the cannes 2019 issue
a magazine for emerging filmmakers published by daazo.com – the European Shortfilm Centre
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CANNES PREMIERE
Sunday, 19 May 2019 · 8:30 pm · OLYMPIA 2 www.german-films.de
www.ag-kurzfilm.de www.shortfilm.de
Visit the GERMAN PAVILION for more information about German short films!
CONTENTS 8 16 36
The Festival, Where Short Films Matter – all about Cannes
46 52 60 64
The Short Film Brochure
Mapping your Mind – a celebration of creativity “A Film Is Like a Diamond Cut to Perfection” – EFP Producers on the Move speak Mistakes Make Us Better – and what we can learn from them Film Life Beyond Cannes – more festivals and events Festival Panorama – your handy guide to the best festivals
Meet the Artist – the illustrator of this issue, Luca Tóth, page 5 Not a Stranger in Paradise – First times and Cannes memories of Jim Jarmusch, page 10 Cinéfondation Facts and Figures 2019 – the programme in numbers, page 14 “I Don't Want to Live too Much of my Life Away From a Camera” – an interview with Short Film Palme d’Or winner Charles Williams, page 31 The Essential Cannes Dictionary – the sections, programmes and sidebars of the festival, page 42 “I Had to Learn to Focus my Energy on the Right Things” – an interview with Cinéfondatian participant Katalin Moldovai, page 44 Cannes Mistakes to Learn From – what not to do on the Croisette, page 54 Filmmaker’s Fuck-Up – the failures filmmakers face from time to time, page 56 Don’t Hide Your Film From the Press – or how to avoid the mistake of remaining invisible, page 58 “A Very Pleasant and Relaxed Ambience” – impressions from the Budapest Debut Film Forum, page 62
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Meet the Artist
interview by Zsuzsanna Deák
Introducing animation filmmaker Luca Tóth whose illustrations are featured in this issue.
Luca Tóth received her BFA from MOME, after which she studied animation at the Royal College of Art in London. She is also known for the political and satirical web-series called Oligarchy. Her graduation film, The Age of Curious (2013), has received a number of awards including Jury Distinction at Annecy International Film Festival. Superbia (2016) premiered at the Critics Week in Cannes. Mr Mare (2019) premiered in the Berlinale Competition.
Why animation? At a young age right out of high school I found animation to be the most exciting, challenging yet comfortable field to discover. It gave me a chance to rule; create universes, characters and narratives without having to prove my authority. I think this is a very big difference between film and animation education. In the last ten years of doing animation I could define my own strength in my own pace. As a young woman I wasn't conditioned to be comfortable in the director's role but throughout the years animation proved to be a safe space for me in which I could grow. What was the first film that made you say "wow"? Probably Alice in Wonderland when I was a child. It haunted me for quite some time afterwards as well. As an adult I was utterly speechless for two hours after watching The Act of Killing. Film of your choice for a first date? I would say “Don't go to the cinema on the first date”! But if you must – watch
a conversation starter like The Square by Ruben Östlund. Film of your choice for a quiet night in on your own? I like watching Netflix documentaries when I'm alone. Making a Murderer or The Keepers are series that I’ve watched two or three times already. What comes to mind when you hear the word "Cannes"? Cannes was the first A-list festival that I had competed in, and as such I'm still quite emotional about it. It helped me on my way, not just by gaining connections and opportunities but most importantly it made me feel that I'm not an idiot for wanting to be an animation director. North or South? Hm, I don't know. I prefer cold weather. Your secret crush? I have many secret crushes but I guess this question is supposed to be about films… My one and only secret crush is Frank Henenlotter, I especially loved his 1988 movie, Brain Damage. Jarmusch or Tarantino? That's a hard question. I guess Tarantino stands a tiny bit closer to my heart. His movies always seem very playfully made to me, not to mention his editing and camera positioning which often feel like a shout out to animators.
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illustration by Luca Tóth
Mistake My workaholism is the mistake that has cost me the most so far. When I’ve got the idea for a new film, there is no rest, I work on it maniacally. It has taken a lot of practice to make myself slow down so that I can have a better work-life balance. This change has improved the quality of my films too, but I’m sure there is a lot more room for improvement here!
COU RAGE! VIS VIENNA SHORTS
16th International Festival for Short Film, Animation and Music Video May 28 to June 2, 2019 All information available at viennashorts.com
LETTER FROM THE EDITOR Dear Friends, Welcome to the Cannes 2019 issue of World of Shorts! Let’s begin with one of the hardest things: admitting an error. Where better than in this issue, dedicated to the topic of mistakes: yes, we admit that we made a mistake when we changed the title of our beloved World of Shorts in 2016. After careful consideration, we have now decided to go back to the magazine’s original title. Somehow, we never managed to get used to our second name: World of Young Cinema. So, please, join me in welcoming back our old-new name – after all, whilst we love everything film from features to one-minute blasts, shorts are what we are most passionate about! When I was at school, mistakes were considered bad. Our mistakes were circled or underlined aggressively in thick red ink. Nowadays, more and more progressive schools embrace mistakes and say that taking risks is the way forward – and you can’t take risks without making mistakes. Even in business circles the mantra of the day seems to be “fail forwards”. We make mistakes all the time, and we learn from them – so how could they be all bad? There are so many mistakes a filmmaker can make – in this issue, we write about some that others have made so that you don’t have to! Read them and share with us your biggest mistake and what you have learnt from it. If you are promenading the Croisette this year, enjoy the festival – here’s to a wonderful Cannes full of short film inspiration! Zsuzsanna Deák
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THE FESTIVAL, WHERE SHORT FILMS MATTER
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Cannes is glamour. Cannes is the past and the future. Cannes is inspiration, creativity, and Cannes, right now, is the centre of the universe. We are so lucky to have this film festival where there is something for everyone. In the midst of all this abundance, we focus on the short films and their creators, the filmmakers of the future. Join us on this special journey!
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Par adi se Str ang er i n Not a Jim
h usc rm a J
FIRST TIMES AND CANNES MEMORIES OF JIM JARMUSCH This year the Cannes Film Festival is opened by a group of dead people, rising from their graves: the independent master of cinema, Jim Jarmusch, is presenting his brand new zombie-flick The Dead Don’t Die, packed with A-list stars, as always. His visits to the festival have become more and more regular since he started making films. But as everyone else in this great industry, he had to start from the bottom.
Let’s see what he had done before he became one of the most unique directors of contemporary arthouse cinema!
Born in 1953, Jim Jarmusch became a film enthusiast early on. He admired cinema just as much as books and music. He wrote poems and short stories at Columbia University. During his university years, when he was an exchange student in Paris, he spent most of his time at the Cinémathèque Française. In this great temple of movies, he started watching all the classics and getting inspired by European and Asian cinema. Eventually he graduated from Columbia and applied to film school, where he spent 4 years without ever getting a degree. His first feature was a work in progress when he dropped out, yet he decided to finish it anyway. This project became his first feature film in 1980, and was called Permanent Vacation. The 75 minute long, lowbudget film, shot on 16mm, follows a young man (played by Chris Parker) wandering around in New York City, searching for nothing other than the meaning of life. The semiautobiographical movie won the Josef von Sternberg Award at the MannheimHeidelberg International Filmfestival. Permanent Vacation already contains some of Jarmusch’s trademarks as an auteur: the leading character is an outsider who wanders around in the urban jungle, having weird, improvised interactions with friends and strangers,
text by Janka Pozsonyi
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still photo from Permanent Vacation
California in 1993 (which won the Palme d’Or for him). This short later became part of the anthology Coffee and Cigarettes.
still photo from Stranger than Paradise
and all this is supported by an eerie soundtrack. At that time, Jarmusch became friends with Wim Wenders, who gave him some leftover film from his shooting of State of Things. The material was just enough for a 30 minute-long short film, and that’s how the story of his first short film, Stranger than Paradise, began. It was the story of a Hungarian girl who emigrated to the USA and lived with her cousin for a couple of days, before moving on to another city. The short was selected for the International Film Festival in Rotterdam, and Jarmusch managed to raise some money with it, which made it possible to enhance it into a feature film. His first major feature hit made it into the selection of Cannes, and won the Camera d’Or for the Best First Film. Stranger than Paradise is still considered one of the grand beginnings of independent cinema, and not just in the United States, but around the world.
Dead Man also had its premiere at the festival in 1995, and so did Ghost Dog: The Way of the Samurai in 1999, but the grand award came the next time around: in 2005 Broken Flowers won the Grand Jury Prize. The Limits of Control was selected in 2009, and so were the loving vampires in Only Lovers Left Alive in 2013. In 2016 Paterson won the prestigious Palm Dog (for the lovely English Bulldog on the side of Adam Driver) and Jarmusch returned once again with the documentary Gimme Danger in 2016, focusing on the eventful life of the rockstar Iggy Pop, who is also one of his beloved actors. And it seems that after the cowboys, Japanese lovers, samurais, a lonely old man, a wandering hitman, vampires and an amazingly-still-alive rockstar, he comes back once again to the festival this year, with a bunch of dead people. The loyal marriage between Cannes and Jarmusch has always been warmly welcomed by the audience, and this year will be no exception.
illustration by Luca Tóth
He started his road of success in Cannes, and the festival has been welcoming him and his films back ever since. Four years after Stranger than Paradise, he returned to the Palais in 1986 with Down by Law, in 1989 with Mystery Train (which won an award for Best Artistic Achievement), then returned with the short film called Somewhere in
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Short Film Submission Know-How You’re a short film director and you’d like to take your film to Cannes. What to do? Register your film to the Short Film Corner in order to make it directly visible to buyers and festival programmers from all over the world.
