The prize money is to be split between the producer and the director of the winning film. Additionally, the director will be awarded with a high-quality viewfinder as both a useful instrument and memorable trophy.

Festival Director Dieter Kosslick and the heads of the Competition, Panorama, Forum, Generation and Perspektive Deutsches Kino sections have nominated a total of 16 directorial debuts. The winners will be announced at the official Award Ceremony in the Berlinale Palast on February 18.

A three-person jury will decide on the GWFF Best First Feature Award:

Jayro Bustamante (Photo credit: berlinale.de)

Jayro Bustamante (Guatemala)
In 2015 with his debut feature, Ixcanul, Jayro Bustamante was the first Guatemalan director invited to participate in the Competition of the Berlinale. Cast with amateur actors from the region of the Kaqchikel Maya, the film won the Silver Bear Alfred Bauer Prize. Ixcanul went on to screen at 60 other film festivals, including those in Karlovy Vary, Jerusalem, Telluride, Toronto, Biarritz, Cartagena, Mumbai, Guadalajara, Ghent, and San Sebastián, and took home 52 awards. What is more, Ixcanul was the second Guatemalan movie ever submitted for an Oscar for Best Foreign Language Film. Jayro Bustamante, who had previously studied in Paris and Rome, as well as directed commercials for Ogilvy & Matter, has also made a variety of short, documentary, and animated films. Currently he is working on his next two full-length feature films: Temblores and Los tenis de barrondo.

 

Clotilde Courau (Photo credit: Roch Armando)

Clotilde Courau (France)

Clotilde Courau began her acting career at 16 and performed on stage while still at acting school. For her screen debut in Jacques Doillon’s The Little Gangster, which ran in the Berlinale Competition in 1991, she received the European Film Award and her first nomination for a César. Ever since, Clotilde Courau has been an established star of French cinema. She is known for films such as Elisa (dir: Jean Becker, 1995); The Bait (dir: Bertrand Tavernier, 1995); the opening film of the Berlinale 2007, La vie en rose (dir: Olivier Dahan); and In the Shadow of Women (dir: Philippe Garrel, 2015). She has also starred in international productions, e.g. in Paul Mazursky’s The Pickle (1993) and Rod Lurie’s Deterrence (1999). Courau regularly performs on the stage: recently she played in “Piaf, l’être intime”, which she also directed. Her latest film Le Ciel attendra by Marie Castille Mention-Schaar will open in German cinemas in 2017.

 

Mahmoud Sabbagh (Photo credit: Ahmed Mater)

Mahmoud Sabbagh (Saudi Arabia)

Born in Jeddah (Saudi Arabia) in 1983, author, director and producer Mahmoud Sabbagh presented his debut feature, Barakah Meets Barakah, in the Berlinale’s Forum section in 2016. There this remarkably humorous film won the Prize of the Ecumenical Jury. It went on to be screened at, e.g., the Toronto International Film Festival, and ultimately entered the race – only the second Saudi Arabian film ever to do so – for the Oscar for Best Foreign Language Film. For some years now, Sabbagh, who has a degree in documentary filmmaking from New York’s Columbia University, has been considered one of the pioneers of a new independent generation of filmmakers in his country. Among other works, he has directed and penned a documentary on the controversial poet Hamza Shehata as well as the highly-regarded online TV series Cash.

 

The following 16 films are nominated for the GWFF Best First Feature Award:

Competition (2)

Django – France
By Etienne Comar
With Reda Kateb, Cécile de France, Alex Brendemühl, Ulrich Brandhoff

Wilde Maus – Austria
By Josef Hader
With Josef Hader, Pia Hierzegger, Georg Friedrich, Jörg Hartmann, Denis Moschitto

Panorama (2)

Kaygı (Inflame) – Turkey
By Ceylan Özgün Özçelik
With Algı Eke, Özgür Çevik

Pieles (Skins) – Spain
By Eduardo Casanova
With Ana Polvorosa, Candela Peña, Carmen Machi, Macarena Gómez, Secun de la Rosa, Jon Kortajarena, Antonio Duran “Morris”, Eloi Costa

Forum (3)

Adiós entusiasmo (So Long Enthusiasm) – Argentina / Colombia
By Vladimir Durán
With Camilio Castiglione, Mariel Fernandez, Laila Maltz, Martina Juncadella, Verónica Llinás

Casa Roshell – Mexico / Chile
By Camila José Donoso
With Roshell Terranova, Liliana Alba, Lia García, Diego Alberico, Cristian Aravena

