Building on its seven successful editions, EFM Startups will present innovative, international entrepreneurs working in the area of production, development and distribution in the film and audio-visual media industries at the online EFM 2022.
EFM has supported over 100 startups in the media, technology and entertainment biz that enabled innovation and deployed AI, blockchain in the film industry value chain.
The companies selected to participate in EFM Startups were carefully curated to showcase new ideas in the intersection between media and technology – be it in development, production, distribution or marketing – which are essential to the industry’s survival and future growth in a rapidly changing landscape.
Selected companies participating in the EFM Startups 2022, will be invited to pitch their Startup to an audience of producers, programmers, financiers, sales agents and distributors; virtually attend a series of matched 1:1 with producers and other industry professionals and take part in selected EFM online market screenings and events. Ahead of the online market, they will be prepped for the EFM Startups with virtual personal and group meetings as well as a series of digital pitch training sessions.
Maria Tanjala and Irina Albita, Big Couch. EFM Startups Alumni 2018, says, “EFM Startups champions talent and ambition while inspiring Startup founders with the confidence to reach their highest goals.”
EFM Startups 2022 Participating Entrepreneurs are Aibeatz, BetaSeries, Cascade8, Freque, Marionette, Mnemonica, Nova.ai by PromoMii, Prisma, Publikum, Qwest TV, Respeecher Inc, The GreenShot.
Here is a quick look on startups participating in Berlinale 2022 and what they are up to.
AIBeatz (Germany) is a stand-alone AI beat-making platform that empowers users’ to easily create original music in real-time right in browser. Adrian Liguere is the co-founder, CEO and Daniel Murcia is co-founder, CTO.
Thanks to its unique TV series usage data gathered on 2.1M members, BetaSeries (France) produces exclusive analytics on TV series and OTT platforms and analyzes for producers their TV series scripts in order to deliver simple and complete marketing sales pitches answering commissioners needs such as audience segmentation or performance forecast. Rémi Tereszkiewica is the CEO and Maxime Valette is founder and CTO.
Cascade8 (France) is the tech branch of French media group Logical Pictures. It develops blockchain and software solutions for content industry professionals. Cascade8 had notably developed applications like FilmSeriesNFT.com (NFT marketplace for films and TV series), Archipel Content (content marketplace) and Archipel Market (ongoing film market platform). Yannick Bossenmeyer is CEO and co-founder, while Yuki You is business developer.
Freque (Germany), a Potsdam based tech company, was officially founded in 2021 and is the first music productivity tool for filmmakers. The brainchild of founder Justin Michael La Vallee (American), Tobias Wagner (German), Paolo Galli (Italian) and Stephan Baumann (German), freque offers new digital solutions for the film and music industries. Justin Michael La Vallee and Tobias Wagner are its co-founders and managing directors.
Marionette (Denmark) gives animators the possibility of recording motion capture anywhere without the need for motion capture suits. It helps minimize the pre-visualization work to maximize the creative output. Tommy Thore Ipsen (Thore) is the CEO, while Jennifer Anne Ipsen is COO.
Mnemonica (Italy) is the European viewing & sharing platform for the film industry, designed for top-grade security and ease of use. A unique combination of smart screening rooms and a two-way file transfer facility, that can flexibly streamline all phases of film and series lifecycle, from casting to production & post, and long-term archiving. Piero Costantini is the CEO
and Stefano Diana is the CCO.
Nova by PromoMii
Nova by PromoMii (UK) is an A.I. powered video search, retrieval and clip generation platform that enables users to instantly deep-search their video, audio, and archival libraries for specific moments categorized by emotions, objects, people, actions, scene types, words and more. Automatically transcribes, translates, and subtitles 40+ languages and allows users to generate multiple new clips from original content in seconds. Michael Moss is co- founder and CEO, Linnea Langfjord Kristensen is head of operations.
Prisma (Germany) is a fully decentralized, social network to distribute films without boundaries where you discover, sell, re-sell, share, gift, and collect movies as NFT Licenses. On Prisma’s new, unique platform everyone can truly own, promote & track their movies and transact directly with their community through blockchain tech. Vincent Lopez is co-founder and CTO,
Raiomond Mirza is head of operations.
