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THE ONE TAKE FILM FESTIVAL IS AN INTERNATIONAL FESTIVAL OF FILMS SHOT IN ONE TAKE, THAT IS FILMS SHOT WITHOUT INTERRUPTION, FROM THE MOMENT OF TURNING THE CAMERA ON TO THE MOMENT OF TURNING THE CAMERA OFF. THE ONE TAKE FILM FESTIVAL ELIMINATES A SEEMINGLY INDISPENSABLE PART OF A FILM - NAMELY, EDITING - AND THUS PROHIBITS CUT, DISSOLVE, FADE IN/OUT AND ALL OTHER TYPES OF TRANSITIONS. IN THAT WAY, THE ONE TAKE FILM FESTIVAL MAKES ROOM FOR A MORE STIMULATING CONCEPT OF FILM AND MORE EXITING FILM-MAKING. THE ONE TAKE FILM FESTIVAL INCLUDES FILMS OF ALMOST EVERY GENRE IN IT'S PROGRAMME (DOCUMENTARY, FICTION, EXPERIMENTAL, MUSIC VIDEO AND COMMERCIAL). THE RUNNING TIME OF THE FILMS IS NOT LIMITED. THE ONE TAKE FILM FESTIVAL PRIMARILY EMPHASISES THE AESTHETIC ACT OF FILM-MAKING, AND THE ONE TAKE IS CONSIDERED ONLY A FRAMEWORK FOR IDEAS, EMOTIONS, STORIES… FOR WE SHOULDN'T FORGET THAT LONG AGO WORKERS HAD LEFT THE LUMIERE FACTORY IN "ONE TAKE" ALSO. THEREFORE, ONE SHOULD NOT BE FASCINATED WITH THE FACT. THE ONE TAKE FILM FESTIVAL, ALONG WITH THE OFFICIAL COMPETITION, OFFERS NUMEROUS OTHER EVENTS - INTERESTING ADDITIONAL FILM PROGRAMME, PREMIERES, LECTURES, PANEL DISCUSSIONS, FILM WORKSHOPS, EXHIBITIONS AND OF COURSE, GOOD TIME FOR EVERYONE. THE ONE TAKE FILM FESTIVAL IS THE ONLY ONE OF ITS KIND IN THE WORLD, AND IT TAKES PLACE IN ZAGREB. THIS YEAR THE FESTIVAL CELEBRATES IT'S NINETH EDITION. THE ONE TAKE FILM FESTIVAL WILL, IN IT'S THREE-DAY PROGRAMME, CONVINCE YOU IN THE POSSIBILITY OF EXCLUDING THE CLASSIC CONCEPT OF FILM EDITING IN FAVOUR OF CAPTURING A PART OF REALITY IN ITS CONTINUITY, WHERE THE DIVERSITY OF CINEMATIC LUDISM IS NEVERENDING, AND THE RESTRICTION INCREDIBLY ENTICING.
A CINEMATIC COMING OF AGE IN JOY AND UNDER PRESSURE  

by
Sanja Šamanović 
Director of One Take Film Festival

Before you is the 12th edition of One Take Film Festival. When I was a child, the number 12 seemed to me to be very important and elusive, primarily because it marked the point in time when I could be the one to – completely legally – sit in the front seat on our drive to the seaside, with mom in the back. The year 2003, when we started off as a small team from Kinoklub Zagreb, seems infinitely long ago. The times were more docile then, and we the club kids snuck in and sat in the front. Not because we wanted to, but because there was no one in that spot to steer us until we grew up. We started and carried on this project that had given Zagreb and Croatia something that was unique in the world. And we felt very important, and we were tenacious, and it was ours, something we could use to show that we had it in us to do something great. And I think we did it. We are not a big festival, and we never intended to be. But we did what made us joyful. We loved “our” one-take films. We’d meet up and talk about them, communicate with guests, keep in touch for years later. The Festival let us give authors an incentive to take a different line of thought, a different approach to filmmaking, and helped us open the audience up for wonderment and awe. 
This is why this year, we again put together an interesting programme for film professionals and the general public alike. The Festival takes on a hybrid form once more, allowing you to enjoy the many programmes we’ve prepared online through our website if you can’t make it in person. In addition to interesting shorts, there are four feature-length one-take films. See them, not only because of their compelling production – these are excellent films whose single take only amplifies their impact. In this light of remembrance of past times, we are introducing a new Black-and-White-Take programme. One take and black-and-white cinematography; are there better conditions for authorial creativity to come to the fore? We have our traditional programmes Almost One and One Take in Space, along with another new programme One Way Out. Hopefully they get you to leave your homes and come to Tuškanac. You will enjoy it. Finally, we have another new programme in view of recent events – One for Her, a programme dedicated to women.
Now to quickly go back to the beginning. Some years were better, some worse. We have survived Vedran’s death, covid, people left, came back, club members found new careers in film and beyond, but they have always, for almost two decades now, stood by the Festival. This year’s edition was organised by people new and younger, and we, like all elders, protest, complain that no one’s listening, that things were done differently in our time. If you ask me if we’re right, I don’t know. I belong to the old guard; it’s hard for me to say that what someone else is doing is better. This is why to me, and to all of us who worked on the Festival all these years, this year’s Festival is uncommonly important – we’ve taken the back seat. Our Festival will be a teenager next year and we’ll see what becomes of it. Maybe it turns into something else, something feistier, more stubborn, set on securing its own distinct path, a whole new character. Maybe it realises that it’s not too bad having someone in the back, or it succeeds on its own like we did. But there is still time. And you have our four festival days to see truly interesting films.
We ask that you have consideration for the crew new and old, as this year we are all UNDER PRESSURE.

