NOMAD: a member of a people who have no fixed residence but move from place to place usually seasonally and within a well-defined territory.

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1 NOMAD: a member of a people who have no fixed residence but move from place to place usually seasonally and within a well-defined territory. THE EURO-MEDITERRANEAN DOCUMENTARY MARKET Sitges, October 17-19, 20 MEDIMED is conceived and organized by the International Association of Independent Producers of the Mediterranean c/ Girona, 20, 5 floor Barcelona Tel Fax info@apimed.org / facebook.com/apimed Producers

2 004. People 005. Announcements 008. Bios 011. Schedule 013. Benvinguts / Welcome 016. Doc Projects Pitching Forum Speedy Pitch Anti Pitch 078. Vidéothèque Ready Made MEDIMED Films Docs Made in Israel Selected Programs CONTENTS 204. Lists Programs Index by Title Companies by Countries Photo Gallery Profiles of the Commissioning Editors, Buyers & Distributors Participants

3 PEOPLE ANNOUNCEMENTS TEAM Sergi Doladé Director Marina Bayó General Coordinator Christine Hart Liaison Officer Mireia Garrido Director s PA Victor Burgués One-on-One Meetings Coordinator Tània Balló MDMD CrossTraining Project Manager Clara Bernardo Executive Producer Jonathan Jaraba Production Assistant Josette Trilla Atrezzo Setanta Graphic Design Roberto Ruiz Cover Photographer WILO AZAFATAS Hostesses Raül Buira Web Master Elisenda Soriguera Press Officer Gestart Assessors Accounting services PROJECTS SELECTION COMMITTEE MEMBERS Diane Aractingi FANTASCOPE PRODUCTION, Lebanon Kathryn Bonnici JAVA FILMS, France Beadie Finzi BRITDOC, UK Cat Le Clef CAT & DOCS, France VII AHMED ATTIA S AWARD FOR THE DIALOGUE OF CULTURES - JURY MEMBERS Dima Al Joundi CRYSTAL FILMS, Lebanon Mohamed Charbagi ALIF PRODUCTIONS, France Nurit Kedar Filmmaker, Israel PERSONAL ACKNOWLEDGEMENTS OF THE DIRECTOR Olga Abazouglou PRODUCTIONS DU CYCLOPE Flora Gregory Expert John Marshall Pitching Moderator Isona Passola President of APIMED Alex Pearson Expert Marijke Rawie Expert Orna Yarmut Founding Director CoPro Marketing Foundation WITH SPECIAL THANKS TO Mireia Azuara Illy Montse Comabella Moritz Josep Llop Freixenet Marisa Lozano Vichy Catalán Maite Puentes Bacardí Berta Rius Aigua de Veri Elena Rue Catalan Films&TV Neus Sala TVC David Urgell Gin Nut DELEGATES REGISTRATION All delegates must register and pick up their Delegate Badge and bag from the Front Desk on arrival at MEDIMED venue. Your delegate badge should be worn at all times and is required for access to all MEDIMED events. Please, make sure your badge is visible. FRONT DESK SERVICES Located in the Calipolis Hotel s lobby, the front desk is the central contact point for all MEDIMED delegates. HOURS: 9:00 AM - 7:00 PM Message Service An internal message service is provided by our hostesses. Delegates may leave messages for each other at the Front Desk. It is reserved for personal messages only. It will be dismantled SUNDAY, OCTOBER 19, AT 6:00 PM and any remaining messages will be discarded. Information Services & Assistance Visit the Front Desk for help or advice about anything. Make sure you book your 20 minute meetings with MEDIMED experts with the assistance of our Front Desk team. Project Presentation Transcripts (for Pitching Team Members) For the benefit of the MEDIMED Project Team Members, a member of our staff will take notes of the feedback during each presentation. The presentations transcripts will be ed to you right after the event. MEDIMED RECEPTIONS MEDIMED cordially invites all participants to attend the following receptions. Don t miss the chance to meet all delegates in a casual way while having a drink, or two... Your accreditation will be requested at the door for admittance. Opening Reception FRIDAY, OCTOBER 17-8:30 PM HOTEL CAPRI MEDIMED invites you to the reception held at the terraces of Hotel Capri in front of the venue. Sponsored by: Gin Nut Cocktail Party Open to all MEDIMED delegates and guests. SATURDAY, OCTOBER 18-8:30 PM HOTEL CAPRI NUT is an artisan gin distilled in the London Dry method that guarantees the highest quality ingredients in its production process. NUT has an alcohol content of 45% ABV. NUT is produced in the Catalan region of L Empordà Sponsored by: Happymed Dinner Party For MEDIMED delegates only. SATURDAY, OCTOBER 18-9:30 PM HOTEL CAPRI WI-FI Please, check the Calipolis Hotel internet connection. 4 5

4 announcements announcements VIDÉOTHÈQUE Located in the hotel s ground floor, the vidéothèque allows TV buyers, distributors, sales agents and decision makers to watch the docs of their choice. It includes a selection of 450+ titles aimed at a market sales. THE DOCS GALLERY IS OPEN FOR THE DURATION OF MEDIMED (FRIDAY TO SUNDAY) FROM 10:00 AM TO 7:00 PM ONE-TO-ONE MEETINGS The is a meeting service arranged by MEDIMED staff that takes place throughout the three days of the market and is available to all participants, as well as to all buyers and distributors. If you ve come to MEDIMED with a selected program, you don t want to miss the opportunity to take part in the service. Our staff will facilitate a series of meetings, matching producers with appropriate participating buyers and distributors. Due to demand, times and availability may be limited. Pre-registration for meetings is mandatory at the Front Desk of the venue. On site registration will not be available if all meeting times have been fully booked with advance applications. MEDIMED EXPERTS MEDIMED is pleased to count on the professional experience of reputed documentary professionals who will be available for a restricted number of one-to-one 20 minute consultations. Meetings are to be held at the Club Room and should be booked at the Front Desk in advance. Our experts, Marijke Rawie and Flora Gregory, will provide a professional opinion on how to pitch your selected project, an overview on the market possibilities for your company. FRIDAY 17-11:30 AM - 7:00 PM SATURDAY 18-10:00 AM - 7:00 PM AHMED ATTIA AWARD FOR THE DIALOGUE OF CULTURES The three-member jury, consisting of filmmakers and industry professionals will announce their final choice, right before the dinner on Saturday. The sixteen films in competition were once pitched at MEDIMED Pitching Forum. They can all be found in the Vidéothèque section of this catalogue. Courtesy of APIMED, the winner will receive 1,000 Euros cash prize, awarded to the producer of the best documentary. MDMD TALKS MDMD Talks is a series of conferences, round table discussions, workshops and meetings aimed at film and creative industry professionals who attend MEDIMED. It is organized with a focus on reaching a wide professional audience with high quality content for cross-industry collaboration and knowledge exchange. IT S A TRANSMEDIA WORLD We kindly invite all delegates to join the presentation by Amélie Leendhardt, coordinator of digital initiatives at Tribeca Film Institute. Amélie is from Paris where she studied Comparative Literature and Political Sciences. She worked in content, programming and marketing at the European TV Channel, Arte, and at MK2, the first independent group of the French film industry before moving to New York in After a year as a Development Associate and Operation Manager at UnionDocs, a center for Documentary Arts in Brooklyn, she joined the Digital Initiatives Department of the Tribeca Film Institute as a Program Coordinator. The presentation includes some dedicated time for Q&A. The session will be in English and there will be no translation. FRIDAY, OCTOBER 17-7:30 PM GZDOC FILM FESTIVAL We are glad to announce long term collaboration with the most important doc festival in China, GZDOC in view to enhance the cultural communications and exchange between filmmakers from the Euro-Mediterranean area and the Asian giant. China has become a very important economic player; the Mediterranean region is an unusual, creative and historically speaking, major cultural basin. What are the opportunities we can foresee, and how to tackle them? Is there a place for a joint production fund between China and the Mediterranean region? What creative pools can we foster? Amanda Luo, Director General of the Agency in charge of running GZDOC, will give us an overview on the recent development of the Chinese audiovisual production market with an explanation on how docs are financed and produced, what are the obstacles, what are the advantages, what is the process, financing options, possible advantages, etc. SATURDAY, OCTOBER 18 6:30 PM FOCUS ON ISRAEL DOCUMENTARY INDUSTRY The Israeli documentary industry has achieves great success in the world owing to their quality and the window they open onto to a diverse society. The CoPro annual international market, which takes place every spring since 16 years, has generated dialogue and cooperation between Israeli creators and producers, television network managers from all over the world. Its contribution to the development of the Israeli cinematic industry has been crucial to put the Israeli documentary industry on the world map with numerous international collaborations, innovative sidebars, and an open minded and openhearted approach to sharing knowledge and resources. The overwhelming success of Israeli documentaries worldwide (e.g. three feature docs in competition at Sundance in 2012; two Academy-Award nominations in 2013) is not only due to the local talent, but also to the exposure of Israeli filmmakers to the international arena. Hundreds of films have managed to get international supports thanks to their pitching at CoPro. Israel and Spain have signed a film coproduction treaty that will soon show some concrete results. The ICAA promoted a delegation of Spanish producers that attended the Jerusalem Film Festival in This year, thanks to the contribution of the Israeli Embassy in Spain and the collaboration of CoPro, we are honoured to welcome a delegation of Israeli producers that will pitch their outstanding projects at the Forum. We invite you to attend the panel dedicated to the Israeli Documentary Industry that will be presented by Orna Yarmut, founding director of CoPro and other relevant members of the industry to discuss the conditions for making docs in their homeland. The informative session will be in English and there will be no translation. SATURDAY, OCTOBER 18-7:00 PM MEDIMED CROSS TRAINING Aware of the rise that crossmedia contents are having in the international community, MEDIMED has decided to create MEDIMED CROSS TRAINING. A two-day stage, where a select group of mentors (composed by experts and international broadcasters) will coach the best 6 Spanish webdoc projects selected for their excellence. They have the opportunity to work their projects hand in hand with experts, financiers and broadcasters in a relaxing and intimate environment. This gathering is held to strengthen the community of professionals of the interactive documentary among all the participants, with debates, roundtables and case studies. 6 7