Publikum (Denmark) is a service for audience research offering a combination of AI-analysis and anthropological insights in early-stage script development. The Danish company helps filmmakers elevate their creativity by journeying into the feelings their stories triggers in a future audience with the precision of big data and the depth of human science. Lars Tversted is CFO and co-founder, while Neils Alberg, who too is a co-founder, is the CEO.
Cofounded by Quincy Jones, Qwest TV (France) is part of the explosion of the global video streaming market. With 3 music TV channels & a SVOD platform-1500 hours (concerts, documentaries, originals), Qwest TV is in a B2B expansion phase. It has more than 13M monthly viewers. It already has 220 universities partnering with Qwest TV EDU. Reza Ackbaraly is the CEO, while Pierre-Henri Moulard is General Manager.
Respeecher Inc. (Ukraine) is a speech-to-speech system. It allows one person to speak in the voice of another particular person. Respeecher was launched in early 2018 with the goal to create a high-quality synthetic speech that would go through picky sound engineers in Hollywood studios. Today Respeecher is a team of 30+ ppl. Alex Serdiuk is the CEO and co-founder.
The GreenShot (Belgium) accelerates the move to eco-certified productions by making the process fluid, easy, financially attractive and inclusive of the crew. Invented by location manager Max Hermans, the app delivers the missing link: live, cost-efficient sustainability on-set and in-studio! TheGreenShot won the 2021 Makers & Shakers ‘tech production innovation of the year’. Max Hermans is co-founder and COO, while Véronique Pevtschin is co-founder and CEO.
The “EFM Industry Sessions” will discuss the three core themes – future, diversity & inclusion and sustainable development – in different formats
‘Shaping change’ is the title of this year’s European Film Market’s conference programme, the EFM Industry Sessions. Over six days (February 10-15, 2022), the challenges facing the film and media industry in times of digital transformation will be addressed and impulses given to help shape our shared future. The “EFM Industry Sessions” will discuss the three core themes – future, diversity & inclusion and sustainable development – in different formats that include a three-part think tank series.
There will be four programme sections, “Producers”, “Distribution”, “Documentary” and “Series”, each of which represents a major group of market participants. Networking in the form of round tables and organised meetings is also planned as a central component. On February 15, the programme will finish with the presentation of its key findings at the closing event. This year, the EFM is pursuing a sustainable approach in its programming, focusing on collaborations that create synergies and (necessary) thematic immersion through targeted networking with partners.
Storytelling and content
The opening will set a course for the programme’s overarching title: (co-)shaping change in the film and media industry. The event focuses on changes, especially in the fields of storytelling and content creation, resulting from new technologies, business models and distribution channels.
For independent producers
In the “Producers” section, a two-part talk will discuss ways in which independent producers in particular can develop functioning business models in 2022, in a market that is dominated by streaming services and the current battle over IP rights. The focus will also be on the question of how smaller companies in the audio-visual industry can operate sustainable and adapt to transformations in the value chain.
The talk “Darwin’s Nightmare” in the programme section “Distribution” examines the drastic upheavals that the pandemic in particular, but other factors as well, have triggered in film distribution. “Building up Publicity” addresses the central role which tailor-made promotional strategies play in international film sales and distribution. Another format will focus on the growing VoD landscape in Africa and its impact on the industry.
In the “Documentary” section, truth is the focus of a two-part talk about potentials and challenges for documentary filmmakers. Not only will the question of documentaries’ subjectivity be explored; new possibilities will also be presented for documentaries in the digital market. In addition, there will be a talk focusing on female documentary filmmakers, who will report on their work and their activities in the diaspora.
Serious about series
In turn, “Series” looks at current trends in the series business, from the strategies of international streamers and their already existing or potential investment commitments in local European markets to the question of whether and how talented individuals with disabilities are represented and included in the series industry―in front of, but also behind the cameras.
