French Serbian coproduction workshop

Transcription

1 French Serbian coproduction workshop Paris 7-8 December 2017

2 Selected projects Desire Lines Guardians of the Formula Heart of Darkness Heavens Above Labour Day Mara

3 p.1 Desire Lines Dane Komljen p.5 Guardians of the Formula Dragan Bjelogrlic p.8 Heart of Darkness Stevan Filipovic p.13 Heavens Above Srdjan Dragojevic p.15 Labour Day Mladen Djordjevic p.18 Mara Mirjana Karanovic

4 Natasa Damnjanovic & Dane Komljen Desire Lines Genre Feature, Drama Budget (euros) Already acquired Name of director Dane Komljen Vimeo links PW: alightthatneverstops Name of producers / co-producers Natasa Damnjanovic, Vladimir Vidic Script Dane Komljen Languages spoken in the film Serbian, Bosnian Shooting location Serbia, Bosnia Name of participants Dane Komljen, Natasa Damnjanovic, Vladimir Vidic Languages spoken by participants Serbian, English Project s state of progress Early development Contact (participants) Natasa Damnjanovic: natasa@dartfilm.com Dane Komljen: danekomljen@gmail.com Vladimir Vidic: vladimir@dartfilm.com Writer s note Desire Lines is a film about walking. With it I would like to convey an experience of movement, shape shifting and transformation. Desire Lines is a film decidedly always on the run, a film of unending tension and suspension, quest and questioning, wandering and desire. Desire Lines talks of love. The one existing in spite of things falling apart, the one with no direction and no intention. Desire Lines is a film about walking and it is also a film as a walk, starting at one place and ending somewhere else. Like with any walk, we make our way from point A to point B. Point A is a thriller, focused on a single character, Branko, who obsessively follows another character, his brother, who always seems just out of sight. Taking inspiration from great portraits of those in pursuit of someone and the obsessions they feel, from Alfred Hitchcock s Vertigo to Chantal Akerman s La Captive, I would like to place a red herring at the beginning of the story. The longer Branko follows his brother, the more he becomes preoccupied with himself or, more precisely, his lack of a self. The more desperately he tries to solve the mystery of his brother s behaviour, the more confused he becomes about his own nature. After repeatedly experiencing situations where he has no contact with other living things, situations where he should have been noticed but is ignored, Branko is forced to admit to himself he s not actually there, that he s someone unnecessary, an accident, a surplus, without any value of his own. Branko understands that he is a ghost. French Serbian coproduction workshop 1

5 Once that feeling is there, there s no way back. The mood of suspense recedes and is replaced by a growing doubt about what we re actually seeing. Branko decides to continue walking and the film follows him, now slowly reaching point B. The film gradually becomes a composite work, relentlessly shifting between different cinematic practices - a landscape study, an essay on transience and fluidity, an utopian fiction. The setting will be the first thing to change. As Branko moves further away from the city, wandering aimlessly, walking only for the sake of walking, he will find himself in a Bosnian mountain region, a sad and beautiful land that still carries traces of war which raged at the end of the previous century and the communist revolution that took place there even further back. He discovers a different world and meets a group of ghosts who dwell in a yellow house on the edge of a forest perched on a mountain. They form a community that embraces all and acknowledge Branko as their equal. I was born in Yugoslavia in 1986, the country that at some point ceased to exist. After the wars ended, there was a strong feeling that people would find the strength to understand each other and live in peace again. Yet as the years passed, all the newly created nation states became ever more bigoted and parochial. The opportunity to free ourselves from mutual animosity was lost. The worlds were becoming smaller. There was no talk of love. How do you love after war? How do you manage to embrace someone and let yourself be embraced? When linked to this idea of lost togetherness, the idea of a ghost takes on a dual meaning. There is something inherently cinematic about ghosts, appearing as they do in films by such wildly varying directors as Jacques Tourneur, John Carpenter, Christian Petzold, Apichatpong Weerasethakul and M. Night Shyamalan. They open up a space for imagination and bring with them both certain conventions and certain freedoms. I see ghosts as an invitation to reverie. They contain boundless possibility, they are vessels of something intangible, the other, unknown, enigmatic and at a remove. Ghosts always represent what is invisible, hidden, forgotten, excluded from our society, from collective and personal memory. They appear in order that their stories can be told. This film is not about telling just one story. It is not about turning Branko and a group he chooses to belong to in an image of only one kind of difference, of only one type of exclusion, of only one injustice. It is not about giving a response in which a lonely emancipation could offer a counterweight to the general intolerance. In fact, out of Branko s adventures I want to make an irreducible and moving image of sharing space and time. Synopsis A white room in a white apartment. Socialistperiod public housing, clean surfaces with a few pieces of wooden furniture, bare concrete, pure functionality and a big balcony from which one could observe an immense forest of similar buildings that constitute Belgrade. In this two-rooms apartment lives Branko, a persistent and virile man of 27. He goes running while the city streets are still cold from the night. He reads relentlessly, always with a book in his hands. He only eats raw fruit and vegetables. It seems he s someone for whom constant loneliness is not a problem. Branko s brother is behaving strangely recently. He arrives home late at night, his shoes caked with mud, his bed sheets sprinkled with blood. Branko wants to find out what is exactly happening. Even though they share the same room, the two men do not speak to each other. Branko only talks to his father, a military officer, seemingly always away on a mission. Even these conversations are conducted just by leaving phone messages. There is no sign of his mother. Branko starts obsessively following his brother as he travels by bus and tram, goes to public toilets and wanders among city trees, crisscrossing both the paved paths and desire lines that run between the highcrise buildings and large parks. Branko leaves phone messages for his absent father confessing about what he was able to find out about his brother, about his lack of certainty and increasing unease. As the film follows Branko following his brother, it becomes clearer and clearer that Branko is the one who behaves strangely. It becomes clear that Branko is trying to solve the equation of his brother s sudden nocturnal walks, so he would not have to deal with himself. French Serbian coproduction workshop 2

