Talents Circles: You Can Get It If You Really Want
Proving the motto, "You Can Get it if You Really Want," guests and partners present funds, grants, technologies and other tools that bring you a step closer to getting your dream film made. The manager from Talents Durban presents the latest on Berlinale Talents' African sister event. Representatives of the Berlinale World Cinema Fund, IFFR's Hubert Bals Fund and EAVE explain how their initiatives can support you and your project. Representatives from Kickstarter answer questions for those who want to take fundraising into their own hands. And experts from ARRI explain their International Support Program, which offers packages comprising elements such as Camera or Postproduction.
"silent green Kulturquartier" is a new event venue and independent project that sees itself as a protected space for thinking, research and experimentation. Housing the Harun Farocki Institute, the public film archive of the Arsenal Institute of Film and Video Art and a venue of Berlinale Forum Expanded, silent green's intention is to move the boundaries of individual artistic and cinematic disciplines so that these can be interlinked in new, hybrid forms. Get a tour of the Berlinale Forum Expanded exhibition, as well as of the other offerings and initiatives housed in this stunning historical location that was Berlin's first crematorium.
The European Film Market (EFM) is the industry center of the Berlinale and a major hub for international film professionals including distributors, buyers, producers, financiers and sales agents. Located at the Martin Gropius Bau, the EFM is a bustling nine-day trade fair where over 8,000 participants from 100 countries attend and over 800 films are presented. Sydney Levine, a pioneer acquisitions executive, conducts two tours of the inner workings of the EFM for first-timers.
HAU3 - Top Floor11:30 - 13:00HAU3 - Top Floorsummit
Fifty-Fifty: Producing Gender Equality
Toby Ashraf, Anna Serner, Vinca Wiedemann, Joslyn Barnes, Isabell Šuba
Supported by Creative Europe MEDIA.
While great strides have been made recently by women in the film industry, there is no denying the facts: filmmaking mirrors many other professions in that it is still a little boys’ club. Prominent advocates for the cause examine the current state of affairs and show how initiatives, film schools, mentoring programmes and especially everyone involved in production can actively foster equal opportunity on grassroots levels. Questions include how to infiltrate dude-dominated technical fields as well as how to address the dichotomy of traditional male/female gender constructions and account for the multiplicities of identity in-between.
Do you ever feel that other key crew positions don't understand what you're going through or what you need? Building understanding, communication and support between departments of a film production is crucial to ensure a smooth workflow and successful creative execution. New this year, the Talents Pool is an interactive format that brings participants from specific fields of work together. A host introduces topics and your opinions and experiences influence the further course of the session. You are the expert. So please come prepared to let us know your style of work and the best and worst moments you've experienced on the job. Your colleagues will appreciate your generosity and frankness as they get to know you better. Today's pool is reserved for directors, producers, cinematographers and production designers.
Creativity in cinema is by far not reduced to the process of filmmaking. There is great demand for innovative business solutions to keep up with the quickly changing needs of film professionals, markets and audiences. Filling this niche is the Propellor Film Tech Hub, a business innovation programme that enables interdisciplinary professionals to develop new business models for production, distribution and experience of films. This session details how Propeller connects the film industry with the latest from the start-up world and information technology. As a practical example, the masterminds behind Cinema-Europe, a new business platform for public film licensing, invite you to discuss their work-in-progress B2B film licensing platform, that uses modern web infrastructure for screening films and blockchain-based copyright management and payment solutions to support film markets and global distribution.
Alumni Film Screening: Mzis Qalaqi (City of the Sun)
Rati Oneli, Georgia | USA | Qatar | The Netherlands, 2017, 100 min.
In cooperation with Berlinale Forum.
Chiatura was once a proud ore-mining centre but today its remaining inhabitants eke out their livelihoods among the ruins of Soviet ambition. Work in the mines, darkness, music and theatre: the post-utopian portrait of life in the city of the sun. The film, co-written and produced by Talents alumna Dea Kulumbegashvili, brings home the ephemeral nature of utopias, documenting a living environment whose bleak industrial ruins appear colossal and not unlike a film set.
Friedrich Kirschner, Bastian Trost, Sean Patten, Sarah Thom
In cooperation with HAU Hebbel am Ufer.
