The selection for Generation – the Berlinale section for children and youth- has been finalised. 24 feature and 31 short films from 20 countries will be screening this year. This includes eight world and seven international feature film premieres.
The competition Generation Kplus will open on February 8 at the Zoo Palast with theDutch film Waar is het Paard van Sinterklaas? Director Mischa Kamp already captivated audiences with her first film about the Chinese-Dutch girl Winky at the Berlinale 2006.
Compelling genre films will join the arthouse productions already selected for Generation Kplus. A French adaptation of the legendary comics series Lucky Luke will screen at the Zoo Palast to old and new fans of the timeless Western: TOUS AL’OUEST, Une aventure de Lucky Luke. Shochiku, a Japanese company with a long tradition, will be showing its adaptation of a comic with Kung Fu Kun which is about a Shaolin monk who, though only a small child, is already a powerful kicker.
Generation 14plus will open on February 8 with the Australian film The Black Balloon by Elissa Down. This world premiere starring Toni Collette, Rhys Wakefield, Luke Ford and supermodel Gemma Ward will kick off a strong competition of 14 feature films.
For the first time two documentaries will also be competing in the Generation 14plus programme: love, peace & beatbox by Volker Meyer-Dabisch takes a rhythmic and atmospheric look at a form of Berlin subculture, human beatboxing. And in War Child, director Christian Karim Chrobog accompanies hip-hop star Emmanuel Jal on a journey into his past as a child soldier in Sudan. Jal himself will present the film in Berlin.
In the world premiere of the zany road movie Dunya & Desie, Eva van de Wijdeven and Maryam Hassouni (Netherlands’ Shooting Star 2008) set out on a trip through the chaos of a generation caught between cultures.
Somers Town, a new film by Shane Meadows (This is England), has also been selected. The director has again joined forces with actor Thomas Turgoose, who was in Meadows’ last film, to make this black-and-white study of a milieu in London.
The DVD edition Berlinale Generation is releasing two new titles for the Festival: Schickt mehr Süßes (Send More Candy) and Der Italiener (An Italian) were past audience favourites. They will go on sale in February.
Monday, January 21, 2008
BERLIN- World-spanning young cinema
World-spanning young cinema: The programme of the 38th Forum comprises films from 33 countries, including 32 world and international premieres
The 38th Forum of the Berlinale is showing a truly world-spanning and diverse programme with films from 33 countries and all continents. One emphasis again this year is the experimental, unconventional, imaginative work of young filmmakers; the programme presents a total of 16 directorial debuts. A conspicuous number of films adopt the perspective of children and young people – in a world where often there is no more childhood.
The Mexican film La frontera infinita (The Infinite Border) by Juan Manuel Sepúlveda tells of the uninterrupted stream of migrants from Central America to the United States; in the Irish production Seaview by Paul Rowley and Nicky Gogan, migrants have reached their goal, Europe, but find themselves captured in a no-man’s land, the former vacation facility Mosney, north of Dublin, where they often wait years for their asylum hearings. But childhood cannot be postponed to a vague future, and so these films’ most poignant moments are images of children.
The Australian film Son of a Lion by Benjamin Gilmour is set in Pakistan and focuses on a boy who wants to escape a world characterized by armed violence and archaic traditions. An interesting companion piece to this film is the German directing debut of Brigitte Bertele, Nacht vor Augen (Night Before Eyes), in which a German soldier returning from Afghanistan takes out his combat trauma on his little brother.
The central characters of the programme’s three Philippine films are children and young people. The elegant parable of the metropolis, Tirador (Slingshot) by Brillante Ma. Mendoza, and the deceptive rural idyll of Mes De Guzman’s Balikbayan Box both focus on daily survival by one’s wits, in which the young often have the advantage over the old. By contrast, in Jim Libiran’s directing debut Tribu (Tribe) a gripping feature film about gangs in Tondo, a poor quarter in Manila, the gang culture is a self-organized substitute for family, far more authoritarian than the crumbling traditional family structures.