Unveiling

fiction, France, 2021. 20 min.

director / Margarita Cadenas

screenwriters / Margarita Cadenas, Philippine Agneray, Luna Ribeiro

cinematographer / John Marquez

actors / Luna Ribeiro, Philippine Agneray, Gabriel Rehse, Adib Cheiki, William Wright, Karla Lazo

producers / Jean-François Besse, Margarita Cadenas


about the film

On a Parisian street, four old friends are waiting for a fifth to take a walk through the city together. They have been friends since childhood, and along with young Alex and his sister Fabienne, the group includes the temperamental Léon, and the somewhat wistful Adrian. When the seemingly energetic Victoire joins them, they all agree that they hadn’t seen each other in too long and that they should hang out more often. However, from the very beginning, Victoire acts strange and seems curt and crude to the others. They have no idea that she is tormented by traumatic memories from her childhood that she herself has tried to suppress – and that Fabienne might know something about it.


about the author

Producer, screenwriter, and director Margarita Cadenas is a French filmmaker of Venezuelan origin born in Caracas who lives and works in Paris. After earning a degree in social communications from Universidad Católica Andrés Bello, she began an ambitious journalistic career as a reporter on Venezuelan national television and in several papers’ newsrooms. Although she was set for a career as a television presenter and editor, in 1979 she travelled to London, where she enrolled in a specialist course in film production and directing at the BBC. After that she moved to France where she produced a number of commissioned films and commercials, additionally gaining experience as a producer and co-screenwriter on French national television, before becoming a professional director. She has been working as a filmmaker since 2006, shooting documentaries and feature-length films. Over the past fifteen years, she has directed seven films, among them documentaries, short and feature-length films, and won numerous awards and recognitions for her work.

MASKED BALL

experimental, Austria, 2020. 3 min.

directors / Beate Hecher, Markus Keim

screenwriters / Markus Keim, Beate Hecher

cinematographer / Markus Keim, Beate Hecher

actor / Markus Keim

producers / Markus Keim, Beate Hecher

 

about the film

What looks like a frozen frame shows eleven men who all look like one another, both in terms of physical appearance and identical clothing consisting of black swim shorts and pink T-shirts paired with diving masks, snorkels, and black fins. All of them are located in different parts of a dilapidated, dusty, dirty room resembling a long-abandoned workshop. As the men are looking at the camera and the sound of waves crashing on the shore in the background suggests that the room is located near the sea, it becomes clear that the frame is not frozen after all, and that these men may just be a single person multiplied.

 

about the authors

Beate Hecher is an Austrian artist born in Villach in 1972. After studying sculpture at Akademie der bildenden Künste in Vienna, in the master class led by Prof. Ölzant, she worked as a motion and graphic designer from 1999 to 2000 and went on to become the art director of the production company Zone in 2003. Since 2004, she has been working as a professor in Media Technology and Design at the University of Applied Sciences FH Hagenberg, in addition to being a freelance artist in the fields of installation and film. She currently lives and works in Vienna and Wernberg, and collaborates with Markus Keim in several areas of artistic activity.

 

Markus Keim was born in the town of Sterzing in South Tyrol in 1969. After studying history and political science at Universität Innsbruck from 1990 to 1995, he attended two semesters at DAMS (Discipline delle arti, della musica e dello spettacolo) in Bologna the following year. From 1999 to 2006, he worked as a co-founder and actor in the renowned theatercombinat in Vienna, winning several awards for his work there, including the prestigious Nestroy Theater Prize. Since 2008, he has also been working as an independent artist in the field of installation, film, and performance. He lives and works in Vienna and Sterzing.

121 days later

fiction, Iran, 2022. 15 min.

director / Hossein Fatemian

screenwriter / Hossein Fatemian

cinematographer / Iman Sarmasti

actors / Hamidreza Naeimi, Mehri Aleagha, Mahrooz Nasersharif, Tina Timajchi

producer / Mahdi Babaei


about the film

Standing in front of a building in an unnamed Iranian city, a middle-aged man explains to someone over the phone that someone had stolen five million tomans that he meant to use to settle a debt. When he heads towards the building where he lives, the man finds a black bag in the stairwell containing a bundle with almost exactly the amount of money that had been stolen from him. However, a hundred thousand tomans are missing from the stack and he still cannot settle the debt as he hoped to. Nevertheless, his wife is ready to help him pay it back by lending him the missing hundred thousand and gives the money to their daughter in order for her to take it to her father. The daughter, however, has other plans for the money – she has been wanting to buy some books for quite some time.

 

about the author

Screenwriter and director Hossein Fatemian was born in Tehran in 1984. In addition to graduating from the Art Conservatory of Sound and Television, Fatemian earned a bachelor’s degree in film studies from the College of Art & Architecture in Tehran. He has been intensively directing documentary series for Iranian state television for years, worked as the chief cinematographer in the production of the drama Ako by his countryman Nabi Gholizadeh in 2018, and has participated in the production of several short films and documentaries in the role of cinematographer. He has another directorial project under his belt, the short documentary Life Here which thematises selflessness, evening the score, and the correlation between reality and imagination through a series of images from everyday life in the rural areas of Iran.

TO MOM

fiction, Italy, 2022. 8 min.

director / Davide Salucci

screenwriter / Davide Salucci

cinematographer / Berta Solis

actors / Lorenzo Franzin, Dario Del Vecchio, Leti Ziaco

producers / Lorenzo Franzin, Davide Salucci

 

about the film

When his phone rings one evening and his brother Francesco’s name appears on the screen, young Danielle has no idea that he is in for a very emotional conversation. When Francesco complains that he rarely takes his calls even though they have a different agreement, Danielle turns to blaming it on work obligations and a lack of time. After his brother warns him that it’s their mother’s birthday and the she is also expecting his call, Danielle finds himself in an uncomfortable situation that he is unable to escape through trivial excuses.

