Festival Catalogue 2016

CLAUDE BARRAS MY LIFE AS ZUCCHINI (MY VIE DE COURGETTE)  HALF TICKET CHOALLLFETCITCIKOENT FRENCH  SWITZERLAND FRANCE h 66’ G 2016 INDIA PREMIERE DIRECTOR CINEMATOGRAPHER Zucchini is an intriguing nickname for a nine year old boy. After his CLAUDE BARRAS DAVID TOUTEVOIX mother’s sudden death, Zucchini is taken to an orphanage by a kind PRODUCER(S) EDITOR SROLFHRՕFHU5D\\PRQG+LVQHZIRVWHUKRPHLVÀOOHGZLWKRWKHURUSKDQV MAX KARLI, PAULINE SOPHIE HUNGER who have endured similarly traumatic circumstances. Zucchini struggles GYGAX STORY/SCREENPLAY DWÀUVWWRÀQGKLVSODFHLQWKLVVWUDQJHHQYLURQPHQW:LWKWKHKHOSRIKLV PRODUCTION CÉLINE SCIAMMA new found friends and the gentle hearted Raymond, he begins rebuilding COMPANY CAST his life. RITA PRODUCTIONS, GASPARD SCHLATTER, Age Recommendation: 14 years and above BLUE SPIRIT SIXTINE MURAT, PAULIN PRODUCTION, GEBEKA JACCOUD, MICHEL BEST FOREIGN LANGUAGE FILM(SWISS ENTRY), 2017 ACADEMY AWARDS | BEST FEATURE FILM FILMS VUILLERMOZ AND AUDIENCE AWARD, 2016 ANNECY FILM FESTIVAL | NOMINATED, 2016 CANNES FILM FESTIVAL SALES COMPANY | AUDIENCE AWARD, 2016 MELBOURNE INTERNATIONAL FILM FESTIVAL | 2016 TIFF KIDS INDIE SALES Calude Barras ZDV ERUQ LQ  LQ 6ZLW]HUODQG +H KDV GLUHFWHG VHYHUDO VKRUW ÀOPV FESTIVALS AND AWARDS including The Genie in a Ravioli CanZKLFKUHFHLYHGQXPHURXVDZDUGVLQÀOPIHVWLYDOV DURXQG WKH ZRUOG 0RVW RI KLV VWRULHV DUH ÀOOHG ZLWK UHDOLVP DQG IDQWDV\\ KXPRXU DQG FILMOGRAPHY poetry. Chambre 69 (2012) Au Pays Des Tetes (2008) Sainte Barbe (2007) The Genie in a Ravioli Can (2006) Ice Floe (2005) 251

CAROLINE NUGUES ELENA WALF A LONG HOLIDAY BAT TIME (DE LONGUES VACANCES) (BAT TIME)  FRENCH  BELGIUM h 16’ G 2015  NON-VERBAL  GERMANY h 3’ G 2015 INDIA PREMIERE INDIA PREMIERE In the summer, Louise discovers the joys of camping by When night dawns on the farm, a little bat wakes up and is the sea with her parents. She spends her days collecting DISAPPOINTED
TO
ÞND
EVERYONE
ELSE
ASLEEP
4HE
LONELY
BAT
precious treasures that once belonged to a mermaid goes looking for a friend. called Elga. Her father tells her the story of Elga, who was so ugly that she frightened the sailors away and so Age Recommendation: 5 years and above tuneless that she caused storms just by singing. As the summer comes to a close, Louise realises that story of Elga is more than just a fantasy her father cooked up. Age Recommendation: 11 years and above DIRECTOR SALES COMPANY STORY/SCREENPLAY DIRECTOR SALES COMPANY CAROLINE NUGUES ZOROBABEL CAROLINE NUGUES ELENA WALF STUDIO FILM BILDER PRODUCER(S) CINEMATOGRAPHER CAST PRODUCER(S) EDITOR WILLIAM HENNE CAROLINE NUGUES CLAIRE GAUD, THOMAS MEYER- BENJAMIN MANNS PRODUCTION EDITOR STEPHANIE HERMANN SOUND DESIGN COMPANY CAROLINE NUGUES COERTENS, PRODUCTION CHRISTIAN HECK ZOROBABEL SOUND DESIGN SEBASTIEN COMPANY STORY/SCREENPLAY FRÉDÉRIC FURNELLE HÉBRANT, MANUELA STUDIO FILM BILDER ELENA WALF SERVAIS FESTIVALS AND AWARDS FESTIVALS AND AWARDS 2016 TIFF KIDS | 2016 MILANO FILM FESTIVAL SPECIAL MENTION, 2015 BALKANIMA EUROPEAN ANIMATED FILM FESTIVAL | BEST SHORT FILM, 2016 ANNIMA BRUSSELS | JURY PRIZE, BEST SHORT Elena Walf
BORN
IN
-OSCOW
IN

RECEIVED
FILM, 2016 BRUSSELS FILM FESTIVAL | 2016 GOLDEN KUKER INTERNATIONAL HER
ÞRST
DEGREE
AT
-OSCOW
3TATE
5NIVERSITY
OF
ANIMATION FILM FESTIVAL | 0RINTING
ØRTS
IN

)N

%LENA
ENTERED
\"ADEN7ÔRTTEMBERG
&ILM
ØCADEMY
TO
STUDY
AT
Caroline Nugues
WORKED
FOR
SEVERAL
YEARS
THE
ØNIMATION
DEPARTMENT
AND
GRADUATED
IN
AS
A
GRAPHIC
DESIGNER
THAT
GOT
HER
INTERESTED

%LENA
HAS
ILLUSTRATED
SEVERAL
CHILDRENmS
BOOKS
IN
ANIMATION
3HE
HAS
EXPERIMENTED
WITH
A
IN
RECENT
YEARS
3HE
WORKS
AS
AN
INDEPENDENT
FEW
TECHNIQUES
BUT
THE
ONE
SHE
PREFERS
IS
$
ANIMATION
DIRECTOR
ART
DIRECTOR
AND
ANIMATOR DRAWINGS
3HE
ALSO
ENJOYS

WOOD
WORKING
AND
MAKING
CHEESE FILMOGRAPHY: 6RPH7KLQJ(2015, Short) | ,FK.HQQH(LQ7LHU=HEUD5DWVHO(2013, Short) | 5HL]ZlVFKH(2012, Short) | FILMOGRAPHY: 9LVjYLV (2008, Short) EERHT-YTNEWT

MARINKA DE JONGH LOÏC BRUYERE FULL OF DREAMS IN A CAGE (HOOFDVOLDROMEN) (LA CAGE)  DUTCH  NETHERLANDS h 19’ G 2015  NON-VERBAL  FRANCE h 6’ G 2016 HALF TICKET CHOALLLFETCITCIKOENT ASIA PREMIERE INDIA PREMIERE Ten year old Anne Fee lives in a residential community with A caged bear who can’t sing, meets a little bird who can her parents, her brother and eight men with developmental SING
BEAUTIFULLY
BUT
CANNOT
ßY
4HEY
WILL
HELP
EACH
OTHER
disabilities. She spends her days playing games, looking and become best friends forever! for shapes in clouds and chatting about life with Bob and Olivier. They also dream of becoming world famous one Age Recommendation: 5 years and above day. One day the housemates decide to form a band and write a song about their dreams. Age Recommendation: 8 years and above DIRECTOR SALES COMPANY SOUND DESIGN DIRECTOR PRODUCTION EDITOR MARINKA DE JONGH EEN VAN DE TIM VAN PEPPEN LOÏC BRUYERE COMPANY LOÏC BRUYERE PRODUCER(S) JONGENS PRODUCER(S) FOLIMAGE, ARIES SOUND DESIGN RENKO DOUZE, CINEMATOGRAPHER CORINNES SALES COMPANY ROMAIN TROUILLET, HASSE VAN NUNEN WILKO VAN DESTOMBES, FOLIMAGE LOÏC BRUYERE PRODUCTION OOSTERHOUT FLORENCE DE CINEMATOGRAPHER STORY/SCREENPLAY COMPANY EDITOR GARDEBOSC LOÏC BRUYERE LOÏC BRUYERE EEN VAN DE LUUK VAN STEGEREN JONGENS FESTIVALS AND AWARDS FESTIVALS AND AWARDS NOMINATED, 2015 INTERNATIONAL DOCUMENTARY FILM FESTIVAL 2016 ZLIN INTERNATIONAL CHILDREN'S FILM FESTIVAL | 2016 AMSTERDAM | 2016 TIFF KIDS | 2016 DOK LEIPZIG | 2016 CINEKID FILM CHICAGO INTERNATIONAL CHILDREN’S FILM FESTIVAL | 2016 LONDON FESTIVAL | 2016 SCHLINGEL FILM FESTIVAL INTERNATIONAL ANIMATION FESTIVAL | 2016 ANIBAR FILM FESTIVAL Marinka de Jongh
GREW
UP
IN
A
l4HOMASHUISm
Loïc Bruyère
GRADUATED
FROM
THE
%MILE
#OHL
RUN
BY
HER
PARENTS
AND
LIVED
TOGETHER
WITH
DRAWING
SCHOOL
)N

HE
JOINED
THE
#ARIBARA
EIGHT
SPECIALLY
ABLED
PEOPLE
3HE
GRADUATED
IN
STUDIO
AS
ANIMATOR
ON
THE
SERIES
Willa’s Wild Life

FROM
THE
5TRECHT
3CHOOL
OF
THE
ØRTS
WITH
)N

HE
WROTE
AND
DIRECTED
THE
PILOT
FOR
THE
HER
DOCUMENTARY
-Y
$EAR
#ANCER
$OG
A
ÞLM
SERIES
Nuts, Nuts, Nuts
PRODUCED
BY
-ILLIMAGES
ABOUT
THE
OWNERS
OF
PETS
WITH
CANCER
4HIS
ÞLM
AND
WON
#ANAL
&AMILYmS
CALL
FOR
PROJECTS
)N

HE
RAN
AT
VARIOUS
FESTIVALS
AND
WAS
BROADCASTED
WORKED
AS
ANIMATOR
ON Michel
A
SERIES
PRODUCED
BY
BY
THE
602/
A
\"ROADCASTING
#OMPANY
IN
4HE
&OLIMAGE
)N

HE
WROTE
AND
DIRECTED
THE
SHORT
.ETHERLANDS ÞLM
)N
A
#AGE
PRODUCED
BY
&OLIMAGE
AND
ØRIES FILMOGRAPHY: 0\\'HDU&DQFHU'RJ(2012, Short) | 7KLV6XPPHU,V0LQH(2015, FILMOGRAPHY: 0LFKHO(2011, TV Series) | Nuts, Nuts, Nuts (2009, TV Series) | Short) Willa's Wild Life (2008, TV Series) | /RXORXDQGWKH0DG6KHHS(2006) 253 TWENTY-THREE

LOES JANSSEN SHELLEY DODSON SKY THE DANCING LINE (THE DANCING LINE) (SKY)  NON-VERBAL  USA h 2’ G 2016  DUTCH  THE NETHERLANDS h 15’ G 2015 ASIA PREMIERE INDIA PREMIERE 3KY
IS
EIGHT
YEARS
OLD
AND
HAS
A
SIGNIÞCANT
HEARING
A line grooves to the tune of a burlesque song, changing impairment. He tries hard to participate in his class which shapes and having a blast with the dot. is full of children who can hear quite well. Even though he thinks the other kids don’t understand him, he will employ his quintessential wit and assurance and make himself heard. Age Recommendation: 9 years and above Age Recommendation: 5 years and above DIRECTOR EDITOR DIRECTOR SALES COMPANY CAST LOES JANSSEN LOES JANSSEN SHELLEY DODSON SHELLEY DODSON SHELLEY DODSON PRODUCER(S) SOUND DESIGN PRODUCER(S) CINEMATOGRAPHER LOES JANSSEN JEROEN GOEIJERS SHELLEY DODSON SHELLEY DODSON CINEMATOGRAPHER STORY/SCREENPLAY PRODUCTION EDITOR LOES JANSSEN HIROKAZU KORE-EDA COMPANY SHELLEY DODSON SALES COMPANY TINY BOT STUDIO STORY/SCREENPLAY LOES JANSSEN SHELLEY DODSON FESTIVALS AND AWARDS FESTIVALS AND AWARDS NOMINATED, 2016 ANNECY INTERNATIONAL ANIMATION FILM FESTIVAL | BEST DUTCH SHORT DOCUMENTARY AWARD, 2016 DOCFEED FILM 2016 MILWAUKEE FILM FESTIVAL FESTIVAL | 2016 GO SHORT INTERNATIONAL FILM FESTIVAL | 2016 TEL AVIV INTERNATIONAL CHILDREN’S FILM FESTIVAL | 2016 FESTIVAL INTERNACIONAL Shelley Dodson
IS
AN
INDEPENDENT
ÞLMMAKER
DE CINE PARA NINOS AND
ANIMATOR
3HE
WAS
A
LEAD
ANIMATOR
ON
THE
FEATURE
ANIMATED
ÞLM
#ONSUMING
3PIRITS
BY
#HRIS
Loes Janssen WAS
BORN
IN