5 BIOS SELECTION COMMITTEE MEMBERS BIOS EXPERTS DIANE ARACTINGI BEADI FINZI FLORA GREGORY JOHN MARSHALL Diane Aractingi has been working since 1996 in TV and cinema production business. She is presently working as feature film producer with Fantascope Production, in Lebanon. She handled production and distribution on three films directed by Philippe Aractingi: Bosta (2005) and Under the Bombs (2007- Venice Film Festival selection) were distributed worldwide and selected to represent Lebanon in the Oscars. Heritages aka Mirath (20) has just been released in Lebanon. Diane Aractingi has a French master degree in Business law, she was in charge of Business Affairs within the legal departments of Studio Canal and Ellipse Group (TV Fiction, animation, documentaries) NBC Universal Group (13th street and Sci Fi broadcasting channels) and more recently UGC Images and UGC Distribution. KATHRYN BONNICI At Java Films, her responsibilities include developing and sourcing documentaries from independent directors, handing pre-sales and co-productions and overseeing sales to America, Iberia, Germany, Australasia and the Middle East. Documentaries she has worked on for Java include the Goya nominated documentary 30 Years of Darkness, Desert Riders and Letters from Iran. Kathryn has spent the past 12 years working in distribution. In 20, she will be a tutor at the East Silver Market, having previously sat on the jury or selection committee of MEDIMED, the Banff Film Festival & the JihlavaFestival. She regularly lectures & leads workshops on distribution. She graduated from Oxford University in One of the founding directors of BRITDOC, a UK based non-profit working globally with documentary film. For nearly a decade, BRITDOC has been directly funding documentary filmmakers around the world. Supporting exceptional story telling and independent journalism, on subjects ranging from the struggle of emerging democracies to LGBT rights. From degeneration of the seas to the challenges of active aging. From the price of human migration to disability in the workplace. These are the most ambitious and celebrated films of the last decade, winning multiple awards, screened on TV, cinema and streamed online around the world. We were delighted to begin 20 with two Oscar nominations for The Square and Dirty Wars. Over the same period, BRITDOC has developed deep expertise around creating social impact with documentary film. Embedding films within ambitious social justice campaigns, connecting great films to new partners who can use them in governments, NGO s, Foundations. This has resulted in the global Good Pitch programme ( Plus the annual Impact Award for the documentary that creates social change, enabling us to collect hard data on impact & share inspirational case studies ( org/real_good/evaluation).. CATHERINE LE CLEF Le Clef is the Head of Acquisitions & Sales Manager of Cat & Docs. She set up the new Paris based documentary sales company in November 2009 after leaving Fortissimo Films where she was head of TV and Ancillary Sales. Following stints at Films Transit and Doc & Co., Le Clef is one of the best connected figures in the world of doc acquisitions and sales. She has assembled a slate of award winning docs such as 5 Broken Cameras, The Staircase, Planet of Snail, Vol Spécial, Last Train Home, Iron Crows, The Oath, Monica & David, Which Way Home to name a few. CAT& Docs is run by Le Clef along with her partner, Maelle Guenegues. Flora Gregory has been involved in two global network channel launches and has a long trackrecord of editorial and strategic leadership. She builds creative teams with organisational and networking savvy which allow her to implement her editorial vision of innovative and compelling documentary films, series and programme strands. A career of over thirty years in television with independent companies and broadcasters in production, acquisition, commissioning and co-production roles on productions covering international observational documentaries, the arts, current affairs, social history, science, wildlife and travel. Experienced team manager, combining an editorial eye with budgetary concerns. Innovative and proactive and a good anticipator of needs, as well as being an effective communicator with plenty of stamina and a rational approach, and able to work with different levels of organisations to achieve goals. Track record of uncovering and encouraging new talent both in front of and behind the camera. Director of the Edinburgh International Television Festival ( ), the first chair of the Production Managers Association (1991), Programming Manager of Discovery Europe s The Learning Channel during launch years (1992/3). Commissioning Editor, Witness, AJE s Flagship documentary strand ( )... Pitching Moderator John Marshall is a consultant, analyst and adviser in the field of int l media financing, production and distribution. He has given workshops in many parts of the world. He is managing director of Docos Limited, a leading commercial consultancy for the international television and audiovisual industries. Current clients include broadcasters, film archives, production companies, NGOs and training agencies world-wide. Marshall has been Secretary General of the European Union s documentary agency, which was part of the MEDIA 1 Programme. Following this he became Director of Documentary development for MEDEA, during the course of which he worked intensively in assisting Mediterranean producers. He helped create the pitching formula for The Amsterdam FORUM and both moderates and instructs at the annual MEDIMED in Sitges. MARIJKE RAWIE Managing Director at ExpertDocs Marijke Rawie specializes in documentary (pitching) training & consultancy for international documentary coproduction. She has an extensive knowledge of the international documentary market, the financing possibilities and the co-production possibilities. ExpertDocs helps filmmakers, documentary companies and s to understand the international documentary coproduction world and advises them on the development and the possible financing of their documentary projects for the international market. ExpertDocs have worked for various documentary festivals and s as head tutor, script doctor, pitching coach, moderator, like IDFA, HotDocs, Sunny Side of the Doc, Ex Oriente, EBU, Istanbul Documentary Filmmakers Association, EDN, Documentary Campus Master School (Munich), Italian Doc Screenings, Artistoteles Documentary Training, DragonForum, CoPro, MiradasDoc. 8 9

6 SCHEDULE FRIDAY 17 9:00am 7:00pm On Site Registrations Frontdesk 9:15am 2:00pm SPEEDY PITCH Sert Room 9:15am 2:00pm Private Meetings Sert Room 9:30am 11:30pm ANTI PITCH 1 Pool Room 10:00am 7:00pm Buyer s Screenings Baluard Room 11:00am 12:30pm WORKSHOP Group 1 Pitching Perfect by John Marshall Pitching Room Pitching producers ONLY 12:00am 2:00pm Preparing your pitch with Marijke Rawie Sert Room Pitching producers ONLY 12:30pm 02:00pm WORKSHOP Group 2 Pitching Perfect by John Marshall Pitching Room Pitching producers ONLY 4:00pm Welcome Pitching Room 4:15pm 7:20pm PITCHING SESSION 1 Pitching Room 5:45am - 6:00pm ILLY coffee break 7:30pm 8:20pm SPEEDY PITCH Private Meetings Sert Room 7:30pm 8:20pm It s a Transmedia World by Amelie Leenhardt, Tribeca Film Institute Pitching Room 8:30pm 22:00pm Bacardí Cocktail Party Hotel Capri SATURDAY 18 9:00am 12:00am On Site Late Registrations Frontdesk 9:00am 1:30pm Private Meetings Sert Room 10:00am 1:30pm PITCHING SESSION 2 Pitching Room 11:30am - 12:00pm ILLY coffee break 10:00am 7:00pm Buyer s Screenings Baluard Room 1:30pm 3:30pm LUNCH Hotel Capri 3:30pm 6:15pm PITCHING SESSION 3 Pitching Room 4:30am - 4:50pm ILLY coffee break 3:30pm 5:30pm ANTI PITCH 2 Pool Room 6:30pm 8:20pm SPEEDY PITCH 2 Private Meetings Sert Room 6:30pm 7:00pm GZDOC FESTIVAL PRESENTATION Pitching Room 7:00pm 8:20pm FOCUS ON ISRAEL DOCUMENTARY INDUSTRY PANEL Pitching Room 8:30pm Ahmed Attia Award Announcement & Cocktail Hour Hotel Capri 9:30pm Dinner party HAPPYMED! Hotel Capri SUNDAY 19 10:00am 2:00pm Private Meetings Sert Room 10:00am 5:00pm Buyer s Screenings Baluard Room 11