 

about the author

Producer, screenwriter and director Davide Salucci was born in Trieste in 1993. After studying history and philosophy at the University of Trieste, he graduated in film direction from Centro Sperimentale di Cinematografia in Rome. He shot his first short film Il principe in 2015 and went on to work on commercials, short films, and special effects for various productions while working as an assistant director at the same time. He shot his second short film Il gioco in 2020 as his graduate film for his directing studies, while the short film being shown at the festival marks his third directorial achievement.

Roaring 20´s

fiction, France, 2021. 85 min.

director / Elisabeth Vogler

screenwriters / Joris Avodo, François Mark, Noémie Schmidt, Elisabeth Vogler

cinematographer / Elisabeth Vogler

actors / Vladimir Seguin, Alice de Lencquesaing, Aurore Déon, Manuel Severi, Noémie Schmidt, Adil Laboudi, Zoé Fauconnet, Elsa Guedj, Lilou Guillot, Fanny Santer, Lila Poulet-Berenfeld

producers / Olivier Capelli, Laurent Rochette

 

about the film

Having spent the spring in complete lockdown due to the coronavirus pandemic, a group of young Parisians is finally enjoying a renewed sense of freedom. In a few hours in the later part of that summer day in 2020, these largely temperamental young men and women move through the streets of Paris and the metro, savouring uninhibited strolls, each other’s company, random encounters, and brushes with passers-by. Even though they are enjoying their freedom, they can all feel the reality of the crisis and its consequences as the pandemic faced all of them with certain doubts and questions.

 

about the author

The name of the co-writer and director of this film, who also serves as cinematographer, is in fact a pseudonym. Behind the name Elisabeth Vogler hides an unknown author or several, working under the pseudonym since 2013. According to their own words, the pseudonym was chosen to avoid attracting public attention and instead stay as far away from the spotlight as possible. They believe that the focus should not be on the author’s personality but the film itself, while the choice of pseudonym is meant to avoid adding another male author to this male-dominated industry. A female pseudonym was also chosen because they simply felt like it while working on the film. Those behind the film believe that pseudonyms can be used in the seventh art just like in literature or music. That being said, Elisabeth Vogler is a self-taught filmmaker who lives and works in Paris. Her first film, the documentary Blanchisserie de France from 2014, was successfully screened at IDFA in Amsterdam, while her first feature-length narrative film Paris est à nous from 2019 was shot as a Netflix Original.

Rolo - Kaskader

music video, Croatia, 2022. 5 min.

director / Rino Barbir

screenwriter / Rino Barbir

cinematographer / Rino Barbir

dancer / Borna Jukić - Gubaš

guitarists / Ana Marija Veselčić, Petra Kovačić Botić, Sara Ivelić

producers / Rino Barbir, Sara Ivelić

 

about the film

Within a rocky, seemingly post-apocalyptic landscape, a stuntman is frantically running in circles as if being chased by someone or something. The audience gradually finds out that he is in fact trying to escape a drone that is going after him. Simultaneously, three female guitarists play music on a hill above the valley where the chase is going down.

 

about the author

Rino Barbir, screenwriter and director of this music video who also serves as cinematographer and co-producer, was born in Split in 1988. After completing film and video studies at the Arts Academy in Split, he received a degree in cinematography from the Academy of Dramatic Arts in Zagreb. As cinematographer, he shot several short narrative films, including Medo mali, Lula & Brucke, Ultra by Igor Jelinović, 9:55 by Karl Vorih, Prije podne by Igor Dropuljić, the documentary Kamo idemo by Lidija Špegar, and a series of music videos. After directing music videos for Domenica and Vojko V, he made his directorial debut in narrative film in 2019 with the short Druker, which won the Golden Cart in the Zagreb Film Festival’s Kockica programme that same year, along with the Jury Award at the Croatian Film Days for Best Editing and Cinematography.

Death in Life

fiction, Iran, 2021. 15 min

director Adnan Shahabi
screenwriter Adnan Shahabi
cinematographer Lila Akhbari
actors Mohammadali Sareban, Niloufar Darbandi
producer Adnan Shahabi

about the film
Affected by a severe form of Alzheimer’s disease, an old Iranian man lies in bed and calls out to his wife Leila, not remembering that she passed away four years earlier. He is cared for by his daughter Elaheh, who would like for her father to drink his prescription medicine with his tea and peacefully go to sleep. When she somehow manages to get him to do so, she receives a phone call from her husband Amir. He would like for her to return home as soon as possible, but she first has to take down the valuable painting The Garden of Earthly Delights by Hieronymus Bosch from the wall in her father’s room in order to bring it to her husband. Elaheh fears that the old man might jump from the balcony if left alone, which Amir hopes for, while her brother Ehsan would hold her responsible for her father’s death i fit came to that.

about the author
Iranian producer, screenwriter, and director Adnan Shahabi is also involved in acting. He graduated in film direction in the master class by the acclaimed filmmaker Asghar Farhadi. He also successfully completed a filmmaking course at the Bamdad-Danesh International Institute and graduated from the Iranian Youth Cinema Society. He participated in the production of the feature-length docudrama Please Call Me as the screenwriter and assistant director, wrote the screenplay for a dozen short fiction films, and served as the assistant director on the short film A Shot in Darkness. As an actor, he appeared in the popular TV series Forbidden and the short film Zero-Sum Game by Amir Hossein Farrokhi.