AND
RAISED
IN
3ULLIVAN
FROM

3HE
CURRENTLY
RESIDES
IN
4HE
.ETHERLANDS
3HE
GRADUATED
IN

AS
A
#HICAGO
53Ø DOCUMENTARY
ÞLMMAKER
WITH
HER
GRADUATION
ÞLM
2ADAmS
&RAME FILMOGRAPHY: 5DGD·V)UDPH(2014, Short) FILMOGRAPHY: Animal Landscape (2015, Short) | )LVVXUH5LWXDO(2015, Short) | A Conversation Over Lunch (2006, Short) | 7KH6FDUOHW,ELVDQGWKH3LQN)ODPLQJR (2006, Short) | How the Dodo Became Extinct (2005, Short)

FRANCK DION THE HEAD VANISHES (UNE TÊTE DISPARAÎT)  FRENCH  FRANCE h 9’ G 2016 Like every year on her birthday, Jacqueline has decided to take the train to the seaside. Only this year, she is followed by a strange girl who insists on calling her mom. Soon the trip will take even more unexpected, phantasmagorical turns. Age Recommendation: 12 years and above DIRECTOR PRODUCTIONS, NFB SOUND DESIGN FRANCK DION SALES COMPANY PIERRE YVES PRODUCER(S) PAPY3D DRAPEAU RICHARD VAN DEN PRODUCTIONS STORY/SCREENPLAY BOOM (PAPY3D), CINEMATOGRAPHER FRANCK DION JULIE ROY (NFB) FRANCK DION CAST PRODUCTION EDITOR JEANNIE WALKER COMPANY FRANCK DION PAPY3D FESTIVALS AND AWARDS 2017 FRENCH CESARS | NOMINATED, 2016 ANNECY INTERNATIONALANIMATION FESTIVAL| NOMINATED, 2016 CANNES INTERNATIONAL FILM FESTIVAL ON DISABILITY| NOMINATED,2016 GIFFONI INTERNATIONAL FILM FESTIVAL Franck Dion
WAS
BORN
IN

IN
&RANCE
(E
ÞRST
TOOK
LESSONS
TO
BECOME
AN
ACTOR
IN
THE
ØMERICAN
#ENTER
THEN
IN
THE
n4HÁºTRE
DE
LmØRCHETo
ØT
THE
SAME
TIME
HE
BECAME
PASSIONATE
ABOUT
CINEMA
AND
LEARNED
BY
HIMSELF
TO
SCULPT
TO
DRAW
AND
TO
PAINT
(E
HAS
ALSO
WORKED
WITH
EDITORS
AND
MAGAZINES
DESIGNED
THEATRE
SCENERIES
AND
ANIMATIONS
FOR
DOCUMENTARY
ÞLMS
(IS
ÞLM
%DMOND
WAS
A
$ONKEY
WON
SEVERAL
AWARDS
INCLUDING
THE
#ESAR
ØWARD
FOR
BEST
ÞLM FILMOGRAPHY: (GPRQG:DV$'RQNH\\(2012, Short) TWENTY-THREE



DISCOVERING INDIA THE NEW MEDIUM TWENTY-THREE

3HAINAŸ !NANDŸ Ÿ \"OMBAY Ÿ ISŸ AŸ ÚLMMAKERŸ ANDŸ ARTISTŸ 3HEŸ HASŸ BEENŸ WORKINGŸ INDEPENDENTLYŸ INŸ ÚLMŸ ANDŸ VIDEOŸ SINCEŸ Ÿ ÚRSTŸ ASŸ #HITRA+AR+HANAŸ AŸ SMALL SCALEŸ UNITŸ for experimental media and from 2007 as part of CAMP, a collaborative studio that she co-founded with Ashok Sukumaran. Her primary concerns are in producing images in a way that customary roles of subject, author and technology devolve to produce new arrangements and agencies. As CAMP, they have been producing provocative new work INŸ VIDEOŸ ANDŸ ÚLMŸ ELECTRONICŸ MEDIAŸ ANDŸ PUBLICŸ ARTŸ FORMSŸ SUSTAININGŸ LONGŸ DURATIONŸ ANDŸ SOMETIMESŸLARGEŸSCALEŸARTISTICŸWORKŸ4HEIRŸÚLMSŸANDŸPROJECTSŸOVERŸTHEŸPASTŸDECADEŸHAVEŸ shown how deep technical experimentation and artistic form can meet while extracting new qualities and experiences from contemporary life and materials. From their home base in Chuim village, Mumbai they host the online archives http://Pad.ma and http:// Indiancine.ma among other activities including their roof-top cinema. CAMP’s works have shown extensively including at the MoMA and New Museum, at D/#5-%.4!ŸŸTHEŸBIENNALESŸOFŸ3HARJAHŸ'WANGJUŸ3HANGHAIŸANDŸ+OCHI -UZIRISŸTHEŸ London Film Festival, the Viennale, Anthology Film Archives and the Flaherty Seminar AMONGSTŸOTHERŸMUSEUMSŸANDŸÚLMŸFESTIVALSŸAROUNDŸTHEŸWORLDŸŸ4HEIRŸÚLMOGRAPHYŸINCLUDESŸ From Gulf to Gulf to Gulf (2013), 4HEŸ.EIGHBOURŸBEFOREŸTHEŸ(OUSE (2012), 4HEŸ#OUNTRYŸ OFŸTHEŸ\"LINDŸANDŸ/THERŸ3TORIES (2012) and Captial Circus (2011). In 2015, they presented AŸMAJORŸSURVEYŸOFŸTHEIRŸWORKSŸACROSSŸÚVEŸSOLOŸEXHIBITIONSŸTITLEDŸ!SŸ)FŸ) Ÿ6ŸINŸ+OLKATAŸ$ELHIŸ at the Bhau Daji Lad Museum, Gallery Chemould, and Clark House, Mumbai. Shaina Anand is also founding trustee of the Indian Cinema Foundation

