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MWK: Furthermore, Berlinale Talents will provide a stage for the Robert Bosch Stiung Film Prize for International Cooperation award ceremony. With the award, the Robert Bosch Stiung supports collaborations by upand-coming producers from Germany and the Arab region, which coincides brilliantly with our goals. So the award ceremony is a great opportunity to learn about the Robert Bosch Stiung, and especially to meet Talents from the respective regions. More and more films are made each year and fewer and fewer get distributed in the traditional way. is means that the responsibility and role of film festivals is changing too. CT: We've observed this development for years now, of course, but you also have to look at the potential of digital distribution. Traditional distribution models are changing and naturally there's a lot of talk about "festival films". But people have already been using that term for 20 years now. e role or responsibility of a festival hasn't changed, we're just reacting to the need for new players to access the market and for them to come into contact with filmmakers and producers. Or we latch on to themes, for example last year when we looked into the question of whether or not television is the new cinema. Is the film of a Berlinale Talents alumnus more likely to be selected for the programme of the Berlinale eventually? MWK: No, and rightly so. Every Berlinale section has its own selection committee, as do we. e decisive factors are the quality of the films and presenting a well-curated programme to the public. We're always happy when alumni are selected and every year about 40 alumni return to the Berlinale with their films.

30 WOSH by Daazo.com

Could you name a few of the Berlinale Talents alumni who you are extremely proud of? What have they achieved since they attended Berlinale Talents (or Talent Campus as it was then)? MWK: Emir Baigazin’s (Berlinale Talent in 2008) first feature film Harmony Lessons premiered at the Berlinale in 2013 and won the Alfred-Bauer Prize for ‘new perspectives on cinematic art’ right away. Haifaa Al-Mansour (Berlinale Talent in 2009) became the first female Saudi-Arabian filmmaker ever. Her film Wadjda is the country's entry for the Academy Award for Best Foreign Language Film. We are very happy to welcome Haifaa Al-Mansour again to Berlinale Talents: this time as an expert. Another alumnus who is coming back to us as an expert is Anthony Chen (Berlinale Talent in 2012). e 29-yearold director and screenwriter from Singapore toured the festival world with his debut feature Ilo Ilo and won, among others, prizes in Cannes, Taiwan and Dubai. We are also very happy for Daniel Ribeiro from Brazil whose Script Station project 2010 e Way He Looks will premiere this year in the Berlinale Panorama section. Another selected project will screen at this year’s Generation programme: South Is Nothing by Fabio Mollo, who participated in the Talent Project Market 2011. It’s great news too that alumnus Maximilian Leo’s film My Brother’s Keeper will open this year’s Berlinale Perspektive. Berlinale Talents offers additional programmes to participants. ese are called Project Labs. How are these different to the core programme? What does the Short Film Station project lab offer? CT: We select about 10 projects for each Project Lab (Doc-, Script- and Short Film Stations and

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World of Shorts - the Berlinale 2014 issue  

World of Shorts (WOSH), the magazine published by Daazo.

World of Shorts - the Berlinale 2014 issue  

World of Shorts (WOSH), the magazine published by Daazo.

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