7 BENVINGUTS / WELCOME SERGI DOLADÉ Director of MEDIMED Welcome to MEDIMED, the annual meeting place for documentary makers who are attentive to the trends set by European and Southern Mediterranean documentary films and projects. Our 3-day flagship event has been enhanced this year, and the Pitching Forum will once again raise thousands of euros in international co-financing for independent producers and their market partners. We have selected 450+ films available at the Vidéothèque for private viewing including a special focus on the newest Israeli documentaryproduction. We are happy to launch 2 new programs: the ANTI-PITCH and the MEDIMED CROSS TRAINING, both dedicated to accompany filmmakers in their quest for financing of TV and digital content. You are all invited to attend the presentation on the Tribeca Film Institute transmedia program by Amelie Leenhardt and the panel dedicated to the Israeli documentary industry. My sincere gratitude to the institutional and private sponsors, for making it all possible, and my personal thanks to the members of the project s selection committee for involving themselves to an exciting and always difficult task with excellent criteria and great competence. Many thanks to the best MEDIMED core team who made the preparations with tender, love and care. Our staff is happy to provide you with a host of delegate services including registration and guest guidance. They will patiently help make the three days run smoothly for all. Our main interest is that you have a productive time and enjoy the MEDIMED experience!! ISONA PASSOLA President of APIMED MEDIMED: 15 EDITIONS, 15 OPPORTUNITIES. Despite globalisation, vast marketing strategies and enormous business concentration, and going beyond simplistic market dynamics, artistry and creative freedom still exist. And they will continue to exist, as long as we independent producers can survive. More than any other continent, Europe has both the duty and the privilege to protect the culture of its nations and its peoples. Our model fosters diversity whilst enhancing quality and encouraging authorial creativity. It is a model that can well be extended to neighbouring countries, as partial compensation for imperialism, both ancient and not so ancient. In the year 2000, APIMED, the International Association of Mediterranean Independent Producers, in cooperation with the MEDIA programme, the ICAA, ICEC and the European Institute of the Mediterranean, successfully proposed the establishment of a documentary market focused on Euro-Mediterranean productions, an event which now takes place in Sitges, overlooking the Mediterranean. MEDIMED, the Euro-Mediterranean Documentary Market, responds to the need, voiced by television networks, to set up specific markets that can create better conditions for establishing regular contacts, viewing programmes, doing business and sharing projects with independent producers. In recent years, documentary production has increased substantially, driven by growing demand for content generated by new cable and satellite thematic channels. Set up to provide support for the broadcasting and distribution of documentaries, MEDIMED has become firmly established as a key marketplace for the promotion and sale of such content. Thanks to everyone who has helped to make it possible to establish this forum for freedom, exchange and friendship and to reach our fifteen anniversary. 13

8 MIQUEL FORNS I FUSTÉ Mayor of Sitges A very warm welcome to Sitges to one and all. Once more this year, and for the fifteenth time no less, our town is the venue chosen to host MEDIMED. My thanks to the loyalty shown by the organisers of an event that returns to Sitges, an event that presents a snapshot of the situation both in European countries and those with which we share the Mediterranean. Taking place just a few days after the closure of the Catalonia International Fantastic Film Festival, MEDIMED enables Sitges to continue talking about the audiovisual world through projects, some already finished, others in development. There are television programmes and festivals that specialise in the sector, but MEDIMED goes further, helping documentary makers to find funding to bring their projects to fruition or to raise their profile at a time when this has been the greatest difficulty due to the severe international crisis. In response to such problems, those attending the event will find ways of generating real business and fostering the industry through the professional and personal exchanges that independent audiovisual producers will engage in at Sitges over the next few days. It is an honour for Sitges to act as the port of arrival for more than 400 titles and 250 professionals working in the documentary genre. We hope to share many more editions of this important event with MEDIMED, and that many more will find a channel to promote and finance their work here. We hope that you will enjoy, not only the event, but also the leisure facilities, the cuisine, the culture and the landscape of Sitges. ÀLEX NAVARRO Coordinator, Creative Europe Desk MEDIA Catalunya Once again it is a great pleasure for Creative Europe Desk MEDIA Catalunya to present the new edition of MEDIMED, the market where documentary emerging projects take off and the place where ideas and experiences from Europe and the Mediterranean countries get together. Technological changes are transforming the way to make documentaries. Budgets may be diminishing but good ideas and idealistic filmakers always find a way. On clear way is MEDIMED which along the years have shown to the sector, as well to European Comission through the Creative Europe programme that it is a crucial key player in the implementation of the European audiovisual policies. Social networks are right now important to enable creators to focus on target audiences and towards the achievemnt of new ways of financing from crowd funding to cross sectorial. MEDIMED pays attention as well to those projects and becomes itself as an excellent storyteller about what is going on in the sector, qualifying in any profesisonal agenda as not to be missed event that will exceed expectations. There has never been more need for a Euro-Mediterranean documentary in this time of changes and at the same time so many changes in how make documentaries. Therefore Catalunya has the privileged space for creativity, dialogue and culture in order to attract international projects to MEDIMED. Make the most of it and welcome once again. JORDI SELLAS General Manager for Creation and Cultural Industries The 15 anniversary of MEDIMED, the Euro-Mediterranean Documentary Market, invites us to take a look back at the impressive trajectory that the documentary genre has forged amongst us. What is more, we have had no better ambassador for our country s audiovisual production than this event. The proof lies in the international standing that our training and production centres enjoy. For example, the UPF Master s degree in Documentary Making, which was honoured at the prestigious Rotterdam Festival. The Catalan documentary industry has long been present at such nerve-centres of the sector as the Sundance and Berlin festivals, and even on the Oscar red carpet. Our industry has successfully penetrated such formats as docufiction, hybrid and interactive documentary. Even the major film event in Catalonia, the Sitges International Fantastic Film Festival, encouraged by the growing popularity of the genre amongst audiences, has consolidated a showcase devoted exclusively to the documentary. For the documentary is amongst the genres that have best withstood the test of fragmenting audiences, the proliferation of windows, constantly-changing trends, etc. Moreover, Catalonia approaches this sweet moment for documentary production with an exception array of talent, both consolidated (Joaquim Jordà, José Luis Guerin, Pere Portabella, Mercedes Àlvarez, Carla Subirana, Isaki Lacuesta and so on) and new (Neús Ballús, Alba Sotorra, Roger Gómez and Dani Resines, etc.). Their combined works superbly illustrate the constantly-evolving nature of a genre that has masterfully incorporated the new technologies, the treatment of new content and the use of alternative aesthetics in order to reach new audiences and distribution channels. This year, 20, then, is one of commemoration, and I urge you to celebrate this 15th anniversary of MEDIMED and the extraordinary work of promotion and professional development that this event performs. The Directorate General for Creation and Cultural Companies contributes to this success by providing all the support required by this meeting for the Catalan documentary production industry. MIQUEL GARCIA Head of Documentaries and New Formats, Televisió de Catalunya The Institute of Catalan Studies provides a clear definition of the term documentary : a film that is not fictional and has an informative, cultural or educational purpose. The Encyclopaedia Britannica adds that such motion pictures may also serve the purpose of entertainment. The scene is currently rich in a huge diversity of documentary works. These include productions that seek new languages, particularly those based on the hybridisation of narrative structures, such as fiction, figuration, entertainment, docudrama, etc. The original orthodoxy is subverted, day after day. Meanwhile, innovative works that have received many awards, such as The Plague, by Neus Ballús, in Catalonia, or The Act of Killing at international level have opened up great debates about the frontiers of the genre. The programme at the IDFA in Amsterdam also included sessions devoted to hybrid productions that explore the limits between fiction and documentary. Moreover, this opening up of the creative gaze is accompanied by a trend that affects not only form, but also content. There is ever greater freedom for documentaries that pursue a thesis, auteur and even propaganda works, productions that go beyond their initial purpose of informing or educating. In all likelihood, we shall soon be talking only about films, and it will be very difficult to categorise genres. Personally, I feel that we should not be afraid of this transformation of the genre. Now, more than ever, we need documentaries, and audiences consume more and more of them. We need them for their heritage and cultural value, because they suggest responses to closed mindsets, because they can transform awareness, and because they can boost the audiovisual industry. Creativity can be a highly effective weapon against the crisis. Televisió de Catalunya is firmly committed to the documentary, including in-house productions, independent productions and coproductions. We believe that this focus is closely bound up with the public service that is our raison d être. That is why we are so delighted that Catalonia is hosting MEDIMED, enabling us to continue to play an active role and help to promote this important marketplace.. 15

9 016. Selected Projects 018. A Stud in Libya 020. A Village in Calabria 022. A World Order for Tomorrow 024. Amos 026. Paragraf Ben Gurion Epilogue 030. Border Diaries 032. Boy without a Voice 034. Cover up in Valencia 036. Dead Slow Ahead 038. Dream Away 040. In Search of Shisha 042. India s Lady Cops 044. Jihad Way of Life 046. Mapping the Future 048. Oleg 050. Puccini 052. Residence of Oranges 054. Revolution Revisited 056. Room for a Man 058. Staring at the Sun 060. The Altruism Revolution 062. The Black Sheep 064. The Bride of the Nile 066. The Changing Map of Lebanon 068. The Confiscated Images 070. The Darknet 072. There will be Water 074. Speedy Pitch Projects 076. Anti Pitch Projects DOC PROJECTS