Four talk formats within the spectrum of “Inclusion” highlight the transformative power of institutions. Institutions have the systemic means and opportunities to bring about sustainable structural change and empower marginalised creatives using data and technology-driven strategies, as well as raising awareness and ultimately changing the attitudes of decision-makers from the Global North. Simultaneous subtitling of the “EFM Industry Sessions’” live streams makes accessibility a concrete reality. EFM Diversity & Inclusion is co-funded by the European Union’s Creative Europe – MEDIA programme.
The “Future” theme is reflected in many of the “EFM Industry Sessions” including the EFM Startups initiative, where twelve hand-picked, innovative entrepreneurs present their ideas, services and tools for the film and media industry with groundbreaking solutions for development, production and distribution. The talk “How the Future of Animation Changes (with) Tech” explores how the collaborative power of animation can deliver immersive experiences and storytelling, and looks at the role technology plays in driving the film and animation industry. Artificial intelligence, blockchain, streaming and virtual production―just buzzwords at first―are now an integral part of real-time production and the meta-world. The talk “What Tech Trends Mean for Tomorrow’s Productions” also enquires into their significance for media productions.
“Sustainable development” will provide the focus of the workshop “Greening the Industry: Imperatives from Production to Distribution”. It deals with green production, whether CO2 avoidance or necessary systemic changes, and with green film distribution in the field of streamers, cinemas and broadcasters. Social sustainability, such as the aspect of mental health in the work context, remains on the agenda of the EFM conference programme for the third year.
The three-part Think Tank series in particular will be encouraging people to help shape change. Concrete approaches for future-oriented changes will be developed in working groups including international experts. The think tank “Shaping the Future of the Film Ecosystem” will discuss the strategic direction of production companies, tech tools, participation and mental health. “Shaping Production: Equity, IP and Alliances vs. Independence” addresses the challenges of financing, intellectual property, and the question of whether producers should enter into creative alliances or remain independent. “Shaping Distribution: EcoStability, Blockchain & Hybrid Audiences” is devoted to future scenarios of film distribution in the context of blockchain technology, festival distribution, and protected professional entry into the industry. Additionally, the core results of the three think tanks will be presented at the closing event.
At the beginning of each day, the ten-minute “EFM Morning Brief” again provides a compact update on current market events and the upcoming programme highlights of the day. The EFM podcast “Industry Insights”, in cooperation with the Goethe-Institut, offers in-depth discussions on current and future industry issues.
The “EFM Industry Sessions” are accessible with an Online Market Badge; they are streamed live, and most of them can also be viewed later on demand.
The Berlinale Co-Production Market is hosting “Co-Pro Series” on February 15 and 16. For the eighth time, Berinale is inviting producers, editors, distributors and other series financiers to pitches and meetings.
“Co-Pro Series” is curated and organised by the Berlinale Co-Production Market under the direction of Martina Bleis and is also part of the “Berlinale Series Market” programme (February 14-16).
This time around, ten outstanding international series projects from Europe, Canada and Latin America are looking for suitable co-producers and financiers. After the pitch, their creators and producers will meet with interested partners. Potential co-producers and interested financing partners have registered in large numbers, and can soon book their one-on-one meetings with the projects.
From Germany comes The Report, the first series project by Match Factory Productions, based on a political murder case in Lebanon that is to be solved by an international team of investigators. Author Ben von Rönne is known for writing the Emmy-nominated film Toter Winkel (2017).
Spin Control from Finland is a series project to be directed by Alli Haapasalo, whose current film Girl Picture premieres at Sundance and is part of the Generation programme at the Berlinale. The lead role as an environmental PR consultant is played by Seidi Haarla, who drew attention to herself this year as a European Shooting Star and leading actor in Compartment No. 6, which is currently on the shortlist for the Academy Award for Best International Feature Film.
Winterland from Denmark is based on the bestseller of the same name by the successful crime novelists Janni Pedersen and Kim Faber. It is produced by Nimbus Film, who created one of the great Nordic Noir cult series with The Bridge.