CURATORIAL NOTE SHAINA ANAND When the moving image came into being it was seen as containing interplanetary travels, biting social commentary, the seventh art, an alchemical medium with the potential and literally out of this world concert performances. Circulating to transform the spatial arts: architecture, sculpture and FORŸ YEARSŸ ONŸ 6(3Ÿ BOOTLEGSŸ ITŸ WASŸ DIGITALLYŸ RE RELEASEDŸ TOŸ painting, and the temporal arts: music, poetry and dance. COMMEMORATEŸTHEŸÚŸLMSŸTHŸANNIVERSARYŸINŸ The philosopher Alain Badiou in his recent volume on cinema CALLSŸITŸTHEŸMOSTŸIMPUREŸARTŸFORMŸTHEŸPLACEŸWHEREŸIMPOSSIBLEŸ ,ISŸ 2HODESŸ SETŸ UPŸ THEŸ FEMINISTŸ DISTRIBUTIONŸ ANDŸ ڟLMMAKINGŸ movements within and across the arts can happen. And in collective Circles around the same time she made Light Music whose short life, no more than a century and quarter old, we (1975), a work of expanded cinema where the images she have felt as an audience the double effects of anonymous DRAWSŸONŸTHEŸOPTICALŸSOUNDTRACKŸBECOMEŸTHEŸVISUALSŸOFŸTHEŸÚŸLMŸ escapes into the dark room, as well as unforgettable shared 3HEŸWASŸINTERVENINGŸWITHŸHERŸÚŸLMŸFORMŸINTOŸTHEŸWORLDŸOFŸMALE DOMINATEDŸMUSICŸCOMPOSERSŸ6IEWERSŸBECOMEŸPERFORMERSŸINŸ experiences. THISŸCLASSICŸŸMMŸDUALŸPROJECTIONŸOFŸLIGHTŸSOUNDŸANDŸFOGŸŸ4WOŸ The New Medium will scour cinema’s living history and take ڟLMSŸSETŸINŸ\"RAHMIN DOMINATEDŸVILLAGESŸANDŸÚŸLMEDŸAROUNDŸTHEŸ USŸ THROUGHŸ SPACEŸ ANDŸ TIMEŸ TOŸ EXPERIENCEŸ ڟRST HANDŸ SOMEŸ same time, approach the medium in startlingly unique ways of its more inventive moments, as a medium of expression and become urgent cogitations on caste. In Chhatrabhang and exchange. Where better to begin, than the audacious (The Divine Plan,1975), Nina Shivdasani Rovshen reenacts the Man with the Movie Camera (1929). “This experimental work scenario leading up to a real-life incident in rural Maharashtra ROwViAtEhRŸNTpHeEIoŸ pUOSleEŸNoOfFŸ AŸ VILLAGEŸ WELLŸ BYŸ NEO BUDDHISTSŸ BUTŸ ڟLMSŸ ITŸ aims at creating a steruplayraintitoenrnfarotimontahl elalanngguuaRaggeAe ooSff HcthineIeamDtrea I Jogia in Eastern Uttar Pradesh, mixing in based on its actual ANDŸ LITERATUREsŸ SAYSŸ THEŸ OPENINGŸ TITLEŸ OFŸ 6ERTOVSŸ @+INOŸ %YEŸ classic. We bring it to you fresh as ever, newly restored and JIA ZHANGKEaccompanied with live music from Ukraine. There is a meta- documentary, voice-over and the poetry of a mill worker. John Abraham’s second feature Agraharathil Kazuthai (Donkey in a Brahmin Village, 1976) takes on caste and bigotry by turning narrative in the fantastical Kalpana (ImaginationŸ ŸMADEŸ an anthropological gaze onto Brahmin rituals into a surrealistic for a newly formed post-colonial nation anticipating a cultural and tragic-comic fable that features the donkey as the lead renaissance. Adapting classical dance for the cinema, Uday character. Shankar creates a parable in the form of a proposal - to make 4HEŸ 2USSIANŸ NOVELŸ HASŸ IN۟UENCEDŸ GREATLYŸ TWOŸ OFŸ THEŸ MOSTŸ eA)TŸxŸÚWpŸLMeArSŸiŸAmABŸeCOnAUtTTaCŸtHHioI SnŸViInŸSSIOItThNUeŸAFOaTIrROtŸsPN.ANŸT)RŸoOWwNAANlGeTEgEaDŸPlŸlyTEODoŸASuEGt EOoŸGfBYcOŸoATpNHyDŸTrŸiHgCERhEŸtÚAŸaLTMInVdESŸŸ pavoalnitti-cgaalrlydeasatuutteeurcshfrroonmicoleurr osifdemoofdethren-wdaoyrldC. hMinaan.i LKiakuel bpelaloyninggintghaint ethveenpiunbglicind2o0m0a3ina,tKthalepafensat’sivqaul einstTfroivrafrnederduomm, tBfaohdEreaTtWpelatlEestEevDiNsoAiŸosDbtnoObseCatvUassrMkrKiynEi’asgNrITodSAishoRtaYtahŸimnArutNiok,DhZaŸ KhÚmŸhaCiaTnnIngOi-sNakeneŸrTdiHheosRaOvsaeUnbrGdl5Hua0OrnroUeetTdhxŸepHtreIhSareŸicmTtWloienrOnse t. aKnedraglae.neBruotusdpuaetrtoonatghee cvoangtianruieestoofdastceh,eadnudliwnegd(othoeurtwboit dWeecbardinegs-ylooungthceafroeuer-rp. art Ahmaq (1992) as a single four-hour btiytlepsresweenrteingsliat tinedfulalytrethsteoresadmspeletnimdoeu)r.I had to choose &03FpBTEEHvRIrLeANEAoOoaTŸŸTtMl#UrŸFPruOaRatAIŸEcTiRnHSoYtMŸTdeInŸ4ŸSdTŸHŸGWoڟEŸcfOoR-ŸiSnaŸlNdTYOe OŸFEŸemTUA WiAŸnWTlNNiŸRaHpOSPDLTRAiaiRŸŸnOŸoOUINnToNUnOLdPAISGÚOFRŸTfŸCwoRKOHa-AŸŸriŸmŸ,TTnTHEAOtAIniVIhNlVYSŸeyEOeŸŸŸŸrM$ŸYN$(t2FEohIEEOEA0AfrŸAZ0SPOeRtSTT4heŸFAUŸŸM)ŸReHT,RREfOTEeIwAGCSŸŸaSShŸMEDToŸtiENuclAO0dRrThKŸeCIŸeOCÚEUsŸbnKFŸL ŸMeHhPŸÚLLOŸgIe:OSCSeNiŸŸHTnoChÚGI!ŸAsKOpaRŸSNEsŸaTNo4TAGTrŸŸmnOdHKFŸKEEU,Ya1EASBSCd6ŸŸTHiRmAeUHlIvŸNDRAOemEiDn SSrFŸŸŸŸŸŸ between Jafar Panahi’s Crimson Gold and Jia Zhangke’s oANffDeŸrEeNdDaSŸuINnŸiqMuINeI$p6erŸsRUpNeScŸtFiOvReŸ CoLOnSaEŸtrTOanŸ EsLiEtiVoEnNaŸ lHgOeUnRSeŸ rAaNtDioŸ InSŸ wsehtoinseacroumraml voilnlapgleactehaltiviesslievivnogkeouutnMivaerrcsoasl’rteesnonyeaanrc-leo.ng PUrnekcnedoiwngn Ptlheeasmuruessic. I vciudresoedgmenyrelucbkyantwdeenvtyenyeinadrsu, lgaendd FinORMthAeLLYcŸhINilÛdŸUhEoNoCIdNGhŸ aTHbEiŸtTohfirdscCaninneimnga tMheovpemosetnetr,sStaonthiaeglpo :liemHapAvoeNsGyitoKioEunScŸhoڟafLMnmgSaeŸrHdtiA.aVl ElaŸwB.EWENaŸtAcŸhHUitGinEŸoDnReAWgŸoWiIfTHyoŸOuUcRaŸVnI,EiWt EwRilSlŸ Amlveardeez’csiNdeo.w!E(v1e9n65tu),amllya,dIesmetotsletlydwfiothr stthilel pPhoatnoaghria.pIhhs,aisvea whenever they were showcased at the previous editions vailswcearyasl raengdrehtatuendtinthgadtodceucmiseionnt o, ef srapceiscmiaallnydsipnocleicUenbkruntoawlitny oThf reMe AwMorIk.s Lfraosmt 2y0e1a4r, cafepstthivealc-ognoteerms powrearrey shpoarreticouf laTrhley iPnlethaesuUrneistewdaSstanteevs,eirtssccarelletoneadctiionnInmdoiareargelaeivna.nUt nntoilwn!othwa.n tNherwilleMdetdoiusmeeprWogarlatmermSea.llePhs’isllipdoWcaurmneelnl’staMryinpgoorftrHaaitr,leJmia: EVERŸ BEFOREŸ 4HIRDŸ #INEMAŸ WASŸ ALSOŸ ANŸ IN۟UENCEŸ ONŸ &RENCHŸ 2ZCiTltiwvLshAIiPneJahŸgnSne+tgaŸAyind:kPOeHOaa:AnsONeNARwGŸYSeAGKtSaEoeuŸpŸrxAyeaRpŸEyrfYestCrmOroOiineUmeLLnNnEtchGtCFe.eSTeJSTtnAeEŸhySaiRerŸEanItlnE-NiuLfgIŸeruNnH.cGosIISŸfnGwŸSaHoiOolOddtMniMlgaiefEreedEŸroTOpOabfhFnrWtŸoidhnTNtHegoŸaEsAgniŸnNruÚaatDŸspLelMlŸihargEvySaVi3ŸetEo-OowDNnrFŸŸ CTIhNiEsAySTeEaSrŸ AJNiaDŸZWhHaEnNgŸ #keH’RsIStŸ h-irAdRKfEeRŸaFtOuRMreEiDsŸ 3in,c/lu.dŸ e3dOCaIEmTYoŸnFOgRŸ hsuubmtesrfusngaetwchitehshisofGothoedb“yAewtoaaLarangHuaogoen,”putlulinnge ofuror meyetshien tohuerLtariubnuctheinsgcroefeNneinwgOs feourvorense) aonfdthberomugohstt teoxgceittihnegr tcainleenmtas dicioffenriecn1t 9d5ir1ecmtioonvsi,ee.xSpienrcimeencotin-fgouwnitdhinDgIY t3h-eD rpigros,dGuoct-iPoron GINRŸECAOTSNŸ*TOERMISŸP)VOERNASRYŸ7Ÿ CILILNIAEMMŸ+ALEŸI4NHŸ#EŸLAOUNDGEOŸ,IENLGOŸU*CIHOŸŸ!-G!NÅ-SŸ)6ŸARDTAHŸŸ HcoOMmEpŸaVInDyEOXSsŸAtNreDaŸm DŸPGiRcAtPuHrIeCsSŸ!inND2Ÿ0ڟ0N3A,LLYZŸ(hAaRnUgNŸk&eAROhCaKsIŸaWlHsoOŸ AMlauimn bReasinFaiilsmanFdeJsteiavna-lLwucithGoSdtaarrdwtoillcaollsleoctcivoenlyfearuathorircFhalyr ApÚbŸŸLaeMNseEsSneWŸBdŸiHYnaŸIsSGwtTIOraFuTRyEYmŸDsOeoŸFNnoŸ ETtnHaWElaŸŸDfiCtneIORrEMbCmPrTiUOnaTkgRESiniRŸn LgIGgKEEPNtŸa*oErIaREAlflŸrTe(EulDAitIŸN-ioIIMŸVn7,AlGaAeELaKnŸvIIeuNNsŸmGGŸubOAsMNewŸrITNHiotGEhfŸŸ fdroemserVvieetdnaInmtŸernati oŸnTHaElYEŸ AxFcڟeRMlleEnDcŸ geBiYnŸ THCEinŸ EeXmERaCISAEwŸ OaFrŸdTHEtoIRŸ CWOiMldINSGiŸdFUeL,LŸ2C0IR0CL6E)Ÿ FaRnOdMŸHTHaEnŸyCiEZLEhBaRnATgIO(NLŸifOeFŸA6EftReTOrVLSiŸfeAL,L 2SE0E1I6N)G. Ÿ CthRAeFTCŸThHiEnIReŸsSOeLIDmAaRIsTtYeŸWr ITfHoŸrTHhEiŸs6oIEuTNtsAtManESdEinŸPgEObPoLEdŸyINoŸSfTRwUGoGrkLE.Ÿ machine eye. aCginaeinpsthailgegsrwesilslioanls”o. gWeet tphreesoenptptohreturensittoyrteodpvaerrstiiocinpoaftethiins While promising to remain loyal to cinema and to IaMMPOaRsTtAeNrTcŸPlaOsLIsTICwAhLŸiÚcŸLhMwŸ ill be conducted by the illustrious FWvNiaEeerXwoTcdŸekGeris.dE,NicJEaiRtaeATZItOhhNiasŸnOegFdkŸ #ietiHohInNaEsoSfeEnTŸ ÚchŸLaeMpMNsueAlawKEteRMSdŸeBhdYisiŸuAmfSaSiEtthRoTIiNHnGatrŸhugen)Ÿ producer-writer-director during the course of the festival do not believe that you can predict our future”. )aOWNFEpŸŸEa#rKaHsŸI!ŸNiTtHeEŸPESoŸRE#EnŸA tÚETŸhALMMeLAINsŸNhŸMÚEoŸLNMAoTKtŸMiÚEnŸGARgSKUoEŸRRfE:Ÿ0tŸHhAEAeMRENTOŸG0eNKOcGhERTnŸASTiHŸBcPEoEŸlLRoA3IMŸuIBXrEATCHCRYOŸo'ŸMuFEnOENtCSEDŸUHRSrIAMaŸTcHISuOEAlNaLSFŸŸŸ SbTeAReRnINGoŸn#aHRcISiTnOePmHEaRtŸi,cErEeŸpArNeDsŸeڟLnMtaSŸtAioŸSnILEoNfThŸBisEHcIoNuDn TtHryE’ sSCpEoNsEtS-Ÿ ÚMŸLMaoŸINaŸnCOdNpTRoASsTtY-ŸgBlLoAbCKaŸlAizNaDtŸiWonHITcEuŸltVuarmalphirisCtuoaryd.ecuc (1970), a relatively unknown cult work is now restored, and presents at OHNisCEhŸAigŸPhSlyYCdHOisLtOinGcICtAivLŸeIMsMtyEleRSI-ONaŸOmNŸixTHEoŸfMloAKnIgNG-sŸhOoFŸÚtŸ,LMsiSnŸgAlNeD-Ÿ atankaellecgoomricpaol ssiptiinonosn, thlaenddiscctaatpoershtiapbolef aFuraxn,cod.irSepcatcesoisutnhde Panladce blarin ŸgSTARpRIoNpGŸTHmEuŸJAsZicZŸLE-GEcNoDmŸ3bUiNnŸ2eAdŸANwDiŸtHhISŸ)NaTEhRGuAmLAaCnTIeCŸ AScOorkCneIcEsetTrYranŸ HifsAoVraEnŸthEeALEfrVwoAo-TFErukDtiunŸ r:gisHtcAlNBaGlsasKxEpaŸlonINidtTaOtpiŸooAnoŸ SrSeIGcriNesInÚeŸcCceAtiNoFTniŸcsAtiNooDnfŸ 259 TWENTY-THREE

DZIGA VERTOV MAN WITH A MOVIE CAMERA (CHELOVEK S KINO-APPARATOM)  SILENT  RUSSIA h 68’ G 1929 DIRECTOR ']LJD9HUWRYZDVWKHÀUVWWRFRQVLGHUÀOPQRWDVDWKHDWULFDOSHUIRUPDQFH DZIGA VERTOV RU D KLVWRULFDO GRFXPHQW EXW DV DQ LQGHSHQGHQW DUWHIDFW 7KH ÀOP VKRW PRODUCTION LQ0RVFRZ.LHYDQG2GHVVDLVDDERXWWKHSURFHVVRIÀOPPDNLQJ³WKH COMPANY camera is the subject and the object at the same time, and functions as VUFKU DQH[WHQVLRQRIWKHH\\HVRIWKHÀOPPDNHU7KHUHVWRUHGYHUVLRQLVGUDZQ CINEMATOGRAPHER from the full-frame 35mm print that Vertov used on his tours, allowing MICHAEL KAUFFMAN us to appreciate Mikhail Kaufman’s (Vertovs brother) Constructivist STORY/SCREENPLAY compositions as he had originally framed them and Yelizaveta Svilova’s DZIGA VERTOV (his wife) dataset editing that rivals anything non-linear we have seen. CAST Sight & Sound has named it the best documentary of all time. MICHAEL KAUFFMAN Sources: Joshua Siegal, Mónica Savirón FESTIVALS AND AWARDS CINEMA EYE HONORS AWARD, 2014 USA FILMOGRAPHY Dziga Vertov ZDV D GLUHFWRU VFUHHQZULWHU DQG WKHRUHWLFLDQ RI GRFXPHQWDU\\ ÀOPRQH Kazakhstan for the Front! RI WKH FUHDWRUV RI LWV ODQJXDJH 9HUWRY·V ÀOPV UHPDLQ PRGHOV IRU JHQHUDWLRQV RI (1954) GRFXPHQWDU\\ÀOPPDNHUV+LVÀOPLQJSUDFWLFHVDQGWKHRULHVLQÁXHQFHGWKHFLQpPDYpULWp Three Heroines(1938) VW\\OH RI GRFXPHQWDU\\ PRYLHPDNLQJ DQG WKH ']LJD9HUWRY *URXS D UDGLFDO ÀOPPDNLQJ Enthusiasm(1930) FRRSHUDWLYH ZKLFK ZDV DFWLYH LQ WKH V ,Q 8NUDLQLDQ G]LJD PHDQV ZKLUOLJLJ ZKLOH YHUWRYFRPHVIURPWKHYHUEVSLQ7KHWZRIRUPVRPHWKLQJOLNH´WKHVSLQQLQJZKLUOLJLJµD QDPHWKDWZDVHQWLUHO\\ÀWWLQJIRUWKHPDQZKRERUHLW0LNKDLO.DXIPDQZHUHDOVRQRWHG ÀOPPDNHUVDVZDVKLVVHFRQGZLIH(OL]DYHWD6YLORYD,Q8NUDLQLDQG]LJDPHDQVZKLUOLJLJ VSLQQLQJWRSZKLOHYHUWRYFRPHVIURPWKHYHUEVSLQ7KHWZRIRUPVRPHWKLQJOLNH´WKH VSLQQLQJZKLUOLJLJµDQDPHWKDWZDVHQWLUHO\\ÀWWLQJIRUWKHPDQZKRERUHLW 260