10 Post-production finances, distribution, deals, pre-sale that would help us pay deferrals. Producer Fatima Mouhsine Director & Script Sylvia Stevens Photography Tim Hawkins 20: Hip Hop Hijabis Al Jazeera International 2013: Invisible Picture Show One World Broadcasting Google Digital Media Award : Through The Looking Glass: The Andajini Massacre Broadcast on BBC World & BBC Persia A STUD IN LIBYA Dr Amad passion for horses has taken him on a journey to bring back Libya s ancient horse tradition and through his struggle at the Al Shaab Stud we witness one man s fight to offer a nation in crisis a chance to heal and unite after 40 years of Gaddafi s dictatorship. UNITED KIGDOM English & Arabic 75 HD Human interest Confirmed Financing: (64%) ,000 Financing Sought: (36%) ,000 Total Budget ,000 Faction Films ,000 Deferrals ,000 A Stud in Libya: A Story of Passion for a Country and its Arab Horses TREATMENT STYLE The style and tone of the film is a true observational documentary. Our cameras are close and intimate as we cinematically follow the action. We know what our characters want but there are often dramatic interruptions (i.e. death threats/sick horses) that are obstacles to our characters achieving their goals, but these obstacles also reveal life outside the Stud. Our characters occasionally speak directly to the camera breaking the observational flow as they give us their inner thoughts. The rhythm of the Stud with the horses sets a tranquil tone that is juxtaposed with the wider events both in Libya politically and the international horse community. STRUCTURE On the outskirts of Tripoli, sandwiched between light industrial units, lies the Al Shaab Stud, a small unassuming place run by veterinarian Dr Amad Shaab. Though small the Stud is anything but insignificant. It is a symbol of a modern day struggle to reclaim and rebuild a tradition that, after millennia as a central part of Libyan life, was crushed under Colonel Gaddafi. This is a struggle for both national pride and for a viable future for Libya in Ireland alone the high end horse industry employs 22,000 people and puts 1.3 Billion in the government coffers. The stakes are high. Dr Amad and his feisty young female trainer, Malak Ramadan, are determined to put Libya back on the international equine map but it is going to be a uphill battle. Just as ordinary Libyans struggle with the many challenges of rebuilding their nation so their dream is not an easy one to achieve. They face huge obstacles within Libya a barely functioning new government, a quagmire of bureaucracy and infighting (including death threats), and the everyday violence of a post-revolutionary country as well as the demanding standards required by the international Stud Book and Olympic organisations. This is a story of passion, intrigue and danger that reflects the larger struggle Libya faces in creating a new democratic nation. S Sylvia Stevens Director FACTION FILMS 26 Shacklewell Lane E8 2EZ London (UK) Tel sstevens@factionfilms.co.uk

11 A VILLAGE IN CALABRIA Un paese de Calabria International broadcaster. Producer Laurence Ansquer Directors & Script Shu Aiello & Catherine Catella 2012: He Film, Lilianne de Kermadec Sélection festival des Films de Femme de Créteil 2011: El Velador, Natalia Almada Sélection Quinzaine des réalisateurs, festival de Cannes Laurence Ansquer Producer When Rosa Maria left Calabria, at the end of the 1930s when she was 20 years old, she never imagined she would one day make the journey back to this abandoned land. To understand the silence which has always weighed on the story of their exile, I am exploring Riace, the native village of my grandparents. FRANCE Italian 52 Stereo HD Human interest Confirmed Financing; (59.10%) ,000 Financing Sought: (40.9%) ,000 Total Budget ,000 CNC ,000 Région PACA ,000 PROCIREP-ANGOA ,000 Tita productions ,000 JMH production (Suisse) ,000 TITA PRODUCTIONS 25 rue sylvabelle Marseille (France) Tel l.ansquer@titaprod.com In this formerly deserted land in Calabria, a utopia was born. The streets of Riace slowly came back to life. Tales of exile were brought together... SYNOPSIS This is the portrait of a village in Calabria which years of migration have left virtually deserted. When Rosa Maria left Calabria, at the end of the 1930s when she was 20 years old, she never imagined she would one day make the journey back to this abandoned land. To understand the silence which has always weighed on the story of their exile, I am exploring Riace, the native village of my grandparents. Defying fatality, Riace has now decided to revive itself by welcoming migrants who wash up on the Italian coasts. This apparently humanitarian action is above all a pragmatic move to sustainably repopulate and re-enliven the village. Some, fearing I had come to claim some land of my ancestors, were wary of me at first, but the villagers slowly opened up in much the same way as they had more or less accepted the arrival of foreigners from distant horizons, the same horizons from which they had feared conquering invasions or acts of piracy in the past. The people of Riace recount the past and this new present which they have brought into being. I discover the secrets of the hurried departure of Rosa Maria by listening to the history of this longforgotten land. By listening to these new migrants, and also to their silences, I can guess at the scars of exile, which only memory can relieve. TREATMENT Immutable landmarks: The village square is like a theatre: everything happens there. This is where we meet people; they enter and leave the shot, come over if they want to speak in front of the camera. Recurrent Images: The small Federica bus which winds round the hills in all seasons is sometimes the only moving object to be seen when the heat has emptied the streets. The old lady, La Pazza, always grumbling and pacing the village from one end to the other, follows the children in the street, so happy to see school reopen. Capturing the present: The inhabitants of Riace remain mistrustful. You need merely cross the main street once under their watchful stares to understand that nothing is certain. It is rather little by little, in a common language, that relationships are forged. The villagers are weary of explaining their unique experience. However, they are not used to anyone being really interested in their daily lives or history

12 12 With the support of: A WORLD ORDER FOR TOMORROW Quel ordre mondial pour demain? Pre-sales, co-production and distribution advance. Producers Serge Gordey & Christine Camdessus Directors Pierre-Olivier François, Rémi Lainé, Jean-Marc Seban & Bernard Mangiante 2013: Korea, the impossible reunification? with ARTE France. 2011: Five broken cameras International Emmy Awards, Oscar Academy nominee. 2010: Pop goes Islam broadcasters: ZDF ARTE, Al Jazeera English; Media support. S Christine Camdessus Producer For the 70th anniversary of the U.N.: 4 films to take a critical look at world governance. Each film to cover a key issue: Security (Security Council controlled by the victors of WWII) and peace-keeping; World trade (Doha: the limits of multilateralism) and labour (ILO); Development (PNUD & millennium goals ), Economy and finance (World Bank/IMF/G20). FRANCE English 4x55 HD Stereo Current affairs Confirmed Financing: (56.76%) ,135 Financing Sought: (43,24%) ,242 Total Budget ,242 ARTE GEIE développement ,000 ARTE GEIE (in process) ,000 MEDIA Slate Funding ,135 ALEGRIA PRODUCTIONS 9 passage de la Boule Blanche Paris (France) Tel christine@alegria-productions.com These four films will raise numerous questions: have the international organisations that were created in the wake of the second world war fulfilled their missions and have they managed to organise the world and impose their charters? Have they been overstepped by the new world order? Can they be reformed? THE TOPIC Since the beginning of this century, the multilateral system that has been in place since World War II has been floundering. It has failed to produce significant global agreements on trade or climate and the future of the financial agreements made after the 2008 crisis is not clear. No notable progress has been made on social or environmental issues. Meanwhile the G20, which sparked great hopes for ensuring global economic stability, has produced scant results, with the exception of recent progress on tax cooperation. This situation can be partly attributed to the on-going shift in the global balance of power and bodes badly for our collective ability to manage global public goods and our common future. Today we see the international space being fragmented by regional and bilateral initiatives that can only partially replace multilateralism. Some institutions, such as UNESCO, have kept a purely symbolic power, others, like the WHO, are under-funded; but above all, the current context demonstrates the very real risk of a stalemate in global governance, as the situation in Syria or Ukraine have shown. In the face of this, it is time to question the world order created after World War II and the power of international institutions in charge of a certain world order. Though these institutions may today be amply criticised, we should bear in mind that for decades they helped to create a universal balance and to enrich the peoples of the world. The question that needs to be posed is their ability to change or renew themselves so as to adapt to the world of today and tomorrow. With the end of the Cold War, the late 20th century saw the countries of the former Communist bloc join the Breton Woods institutions (World Bank, IMF ). Yet the organisation of power in these institutions has been called into question, as has that within the UN. In 1998, the financial crisis in Asia saw the G7 grow into the G20, informal structures that challenged the legitimacy of the historical institutions. In the early 21st century, what Pascal Lamy calls the ideological software! Of world governance is no longer adapted to today s world. Up until the early 1990s, the intellectual and ideological matrix of the system of governance that was progressing was Western. But the emergence of China, India and Brazil means it is no longer adapted. So what will the new matrix be? With globalisation bringing forth new non-state players such as multinational corporations or non-governmental organisations, the need for rules appears increasingly urgent