As a new technology hyped to go mainstream in the near future, Virtual Reality is all the buzz. But the practice of ascribing the spectator an active role is long familiar from the worlds of performance art. Since 1994, much beloved British-German collective Gob Squad has probed the intersections of these fields. Through their simulations of social situations, as well as their non-linear narrations with multiple outcomes, Gob Squad indirectly comments on potentials for role-reversal and agency in VR. In this interactive session, members of the collective share their creative processes and express solidarity with those who also ask themselves what the heck is going on behind these goggles.
HAU3 - Top Floor14:30 - 16:00HAU3 - Top Floorsummit
Happily Ever After: How to Survive a Co-Production
Raymond Phathanavirangoon, Maximilian Leo, Sophie Erbs, Roshanak Behesht Nedjad
Supported by Creative Europe MEDIA.
Almost everybody wants their next feature to be co-produced, but many don’t understand the complexities of such a part-time marriage before having experienced it at least once. The producer and co-producers of the highly successful Singapore-Germany-France-Hong Kong-Qatar thriller Apprentice weigh the benefits and consequences of their joint-venture between multiple companies, countries and markets. The three pinpoint crucial moments demonstrating the necessity of strong skills in communication, cultural understanding, empathy and a certain passion for risky ventures.
EFM - Africa Hub16:00 - 17:00EFM - Africa Hubnetwork
Africa: The Courageous Continent
In cooperation with European Film Market.
Meet the 2017 Talents hailing from Sub-Saharan nations at the Berlinale Africa Hub, the festival’s international market platform for innovative projects and ideas from the African film industry. At this moderated get-together, the 10 Talents coming from 3 countries representing the fields of direction, production, screenwriting, acting, distribution and film criticism, share insights into how they combine visionary storytelling with the use of newest technologies and distribution models to develop and bring original homegrown content to African audiences and beyond.
Youssef Shazli, Verena von Stackelberg, Agnès Salson, Anthony Killick
In cooperation with Berlinale Goes Kiez. Pre-registration required.
Since the digital revolution, the doomsday prophecies of the death of the local cinema have proven largely unfounded. On the contrary, many innovative screening spaces are cropping up across regions worldwide. This trend is evidence that going to cinema is about more than watching films. As part of the highly popular “Berlinale Goes Kiez” initiative, this session takes place in the brand new w o l f in Berlin Neukölln. The “wolf-gang” and other creators of exciting community cinemas in Germany, the UK and Egypt present their projects and address practical concerns such as financing, curatorship, social engagement and architecture.
Supported by Medienboard Berlin-Brandenburg and in cooperation with European Film Academy.
In “post-truth” times, storytellers in cinema are faced with the challenge to redefine their roles as purveyors of truths – critical and activistic voices – while keeping a positive attitude and good humour. Polish director Agnieszka Holland, one of Europe’s most prolific advocates for free-spirited cinema and also a regular director of TV-series (House of Cards), joins the Berlinale with her bloody smart thriller Spoor in Competition. Holland can compare filmmaking in Poland of the 1970s versus today, optimistically remarking on the creative potentials and contradictory freedoms she experienced working both under censorship then, and internationally in a likewise complicated industry now.
HAU3 - Top Floor17:00 - 18:30HAU3 - Top Floorsummit
The Road Not Taken: Funding Courage
Katriel Schory, Lizzie Francke, Roberto Olla, Claas Danielsen, Henning Kamm
Supported by Creative Europe MEDIA.
Imagine the following: Four inspiring film funders join forces to invent never-before-seen schemes that seek to support filmmakers who dare to take risks. To reach that ambitious goal, they ask courageous directors, radical screenwriters and fearless producers who – more than merely on the lookout for money – develop original ideas and unique relations with their crews and audiences. But how do we value courage if, by definition, one of its qualities is a certain unpredictability? In an interactive brainstorm, film funders from the BFI, MDM, Eurimages and Israel Film Fund invite you to learn more about their institutions and think outside of the box.
“It’s on sharing stories, my father, the cold and Kim Kardashian,” says Spanish filmmaker Isabel Coixet about her latest short film It's Not That Cold Siberia. In a session that combines the first public screening with an extensive conversation, the director (My Life Without Me, Nobody Wants the Night) invites us to embark with her on a winding trip to Siberia and back. The film is an ode to recently deceased art critic, novelist, painter and poet John Berger, who considered himself more a carrier of stories than their teller. Coixet confronts the contradictory magic of coincidences, how ideas grow and what can happen to a director on the roads to a new film.