UDAY SHANKAR IMAGINATION (KALPANA)  THE NEW MEDIUM HINDI  INDIA h 155’ G 1948 DIRECTOR STORY/SCREENPLAY Kalpana LV RQH RI WKH IHZ UHDO´GDQFH ÀOPVµ ² LQ RWKHU ZRUGV D ÀOP WKDW UDAY SHANKAR UDAY SHANKAR, doesn’t just include dance sequences, but whose primary physical vocabulary PRODUCTION AMRITLAL NAGAR LVGDQFH)RUDÀUVWDQGRQO\\ÀOPE\\DGDQFHUZKRDOVRSOD\\VWKHOHDGUROH COMPANY CAST Kalpana shows an amazing grasp of cinematic form.Here dance is not a mere STAGE AND SCREEN UDAY SHANKAR, AMALA DGGLWLRQWRWKHRWKHUDWWUDFWLRQVRIWKHÀOPEXWLWLVLQWHJUDWHGLQWRWKHYHU\\ PRODUCTIONS UDAY SHANKAR, fabric of what is almost a new cinematic form. The narrative of the surreal CINEMATOGRAPHER LAKHMT KANTA, DR. fantasy is embedded within a framing story of a writer narrating a story to K. RAMNOTH G.V. SUBBARAO, BRIJO DÀOPSURGXFHUZKRHYHQWXDOO\\GHFOLQHVWRPDNHWKHPRYLH7KHZULWHUWHOOV EDITOR BEHARI BANERJI RI 8GD\\DQ·V GUHDP RI HVWDEOLVKLQJ DQ DUW FHQWUH .DODNHQGUD D ÀFWLRQDO N.K. GOPAL equivalent of Shankar’s India Cultural Centre at Almora). Shot in the Gemini Studios in Madras, this ode to creative imagination mobilises the vocabulary ACKNOWLEDGEMENTS of traditional dancing, which doubles as a metaphor for the dreams invested in the newly independent India. Sources: indiancine.ma, World Cinema Foundation and Martin Scorsese WORLD CINEMA FOUNDATION Uday ShankarZDVDFNQRZOHGJHGDVDPDMRUÀJXUHLQWKHKLVWRU\\RI,QGLDQGDQFH+HKDGGRQH SLRQHHULQJ ZRUN E\\ OLEHUDWLQJ ,QGLDQ GDQFH IURP VWXՔ\\ DQG HVRWHULF FRQYHQWLRQ DQG FUHDWHG a new form, classical in spirit, but innovative and free. His synthesis of western theatrical WHFKQLTXHVDQG,QGLDQGDQFHPDGHKLVDUWKXJHO\\SRSXODUERWKLQ,QGLDDQGWKH:HVW,QKH HVWDEOLVKHG´8GD\\6KDQNDU,QGLD&XOWXUDO&HQWUHµDW$OPRUDLQWKH+LPDOD\\DVDQGDVVHPEOHG DQ LPSUHVVLYH JURXS RI JLIWHG DUWLVWV ² PXVLFLDQV GDQFHUV JXUXV  WR MRLQ KLP +LV VWXGHQWV LQFOXGHGKLVEURWKHU5DYL6KDQNDUDQGIXWXUHÀOPPDNHU*XUX'XWWZKRZRUNHGDVDQDVVLVWDQW RQ.DOSDQD$IWHUWKHFORVXUHRIWKHDFDGHP\\LQWKHHDUO\\V6KDQNDUVWDUWHGSUHSDUDWLRQVRQ WKLVRQHDQGRQO\\ÀOPPDQ\\\\HDUVLQWKHPDNLQJ 261 TWENTY-THREE

SANTIAGO ALVAREZ NOW!  ENGLISH  CUBA h 5’ G 1965 DIRECTOR Using mostly photographs clipped from American magazines such as Life, SANTIAGO ALVAREZ Álvarez creates a dynamic montage of images in juxtaposition with the CAST O\\ULFVRI´1RZµVXQJE\\/HQD+RUQHWRWKHWXQHRIWKH-HZLVKIRONVRQJ´+DYD LENA HORNE 1DJLODµ7KHUHVXOWLQJÀOPZKLFKLVWKHH[DFWOHQJWKRIWKHUHFRUGHGVRQJLV a remarkable precursor to the music video format, 20 years ahead of its time, presenting a vivid critique of racism in the U.S. and as a call for action. In North America where Lena Horne’s recording of NOW! was banned, the HՔHFWRQFROOHJHDXGLHQFHVDQGOHIWSROLWLFDOJURXSVZDVSURIRXQGÉOYDUH]· UHMXYHQDWLRQ RI 6RYLHW PRQWDJH DQG SDPSKOHWHHULQJ FOHDUO\\ LQÁXHQFHG Jean Luc-Godard, as well as the Argentinians Solanas/Getino and the Third Cinema Movement. FESTIVALS AND AWARDS GOLDEN DOVE, DOK LEIPZIG 1965 Santiago Álvarez  ZDV D &XEDQ ÀOPPDNHU +H ZURWH DQG GLUHFWHG PDQ\\ FILMOGRAPHY GRFXPHQWDULHVDERXW&XEDQDQG$PHULFDQFXOWXUH+LV´QHUYRXVPRQWDJHµWHFKQLTXHRIXVLQJ El sueño del pongo (1970) ´IRXQG PDWHULDOVµ VXFK DV +ROO\\ZRRG PRYLH FOLSV FDUWRRQV DQG SKRWRJUDSKV LV FRQVLGHUHG 79 Primaveras (1969) D SUHFXUVRU WR WKH PRGHUQ YLGHR FOLS  $IWHU WKH &XEDQ 5HYROXWLRQ KH EHFDPH D IRXQGLQJ Hanoi Tuesday 13th (1968) PHPEHURIWKH&XEDQ)LOP,QVWLWXWH,&$,&DQGGLUHFWHGLWVZHHNO\\/DWLQ$PHULFDQ1HZVUHHO 7KHVHFRQGFKDSWHURI)UHQFKGLUHFWRU-HDQ/XF*RGDUG·V+LVWRLUHVGXFLQpPDLVGHGLFDWHG WRÉOYDUH]DPRQJVWRWKHUV EERHT-YTNEWT

JORIS IVENS, WILLIAM KLEIN, CLAUDE LELOUCH, THE NEW MEDIUM AGNES VARDA, JEAN-LUC GODARD, CHRIS MARKER, ALAIN RESNAIS FAR FROM VIETNAM (LOIN DU VIETNAM)  FRENCH  FRANCE h 115’ G 1967 DIRECTOR EDITOR $ WUXO\\ FROODERUDWLYH HՔRUW WKH ÀOP EULQJV WRJHWKHU DQ DUUD\\ RI JORIS IVENS, WILLIAM JACQUES MAPIEL stylistically disparate contributions, none individually credited, under a KLEIN, CLAUDE STORY/SCREENPLAY XQLÀHG HGLWRULDO YLVLRQ7KH HOHPHQWV VSDQ GRFXPHQWDU\\ IRRWDJH VKRW LELOUCH, AGNES JEAN LUC GODARD, in North and South Vietnam and at anti-war demonstrations in the VARDA, JEAN-LUC CHRIS MARKER, 8QLWHG6WDWHVDÀFWLRQDOYLJQHWWHDQGDPRQRORJXHWKDWGUDPDWL]HWKH GODARD, CHRIS JACQUES STERNBERG VHOILQWHUURJDWLRQRI(XURSHDQLQWHOOHFWXDOVLQWHUYLHZVZLWK)LGHO&DVWUR MARKER, ALAIN CAST DQG $QQH 0RUULVRQ ZLGRZ RI 1RUPDQ 0RUULVRQ WKH 4XDNHU SDFLÀVW RESNAIS ANNE BELLEC, KAREN ZKREXUQHGKLPVHOIDOLYHLQIURQWRIWKH3HQWDJRQLQDQKLVWRULFDO PRODUCER BLANGUERON, RYHUYLHZRIWKHFRQÁLFWUHÁHFWLRQVIURP)UHQFKMRXUQDOLVW0LFKqOH5D\\ SLON BERNARD FREESON and a range of repurposed media material. Passionately critical and self- CINEMATOGRAPHER FULWLFDODQGDVEROGLQIRUPDVLWLVLQUKHWRULFWKHÀOPLVDPLOHVWRQHLQ JEAN BOFFETY, DENYS political documentary and in the French cinema. Courtesy: Icarus Films CLERVAL, GHISLAIN CLOQUET, WILLY 1967 CANNES FILM FESTIVAL | 1967 NEW YORK FILM FESTIVAL KURANT, ALAIN LEVENT, KIEU THAM, BERNARD 6L[ UHYROXWLRQDU\\ ÀOPPDNHUV IURP )UDQFH·V 1HZ :DYH HUD FRPH WRJHWKHU XQGHU WKH ZITZERMANN HՔRUWV RI &KULV 0DUNHU DQG KLV DFWLYLVW JURXS  6/21 6RFLpWp SRXU OH /DQFHPHQW GHV Oeuvres Nouvelles) and collectively author this documentary to demonstrate their FESTIVALS AND AWARDS FROOHFWLYH FRQWHPSW IRU WKH 9LHWQDP :DU  ,W FRXOG EH ERWK WKH PRVW HORTXHQW DQG UDQNOLQJSURWHVWÀOPHYHUPDGHEXWLWKDVJRQHXQVHHQIRUVRORQJWKDWRQO\\FLQpDVWHV DQG1HZ:DYHDÀFLRQDGRVUHPHPEHUHGWRKRSHIRULWVUHDSSHDUDQFH 263

PERE PORTABELLA VAMPIR – CUADECUC (WORMTAIL, VAMPIRE)  ENGLISH  SPAIN h 66’ G 1970 DIRECTOR STORY/SCREENPLAY $ NH\\ ÀOP LQ XQGHUVWDQGLQJ WKH WUDQVLWLRQ LQ WKH 6SDQLVK ÀOP ZRUOG IURP WKH PERE PORTABELLA PERE PORTABELLA, period of the \"new cinemas\" (permitted by the Franco government) towards PRODUCER(S) JOAN BROSSA the illegal, clandestine or openly antagonistic practices against the Franco PERE PORTABELLA CAST UHJLPH,WFRQVLVWVRIVKRRWLQJWKHÀOPLQJRIDFRPPHUFLDOÀOP(OFRQGH'UiFXOD PRODUCTION CHRISTOPHER LEE, by Jesús Franco. Portabella practices two types of violence on the standard COMPANY HERBERT LOM, narrative: he eliminates colour and substitutes the soundtrack with a landscape FILMS 59 - PERE SOLEDAD MIRANDA, of image-sound collisions by Carles Santos. Filmed provocatively on 16mm and PORTABELLA JACK TAYLOR, MARIA with sound negative, the tensions between black and white favour the strange CINEMATOGRAPHER ROHM, FRED WILLIAMS, \"fantasmatic materialism\" of this revealing analysis of the construction of the MANEL ESTEBAN PAUL MULLER, magic in dominant narrative cinema. A political fable in which Christopher Lee EDITOR JEANNINE MESTRE lends his features to another vampire, General Franco, hoping to hasten his end. PERE PORTABELLA :LWKLQSXWVIURPÀOPVDQG-HDQ3LHUUH5HKP FESTIVALS AND AWARDS 1971 CANNES INTERNATIONAL FILM FESTIVAL FILMOGRAPHY Pere Portabella was born in 1927 in Figueres. He remained politically committed to all General Report II The New the movements concerned against the dictatorship of Francisco Franco from the 1960s. Abduction of Europe. (2015) $VDÀOPGLUHFWRUKHPDNHVKLVFUHDWLRQVE\\EULQJLQJWRJHWKHUWKHOHJDF\\RIWKHDYDQW Die stille vor Bach (2007) JDUGH FXOWXUH DQG KLV VHDUFK WR EUHDFK WKH ERXQGDULHV RI ODQJXDJHV +LV ZRUNV KDYH Pont de Varsovia (1989) EHHQ H[KLELWHG DW &DQQHV 9HQLFH 0XVHXP RI 0RGHUQ $UW 0R0$ &HQWUH 3RPSLGRX Vampir-Cuadecuc (1970) 7DWH 0RGHUQ DQG 'RFXPHQWD .DVVHO DPRQJVW RWKHU PXVHXPV DQG LQWHUQDWLRQDO ÀOP Nocturno 29 (1968) festivals around the world. No compteu amb els dits (1967)