In the Ugandan hip-hop film Divizionz by the filmmaking collective Yes! That’s Us, the protagonists also play themselves. In the slums of Kampala, they live from deals and fortunate coincidences, favors and extortion. Even the seemingly innocent dream of success as a musician has long since been corrupted by the hard conditions of thestruggle for survival.
The French debut Regarde-moi (Ain’t Scared) of Audrey Estrougo shows how even the youth subculture in the suburbs of Paris is imprisoned in conventions. The film tells the same story of 24 hours in a city twice in succession, first from a male and then from a female perspective, thereby evoking an atmosphere of social constriction that leaves no room for the individual. In his 27th film, Le premier venu (Just Anybody), French film auteur Jacques Doillon follows his young protagonist in provincial northwestern France. In her love affair with the first man to come along, she seeks an intensity that her bourgeois home denies her.
Japan is also strongly represented in this year’s programme. Kumasaka Izuru’s directorial debut, Asyl – Park and Love Hotel, discovers a peculiar big city oasis on the roof of a by-the-hour hotel in Tokyo. The directors Hirosue Hiromasa and Takahashi Izumi have a close creative tie; their respective films Higurashi and Musunde-hiraite (What the Heart Craves) are sensitively and subtly devoted to dysfunctional love and family relationships.
On the occasion of the international premiere of his impressive three-hour feature film on the Japanese terrorist group United Red Army, a tribute is paid to maverick director Wakamatsu Koji by three “pinku eiga”. Along with Secrets Behind the Wall, with which the director caused quite a stir in the 1965 Berlinale Competition, the Forum is also showing the classics Go, Go Second Time Virgin (1969) and Ecstasy of the Angels (1972).
The 38th Forum of the Berlinale is showing 36 films in its main programme, joined by the three-film “Tribute to Wakamatsu Koji”. In addition, the section is showing several Special Screenings to be announced soon.
Films in the main programme of the Forum 2008
Asyl - Park and Love Hotel (Asyl) by Kumasaka Izuru, Japan
Balikbayan Box by Mes De Guzman, Philippines/Netherlands/Switzerland (IP)
Be Like Others by Tanaz Eshaghian, USA/Canada/Iran (IP)
El Camino (The Path) by Ishtar Yasin Gutiérrez, Costa Rica/France (WP)
Corridor #8 by Boris Despodov, Bulgaria (WP)
Corroboree by Ben Hackworth, Australia
Diorthosi (Correction) by Thanos Anastopoulos, Greece (IP)
Divizionz by Yes! That’s Us, Uganda/South Africa
Flipping out by Yoav Shamir, Israel/Canada (IP)
La frontera infinita (The Infinite Border) by Juan Manuel Sepúlveda, Mexico (IP)
God Man Dog by Singing Chen, Taiwan
Grandmother’s Flower by Mun Jeong-hyun, Republic of Korea (IP)
Green Porno by Isabella Rossellini, Jody Shapiro, USA (IP)
Higurashi by Hirosue Hiromasa, Japan
Invisible City by Tan Pin Pin, Singapore
Leo by Josef Fares, Sweden (IP)
Loos ornamental by Heinz Emigholz, Austria/Germany (WP)
Mafrouza/Coeur (Mafrouza/Heart) by Emmanuelle Demoris, France/Egypt (IP)
Musunde-hiraite (What the Heart Craves) by Takahashi Izumi, Japan (IP)
My Winnipeg by Guy Maddin, Canada (IP)
Nacht vor Augen (Night Before Eyes) by Brigitte Bertele, Germany (WP)
Nirvana by Igor Voloshin, Russian Federation (WP)
Paruthiveeran by Ameer Sulthan, India (IP)
Le premier venu (Just Anybody) by Jacques Doillon, France/Belgium (WP)
Regarde-moi (Ain’t Scared) by Audrey Estrougo, France (IP)
Seaview by Paul Rowley, Nicky Gogan, Ireland (IP)
Shahida – Brides of Allah (Brides of Allah) by Natalie Assouline, Israel (WP)
Son of a Lion by Benjamin Gilmour, Australia/Pakistan
South Main by Kelly Parker, USA (WP)
Sweet Food City by Gao Wendong, People’s Republic of China (WP)
Tatil Kitabi (Summer Book) by Seyfi Teoman, Turkey (WP)
La terramadre (Motherland) by Nello La Marca, Italy (WP)
Tirador (Slingshot) by Brillante Ma. Mendoza, Philippines
Tribu by Jim Libiran, PhilippinesUnited
Red Army by Wakamatsu Koji, Japan (IP)
Victoire Terminus, Kinshasa by Florent de la Tullaye, Renaud Barret, France/Democratic Republic of the Congo (WP)
Yasukuni by Li Ying, Japan/People’s Republic of China
Tribute to Wakamatsu Koji: Ecstasy of the Angels, Japan 1972; Go, Go Second Time Virgin, Japan 1969; Secrets Behind the Wall, Japan 1965
The 38th Forum of the Berlinale is showing a truly world-spanning and diverse programme with films from 33 countries and all continents. One emphasis again this year is the experimental, unconventional, imaginative work of young filmmakers; the programme presents a total of 16 directorial debuts. A conspicuous number of films adopt the perspective of children and young people – in a world where often there is no more childhood.