Farewell, for Today

fiction, Italy, 2022. colour, HD, 7 min.

directors / Riccardo Copreni, Andrea Sbarbaro

screenwriters / Riccardo Copreni, Andrea Sbarbaro

cinematographer / Elisa Fioritto

actress / Caterina Mattellini

producer / Lorenzo Maria Schierici

 

about the film

On the edge of the horizon formed by an empty field of stubble, a little girl in a red coat appears and moves towards the camera. When she gets very close, she starts digging a small grave and builds a mound around it. On it she places a cross, clumsily put together from two dry branches. The girl is doing this for something that is very important to her.

 

about the authors

Co-writer and co-director Riccardo Copreni was born in Monza in 1998. After completing his high school education in science, he went on to attend Civica Scuola di Cinema Luchino Visconti. During his studies, he worked as a film critic for Sentieridelcinema.it and Cinelapsus.com, and as an animator at several film forums in Milan and the region. In 2019, he co-founded the Eclettica collective, for which he has produced and directed several short films and commercials. In 2020, he started working at the satellite station Sky Italia and directed his first short film Oscar – his thesis film that was screened at more than 25 festivals around the world. In addition to the film we are showing, this year he also directed the short Il dio dei gatti è immortale.

 

Co-writer and co-director Andrea Sbarbaro was born in the town of Cernusco sul Naviglio near Milan in 1998. Exactly two decades later, he wrote and directed his first short film Hypochondria, which won a number of awards and recognitions at festivals in the country and abroad, including Best Student Film at the Brazil Monthly International Film Festival. In 2020, he directed his second short film Hikikomori, shown in competition at the Cefalù Film Festival. He graduated in film and television directing from Civica Scuola di Cinema Luchino Visconti that same year. A year later, he directed two short films, The Human Implant, starring Giovanni Storti and Teresa Acerbis, and Vae Victis, filmed in one take.

The Comet

fiction, Spain, 2021. 4 min.

director / Aitor Elorriaga

screenwriter / Aitor Elorriaga

cinematographer / Carlos Mezo

actresses / Itziar Fragua, Aiora Sedano

producer / María Ángeles Torre

 

about the film

Almu and Sara are old friends watching a comet pass by the Earth, a phenomenon that they will never again have the opportunity to witness in their lifetime. While Sara’s excitement grows, Almu seems rather cold and indifferent. But then, in front of her friend, Almu starts to recall an incident from their youth when Sara tricked Almu and lied to her parents in order for them to punish her so that Sara would get the chance to go out with a boy that both her and Almu liked. At the crucial point in the comet’s trajectory, events might take an unexpected course.

 

about the author

Producer and screenwriter Aitor Elorriaga was born in Bilbao in 1974. After completing his education at the Escuela de Cine y Vídeo (ESCIVI) two decades later, he started a position as a TV cameraman at the Telebilbao TV station in 1995. He began producing not long after, first under the auspices of BNC Productions until 1998, then at Claro de Luna Production from 2001 to 2007. Since 2007, he has also been working as a casting director and has shot six short films since 2013, among them De Negro, Kiss Me, and Dime la verdad. The film we are showing is his sixth and most recent project.

 

 

Text me when you get home xx

fiction, Germany, 2022. 11 min.

director / Niklas Bauer

screenwriter / Niklas Bauer

cinematographer / Marc Tressel-Schmitz

actors / Lennora Esi, Marios Gavrilis

producers / Marie Marxmeier

 

about the film

Having left a nightclub, a young girl dressed in what might be considered provocative clothing feels vulnerable as she gets into a taxi before dawn. The driver is about her age, and his appearance indicates that he could be a foreigner. He soon starts asking her questions and inquiring about intimate details such as her relationship status and where she comes from, as he hears a foreign accent in her speech. The girl is exchanging messages with someone throughout the ride, but her phone battery is almost fully drained. As the drive goes on and the driver takes the vehicle through side streets, her discomfort grows.

 

about the author

Screenwriter and director Niklas Bauer was born and raised as the youngest son in a large family in the German state of Saarland. He became interested in storytelling at a young age and has been working professionally in film since 2014. He started his career as a production assistant on several projects in Berlin. Notable projects from this period include his work as second assistant director on the popular series Tatort: ​​Söhn & Väter and as first assistant director on the short children’s film Flaschendrehen, produced by ARD. In 2016, he enrolled in film studies at Hochschule Darmstadt, where he shot narrative shorts, commercial films, and documentaries. After earning his bachelor’s degree with his short film A Day in the Life of a Boy, which was shown around the world, he started a master’s degree at Fachhochschule Dortmund. As a member of the LGBTQI+ community, he is familiar with the feeling of being perceived as different, which is something he explores in his films. In March 2021, the #textmewhenyougethome movement started gaining momentum on social media as women from different parts of the world began to come forward with their experiences of sexual abuse. This prompted the author to reconsider his own behaviour and look for ways in which he could personally contribute to a safer society, a thought that also guided his work on the film.

High criteria

experimental, Croatia, 2022. 7 min.

director / Tanja Dabo

screenwriter / Tanja Dabo

cinematographer / Thomas Krstulović

actresses / Vlatka Oršanić, Tanja Dabo

producer / Borna Subota

 

about the film

Two women, a vocal teacher and her student, stand on a big national theatre stage. The teacher is an opera singer, and the student is the author of the film herself. The women are enacting a lesson in performing the Croatian national anthem Lijepa naša domovino. Spoken and sung parts alternate within the dialogue as the student tries to reproduce what she hears from the teacher, failing to meet the high standards required for a proper performance of the national anthem.