6 Once in his father s room, he finds a box with night vision glasses, an old notebook, with drawings and photographs. Pictures of a life that is unknown to him, naked bodies in a meadow, lit by moonlight and camera s flash, masks on their faces. Branko is left without the last certainty he had, certainty that his father is known to him. The more he walks through the city, Branko begins to feel that he s the one who s a stranger, an invisible being, an uncertain body, a shadow of a shadow. As Branko can t make the unbearable riddle of his brother s body any clearer and the city doesn t offer any answers, he decides to search out for them somewhere else. He walks through suburbs and across highways, through overgrown parking lots, unkempt fields and abandoned villages and finally reaches what he believes to be his father s military base. One soldier lights a cigarette for the other soldier leaning onto the entry ramp. Branko approaches two uniformed soldiers, but the two men do not notice him. Branko walks into the base without anyone checking his documents. His father is nowhere to be found. He makes one last phone call and utters the words: Perhaps, my father, I m not a man like you. Perhaps I am a ghost. What s one to do after grasping a thing like that? Branko, as if in a moving stupor, repeats the one and the same movement, his own constant. He walks unrelentingly, step by step, further and further away, he walks over hills and mountains, through ramps, walls and borders. Branko continues to do what he s been doing the whole time. It is not clear whether this is his way to suppress the knowledge that he s not a human being or a way of accepting the same. Finding himself deep in the woods, Branko collapses. After having a lunch underneath the big tree in the back garden, two women and one man take a stroll through the forest. They discover Branko crushed, on his knees, paralyzed, but conscious, eyes wide open. They carry his body into the yellow house where the three of them live. Adisa, David and Hana take care of Branko, feed him, wash his body and lead him into a conversation. For the first time, Branko starts talking to others, face to face. Branko recovers and finds himself a part of the new community. Adisa, David and Hana confess their own ghostly nature. The three of them assist Branko in getting to know the territory that surrounds the yellow house that they occupy. They walk and they observe. They witness the seasons passing. A notion of time has shifted. Way of seeing has shifted too. Branko now follows and observes a multitude of bodies, a multitude of humans, animals, plants and minerals, remaining open to all their stories and gestures, almost like an invisible camera. Branko inscribes his own path onto the landscape. That path is Desire Lines, a film about how one finds his own way out, how one becomes free. Purpose of participation to the workshop Finding potenential co-producers, as well as sales agents that carry edgier art-house films. We would also appreciate the opportunity to present the project to the funding bodies we may eventually be applying to. Producers biography and filmography Born in 1981 in Belgrade, Natasa Damnjanovic participated in the 2008 Sarajevo Talent Campus, 2011 Berlinale Talent Campus, was nominated for the 2010 Robert Bosch Stiftung Co-production Prize, in2012 she participated as a script editor trainee to the TorinoFilm Lab, as well as in 2013 EAVE Producer s Workshop. Since 2006, together with Vladimir Vidic, she runs Dart film, a production company based in Belgrade. She produced two feature films and several shorts. As for the filmography, see the production company s filmography below. Production company s filmography Dart film was founded in 2006 by two young film professionals, barely out of film school at that time. Since then it has managed to find its place in the expanding field of Serbian film and television industry, creating shorts, features and documentaries, as well as collaborating on numerous high-end TV productions and producing a vast number of corporate and promotional videos for private companies and public institutions. Currently, we are focused on working with emerging talented filmmakers of the younger generation and our productions have so far repeatedly screened at some of the most signi- French Serbian coproduction workshop 3

7 ficant festivals, such as Berlinale, Rotterdam, Locarno etc, with one of the shorts lately being nominated for the European Film Awards. Development Against the Day feature (d: Katarina Stankovic), position: producer (developed through Cinefondation and Torino FilmLab, supported by Hubert Bals Fund) The Heroes were Dancing feature film (d: Nikola Ljuca), position: producer Desire Lines feature film (d: Dane Komljen), position: producer 2016 All the Cities of the North feature (d: Dane Komljen), position: producer/editor (World premiere: Locarno 2016, section Signs of Life, Sarajevo FF, New York FF, IFF Rotterdam, Valdivia IFF, Mar del Plata, FICUNAM, Jeonju etc.) 2016 Humidity feature (d: Nikola Ljuca), position: producer and editor (premiere: Berlinale Forum 2016, FEST 2016 Best Film, Best Director, Best Male Actor, Nebojsa Djukelic jury special mention, Valencia Int FF Cinema Jove Jury Special Mention, Five Lakes Film Festival - Best Script, Vilnius Int FF, Sarajevo Film Festival) 2016 Four Corners of a Circle short (d: Katarina Stankovic), position: co-producer (Berlinale 2016, Locarno Int. FF, Guanajuato FF) 2015 All Still Orbit short (d: Dane Komljen, James Lattimer), position: co-producer (Int. FF Rotterdam 2016) 2015 Our Body short (d: Dane Komljen), position: producer (Int. FF Rotterdam 2015, FID Marseille, nominated for 2015 European Film Awards) Director s biography and filmography Dane Komljen, born in 1986 in SFR Yugoslavia, studied film directing at the Faculty of Dramatic Arts, Serbia and contemporary art at Le Fresnoy, France. His short films have been shown and awarded at the Festival de Cannes, Locarno Film Festival, IFF Rotterdam, FID Marseille, Sarajevo FF and the Lincoln Center in New York. All the Cities of the North, his first feature, premiered last year at Locarno Film Festival. All the Cities of the North, 100 (2017) All Still Orbit, 23 (2016) Our Body, 15 (2015) A Surplus of Wind, 25 (2014) Tiny Bird, 30 (2013) Bodily Function, 40 (2012) I Already am Everything I Want to Have, 35 (2010) French Serbian coproduction workshop 4

8 Miroslav Mogorovic & Dragan Bjelogrlic Guardians of the Formula Genre Biography Drama Budget (euros) Already acquired Name of director Dragan Bjelogrlic Name of producers / co-producers Miroslav Mogorovic, Dragan Bjelogrlic Script Vuk Ršumovic Languages spoken in the film French, Serbian Shooting location France, Serbia Name of participants Miroslav Mogorovic, Dragan Bjelogrlic Languages spoken by participants English Project s state of progress Financing Contact (participants) Miroslav Mogorovic Writer s note Guardians of the Formula is a movie about human ambition and humankindness. I will direct it as a psychological drama with the elements of a thriller. This is where my main and hardest task is. I would like to have the psychological drama as the dominant one, with the human story filled with emotions. I would also try to incorporate the thriller aspects as the integral part of the drama. As an exemplary film, I would mention The Life of Others by the German director Florian Henckel. The real truth about the accident that occurred in 1958 at the Nuclear Institute Vinca in Serbia, when five young researchers got irradiated by the lethal dose of uranium, and was never published. The reason being that the scientists were working on experiments that were part of a secret project called The atomic bomb that was operated by Tito s Communist secret police. To this day, an unusual vow of silence of all the participants is still in place. This chain of events made that the unprecedented act of kindness of five French men, who risked their own lives in order to save five young strangers from a different country, is almost completely unknown. The first revolutionary bone marrow transplantation was performed by Doctor George Mathé who saved four Yugoslavian scientists, and the fact that this is not known to the public is shocking. This inspired me to start a long and extensive research about the event and uncover a French Serbian coproduction workshop 5