The Mexican film La frontera infinita (The Infinite Border) by Juan Manuel Sepúlveda tells of the uninterrupted stream of migrants from Central America to the United States; in the Irish production Seaview by Paul Rowley and Nicky Gogan, migrants have reached their goal, Europe, but find themselves captured in a no-man’s land, the former vacation facility Mosney, north of Dublin, where they often wait years for their asylum hearings. But childhood cannot be postponed to a vague future, and so these films’ most poignant moments are images of children.
The Australian film Son of a Lion by Benjamin Gilmour is set in Pakistan and focuses on a boy who wants to escape a world characterized by armed violence and archaic traditions. An interesting companion piece to this film is the German directing debut of Brigitte Bertele, Nacht vor Augen (Night Before Eyes), in which a German soldier returning from Afghanistan takes out his combat trauma on his little brother.
The central characters of the programme’s three Philippine films are children and young people. The elegant parable of the metropolis, Tirador (Slingshot) by Brillante Ma. Mendoza, and the deceptive rural idyll of Mes De Guzman’s Balikbayan Box both focus on daily survival by one’s wits, in which the young often have the advantage over the old. By contrast, in Jim Libiran’s directing debut Tribu (Tribe) a gripping feature film about gangs in Tondo, a poor quarter in Manila, the gang culture is a self-organized substitute for family, far more authoritarian than the crumbling traditional family structures.
In the Ugandan hip-hop film Divizionz by the filmmaking collective Yes! That’s Us, the protagonists also play themselves. In the slums of Kampala, they live from deals and fortunate coincidences, favors and extortion. Even the seemingly innocent dream of success as a musician has long since been corrupted by the hard conditions of thestruggle for survival.
The French debut Regarde-moi (Ain’t Scared) of Audrey Estrougo shows how even the youth subculture in the suburbs of Paris is imprisoned in conventions. The film tells the same story of 24 hours in a city twice in succession, first from a male and then from a female perspective, thereby evoking an atmosphere of social constriction that leaves no room for the individual. In his 27th film, Le premier venu (Just Anybody), French film auteur Jacques Doillon follows his young protagonist in provincial northwestern France. In her love affair with the first man to come along, she seeks an intensity that her bourgeois home denies her.
Japan is also strongly represented in this year’s programme. Kumasaka Izuru’s directorial debut, Asyl – Park and Love Hotel, discovers a peculiar big city oasis on the roof of a by-the-hour hotel in Tokyo. The directors Hirosue Hiromasa and Takahashi Izumi have a close creative tie; their respective films Higurashi and Musunde-hiraite (What the Heart Craves) are sensitively and subtly devoted to dysfunctional love and family relationships.
On the occasion of the international premiere of his impressive three-hour feature film on the Japanese terrorist group United Red Army, a tribute is paid to maverick director Wakamatsu Koji by three “pinku eiga”. Along with Secrets Behind the Wall, with which the director caused quite a stir in the 1965 Berlinale Competition, the Forum is also showing the classics Go, Go Second Time Virgin (1969) and Ecstasy of the Angels (1972).