13 SYNOPSIS Co productions and production funds. Producers & Directors & Script Dani Menkin & Yonatan Nir 2011: Dolphin Boy, by Dani Menkin & Yonatan Nir Winner of the First Prize in Antibes Underwater Film Festival, Special Mention Award at the 2011 Woodstock IFF and the Jerusalem IFF, and nominated for the Israeli Academy Award. The film has been sold in Germany, France, England, Japan, Sweden, Swiss, Denmark and Finland. 2011: Beyond the Boundaries, by Yonathan Mir S Dani Menkin & Yonatan Nir Producers & Directors AMOS For the past 30 years, world renowned Wildlife Photographer Amos Nachoum, has taken a unique and controversial approach to the photography of wild animals. He uses no protective equipment, Amos opts instead to bring himself up close to the wildest creatures on earth. Amos will set out to the Canadian Arctic to face his ultimate goal. With no protection, he will photograph a Polar Bear while swimming alongside it proving that Man and Wildlife can coexist in harmony. ISRAEL English 90 Beta DV CAM Stereo Dolby Docudrama Confirmed Financing: (18.37%) ,000 Financing Sought (81.63%) ,000 Total Budget ,000 Israeli Film Fund ,000 Second Channel Israel (TBC) MENKIN PRODUCTIONS LTD Tagor 40 Tel Aviv (Israel) Tel / danimenkin@yahoo.com / niryonatan@gmail.com The film is an adventure - a collage of natural history and human psychology - a thrilling revelation of the human spirit. For the past 30 years world renowned Wildlife Photographer Amos Nachoum has taken a unique and controversial approach to the photography of wild animals an approach that has made him into a legend. Wearing no protective equipment Amos opts instead to put himself side by side with the wildest creatures on earth great white sharks, crocodiles, walruses, anacondas, leopard seals, killer whales armed with nothing but his camera. This approach to photography is what Amos believes the only way to bring the true grace of these venerable species to the public, dispelling fears and proving that Man and Wildlife can coexist in harmony. Nikon, Communication Arts, and BBC wildlife (twice) have recognized him as photographer of the year. APA national awarded him as best of show (2012) and he was profiled on TV shows such as National Geographic explorer, Today and Good Morning America as well as in People, Esquire and Money magazine. But what is the story and history behind the man and his quest? What are the true motivations of this man who has lived his life on the edge for so many years without family or a place to call home? This summer Amos will set out to the Canadian Arctic to face his ultimate goal. With no protection, Amos plans to photograph a Polar Bear swimming from up close while swimming alongside the bear. Having already made a near fatal attempt to take this dangerous photo, Amos is aware of the risks but he knows this is his last chance to complete his odyssey. The film will follow Amos as he prepares for this challenge while exploring the deep life experiences which drove him to this crucial moment. Through interviews and archival footage, Amos public persona will be peeled off layer by layer as the film develops and the journey unfolds and the true story emerges: Amos story is of an Israeli Elite Forces officer who experienced war in its most horrific form and chose nature as a refuge from his painful past. It is also the story of a child that never received acceptance by his father who wants till this day, his only son to pass the family name on to the next generation and cannot understand Amos endless need for danger and adventure. Once in the Canadian Arctic Amos will join Emmy Award winning Cinematographer Adam Ravetch, who, inspired by Amos work at the beginning of his illustrious career, hopes now to help his mentor fulfill his last photographic dream and find peace

14 12 ARTICLE 196 Paragraf 196 The question is if and what should be the limits of freedom in a civilized, democratic society? TREATMENT Though freedom of expression is guaranteed in Poland s constitution, there are legal restrictions on this fundamental right. Article 196 of Penal Code bans offenses toward religious feelings or sentiment. There have been several investigations and charges under Article 196 in recent years. Most of them have targeted writers, musicians, and other artists. One can question the right of an artist to play with religious symbols in a loony way which is meant only to draw the public interest in order to earn money or fame and not to say anything important. But if we draw a line of censorship, using religious rules as a reference, the freedom of speech and artistic expression seem to be endangered. And law restrictors are often applied to cases which are far from any kind of intended offence and are simply pieces of truly artistic work. So the question is if and what should be the limits of freedom in a civilized, democratic society? Screening license pre-buys, co-production partners. Producer Malgorzata Prociak Director & Script Konrad Szolajski Photography: Michal Slusarczyk 2011: And God Created Sex coproduction with HBO CE. 2010: Seduction Camp in association with ERT, NRK, YLE, SBS, with the support of the MEDIA Programme and Polish Film Institute. 2009: Good morning, Lenin! coproduction with MDR, in association with ERT with the support of the MEDIA Programme and Polish Film Institute. Malgorzata Prociak Producer There is a country in Europe where an artist can be imprisoned if somebody finds that the artist s work offends their religious feelings. First trials have taken place. The documentary will follow most interesting cases. We will also try to understand the way of thinking of those, who re-introduce censorship. POLAND Polish 54 HD Stereo 16/9 Human rights Confirmed Financing: (5%) ,500 Financing Sought: (95 %) ,500 Total Budget ,000 Polish Film Institute ,500 ZK STUDIO SP. Z O. O. ul. Hoza 29/31 l Warsaw (Poland) Tel konrad@zkstudio.pl STYLE OF NARRATION The documentary will look at artists who challenge Catholic political correctness and the infamous Article 196 of the penal code. Why do they do it? What price do they have to pay for their transgressions? Simultaneously we would also like to understand the way of thinking of those, who seem to aim at re-introducing censorship, which would be on guard of ideological purity. Do they have reasonable arguments against freedom of art and artistic expression? Isn t it sometimes going too far, motivated commercially and aiming at getting more interest from the public through purely scandalous performances? Will primarily use an observational style of narrative, coupled with interviews with our subjects. Naturally, the style of narration will be permeated by humour and irony as our characters tend to comment on reality in this way. We will also use fragments of films made by the protagonists or archive footage covering their performances

15 broadcasters and film funds in Europe and North America. Producers Yariv Mozer, Yael Perlov & Julia Rosenberg Director & Script Yariv Mozer 2013: Snails in the Rain Award at Montreal FF 2012: The Invisible Men Winner of The 2012 Doc Aviv Special Jury Award and 2012 Frameline SF LGBT IFF Outstanding Documentary Feature Award 2008: My First War a co-production with ZDF ARTE, winner of The Doc Aviv Special Jury Award, IDFA First Appearance Nominee and Best Film Award at Toronto Jewish Film Festival. Yariv Mozer Producer & Director BEN GURION, EPILOGUE The film depicts the final years in the life of Israel s founder, David Ben Gurion. Years during which he found himself excluded from the leadership discourse. This exclusion offered him to critically observe the Zionist enterprise and self-examine himself. 40 years later, the film expose his prophecy and worldview. ISRAEL Hebrew & English 50 HD Stereo A biography of a foreign leader and historical figure Confirmed Financing: (41.5%) ,000 Financing Sought (58.5%) ,131 Total Budget ,131 Channel 8, Israel, Rinat Klein ,000 Societe Radio-Canada, French Canada, Jean Pelletier Investment (TBA) ,000 MOZER FILMS LTD. 26 Nordau Blvd Tel Aviv (Israel) Tel yarivmozer@gmail.com Based exclusively on the bestselling book by Avi Shilon. This book, together with this film, reflects the interest of us, some young Israelis, to turn back to our history in order to find answers for today and maybe for the future. DIRECTOR S POV At the entrance to the state of Israel, right upon the gates of its airport, stands silently the face statue of its founder, David Ben Gurion, as if to remain the immortal gatekeeper of his country. Exactly forty years ago, he died, leaving after him a detailed will demanding the state of Israel to keep, preserve, and make his treasure of legacy available publicly. As if predicting the future to come, during the last decade of his life David Ben Gurion invested his time in the preservation and organization of his memoir. The film will follow my efforts to find the roots of his legacy and the first step will be, unsurprisingly, The Israeli Army Archive. Immediately after he died, the state of Israel, decided to keep all the documents of David Ben Gurion in the possession of the Army. With no exclusion, letters, protocols, notes and most significantly, his personal diary in which he made obsessively daily entries and by means of which we get to know the man, his emotions, the depths of his soul. We have access. The journal in his handwriting will be integrated as one of the key elements of this film. In addition, as the film goes back to the latter part of his life, in the present time, I am determined to expose the visual remains of the leader, scattered in many archives, awaiting to be revealed and discovered with relevancy to our current time. Since Ben Gurion s death there has not been a documentary that conveys his doctrine. Acclaimed Israeli filmmaker, David Perlov, was the first and last to make a film about Ben Gurion. The docudrama 42:6 (1970) has been forgotten, virtually faded away. In my current restoration of it, I found the film in a very bad shape, almost forever gone. Exactly forty years after his passing, I want to revisit the man upon whose vision and perception the State of Israel was established. Given the coming days that call for crucial decisions as to the future of Israel, primarily major political issues and the Israeli Palestinian conflict, I look back in time to confront the same questions about the future of this country. Towards the end of his life, Ben Gurion s vision had a distinct, precise and surprising point of view in this regard. This year s publication of the fascinating bestseller by young historian Avi Shilon exposed, for the first time, the late chapter in Ben Gurion s life, which had remained obscure to this day. This book, together with this film, reflects the interest of us, some young Israelis, to turn back to our history, to our past, in order to find answers for today and maybe for the future