The Promised Land by San Sebastián award-winning Argentine director and co-writer Emiliano Torres is the first ever Latin American “Co-Pro Series” project – a thriller that brings turmoil to a Mennonite community in Paraguay.
You Are Obsolete comes from Canada’s Sienna Films, the producers of Cardinal: in this adaptation of the Aftershock graphic novel, a young woman travels to an isolated island to uncover a mysterious new climate saving technology created by a teenage prodigy who will stop at nothing to implement her plans.
Coming from Belgium is This is not a Murder Mystery, a whodunit in genuine Agatha Christie style, but riddled with surrealist motifs and elements. Hans Herbots, known for – among other things – the international series successes The Serpent and Riviera, is one of the directors aiming to bring René Magritte to life in 1930s London.
The Italian series Belcanto takes us to the world of early opera and the Napoleonic era, while The Attachment Theory from the Czech Republic (to be directed by Olmo Omerzu) recalls a real and yet scarcely comprehensible case of manipulation, identity fraud and human confusion.
In Nowheresville in the Norwegian hinterland, young female podcasters chase a cat-killer and struggle with growing up in the provinces. The series is produced by Hummelfilm, whose best-known series Occupied was a worldwide success.
Picadero from Barcelona, partly to be directed by Isabel Coixet, will be presented in cooperation with the Series Mania Forum in Lille, where the project was first pitched in August. And, one of the “Co-Pro Series” projects can continue its journey at Series Mania in March to pitch there and meet more partners.
The Berlinale Co-Production Market (February 12 to 16, 2022) is supported by MDM – Mitteldeutsche Medienförderung and the European Union’s Creative Europe – MEDIA programme.
The “Co-Pro Series” pitches will take place online again this year on February 15 – in cooperation with the Norwegian Film Institute, which will host the presentation.
The “Berlinale Series Market” and its annual conference programme is a joint initiative of the European Film Market, the Berlinale Co-Production Market and Berlinale Talents; it is organised in close cooperation with Berlinale Series.
Project Selection 2022
At the 19th edition of the Berlinale Co-Production Market (February 12-16, 2022), a selection of 34 promising feature film projects from 32 countries are presented and brought together online with a wide range of potential co-production and funding partners from around the world, this time online..
(in alphabetical order of production company):
Mehal Sefari (Director: Abraham Gezahagne), Abricom Multimedia, Ethiopia & Gobez Media, Canada/Ethiopia
Los Corrientes (Director: Milagros Mumenthaler), Alina Film, Switzerland & Ruda Cine, Argentina
The Paris Project (Director: Arno Salters), Beluga Tree, Belgium
Jimpa (Director: Sophie Hyde), Closer Productions, Australia
Mother (Director: Teona Strugar Mitevska), Entre chien et Loup, Belgium
Ortalan (Director: Nariman Aliev), ForeFilms, Ukraine
The Wolf Will Tear Your Immaculate Hands (Director: Nathalie Álvarez Mesén), Hobab, Sweden & Resolve Media, USA
The Wind Also Sings (Director: Hadi Ghandour), Incognito Films & Virginie Films, France
Bonefever (Director: Bence Fliegauf), Inforg-M&M Film & Fraktál Film, Hungary
20,000 Species of Bees (Director: Estibaliz Urresola Solaguren),Gariza Films & Inicia Films, Spain
The Difficult Bride (Director: Rubaiyat Hossain), Khona Talkies, Bangladesh
Truly Madly Deeply (Director: Carlo Sironi), Kino Produzioni, Italy
Yellow Letters (Director: İlker Çatak), Liman Film, Turkey & if… Productions, Germany
Slow (Director: Marija Kavtaradze), M-Films, Lithuania
Texas Soul Sister (Director: Pascale Lamche), Maneki Films & Haut Et Court Doc, France
Kafka(Director: Agnieszka Holland), Marlene Film Production, Czech Republic & Film and Music Entertainment, United Kingdom/Ireland