9 life story where good defeated evil. I found the way to tell the story of the clash between the human ambition and the basic human kindness. No matter how much the ambition drives and changes the world, kindness is something that makes it thrive. This is the inspiration behind the story, and I would like to tell it through the movie. I would like to keep the feeling of claustrophobia, but it has to come out of the background, so that it doesn`t kill the drama and the story line. When working with actors, the accent will be put on reduced acting, having that there are a lot of powerful and emotional scenes. I will insist on repressing emotions, so that they can explode in key moments. The colors and design will have a gentle romantic feel of the epoch. The romance would not state that it was better once, but that it was tamer and simpler. The communist Belgrade will not be grey and dull in comparison to the magnificent West, but nevertheless, the difference will be evident. Synopsis In 1958, in a time of global fear of atomic bombs, French Doctor Georges Mathé receives a scholarship to find a cure for radiation illness. Behind the Iron Curtain in Yugoslavia, physicist Dragoslav Popovic (35) is working on a secret government project - the atomic bomb. Mathé s tests with bone marrow do not go according to the plan, and Popovic is close to the goal. But in one of the final experiments, Popovic gets irradiated with the lethal dose of uranium together with his team of scientists. The chief of the Yugoslav secret service Rankovic, decides to make a risky move and sends these scientists to Curie Experimental clinic in Paris. Popovic carries the project of atomic bomb to France with the idea to complete it there. Mathé proposes a radical idea, to do a bone marrow transplantation in humans, for the first time in the history of medicine, risking the lethal outcome both for the patients and the donors. But Mathé manages to find donors. Few days after the first transplantation, one of patients dies. Yugoslav authorities prohibits further transplantations. Mathé decides on his own to continue. Although he knows that Popovic is working on the atomic bomb, Mathé is determined to save him. After the transplantation, Popovic is fighting for his life. One morning he wakes up and writes the final formula of the atomic bomb. Donors and the receivers are recovering. They meet. Popovic is shocked to learn that someone was willing to sacrifice his own life to try to help him. Faced with the dilemma, Popovic meets with Mathé. Popovic and the scientists are returning to Yugoslavia. Popovic informs Rankovic he had not come up with a solution formula of the atomic bomb. Rankovic arrests him and close the atomic bomb project. In 1999, NATO is bombing Serbia. Mathé comes to Belgrade to operate Popovic. Before the operation, Mathé gives him back a certain folder, one that he received from Popovic back in Popovic takes it and destroys. The movie story originated on a true story. Purpose of participation to the workshop To find French distributor, sales agent and possible French coproducer. Producers biography and filmography Dragan Bjelogrlic (Producer) & COBRA FILM filmography: Feature film LEPA SELA LEPO GORE, the most viewed film of the year, worldwide distribution rights sold to CANAL +, has been shown in 40 countries and won 9 GRAND PRIX awards at international film festivals and all local film awards Feature film RANE, the most viewed film of the year, stirred up controversy among film critics and journalist as well as politicians and viewers, worldwide distribution rights sold to CANAL+, shown in more than 30 countries, won 2 GRAND PRIX awards at international film festivals and all the local film awards ( viewers) Feature film IVKOVA SLAVA, directed by Zdravko Šotra - most viewed film of the year, viewers Television series VRATICE SE RODE, directed by Goran Gajic - Premiered on TV B92 in Serbia. This television series was broadcasted, and is still broadcasted in all the French Serbian coproduction workshop 6

10 former Yugoslavian countries. It will also be broadcasted in Greece and Bulgaria episodes (executive production) of the television series POZORIŠTE U KUcI, directed by Goran Gajic, Miroslav Lekic, Balša Đogo, Ivan Živkovic television film RODE U MAGLI directed by Goran Gajic. Cast: Dragan Bjelogrlic, Srdan Todorovic, Nikola Đuricko, Branimir Brstina television series SENKE BALKA- NA, directed by Dragan Bjelogrlic - Serbian- Macedonian-Russian co-production London (2011); 13 International Film Festival Mumbai, India (2011); 35 International Film Festival Sao Paolo, Brazil (2011); 26 International Film Festival Fort Lauderdale, Florida (2011); 33 International Festival of New Latin American Cinema, Havana, Cuba (2011); 23 International Film Festival Palm Springs, CA, USA (2012) 2014 Montevideo, vidimo se! - most viewed film of the year, more than spectators television series SENKE BALKANA - Serbian-Macedonian-Russian co-production Production company s filmography Ton Film is a Production Company established in Belgrade in 2010, and until recently was orientated towards support to one of the most successful Serbian production companies, Cobra Film. Dragan Bjelogrlic is the founder of both companies: his films were successful on ex-yu market, with more than 2 million spectators for 5 films ( ). Two films that he directed collected more than 1 million spectators in last 4 years. Ton Film intends to seriously step out to the international market, presenting the projects with potential for the international audience. Therefore, Dragan Bjelogrlic has agreed with Miroslav Mogorovic, one of the most internationally established regional independent producers, to work together in Ton Film on the new film projects with wide distribution potential. Our plan is to be actively present internationally in order to establish close cooperation with international producers and distributors. Ton Film is the main producer of the film and responsible for its realization. The company owns the majority of rights and will obtain all the rights necessary to make and exploit the film. Director s biography and filmography MONTEVIDEO BOG TE VIDEO - Film and television series FESTIVALS: 13 Television Series Festival, La Rochelle, France (2011); 20 Raindance Film Festival, French Serbian coproduction workshop 7

11 Stefan Mladenovic & Stevan Filipovic Heart of Darkness Genre Drama Budget (euros) Already acquired (euros) Name of director Stevan Filipovic Vimeo links to view previous films/works Shaitan s Warrior https ://vimeo.com/ (PW: zulfikar) Skinning (2010, director and co-writer) https ://vimeo.com/ (PW: shishkebab) Next to me (2016, director and co-writter) https ://vimeo.com/ (PW: breakfastclubbing) Languages spoken in the film Serbian, French, English Shooting location Serbia, Belgium, France Name of participants Miroslav Mogorovic, Producer Stevan Filipovic, Director and scriptwriter Stefan Mladenovic, Line Producer Languages spoken by participants English Project s state of progress Final stage of development Funding, Serbian and international Contact (participants) Miroslav Mogorovic: mogorovic@artandpopcorn.com Stefan Mladenovic: stefan.mladenovic@artandpopcorn.com Stevan Filipovic: stevafil@gmail.com Writer s note The film is inspired by Joseph Conrad s novel Heart of Darkness. Just as the novel addresses the topic of colonialism and relations between the civilizers and the savages, the film Heart of Darkness (through a story about an job given to Noah, a young up-and-coming manager of a fictional European construction company, Nordstrom, as well as his relationship with a local young man, Lazar) is a study of the balance of power in corporate capitalism, as well as contemplation on the parallels that can (or cannot) be drawn between former colonialism and present-day neoliberal capitalism. The first time that I came up with the idea to write this film was after watching YouTube clips posted by a young man with the username Mustang Wanted, from Ukraine. He is an urban climber, which means that he spends his free time climbing the roofs of tall buildings, bridges and construction cranes, without any safety gear, and he records his exploits with a GoPro camera. I found it interesting that a huge majority of people involved in urban climbing are originally from the former Eastern Bloc, now in the process of transition. They mainly claim that they started climbing building because of the feeling that they had nothing to lose. It was my idea that the protagonist of the film, Noah, who is French, should also be involved in urban climbing, but controlled, at the level of what is considered a regular extreme sport in the West. Noah climbs for the adrenaline, the desire to feel something, to shatter the numbness that the routine of his work inflicts French Serbian coproduction workshop 8