16 Pre-sales and co-producers. Producers Zé Peixoto & José Rodríguez Director & Script Irene Gutiérrez Photography Irene Gutiérrez S 2012/13: Miralda, The Sacred Stomach Coproduction TV3, AVRO Jihlava International Documentary Film Festival, 65th Prix Italia (Torino) 2012: Tastes and Tongues, the Raval Merzougha Festival, Docs Barcelona, Festival Internacional Cinemigrante (Buenos Aires) 2007: La Siesta de la Vida Coproduction BITCOM, Germany, & ZDF ARTE FRANCE José Rodríguez Producer BORDER DIARIES Diarios de Frontera Border Diaries is an essay-documentary that traces the return of its director to her hometown, Ceuta, border city between Spain and Morocco in North Africa. A meditation on the violent transformation of the spaces and the complex relationships between those who are left conditioned by the existence of an invisible frontier that began its existence before the building of a border fence. SPAIN Spanish, English & French 52 HDV Stereo Human rights Confirmed Financing: (47.83%) ,000 Financing Sought: (52.17%) ,000 Total Budget ,000 Canal Sur ,000 Azhar Media ,000 Belozé Produccions ,000 BELOZE PRODUCCIONES Guerau de Liost, Barcelona (Spain) Tel belo@beloze.com The power of modern cinema is to make us believe again in the world ( ) Christians or atheists, in our universal schizophrenia, we need reasons to believe in this world. The Image of Time, Gilles Deleuze SYNOPSIS Back to Ceuta, the border city between Spain and Morocco in North Africa where I was born. My father has suffered a stroke and has lost some of the short term memory, but he remembers with an almost photographic clarity some images of his childhood and ours in the city where we grow up. I m returning to the same places accompanied by rolls of old Super 8 movies that my father shot there with age that I have I now. My father never finished the amateur film he wanted to do called Between two seas but now, 30 years after, I am to come back with the intention of completing it. The screenplay is not the same anymore, because the story isn t the same anymore. The characters aren t the same either, nor the scenery. The city now is a border of borders: Spain and Morocco, Christianity and Islam, opulent North and impoverished South, colonizer and colonized, Europe and Africa. My father did not film the border fence because it didn t exists yet, but the fence was there long before it was built. Even today, more than 20 years after we left the city, is installed inside us. 30

17 Pre-sales and co-producers. Producers Hilla Medalia & Neta Zwebner-Zaibert Director & Script Guy Davidi Photography Avner Shachaf S 2013: 5 Broken Cameras International Emmy Award Winner 2008: To Die in Jerusalem Peabody Award Guy Davidi Director BOY WITHOUT A VOICE Hanaar Lelo Hakol Boy Without A Voice follows two teenagers from childhood to adulthood and military. One deaf, one blind, both struggle to fit-in. Their innocence fades in a society emphasizing unified identities. The exempt from military service concludes their unlikeness. Their success in eventually recruiting reflects the absurdity of military service duty in Israel. ISRAEL Hebrew 90 HD CAM Human rights Total Budget ,060,611 YesDocu - Development ,800 KNOW PRODUCTIONS Meir Yaari 15 Tel Aviv (Israel) Tel hilla@knowproductions.net The Boy without a Voice is a poetic creation searching to examine the bounds of documentary cinema, binding different stories connected beyond any poetic connection. SYNOPSIS Their innocence fades in a society emphasizing unified identities. The exempt from military service concludes their unlikeness. Visualizing their disabilities illuminates the suppression teenagers embrace as part of life in Israel at the price of corruption of sensitivity and destruction towards the other. A narrator based on forgotten letters and diaries describes a life of adolescence experiences; he takes us on an epic journey to a growing darkness. Gradually we discover the narrator is a voice created from soldiers who committed suicide during service. Texts nobody would touch - a voice which doesn t exist. With a novel use of cinematic language and sensitivity, the film offers a shocking experience by building a world where choosing death seems sane. TREATMENT Boy without a voice is an epic movie portraying the coming-ofage story of two characters from childhood until military service. A mysterious narrator is portrayed through archive footage and texts taken from letters and diaries. Through the interweaving stories are are exposed to the all human need to fit in and the cost emanating from this sincere need. The movie is full of compassion for its characters while at the same time represents human phenomena which is the most difficult to watch: denial of another s suffering as well as learning the justified, established violence which has no cruelty or pathos, one that is established upon piles of arguments and empathy stirring experiences. Gil and Lior the two boys filmed in the movie (starting age 16) suffer from a severe disability relieving them from the most founding experience in the life of Israelis. Their characters are presented from a view approaching single moments in their intimate lives while studying them again and again from a distance and in comparison to the normal teenagers around them. Their sensory disabilities, in many cases, prevent them from fully understanding the reality around them and limits their interpretation of the personal and social reality. The story of the narrator in the movie is very different. His character is revealed by very fine clues through archive materials taken over the years and poetic insights taken from actual texts. His identity becomes clear during the course of the movie. He has sharp senses and he gives us a view of his life and the life of the filmed characters but his voice is a voice that does not exist. A voice comprised of notebooks, letters and diaries buried in forgotten drawers. A voice silenced

18 THE FILM Pre-sales and co-productions. Producer Joan Úbeda Director Vicent Peris Script Lluís Arcarazo & Dani Fabra S 20: Messi, by Alex de la Iglesia. World premiere in Rio de Janeiro : Salvador Allende, by Patricio Guzmán. Nominee Best documentary at Goya 2005; Best documentary al Festival de Lima 2004; selected for official section Festival de Cannes. 2002: Comandante, by Oliver Stone. Selected in Sundance IFF and Berlin IFF. Joan Úbeda Producer COVER UP IN VALENCIA Zero Responsables In July 2006, a subway train derailed in Valencia, killing 43. For the survivors, fighting against the official blanket of silence was as traumatic as mourning their loved ones. This David vs. Goliath tale documents a case of citizen s empowerment and offers a valuable insight into the current social malaise in Spain. SPAIN Catalan & Spanish 90 & 52 HDCAM Stereo Human rights Confirmed Financing: (58.62%) ,000 Financing Sought: (41.38%) ,000 Total Budget ,000 TVC Televisió de Catalunya ,000 WDR ,000 MEDIAPRO Avinguda Diagonal, Barcelona (Spain) Tel eperis@mediapro.es For the survivors, fighting against the official blanket of silence was as traumatic as mourning their loved ones. Cover Up in Valencia is, above all, a powerful human story which will unfold as a character-driven feature documentary. The specifics of the story (the causes of the accident, the political dynamics of Valencia, the Spanish background) are local, but the film will transcend them to address a wider, international audience precisely through the strength of the main characters, to which anyone can relate. There is a wealth of visual material to tell the story. Since mid- 2012, the team at Barret Films has been documenting every move by the Association they have well over 800 hours of filming, shot in an elegant observational style. The filming includes actuality (meetings, demonstrations, everyday life...) and interviews not only with the main characters but also with many others related to every aspect of the story. The team has also located and secured access to many hours of archival footage related to the beginning of the story (the accident and the first months of life of the Association). Filming will continue until late summer 20, when a decision by the judge is expected on whether to indict somebody and convene a trial or, on the contrary, to dismiss the case again. If there is a trial, it won t actually happen before one or two years, and it won t make sense to wait for it. If there is no trial, we don t know whether the Association will keep fighting or not. In any case, whatever the result, the judge s decision will mark the closure point for the film. We plan also to do some retakes with the characters once the editing is advanced enough, in order to close potential gaps. Given the fact that the film will cover an 8-year period (2006 to 20) it will necessarily have a mostly chronological structure. However, it won t be a mechanical, linear unfolding of the facts. For example, the accident, which has multiple dense layers of content, will be visited upon several times along the film, each time under a different angle: the blow-by-blow recollection of the facts by the relatives, the causes of the accident, the cover-up conspiracy and the political context. The long period of time covered will allow the viewer to perceive the evolution of the characters, not only because they look much younger at the beginning but, more importantly, because their attitude also changes over time. Point in case is Beatriz Garrote, whom we see evolve from a grief-stricken victim to an assertive fighter and public image of the Association

19 Finance and support from France, rest of Europe and Asia. Producers Ventura Durall & Salvador Sunyer Director, Script & Camera Mauro Herce S 20: Bugarach. Festivals: Hot Docs, Vision du Réel, Documenta Madrid, Docs Barcelona. Presented at Medimed. 2013: The Wild Years. Festivals: Shanghai (Best Photography), IDFA, Málaga IFF, Documenta Madrid. Presented at Medimed. 2009: The Forgiveness. Best documentary at Belgrade Doc Festival. Salvador Sunyer Producer DEAD SLOW AHEAD The ship Charlotte moves forward, in search of something unknown, something that can reverse the loneliness and anxiety of the established order. In this inhospitable place, the sailors seem to be sacrificing their lives, far from their families and homes, what for? SPAIN Spanish, French, English & Philippine & 52 35mm Dolby Human interest Confirmed Financing: (59.27%) ,000 Financing Sought (40.73%) ,2 Total Budget ,2 Public Funds (ICAA, ICEC & others) ,000 TV3 (co-producer) ,000 NANOUK FILMS Còrsega, Barcelona (Spain) Tel salvador@nanouk.tv The ocean, the sky, the sea seem to contain the beauty and strength of all that is possible. But the landscapes transformed by man, as the labyrinthine machinery of the ship, reflect the complexity of man s mind. STRUCTURE Dead Slow Ahead won t be a classical film. It won t have a three acts structure. It won t need any mid-point nor even a closed ending. In this film we ll get inside the merchant ship Charlotte and its universe. It will be a slow walk, a gentle discovery of its labyrinths and its almost phantasmagoric characters. The viewer will enter claustrophobic corridors, machinery rooms, watching human figures walking through them, without recognising the place. We will realize, in a poetic way, that man and machine form a symbolic bond, that they are part of a complex gear that s difficult to fully understand. It won t be until almost half of the running time of the film is over that the spectator discovers that all he saw was happening inside a ship that s sailing with an unnamed, at least for the viewer, destination. The Panamanian merchant ship, named Charlotte, is finally stopped and considered out of service in Tenerife, Canary Islands. The ship has been stopped for three months a few kilometres from the coast and the reamining waiting time is for now undetermined. The crew cannot go back home until the ship is at its destination: these are the rules on board. The food is becoming scarce. The visits to the solid ground are each time less frequent because of the cost for fuel and mooring rights. The economic reserves are virtually zero. The crew is made up of Filipinos (labour and drudgery), French and Spanish people (high-ranking officials and technicians) and Russians (skilled workers/officers), and their mood changes a lot day by day. Almost everybody has their own room, but bathrooms are shared. The captain s room is more like an apartment. He is a quiet and lonely man, but sometimes he shows a smile that lights up his face. The viewer will start recognising the different characters on New Year s Eve, thanks to their families calls. We ll get closer and closer to them, well, to their stories, because the phantasmagoric aura of the ship won t let these characters show themselves entirely. The hard routine and the harsh conditions of their way of living have changed them. After this journey entering and discovering this rare universe, and after getting to know its inhabitants we ll be ready to abandon them in their sordid existence going nowhere. A strange feeling leaves the viewer in an empty state, entering the void. We ll finally find ourselves thinking about this ship and these people, asking whether this universe still exists in a remote corner of the oceans