 

about the author

Screenwriter and director Tanja Dabo, who also plays one of the roles in the film, was born in Rijeka in 1970. After graduating from the School of Applied Arts and Design in Zagreb, she completed her studies in art teaching at the Faculty of Teacher Education in Rijeka in 1997 and obtained a master's degree in lithography from the Academy of Fine Arts and Design in Ljubljana in 2003. She has been educating herself further since 1992, attending professional workshops in Croatia and abroad in the fields of graphics, photography, and film. Starting in 1993, she has been exhibiting at numerous solo and group exhibitions, curatorial projects, and festivals in Croatia and abroad, additionally presenting her work at several public presentations and seminars, also at home and abroad, from Headlands Center for the Arts in the USA and Tate Modern gallery in London, Prague, and Portugal to Macao. She is a multimedia artist, the author of a series of art installations, performances, photo and video pieces, urban interventions, art books, and graphics. Her art explores, among other themes, the individual’s position in society, the relationship between artists and institutions, the individual and the collective, and imposed expectations.

City Lights

fiction, Germany, 2020. 102 min.

director / Malte Wirtz

screenwriter / Malte Wirtz

cinematographer / Francisco de la Torre

actors / Tim-Fabian Hoffmann, Johanna Wieking, Eric Carter, Oona von Maydell, Helena Aljona Kühn, Simon Russig

producer / Malte Wirtz

 

about the film

It is night in Cologne, and almost Christmas. Young Joschka, a guy in his late twenties, walks the streets of the city. When a neighbour accidentally hands him a bag full of medicine, he begins to hold himself responsible for it. He gets a special pill from a dealer, but meetings and conversations with a series of friends and acquaintances stop him from consuming it. Details from the young man’s past surface through these conversations along with everything in his chaotic life that has led him to this moment. However, his unusual nocturnal journey truly being only when he finally finds a moment to take the pill. He is ultimately led to question his own actions and whether he had made the right decision.

 

about the author

Producer, screenwriter, and director Malte Wirtz was born in Marburg, Germany, in 1979. After graduating from Gymnasium Philippino in his hometown exactly two decades later, he studied film and theatre direction under Romanian director David Esrig at Athanor Akademie für Darstellende Kunst Passau from 2001 to 2005. His thesis film Hinter dem Glück was funded by FilmFernsehFonds Bayern and screened at several festivals. Since 2006, he has been working as an independent film and theatre director and editor based in Cologne, successfully staging several plays in Kammerspielchen Wuppertal, Ballhaus OST, HAU, and artheater. After his debut project Voll Paula! was distributed in German cinemas in 2015 with success, his films have been screened at a series of festivals in Germany and abroad. He is currently working on several different serial projects and staging a theatrical version of the musical Paradise City at Konzert Theater Bern, while his fifth feature-length film Sie waren mal Stars! from 2020 also had its theatrical release. He is also reading excerpts from his new book on independent filmmaking titled Life is not a script at numerous festivals.

Steps

fiction, Bosnia and Herzegovina, 2022. 19 min.

director / Vuk Rađen

screenwriter / Vuk Rađen

cinematographer / Aleksa Trkulja

actors / Ilija Ivanović, Nikola Milaković, Senad Milanović

producers / Katarina Lazić, Ivona Bijelić

 

about the film

After their parents get divorced, brothers Aleksa and Ivan move to Banja Luka. Aleksa is the older brother who has finally settled down and found his way after a years-long streak marked by rebellion, unrest, and the problems of childhood and growing up. On the other hand, Ivan has just entered the age when he is eager to prove himself, first to others and then to himself. While he would like to follow Aleksa’s path, his older brother wants to show him that nothing good can come from life spent in the streets and on football stadiums, something he himself had learned first-hand. But Ivan would not have it, so Aleksa decides to buy spray paint for graffiti and takes him to the neighbourhood run by supporters of a rival team. This provokes serious trouble, and Ivan and Aleksa get dragged into it along with Mare, a member of the rival supporter group with whom Aleksa has yet to settle some scores from the past.

 

about the author

Screenwriter and director Vuk Rađen was born in Belgrade in 1999. He is currently in his third year of film and television directing studies at the Academy of Arts in Banja Luka. Up to date, he has shot seven short narrative films, one short documentary, and one music video, acting as the creative author, screenwriter, and director on all of them. In addition to his own films, he worked as an assistant director on projects by his classmates and other film students. One of these films, Prometeji kulture, premiered in 2021 at the Sarajevo Film Festival as part of the anthology film Šta tebi znači BiH?. In the same year, his film Zemlja otrova was screened in the competition at the international festival of short DIY and indie film MikroFAF.

Old Tree

fiction, Iran, Iraq, 2022. 3 min.

director / Moshfegh Shojaee

screenwriter / Moshfegh Shojaee

cinematographer / Arash Abasi

actors / Esmail Hamavandi, Midia Jalal, Mohammad Isa, Hiwa Gardi, Abdulrahman Esmail, Farhang Geravi

producer / Moshfegh Shojaee

 

about the film

Somewhere in the Persian Gulf, in a rural area where war is in full swing, a deaf old man observes what is happening around an old, nearby willow tree. After a doctor helps him with a hearing aid, the old man watches soldiers as they move around the tree, while military planes fly overhead, and smoke spreads across the battlefield. In spite of the grave danger, the old man does not want to leave his village.

 

about the author

Producer, screenwriter, and director Moshfegh Shojaee was born in Iran in 1986, where he still lives and works. He started working in film when he was still a teenager, mostly in Istanbul, fully devoting himself to it after he finished his education at Dânešgâh-e Sur (Soore University) in Tehran. He both writes and directs his films, additionally serving as producer.

