Eleven of the projects are debut features.
European development programme Less Is More (Lim) has selected 16 feature film projects for its 2022 scheme, plus the 12 ‘development angels’ who will follow the development of the projects, and four tutors who will provide guidance to the selected teams.
Among the titles are Bethan, the debut feature of UK writer-director Zillah Bowes; and Deborah Viegas’ Brazilian-Portuguese debut feature Young Woman Seen From Behind.
Scroll down for the full list of projects, filmmakers and development angels
Eleven of the 16 films are from debut filmmakers, with four from second-time directors and one – Christian Volckman’s Herself – from a third-time filmmaker.
European development programme Less Is More (Lim) has selected 16 feature film projects for its 2022 scheme, plus the 12 ‘development angels’ who will follow the development of the projects, and four tutors who will provide guidance to the selected teams.
Among the titles are Bethan, the debut feature of UK writer-director Zillah Bowes; and Deborah Viegas’ Brazilian-Portuguese debut feature Young Woman Seen From Behind.
Scroll down for the full list of projects, filmmakers and development angels
Eleven of the 16 films are from debut filmmakers, with four from second-time directors and one – Christian Volckman’s Herself – from a third-time filmmaker.
- 3/1/2022
- by Ben Dalton
- ScreenDaily
A gala open-air screening of Stephen Frears’ Philomena will tonight (May 30) launch the Transilvania International Film Festival (Tiff) which is expanding its industry dimension for its 13th edition.
This weekend will see the festival focusing its attention on the ¨Save The Big Screen¨ campaign, launched under the auspices of Romania Film Promotion, which aims to halt the disappearance of cinemas outside of the main centres of population and create a network of digital cinemas throughout the country.
A conference will be held on May 31 bringing together officials from the Ministry of Culture, local authorities, Romania Film, cinema managers, film-makers and foreign guests such as Marta Materska-Samek, from Poland’s Cinema Development Foundation Bard, Ivo Andrle of Czech exhibitor Aero Films, and Tina Hajon, Head of Exhibition at the Croatian Audiovisual Centre.
Debate will centre, for example, on the foreign guests’ experiences of accessing European funds for cinema renovation and digitisation programmes, as well as...
This weekend will see the festival focusing its attention on the ¨Save The Big Screen¨ campaign, launched under the auspices of Romania Film Promotion, which aims to halt the disappearance of cinemas outside of the main centres of population and create a network of digital cinemas throughout the country.
A conference will be held on May 31 bringing together officials from the Ministry of Culture, local authorities, Romania Film, cinema managers, film-makers and foreign guests such as Marta Materska-Samek, from Poland’s Cinema Development Foundation Bard, Ivo Andrle of Czech exhibitor Aero Films, and Tina Hajon, Head of Exhibition at the Croatian Audiovisual Centre.
Debate will centre, for example, on the foreign guests’ experiences of accessing European funds for cinema renovation and digitisation programmes, as well as...
- 5/30/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
In Cannes, the eighth annial Krzysztof Kieslowski ScripTeast award has gone to Merican Chick.
Evita Naušová and Viktor Tauš from the Czech Republic get the prize along with €10,000 ($14,000) to further develop their project. The award recognises a script from Eastern and Central Europe.
The script is about a defiant circus girl in the 1980s who is kidnapped from the Us and taken back to communist Czechoslovakia.
A special mention was given to Life Beats Reality by Andreea Valean (Romania), a “unique 21st century family portrait”.
The selection was made by the Advisory Board members, comprising Sandy Lieberson, Manfred Schmidt, Simon Perry, Antonio Saura, Dariusz Jablonski, and heads of studies Tom Abrams and Christian Routh.
Past Kieslowski award winners that have already been produced include The House by Zuzana Liova and Womb by Benedek Fliegauf.
Evita Naušová and Viktor Tauš from the Czech Republic get the prize along with €10,000 ($14,000) to further develop their project. The award recognises a script from Eastern and Central Europe.
The script is about a defiant circus girl in the 1980s who is kidnapped from the Us and taken back to communist Czechoslovakia.
A special mention was given to Life Beats Reality by Andreea Valean (Romania), a “unique 21st century family portrait”.
The selection was made by the Advisory Board members, comprising Sandy Lieberson, Manfred Schmidt, Simon Perry, Antonio Saura, Dariusz Jablonski, and heads of studies Tom Abrams and Christian Routh.