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CINÉFONDATION FACTS FIGURES 2019
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Created in 1998 and devoted to the search for new talent, the Cinéfondation, sometimes called “the head hunter” of the festival, is dedicated to young creators. Through three main actions, the foundation supports the film projects of young directors; from scriptwriting to recognizing their work on the international scale, to searching for financial support. The Selection showcases short films from film schools in the official Cannes Selection. Find below some facts about this year’s programme! text by Zsuzsanna Deák
2,000 films were submitted from 366 film schools in 94 countries. 17 films have made it to the selection: 14 live-action and 3 animated films. • Dimitra Karya, director of the Cinéfondation selection, has selected the films of the programme with the help of just one assistant. • Selection happens all year round. The two-person selection team began watching a few films during summer but the real selection process started with the online submissions, in November. Gradually increasing, entries reached a peak just by the deadline, February 15th. “Of course, it is highly recommended to send films as early as possible, so that they can be seen in better, less stressful conditions, which is beneficial to all parties for obvious reasons”, suggests Dimitra.
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• This year’s longest film is Pura Vida by Martin Gonda (FTF VŠMU – Slovakia), with 30 minutes. The shortest film is the 8-minutelong animation titled Roadkill by Leszek Mozga (University of the Arts London – United Kingdom). • According to the rules, films presented to the Cinéfondation selection must not exceed 60’ of running-time. The Cinéfondation Selection often showcases 40’ and 45’ shorts. Even a 60’ film was selected in 2010: The Painting Sellers by Juho Kuosmanen, which won the 1st Prize! A few years later, in 2016, Juho won the Prize Un Certain Regard with his feature film The Happiest Day in the Life of Olli Mäki. • 6 of the 17 directors selected for this year’s programme are women. • It is the first time a Palestinian school enters the Cinéfondation Selection: Dar al-Kalima University
• 6 schools make their first appearance at the Cinéfondation: —— Budapest Metropolitan University (METU) – Hungary —— CinéFabrique – France —— Dar al-Kalima University College of Arts and Culture – Palestine —— Nanyang Technological University (NTU) – Singapore —— St. Petersburg State University of Film and Television – Russia —— University of the Arts London (UAL) – United Kingdom • 5 of the 17 films come from Central and Eastern Europe. “The important presence of Central and Eastern Europe highlights the vitality of filmmaking education in these countries”, says Dimitra. • Cinéfondation alumni return to Cannes. You can find in the various Cannes programmes films directed by filmmakers who made their debut at the Cinéfondation Selection: Little Joe by Jessica Hausner and La Gomera by Corneliu Porumboiu (both in the Competition), Bull by Annie
Silverstein (Un Certain Regard), Diego Maradona by Asif Dimitra Karya Kapadia (Out of Competition), Share by Pippa Bianco (Special Screening). Sem Seu Sangue by Alice Furtado is invited at the Directors’ Fortnight. • Claire Denis will chair the Cinéfondation and Short Films Jury. The French filmmaker will succeed last year’s Jury President Bertrand Bonello. • The 5 members of the Jury will be awarding prizes for three of the 17 student films. The Cinéfondation Prizes will be announced by the Jury on Thursday, May, 23th during an Awards Ceremony in the Buñuel Theatre, which will be followed by a screening of the winning films. • The same Jury will also name the Short Film Palme d’Or winner from among the 11 films selected in Competition. It will be awarded at the Closing Ceremony of the 72th Festival de Cannes on Saturday, May, 25th in the Grand Theatre Lumière.
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illustration by Luca Tóth
College of Arts & Culture. There have been two Palestinian directors in the selection before, but they both studied filmmaking at Columbia University (USA).
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illustration by Luca Tóth
To illustrate better the relationship between directors and their work, the filmmakers whose short films have been selected for the Cinéfondation programme were asked to draw spontaneously something about their film, using a pencil and a piece of paper – or any other medium they could think of. Anything would do – a symbol, a landscape, fresh and raw, straight from their imagination.
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FAVORITEN FAVOURITES ‘18
After falling out with her mother, juvenile Sofia hitchhikes southwards in search of the father she never had. When she meets grumpy engineer Michael, who reluctantly agrees to give her a lift, the two strangers develop an unlikely friendship on their shared journey through the Austrian south.
Martin MONK Filmakademie Wien Germany / Austria
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REONGHEE ALIEN ‘15
Reonghee and I are illegal aliens. Yesterday, Reonghee died while running away from the Immigrant Office Agents. The company we worked for is only concerned about covering up the mess. I’m going to find Reonghee, whose body the company has hidden somewhere, and give her a funeral that she deserves.
YEON Jegwang Korea National University of Arts South Korea
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BAMBOE ‘19
Bamboo plants only bloom once, but always simultaneously. The same thing happens to a bunch of thirteen-year-old girls when a mysterious man sets foot on their territory. One by one the girls have to let go of their carefree summer.
Flo VAN DEUREN RITCS Belgium
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SOLAR PLEXUS ‘9
Noah has not accepted the death of his mother, an astronaut. In order to move on, he must break the umbilical cord that still connects them.
David McSHANE NFTS United Kingdom
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AHOGY EDDIG AS UP TO NOW ‘24
Hope is what brings us forward. All the characters in the film – including Margit and her daughter – become part of a lie giving hope, that can change their lives and bring a new beginning in their relationship as well.
Katalin MOLDOVAI Budapest Metropolitan University (METU) Hungary
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JEREMIAH ‘10
An Asian-American high school football player is forced to confront his deepest fears after a strange encounter with a mysterious figure.
Kenya GILLESPIE The University of Texas at Austin USA
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ROSSO: LA VERA STORIA FALSA DEL PESCATORE CLEMENTE ROSSO: A TRUE LIE ABOUT A FISHERMAN ‘28
Clemente is an old Sicilian fisherman who goes on working in spite of his late age. His life is disrupted the day he finds a young refugee’s dead body stuck in the fishing nets.
Antonio MESSANA La Fémis France
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PURA VIDA ‘30
Financial crisis enters the households of a provincial town and people start to lose their jobs. Two adolescent brothers rebel against their father, a factory foreman, who becomes a scapegoat for the frustrated community.
Martin GONDA FTF VĹ MU - Film and Television Faculty, Academy of Performing Arts Slovakia
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HIEĚƒU ‘24
A Vietnamese-American household receives a surprise visit from a long-lost patriarch after he fails at a getrich-quick scheme.
Richard VAN CalArts USA
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DUSZYCZKA THE LITTLE SOUL ‘9
A dead body became stuck by a river bank. Its decaying insides still hide a human soul - a miniature of the deceased. Rotting organs part and a tiny creature gets out. Standing on the river bank, it says goodbye to the corpse and sets off on a journey through the post-mortem land.
Barbara RUPIK The Polish National Film, Television and Theatre School in Lodz Poland
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SLOZHNOPODCHINENNOE COMPLEX SUBJECT ‘26
A mysterious teacher comes to a provincial town to work in the local school. The teacher doesn’t look like a teacher, and his views are too pretentious and innovative. But the city likes him. He has actually no idea how much.
Olesya YAKOVLEVA St. Petersburg State University of Film and Television Russia
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ROADKILL ‘8
Roadkill is a stop-motion animated thriller. One alpha male deer goes for an evening car ride and has an unfortunate car accident.
Leszek MOZGA University of the Arts London (UAL) United Kingdom
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still photo from All These Creatures © Mathew Lynn
“I DON'T WANT TO LIVE TOO MUCH OF MY LIFE AWAY FROM A CAMERA” Tempest took Cannes by storm last year. The story of the Ethiopian-Australian boy whose family has to come to terms with a tragedy moved the Jury – and us – deeply. We asked last year’s Palme d’Or winner, Charles Williams about this beautiful film, All These Creatures, his work as a director, and his home country, Australia. interview by Zsuzsanna Deák
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like a knot has been untied in your stomach.
Charles Williams
The 16mm format creates a shift between dream and reality. Can you tell us about your visual concept? Do you always shoot on film?