12 upon him, but with all the precautions, always using a safety line, and he regularly uploads his achievements to YouTube, as a trophy. On the other hand, Lazar is much more similar to his colleagues from Ukraine or Russia he starts climbing buildings because of that sense that there is no tomorrow, which is so familiar to people in the Balkans, and if that s already the case we can be crazy and risk our lives. What connects them is the all-powerful hand of corporate capitalism, which is present in countries like Serbia in its wild, highly merciless phase. The position that Noah suddenly finds himself in the role of Nordstrom manager in charge of making the decision to demolish the building where Lazar lives puts him in a situation where he has to choose between emotions and a rational approach. Noah is someone who had previously never questioned the broader context, what Nordstrom is actually, how it specifically does business in Eastern Europe and how it differs from what it does in Belgium/Western Europe, how it affects the lives of specific people in Serbia. In the beginning he sincerely perceives the company as something positive, a force of emancipation. The parallel with colonialism had never occurred to him; he thinks it s ridiculous, infantile and offensive. It is only through the emotional reactions in his relationship with Lazar that he starts to realize that he took his position to be superior by default, and that he often behaved like the civilizer towards the savage. Noah is bored, he desires for something to happen, he feels that the life that he lives is not real. He feels excitement in his contact with Lazar; real life begins. He feels enthusiasm, which turns into fear when he realizes that Lazar s tightrope walk is no game, not an extreme sport, but that Lazar is actually gambling with his life on an almost daily basis. He becomes distraught; he doesn t know how to deal with that fact, and he being to feel afraid and starts to retreat. Through Lazar we see the attitude people in Serbia have towards foreigners, which ranges from excessive inferiority and patronizing in certain situations, to (again excessive and unfounded) disdain, which often turns into aggression, when they feel threatened. There is no consideration of the future; life exists from one day to the next. From the original fascination with Noah s directness and communicativeness, Lazar starts to be annoyed the ease with which Noah got in life represents everything that Lazar doesn t have. Lazar starts to feel a great inequality with how the cards have been dealt. Why the gay story? In addition to the desire to continue (in a different genre) Lazar s life story (he was one of the protagonists of my previous film, Next to Me, 2015), the relationship between Noah and Lazar is established as a direct parallel to relationships in capitalism viewed from aside they are both equal, but as soon as we scratch the surface we see that not much remains of that equality. Also, it is an opportunity to see Serbia in the mirror. Lazar is someone who is formally in conflict with his surroundings, and then again he is a product of that same environment, which is what is interesting. Noah lives in a country where civil liberties have been achieved, but then again he still has the need to stay hidden. Through their thoughts and actions we see how sexuality influenced the development of the two men in the environments where they grew up, however, Heart of Darkness takes the sexuality of the protagonists as a given, therefore this is not a queer film in the narrow sense. Synopsis A film inspired by Joseph Conrad s novel Heart of Darkness. The protagonist of the film is Noah, a young up-and-coming manager at a fictional pan- European construction corporation. Having laid off an entire sector that was losing money, he is promoted by the management in Brussels HQ, and given a task to take over running offices in Belgrade, and finish a huge construction project there a new residential and commercial complex. In Belgrade, Noah learns that his predecessor Xavier did not leave the company for family reasons (as the management said), but that he had disappeared. Furthermore, all the work on the construction project had been suspended by the local govenrment s recently assassinated Minister, and her deputy is now giving ambiguous responses regarding when the work might continue, because, allegedly, the demolition of the old residential buildings in the space planned for the complex is in a legal gray area. French Serbian coproduction workshop 9

13 That evening, through a dating app, Noah meets Lazar, a young man with whom he starts a romantic and sexual relationship. After visiting the construction site, despite protests of the citizens against the Company and the vagueness of the minister s deputy, Noah decides on his own to continue demolition of the old buildings. Noah shows Lazar his hobby, urban climbing climbing extremely tall buildings. Lazar is ecstatic; he invites him to his apartment. Noah realizes that Lazar lives in one of the buildings scheduled for demolition. Noah decides to hide the fact that he is Company s executive, and while he spends his days revealing the mystery of Xavier s disappearance, at night he goes out with Lazar, entering the exciting world of the alternative and hidden Belgrade. Soon Noah will be forced to choose between the emotional and the rational, between the role of corporate manager and the emotional awakening that he experienced with Lazar. Both their relationship and the search for Xavier will drag Noah into the Heart of Darkness. Purpose of participation to the workshop Our goal on this market is to explore, in direct contact how this film works, on international level. Since we are in development and funding it would be useful and interesting to get feedback for the script, especially because it is an international film, with main cast from France. Producers biography and filmography Producer and Owner of Art & Popcorn Motion Picture Company. Born in 1972 in Zemun, Serbia. He started working as a convention and festival manager in Serbian National Congress and Convention Center in Same year, he started working as Assistant Managing Director on European Film Festival Palic. After working for ten years as festival & event organizer, in spring 2004, together with the group of young film professionals, he established ART & POPCORN, and entered the production market independently. In summer 2004 he co-produced FABULOUS VERA, part of omnibus project LOST & FOUND, directed by Stefan Arsenijevic. LOST & FOUND was the opening film of Berlinale Forum Since June 2004, together with another cofounder of Art & Popcorn, Stefan Arsenijevic, he worked on developing of the film project LOVE & OTHER CRIMES. This Serbian-German-Austrian-Slovenian co production found critical and audience acclaim at its premiere in Berlinale, Panorama Special 2008, and won numerous awards on various international festivals. In 2009 Produced as executive producer film ORDINARY PEOPLE, directed by Vladimir Perisic. This French-Serbian-Swiss production had premiere in Semaine de la Critique competition at Cannes Film Festival This film was Best Serbian film on National Film Festival in Novi Sad 2009 and Best Film at Sarajevo Film Festival. He is member of EAVE (European Audiovisual Entrepreneurs graduate 2007), ACE (Ateliers du Cinema Europeen ACE IPA 1) and voting member of EFA (European Film Academy). Miroslav also hosted the 3rd EAVE Workshop session in that year in Belgrade, the first one held in a non EU country and afterwards became a member of the EAVE steering committee. Suggested by the Serbian government, he was elected for the National Counselor for Culture of the Republic of Serbia. In 2015 Miroslav Mogorovic presents his internet platform FESTIVAL BOX OFFICE, supported by Eurimages, which is supposed to collect worldwide data about festival presentation of the films. In 2016 he was as Executive Producer for the film Requiem for Mrs J, directed by Bojan Vuletic, a Serbian-Bulgarian- Macedonian- French-Russian coproduction, premiered in frames of Berlinale Panorama Production company s filmography ART&POPCORN was established in 2004 in Belgrade by a group of young filmmakers with the underpinning idea to produce good films. At the time the company was established, they could boast the following as individuals: French Serbian coproduction workshop 10