Motza el hayam (Low Tide) – Israel / France
By Daniel Mann
With Gal Hoyberger, Susanne Gschwendtner, Amnon Wolf, Eran Ivanir, Oleg Levin

Generation (5)

As duas Irenes (Two Irenes) – Brazil
By Fabio Meira
With Priscila Bittencourt, Isabela Torres

Butterfly Kisses – United Kingdom
By Rafael Kapelinski
With Theo Stevenson, Liam Whiting

Estiu 1993 (Summer 1993) – Spain
By Carla Simón
With Laia Artigas, Paula Robles

Freak Show – USA
By Trudie Styler
With Alex Lawther, Abigail Breslin

Wallay – France / Burkina Faso / Qatar
By Berni Goldblat
With Makan Nathan Diarra, Ibrahim Koma

Perspektive Deutsches Kino (4)

Back for Good – Germany
By Mia Spengler
With Kim Riedle, Juliane Köhler, Leonie Wesselow, Nicki von Tempelhoff

Die beste aller Welten (The Best Of All Worlds) – Germany / Austria
By Adrian Goiginger
With Verena Altenberger, Jeremy Miliker, Lukas Miko, Michael Pink

Millennials – Germany
By Jana Bürgelin
With Anne Zohra Berrached, Leonel Dietsche, Jan Koslowski, Anna Herrmann

Die Tochter (Dark Blue Girl) – Germany
By Mascha Schilinski
With Helena Zengel, Karsten Antonio Mielke, Artemis Chalkidou

All nominated films will celebrate their world premiere at the Berlinale 2017.

 

#BIFF, Berlin Film Festival

The Berlin Film Festival Forum 2017: Special Screenings

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Posted by Larry Gleeson

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The Forum now completes its program with a series of Special Screenings which unearth cinematic gems and engage with film history.

screen-shot-2017-01-25-at-1-59-04-amMoroccan director Ahmed Bouanani (1938-2011) faced difficulties of all kinds in trying to get his vision across. Although he himself was only able to complete one feature, he paved the way for the first generation of artistically ambitious filmmakers in his country, whether as a pioneer in working with archive material, as a trailblazer for an independent film aesthetic, or as a literary figure and the author of a history of Moroccan cinema yet to be published to this day.

Ali Essafi, guest of the DAAD Artists-in-Berlin program in 2016, creates memorial to his compatriot in the documentary Obour al bab assabea (Crossing the Seventh Gate). In lengthy conversations recorded in the last years of Bouanani’s life, who was by then living a secluded life in the mountains, the film reveals an influential chapter in Moroccan film history and draws on the astounding archive that Bouanani left behind.

The Forum has put together the “Autour de Bouanani – Another Moroccan Cinema” program with Ali Essafi’s support. It includes the documentary shorts which Ahmed Bouanani, Mohamed Afifi and others created in the 1960s as newsreels for the Centre Cinématographique Marocain (CCM), a format they bent to their own artistic will, as well as the short films that the CCM began producing for the newly founded state television in the 1970s.

Bouanani founded the “Sigma 3” collective together with Mohamed Sekkat and Mohamed Abderrahman Tazi, with whom he’d studied at the Paris film school IDHEC. In 1970, the collective produced the feature Wechma (Traces) by Hamid Benani, which is regarded as Morocco’s first arthouse film (and was shown at the very first International Forum of New Cinema in 1971). Bouanani’s artistic influence on the film is significant, as was also the case with the 1978 Alyam, Alyam (Oh the Days!), in which Ahmed El Maanouni created a portrait of a society which the younger generations are turning their back on.

In 1980, Bouanani finally made his only feature as a director. Al-Sarab (The Mirage) is set during the French colonial era and tells the story of a farmer living in poverty who finds a bundle of banknotes in a sack of flour. Yet this unexpected wealth turns out to be more a curse than a blessing. The narrative of this influential film doesn’t bow to any convention, but rather follows the grammar of dreams.

Lead actor Mohamed Habachi, who died in 2013, can also be seen in Hallaq Darb al-Fuqara’ (The Barber of the Poor District) from 1982. This classic of Maghreb Neorealist cinema is the only feature by Mohamed Reggab, another filmmaker from Bouanani’s circle, which denounced the hypocritical alliance between capitalist interests and religion at an early stage.

Nearly all the films will be screened in subtitled 35-mm archive prints, which have been made available by the Centre Cinématographique Marocain. Alyam, Alyam will be showing in a version digitally restored by the Cineteca di Bologna in collaboration with the Film Foundation’s World Cinema Project. Touda Bouanani, daughter of the filmmaker, will be a guest of the Forum.