Your film is moving on many levels: it gets deep into childhood memories, family tragedies, and the dark side of nature. It's personal and universal at the same time, and it's strongly therapeutic. Is this what filmmaking is for you? A way to heal the wounds? Thank you, that's a great compliment. With this film I just wanted to dig deepest into my own obsessions; I think inevitably when you do that you end up in your own wounds. But it might be more about picking the scabs than healing them. Having said that, there's a lot of films that have been therapeutic for me as a viewer. I think they just articulated something in a way that was visceral and deeply felt. It just makes you feel less alone with whatever you're struggling with. It's an incredible experience when that happens, your self awareness disappears, you have these mirror neurons firing and you feel like you're exorcising something through these sounds and images. When this happens you leave the cinema feeling
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I have shot on film quite a bit over the years, but it's not dogmatic. It's always a trade off. It just seemed right for this film. Both because the organic imperfections of the medium felt like it would help visualise the themes of the film, and also because it would dictate a more considered stylistic approach. When working with children and nonprofessionals, the natural choice is digital, just because of the ease and number of takes. But I thought going the other way, kind of painting ourselves into a corner by shooting film, would result in something special.. if we could pull it off. Dandenong isn’t a part of Australia most foreign viewers know about. Why was this an important location for you? Dandenong is one of the few areas left in Melbourne that isn't overly gentrified. It's a great area with an enormous amount of diversity; there's around 180 different languages spoken there. It just seemed like the place for this film. Also we had great support from the council and community so it all fit really well. Is the general public in Australia accepting towards immigrants and refugees? Do they get represented in films? How about indigenous people? Do their problems get less attention now with the refugee crisis and migration worldwide? It's very complicated, each group has their own struggles with acceptance and representation, and I don't feel particularly qualified to shed light on it. I'm not sure their problems get less attention now than
How are these people and other underprivileged groups portrayed in Australian films? Well like I say there's a want from the culture to make up for the society. This unfortunately often results in a kind of didactic storytelling and a bit of a onedimensionality to these stories, or at least when they're told by more privileged people. When people have a chance to tell their own stories, there's more humour and grey area. These issues were not really what I was addressing in my film, except to address them by not lecturing about them and not putting the racial identity of the characters in quotation marks. I wanted to be able to cast more openly, look for the right soul to play a character and not just the external characteristics. That's not to be naive, I knew when I cast Yared, who has Ethiopian Australian heritage, that I would need to alter the story of the family somewhat and incorporate that. I took on four different advisors from that community so the film could be accurate and sensitive, however I didn't want race to be the primary issue, and thankfully neither did they. Frankly the African Australians I know get a bit tired of that being their only identity on film. How can the problems of the oppressed be represented in films – when films are typically made by people from a more privileged background, and who are thus usually outsiders? I think this is really interesting, the honest answer is I don't know. Sometimes when you see a gritty 'poverty' film get lauded in certain circles you have to wonder if it's just a way to absolve the very privileged of their guilt, rather than actually changing anything. I see a lot of short films about the destitute lately, made by very privileged
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still image from All These Creatures Š Emma Buglisi
before, though there is at the very least an apathy, if not pointed antipathy, from the general public toward the plight of each of these groups. For refugees, modern Australia has an appalling record. The issue has been sort of weaponised politically as a way for conservative governments to make Australians afraid enough to vote them back into power. And slowly the political debate has devolved into a contest of cruelty as a litmus test for leadership. For the Indigenous Australians it's still quite insane. They're still not even recognised in the constitution and every year we celebrate our national celebrations on the day the British invaded their land. However their representation in films is quite good and Screen Australia has an excellent system for vetting those depictions. For immigrants, there's generally a less hostile attitude (depending on their origin). We're an immigrant country, so although there are some very racist sentiments, they tend to come from a smaller, crazier pocket of Australian society than what is mainstream. I think the film and artistic community are very sincere in their want to represent and support the stories of these groups, though I'm sure that's of little comfort to these groups given their general treatment in the society.
young filmmakers, simply because they think it's exotic! It's funny because I come from a very poor upbringing and I always wanted to make films about people from really rich backgrounds (those kind of Max Ophuls, Jean Renoir worlds)! Sometimes it's a case of not appreciating your own stories; or being ashamed to tell them. Though I don't think people have to make films only about their own direct experience. Very few of the Italian neorealists actually came from the backgrounds they were depicting. And it's a medium built on imagination and empathy. You just get a bit wary after seeing so many films where people clearly don't intimately understand the world's they're depicting. This film is the first time I've represented something closer to what I grew up with, though I didn't want it to feel grim, quite the opposite. The casting procedure was extraordinary. Why was it so hard to find the right Tempest, and how did you know that Yared was the one? How did you find the others?
The role had to be someone entering adolescence, and there's a lot of emotional complexity that had to be communicated with almost no dialogue. And you needed a rawness. This alone is very hard to find in anyone, let alone someone so young. I felt I could rewrite the story around the right soul, whatever their race or gender was. My casting agent, Fiona Dann, and I just went out with a very wide net. We looked at actors and kids from schools and the local areas. I even went to special schools that are for kids who can't function in normal schools, usually because of trauma. This alone was really rewarding and a number of the kids ended up coming on set as trainees. In the end Yared, who has a wonderful and supportive family, just had the right qualities, it was all there. Having said that I had to find another boy for the voice over as Yared's voice didn't quite fit. I found the kids that play his friends in the film as they were getting into a fight in the street. I ran over and asked them to be in my film! Mandela Matthia, who plays the father, was in his last year of training at NIDA (Australia’s premiere dramatic school) when I cast him. His role required a lot more range and emotional agility, and that was a more traditional process. He was a gift.
still image from All These Creatures Š Mathew Lynn
Did you let them improvise? Somewhat yeah. But only really in the backyard scene when they're playing. I had a few games I knew we could play and we sort of just ran with those, you want those scenes to feel as alive and spontaneous as possible. Most of the improvisation happened in 'scenes' that we didn't usually film. We would improvise before the scripted scenes and play these out before we rolled camera. It worked as a way of getting everybody into character, especially in the scenes of the first half of the film where everything is quite fragmented.
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Not really. I knew someone with this name and I liked the reference of something elemental and tempestuous taking place inside him. Did you have difficulties with shooting with the dog or the frogs? So much! Poor Mandela couldn't get through an emotional breakdown without the dog jumping up and licking his face. It was all very challenging. We had no real budget either and combining dogs and insects and untrained actors and children and car scenes and road closures; shooting on film... kind of a crazy mix. I was lucky to have a patient crew. Do you get many personal stories as a response to your film? Have people started sharing their own childhood memories with you? Yes there's been some, which is very moving. Most people don't open up so literally, but there is a depth to the connection that they have had to the film which I feel very lucky for. You have been making shorts for a long time. How did the Palme d'Or change your life? It's given me some much needed legitimacy. It's been quite a struggle, mostly because of the things you're talking about. There's a reason most filmmakers come from money or a lot of support, without those things I've floundered a bit. Each time I made a film I've felt so restricted and it has taken me a long time to recover financially. Winning the Palme d'Or and having the film be so appreciated has given me a lot of encouragement and, like I say, legitimacy, which is really important when trying to make features.
How does it make you feel that the general public doesn’t know much (or anything) about the short film sections in Cannes and other big festivals? I don't really think about it to be honest, they know enough. In Australia Cannes is a very big deal, and even though the average Australian isn't seeing the shorts, they know it's a very high honour to be part of the festival. It's more than enough for me that those who have seen the film have responded so generously. You have made several successful short films, and now you are working on feature projects. What is the difference between the two formats? Yes I'm working on a few features, mostly on one in particular called Inside. It's very similar thematically and stylistically to All These Creatures, however it takes place in a more criminal environment, which seems appropriate to me as an extension. If I literally adapted the short it would be a kind of coming of age story and that's not something I'd really want to make as a feature. For me features and shorts have more in common than not. You can, or at least you should, probably take more risks with a short. The challenge though is that, due to the short production process, there's no real time for anyone to really do their best work. By the time the cast starts to click, the shoot is over. So I'm looking forward to that longer process where everyone can get further into the world for longer. Do you think you will return to making shorts after your features? It's possible given the length of time it takes to get a feature made.. I don't want to live too much of my life away from a camera.
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illustrations by Luca TĂłth
Tempest – is this a reference to Shakespeare?
“A FILM IS LIKE A DIAMOND TO BE CUT TO PERFECTION”
Each year at the Cannes Film Festival, 20 promising, up-and-coming producers from throughout Europe are selected to participate in the Producers on the Move programme. The initiative is aimed at connecting young, enterprising European producers with potential co-production partners, strengthening their industry networks, and providing a solid and visible platform for this next generation of European filmmakers. The selected producers take part in project pitching, 1:1 meetings and case studies, social events and an extensive press campaign. Meet the people “whose energy will keep the next generation of cinema challenging and inspiring”, as one of the young producers said about her fellow POM members. We asked them about their inspirations, expectations, adventures and most memorable challenges.
illustration by Luca Tóth
text by Zsuzsanna Deák
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Hendrik Verthé BELGIUM Hendrik founded A TEAM PRODUCTIONS together with Kobe Van Steenberghe in 2009. He has produced short films, documentaries and feature films with a focus on broad audiences. Among his latest productions are the feature films Image (2015), Black (2016) Patser (2018), Torpedo (2019) and Yummy (2019).
Carles Torras SPAIN Many good stories pop into my mind right now, but nobody will want to finance our films anymore if I share them! No, the most important thing I’ve learned over these 10 years is that you are only as strong as your team is. And that a good team spirit is the beginning of a successful film and a solid company. A lot of people smile when I say this, but the movie that drew me into cinema was Gladiator. Cinema as the 7th art with the magic to create your own universe to entertain and move audiences. If you take your time to Google accurately you can find the reason why I didn’t become an actor! The thing I love that much about producing is that it combines a creative and a business aspect. Moreover, it gives me the possibility to work on multiple projects at the same time – exactly what my impatient personality needs. Being the wingman of a director and help them create their vision on a project is what drives me in this job. To have a little more objective eye on your side that you can trust 100% during the whole project is a big tool for a director. Being close to the team you work with is one of the key values of our company. My good luck charm is working hard, passionately and with a smile on our movies. Getting that way the best out of the team surrounding us, and being grateful for that. And making some coffee from time to time…
Emily Morgan
UNITED KINGDOM Emily is a producer from London with a passion for travelling and shooting films abroad. I once rushed to shoot a film, which meant we had too little prep time. I learnt that you rarely regret pushing a shoot later, but you can easily regret shooting too soon. I remember being blown away by Pulp Fiction as a teenager. I loved the radical structure, characters, soundtrack, darkness and humour. It was my favourite film for a long time. Producing is the perfect job for me – it suits my nature and I love being involved in all areas of filmmaking. I enjoy the business side, as well as the creative. I Am Not a Witch, one of the films I worked on, was a UK, French, Zambian, German co-production and a huge learning curve. I learnt just how long it can take to close the legals on a film when there’s multiple countries and sources of finance. In Cannes, I get excited about seeing amazing new films launched to the world. However busy the festival is, I always try to see as many films as possible.