Past Kieslowski award winners that have already been produced include The House by Zuzana Liova and Womb by Benedek Fliegauf.
- 5/23/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
★★★☆☆ Romanian director Florin Serban's If I Want To Whistle, I Whistle (2010), based on the play of the same name by Andreea Valean, tells the story of Silviu (George Pistereanu), a young offender coming to the end of his four-year prison sentence. Silviu's younger brother, whom he has raised in the absence of their mother, informs him that their mother has returned and wants to take him to Italy. Distraught at the idea of losing his sibling, Silviu attempts to find a way to keep him in the country until his release.
Read more »...
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- 8/21/2012
- by CineVue UK
- CineVue
Strada Film/Les Films Pelleas
PALM SPRINGS -- Romania's Academy Award submission, "The Way I Spent the End of the World," is a child's-eye-view memory piece about the last months of Nicolae Ceausescu's regime. Full of warmth but ultimately suffering from a surfeit of incident, the debut feature by Catalin Mitulescu is one of three films on this year's Palm Springs festival schedule by young Romanian directors addressing the 1989 uprising.
At the center of the tale is Eva (Doroteea Petre), a beautiful and spirited 17-year-old whose boyfriend, Alex (Ionut Becheru), is the son of a cop. Sneaking out of class for a bit of canoodling, they end up on the wrong side of the Communist Youth Union after his boyish show of bravado leaves a bust of Ceausescu in shards. Alex, predictably, is remorseful and cooperative with authorities, but Eva's recalcitrance gets her transferred to a less prestigious -- and less dogmatic -- school. In the most telling story strand, Eva's parents urge her to reconcile with Alex, whose Party-member father can be of more than a little help. But at the surprisingly nurturing reformatory, the defiant girl befriends oddball Andrei Cristian Vararu), whose unseen father is a dissident, and together they hatch a plan to swim across the Danube to freedom.
Eva's adoring 7-year-old brother, Lalalilu (Timotei Duma), has his own dreams of travel by water, but they involve a submarine and paying passengers. A couple of sequences of the boy's escape fantasies play nicely against the earthy small-town milieu. Mitulescu, whose boosters include Martin Scorsese and Wim Wenders, has a strong feel for the community's traditions and the often messy relationships within families and among neighbors. He draws affecting performances from his cast, especially the two young leads. But he also betrays a first-film tendency to clutter the narrative with episodes. The screenplay, which he wrote with Andreea Valean, drifts in and out of focus, muting the impact of this otherwise engaging film.
PALM SPRINGS -- Romania's Academy Award submission, "The Way I Spent the End of the World," is a child's-eye-view memory piece about the last months of Nicolae Ceausescu's regime. Full of warmth but ultimately suffering from a surfeit of incident, the debut feature by Catalin Mitulescu is one of three films on this year's Palm Springs festival schedule by young Romanian directors addressing the 1989 uprising.
At the center of the tale is Eva (Doroteea Petre), a beautiful and spirited 17-year-old whose boyfriend, Alex (Ionut Becheru), is the son of a cop. Sneaking out of class for a bit of canoodling, they end up on the wrong side of the Communist Youth Union after his boyish show of bravado leaves a bust of Ceausescu in shards. Alex, predictably, is remorseful and cooperative with authorities, but Eva's recalcitrance gets her transferred to a less prestigious -- and less dogmatic -- school. In the most telling story strand, Eva's parents urge her to reconcile with Alex, whose Party-member father can be of more than a little help. But at the surprisingly nurturing reformatory, the defiant girl befriends oddball Andrei Cristian Vararu), whose unseen father is a dissident, and together they hatch a plan to swim across the Danube to freedom.
Eva's adoring 7-year-old brother, Lalalilu (Timotei Duma), has his own dreams of travel by water, but they involve a submarine and paying passengers. A couple of sequences of the boy's escape fantasies play nicely against the earthy small-town milieu. Mitulescu, whose boosters include Martin Scorsese and Wim Wenders, has a strong feel for the community's traditions and the often messy relationships within families and among neighbors. He draws affecting performances from his cast, especially the two young leads. But he also betrays a first-film tendency to clutter the narrative with episodes. The screenplay, which he wrote with Andreea Valean, drifts in and out of focus, muting the impact of this otherwise engaging film.
- 1/15/2007
- The Hollywood Reporter - Movie News
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