14 one feature film, ten short films, twenty-seven international film festival productions, one Berlin Golden Bear, the European Film Academy Award and an Oscar nomination. Thirteen years later the company participated as producer, co-producer or executive producer in filming over twenty films, which makes it one the most productive Serbian film companies. They participated with their films at over five hundred festivals spanning all six continents and were presented with numerous awards and recognitions. Apart from the youth, the company is also focused on cooperating with renowned directors whose worth has already been recognized and working together with foreign companies in co-productions to create new European films. Development, creative growth, meeting challenges and continuous presence at the European audiovisual scene / as well as complete dedication to the development and production of every film is ART&POPCORN s fundamental strategy. Apart from producing and shooting films, ART&POPCORN is actively engaged in putting together and organizing film festivals, with special emphasis on European Film Festival Palić. The diversity of this company s activities is also shown in the fact that the company has been managing cinema Fontana in Belgrade since The cinema is dedicated to promoting European cinematography and children s films. Since 2008, the company and Miroslav Mogorovic as producer have turned to production and executive production (production service) of European films and secured financing and principle photography for films produced from Germany, France, Russia, Belgium, Greece, The Netherlands, Slovenia, Croatia, Ukraine, Hungary etc. The positive ratio between the invested funds and production value served as a recommendation for the named films. Production: NO ONE S CHILD (2014) / feature film by Vuk Ršumovic Venice Film Festival, International Film Critics Week, Audience Award Raro Video Audience Award FIPRESCI Critics Award for Best Film, FEDEO- RA Award for the Best Script PRACTICAL GUIDE TO BELGRADE WITH SIN- GING AND CRYING (2010) / feature film by Bojan Vuletic, - Wiesbaden FF, competition, Karlovy Vary FF, east west competition LOVE AND OTHER CRIMES (2008) / feature film by Stefan Arsenijevic, 58th Berlinale, Germany Panorama Special CENSORED WITHOUT CENSORSHIP (2007) / documentary film by Dinko Tucakovic & Milan Nikodijevic THE HOURGLASS (2007) / (Peščanik) / feature film by Szabolcs Tolnai AGI AND EMMA (2007) / feature film by Milutin Petrovic Coproduction: DOVLATOV (2017) / feature film by Aleksey German Jr. (in postproduction) THE BASICS OF KILLING (2017) / feature film by Jan Cvitkovic (in postprodution) SUGAR KID (2018) / feature animated film by Igor Ivanov (in preproduction) GENERAL (2015) / feature film by Bakur Bakuradze Locarno IFF, Main Competition (Concorso internazionale) THE HIGH SUN (2015) / feature film by Dalibor Matanic Cannes Film Festival - Un Certain regard, The Jury Prize SKY ABOVE US (2015) / feature film by Marinus Groothof LOST AND FOUND (2005) / feature film by Cristian Mungiu, Jasmila Zbanić, Cornel Mundrutzo, Mait Laas, Nadejda Koseva and Stefan Arsenijevic 54th Berlinale Forum Opening film French Serbian coproduction workshop 11

15 EXECUTIVE PRODUCTION: REQUIEM FOR MRS.J (2017) / feature film by Bojan Vuletic Berlinale Panorama Special HUMIDITY (2016) / feature film by Nikola Ljuca Berlinale Forum ENCLAVE (2015) / feature film by Goran Radovanovic, Moscow IFF, Main Competition GENERAL (2015) / feature film by Bakur Bakuradze Locarno IFF, Main Competition (Concorso internazionale) WE WILL BE THE WORLD CHAMPIONS (2015) / feature film by Darko Bajic PANAMA (2015) / feature film by Pavle Vuckovic, it was directly talking about the connections of the right-wing government officials with radical hooligan groups, and opened in cinemas few days before the violent gay pride of His next film featured the first Serbian cinematic on-screen gay kiss (actor Slaven Došlo will reprise his role of Lazar in Heart of Darkness ). This was considered revolutionary, considering the extreme homophobia in Serbia. The process of making «Next to Me», where dozens of young actors refused to play gay characters, inspired Stevan to further develop some of these themes in Heart of Darkness. His role in new project Heart of Darkness is basically connected with the topics he was dealing with his entire career, but also a step forward, dealing with themes like neoliberal capitalism, neo- colonialism, and the outsider s perspective of Serbian society. Cannes Film Festival - Official Selection, Special Screening NO ONE`S CHILD (2014) / feature film by Vuk Ršumovic Venice Film Festival, International Film Critics Week, Audience Award Raro Video Audience Award, FIPRESCI Critics Award for Best Film, FEDEORA Award for the Best Script Director s biography and filmography Stevan Filipovic began his film-making career at young age of 23, when he began filming his directorial debut Šejtanov ratnik (Shaitan s Warrior), released in This film later became a cult film, and was praised as the beginning of a new wave in Serbian cinematography ( New Serbian Cinema ). This film gained attention of Sir Richard Taylor (5 times Oscar winner for Lord of the Rings, King Kong, Avatar, etc.) of WETA Workshop in New Zealand, and was screened there. Achieving both critical and cinema success, domestically and internationally, Shaitan s Warrior poised Stevan Filipovic as one of the most promising Serbian young directors. His next film was politically and socially aware drama about neo-nazi football hooligans, Šišanje (Skinning). Through a fictional story, French Serbian coproduction workshop 12

16 Biljana Prvanovic & Srdjan Dragojevic Heavens Above Genre Drama Budget (euros) Already acquired (euros) Name of director Srdjan Dragojevic Vimeo links to view previous films/works TheWounds - Pretty Village Pretty Flame - The Parade - Holidays in the Sun - PW for all videos: colakantina4 Name of producers / co-producers Biljana Prvanovic Script Srdjan Dragojevic Languages spoken in the film Serbian Shooting location Serbia Name of participants Biljana Prvanovic, Srdjan Dragojevic Project s state of progress Pre-production Contact (participants) Biljana Prvanovic , biljana.prvanovic@gmail.com - brkic.mila@gmail.com Synopsis The script is divided in three sub-plots, all linked but set in three different time periods. The first one follows the story of Stojan in 1993, a poor but good man who is a dog catcher from Belgrade. He lives his peaceful life in a refugee camp with his wife Nada and his daughter Julija, until one day, a halo appears above the man s head. Seen as a Saint by everyone around him, Nada sees it as a curse and desperately wants to make the halo go away. She convinces her husband to act as a sinner: he starts drinking, eating excessively, envy his rich neighbour, he has sexual intercourse with Nada s best friend, beats his wife and speaks badly to her and his daughter, becomes a pimp, makes money out of people s faith The halo remains however, while Stojan has become a completely different person, a cruel and ruthless man. The second story is set in 2001, and focuses on the mentally-retarded Gojko whose sole desire is to speak to the phone with Saint Petka. When his boss, Petar Markovic, denies his request, Gojko kills him and his wife, and is sentenced to death. As Father Atanasije comes to offer absolution, he lends his phone to the prisoner who seems to have a conversation with the Saint. The next morning, as the guards arrive inside Gojko s cell, they only find a toddler. The Father comes to the Markovic s house to find that the couple is alive; it is too late however, as baby Gojko is shot. The last story takes place in 2018, and follows Papic, a painter who tries to have his work displayed in an art gallery run by Julija. The discovery that the painter s canvases are actually nutritious and can feed the population is a shock for the nation, led by Stojan now French Serbian coproduction workshop 13