After directing his two first feature films, Carles decided to become a producer, taking the necessary risks and using his experience to achieve greatness in all their productions. My biggest mistake was to believe in the fairness or the unfairness of the film industry. These words don’t apply to this business. I learned that getting angry when things go wrong doesn’t help. I am a director as well... and a writer... and maybe one day I will be an actor too! As a big fan of the Dalai Lama, I try to have no expectations about anything. However, if I was selfish I’d like to put my projects under the spotlight and become the next Harvey Weinstein. Sorry, I didn’t mean Harvey. Maybe the next Woody Allen? Sorry, he neither... Roman Polanski perhaps? No, I think I would be satisfied with becoming the next Wim Wenders. In 10 years’ time I’ll hopefully be presenting a film in Cannes. I love serving coffee to my crew every morning. What I think of when I hear the word Cannes? Depravation!
Sereina Gabathuler
SWITZERLAND Serena is a trained Swiss actress who choose to switch sides and focus on the production part of filmmaking as she likes the different areas in which she is challenged as a producer. In my youth I did everything according to the rules and regulations set upon me by society. It prevented me from true living and didn’t make me happy at all. Hence, I learned the hard way that it is not worth living by the rules. Although I am a trained actress I soon concluded that producing is far more challenging for me in different but good ways. You get to be creative, use your economical and organizational skills and many more. Hybrids, Animation-Documentary, or AnimationFeature: a whole new world of possibilities opens up when you start mixing ordinary genres with animation. I was at one point confronted with political problems, due to changes in the ministry of one of my coproduction countries, throwing me in the midst of it and demanding actions from me that in which I was completely inexperienced. What amazes me every time is the fact that one should not underestimate the differences in the mentality of the people involved. You should think that for example Germany is not too far from Switzerland, but still its inhabitants have a different mentality and work ethic. When I think of Cannes, a word that I associate with it is “discrepancy” between the content of the films screened at the festival and the extravagance of everything happening around it.
Jon Nohrstedt SWEDEN Jon Nohrstedt is a Swedish producer and has produced, among other titles, Borg vs. McEnroe. He is dedicated to animation and just loves heavy metal music. Once I dreamt of becoming a heavy metal singer, but I was not that good. My mistake was that I did not realise it in time and several awkward moments followed… Today, when I look back at these incidents, I really like that I dared to try. Filmmaking for me is just like that – you have to dare to try. Star Wars took me on an adventure that was so unbelievable that I instantly knew that this is something that I would love to work with in the future. As a producer, you are a part of everything, from the idea to the premiere and I wanted to be just that, a part of everything and to contribute to many things. My hardest job so far has been trying to build a structure around a production in which we would portray one of the most legendary tennis matches ever
played. I will always be a part of telling stories, of creating things that display true emotions that leave a mark – a memory. I cannot see myself doing anything else for the rest of my life. The creative aspect is my favorite part of the process. It is where the heart of the movie is being made and I believe a close collaboration between producer and scriptwriter/director is essential. Once I had to crawl into small mines to find adventure scenarios for a short documentary. It was really claustrophobic!
Eva Blondiau GERMANY Eva is a Germany-based producer who produces documentaries and fiction films but has never produced a film in German language – her Rastlos will be the first one. My biggest mistake, which almost cost me my company and professional credibility, was not to listen to my instincts and gut feeling. One day, I would like to direct a documentary but I prefer to produce fiction films. I would have difficulties in directing actors. That’s what I like about producing: I can work on several projects at the same time in different countries.
The hardest problem I had to solve was when a director I was working with wanted to be the producer of his film after the financing had been secured, and blackmailed me. I do not co-write but I work close together with the directors. I develop and give feedback. This is part of my work that I like a lot. Once we co-produced with 11 countries which was a great experience. I learned to understand different cultures, I learned a lot about myself, I learned to join forces. I felt the energy of different people who believe in something and make it happen in a team – something very motivating.
Mila Turajlić SERBIA Mila Turajlic is a producer and filmmaker from Belgrade, Serbia. She spent a year in Mexico working on Mel Gibson’s Apocalypto before turning to the world of documentary films. I started off accepting a no as a no, but over time I have learned that behind every no is a potential, and the challenge is to understand what would motivate it. I remember seeing Orson Welles’ F for Fake at a turning point when I became interested in documentary cinema, and realizing how playful the form can be, and that fiction/doc doesn’t really matter as long as it’s compelling storytelling. I’ve been thinking a lot about series recently, and what that kind of long-term involvement it can bring creatively. The hardest for me so far has been getting access to shooting locations and archives from state institutions, and understanding how to find the human lock with which to unlock the system.
I learned that it makes sense to ask yourself the same questions when choosing a co-production partner as you would with a partner in life. That for it to really be a fruitful and enriching collaboration, you need to share views on creativity versus money, and the type of energy you want to surround the film with. I expect to meet people who are excited by the stories they are trying to get told, and whose energy will keep the next generation of cinema challenging and inspiring. I also hope to understand more about where the potential for creativity and new forms lies today. When I think of Cannes, I think of cinema drenched in sunshine.
Anita Juka CROATIA Anita’s previous feature You Carry Me won 17 awards, was nominated by the European Film Academy for the Best Film, was an Oscar Candidate for Best Foreign Language Film, and became the first film from the whole region to be bought by Netflix. I was invited to lecture at Academy of Dramatic Arts and I said no, because I wanted to focus on my career. Later, I realised what a big mistake it was. Lecturers have a great opportunity to collaborate with new generations of talented directors and writers. I learned from that mistake that I should accept good offers immediately. Producers are creating the features from scratch and that’s very appealing for me. I would love to produce different genres, sci-fi, thrillers and comedy one day.
My hardest task as a producer has been convincing investors and different funds to invest more than a million Euros in a debut feature. I am always attached to the projects from the stage of idea and I am happy to collaborate with writers and directors creatively. In the last several years I participated at several acclaimed scriptwriting masterclasses and programmes, such as eQuinoxe and the Torino Film Lab, so I improved my script editing skills. My experience with international co-production was great, because we collaborated with amazing international talents. Co-productions are not just filling the gap in the budget, they are an amazing opportunity to get the best international talents. Cannes? Meetings, meetings, meetings. Party.
Cormac Fox IRELAND A graduate of EAVE, ACE and Ireland’s National Film School, Cormac’s latest film Animals recently Premiered at Sundance. On a couple of occasions we were guilty in the past of moving into production on a project before spending enough time on the script. Sometimes you spend so long trying to get a project financed that once you actually get the money together you just want to go shoot before everything collapses, and it’s very hard to say ‘no, we need to wait for the script to be right’. But looking back, if we had been able to spend more time on the scripts I am sure the final films would have been more successful. My first memories would be as a regular kid watching mid-80s Hollywood films such as Back To The Future so this would probably be my first ‘wow’ film. Of course, there have been many others since then. In film school I realised my strengths were organisation and people skills. Having the opportunity to create or collaborate on something that moves an audience is really exciting to me. I love the idea of discovering a script, working with the writer, packaging the project and then seeing it financed and
realised on the screen. I love being across the genesis of a project right up to its release. It’s important to treat crew and cast with respect and acknowledge their hard work. A coffee at the right time can be a lifesaver! Our first feature film, King of the Travellers, was set in the world of the Irish Travellers (a distinct ethnic minority group) and location scouting in their intensely private and protected communities and building trust was fascinating and challenging. It is always interesting to work with foreign teams and collaborate across languages and work practices to create something very special. I’ve learned that it’s important to remember that your system is not always the best system and it’s important to be open to how crew and cast work in other countries. To me, Cannes means opportunity.
Lilja Ósk Snorradóttir ICELAND Lilja has produced / co-produced with Pegasus Pictures feature films that have been in festivals/competition in Cannes, Sundance, TIFF, San Sebastian and Les Arcs. Lilja has also produced Icelandic TV series that have been aired all over the world and been on service production on TV series such as Game of Thrones, Fortitude and Halo: Nightfall. Honestly, can’t remember any mistake that stands out as the biggest one, it’s not because I don’t make them, it’s more that I don’t dwell on them and regard them as something to learn from. I was brought up on the production side of life and that has always suited me very well. I have never had the desire to act or direct but I would always like to do more writing. I always prefer to take an active part in the creative aspect of the projects I’m involved with and love that part of my job.
There are so many exotic locations in Iceland but I have to say the one that stands out was a scout we did in Greenland where we had to use dog sleds for a transport! I find international co-productions very inspiring and great to learn how other countries set up their productions, plus you get to know new producers and creatives. Our experience has been really good. It’s all about choosing the right partners to work with. Cannes? Crowds, rosé and friends.
Joram Willink NETHERLANDS João Viana PORTUGAL João Viana is both Angolan and Portuguese, both producer and director, and he has won a prize both in Venice and Berlin. My biggest mistake was to have opened a production office in Paris in 2011. It cost me half a fortune and resulted in me having a beautiful view over the suburbs of Paris while polishing my French. Workers Leaving The Lumière Factory in Lyon is a “wow” film to me, because the Lumière brothers did not follow the tradition of classical painting, and most importantly, they did not film Christ. The hardest problem I had to solve as a producer was making sure all team members were paid! In 10 years’ time I see myself… Right here in Cannes! I am a director myself. And I like to be involved in the creative aspects of the films I produce. Creativity is part of being human. The desert of Namibia in Angola was my most memorable location scouting experience. I can’t wait to go back! International co-productions are was wonderful! Through them, I’ve learnt that every producer has their unique way of producing films. From the Producers on the Move programme in Cannes, I expect cash, cash, cash, cash, and a passion for the desert of Namibia! When I think of Cannes, I think of a 40 Euro salad of spinach and a 20 Euro espresso. Anything containing the number 3 is lucky to me!