JOHN CONEY THE NEW MEDIUM SPACE IS THE PLACE  ENGLISH  USA h 82’ G 1974 DIRECTOR EDITOR 6FLHQFH ÀFWLRQ EOD[SORLWDWLRQ FRVPLF IUHHMD]] DQG UDGLFDO UDFH SROLWLFV JOHN CONEY BARBARA POKRAS (AS combine when Sun Ra returns to earth in his music-powered space ship PRODUCER(S) BARBARA PROGRESS) WREDWWOHIRUWKHIXWXUHRIWKHEODFNUDFHDQGRՔHUDQDOWHUGHVWLQ\\WRWKRVH JIM NEWMAN STORY/SCREENPLAY who would join him. Intentionally created as an homage to the low-budget PRODUCTION JOSHUA SMITH, SUN RA VFLHQFHÀFWLRQÀOPVRIWKHVDQGV6SDFH,VWKH3ODFH became a visual COMPANY CAST embodiment of Sun Ra'sAfro-Egyptian myth of salvation in outer space.The NORTH AMERICAN STAR BARBARA DELONEY, VSHFLDOHՔHFWVRXWUDJHRXVSORWOLQHDQGDSRFDO\\SWLFPHVVDJHKDUPRQL]H SYSTEM SUN RA, RAYMOND with the otherworldly score and a climactic live performance by one of the CINEMATOGRAPHER JOHNSON most innovative and profound groups in jazz history. This is the director’s SETH HILL FXW RI WKH  ÀOP SURGXFWLRQ UHVWRUHG WR LWV RULJLQDO  PLQXWH OHQJWK Courtesy Jim Newman FILMOGRAPHY John Coney (1935, Austin) started his career in the early days of public television. In 'Dilexi' KHEHJDQZRUNZLWK3URGXFHU-LP1HZPDQRQDVHULHVFDOOHG´'LOH[LµWKHQDPHRI (1969, Broadcast Television) 1HZPDQ·VSULYDWHDUWJDOOHU\\IURPWR1HZPDQZDQWHGWRXVHWHOHYLVLRQDVD vehicle to allow artists to reach a broader public and together they commissioned twelve DUWLVWVWRFUHDWH79SURJUDPPLQJZLWKQRVWULQJV7KHOLVWLQFOXGHGGDQFHUV$QQD+DOSULQ DQG <YRQQH 5DLQHU YLVXDO DUWLVWV $QG\\ :DUKRO DQG 3KLOLS 0DNDQQD FRPSRVHUV 7HUU\\ 5LOH\\ DQG )UDQN =DSSD ÀOPPDNHU 5REHUW 1HOVRQ WKHDWHU GLUHFWRUV  1HZPDQ DQG &RQH\\EHJDQFROODERUDWLQJRQD\\HWWREHGHÀQHGÀOPSURMHFWZLWK6XQ5D7KLVHYROYHG into Space is the Place, completed in 1974. 265

LIS RHODES LIGHT MUSIC DUAL PROJECTION  UK h VARIABLE G 1975-77 DIRECTOR TYPE In Light Music, an expanded cinema work for two 16mm projectors and sound LIS RHODES 16MM, DUAL system, Lis Rhodes interweaves cinematic practices with a range of topics CINEMATOGRAPHER PROJECTION, from gender politics to phenomenological experience. This work was the LIS RHODES LIGHTS AND artist’s reaction to what she perceives as a lack of interest and appreciation SOUND DESIGN FOG of European women composers. Playing with our preconception of film LIS RHODES Rhodes presents the soundtrack as a series of horizontal and vertical lines that are drawn with pen and ink on the optical edge of the filmstrip. These EXHIBITIONS & SCREENINGS are projected onto two opposite facing screens in a hazy room. As the films roll, they appear as an ‘optical soundtrack’. What the viewer hears, on the FILMOGRAPHY other hand, is the audible equivalent of the alternating images on the screens. Whitehall (2012) The space between the two screens turns the beams into airy sculptural In the Kettle (2010) forms consisting of light, shadow and smoke, which encourages the viewer A Cold Draft (1988) to move around the room destroying conventional film watching codes and Light Reading (1978) intervening into the work. With excerpts by Deren Erelçin Dresden Dynamo (1972) INSTITUTE OF CONTEMPORARY ARTS, LONDON, 2012 | LIGHT MUSIC: TATE MODERN 2012-13 Lis Rhodes is an artist who lives in London, UK. Her films have been screened internationally since the mid-1970s. Her solo exhibition ‘Dissonance and Disturbance’ was held at London’s Institute of Contemporary Arts earlier this year. Among other shows, her work was included in ‘In Person’, Film Museum, Vienna, Austria (2010); the 47th New York Film Festival, USA (2009); and ‘WACK!: Art and The Feminist Revolution’, Museum of Contemporary Art, Los Angeles, USA (2007). Her expanded cinema work, Light Music (1975), was shown at Tate Modern, London, from 17 July – 28 October 2012.

NINA SHIVDASANI THE DIVINE PLAN (CHHATRABHANG)  THE NEW MEDIUM HINDI  INDIA h 80’ G 1976 DIRECTOR With a simple narrative that unravels in a direct yet poetic manner, NINA SHIVDASANI ‘Chhatrabhang’ explores the caste dynamics of a drought stricken PRODUCTION village in rural India. Filmed entirely with a cast of real villagers, this bold COMPANY ÀOPKDVDQLQKHUHQWO\\GLVDUPLQJDUWLVWLFDQGKXPDQLQWHJULW\\7KHIRFXV VASHKETU RIWKHVWRU\\LVWKHÀFWLRQDOUHFRQVWUXFWLRQRIDUHDOOLIHHSLVRGHLQZKLFK FOUNDATION Harijans confront Brahmin elites and eventually the police, when their CAST ZHOO GULHV XS7KLV  PLQ PP FRORXU ÀOP ZDV VKRW E\\$. %LU RYHU AMRISH PURI D SHULRG RI  GD\\V DQG HGLWHG RYHU SHULRG RI D \\HDU E\\ WKH ÀOPPDNHU KHUVHOI 7KH ÀOP ZDV PDGH ZLWKLQ 5V  ODNKV DQG KDV UDUHO\\ EHHQ FESTIVALS AND AWARDS screened in India. Courtesy: Shai Heredia FIPRESCI PRIZE, BERLINALE 1975 FILMOGRAPHY Nina Shivdasani RovshenDND1LQD6XJDWL65VWXGLHGSDLQWLQJDQGÀOPPDNLQJLQ Breaking Ground &DODUWV LQ  6KH LV SUREDEO\\ WKH ÀUVW ,QGLDQ ZRPDQ GLUHFWRU RI H[SHULPHQWDO ÀOPV A World of All Intelligence $IWHU IRXU VKRUW ÀOPV WKLV ZDV KHU ÀUVW DQG WKXV IDU RQO\\ IHDWXUHOHQJWK ZRUN DQG WKH )LUVW,QGLDQÀOPWRZLQWKH,QWHUQDWLRQDO)LSUHVFLFULWLFVDZDUG 267

JOHN ABRAHAM DONKEY IN A BRAHMIN VILLAGE (AAGRAHARATHIL KAZHUTHAI)  TAMIL  INDIA h 90’ G 1977 DIRECTOR STORY/SCREENPLAY Abraham’s 2nd feature, his only one in Tamil, is an acid satire told in an JOHN ABRAHAM JOHN ABRAHAM, innovative, surreal narrative style making excellent use of repetitions for PRODUCER(S) VENKAT SWAMINATHAN FRPLFHՔHFWRQEUDKPLQLFDOELJRWU\\DQGVXSHUVWLWLRQ$OWKRXJK%UDKPLQ JOHN ABRAHAM, CAST HOLWHVWULHGWRKDYHWKHÀOPEDQQHGLWLVPRUHDPRUDOLW\\IDEOHDERXW CHARLY JOHN S. GOPAL, KRISHNARAJ innocence (Abraham claimed Bresson’s Au Hasard Balthazar, 1966, as PRODUCTION an inspiration) and guilt, recalling parts of Ajantrik (1957) by Abraham’s COMPANY )7,,WHDFKHU*KDWDN$OWKRXJKWKHÀOPUHFHLYHGDQDWLRQDODZDUGWKH NIRMITHI FILMS 7DPLOSUHVVLJQRUHGWKHÀOP(YHQLQODWH'RRUGDUVKDQWKRXJKW CINEMATOGRAPHER it prudent to cancel a scheduled TV screening. Source: indiancine.ma, Ashish RAMACHANDRA BASU Rajadhyaksha, Print Courtesy NFAI FESTIVALS AND AWARDS NATIONAL FILM AWARD FOR BEST TAMIL LANGUAGE FEATURE FILMOGRAPHY John AbrahamZRUNHGDVDQLQVXUDQFHVDOHVPDQEHIRUHKHZHQWWRWKH)7,,DQG Amma Ariyan (1986) VWXGLHGXQGHU*KDWDN$VVLVWHG0DQL.DXORQ8VNL5RWL+LVÀUVWÀOP9LG\\DUWKLNDOH Cheriyachente Kroora ,WKLOH ,WKLOH PDGH LQ 0DGUDV DV JURXS FRRSHUDWLYH HՔRUW -RKQ $EUDKDP LV UHFRJQLVHG Krithyangal (1977) DV D JHQLXV LQ 0DOD\\DODP FLQHPD +H PDGH KLV PDUN ZLWK WKH 7DPLO ÀOP $JUDKDUDWKLO Vidyarthikale Ithile Ithilel .D]KXWKDLEXWLVSRVVLEO\\UHPHPEHUHGPRVWIRUKLVHՔRUWVLQVWDUWLQJDSHRSOH·VFLQHPD (1971) PRYHPHQWDQDEVROXWHIRUPRILQGHSHQGHQWÀOPPDNLQJFDOOHG2GHVVD&ROOHFWLYHWKDW DOVR IXQGHG $PPD $UL\\DQ WKURXJK VFUHHQLQJ PP SULQWV RI HJ $QDQG 3DWZDUGKDQ·V Hamara Shaher (1985) in towns and villages throughout Kerala in return for small donations.