17 President. This type of nutritious art multiples everywhere in the country, ending in a general state of overeating and mass hysteria. Producers biography and filmography Biljana Prvanovic has gained experience of production work on a wide variety of diverse projects in recent years, ranging from feature films, to TV programs, documentaries, and international co-production feature films. In Serbia, she worked as a producer, executive producer, production manager in movies and TV shows. She has received funding for movies on funds of the Ministry of Culture of Serbia, the Film Center of Serbia, EURIMAGES, many municipalities and foundations, as well as films that she has worked on are among the winners of prestigious international awards. Selected Filmography: Producer: Stado, director Nikola Kojo (Serbia) Holidays in the Sun, director Srdjan Dragojevic (Serbia) The Parade, writer & director Srdjan Dragojevic (Serbia) Co-producers: Mainframe Production (Croatia), Sektor Film (Macedonia), Forum Ljubljana (Slovenia), supported by Eurimages. Awards: Berlinale Panorama Audience Award / Ecumenical Jury Award / Golden Else Award Saint George Shoots the Dragon, director Srdjan Dragojevic (Serbia) Co-production supported by Eurimages (budget 5 million dollars). Awards: The most successful Serbian film in 2009 / Special Award Montreal Film Festival We are not Angels, director Petar Pašic, (Serbia) Awards: The most successful Serbian film in 2007 Director s biography and filmography Srdjan Dragojevic is well known for his out spoken views and to-the-point filmmaking. His films bring together real life political issues and art in a way rarely seen. Selected filmography is as follows: HOLIDAYS IN THE SUN/ Writer, Director and Co-producer THE PARADE / Writer, Director and Coproducer / Berlin Winner of Panorama Audience Award, Siegessäule Award, Special Mention Ecumenical Jury Award SAINT GEORGE SHOOTS THE DRAGON / Director and Co-producer Best Artistic Achievement Award Montreal film festival 2009, Official Serbian Entry for Foreign Oscar THE WOUNDS / Writer, Director and Coproducer Grand Prix Bronze Horse Award Stockholm International Film Festival, Fipresci Thessaloniki International Film Festival PRETTY VILLAGE, PRETTY FLAME / Writer, Director and Co-producer Grand Prix Sao Paulo International Film Festival, Grand Prix Bronze Horse Award Stockholm International Film Festival, Best Foreign Film, Fort Lauderdale International Film Festival, Audience Award Thessaloniki Film Festival, Jury Grand Prize Festival d Angers, Grand Prix Minneapolis Film Festival, Golden Knight for Best Film Moscow, WE ARE NOT ANGELS / Writer and Director Grand Prix Award, Umbria Film Festival Perugia 1993 / Crystal Prism Awards / Yugoslav Oscars 9 Awards from 14 Nominations, including Best Film and Best Director Production company s filmography DELIRIUM, Belgrade (Serbia) Production Company Founded in Belgrade, in 2003, by Srdjan Dragojevic, writer and director, and Biljana Prvanovic, producer. Selected production overview: DELIRIUM has produced or co-produced 8 feature films, a range of short films (documentaries and fictions), TV commercials, and media campaigns. Feature film The Parade (with over 600,000 admissions), has been distributed all around the world. Feature film St George shoots the Dragon became the most successful Serbian film of the year. The film won a Special jury prize at Montreal Film Festival and became Serbian candidate for the Foreign Oscar award. Feature film We Are Not Angels became the most successful Serbian film in a local market with over 700,000 spectators. French Serbian coproduction workshop 14

18 Mladen Djordjevic & Milan Stojanovic Labour Day Genre Drama / Psychological thriller Budget (euros) Already acquired (euros) Name of director Mladen Djordjevic Vimeo links to view previous films/works PW: hauzmajster 1 Name of producers / co-producers Milan Stojanovic, Mladen Djordjevic, Matthias Nerlich Script Mladen Djordjevic Languages spoken in the film Serbian Shooting location Serbia Name of participants Mladen Djordjevic, Milan Stojanovic Languages spoken by participants English Project s state of progress Full development, financing Contact (participants) Milan Stojanovic milan@senseproduction.rs Mladen Djordjevic dordevicm78@gmail.com Writer s note Motivation Economic and social transition is one of the topics that left the deepest mark in the Yugoslavian post-communism era. The transition meant creation of a new class of potentates and rich men who took advantage of the war chaos to climb to the positions of power and continued to use the social disorder to keep and strengthen them. In many countries of Eastern Europe the process of transition was colored by strong corruption which many of the countries still struggle with. I noticed that what usually follows that process is a certain passive behavior of the citizens, a withdrawal, apathy and absence of a significant resistance against the cruelty of the order and the injustice. Desperate individuals are more often ready to point their frustration and anger to their close ones, more usually family than to the cause of the problem and this delivers more and more cases that fill the shocking cover pages of tabloids. Therefore, the main question of this film is the one exploring the potential for the rebellion, practicing a clear resistance to the system that pushed most of the population to the margin. Style The visual style of the film will be based on the legacy of the Yugoslav Black Wave: the camera will be handheld, narrow optics, the camera will often be on the move, restless, with contrasting images, grainy... The exterior will be dominated by existing light, while interior light will be mostly practical lighting, so it will be subtle, non-explicit. Such a dirty, unwashed, visually raw approach aims to French Serbian coproduction workshop 15