South Korea is a country equally rich in cinematic treasures that are both hardly screened abroad and largely forgotten at home. This year, the Forum is showing two classics digitally restored by the Korean Film Archive (KOFA), both of which were made at moments of political upheaval.

1960’s Obaltan (Aimless Bullet) is Yu Hyun-mok’s seventh film and is regarded as his masterpiece. In a Seoul neighbourhood where mostly refugees from the north of the divided country have settled, office worker Cheol-ho lives with his family in hardship. Plagued by toothache, he wanders despondently through the film; it’s others who take the initiative — with tragic consequences. Made between the overthrow of the dictator Rhee Syng-man and the military coup of General Park Chung-hee, the film paints a picture of a society unable to free itself from the clutches of poverty despite all efforts to the contrary.

Twenty years later, at the end of Park Chung-hee’s subsequent dictatorship, Lee Doo-yong created the epic crime thriller Choehuui jeung-in (The Last Witness), in which a reckless police detective stumbles across machinations from the time of the Korean War while investigating a mysterious murder case. It’s a tough-minded odyssey through provincial South Korea, through rain and cold, filth and mud and bitter poverty; through the collective bad conscience of a society. The censors lopped nearly an hour off the running time of Lee’s most daring film, with only the restoration returning this classic its full length of 155 minutes.

Fernando Birri’s ORG is a monstrous, nearly three-hour long film which has only been screened extremely rarely since its 1979 premiere. For the now 91-year-old Birri, this loose adaptation of Thomas Mann’s story “The Transposed Heads” was the result of his experience of exile in Italy. But above all, ORG is an experiment in perception that features over 26,000 cuts and some 700 audio tracks. This mammoth work was partially financed by leading actor Mario Girotti, better known under his stage name Terence Hill. The director bequeathed Arsenal a 35mm print in 1991, which has been digitized as part of the “Living Archive” project.

The film essay Verfluchte Liebe deutscher Film (Doomed Love – A Journey Through German Genre Films) already showed how wild, unpredictable, sensual, daring and taut even German cinema can be. Now Dominik Graf and Johannes F. Sievert continue their archaeological adventure journey to the margins, to the depths and also to the very centre of German film and television production and throw up justified questions along the way: why hasn’t this cinema developed any real audacity with respect to genre? Why aren’t there any young directors following in the footsteps of the rebellious Klaus Lemke, who simply shoots from the hip? Offene Wunde Deutscher Film (Open Wounds – A Journey Through German Genre Films) leaves you wanting more.

 

Forum Special Screenings 2017

Choehuui jeung-in (The Last Witness) by Lee Doo-yong, Republic of Korea (South Korea) 1980

Obaltan (Aimless Bullet) by Yu Hyun-mok, Republic of Korea (South Korea) 1961

Offene Wunde deutscher Film (Open Wounds – A Journey through German Genre Films) by Dominik Graf, Johannes F. Sievert, Germany – WP

ORG by Fernando Birri, Italy 1979

 

Autour de Bouanani – Another Moroccan Cinema

Al-Sarab (The Mirage) by Ahmed Bouanani, Morocco 1980

Alyam, Alyam (Oh the Days!) by Ahmed El Maanouni, Morocco 1978

Hallaq Darb al-Fuqara’ (The Barber of the Poor District) by Mohamed Reggab, Morocco 1982

Obour al bab assabea (Crossing the Seventh Gate) by Ali Essafi, Morocco 2017 – WP

Wechma (Traces) by Hamid Benani, Morocco 1970

Short Film Programme I
Men Lahm wa Salb (De chair et d’acier) by Mohamed Afifi, Morocco 1959
Tarfaya Aw Masseerat Sha‘er (Tarfaya ou La marche d’un poète) by Ahmed Bouanani, Morocco 1966
Al-‘Awdah li Agadir (Retour à Agadir) by Mohamed Afifi, Morocco 1967
Sitta wa Thaniat ‘Ashar (Six et douze) by Ahmed Bouanani, Abdelmajid R’chich, Mohamed Abderrahman Tazi, Morocco 1968

Short Film Programme II
Thakirah Arba’at ‘Ashar (Mémoire 14) by Ahmed Bouanani, Morocco 1971
Al-Boraq (Shining) by Abdelmajid R’chich, Morocco 1972
Al-Manabe’ al-Arba‘a (Les quatre sources) by Ahmed Bouanani, Morocco 1977

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(Source: Berlinale Press Office)