MANI KAUL THE NEW MEDIUM IDIOT (AHAMAQ)  HINDI  INDIA h 225’ G 1991 DIRECTOR MUSIC With this tour de force of control over a bewilderingly complex narrative and a MANI KAUL D WOOD massive cast of characters (constantly shifting about in both geographic and PRODUCER(S) STORY/SCREENPLAY cinematic spaces, Mani Kaul explores Dostoevsky’s novel faithfully following DOORDARSHAN ANUP SINGH the original plot transposed into a scathing depiction of a feudal elite, largely CINEMATOGRAPHER CAST bypassed by history,located in Bombay and Goa.Kaul coolly orchestrates with PIYUSH SHA SHAH RUKH KHAN, great virtuosity the continuously mobile, elusive points of ‘stress’ (in Kaul’s EDITOR MITA VASISTH,, AYUB phrase) as they shift from geographic location to cinematic space and back LALITHA KRISHNA KHAN DIN, NAVJOT again, from the editing and gestural rhythms to the discontinuous soundtrack, SOUND DESIGN HANSRA, VASUDEO achieving a multi-layered cinematic texture that at times threatens to stretch VIKRAM JOGLEKAR BHATT, DEEPAK beyond the boundaries of the frame. The innovative approach to plot and MAHAN, BABULAL QDUUDWLRQ NHHSV WKH ÀOP RQ D SUHFDULRXV HGJH EHWZHHQ IRUPDO FRQWURO DQG BORA, MEENAKSHI random collisions of speech and identity. The director commented: ‘Whereas GOSWAMI IRU \\HDUV , GZHOW RQ UDUHÀHG ZKROHV ZKHUH WKH OLQH RI WKH QDUUDWLYH RIWHQ vanished into thin air, with Idiot I have plunged into an extreme saturation of events. Source: Indiancine.ma, Ashish Rajadhyaksha FILMOGRAPHY Mani Kaul JUDGXDWHGIURPWKH)LOPDQG7HOHYLVLRQ,QVWLWXWHRI,QGLD)7,,LQZKHUH A Monkey’s Raincoat (2005) KHZDVDVWXGHQWRI5LWZLN*KDWDN+HZDVSDUWRIWKH<8.7&RRS8QLRQRI.LQHPDWRJUDSKHUV Naukar Ki Kameez (1999) DQG7HFKQLFLDQVDORQJZLWK6DHHG0LU]D.DPDO6ZDURRSDQG+DULKDUDQWKDWPDGH*KDVKLUDP Siddeswari (1988) .RWZDODQG$UYLQG'HVDL.L$MHHE'DVWDQ0DQL.DXOKDVVXFFHHGHGLQUDGLFDOO\\RYHUKDXOLQJWKH Arrival (1980) UHODWLRQVKLS RI LPDJH WR IRUP RI VSHHFK WR QDUUDWLYH ZLWK WKH REMHFWLYH RI FUHDWLQJ D¶SXUHO\\ Duvidha (1971) FLQHPDWLFREMHFW·WKDWLVDERYHDOOYLVXDODQGIRUPDO0DQL·VÀUVWÀOP8VNL5RWLZDVRQH RIWKHNH\\ÀOPVRIWKH¶1HZ,QGLDQ&LQHPD·7KHÀOPLV¶DGDSWHG·IURPDVKRUWVWRU\\E\\UHQRZQHG +LQGL DXWKRU 0RKDQ 5DNHVK DQG UHJDUGHG E\\ PDQ\\ DV WKH ÀUVW IRUPDO H[SHULPHQW LQ ,QGLDQ 269 QDUUDWLYH FLQHPD 8VNL 5RWL ZRQ KLP WKH )LOPIDUH &ULWLFV $ZDUG IRU %HVW 0RYLH +H ZRQ WKH National Film Award for Best Direction in 1974 for Duvidha and later the National Film Award IRUKLVGRFXPHQWDU\\ÀOP6LGGKHVKZDULLQDQGWKH)LOPIDUH&ULWLFV$ZDUGIRU%HVW)LOPIRU $KDPDTLQ

LAV DIAZ EVOLUTION OF A FILIPINO FAMILY (EBOLUSYON NG ISANG PAMILYANG PILIPINO)  FILIPINO, TAGALOG  PHILLIPINES h 654’ G 2005 DIRECTOR CINEMATOGRAPHER $QHVSHFLDOO\\ORQJÀOP$QGDVSHFLDOORQJÀOPWKDQUDQNVDPRQJWKHORQJHVW LAV DIAZ RICHARD C. DE ÀOPVRIDOOWLPH$QHYHQPRUHVSHFLDOGHWDLOLVWKDWZKLOHZDWFKLQJLWWKHÀOP PRODUCER(S) GUZMAN, PAUL TAÑEDO gives you an inevitable feeling that it should last exactly this long, if not longer. LAV DIAZ, ERIC TANEDO, EDITOR 7KHÀOPZDVVKRWELWE\\ELWRYHUDSHULRGRIWHQ\\HDUVÀUVWRQÀOPDQGPRUH PAUL TAÑEDO LAV DIAZ recently on video. It is a method of shooting that was partly necessitated PRODUCTION STORY/SCREENPLAY E\\ ÀQDQFLDO FRQVLGHUDWLRQV EXW WKDW DOVR ÀWV LQ ZHOO ZLWK WKH HSLF VWRU\\ WKDW COMPANY LAV DIAZ H[WHQGVRYHUDSHULRGRIPRUHWKDQÀIWHHQ\\HDUV7KHÀOPVSDQVWKH0DUFRV SINE OLIVIA, CAST regime’s state of siege in the Philippines (1971-1987). As the title indicates, PAUL TAÑEDO ELRYAN DEVERA, ANGIE Diaz follows the adventures of a family against the backdrop of the social and INC., EBOLUSYON FERROM, PEN MEDINA political developments in this crucial period in history. Gertjan Zuilhof (IFFR) PRODUCTIONS ETC. DEKADA AWARD FOR THE BEST FILM OF THE DECADE, 2000-2009 FESTIVALS AND AWARDS FILMOGRAPHY Lav Diaz0LQGDQDRLVDPXOWLDZDUGHGLQGHSHQGHQWÀOPPDNHU+HZRUNVDVGLUHFWRUZULWHU The Day Before the End (2016) producer, editor, cinematographer, poet, composer, production designer and actor all at once. His A Lullaby to the Sorrowful seven hour Death in the Land of EncantosZDVJUDQWHGD6SHFLDO0HQWLRQ2UL]]RQWLDWWKH9HQLFH Mystery(2015) ÀOP IHVWLYDO LQ  DQG  Melancholia ZRQ WKH 2UL]]RQWL *UDQG 3UL]H DQG JDLQHG WKH 2Q6FUHHQ From What is Before(2014) $ZDUGDWWKH,PDJHV)HVWLYDOLQ+LVÀOPNorte, the End of History was screened in the Norte, the End of History 8Q&HUWDLQ5HJDUGVHFWLRQRI&DQQHV)LOP)HVWLYDO+HUHFHLYHGWKH*ROGHQ/HRSDUGDWWKH (2013) 2014 Locarno International Film Festival for From What Is Before. At the 2016 Berlin International )LOP )HVWLYDO KLV ÀOP A Lullaby to the Sorrowful Mystery was awarded the Silver Bear Alfred %DXHU3UL]H+HDOVRUHFHLYHGWKH*ROGHQ/LRQDWWKHUG9HQLFH,QWHUQDWLRQDO)LOP)HVWLYDOIRU7KH :RPDQ:KR/HIW+HLVDUHFLSLHQWRIWKH*XJJHQKHLP)HOORZVKLSLQWKH3ULQFH&ODXV$ZDUG RI7KH1HWKHUODQGVLQDQG7KH5DGFOLՔH)HOORZVKLSRI+DUYDUG8QLYHUVLW\\

PHILLIP WARNELL THE NEW MEDIUM MING OF HARLEM: TWENTY ONE STORIES IN THE AIR  ENGLISH  USA h 71’ G 2014 DIRECTOR CINEMATOGRAPHER Between 2000 and 2003, Antoine Yates lived with Ming, Al and other less PHILLIP WARNELL DAVID RAEDEKER permanent guests in a twenty-one storey public housing complex in Harlem, PRODUCER(S) EDITOR New York. Antoine was a US citizen, Ming 400-pound Bengal tiger, and Al PHILLIP WARNELL, CHIARA ARMENTANO, D IRRW ORQJ $PHULFDQ DOOLJDWRU 7KH ÀOP H[SORUHV WKH UHODWLRQV EHWZHHQ MADELEINE PHILLIP WARNELL these three individuals and the high-rise dwelling they shared, presenting MOLYNEAUX STORY/SCREENPLAY portraits of each of them as embedded in ethically fraught community and PRODUCTION JEAN LUC NANCY political concerns, accompanied by philosopher and collaborator Jean-Luc COMPANY (POEM) 1DQF\\·VUHVSRQVHVWRWKHLULQWHUVSHFLHVUDSSRUWLQSRHWLFIRUP$ÀOPVHWZDV BIG OTHER FILMS CAST established in existing zoo animal enclosures, and the result of the time spent ANTOINE YATES, RAJIV, LQFORVHSUR[LPLW\\WRWKHVHVFDOHVDQGVWULSHVJLYHVXVDFLQHRSSRUWXQLW\\WR BRIANNA sense and observe the prodigious nature of these complex, exquisitely attired species in the intimacy of a Harlem Heights apartment. Courtesy of the artist FESTIVALS AND AWARDS WINNER, CULTURGEST AWARD, 2015 INDIELISBOA | GEORGES DE BEAUREGARD PRIZE, FILMOGRAPHY MARSEILLE DOCUMENTARY FILM FESTIVAL I First Saw the Light (2012, Phillip Warnell LV DQ DUWLVWÀOPPDNHU DQG DFDGHPLF +H SURGXFHV FLQHPDWLF ZRUNV Short) exploring a range of philosophical and poetic thematics; ideas on human-animal relations, Outlandish: Strange the politics of dissidence, the presence of those with extraordinary attributes and poetics Foreign Bodies (2009, RIERGLO\\DQGOLIHZRUOGFLUFXPVWDQFHV+LVÀOPVDUHSHUIRUPDWLYHHVWDEOLVKLQJHOHPHQWV Short) IRUDÀOPVKRRWDVSDUWHYHQWUHVXOWLQJLQDQLQWHUSOD\\EHWZHHQVFULSWHGDQGSUHFDULRXV The Girl With X-Ray Eyes ÀOPLQJ FLUFXPVWDQFHV +H LV DQ $VVRFLDWH 3URIHVVRU DQG 'LUHFWRU RI 6WXGLHV RQ 0$ (2008, Short) ([SHULPHQWDO)LOPDQG%$)LOPPDNLQJDW.LQJVWRQ8QLYHUVLW\\/RQGRQ 271

HARUN FAROCKI PARALLEL I - IV  ENGLISH  GERMANY h 43’ G 2012-14 DIRECTOR 7KLV VHULHV FRQWLQXHV WKH ODWH ÀOPPDNHU·V ORQJVWDQGLQJ LQYHVWLJDWLRQ LQWR WKH ULVH RI HARUN FAROCKI FDOFXODEOHDFWLRQDEOHLPDJHVSRVVHVVLQJDUHODWLRQVKLSWRUHDOLW\\YHU\\GLՔHUHQWWKDQWKDWRIWKH PRODUCER cinema before them. Tracing the evolution of video game graphics from the two-dimensional HARUN FAROCKI FILM schematics of the early 1980s to the photorealistic environments of today, Farocki foregoes PRODUCTION WKHREVHVVLRQZLWKQRYHOW\\WKDWWRRRIWHQFKDUDFWHUL]HVGLVFXVVLRQVRIVRFDOOHG´QHZµPHGLD PRODUCTION – to instead insert these games into a longer history of representation, one that takes us COMPANY all the way back to pre-Hellenistic conceptions of the world. He makes implicit reference to HAUS DER KULTUREN FODVVLFWH[WVRIÀOPWKHRU\\LQRUGHUWRFRQVWUXFWDFRPSDUDWLYHIUDPHZRUNWKDWGLVSXWHVDQ\\ '(5:(/7%(5/,1 narrative of medium change as one of linear progress. The voiceover of Parallel I tells us, “In KULTURVERWALTUNG cinema, there is the wind that blows and the wind blown by a wind machine. In computer DES LANDES BERLIN, LPDJHVWKHUHLVRQO\\RQHNLQGRIZLQGDQHZFRQVWUXFWLYLVPµ)DURFNLMRLQVSRHWLFVSHFXODWLRQ HAU, BERLIN, with analytical strength to call upon the viewer not simply to look and listen carefully, but RAUMLABOR, BERLIN also to think along with him. Courtesy Erika Balsom. physical reality. Farocki joins poetic speculation with analytical strength to call upon the viewer not simply to look and listen FESTIVALS AND AWARDS carefully, but also to think along with him. Courtesy of Erika Balsom FILMOGRAPHY HARUN FAROCKI RETROSPECTIVE | 1998 LOCARNO FILM FESTIVAL Deep Play (2007) Eye/Machine I- III (2003) 7KHRHXYUHRIWKH*HUPDQÀOPPDNHUDQGYLGHRDUWLVWHarun Farocki comprises more I Thought I was Seeing WKDQ  IHDWXUH ÀOPV HVVD\\ ÀOPV GRFXPHQWDULHV DQG YLGHRLQVWDOODWLRQV +H ZDV Convicts (2000) RQH RI WKH PRVW LPSRUWDQW GLUHFWRUV RI FRQWHPSRUDU\\ GRFXPHQWDULHV DQG HVVD\\ ÀOPV Nothing Ventured (1997) ZRUNLQJLQ*HUPDQ\\+LVÀOPVDQGLQVWDOODWLRQVDUHJHQHUDOO\\VRFLRSROLWLFDOLQQDWXUHDQG UHYHDODNHHQLQWHUHVWLQWKHUROHRIWHFKQRORJ\\LQPRGHUQVRFLHW\\$V7KRPDV(OVDHVVHU KDVVDLG¶)DURFNL·VÀOPVDUHDFRQVWDQWGLDORJXHZLWKLPDJHVZLWKLPDJHPDNLQJDQG ZLWKWKHLQVWLWXWLRQVWKDWSURGXFHDQGFLUFXODWHWKHVHLPDJHV·+LVÀOPVDQGLQVWDOODWLRQV DUH GLՕFXOW WR FDWHJRUL]H DQG GHPDQG FORVH YLHZLQJ 1RWKLQJ LV DV LW VHHPV DQG WKH YLHZHUVDUHFKDOOHQJHGWRNHHSTXHVWLRQLQJZKDWWKH\\VHH