19 provide a useful counterpoint to the wondrous elements, and the occasional surreal, mystical events will therefore be grounded in reality, down to earth so to speak, even made plausible. Given that this is a socially engaged film, the visual approach will follow, and the naturalistic image of people and their position on the social ladder will assume a particularly important position. Synopsis The factory, which once employed the entire town and the surrounding villages, is closed and the town is taken over by corrupt petty politicians, and bullies. Svetlana (38) and a group of run down former factory workers have led a desperate fight of protest against the ruthless changeover. With less and less strength and will to protest, their exhaustion and frustration grows. Their daily routine is interrupted when the recently released prisoner Mija (45) enters their circle. Following his instructions, out of boredom and despair, they start invoking the dead and soon slide into performing satanic rituals. They perform them rather clumsily, but thanks to them the desperate people find comfort and support in each other. At the same time, fifty-year-old Elijah, a former factory worker who has been missing for months, is making his way, slowly, through the snowy mountain. Although he appears disoriented, everything about his appearance radiates mystery. He slowly descends into the town and it seems like he might be the embodiment of Satan, who the group has been invoking during their rituals. Once the arrogance of the local politicians and their thugs becomes unbearable - the mysterious Elijah appears in the town. Led by him, the workers take revenge on their exploiters. Elijah gets injured and proves to be just an ordinary man, but the workers realize that the strength and the power weren t out there in some God or Devil, but hidden within them, as they move in the onslaught to freedom and the realization of their dreams. Purpose of participation to the workshop As a high-quality arthouse drama with a strong social engagement and subtle elements of psychological thriller, it s clear that Labour Day has the potential for reaching international arthouse audience. Having in mind the success of the similar films (Borgman), it is even fair to assume that Labour Day is a material for Cannes Film Festival. Having that in mind, we believe that Labour Day could be interesting to French producers and eventually bring a French partner on board, who would apply to CNC s Aide aux Cinemas du Monde. So far, the project was only presented at Transylvania Pitch Stop in Cluj, but only few producers from France were present and no meetings were held with any of them. Producers biography and filmography Milan Stojanovic produced the award-winning debut film by Ivan Ikic BARBARIANS (2014) and THE WAY OF THE EAST (2017), a documentary by Katarina Mutic. He also worked as production manager and line producer in domestic and international productions, including CIRCLES (2012) by Srdan Golubovic, MOTHERS (2010) by Milcho Manchevski, THE LIFE AND DEATH OF A PORNO GANG (2010) by Mladen Djordjevic and DESTRICTED (2006) by Marina Abramovic. Milan is an EAVE graduate, Producers on the Move and Berlinale Talents alumni and a member of the European Film Academy. Production company s filmography Corona Film is a boutique production company of director Mladen Djordjevic, with a debut title SUNSET IN A VIENNA HALLWAY directed by Djordjevic now in postproduction. SENSE Production is a Belgrade-based company gathering auteurs with an exciting approach to drama and visual. The company produced BARBARIANS by Ivan Ikic (2014 / Special Mention, Karlovy Vary IFF / Best Film, Crossing Europe Linz / Seyfi Teoman Award, EFF Palic), THE WAY OF THE EAST (2017), a debut documentary film by Katarina Mutic and ONLY GIRLS CRY (2017), a short by Vladimir Milovanovic. Director s biography and filmography Mladen Djordjevic s debut feature fiction film THE LIFE AND DEATH OF A PORNO GANG (2009) was presented at over 50 international festivals, winning 14 awards. French Serbian coproduction workshop 16

20 Mitch Davis, a selector of the Festival Fantasia in Montreal, compared Djordjevic with authors such as Gaspar Noe, Lars von Trier and Michael Haneke, writing that THE LIFE AND DEATH OF A PORNO GANG did for Serbia what Clockwork Orange did for Great Britain. He was born in 1978 in Belgrade. He graduated Film & TV Directing at Faculty of Drama Arts in Belgrade with the feature documentary film MADE IN SERBIA (2005), which later premiered at Belgrade Film Festival FEST and went into cinema and DVD distribution in Serbia. Since 2014, he is programming FEST, Belgrade Film Festival. French Serbian coproduction workshop 17

21 Snezana Penev & Ognjen Svilicic Mara Genre Drama Budget (euros) Already acquired (euros) Name of director Mirjana Karanovic Vimeo links to view previous films/works PW: dobra_zena_december Name of producers / co-producers Snezana Penev Script Ognjen Svilicic Languages spoken in the film Serbian Shooting location Serbia, TBD Name of participants Snezana Penev Languages spoken by participants English Project s state of progress Development Contact (participants) Snezana Penev snezana.penev@gmail.com Writer s note The scenario for the film I want to make is based on the play by Tanja Šljivar, We re the ones our parents warned us about, for which I was theatre director in 2016, as well as playing the lead role. As soon as I d read the text for the very first time, I felt a deep and intense emotional connection to the characters and the story. It was as if all the layers of the text were a part of my being because I could perceive in myself not only the emotional marks from my childhood and from the here and now, but also a whole series of spiritual and emotional legacies from my mother, my grandmother, and her mother, too. The play I successfully acted in on the stage awoke an awareness in me - the realization that as the years pass, in trying to protect ourselves from emotional hurt, we shut ourselves off and reduce life to the expected, the familiar. We fill in emotional abysses, we hide scars, and we are ashamed when we are defeated or fail. It is harder and harder for us to face the truth about ourselves. And beneath it all lies the painful yearning for love, which we don t let surface. Everyone around us becomes just a part of our daily routine, devoid of any intimacy. The film Mara is an intimate, contemporary chamber drama. Mara is a middle-aged woman, who is trying to survive, above all her own emotions, insecurities, and the decisions she s made in life. She has a grown-up son, Nemanja, who lives with her. As a mother, she has taken the decision not to interfere in his life it s better for both of them like that. Her son s suicide while she is sitting at home is the moment her whole life comes crashing down and all the horror and absurdity, all the nas- French Serbian coproduction workshop 18

22 tiness and lies, all the blemishes and failures, everything that is hidden becomes visible. She has nothing to fall back on anymore. There s nothing standing between her and the truth she s been avoiding facing for so long. It s a moment of disintegration and yet, a moment of awakening. In this film what interests me the most is this journey from the very bottom her fight for a life which has to go on. I think her crushing loss, the guilt she feels, the tragedy she experiences is a harsh wake- up call and drags her kicking and screaming from the shadows where she s been hiding. Meeting her son s best friend, Milan, 27, and spending time with him reveals how little she knew or how frightened she was to get to know her own child. Discovering the truth about who her son was and what he was like is a painful process for her, during which she must face up to her life and the void she s been dragging along behind her. In a way, her relationship with Milan is the relationship she never had with her son. When Milan puts on her son s clothes, the two of them connect and become partners in the search for the reasons behind Nemanja s suicide. For me, this story is about opening up emotionally, about emerging from a place where emotions are suppressed and hidden, which is often a major part of the spiritual and emotional make-up of people living in the Balkans. However, this story can apply to anyone. Everywhere today, emotions are not expressed nor discussed, but are taken as read, in particular fear, insecurity and the need for love and acceptance. Emotions are unfamiliar and dangerous territory and signal weakness. As such, very often, only a major tragedy can wake people, shake them up, and make them aware of their loss. Synopsis In her luxury flat, Mara organizes a dinner party for a select circle of people to celebrate the sale of her share in a consulting company. Now she will just enjoy the fruits of her labour, which was often unscrupulous and tainted by corruption. The soiree is attended by members of high society a couple of Mara s business associates, her boss, a German, who presents her with a gift of extremely pricy sashimi knives, a couple of doctors, a gallery owner, a famous acting couple, and also the Vice-Minister for Internal Affairs, BORIS. They are the kind of people who love art, but also the kind who have landed on their feet in society and aren t particularly affected by the deep-seated problems in a sinking state. Mara recently got her son out of police custody, where he had found himself after beating another young man up, and she thanks her friend, Vice-Minister BORIS. Nemanja appears at the door, grabs the car keys and hits the town. That evening, Mara leaves all the washing-up and heads to bed. She s woken by the sound of running water. She heads along the corridor and finds herself splashing through bloody water in her bare feet as it flows along the corridor. Her son, Nemanja, is lying in the bath, his wrists slit, slashed with the sashimi knife. She buries him and sets off on a mission to find those responsible for her son s death, believing that the drugs they find in his system during the autopsy are the cause. She refuses to believe that her son took the drugs of his own accord and wants to know who drugged him and who is to blame for his death. First, she seeks out Nemanja s best friend, Milan. She bursts into his house and comes face to face with the impoverished middle class. Milan takes her to the places Nemanja visited and Mara discovers a completely new world of turbo-folk (a unique music genre that combines Serbian folk and electronic music), gold-diggers, brutal relationships and adolescents inculcated with nationalism, violence and the cheap trash culture. She becomes immersed in that world and, emotionally weak, develops a relationship with Milan, as if he s some strange erotic substitution for her son. Milan reveals to her why they beat up the young man the cause of Nemanja s stay in police custody. It was because of Tanja, a girl who Nemanja was in love with. Mara finds Tanja and discovers that her son couldn t accept that the girl didn t love him. She finds out that Nemanja was exceedingly unstable emotionally, looking for the love which he didn t have from his mother at home. Mara won t accept that her son killed himself because her love was lacking, but somewhere deep down she knows that there s some truth in that. Desperate to disprove this assertion, she wants to find physical evidence for her French Serbian coproduction workshop 19