The 38th Forum of the Berlinale is showing 36 films in its main programme, joined by the three-film “Tribute to Wakamatsu Koji”. In addition, the section is showing several Special Screenings to be announced soon.
Films in the main programme of the Forum 2008
Asyl - Park and Love Hotel (Asyl) by Kumasaka Izuru, Japan
Balikbayan Box by Mes De Guzman, Philippines/Netherlands/Switzerland (IP)
Be Like Others by Tanaz Eshaghian, USA/Canada/Iran (IP)
El Camino (The Path) by Ishtar Yasin Gutiérrez, Costa Rica/France (WP)
Corridor #8 by Boris Despodov, Bulgaria (WP)
Corroboree by Ben Hackworth, Australia
Diorthosi (Correction) by Thanos Anastopoulos, Greece (IP)
Divizionz by Yes! That’s Us, Uganda/South Africa
Flipping out by Yoav Shamir, Israel/Canada (IP)
La frontera infinita (The Infinite Border) by Juan Manuel Sepúlveda, Mexico (IP)
God Man Dog by Singing Chen, Taiwan
Grandmother’s Flower by Mun Jeong-hyun, Republic of Korea (IP)
Green Porno by Isabella Rossellini, Jody Shapiro, USA (IP)
Higurashi by Hirosue Hiromasa, Japan
Invisible City by Tan Pin Pin, Singapore
Leo by Josef Fares, Sweden (IP)
Loos ornamental by Heinz Emigholz, Austria/Germany (WP)
Mafrouza/Coeur (Mafrouza/Heart) by Emmanuelle Demoris, France/Egypt (IP)
Musunde-hiraite (What the Heart Craves) by Takahashi Izumi, Japan (IP)
My Winnipeg by Guy Maddin, Canada (IP)
Nacht vor Augen (Night Before Eyes) by Brigitte Bertele, Germany (WP)
Nirvana by Igor Voloshin, Russian Federation (WP)
Paruthiveeran by Ameer Sulthan, India (IP)
Le premier venu (Just Anybody) by Jacques Doillon, France/Belgium (WP)
Regarde-moi (Ain’t Scared) by Audrey Estrougo, France (IP)
Seaview by Paul Rowley, Nicky Gogan, Ireland (IP)
Shahida – Brides of Allah (Brides of Allah) by Natalie Assouline, Israel (WP)
Son of a Lion by Benjamin Gilmour, Australia/Pakistan
South Main by Kelly Parker, USA (WP)
Sweet Food City by Gao Wendong, People’s Republic of China (WP)
Tatil Kitabi (Summer Book) by Seyfi Teoman, Turkey (WP)
La terramadre (Motherland) by Nello La Marca, Italy (WP)
Tirador (Slingshot) by Brillante Ma. Mendoza, Philippines
Tribu by Jim Libiran, PhilippinesUnited
Red Army by Wakamatsu Koji, Japan (IP)
Victoire Terminus, Kinshasa by Florent de la Tullaye, Renaud Barret, France/Democratic Republic of the Congo (WP)
Yasukuni by Li Ying, Japan/People’s Republic of China
Tribute to Wakamatsu Koji: Ecstasy of the Angels, Japan 1972; Go, Go Second Time Virgin, Japan 1969; Secrets Behind the Wall, Japan 1965
BERLIN- NEWS
EFM Industry Debates 2008 – Drive Your Business Into The Future
The European Film Market (EFM) and its official main partner and sponsor ArtsAlliance Media (AAM), are presenting the EFM Industry Debates. Building on thesuccess of last year’s collaboration, this year’s debates will deal with theopportunities and challenges of digital film distribution and sales. Under theheading “Embrace Digital Distribution: Drive Your Business Into The Future”,advances in digital distribution possibilities, prospects of the cinema market andthe effects of growing digitalisation on home users will be discussed from February8 to 10, 2008.