JEAN LUC GODARD THE NEW MEDIUM GOODBYE TO LANGUAGE (ADIEU AU LANGAGE)  FRENCH  FRANCE h 70’ G 2014 DIRECTOR CAST 'ODARDSŸ %XPERIMENTALŸ  $Ÿ ÚLMŸ PLAYSŸ WITHŸ THEŸ CONVENTIONSŸ OFŸ STEREOŸ VISIONŸ Ÿ &ILMEDŸ JEAN LUC GODARD HELOISE GODET, KAMEL WITHŸ CUSTOMŸ MADEŸ $)9Ÿ RIGSŸ THEŸ ÚLMŸ INCLUDESŸ AŸ Ÿ gSEPARATIONsŸ SHOTŸ INŸ WHICHŸ AŸ SINGLEŸ PRODUCER(S) ABDELLI unbroken shot splits into two separate shots that can be viewed simultaneously BRAHIM CHIOUA, through either the left or the right eye. VINCENT MARAVAL, ALAIN SARDE ‘The idea is simple / A married woman and a single man meet / They love, they argue, PRODUCTION ÚSTSŸÛYŸŸ!ŸDOGŸSTRAYSŸBETWEENŸTOWNŸANDŸCOUNTRYŸŸ4HEŸSEASONSŸPASSŸŸ4HEŸMANŸANDŸ COMPANY WOMANŸMEETŸAGAINŸŸ4HEŸDOGŸÚNDSŸITSELFŸBETWEENŸTHEMŸŸ4HEŸOTHERŸISŸINŸONEŸŸTHEŸ WILD BUNCH, CANAL+ one is in the other / and they are three / The former husband shatters everything / A ETC. SECONDŸÚLMŸBEGINSŸŸTHEŸSAMEŸASŸTHEŸÚRSTŸŸANDŸYETŸNOTŸŸ&ROMŸTHEŸHUMANŸRACEŸWEŸ CINEMATOGRAPHER pass to metaphor / This ends in barking / and a baby’s cries / In the meantime, we will FABRICE ARAGNO have seen people talking of the demise of the dollar, of truth in mathematics and of THEŸDEATHŸOFŸAŸROBINsŸ ŸŸ'ODARDŸINŸAŸHANDWRITTENŸSYNOPSISŸWRITTENŸINŸVERSEŸANDŸÚRSTŸ posted on Twitter demise of the dollar, of truth in mathematics and of the death of a robin.’ FESTIVALS AND AWARDS JURY PRIZE, 2014 CANNES FILM FESTIVAL FILMOGRAPHY Jean-Luc Godard )UHQFK6ZLVVÀOPGLUHFWRUVFUHHQZULWHUDQGÀOPFULWLF/LNHKLV1HZ Film Socialisme (2010) :DYH FRQWHPSRUDULHV *RGDUG FULWLFLVHG PDLQVWUHDP )UHQFK FLQHPD·V ´7UDGLWLRQ RI For Ever Mozart (1996) 4XDOLW\\µ ZKLFK´HPSKDVLVHG FUDIW RYHU LQQRYDWLRQ SULYLOHJHG HVWDEOLVKHG GLUHFWRUV RYHU Histoire(s) du Cinema (1988) QHZ GLUHFWRUV DQG SUHIHUUHG WKH JUHDW ZRUNV RI WKH SDVW WR H[SHULPHQWDWLRQµ 0DQ\\ RI Weekend (1967) *RGDUG·V ÀOPV FKDOOHQJH WKH FRQYHQWLRQV RI WUDGLWLRQDO +ROO\\ZRRG LQ DGGLWLRQ WR )UHQFK FLQHPD+LVDSSURDFKWRÀOPFRQYHQWLRQVSROLWLFVDQGSKLORVRSKLHVPDNHKLPDUJXDEO\\ RQHRIWKHPRVWLQÁXHQWLDOGLUHFWRUVRIRXUWLPH TWENTY-THREE



RESTORED CLASSICS

JOHN WATERS MULTIPLE MANIACS (MULTIPLE MANIACS) INDIA PREMIERE  ENGLISH  USA h 96’ G 1970 DIRECTOR STORY/SCREENPLAY John Waters’ gloriously grotesque, unavailable-for-decades second JOHN WATERS JOHN WATERS feature comes to theaters at long last, replete with all manner of PRODUCER(S) CAST depravity, from robbery to murder to one of cinema’s most memorably JOHN WATERS DIVINE, DAVID blasphemous moments. This gleeful mockery of the peace-and-love CINEMATOGRAPHER LOCHARY, MINK STOLE ethos of its era features the Cavalcade of Perversion, a travelling show JOHN WATERS SXWRQE\\DWURXSHRIPLVÀWVZKRVHVKRFNLQJSURFOLYLWLHVDUHWRSSHGRQO\\ EDITOR by those of their leader: the glammer-than-glam, larger-than-life Divine, JOHN WATERS ZKR·VRXWIRUEORRGDIWHUGLVFRYHULQJKHUORYHU·VDՔDLU FILMOGRAPHY John WatersKDVZULWWHQDQGGLUHFWHGVL[WHHQÀOPVLQDFDUHHUWKDWVSDQVPRUHWKDQÀYH A Dirty Shame (2004 ) GHFDGHV+HLVDOVRDSKRWRJUDSKHUZKRVHZRUNKDVEHHQVKRZQLQJDOOHULHVDOORYHUWKH Cecil B. DeMented (2000) ZRUOGDQGWKHDXWKRURIVHYHUDOERRNVLQFOXGLQJShock Value, Crackpot, Pink Flamingos Pecker (1998) and Other Filth, Hairspray, Female Trouble and Multiple Maniacs, Art: A Sex Book (co- Cry-Baby (1990) written with Bruce Hainley); and Role Models. Waters is a member of the Academy of Pink Flamingos (1972) 0RWLRQ3LFWXUH$UWVDQG6FLHQFHVDQGDSDVWPHPEHURIWKHERDUGVRIWKH$QG\\:DUKRO )RXQGDWLRQIRUWKH9LVXDO$UWVDQG3ULQWHG0DWWHUDQGKHZDVVHOHFWHGDVDMXURUIRUWKH  9HQLFH %LHQQDOH ,Q 6HSWHPEHU  WKH )LOP 6RFLHW\\ RI /LQFROQ &HQWHU KRQRUHG :DWHUV·ÀIW\\\\HDUVLQÀOPPDNLQJZLWKDWHQGD\\FRPSOHWHFDUHHUUHWURVSHFWLYHHQWLWOHG )LIW\\<HDUVRI-RKQ:DWHUV+RZ0XFK&DQ<RX7DNH

$1'5=(-ũ8IJ$:6., RESTORED CLASSICS ON THE SILVER GLOBE (NA SREBRNYM GLOBIE)  POLISH  POLAND h 166’ G 1988 DIRECTOR CAST A small group of cosmic explorers, including a woman, leave Earth to $1'5=(-ũ8IJ$:6., JERZY TRELA, ANDRZEJ start a new civilization. They do not realize that within themselves CINEMATOGRAPHER SEWERYN, IWONA they carry the end of their own dream. They die one by one, while their ANDRZEJ JAROSZEWICZ BIELSKO, GRAZYNA children revert to a primitive native culture, creating new myths and a EDITOR DYLAG, GEORGE new god. KRZYSZTOF OSIECKI *5$IJ(. STORY/SCREENPLAY RESTORATION $1'5=(-ũ8IJ$:6., FIXAFILM UNDER SOUND DESIGN THE SUPERVISION OF EMMANUELLE JOUBERT STUDIO FILMOWE KADR FILMOGRAPHY $QGU]HM ũXijDZVNL ZRUNHG DV D VHFRQG GLUHFWRU DQG DVVLVWDQW WR $QGU]HM :DMGD RQ Cosmos (2015) 6DPVRQ 0LijRŊù 'ZXG]LHVWRODWNyZ (Love at Twenty) and 3RSLRij\\ (The Ashes). His Fidelity (2000) GHEXWIHDWXUHÀOP7U]HFLD&]ċŊù1RF\\ (The Third Part of the NightWDONHGDERXW Possession (1981) WKH FUXHOW\\ RI ZDU DQG ZDV LQÁXHQFHG E\\ KLV H[SHULHQFHV LQ ZDUWLPH +LV VHFRQG ÀOP That Most Important The Devil ZDVEDQQHGLQ3RODQGDQGSURPSWHGKLPWRPRYHWR)UDQFHZKHUHKH Thing: Love (1975) made That Most Important Thing: Love (1975). On The Silver GlobePDUNHGKLV The Devil (1972) UHWXUQWR3RODQG+LVRWKHUÀOPVLQFOXGHPossession (1981), Fidelity (2000) and Cosmos The Story of Triumphant ZKLFKZDVKLVÀQDOÀOPDQGZRQKLPD%HVW'LUHFWRUDWWKH/RFDUQR,QWHUQDWLRQDO Love (1967) Film Festival. 277

EDWARD YANG TAIPEI STORY (QING MEI ZHU MA)  TAIWANESE  TAIWAN h 119’ G 1985 DIRECTOR ROYALE DE BELGIQUE Lon, a former Little League baseball star, now works in a clothing store. EDWARD YANG AND HOU HSIAO-HSIEN. He struggles with his youthful fame and is unable to fully commit to his PRODUCER(S) SPECIAL THANKS TO long-time girlfriend, Chin. He dreams of a new start in the United States, HOU HSIAO-HSIEN, LIN THE CHINESE TAIPEI but lacks the necessary verve to make such a momentous change. The RONG-FENG FILM ARCHIVE 86$ V\\PEROL]HV KLV GUHDP RI D EHWWHU OLIH RQH ZKRVH IXOÀOOPHQW KH PRODUCTION CINEMATOGRAPHER cannot work towards because of the sheer baggage of his past, and his COMPANY YANG WEI-HAN. relationship with Chin. RESTORED BY THE FILM EDITOR FOUNDATION’S WORLD WANG CHI-YANG, SONG Film Courtesy: The Film Foundation, Cineteca di Bologna CINEMA PROJECT AT FEN-ZEN CINETECA DI BOLOGNA/ STORY/SCREENPLAY L’IMMAGINE RITROVATA EDWARD LABORATORY IN YANG, HOU HSIAO- ASSOCIATION WITH HSIEN, CHU T’EIN - WEN THE CINÉMATHÈQUE FILMOGRAPHY Edward Yang<DQJ'HFKDQJZDVD7DLZDQHVHÀOPGLUHFWRUZKRZDVLQWKHYDQJXDUGRI Yi Yi (2000) WKH 7DLZDQHVH 1HZ :DYH D V PRYHPHQW WKDW EURXJKW LQWHUQDWLRQDO DWWHQWLRQ WR WKH Mahjong (1996) LVODQGVWDWHZLWKÀOPVWKDWSUREHGSROLWLFDOHFRQRPLFDQGVRFLDOLVVXHVLQ7DLZDQ·VUDSLGO\\ A Confucian Confusion FKDQJLQJHQYLURQPHQW<DQJPDGHKLVIXOOOHQJWKÀOPGHEXWLQZLWKThat Day, on the (1994) Beach (1983)+LVQH[WWZRÀOPVTaipei Story 1985 and The Terrorizers (1986), explored A Brighter Summer Day VRFLDO FKDQJH<DQJ·V  PDVWHUSLHFH A Brighter Summer Day focused on the street- (1991) JDQJFXOWXUHRIWKHV,QKHZRQWKH%HVW'LUHFWRUDW&DQQHVIRUKLVÀQDOÀOPYi-Yi. The Terrorizers (1986)