In the Shadow of the Horns (Director: Ognjen Glavonić), Non-Aligned Films, Serbia
Virginia Woolf’s Night & Day (Director: Tina Gharavi), Piccadilly Pictures & Asterisk Films, United Kingdom
The Spring (Director: Ivan Ostrochovský), Punkchart Films, Slovakia
“Berlinale Directors” projects:
My Favourite Cake (Directors: Maryam Moghaddam & Behtash Sanaeeha), Caractères Productions, France & Honare Khiyal, Iran
Heia, Heia, Safari! (director: Radu Jude), jip Film & Verleih, Germany & Micro Film, Romania
Eunuch (Director: Udita Bhargava), Schiwago Film, Germany
No Beast So Fierce (Director: Burhan Qurbani), Sommerhaus Filmproduktion, Germany
Love on Trial (Director: Koji Fukada), Knockonwood, Japan & Survivance, France
“Talent Project Market”:
Breed (Director: Kate Dolan), Blinder Films (producer: Evan Horan), Ireland
The Trials of Alien Life (Director: Ian Lagarde), Colonelle Films (producer: Sarah Mannering), Canada
Girls Will Be Girls (Director: Shuchi Talati), Crawling Angel Films (producer: Pooja Chauhan), India
Available Now (Director: Assaf Machnes), KM Productions (producer: Kobi Mizrahi), Israel
Sadrack (Director: Narcisse Wandji), Les Films d’Ebène (producer: Evodie N. Ngueyeli), Cameroon
Lucky Strikes (Director: Vivienne Vaughn), MHK Productions (producer: Maya Korn), USA
Don’t Cry, Butterfly (Director: Duong Dieu Linh), Momo Film Co (producer: Tan Si En), Singapore & Vietnam
Hana Korea (Director: Frederik Sølberg), Seesaw Pictures (producer: Heejung Oh), Republik of Korea & Denmark
Cachalote (Director: Angelo Defanti), Sobretudo Produção (producer: Bárbara Defanti), Brazil
Kevlar Soul (Director: Maria Eriksson-Hecht), Zentropa Sweden (producer: Ronny Fritsche), Sweden
“Co-Pro Series” Projects 2022
For the eighth time, the Berlinale Co-Production Market is inviting producers, editors, distributors and other series financiers to pitches and meetings at “Co-Pro Series” on February 15 and 16.
Ten new, selected drama series projects were pitched and met with co-production and financing partners here.
Selected Projects for “Co-Pro Series” 2022
(in alphabetical order of production company):
The Promised Land (Writers: Paula Eleod, Marcelo Chaparro & Emiliano Torres; Director: Emiliano Torres), Gaman Cine, Argentina
Nowheresville (Creators: Caroline B. Arnesen & Rebecca W. Kjellmann; Director: Rebecca W. Kjellmann), Hummelfilm, Norway
Belcanto (Creators: Mariano Di Nardo, Antonio Manca & Federico Fava; director: tba), Lucky Red, Italy
The Report (Writer: Ben von Rönne; Director: tba), Match Factory Productions, Germany
Winterland (Writers: Pauline Wolff & Jörgen Hjerdt; Director: tba), Nimbus Film, Denmark
This Is Not A Murder Mystery (Original idea: Matthias Lebeer & Christophe Dirickx; Writers: Christophe Dirickx & Paul Baeten; Directors: Hans Herbots & Matthias Lebeer), Panenka, Belgium
The Attachment Theory (Showrunner: Radovan Síbrt; Creators: Miro Šifra & Lucie Vaňková; Director: Olmo Omerzu), Pink, Czech Republic
You Are Obsolete (Creator: Steve Cochrane; Director: tbd), Sienna Films, Canada
Spin Control (Writer: Kaisa Pylkkänen; Director: Alli Haapasalo), Tuffi Films, Finland
Project selected in cooperation with Series Mania:
Picadero (Writers: Almudena Monzú & Mauricio Leiva Cock; Director: Isabel Coixet), Amor Y Lujo & Zeta Studios, Spain & Fidelio Films, Colombia
“Books at Berlinale” 2022
On February 14, the Berlinale Co-Production Market, in cooperation with Frankfurter Buchmesse, will present ten exceptional books particularly suitable for literary adaptation in “Books at Berlinale”. At the live pitching event, which has been presenting new publications, bestsellers and award winners every year since 2006, film producers can get in touch with the film rights holders – renowned, internationally working publishers and literary agents. This year, the pitch will be accessible online.