Joram Willink is an awardwinning producer who is focussing on socially engaged films with his company, BIND. His productions have been are awarded numerous international prizes. My extraordinary Summer with Tess was awarded the Special Mention by the Generation jury at the Berlinale in 2019. La Haine by Mathieu Kassovitz moved me. I was living in the same kind of suburb in Amsterdam as where this film takes place in Paris. The film addresses a social topic and is still to this date very contemporary. Besides that, all creative departments and art forms are very well presented in this true gesamtkunstwerk. Getting permission and finding safe conditions to shoot in the notorious Santa Boma prison in Paramaribo was very adventurous. To me, a feature film is like a diamond: I’d like to shape it and present it to the audience in a perfect way. I like to work on all the elements of filmmaking. I call myself a creative producer because I work very closely with writers/directors in starting up a project, developing the script, and finding the talents. In the future, I see myself producing Dutch and English language feature films and series. I want to do more English language films and operate more on a European and global level. My motto is: Don’t take everything toooo seriously. Try to have fun while working hard and make good stuff.
Julianna Ugrin HUNGARY Julianna Ugrin spent half of her life working to become a musician, then she chose film… or film chose her? My biggest mistake in life and in work was to act with good faith without adequate precautions. What I learned from it is that it’s very important to write down all agreements in time, in accordance with the actual situation, in order to avoid misunderstandings or ulterior debates. Melancholia by Lars von Trier was a big “wow”. I saw the film while going through a very difficult period of my life, and the story it tells and the way it is told resonated so well with me… “At least I tried.” In 10 years I see myself as one of the leading producers of Hungary who achieved the augmentation in number and sum of feature length documentaries per year in Hungary, and one of the founder professors of the film producer studies at the University of Theatre and Film Arts. The crew in a documentary is usually very small, to be able to preserve the intimacy needed, so we help
each other as much as we can, sometimes by serving coffee. My first cooperation in an international coproduction was with France and Germany. I was amazed by how organized the production was, and how the difference of languages didn’t count. It is very important to find the partners you feel comfortable with, in any situation. I believe in the force of networking and attention. I think of the Producers on the Move programme as a great opportunity to highlight the projects I am working on, and I hope to meet producers and other film professionals with whom we can share our work. Hopefully, we will become professional partners in the future. Cannes? Success, film, chic, top European festival, dreams…
Nadia Trevisan ITALY Nadia Trevisan lives and works in Northeast Italy. Thinking in terms of international co-production is part of her DNA. In a tough situation, I was feeling inadequate and unfit. I learnt that even if you don’t feel hope, there is always a chance to get up. “The darker the night, the closer the dawn” I grew up with Sergio Leone’s spaghetti westerns and The Adventures of Pinocchio by Luigi Comencini…..and I thought about how rough life could be. I’m sure that, sometimes, a producer is also an actor. My hardest task as a producer was trying to convince a cow to give birth to her calf… We were running out of days and money, too.
In 10 years… I don’t know, but I’m sure I want to live in the present. I like taking part in the creative process, from the writing session to the editing, respecting the creative teams. I always serve coffee to my team, why would I not? I’m a producer, but I’m part of the crew. A problem is not a problem until you don’t have solution for it.
Dyveke Bjørkly Graver
NORWAY Dyveke Bjørkly Graver is a producer at Oslo Pictures.
Nina Bisgaard
DENMARK
If you google Nina, you will find that she was born in 1994 and that she is 25. Not entirely the truth. My biggest mistake was when earlier on, I thought my job was a matter of life and death. But I’m a film producer, not a surgeon, and nobody is in lifethreatening danger in this rather privileged line of work. And when I arrived at that point, both work and private life became so much more fun! Fellini’s 8 1⁄2 was standing on my shelf for years looking very old, very boring, and very sepia on the cover. But I loved it like crazy, and after that I stole all the Fellini films I could find at the library. I thought I was going to be a high school teacher. I studied literature and film at university. I thought if I did an internship at a film production company, I would impress the other students by telling them that I had made coffee on the set of a real film. After a week, I realised that this was perfect for me, it really was my calling, and it suited me much better than teaching. Right now I’m reading books about romantic comedies, to up my game here, as I have both a Danish and English romcom in development. I’ve done many co-productions and it’s personally such an experience to work closely with people from other countries and slowly getting to understand the cultural differences and similarities that you rarely get to know when you travel for pleasure. My good luck charm is my grandmother’s old silver thimble. I’m not superstitious, it just feels reassuring to have it with me. It has travelled around the world with me, it survived my first exams in 8th grade, my co-productions, it has even been on dates, and it surely did well at Cannes last year with Border!
My biggest mistake is not listening to my gut feelings. If you have a bad feeling (not talking about stepping out of your comfort zone or other mildly unpleasant feelings, but the one where you kind of know you should pause or stop), then take it seriously and reconsider what you’re doing. That feeling tends to lead to bad films, worn out partnerships and plain exhaustion. After high school I did one year of acting, because I wanted to get rid of my fear of being on stage performing and improvising in front of people. It was a great year, but it also confirmed what I already knew: that I should be behind the camera. With producing I get to combine so many things that I enjoy doing. And I think I’m more of a facilitator than a visionary, so directing has actually never been an option I even thought about. I’ve been focusing on feature films, but in our company we are now doing several short films as part of talent development and I think it’s an interesting format to work with. It often comes with a playfulness and open mind that is important to bring into the feature work to come. Every team needs something specific, and finding out what and providing the best environment for the creative process is key I think. I started out as a coffee maker/PA and I’m happy I had that experience of working through different roles in production before becoming a producer. I’m looking forward to the next time I’m spending time on set behind the coffee maker as this would mean I’m relaxed and in control when it comes to my own to do-list. I was in the Spitsbergen last fall, scouting for a film we have in development now, and that is the most spectacular and strange place I’ve been to. It’s a feeling of not belonging, that people should not be there – combined with the urge to explore. Fantastic landscapes, claustrophobic settlements, unpredictable weather – a very special experience. Cannes? Rosé wine, sore feet, stepladders.
We would like to provide you with a short guide to help you find your way around the maze of Cannes’ sections and parallel programmes, which festival veterans often refer to as by their French name.
The Essential Cannes Dictionary “In order to achieve this level of longevity, the Festival de Cannes has remained faithful to its founding purpose: to draw attention to and raise the profile of films, with the aim of contributing towards the development of cinema, boosting the film industry worldwide and celebrating cinema at an international level.” Thierry Frémaux, festival director
SÉLECTION OFFICIELLE
‘o cial selection’ a collection that serves to highlight the diversity of cinematic creation through its different sections COMPÉTITION ‘competition’ films that are representative of “arthouse cinema with a wide audience appeal”
UN CERTAIN REGARD ‘a certain regard’ focuses on works that have an original aim and aesthetic, and are guaranteed to make a discreet but strong impact on screens around the world.
HORS COMPÉTITION ‘out of competition’ films that are not competing for prizes but still deserve a screening and a reaction from the audience and the press
CANNES CLASSICS masterpieces from the history of cinema in restored copies, tributes to filmmakers or foreign cinema and documentaries on filmmaking.
CINÉFONDATION short films from film schools all over the world offering a testimony to the diversity and dynamism of young international filmmakers.
SÉANCES SPÉCIALES SÉANCES DE MINUIT ‘special screenings’ – ‘midnight screenings’ special opportunities to view more personal works
MARCHÉ DU FILM
VILLAGE INTERNATIONAL
QUINZAINE DES RÉALISATEURS
‘film market’ a gathering place to promote the dual cultural and economic nature of cinema, where film professionals get together to exchange information, hold negotiations and uncover new opportunities.
‘international village’ an exhibition and networking venue that enables countries to showcase and raise the profiles of their cinematography, cultural identity and film institutions
‘directors’ fortnight’ its aim is to bring new talents to the fore and surprise the audiences with new and unknown facets of young talents, and to show what’s most exciting in world cinema and what rises to the top among the new trends.