20 12 TREATMENT Co-producers & Distributors from France, Denmark, Italy. Producers Roman Roitman & Mark Lofty Directors & Script Marouan Omara & Johanna Domke Photography Melanie Brugger 2012: Mr Jensen, documentary produced and directed by Roman Roitman. 2013: Mice Room, fiction produced by Mark Lotfy. DREAM AWAY In the beach resort of Sharm El Sheikh, the sun-soaked coastal strip that is one of the Middle East s most popular holiday destinations, the glitziest hotels can shroud the grubbiest of secrets. Sharm El Sheikh is the paradisal destination of both tourists and Egyptians. Each flock to the resort city searching for real-life fantasy. Tourists are in search of beaches and night life, while notably young Egyptians are desperately in need for work or are simply attracted by the different cultural influences of the place. EGYPT & GERMANY Arabic, Russian, Italian, English, German & French 52 & 90 HD CAM Dolby Human interest Confirmed Financing: (21,29%) ,000 Financing Sought: (78,71 %) ,019 Total Budget: ,019 Dream Away is a film about this generation of young Egyptians and their struggle to a new identity, which is prevailing the course of the whole country. Sharm El Sheikh offers as a backdrop an unimagined challenge as the glittery tourist town is full of surprises behind the pompous facades. Once a fishing village at the Red Sea, Sharm El Sheikh transformed under Hosni Mubarak into a gaudy holiday hotspot and an international political and economical meeting point during his rule. The shadow of Egypt s former president still looms large more than three years after his demise as the aftermath of the revolution is felt here more then anywhere else in the country. Tourism suffered enormous and the high-class customers of the five star hotels became low fare package tourists, while businessman and politicians stayed away at all. Dream Away is set in the panorama of a once glamorous and prosperous tourist town that now bows down to the taste of low cost holiday-maker. The cultural gap to the rest of the country is ever growing causing a moral dilemma on a political scale. The holiday resort is merely built upon the imagination and idealization of the respectively other culture, full of clichés of the Arabic fairy tale 1001 night and western consumerism. This erratic free zone is attracting the Egyptian youth who is affected a great deal from the countries unstable political and economical situation. The generation that actively conducted the revolution is the one that suffers the most from its consequences. The economic difficulties of shaping a future in big cities like Cairo makes them seek jobs in Sharm El Sheikh, where they encounter a life with a completely different set of values, ideals and morals. This might at first be an attraction or seen as a danger, but it changes their approach to life and the view on their own culture. Tourists are the fuel to this dilemma as they come to the exotic resort, looking for adventurous experiences exalting their consumption of alcohol, sex and night life. As an auto-reaction in this human equation this stirs up the imagination of the young Egyptians leading to a distorted image on both sides. AFAC The Arab Fund For Arts & Culture ,000 Deferrals of Producer Fee and/or overhead Egypt & Germany ,000 Marouan Omara Director FIG LEAF STUDIOS / FILMBUCHT Alexandria / Cologne (Egypt & Germany) Tel

21 DIRECTORS NOTE OF INTENT Finance (public), broadcaster commission/coproduction or presale, distribution Producer Jeremiah Cullinane Director & Script Bryony Dunne Photography: Bryiny Dunne 2013: See You at the Pictures, special event documentary for RTÉ. 2012: If Not You. Premiered at the Kino Pavasaris IFF (Vilnius). 2010: The Book Smugglers. Co-production Era Films & Vinegar Hill N.I.; TG4, BBC Northern Ireland, ILBF, LRT. With the support of Lithuania Ministry of Culture & MEDIA. Pitched at MEDIMED 09. Jeremiah Cullinane Producer IN SEARCH OF SHISHA A retired South American Dutch military officer travels through Egypt, convinced he is the reincarnation of Pharaoh Ramses II. Through him we discover a different picture of Egypt and its people than what is presented on the daily news. IRELAND English, Dutch & Arabic 75 HD Mono Human interest Confirmed Financing: (48.33%) ,000 Financing Sought: (51.67%) ,000 Total Budget ,000 Irish Film Board ,000 Planet Korda Pictures ,500 Windmill Film (NL) Netherlands Film Fonds ,000 Den Haag City Council ,000 PLANET KORDA PICTURES LTD. 6 Eustace St. 2 Dublin (Ireland) Tel jeremiah@planetkorda.com Dominico represents just one of thousands of people who travel to Egypt searching for answers in their life, whether or not they have been reincarnated. A search to understand where one originally comes from. The revolution; the coup; the Brotherhood: based in Cairo, and having spent the last two and half years in the country, I am now well acquainted with the Egypt most commonly portrayed by mass media. For better or worse, I think the world is too. But I have also experienced life on the other side. Since coming to Cairo I have made it my mission to unearth the stories of daily life that all too often stay buried from view. Like that of Dominico... The day he decided to climb Mount Sinai was 30th June Five hundred kilometres away, one of the largest demonstrations ever known was underway. Millions flooded Cairo s streets to demand the resignation of Islamist President Mohamed Morsi. This was no accident. The idea of this film came at a time a critical juncture in Egypt s history for a reason. My intent was not to ignore the worsening situation. Rather, the state of the country Dominico finds himself journeying through amplifies its current paradoxes: the peace of the deserts and mountains; the violent hum of the cities; timelessness; change; the eternal; the now. I believe there is a need for stories like that of Dominico to be explored. Of course, more selfish reasons exist for following Dominico. His excitement, curiosity, and naivety, represent my own when I first arrived. Traveling alone in Egypt; meeting few fellow foreigners; doing these things has strange effects on the mind. In this way, the decision of Dominico to chase his dream as a pharaonic king is one to which everyone can relate. Some choose to pursue. Others let the dream go. But for the ones that step outside of the box, for whatever reason-whether to feel better about themselves and want others to view them as a king like Dominico, the satisfaction of doing so is tangible. In my experience; in the journey of Dominico; in the film itself: a definite sense of the epic develops. The continuing relationship I have developed with Egyptians in general, and Bedouins in particular, will aid this production. My first encounter with Dominico was in the village of St. Katherine s in South Sinai, where I was finishing shooting another project. That film, like this one, also dealt with eccentrics. Dominico, his character and personal mission, instantly struck a chord. Like the protagonists of my other film, he too was searching for something and at the same time wanting to escape. He too displayed charming eccentricities. Allied with his buoyant Latin nature, I was excited to realise that Dominico embodied what I loved about the unusual and varied people that Egypt had presented to me

22 SYNOPSYS Broadcasters, all territories available except English-language cable & satellite; Arabic cable & satellite; Turkish cable & satellite. Producer Christopher Mitchell Director & Script Ruhi Hamid Photography Ruhi Hamid 2009: Massacre at Virginia Tech Gold Award, World Media Festival; Bronze World Medal, New York TV Festival; Cine Golden Eagle Washington DC; Silver Chris Award 2008: Super 30 (director) Audience Award, Indian Film Festival of Los Angeles; Audience Award, River to River Festival, Florence. INDIA S LADYCOPS The lives of India s new all-women police units. One storyline follows Investigating Officer Parmila Devi and her colleagues at the Women s Police Station in Sonipat, while the other focuses on the female Riot Squad at Rothak. It s a film about female police officers, and more widely about how India treats its women. UNITED KIGDOM Hindi 60 HD Stereo Dolby 16/9 Human interest Confirmed Financing (43.3%) ,536 Financing Sought (56.7%) ,3 Total Budget ,850 Al Jazeera English ,536 VPRO ,000 In this film we go deep into the lives and work of India s new all-women police units. The brutal gang rape and murder of a woman on a Delhi bus in December 2012 shocked the world. The Indian public was outraged; weeks of demonstrations were accompanied by loud calls for better policing. The government promised to increase the number of female police officers and women-only stations across India. This has given Indian women the confidence to turn to the law to help solve their disputes over domestic violence, child brides, intimidation from in-laws on dowry matters, acid attacks and suicides, sexual harassment in public places, and rape. This film is about female police officers, but it s also about how India treats its women. In 2012 Reuters ranked India as the worst G20 country in which to be a woman. Most violence takes place within the family and until this changes, the attitudes to women in public places will not improve. In recent weeks the treatment of women has returned to the headlines with the horrific cases of gang rape and murder in Uttar Pradesh. Today, as a G20 nation with a rapidly expanding economy, India is expected to embrace the laws and norms that its Western counterparts follow including gender equality. More and more women work and are more economically independent, yet they also have to be mothers, wives and daughters-in-law. They know their rights and increasingly they stand up to their in-laws. Yet many husbands can be weak and submissive towards their own parents and family, and don t stick up for their wives. Women are increasingly leaving their unhappy marriages; divorce is on the rise, and so is family breakdown. India s traditional extended family is coming under threat as never before. As the people who have to deal with some of the most dramatic consequences of these changes, the new generation of female police officers provides the perfect lens through which to reveal a wider picture of India s women. Christopher Mitchell Producer TOUCH FILMS LTD 21A D Arblay Street W1F 8EF London (UK) Tel christopher@touchfilms.co.uk