Books At Berlinale 2022
The following literary works are selected for “Books at Berlinale” 2022:
(in alphabetical order of presenting companies)
The Riff-Raff (Monika Helfer, Germany), Carl Hanser Verlag / Sibylle Seidel Medienagentur, Germany
The Sound of the Jaguar’s Roar (Micheliny Verunschk, Brazil), Companhia das Letras, Brazil
Mary (Anne Eekhout, Netherlands), De Bezige Bij, Netherlands
More Than I Love My Life (David Grossman, Israel), Deborah Harris Agency, Israel
The Granddaughter (Bernhard Schlink, Germany), Diogenes Verlag, Switzerland
Spanish Beauty (Esther García Llovet, Spain), Editorial Anagrama, Spain
Lack of Life (Nino Haratischwili, Georgia), Graf & Graf Literatur- und Medienagentur, Germany
The Lamplighters (Emma Stonex, United Kingdom), Madeleine Milburn Literary, TV & Film Agency, United Kingdomy
Impatients (Djaïli Amadou Amal, Cameroon), Mediatoon Audiovisual Rights, France
Wherever You Are (Khuê Phạm, Germany), Penguin Random House Verlagsgruppe, Germany
Industry experts, right holders, buyers and creatives will get a chance at the eighth edition of the “Berlinale Series Market” (February 14 to 16, 2022) to address and discuss current developments in the world of series.
This year, the programme will take place online – analogous to the European Film Market – and will include talk formats, showcases by international production companies, streaming platforms and series events, online screenings and, under the label “Berlinale Series Market Selects”, a curated selection of high-quality series being traded on the market.
According to EFM director Dennis Ruh: “The ‘Berlinale Series Market’ has developed into an integral part of the EFM, reflecting the growing diversification of our exhibitors’ sales and promotion portfolios. What we offer here helps us to create more visibility for serial content. Successfully introduced last year, the label “Berlinale Series Market Selects” has contributed significantly to this.”
Ruh adds: “I am especially pleased to note that we will be able to present a very international, varied selection this year. Through the conference programme, we will also offer our professional audience the chance to take a look at current developments in the industry.”
Talk of the Town in Series Industry
The “Berlinale Series Market’s” conference programme deals with current trends in the series business. The opening panel “MISSION: EUROPE. How Local Markets Muscle Up” co-hosted by the Film- und Medienstiftung NRW delves into the varying perspectives of streamers, local TV stations as well as producers regarding European streaming business strategies.
Acclaimed directors Lone Scherfig (Berlinale Special 2009: An Education; Silver Bear 2001: Italian for Beginners; Competition 2019: The Kindness of Strangers) and Daniel Burman (Silver Bear 2004: El abrazo partido; Panorama 2016: El rey del once) have been invited to the Berlinale along with their series The Shift and Iosi, el espía arrepentido, respectively.
“In Conversation with Lone Scherfig & Daniel Burman: From Film to Series” will take a look at their career paths from film director to series-maker and reveal some of their experiences with these different forms of content creation.
A round of talks entitled “When the Power Shifts – A New Era for Producers?” – co-hosted by Medienboard Berlin-Brandenburg – will discuss the ever louder demand for investment commitments in local markets by major streaming services, which already exist in France, for example, and also ask how this would alter the production companies’ role in the series sector.
The African series landscape, in which female authors in particular have a large share of the emerging market, will be the focus of the panel “Shaping A New Market – African Female Talent”. The question whether women in Africa have succeeded in obtaining the same conditions as their male colleagues will be discussed here
The Berlinale Series Market will also be addressing the issue of inclusion: For the first time, the Berlinale Series Market co-hosts a two-part talk series with Series Mania debating whether and how talented individuals with disabilities are represented and included in the series industry, both in front of and behind the camera, and to what extent they are able to contribute their own stories and perspectives. Subsequent to the opening in Berlin, the topic will be continued in the conference format in Lille.