JOYFUL MYSTERY

fiction, India, 2021. 85 min.

director / Don Palathara

screenwriter / Don Palathara

cinematographer / Saji Babu

actors / Rima Kallingal, Jitin Puthanchery, Neeraja Rajendran

producer / Shijo George

 

about the film

Young journalist Maria and aspiring actor Jitin maintain a romantic relationship without their parents’ knowledge. While she writes entertainment and gossip columns, he has no permanent engagements or income. On the car ride towards a gynaecology clinic for Maria’s pregnancy test, they begin a conversation that turns increasingly heated and unpleasant. The very thought that Maria might be pregnant is stressing both of them out – they both consider raising a child to be a major responsibility that neither of them is ready for yet. The conversation first turns into an argument in which both start pointing out each other’s flaws, then transforms into an honest conversation about them and their relationship.

 

about the author

Screenwriter and director Don Palathara was born in the Indian state of Kerala in 1986. He is also a director of documentary films whose approach is marked by a focus on local Kerala culture and working with small budgets and young, inexperienced actors. Although he grew up in the fast-paced world of digital media, he remains obsessed with celluloid aesthetics and long, deliberate takes. He has shot seven films in the course of seven years, among them five feature-length films and two shorts. Through them he developed a recognisable visual and narrative style, filming some of the most emotional and impactful scenes of contemporary Indian cinema. In four out of five of his films, these scenes are in black and white. While some focus on the characters in real time and palpable environments, in others the characters are placed within symbolic frameworks and dramas of broader significance.

Night Shift

documentary, USA, 2022. 7 min.

director / Ashique Mostafa

cinematographer / Ashique Mostafa

producer / Ashique Mostafa

 

about the film

While soft music is coming from a public address system somewhere in the distance, a night shift worker sits on a chair and scrolls through his phone as a forklift or one of his colleagues occasionally pass by. The workplace is unidentifiable at first – it could be both a large warehouse and a shopping centre, though a wooden structure above the worker suggests that he is in a kind of a cage. As more time passes and the camera starts to pan up, it becomes clear where the worker is sitting and what his surroundings are.

 

about the author

Producer, screenwriter, and director Ashique Mostafa is an independent filmmaker of Bangladeshi origin who studied film direction and production at the School of Visual Arts in New York, graduating in 2002 with the mid-length drama Phulkumar, shot in Bangladesh. He is the co-founder of the production company Khona Talkies, through which he has produced a number of notable short, mid, feature-length films and several documentaries in the course of the past two decades. He had previously directed two documentaries, while the one we are showing is his third. He is currently working on his first feature-length observational documentary, currently in post-production. In his work he is guided by the desire to formulate visual essays and poetry with a film camera.

Intruder

fiction, Spain, 2021. 3 min.

director / Adrián León Arocha

screenwriter / Adrián León Arocha

cinematographer / Adrián León Arocha

actors / Antonio Velázquez, Julia Crobate, Elisa Cano, Nayra Ortega, Dani Mendoza

producers / Antonio Velázquez, Dani Mendoza, Adrián León Arocha

 

about the film

As he quietly enters an apartment one morning, a young man with a beard and tattoos tries not to draw attention to himself or disturb the residents who go about their daily routine: a girl prepares coffee, an elderly man enters the bathroom, two young women wake up and cuddle in bed. At the same time, the young man takes things from the residents and puts them into the black backpack he has brought with him.

 

about the author

Screenwriter and director Adrián León Arocha, on this film also cinematographer and co-producer, was born in the Canary Islands in 1993. He discovered his passion for the seventh art and filmmaking at a young age and shot his first short film as a 14-year-old. His love of motion pictures later led him to Madrid, where he pursued screenwriting and cinematography studies. Diligently working on expanding his knowledge and professional experience, he spent some time in Los Angeles before returning to Spain. Ever since, he has been producing his own projects, primarily exploring avant-garde themes, independent film, and local urban music and performers.

I’ll tell you my secret

fiction / documentary, Poland, 2021. 5 min.

director / Magdalena Babicz

screenwriter / Magdalena Babicz

cinematographer / Magdalena Babicz

actors / Magdalena Babicz, Alina Stsiatsova, Zuzanna Gillert, Tomasz Tomaszewski, Kamil Składanek, Stanislav Bahdzia

producer / Magdalena Babicz

 

about the film

One November 13 at 6:30 p.m., the author of the film met with her old friends Tomek, Alina, Stanislaw, Kamila and Zuza. For the occasion, each of them had to reveal a secret while the other participants covered their ears. The camera spins among the participants like the bottle in spin the bottle, and the person to whom the lens points when it stops spinning whispers their big, important secret into the camera. As the others cover their ears, the audience takes the privileged position of the party that hears their secrets.

 

about the author

Magdalena Babicz was born in 1994 in Elblag, Poland. The film we are showing is her authorial work in its entirety; she is the producer, screenwriter, and director, along with cinematographer and lead actress. Magdalena is a filmmaker and visual artist currently studying film at the Szczecin Art Academy. She has made her debut by presenting her work at Centrum Sztuki Współczesnej Znaki Czasu and has since then participated in numerous exhibitions and promotions in Poland and abroad, including in the USA and Taiwan. The film we are showing had its premiere in June at one of the most important festivals of Polish film in Germany, at the 17th edition of filmPOLSKA held at Instytut Polski in Berlin.

Snitch

fiction, Denmark, 2022. 12 min.

director / Clemens Tolstrup

screenwriters / Clemens Tolstrup, Peter Thaysen

cinematographer / Peter Thaysen

actors / Oliver Overgaard Reichhardt, Anders Christensen, Emil Slotsvang, Thea Outzen

producer / Emil Mølgaard Hansen

 

about the film

Young Andreas is an 18-year-old Dane who just joined a gang. To prove that he is up to it and that the other members of the gang can trust him, Andreas has a special test to pass that night – he must confront Kasper, a former gang member whose current lifestyle warrants a punishment. Unsure from the beginning if he is capable of doing what is expected of him, i.e., attacking Kasper with a knife, Andreas finds himself in trouble when he comes face to face with him at a laundromat. To make matters worse, Kaspers girlfriend is also there, and no one told Andreas that his target had a family.