CANNES COURT MÉTRAGE ‘Cannes short film’
an entitiy that brings together two sections – the Short Film Corner and the Short Film Competition – in a complementary dynamic in an attempt to offer an all-encompassing panorama of short film production worldwide, as well as to stimulate the creativity of short film artists. SHORT FILM CORNER an area where filmmakers can come together to exchange ideas and promote films with a programme including industry meets, workshops and conferences
COMPÉTITION ‘competition’ a selection of short films represented at the Competition, at the end of which the Short Films Jury awards a Palme d’Or (‘Golden Palm’)
CINÉFONDATION SÉLECTION ‘selection’ part of the official selection with a programme of short and medium-length films (see Sélection Officielle)
ATELIER ‘atelier’ an initiative that selects about fifteen projects for feature-length films from every corner of the world and welcomes their directors to meet a team of film professionals, giving them a chance to gain access to international financing and speed up the production process
SEMAINE DE LA CRITIQUE ‘critics’ week’ a showcase of first and second feature films by directors from all over the world; the aim of this programme is to explore and reveal new creations by discovering new talents both in feature films and in short films
RÉSIDENCE ‘residence’ a programme that every year invites twelve young directors working on their first or second fictional feature film project and provides them with a place of residence in Paris, a personalised programme accompanying the writing of their scripts and forums with industry professionals (see page 28 for further information)
L’ACID a sidebar that takes its name from the initials of its sponsor, the Association de cinéma indépendent pour sa diffusion or ’Association for the Distribution of Independent Cinema’, an association of film directors which, since 1992, that has been promoting the cinema distribution of independent films and encouraging debates between authors and audiences.
https://www.festival-cannes.com http://www.quinzaine-realisateurs.com http://www.semainedelacritique.com
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“I had to learn to focus my energy on the right things”
As Up to Now is part of the Official Selection of the Cinéfondation this year. The story is based on the short story by Krisztina Tóth of the same name and depicts the relationship of a mother and daughter in the wake of the mother’s diagnosis with an incurable disease. Meet the director, Katalin Moldovai. interview by Eszter Knopp
As Up to Now is your graduation film. When did you start working with films? I started working with films quite late actually. I was 26 years old when I applied to Sapienta University in Cluj-Napoca. Naturally I enjoyed movies a lot before that point as well, I had watched a lot of them, but this was the time where I wanted to work on them for myself. And after that I moved to Budapest to continue my studies. How did you learn that your short film was selected for the Cinéfondation? I submitted my film in February, after which I received a first email asking about festivals where I had already screened my
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Katalin Moldovai photo by Gábor Valuska
movie. A couple of days later I received an email from Dimitra Karya, the director of the Cinéfondation Selection. It was so unbelievable that I immediately resarched the organisation to make sure we had genuinely received the letter from Cinéfondation. But it was true and I quickly sent the news over to the others. We were very happy. Will this be your first time in Cannes? And if so, what are you looking forward to the most? Yes! Well, first of all I’m looking forward to swimming in the sea, so I hope we will have great weather. But more seriously I hope it will be a great community experience for the crew. A lot of us are going, Zita Palóczi with whom I wrote the script, Zsófia Makkos the production manager, Orsolya Soltész the editor, András Táborosi the cinematographer and Rozi Lovas, one of the protagonists of the film. The others could not make it unfortunately. Let’s talk a bit about the movie. How
We always wanted to adapt a short story. We read many contemporary Hungarian short stories, but Krisztina Tóth’s was ideal. We were looking for a story that has just a couple of characters. It was also very important that we could personally connect to the story, something that we could empathise with. At that time I was very preoccupied by mother-daughter relationships, as well as the passing of loved ones. These two aspects are brought together in Margit’s and Judit’s story, and so that is why we chose it. For me the most powerful scene perhaps was when Margit lays out her best outfits meticulously on her bed, and takes great delight in getting ready for her radiation therapy. What kind of symbolism can we find here? Hope is the emphasis, which is the new found purpose of her life. She has something new to do in the world, the fact that she has to be somewhere on a weekly basis makes her feel that she has something to do again. And this on its own is some kind of healing. This year’s edition of World of Shorts focuses on mistakes and how we can learn from them. Do you have any specific mistake that you have learnt from in your career? There have been plenty, where should I start? This is a very complex question if I think about it and there are a lot of things that I could say. One of my main mistakes is that I have had to learn to focus my energy on the right things. Sometimes in life you are in a stressful situation or
someplace that is just not working out, and this is taking up all your thoughts and emotions. In these kinds of situations you can lose focus of the things that will take you forward. This is a mistake that I made a few times but I have learned from it. I am a slow learner, we could say. But in the end I have learnt how not to wallow in bad situations, and how important it is to recognise when you are in one. When bad things start to happen to you, it is a kind of feedback from your surroundings that something is not right. Then it is perhaps better to move on, to realise this might not be the right track for you. There are these waves that bring you down but also can pick you back up. The other mistake that I made is that I didn’t dare to reach out and accept help. For me giving is so easy and natural, however accepting contributions and help from others can still be difficult. I think it is important to learn how to ask for and receive help. Are you working on something at the moment? We are shooting a documentary about a Calvinist pastor in Transylvania. He visits his community who are scattered all over the countryside. These communities live very far from each other and he spends most of his time travelling. I want this film to be about his resilience and his altruism. Perhaps it comes from both his personality and his vocation that he is doing so much for others. I also want to focus on the families he is visiting, who are mostly cohabiting with older generations. The past is strongly present and the stories that come to life about the communist regime in Romania are fascinating.
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illustration by Luca Tóth
did you come up with the topic?
SHORT FILM CORNER HIGHLIGHTS The Short Film Brochure It is not easy to be recognized among the many short films created all around the world. World of Shorts magazine’s SFC Brochure highlights the films entered into the Short Film Corner in order to help them find audience and industry interest.
Scarlet
tigre ferguson & siyu zhang Scarlet | Horror Tigre Ferguson tigreferguson@gmail.com
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SHORT FILM CORNER HIGHLIGHTS – THE SHORT FILM BROCHURE
Lullaby | Drama, Thriller Ray Du christina@theredfilm.com
Clarissa | Drama Pedro Nascimento pedro0712@gmail.com
A scandal that everyone knows | Dana Lee namo_baraha@naver.com
Amantea Laura Hermanides laurahermanides@gmail.com
Avec le Temps Eva Urrutia eviurrutia@gmail.com
Barren YU Xiaorui yuxiaorui@live.cn
Child Bride Mostafa Keshvari mostafa@grandmusepictures.com
Inhuman Hayley Tibbenham haytibbs@umich.edu
La Boutique Andreas Fischer contact@keyholefilms.com
Marked Jack Cook tchanproductions@gmail.com
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SHORT FILM CORNER HIGHLIGHTS – THE SHORT FILM BROCHURE
The Years the Locust Ate | Drama, Thriller Francesca Tilley-Gyado francesca.renata7@gmail.com
Hindsight | Short Narrative, Diversity Ian Kent thelevinprojectarts@gmail.com
Belonging | Documentary Valentina Chamorro Westergårdh valentina@cinevale.se
Synthia | Science-Fiction Bernhard Weber, Maria Hinterkoerner | wirviert@gmail.com
SHORT FILM CORNER HIGHLIGHTS – THE SHORT FILM BROCHURE
Love in Canton | Musical Drama Zixian Ouyang zixian.ouyang@nyfa.edu
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SHORT FILM CORNER HIGHLIGHTS – THE SHORT FILM BROCHURE
Marooned Yan Shiyou mjr_ysy1207@126.com
Paper Kite Assia Kovanova africatea@yahho.com
Princess Rita Blair Waters hi@blairwaters.com
Styopa Svetlana Solnechnaya solnechnaya-1982@mail.ru
The Carpet Nataliia Kyselova kiselnat96@gmail.com
The father, the child and the mother | Luca Arcangeli | l.arcangeli_2009@libero.it
Touch Bruna Amorim bruna.estevam.amorim@gmail.com
Trust Exercise Vilma Kartalska vilmu6ka@abv.bg
WOMXN | Science Fiction Adrien Gystere Peskine, Eden Tinto Collins | gystere@aol.com
Toad’s Oil | Quasi Documentary Bai Yutong herbonestructure@outlook.com
SHORT FILM CORNER HIGHLIGHTS – THE SHORT FILM BROCHURE
The Road of A Lamb | Documentary Caroline Poisson info@carolinepoisson.com illustration by Luca Tóth
Seven Stones | Drama, Children Arif Mushtaq Mir arifmir04@yahoo.co.in
Villa Empain Katharina Kastner film@katharinakastner.com
Who are you? Tatsiana Yakovleva whoareyouthemovie@gmail.com
Impure Julie Granier contact.miufilms@gmail.com
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s e k a t Us s i M ke a M tter e B
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illustration by Luca Tóth
Mistakes Mistakes are our greatest friends: without them, we wouldn’t be able to learn new things every day. Mistakes Mistakes in filmmaking? Embrace them and remember them – not to make them ever again. After all, we always have to make way for our next big cock-up…
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CANNES MISTAKES TO LEARN FROM We have been going to Cannes for over a decade, and you cannot imagine the number of mistakes we have made festival after festival. The good news is that we learn something new every year. Read on to make sure you avoid our errors! text by Zsuzsanna Deák
Mistake Nr.
1
‘Play as you go’ doesn’t work in Cannes Study and research the programme before the festival begins. Plan your schedule, including screenings, meetings, and parties so that you have time for everything. It’s harder than you think – everyone is spoilt for choice here!
Mistake Nr.
2
Ignoring invitations Turning down a party invitation only to find out later that Adam Driver was one of the guests – can you imagine how that feels afterwards?! Party with film enthusiasts – and yes, A listers! – from all around the world. Make sure to go to the International Village to find out all about the film production of far away countries, and to try amazing treats, like Middle Eastern sweets or cloudberry liqueur from Finland!
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Mistake Nr.
3
Losing your way on the Croisette Familiarise yourself with the map of Cannes. Go location scouting on your first day, and remember the barriers to avoid and the shortcuts to use in the times of need! Memorise the venues and the best ways to get from cinema to cinema. Knowing the exact location of each entry point is essential. Comfortable walking shoes are a must, too. Leave the heels for the red carpet. Which brings us to…
Mistake Nr.
4
Bringing comfy and not too elegant clothes only A set of elegant clothes in your bag is essential – festival goers are regularly forced to turn down tickets for important red carpet premieres purely because they are not wearing the right outfit! Men, beware brown shoes, ladies, pack your heels or smart ballerinas!
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Mistake Nr.