An official part of the conference programme, a half-day summit on Wednesday, February 16, co-hosted by Variety presents three top-class cast talk formats. The showcase “Up Next: Germany” presents current and upcoming series projects from Germany.
After a successful first edition in 2021, the “Berlinale Series Market Selects” will be entering their second year with a total of 14 programme slots. Series from four continents have been selected, including from Brazil, South Africa, Israel, Russia, and two German productions.
It has been two decades. In other words, Berlinale Talents is celebrating its 20th birthday. Since 2003, the Berlinale’s multidisciplinary talent initiative has grown to nearly 10,000 alumni and has actively shaped the industry with this community of thirteen film trades.
From 12-17 February 2022, a new cohort of 200 Talents from over 70 countries joins the fold: connecting them digitally worldwide, we count on them to broaden our horizons and to inspire the wider film community.
The 200 Talents come from the various disciplines of film: acting, cinematography, directing, distribution, world sales, editing, film critics, production, production design, screenwriting, sound design, score composing, and audience design. 40 participants will also be developing their screenplays, from arthouse cinema to virtual reality, in the four Talents Labs.
Mariette Rissenbeek and Carlo Chatrian, the directors of the Berlinale, put it best: “Berlinale Talents is far more than a place where creative people can gather inspiration for their careers in film. Since 2003, the festival has been strengthened by the long-term development of new talent: open-minded, collaborative, involved and with a great amount of trust in the innovative power of the film community.”
“Labours of Cinema” in Focus
Though a film is presented to the public as a final, glittering creation, it is of course the product of many, and the labour and working terrain of various professions and crafts. It is the work itself that Berlinale Talents wishes to celebrate with this year’s anniversary theme “Labours of Cinema”. In Hollywood and elsewhere, the representatives of a multifaceted film community are currently campaigning for better working conditions and are striving to be heard in public. A better environment for every player in film work is becoming the new and confident “battle cry” of a younger cultural industry in which diversity, social sustainability and room for artistic freedom play important roles. Berlinale Talents is curating its programme in light of this “hands-on” spirit: placing the onus on the act of making, this year Berlinale Talents sees itself as a great factory where the live talks and workshops will provide both Talents and public audiences the pleasure of working together.
According to Berlinale Talents heads Christine Tröstrum and Florian Weghorn, “It is above all the Talents and the work of many trailblazers that has kept Berlinale Talents going for 20 years: their hunger for the unseen, for other forms of creative communities, for a new art of collaboration is an inspiration to all.
We therefore anticipate an anniversary edition that, from its home-base in Berlin, will produce much food-for-thought again: emerging filmmakers stick together and bravely look ahead to what is on the horizon – against all odds.”
Talents from Across the World
Many Talents are already successfully part of the film industry, such as German director Melanie Waelde, whose debut feature film “Naked Animals” premiered at the Berlinale, or like cross-over artist Paix Robinson, whose creations move between fashion, art, advertising, and film.
Actor Marissa Anita enjoys a career as a presenter in Indonesia while Hussina Raja, a multidisciplinary artist in film, photography, installations, and performance, chiefly addresses matters of national identity and women’s rights.
Iranian documentary filmmaker Mina Keshavarz, whose film “Silent Scream” is worthy of our attention, will participate alongside Rand Abdul Nour, a Jordanian production designer and artist, and an outspoken advocate against gender-based violence in the Arab World, are also part of this year’s multifaceted and ever-talented cohort.
The emerging Talents also give proof of their courage in their search for their own identity and responsibility as storytellers, as social sustainability in contemporary society and also in their own career prospects plays an important part to many of them.
Through their participation in Berlinale Talents, their collective goal is to conquer more space for artistic freedom or to place their works on the market with innovative concepts and as the already well-established producers, distributors or curators they are.
Prantik Narayan Basu is a director and screenwriter. He is interesting in drama, documentary, art and experimental. His meditative documentary Bela juxtaposes the Chhau art form with life in a Bengal village. “I make films from a desire to share something beautiful, things that can’t just be photographed or put into words,” he says.