 

about the author

Born in 2000, Clemens Tolstrup is a young Danish filmmaker who primarily works as a cinematographer and has so far directed two short films. Over the past two years, he performed various jobs working on his colleagues projects, from assistant cinematographer and assistant director to sound designer and chief lightning technician. He grew up in the Danish city of Fredensborg and recently moved to Ebeltoft where he attends Den Europæiske Filmhøjskole. The film we are showing is his second directorial project and graduate film, preceded by the short comedy Fusion Rain of the Phantom Cell shot last year. After obtaining his diploma, he returned to Fredensborg where he continued to perform various jobs in a series of productions, including his recent position as cinematographer for a music video. His goal is to get signed as the cinematographer on a feature-length film by a major production studio.

 

Closed to the Light

fiction / experimental, Italy, 2021. 11 min.

director / Nicola Piovesan

screenwriter / Nicola Piovesan

cinematographer / Rui Dias

actors / Samuele Satta, Cecilia Bossi, Ettore Scarpa, Savino Genovese, Aurora Fortunato, Gaia Fortunato, Barbara Mattavelli, Paola Tintinelli, Riccardo Armiento, Davide Da Ronche, Matteo Landolfi

producer / Nicola Piovesan

 

about the film

Riots and lawlessness reign in Italy during the summer of 1944 following the countrys capitulation in World War II. Even children could easily lose their lives in these times of chaos. At the time, a tragedy took place in a village when four innocent villagers were shot, among them a young man. This tragedy is shown in a long shot with frozen sequences that periodically change as they tell this terrifying story.

 

about the author

Producer, screenwriter, and director Nicola Piovesan, who also edited this film, was born in Venice in 1979 and graduated from Alma Mater Studiorum – Università di Bologna in 2004. Since then, he has been active in all segments of film production, primarily working on short films but occasionally turning to documentaries, music videos, and computer games. He works not only as a producer, screenwriter, and director, but also as an editor, cinematographer, on several occasions a special effects supervisor and, for now one time only, a film score composer. His films have participated in about a hundred festivals around the world and won him over 70 awards for his work. He has taught film at a college near Milan for three years and at the Baltic Film, Media and Arts School in Tallinn for a semester. He has been living in Estonia since 2013 and works as a freelance artist on numerous projects with various collaborators around the world.

 

Elite

fiction, France, 2020. 7 min.

director / Adrien Bonneau

screenwriter / Adrien Bonneau

cinematographer / Adrien Bonneau

actors / Stéphane Bernard, Benoit Oscar Gardelle

producer / Adrien Bonneau

 

about the film

As they enter the room where they came to perform a certain job, middle-aged French man Stan and his slightly younger colleague Jacques are engaged in a heated discussion. While they are partially preparing the space for work, Jacques decides to confide in Stan that his children are having problems in school. Jacques is, therefore, interested in Stans opinions on raising children, noting that he wants to raise them in the spirit of Christianity, which is especially true for his son. However, the work they are there to do is very unusual, and so are their tools.

 

about the author

French filmmaker Adrien Bonneau claims to be a cinephile who one day simply decided to stand behind the camera and start directing short films. Completely self-taught in the field of the seventh art, he does not hesitate to take on the duties of screenwriter, director, cinematographer, editor, and occasionally actor too. He produces his films under the auspices of Beuleup Prod., an association he co-founded and now runs.

I’m Coming Forward

fiction, Greece, 2022. 13 min.

director / Leonardo Thimo

screenwriter / Leonardo Thimo

cinematographer / Nektarios Souldatos

actors / Leonardo Thimo, Adriana Birbili, Theoharis Papadopoulos

producer / Leonardo Thimo

 

about the film

The author calls his film an experimental theatre study – it is an excerpt from a monodrama staged at a Greek theatre. Special value is derived from the fact that the stage belongs to Empros theatre, a theatrical institution of utmost historical importance that has survived all financial crises and social fractures. The theatre certainly had better days, and is now run by an independent collective of enthusiasts whose ideas and energy compensate for the lack of money. The result of their work is a different and original alternative theatre that offers a unique viewing experience to those who are ready for experiments.

 

about the author

Theatre actor and director by profession, Leonardo Thimo was born in 1988 and is the producer, screenwriter, director, and lead actor in this film. He received his education at the New Greek Theatre Giorgio Armenis and the Lakis Kourentzis Children Theatre University in Crete, and has been continuously performing on theatre stages since 2001. Between 2013 and 2014, he studied film editing, directing, and special effects at Osterreich Klagenfurt TV. In addition to directing 26 plays, he has performed in 71 theatre productions to date. He has directed works by Aristophanes, Moliére, Dario Fo, Bertolt Brecht, the Brothers Grimm, Carlo Collodi, Charles Perrault, among other famous authors. He also directed a large number of short commercial films for theatrical performances, in addition to 25 music videos and 19 short films.

Gig

fiction, Hungary, 2021. 8 min.

director / Sipos Bence

screenwriter / Sipos Bence

cinematographer / Farkas Áron

actors / Bagossy Júlia Tekla, Bódi Zsófia, Nagy Levente, Sipos Bence

producers / Sipos Bence, Farkas Áron

 

about the film

Young Anna is nervous before her first guitar and singing performance, set to take place in a venue in Hungary. Her insecure rehearsal is interrupted due to technical reasons after she performs a couple of verses about love in front of an empty hall. When she steps outside to light a cigarette and unwind, she is joined by her peer Márti, a musician herself. As soon as the girls introduce themselves, they start talking about the guitar that Anna plays.