On three afternoons the EFM Industry Debates will explore topics related to thefields of “Digital Cinema” and “Digital Home”. With this series, the EFM and AAM arestriving to stay abreast of the latest changes affecting film distribution as wellas investigate technical advances for their market compatibility. The first debatewill examine the perspectives opening up for European independent distributors inview of increasing digitalisation. On the second day, the key issue will bedevelopments in the home entertainment market: discussion will revolve around thechances emerging for filmmakers and distributors as a result of online distributionand legal downloading options. The series will close with a panel on the outlook oftechnical innovations and the development of digital standards for onlinedistribution.
The London-based company Arts Alliance Media is Europe’s leading provider for thedigital distribution of film and is currently working on establishing aEuropean-wide digital network that will make films available to cinemas and homeentertainment as well as enable exchange between partners in the industry.
Participating in the EFM Industry Debates 2008 are experts from different areas ofthe entertainment industry, leading market analysts and specialised journalists.This year they include: Arash Amel (Screen Digest), Robert Andrews (PaidContent:UK), Liesl Copland (Netflix), John Dick (MEDIA Programme), Anders Geersten (EuropeanDigital Cinema Forum), Michael Gubbins (Screen International), Simon Morris(Lovefilm.com), Jon Salmon (Tiscali), and Nick Varley (Park Circus).
The EFM Industry Debates 2008 will be held in the ballroom of the Marriott Hotelfrom 17:00 – 18:00 (5 - 6 pm). Debates will cover the following topics:
Friday, February 8:“Digital Cinema – The Independent Distributor’s Perspective”Saturday,
February 9:“Digital Home – Online Distribution/ Driving Business”Sunday,
February 10:“Digital Home – Online Distribution/ The Technology”
Admission to the EFM Industry Debates is free for accredited Festival visitors andEFM participants. Guests can register to attend at:
http://www.efm-industrydebates.com
The European Film Market (EFM) and its official main partner and sponsor ArtsAlliance Media (AAM), are presenting the EFM Industry Debates. Building on thesuccess of last year’s collaboration, this year’s debates will deal with theopportunities and challenges of digital film distribution and sales. Under theheading “Embrace Digital Distribution: Drive Your Business Into The Future”,advances in digital distribution possibilities, prospects of the cinema market andthe effects of growing digitalisation on home users will be discussed from February8 to 10, 2008.
On three afternoons the EFM Industry Debates will explore topics related to thefields of “Digital Cinema” and “Digital Home”. With this series, the EFM and AAM arestriving to stay abreast of the latest changes affecting film distribution as wellas investigate technical advances for their market compatibility. The first debatewill examine the perspectives opening up for European independent distributors inview of increasing digitalisation. On the second day, the key issue will bedevelopments in the home entertainment market: discussion will revolve around thechances emerging for filmmakers and distributors as a result of online distributionand legal downloading options. The series will close with a panel on the outlook oftechnical innovations and the development of digital standards for onlinedistribution.
The London-based company Arts Alliance Media is Europe’s leading provider for thedigital distribution of film and is currently working on establishing aEuropean-wide digital network that will make films available to cinemas and homeentertainment as well as enable exchange between partners in the industry.
Participating in the EFM Industry Debates 2008 are experts from different areas ofthe entertainment industry, leading market analysts and specialised journalists.This year they include: Arash Amel (Screen Digest), Robert Andrews (PaidContent:UK), Liesl Copland (Netflix), John Dick (MEDIA Programme), Anders Geersten (EuropeanDigital Cinema Forum), Michael Gubbins (Screen International), Simon Morris(Lovefilm.com), Jon Salmon (Tiscali), and Nick Varley (Park Circus).
The EFM Industry Debates 2008 will be held in the ballroom of the Marriott Hotelfrom 17:00 – 18:00 (5 - 6 pm). Debates will cover the following topics:
Friday, February 8:“Digital Cinema – The Independent Distributor’s Perspective”Saturday,
February 9:“Digital Home – Online Distribution/ Driving Business”Sunday,
February 10:“Digital Home – Online Distribution/ The Technology”
Admission to the EFM Industry Debates is free for accredited Festival visitors andEFM participants. Guests can register to attend at:
http://www.efm-industrydebates.com
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