Yashaswini is a director and sound designer. Her film That Cloud Never Left was widely acclaimed. She is interested in collaborative working, hybrid formats, low budget, documentary, art and experimental.
Payal Sethi is a director and screenwriter. She has made an intense film titled Leeches. She is interested in collaborative working, low budget, women environment, short film and thriller.
Kalieaswari Srinivasan is an actor. She is known for films such as Dheepan, The Patience Stone, The Prisoner and Sivaranjiniyum Innum Sila Pengalum. She is interested in collaborative working, web series, drama series, indigenous cinema, art and experimental.
Chhatrapal Ninawe is a director and screenwriter. He is popular for Ghaath Pitch, which is about an undercover left wing ultra who tracks down a police officer responsible for death of his brother. He is interested in drama, thriller, indigenous cinema, human rights and politics.
Pooja Chauhan is a producer. She is interested in drama, animation, historical drama, hybrid formats, new distribution models, VOD, virtual reality, women empowerment, politics, cross/trans media etc.
Ameya Gupta is an editor. She has worked on multiple projects including Dubai Tourism Expo. She is interested in documentary, dance, rom-com, short film, road movie, children/youth, musical, drama series, women empowerment, web series etc.
Dhulo Bali Katha (Drama)
Looking for Global sales, Buyers, Film Festivals
Producer: Jayshree Production
Director: Biplab Bandyopadhyay
Writer: Rabishankar Bal
Email : firstname.lastname@example.org
Sales Contact : +919330229694
Rajaditya belongs to that class of people who have a deep-rooted ancestral legacy in North Kolkata. He resides at one end of an edifice which was probably built by his grandfather. His only sibling, Joga is mentally unsound and has taken refuge at a street footpath. Thus, the rooms, the staircase and the memories are the only companions of Rajadiya. He builds a museum in his ground floor, inspired from the The Museum of Broken Relationships in Zagreb, Croatia. He names it The Museum of Relationships. With time, the museum gets covered with various items ranging from Partition, citizenship, murder and love. Rajaditya’s uncle sometimes tries to persuade him to sell off his share and move into an apartment. Will Rajaditya surrender his dreams to the wisher of his uncle? Or submit to death?
Looking for Global sales, Buyers, Film Festivals
Producer: Yuvraj Kumar
Director & Writer: Vedanti Dani
Sales Contact: +91 7506907164
Inkblot is a story of Serbian writer Sara who takes up a job of writing a thriller, to save her drowning career and travels to a haunted cottage for inspiration. After rejecting the horror story prevailed in the house initially, she starts finding the traces of the myth.
Jallikattu – Festival of the Untameable Spirit. (Documentary)
Looking for Global sales, Buyers, Film Festivals
Producer: Navin Daswani (Super Audio Madras Pvt Ltd)
Director: Gopinath Krishnamoorthy
Writer: Mridula Joseph
Music Director: R.K. Sundar
Sales Contact: +91 9080113754
Jallikattu is a popular bull taming sport that takes place in Madurai, Tamil Nadu during the festival of Pongal. A centuries old practice, it dates back to the Sangam era when it was known as ‘Eru thazuval’ or embracing the bull. The term Jallikattu comes from the Tamil phrase ‘salli kaasu’ which means coins and kattu which means a package that is tied to the bulls horns as prize money. There are variations in the sport but the crux of it requires fighters to pounce on a running bull and try and hold onto its hump for a specific period of time or distance without falling off or getting hurt. The bull will try everything in its power to disengage the rider, shaking them off, stamping them, rearing up and at times even goring fallen participants. It takes one who is fleet footed with quick reflexes and has boundless courage to attempt this sport. Exemplified as a sign of bravery, this historic sport has breathed new life into the survival of the rare breed of Pulikulam bulls and is world over regarded as one of the most dangerous, thrilling and adrenaline pumping festivals ever. Watch as brave fighters come forward to take their chances while taming the beast. Join them as they celebrate the festival of the untameable spirit.