WOJCIECH JERZY HAS RESTORED CLASSICS THE SARAGOSSA MANUSCRIPT (REKOPIS ZNALEZIONY W SARAGOSSIE)  POLISH  POLAND h 182’ G 1965 DIRECTOR STORY/SCREENPLAY A stylish costume comedy, a swashbuckling adventure movie, a fairy WOJCIECH JERZY HAS TADEUSZ tale full of ghosts, hanged men and possessed princesses - all wrapped PRODUCER(S) KWIATKOWSKI LQWRRQH7KHÀOPFRQVLGHUHGRQHRIWKHJUHDWHVWVSHFWDFOHVLQPRYLH MAREK ZBUCKI, CAST history - is based on The Manuscript Found in Saragossa, a novel by ZYGMUNT DYRKACZ ZBIGNIEW CYBULSKI, Jan Potocki, a 12th-century scholar, poet and philosopher. It depicts the CINEMATOGRAPHER IGA CEMBRZYNSKA, tale of Alfonse Van Worden’s journey to Madrid (he is the captain of the 0,(&=<6IJ$:-$+2'$ ELZBIETA CZYZEWSKA Walloon Guard of the King of Spain). He tries to take the shortest route EDITOR RESTORATION but repeatedly keep returning to the starting point: a mysterious inn and KRYSTYNA CYFROWE its haunting surroundings. It contains within itself a vision of a chaotic .2026,Ĵ6.$ REPOZYTORIUM world, which is a metaphor for human life’s randomness. FILMOWE UNDER THE SUPERVISION OF STUDIO FILMOWE KADR FILMOGRAPHY Wojciech Jerzy Has ERUQ LQ  ZDV D 3ROLVK ÀOPPDNHU ZKR ZRQ LQWHUQDWLRQDO The Doll (1968) following with his surrealist epic The Saragossa Manuscript (1964). After graduating The Codes (1966) IURPWKH.UDNRZ)LOP,QVWLWXWHLQ+DVVSHQWWHQ\\HDUVDVDGRFXPHQWDU\\ÀOPPDNHU How to Be Loved (1962) EHIRUH PDNLQJ KLV ÀUVW IHDWXUH ÀOP The Noose  2QH RI KLV ODWHU ÀOPV The Goodbye to the Past (1961) SandglassZRQWKH-XU\\3UL]HDW&DQQHV+HDOVRVHUYHGDV'LUHFWRURIWKH/RG] The Noose (1958) Film School from 1990 to 1996. 279



ONE FESTIVAL PASS = MOVIE MELA MASTERCLASSES



CLOSING FILM



KENNETH LONERGAN MANCHESTER BY THE SEA (MANCHESTER BY THE SEA)  OPENING FILM ENGLISH  USA h 136’ G 2016 INDIA PREMIERE DIRECTOR EDITOR After the death of his older brother Joe, Lee Chandler is shocked to learn KENNETH LONERGAN JENNIFER LAME that Joe has made him sole guardian of his nephew Patrick. Taking leave PRODUCER(S) STORY/SCREENPLAY of his job, Lee reluctantly returns to Manchester-by- the-Sea to care MATT DAMON, KENNETH LONERGAN for Patrick, a spirited 16-year-old, and is forced to deal with a past that KIMBERLEY STEWARD, CAST separated him from his wife Randi and the community where he was CHRIS MOORE CASEY AFFLECK, born and raised. Bonded by the man who held their family together, Lee INDIAN DISTRIBUTOR MICHELLE WILLIAMS, and Patrick struggle to adjust to a world without him. UNIVERSAL PICTURES KYLE CHANDLER, INTERNATIONAL GRETCHEN MOL, LUCAS CINEMATOGRAPHER HEDGES JODY LEE LIPES FESTIVALS AND AWARDS 2016 SUNDANCE FILM FESTIVAL | 2016 TORONTO INTENATIONAL FILM FESTIVAL (WORLD PREMIERE) | 2016 NEW YORK FILM FESTIVAL FILMOGRAPHY Kenneth LonerganLVDUHVLGHQWSOD\\ZULJKWDWWKH6LJQDWXUH7KHDWUH&RPSDQ\\+HOLYHV Margaret (2011) LQ 1HZ <RUN &LW\\ ZLWK KLV ZLIH DQG IUHTXHQW FROODERUDWRU DFWUHVV - 6PLWK&DPHURQ You Can Count on Me (2000) DQG WKHLU GDXJKWHU 1HOOLH ÀUVW ÀOP You Can Count On Me (2000), which he wrote DQGGLUHFWHGZDVDQ$FDGHP\\$ZDUGDQG*ROGHQ*OREHQRPLQHHIRU%HVW6FUHHQSOD\\ DQG ZRQ WKH 6XQGDQFH *UDQG -XU\\ 3UL]H DQG ,QGHSHQGHQW 6SLULW $ZDUG IRU %HVW )LOP /RQHUJDQ·V VHFRQG ÀOP Margaret  ZRQ WKH (XURSHDQ )LOP &ULWLFV· ),35(6&, $ZDUGDWWKH9LHQQD)LOP)HVWLYDODQGEHFDPHDFDXVHFpOqEUHDPRQJPDQ\\ÀOPFULWLFV 285

TITLE SPONSOR ASSOCIATE SPONSOR SUPPORTED BY

OUTREACH PARTNERS the bohri kitchen

Chairperson INTERNATIONAL DIMENSIONS MUMBAI Kiran Rao PROGRAMME Bauddhyan Mukherji Anu Rangachar Selection Committee Co-Chairperson Head Programmer Mukesh Chhabra Nita M.Ambani Selection Committee Paolo Bertolin Amit Chavan Festival Director Consultant Curator Anupama Chopra Santosh Pathare Dennis Lim Curator Creative Director Consultant Smriti Kiran Baradwaj Rangan HALF TICKET Selection Committee Monica Wahi Rashid Irani Curator Selection Committee Deepti Murali Kalpana Nair Coordinator Coordinator Yashaswi Vachhani Muhammed Deshmukh Assistant Coordinator Assistant Coordinator Ketaki Savnal Research Assistant INDIA PROGRAMME Bina Paul MARATHI TALKIES Head Programmer Amol Parchure Deepti DCunha Curator Programmer Ratheesh Radhakrishnan THE NEW MEDIUM Selection Committee Sruti Harihara Subramanian Shaina Anand Associate, India Programme Curator Adit Wadhwa Coordinator

COUNTRY IN FOCUS: TURKEY Hospitality Legal Partner Ophelie Wiel, Muskaan Kapoor Solomon & Solomon Co. Alin Tasciyan Tanya Walia, Anjely Rais Curator Siddhika Pradhan, Aneesha Reuben Festival Security IIRIS DISCOVERING INDIA Scheduling Uma Da Cunha Svetlana Naudiyal Travel Agent Curator Bajaj Travels Print Traffic Festival Venues AFTER DARK Ravi Singh, Muhammed Deshmukh, La Reve, Regal, Jongsuk Thomas Nam Richa Jain Balgandharva Rang Mandir Curator (K.R. Foundation) Finance & Accounts Head PLAY Lokesh Gowda Production Aditya Gandhi Nikhil Taneja Outreach Consultants Curator Reem Iqbal, Nazia Khan Office Assistants Shreevatsa Nevatia Govinda Chalwadi, Ramesh Kamat Curator DIGITAL/SOCIAL MEDIA Ranjeet Chaudhary BOOK AWARD Anjali J Malhotra, Guneet Singh, Ishani Chatterji, Akansha Bhasme, CATALOGUE Arpita Das Rochell Ann Pereira Curator Editor and Design PUBLICITY Anuj Malhotra Corporate Relationships Editorial Support Dhirendra Ukarde Anisha Yanger, Isha Doshi Aditya Savnal, Tarini Singh Shriparna Mukerjea Supriya Rajpurkar, Hesha Parekh Content Coordinator Saima Khan, Jervin Dsouza Shriparna Mukerjea Festival Manager Pinky Nigam Design Agency Typesetter Producer - Events Please See Yuvraj Gardas Kalpana Nair, Svetlana Naudiyal Shweta Chavan Hospitality Partner Assistant Producer - Events J W Marriot, Mumbai Juhu Maitreyee Upadhyay, Richa Jain Iresh Gupta, Avinash Verma Technical Partner Printer Real Image MediaTechnologies Pvt.Ltd Nikeda Art Printers Pvt. Ltd. Registration Partner Print/Online Media Tracking Book My Show IMM Media tracking Airline Partner Television Media Tracking Turkish Airline Gold News Tracking Event Partner 70 EMG Venue Partner PVR

FRIENDS OF THE FESTIVAL ACKNOWLEDGEMENTS (HALF TICKET) Sonam Kapoor Rohan Shivkumar Farhan Akhtar Meenakshi Shedde Educator Preview Committee Varun Dhawan Sudhir Nadgaonkar Jeroo Mulla Anushka Sharma Pranav Ashar Bubla Basu Ranveaer Singh Roshni Nuggehalli Friyana Pardiwalla Kangana Ranaut Bishakha Dutta John Abraham Nidhi Goyal Facilitation Varun Grover Chaitanya Chinchilekar Gillo Theatre Repertory The Pomegranate Workshop Alia Bhatt Gauri Devidayal Bubla Basu Siddharth Malhotra Jay Devidayal Friyana Pardiwalla Riteish Deshmukh Pooja Dhingra Janit Temkar Vasan Bala Rahul Puri Nishna Mehta Paresh Mokashi Meghna Puri Parul Rawat Avinash Arun Snigdha Manchanda Prasad Dagare Suriya Gayatri Mukherjee Sahil Gangurde Pawan Kalyan Ravikant Kisna Tangella Madhavi Prithviraj Sukumaran Mithila Palkar School Participation Nitin Baid Amey Wagh Aadil Husain Aditi Sabnis Renuka Shahane Nipun Dharamadhikari Aditya Birla World Academy Sanyuktha Chawla Alok Rajwade Akshara High School Shaikh Pooja Thombre Amruta Shinde Arijit Datta Gandhaar Sangoram Beacon High School Siddharth Meer Somen Mishra Bhausaheb Hirey Vidyalaya Shireen Jungalwala Neeraj Ghaywan Bhavi Furia Varuna D Jani Shazia Iqbal Binaifer Chhoga Chhaya Momaya, Raveena Aggarwal Binaifer Kutar Pooja Arambhan Aarathi Arambhan Dam

Clive Rogers Padmavati Kadam Special Thanks Daizy Paul Prasad Kamtekar Gert Hermans Dawood Baug Municipal School Rajashree Sandip Kadam Priya Srinivasan Debarati Driver Rama Dagani Sanyuktha Chawla Shaikh Deepa Natkar Rekha Pandey Shaili Sathyu Diksha Ahuja Rizina Chatterjee Trupti Kanade Divya Shetty Rossy Coutinho Xiaojuan Zhou Dr. Sarvepalli Radhakrishnan Rujuta Parekh Zahra Gabuji Ryan Global School, Andheri Municipal School Ryan International School, Malad Edelweiss Quadros 6DLHVKD-DՔ UH\\ Elia Sarwat English High School Salaam Bombay Foundation and Junior College Sanjukta Sikder Friyana Pardiwalla Santosh Bodade Geetha Nair Sapana Purandare Gitanjali Khanna Dr. Saroj Anand Gumpha Road Municipal Sharmila Shirke English School Smile Foundation Irene Charushil Sneha Negandhi Suhani Jain Jitendra Mishra Sujata Chatla JBCN International School, Suresh Pawar Oshiwara Taranum Ahmed JBCN International School, Parel Teach for India K.S. Jamali The Cathedral And John Meera Isaacs Connon School N. M. Joshi Municipal School The J.B. Petit High School for Girls Nadeem Khan Udayachal High School Dr. Narendra Shetty Udayachal Primary School Neeta Mishra Venil Ali New English Secondary School Vinay High School

SEE YOU AFTER THE FESTIVAL! WE ARE NOW YEAR ROUND! For updates on FILM CLUB events, REGISTER NOW Log onto: www.mumbaifilmfestival.com/filmclub

Download MyJio App or give a free mobile call on 1800 200 200 2

TITLE SPONSOR ASSOCIATE SPONSOR