 

about the author

Producer, screenwriter, and director Sipos Bence is a Hungarian filmmaker and visual artist who makes short films. After attending Budapest Metropolitan University from 2013 to 2017, Sipos continued his film studies from 2017 to 2020 at ELTE (Eötvös Loránd Tudományegyetem) in Budapest. The film that we are showing is his eighth short film to date, having previously shot, among others, the short films In your shoes, Emma, Mantra 2017 and Fel az útón, pasá jobbra, at a rate of approximately one film per year.

Despot's Palace in the Archaeological Site of Mystras

fiction, Greece, 2022. 5 min.

director / Ifigenia Dimitriou

screenwriter / Ifigenia Dimitriou

cinematographer / Asimina – Lydia Dionysopoulou, Spyros Vrettakos

actors / Flora Kalomiri, Alexandra Aivalioti, Ourania Kalomiri, Magdalini Stefanatou, Vasiliki Syrma, Vasiliki Kolyvira, Dimitris Giaouris, Andreas Manis, Sotiris Kontogiannis, Zeta Pantazi, Dimitris Sagiannis, Panagiotis Velmachos, Evi Valassi, Chrysoula Kakaletri, Efthymia Plagaki

producers / Ifigenia Dimitriou, Angeliki Mexia

 

about the film

The Byzantine castle of Mystras is located on the northern slopes of Mount Taygetos in Greece, six kilometres northwest of Sparta. Its name Mystras or Myzithras comes from its steep location and the hill’s conical shape, while its strategic position makes it a semi-natural fortress. Its history dates back to the middle of the 13th century – it was built at the hilltop in 1249 by William II of Vilehardouin after the Franks occupied the Peloponnese. It was taken over by the Byzantines after the Battle of Pelagonia and eventually became the capital of the Despotate of the Morea. The fortress flourished as an artistic and literary centre and remained inhabited until 1953. Today there are four abandoned settlements within its walls. In 1989, the Castle of Mystras was included on UNESCO’s World Heritage List. The camera’s subjective shot moves through the spaces within the castle walls, still populated by people in historical clothing. In the moment when the queen is about to take her throne, her identity is revealed.

 

about the author

After graduating with a degree in architecture from the National (Metsovian) Technical University in Athens, Greek producer, screenwriter, and director Ifigenia Dimitriou first enrolled in a postgraduate programme in museology at the Universitat Politècnica de Catalunya in Barcelona, ​​and then went on to study film at the New York Film Academy. In this she was driven by a desire to build upon her architectural knowledge with new understanding of film art, something she had a special interest in. While studying film on a scholarship at Queen Margaret University, she wrote a thesis on the subject of Architecture and Film for her postgraduate degree at the National (Metsovian) Technical University in Athens. Even today, she runs an architectural office in Athens and intensively collaborates with the Greek Ministry of Culture on the restoration of historical monuments and the organization of exhibitions in parallel. In doing so, she uses the knowledge she gained while working on documentaries and audiovisual projects that she (co)created for various museums and exhibitions. She also directs short narrative films, as well as commercials for television and online advertising. Some of her short films were screened and awarded at prestigious international festivals.

Happy Together

screendance, United Kingdom, 2021. 10 min.

director / Sofia Kondylia

screenwriter / Eleni Mloukie

cinematographer / The dancers

dancers / Vicky Alexandraki, Zoe Bogea, Sofia Kondylia, Christina Panayiotou

producer / Sofia Kondylia

 

about the film

In different yet comparable spaces, on a split screen, four dancers perform different dance moves at the same time. They act as a dance ensemble that, despite their distance from one another, aim to function as a unified group. In spite of being shot remotely between Scotland and Greece, the dancers succeed in their effort, simultaneously performing together and apart.

 

about the author

Producer and director Sofia Kondylia is a choreographer, performer, architect, and art workshop facilitator who lives and works in the United Kingdom. She holds a Master’s Degree in Performance Practices from ArtEZ University of Arts in Arnhem and a Master’s Degree in Architectural Engineering, as well as a Batchelor’s Degree in Dance, from Athens. Her work combines choreography and architecture, in different ways through dance, performance, physical theatre, and screendance work. Her research projects Architecture + Dance and Performing Geometries delve into emotional and kinaesthetic interpretations of space. This has so far resulted in thirteen dance productions in which she narrates physicality-based stories on internal psychological conflict, social interaction, and self-transformation. Her work has toured all over Europe and the world, from Scotland, Greece, and Italy, Cyprus, Sweden, and the Netherlands, to California, Argentina, and Croatia, winning numerous awards.

Satori

screendance experimental short, United Kingdom, 2022. 5 min.

director / Chloe Tam

screenwriter / Chloe Tam

cinematographer / George Glenny

participants / Hamish Mcarthur, Sam Nicholls, George Mooney, Rob Dimblerby

producer / Chloe Tam

 

about the film

A band begins to perform a jazz piece on a stage, and a young free climber begins to climb a bouldering wall within the same space. Time seems to cease as the viewer becomes fully aware of the present moment by simultaneously observing the climber and listening to the music. This learning to live purely in the moment and for the moment leads to a deep understanding of oneself and the universe.

 

about the author

Producer, screenwriter, and director Chloe Tam, originally from Hong Kong, recently graduated with a degree in Fine Art and Film from the Lancaster Institute of Contemporary Arts. The film we are showing is her directorial debut, her artistic vision made possible through the dedication of her collaborators, whom she had the great pleasure of working with. She currently lives in the north of the United Kingdom and is working on new projects.

Reflection

fiction, Turkey, 2022. 4 min.