5
Spending too much time indoors After all, you are on the Côte d’Azur! Organise meetings on the beach. Sitting in the sand and taking it all in while discussing a future project – a perfect start for any collaboration! It will be a pleasant memory to refer back to later. You can even make a tradition out of it!
Mistake Nr.
6
Mistake Nr.
7
Getting too much sleep You can catch up on sleep when you go home. Almost every second spent sleeping in Cannes is an important cinema moment you lose. Don’t miss out on the amazing fact that right now, you are in the centre of the cinema universe!
Leaving sunscreen and raincoat at home Prepare for extreme weather! Both the sun and the rain (occasionally tornadolike wind and thunderstorms) can strike you in Cannes in May. You come out of the screening room and you either burn in the blazing sun, or get soaked while trying to get to your next film.
FILMMAKER’S FUCK-UP: NO PORN BY JELA HASLER We first heard Jela’s story at GoShort – International Short Film Festival Nijmegen’s Industry Day 2019, which dealt with and celebrated, amongst many topics, the failures filmmakers face from time to time. Jela was brave enough (and funny as hell too!) to tell her journey and while hers is a unique experience, it is very universal, too. We all make mistakes and in most cases, we move on and make new ones of course, but at least we learn from those or even better, turn it into a successful short film! Let’s hear Jela’s tale of failure from the talented Swiss director herself! text by Veronika Jakab and Jela Hasler
I’ve been asked to write this story as part of the magazine’s focus on “mistakes and fuck-ups”. This is the story of my fuck-up as a filmmaker. A fuck-up which at first seemed so severe I would never recover from it – where the only solution was to turn it into a film. It all happened exactly six years ago, in the spring of 2013. I was five months into the preparations of my graduation project from art school. I wanted to make a film about a man who directs, produces and acts in porn movies. In short, I was going to compare his work to mine, raising questions on intimacy: is it more intimate to show yourself while having sex, or to reveal your private feelings in front of a camera? But suddenly, one week before we started filming, I received an email from my one and only protagonist, telling me that he no longer wanted to be part of the project. End of the discussion. It was the beginning of March, my
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graduation was meant to be in June, and I was devastated. Not only had I lost this idea that had been consuming most of my time for several months but most of all, I had not seen it coming (I am also aware of the numerous jokes one can make about him pulling out, not coming etc). So in a way I had failed one of my key assessments as a director, which is to know and understand the protagonist, and build a strong relationship of mutual trust and shared vision. In retrospect, I do acknowledge that after all, the guy was rather unique, both in his character and his way of life, and it probably wasn’t my fault, or at least not fully, as there were other factors out of my control that had led to his decision. But in that moment, it just felt like I had failed, and failed BIG TIME. At the same time, I felt very lost. Having to make a film to graduate was not my main motivation, I could take a break and try again with a new project the following year. But I think it would have destroyed me completely to just do nothing. So after several days of weeping and drinking (not great to admit, but true), I picked up my camera and let my mum drive me over to see my grandmother. I had to start somewhere. That’s when I discovered that my family were almost as upset about my failure as I was, but for a different reason: they hadn’t understood my project from the outset, and they almost certainly didn’t approve of it. While my sister thought it was just disgusting, my dad feared I that by making such a film, I would never find a job, and my mum suspected that my interest in porn was the proof that I had actually personal problems with my own sex life. My family is not especially conservative, but my parents being teachers and my sister
studying economics certainly made their outlook on life rather different from mine. Why couldn’t I do something “normal”? Why didn’t I make a film about something they’d appreciate, like (my mum’s suggestion) about kids? Or (my dad’s suggestion, and remember, it was 2013:) focusing on refugees? Lucky for me, or really because I insisted quite strongly they did so, they all revealed this directly in front of the camera. So I came back to the editing room with a hard disk full of my fight with my parents. Since I still felt upset, I looked at the interviews as an incredibly tragic thing. To me, it was still the biggest failure that had ever happened. Fortunately, my editing supervisor forced me to show an assemblage of the material to a test audience, and that’s when I discovered that not only did people recognize their own families in mine, but they also thought it was funny. That really helped to distance myself from the material, and also reach a more positive attitude towards the project. Because in addition to feeling depressed, I was constantly angry. It seemed like I was making the exact same sort of film that I had repeatedly made fun of in the past: all those directors making a film about their family. I just hated it. But at least by making it a funny film, something other people could relate to, it might say something different.
I also started to shape and highlight each of us as distinct characters in the film, with my family representing an archetype of the average prudish Swiss family, and me the involuntary rebel. In reality, I actually have two sisters, but only one made it into the film – the other one was just too understanding of my problem so it fit with the idea of me being “the black sheep”, so she was left out. After all, it is cinema. With the help of my friends, teachers, colleagues, and especially my mentor, I managed to finish the film in time and graduate. It even got co-produced by the Swiss Television, shown at festivals, won me an award. Although a part of me still wishes this experience had never happened, I learned so much through the process: about family, about filmmaking and about my need to interpret it, learning how to focus on a (personal) conflict in a cinematic way, and not being afraid to dig in and get dirty. It also helped to distill lessons that would probably have taken so much longer for me to understand or experience, if it hadn’t been for making this story.
Jela Hasler was born in Baden (1986) and now lives in Zürich. Her diploma film No Porn (2013) was shown at several festivals (CPH:DOX, amongst others) and awarded as best short at Ozu Film Festival in Italy. Her following short film, The Meadow premiered at the Festival del Film Locarno and was invited to a high number of festivals like IDFA, Tampere and Hot Docs. It received several awards. For spring 2017 she was awarded an artist in residency scholarship in Paris by the Canton of Zürich. With her latest short Le sens de la marche, which she filmed in Paris, she returned to Locarno in 2018. Jela is working as an independent filmmaker both on her own projects as well as participating on other films, as well as commissioned work (e.g. for museum Burghalde Lenzburg and the Swiss National Museum). She is a member of the Swiss filmmakers Association, Zürich für den Film and a board member of PRO SHORT, the Swiss association for short films.
So, I survived failure, and more importantly, I am still, or have since become, a director. I have managed to make more films. And at least I have already made “the film about my family” and I won’t need to do it again. Now it’s time to move on to new topics!
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DON’T HIDE YOUR FILM FROM THE PRESS – OR HOW TO AVOID THE MISTAKE OF REMAINING INVISIBLE A lot of emerging filmmakers turn to me a few weeks after their first significant festival success. They are disappointed and puzzled, and they want to know why their film didn’t receive more media exposure. What they seem not to realise is that these days there is so much cultural news that journalists don’t have the time – or inclination – to research areas which fall a bit further away from public – or their own – interest. And as sad as it is, short films are usually not the centre of mainstream media interest. text by Zsuzsanna Deák
There will, however, always be a daily flow of cultural press releases journalists can easily use to inform their readers about cultural news, and actively, they will always go after the big and clickworthy events like the premiere of award-winning feature films or blockbusters, or their personal passions and interests. The bottom line is: if they don’t hear about your film, they won’t write about it, and the wider public will never know that your film exists. I’m sure that you and I agree that that would be a terrible shame. Your short film deserves to stand out and be visible in the press. So how can you avoid the mistake of remaining invisible to journalists? Make sure that you spare energy – and even money, if you can – for publicity and media activities. The press has to know about your film even before you shout “It’s a wrap!”, and will continually have to be informed about every piece of news relating to it. Here is how.
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Press Kit Make sure journalists know about your film already while it’s being shot. Create a press kit as early as you can including information like the synopsis, the cast and crew, the locations, the director’s statement, and a strong visual atmosphere. Ask a grammar expert to proofread it for you so that you avoid embarrassing mistakes and typos, and send it to the relevant journalists and outlets together with your first press release announcing the making of your film and its estimated premiere date. You don’t know their email addresses? All respectable outlets and blogs display their contact details in the imprint or their website. Or hire a publicist with a strong press list – more on that later.
Open Press Day Inform the press about your shooting schedule, and organise an open day for journalists when they can come and see your work in progress for themselves, and interview the cast and crew. Choose a shooting day for this where circumstances are ideal. The location and the timing should be convenient for the journalists (for example, don’t choose a winter scene in a blizzard at 4 a.m. hundreds of kilometres from civilisation), and the parts being shot must be spectacular and interesting. Schedule meetings with the journalists who come to see your shooting, and make sure you can sit down comfortably for a chat. Prepare your actors for press interest and make sure they are willing to say a few nice words about the project!
Premiere News When the time of your premiere is near, it’s time to alert the press again. Create a professional and artistic poster. Send out an updated press kit with new information and still photos, and
Coordinating all this, of course, is a time-consuming and difficult job: if you can afford a publicist, save a part of your budget for their fee. Compared to production costs, it won’t be significant, and trust me, you won’t regret spending it afterwards. I like to compare this to the building of the house: if you spend your whole budget on the building, and you don’t have any money left for the furniture, you won’t be able to make the most out of your new house whilst sitting on the bare floors. If you make a great film but nobody finds out about it – well, that would be a terrible shame, wouldn’t it?
Festival Facts
Or Do It Yourself
Whenever your film is selected for a festival, communicate it! When you receive a prize, make sure you share the news with the press in short, clear, to-the-point press releases. Pictures are important but I recommend only to send one small photo in the email body, to avoid clogging people’s inboxes: consider inserting links with downloadable photos instead.
Reaching out to Your Audience Use social media extensively. Create a Facebook and an Instagram page for your film, and post regularly about everything that’s going on. Connect with your followers: make your posts personal and emotional. During shooting, share behindthe-scenes content, short videos and teasers. Tag the people who are involved. Remember, if the photos are flattering, the participants will be delighted to share and spread the word! Announce your film’s premiere and festival successes. Share your main poster, and create alternative character posters. And again, I can’t repeat it enough: don’t shy away from being personal. Showing your emotions when you are awarded a prize is always relatable and endearing.