23 son s murder and, by greasing the palm of a young drug dealer, she gets the name of a bigger fish. She begins to piece together the puzzle of the drug dealers and those who are protecting them and realizes that the main dealer is a man who works for the city council issuing nightclub permits. She follows him in her car and sees him arrive at an elite nightspot in the city. She witnesses the dealer greeting her friend Boris warmly and it s then that she realizes that a system which she too belongs to is actually to blame for her son s death. Completely crushed by this realization, she leaves, an emotion wreck. Milan follows her, worried about her. They go to her flat and he helps her. She hugs him, tightly, and they make love. In the morning, she gives him a very expensive painting, which she takes off the wall and hands to him despite his protestations. Purpose of participation to the workshop We would like to find potential French co-producers and to get to know possibility for financing in France. Producers biography and filmography Snežana Penev graduated Film Production at the Academy of Arts in Belgrade. She became a graduate of the EAVE Producers program in Snežana has produced many internationally acclaimed fiction films and documentaries. MONUMENT TO MICHAEL JACKSON was supported by Eurimages and MEDIA as well as BATTERY MAN, a feature documentary sold to over 10 worldwide broadcasters. Snežana recently produced IN THE DARK, a feature documentary which premiered at the IDFA 2014 film festival and A GOOD WIFE a debut film by Mirjana Karanovic (SUNDANCE 2016). She was selected by EFP (European Film Promotion) to participate in the Cannes Film Festival Producers on the move and in 2015 became a voting member of the European Film Academy. Production company s filmography This and That Productions was founded in 2008, by young producers and filmmakers to make both creative projects after their own heart and offer production services to local and foreign productions. A little bit of this, and a little bit of that. Traveling to festivals with their award-winning films, they gathered a group of like-minded people. The long-term aim is to create a haven for people with energy and ideas and help their visions get made. This and That recent productions are MONUMENT TO MICHAEL JACKSON, BATTERY MAN, IN THE DARK and A GOOD WIFE (see below for details). Filmography A Good Wife, Serbia-Bosnia and Herzegovina-Croatia World premiere: Sundance Festivals : Sundance IFF, Göteborg IFF, Stockholm Feminist Film Festival, Cleveland IFF, Vilnius IFF, Minneapolis St Paul IFF, Crossing Europe FF, Linz, South East EFF, Los Angeles, SEOUL International Women s FF, Korea, Sydney IFF, Providence Town IFF, Massachusets, Brussels EFF, Art Film Fest Kosice, Moscow FF, Filmfest München, Karlovy Vary IFF, Locarno FF - Trade show, Fünf Seen FF, Melbourne IFF, Sarajevo IFF, WAR ON SCREEN IFF, Chalôns-en-Champagne, Filmfest Hamburg, Vancouver IFF, ARTE KINO festival, CinEast, Kerry FF, Unabhaengiges FilmFest Osnabrueck, Mostra Internacional de Cinema, Sao Paulo, Eastern Neighbours FF Hague, Denver FF, Toronto Serbian FF, Thessaloniki IFF, Film- Festival Cottbus, Kolkata IFF, Cairo IFF, St. Petersburg IF of Debut Films Beginning, TERRE DES FEMMES Filmfestival, Tbilisi FF, Festival du Cinema Mediterraneen, Trieste IFF, Athena FF, Rencontre Cinema de Pézenas, Festival - Conflitos Contemporâneos, Sao Paulo BFE17/ Balkan Florence Express, Florence, Sofia IFF / Art Fest, IFF Assen women&film Awards 1. Best Actress Award - FEST Belgrade Milutin Colic Award - FEST Belgrade CICAE Award - Vilnius FF Best Film Award - PriFest Kosovo George Gund III Memorial Central and Eastern European Film Competition - Cleveland IFF Best Feature Film (Grand Jury Prize Bridging the Borders Award) - SEEfest (LA, USA) Best First Feature Film - SEEfest (LA, USA) White Iris (Best First Feature Award) - Brussels FF Golden Arena for best minority co-production - Pula Film Festival (Croatia) Fipresci Award - Motovun FF (Croatia) French Serbian coproduction workshop 20

24 11.Živko Nikolić Award - Montenegro Herceg Novi Fest Jury Special Mention - Festival International De Cinema Nespresso Audience Award - Arte Kino Festival Audience Award for the Best Feature Film in competition - Trieste Film Festival Monument to Michael Jackson, Serbia - Germany-Macedonia- Croatia World Premiere: Karlovy Vary (East of West Program) Director s biography and filmography Mirjana Karanovic is a Serbian actress known for many important roles in former Yugoslav films. She made her screen debut in 1980 film PETRIA S WREATH by Srdan Karanovic. World fame came with the role of the mother in Emir Kusturica s WHEN FATHER WAS AWAY ON BU- SINESS. One of her most memorable roles was the one of Esma in GRBAVICA, directed by Jasmila Žbanic (Golden Bear Award for Best Film at the Berlinale). For this performance, Mirjana Karanovic has won a number of awards at festivals and a nomination for the European Film Academy Award She appeared in Andrea Štaka s film DAS FRAULEIN (Grand Prix at Locarno Film Festival, Heart of Sarajevo Award) and Darko Lungulov s film HERE AND THERE (The Best New York Narrative at Tribeca film festival). In 2008 she won the Winning Freedom Award, an award presented to a woman whose work promotes and affirms the principles of human rights, rule of law, democracy and tolerance in society. A GOOD WIFE was Mirjana s directing debut, co-written by Stevan Filipovic and Darko Lungulov. It premiered at Sundance in French Serbian coproduction workshop 21

25 Contact Joséphine Vinet French Serbian coproduction workshop Paris 7-8 December 2017 une publication du Centre national du cinéma et de l image animée (CNC) maquette Stéphane Dupont novembre 2017