Getting Help
If you don’t have any spare cash to spare for this, it is not impossible to do it yourself or persuade a member of the staff to do it – but try to make sure that the quality of your communication matches the quality of your film! Remember not to be disappointed if there is not a lot of initial response to your communication. The main thing is that the journalists will know about your film and once there is a more important festival success or other milestone worth mentioning, they will be familiar with your project and its history.
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illustration by Luca Tóth
organise a press screening. Arthouse cinemas are often very supportive towards young filmmakers and let them use their screening rooms for a nominal fee outside business hours – have the courage to ask! When you send out your invitations, you can throw in extra perks like a glass of prosecco for the guests, or anything that suits your film. Be creative with your giveaways! A small and inexpensive but creative gift that can be connected to the film will be cherished, and will serve as a constant reminder. At the premiere, have some printed out press kits prepared for the more analogueminded authors.
Film Life beyond
CANNES
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This, too will end one day… Sadly, even Cannes can’t (no pun intended!) last forever. But don’t despair: there’s more to discover. Find out what, where, and when!
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“A VERY PLEASANT AND RELAXED AMBIENCE” – impressions from the Budapest Debut Film Forum text by Eszter Knopp
This year the organisers of Friss Hús Budapest International Film Festival have launched a new initiative which focuses on bringing together young talents from the CEE region working on their debut feature. Budapest Debut Film Forum, held over two days, offered a variety of activities such as tutoring sessions, round table discussions and masterclasses.
illustration by Luca Tóth
Eight projects from six countries were selected for the first ever Budapest Debut Film Forum. The invited directors, producers and screenwriters had important professional backgrounds and were developing their first feature film in their home countries. The participants worked closely with dedicated tutors Juli Jakab (screenwriter, actress), Balázs Lengyel (director), Wim Vanacker (producer) and Gabriel M. Paletz (screenwriter, professor) who provided feedback and guidance for the further development of the projects. The participants took turns meeting and consulting the tutors. Besides the one-on-one meetings, the event also offered round table discussions and masterclasses. Producers Marcell Gerő and Sára László opened the forum with a presentation of their company, Campfilm. In their presentation they covered multiple aspects from the launching, upkeeping and financing of the company and their projects. They presented a case study of one of their ongoing projects, Natural Light, which highlighted the challenges and strategies of securing funding for a project.
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Later on Francine Raveney, project manager at Eurimages, presented the organisation. Eurimages, as part of the Council of Europe is one the most important European co-production funds. The presentation elaborated the structure and function of the organisation, as well as provided useful information about how to maximise a projects chances of getting funding from Eurimages. She emphasized the importance of submitting every application complete and on time. She also drew attention to the importance of giving equal support to female and male directors. The most anticipated event of the Budapest Debut Film Forum was the masterclass provided by Ewa Puszczyńska, producer of the Academy Award and European Film award winning Ida and Academy Award nominee Cold War. The event was received with great enthusiasm by the audience. In her talk, Puszczyńska first presented certain professional and financial challenges that surround the production of a film. She noted the growing popularity of VOD platforms, but stated that she believes it cannot compare to the experiences given by attending a projection. She went on to present parts of her current and unfinished projects. She demonstrated
the elaborate and complex work that is behind the production of animations by walking through the process and the techniques by which they were applied. Lastly she talked about her devotion to more personal projects, and the choices a producer makes when selecting the projects they want to work on. The talk proved very educational for all those attending as it provided information about some lesser known aspects of filmmaking. The masterclass closed the events of the first day of the forum. During the second day, the participants continued their meetings with the tutors and participated in a roundtable discussion. The discussion comprised two separate sessions both moderated by Matthieu Darras (Pop Up Film Residency). Amongst the speakers were György Kristóf (Hungarian-Slovakian director), Júlia Berkes (producer at Proton Cinema), Weronika Czolnowska (Head of Industry at New Horizons Film Festival), Dorina Oarga (Head of Industry at Transilvania International Film Festival), Sára László (producer at Campfilm) and Francine Raveney (Project Manager at Eurimages). The roundtable discussion reprised the themes of the previous day and focused on the characteristics of co-production. They evaluated the criteria on which funding is awarded and the varying policies of different countries concerning co-production. The attending organisers of New Horizons Film Festival and Transilvania Film Festival also presented their festival and the specific movies that they programme, as well as the various industry events held by them. They presented the festival focus on programming of first features and coproductions. They also drew attention to the importance of such organisations as the Creative Europe Media Desk, as well as on the importance on communication when producing a film in co-production.
“I was genuinely delighted to be part of Budapest Debut Film Forum! The programme was very well organized, the atmosphere was friendly and it was easy to meet amazing fellow filmmakers and expand my network. I would especially like to thank the organizers for hosting the meetings with our wonderful tutors and film experts in a very relaxed and pleasant ambience, where I was able to present myself and my newest work.” – said Elena Stanishaeva, producer of The Sweet Bitterness of Ripe Pomegranates. The series of events was closed with the presentation of the eight selected projects: Victim by Michal Blasko (Slovakia), Blue Pelikan by László Csáki (Hungary), Blazing by Balázs Dudás (Hungary), Eviction by Máté Bence Fazekas (Hungary), Eternity Package by Magdalena Ilieva (Bulgaria), Neither Voice by Ester Ivakic (Slovenia), The Sweet Bitterness of Ripe Pomegranates by Andrey Volkashin (Macedonia), and October by Cristian Pascariu. After much consideration, the winner of the award for the most promising project was Victim by Michal Blasko and Jakub Viktorín, who took away a cash prize of 1000 euros.
“BDFF was quite beneficial for our film project to get feedback on the script and to get more international recognition.” – said Jakub Viktorin. WOSH by Daazo.com 63
FESTIVAL PANORAMA illustration by Luca Tóthi
text by Zsófi Herczeg
Just as in the past few years, we have collected some festivals that we recommend to young filmmakers. We recommend them not just as festivals to which to submit your films, but as places for networking, for making new connections, meeting fellow filmmakers, and seeing a wide range of films that new international cinema can offer. So don’t hesitate in submitting your film to put it on the map of the new wave of cinema, or just going along to broaden your knowledge!
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Academy Awards, EFA, BAFTA qualifying
Festival Camp
Submission deadline
Date
Entry fee
Interfilm International Short Film Festival Berlin
May 27
November 19–24
no fee
Uppsala International Short Film Festival
May 31
October 21–27
€12
Academy Awards, EFA, BAFTA
Festival del film Locarno
June 3
August 7–17
30-160 CHF
Academy Awards, BAFTA
Encounters Short Film Festival
June 6
September 24–29
£25-50
Academy Awards, EFA, BAFTA
Toronto International Film Festival
June 14
September 5–15
$70-160
Flickers' Rhode Island International Film Festival (RIIFF)
June 15
August 6–11
$40-75
Academy Awards, BAFTA
Anim'est International Animation Film Festival
June 20
October 4–13
no fee
Academy Awards
Tirana International Film Festival
June 23
September 23–29
$23-55
Academy Awards
Busan International Film Festival
June 26 for shorts, July 31 for features
October 3–12
no fee
Cork Film Festival
June 30
November 7–17
$15-70
Edinburgh Short Film Festival
July 1
October 24 – November 9
£15
International Festival of Documentary and Short Film of Bilbao
July 14
November 8–15
no fee
Academy Awards, BAFTA, Goya
International Short Film Festival Winterthur
July 14
November 5–10
no fee
Academy Awards, BAFTA
Sitges International Fantastic Film Festival
July 15
October 3–13
€28-58
Academy Awards
Bucheon International Animation Festival
July 31
October 18–22
no fee
Academy Awards
New Chitose Airport International Animation Festival
July 31
November 1–4
no fee
St. Louis International Film Festival
July 31
November 7–17
$30-102
Academy Awards
Warsaw Film Festival
July 31
October 11–20
€6-30
Academy Awards
Flanders International Film Festival Ghent
August 1
October 8–18
€20-50
EFA
International Short Film Festival Leuven
August 15
November 30 – December 7
$6-9
Academy Awards
Academy Awards, EFA, BAFTA
WORLD OF SHORTS (and more) Publisher: Dรกniel Deรกk danieldeak@daazo.com Editor in chief: Zsuzsanna Deรกk zsuzsanna.deak@daazo.com Art director and graphic design: Zoltรกn Bukovics Founding designer of the magazine: Cristina Grosan World of Shorts authors: Zsรณfi Herczeg, Veronika Jakab Contributors: Eszter Knopp, Janka Pozsonyi Thanks: Doris Bandhold, Rosalie Callway, Dimitra Karya, Bรกlint Kovรกcs, Clarisse Robillard Cover image: Luca Tรณth Photographs: Miguel Bueno, Lili Chripkรณ, Gรกbor Valuska, Tom Wagner Illustrations by: Luca Tรณth You can also find this magazine online at: http://issuu.com/daazo/docs/cannes2019 World of Shorts magazine is published by Daazo Film and Media Ltd. Published in Hungary, May 2019. All rights reserved. Reproduction in whole or part is forbidden save with the written permission of the publishers. www.daazo.com I info@daazo.com
ISSN 2064-2105 (Online) โ ISSN 2064-2113 (Print) This magazine was printed on recycled paper.
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Part of Nordic Entertainment Group
Part of Nordic Entertainment Group
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