23 12 SYNOPSIS Finance of European, Arabic and American televisions. Producer, Director & Script Malik Ait-Aoudia Photography Romain Hamdame 2013: The Martyrdom of the Seven Monks of Tibhirine Primed at 2013 Best documentary at Festival international du cinéma d Alger 2013 Public award Presented at Medimed JIHAD WAY OF LIFE In order to understand why so much Europeans leave everything to fight in the name of Allah in Syria with the will to die as a martyr, Jihad way of life propose for the first time an inquiry in the new jihad world with those young jihadist who are scaring western countries, their families and their friends. FRANCE French 60 Full HD Stereo 16/9 Current affairs Confirmed Financing (61.24%) ,469 Financing Sought (38.76%) ,775 Total Budget ,244 France 3 National ,000 CNC ,725 Peacock ,744 Jihad way of life, those Europeans who fight in Allah s name. For months, we negotiated with the Syrian authorities the right to meet European jihadists detained in a prison in Damascus. They eventually accepted the idea of us spending a week interviewing, in the prison s director s office, seven French and Belgian individuals, half of whom are converts. Having grown up and lived in a secular country, how can one become a jihadist in 2013? How can one become radicalised in Liege, Strasbourg, Brest, Paris or Le Havre? Why would one risk his or her life in order to fight with al Qaeda in Syria, Algeria or Mali? What do jihadists learn in terms of propaganda, weapons handling and guerrilla tactics in the camps where they are trained? What are their plans once they are back in France, Belgium or elsewhere in Europe? Are some Muslim individuals a threat to civil peace in Europe? It has so far been challenging to answer those very questions that are a source of concerns for intelligence services, politicians, religious figures and ordinary citizens alike. This documentary is an attempt to answer those questions. The documentary is built on the testimonies of these imprisoned jihadists as well as on an investigation focusing on their family, friends, co-workers, neighbourhood as well as potential mosques they attended and prisons they stayed in. Most pieces of work tend to focus on jihadists after their death, relying on the testimonies of those who knew them (e.g. Mohamed Merah or Hervé Djamel Loiseau who froze to death in the mountains of Tora Bora in Afghanistan in the aftermath of 9/11), or in the context of their declamatory indoctrination while filmed amidst other jihadists. With Jihad way of life, we intend to tell the stories of these jihadists while they are still alive. Our fundamental approach relies on the fact that although we will be analysing their environments, they will be the ones talking. This is all the more important given that extreme detention conditions, have allowed them to start refocusing on themselves out of touch with propaganda. That would be like meeting Mohamed Merah at the time he was emprisoned in Pakistan, years before he committed his attacks in France. Malik Aït-Aoudia Producer & Director PEACOCK Chez groupe Fidorg, 62 rue de la chaussée d Antin Paris (France) Tel malik.aitaoudia@peacockprod.com 44 45

24 Co-productions, pre-sales. MAPPING THE FUTURE THE POWER OF ALGORITHMS Das Ende des Zufalls die Macht der Algorithmen Producer Tristan Chytroschek Director & Script Jakob Kneser & Pina Dietsche 2012: Cannibalised Nomination Prix Europa 2011: The Queen and Her Prime Ministers Special Jury Remi Award, Worldfest Houston USA 2010: Songs of War International Emmy Award 2012 Tristan Chytroschek Producer It could be straight out of a science fiction movie: A world that is totally predictable, without chance, without surprise. But the vision is about to become reality - thanks to the enormous amount of data we generate each day, and thanks to new, powerful computer programs that use this information to predict the future. GERMANY German 52 HD CAM Stereo Sscience, knowledge, education Confirmed Financing: (42.89%) ,000 Financing Sought: (57.11%) ,785 Total Budget ,215 3SAT ,000 A & O BUERO An der Alster Hamburg (Germany) Tel alexandra@a-o-buero.de The core of the film is an experiment: We want to know whether the number crunchers really do know more about our future than we do ourselves. BACKGROUND In the last few years, the data stream flowing through the internet has turned into a tsunami: Ninety percent of the information sitting on the world s servers was created in the last two years. And it s growing exponentially: Every single day we generate 2.5 quintillion bytes. In 2012 we produced 2.8 zettabytes billion terabytes. In 2020 there will be 40 zettabytes. Who produces all this data? We do, with our smartphones, credit cards, surveillance cameras and social network accounts. Facebook alone generates 500 terabytes per day! This total digitization opens up completely new possibilities. Suddenly, our entire lives can be modelled mathematically - and become predictable. The crucial factor is the precise analysis of the data by high-performance computers and increasingly clever algorithms. Already, algorithms are amazingly good at predicting our behaviour. By analysing our cell phone data and looking at our digital address books, computer experts can determine our whereabouts up to one year in advance. In 2010, Google predicted the swine flu epidemia by analysing their users search queries. The American Big Data pioneer Nate Silver predicted the outcome of the recent U.S. elections more precisely than all pollsters. Because of predictive policing, people in California are arrested for crimes they haven t yet committed. And companies like Palantir Technologies and Recorded Future help intelligence agencies foresee the terror threats of the future. This film shows how algorithms can predict the future by interpreting huge amounts of data. We show how predictive analytics is already being used today. And we prove that this is just the beginning. Because the majority of today s Big Data is still Dark Data unstructured information lying dormant in massive server farms. But we also ask how our lives will change if our future becomes computable and predictable. What will life be like when we can predict how well a child will do in school, how suitable it is for a particular job or if it s at risk of becoming a criminal? Apart from the apostles of the digital crystal ball, we also interview critics, like the Belarusian internet philosopher Evgeny Morozin. Because the dream of a predictable future with no disasters, wars or epidemics can turn into a nightmare of an omniscient surveillance state that could easily surpass even George Orwell s most dystopian visions

25 SYNOPSIS Co-production and broadcasting rights from European broadcasters with an arts and culture slot. Producers Tània Balló, Serrana Torres & Marta Andreu Director & Script Andrés Duque Photography Jimmy Gimferrer 20: Salóme Directed by Yrsa Roca Fannberg, coproduced with Skarkali in 20, production islandic company. Premiered inskjaldborg FIlm Festival, 20, receiving the Best film award. Selected in Nordisk Panorama 20. Starting Festival Career. OLEG The life of composer Oleg Karavaychuk passes between museums and concert halls of Saint Petersburg. At 86 years old, the composer starts a new project focused on the work of Flemish painter Hieronymus Bosch. The Garden of Earthly Delights unexpectedly leads him to his most autobiographical work. SPAIN Russian 70 HD Stereo Arts, music, culture Confirmed Financing (55.01%) ,766 Financing Sought (49.99%) ,234 Total Budget ,000 ICAA ,766 ICEC ,000 Televisió de Catalunya ,000 From a unique creative process, which flows between what s sensorial and spontaneous, Oleg s music becomes the reflection of a complex life. Oleg portrays the creative process of Oleg Karavaychuk, one of the most important current Russian composers (and maybe the least known), at the same time as he uncovers his vision of the world, as one of the most extraordinary artists of the musical scene. Throughout his life, the composer has avoided the pleasures of success and fame. He is a true ascetic of modern life. His life in itself is a ritual. An existence that is set between his cities of Komarovo, Saint Petersburg and the halls of museums like the Brodsky and the State Hermitage, where, according to him, some of his favourite pianos are kept. As he tells us: I ve spent a long time searching for these pianos and now they are my favourite. They are made with good wood. You can know the quality of a piano by its wood. But an invitation will disrupt this routine. The possibility of travelling to Spain for the first time and visiting the Prado Museum, where one of the most intriguing paintings for the artist, The Garden of Earthly Delights by Hieronymus Bosch is displayed. In this painting three characters are represented: the madman, the vagabond and the minstrel. The importance that these characters have in the work of the Flemish painter have a close relationship with the life of the composer. It will be a unique possibility for the film to capture the direct contact of the musician with the painting. Oleg Karavaychuk will start this special, creative and vital journey, from his house in Komarovo, moving through the majestic streets of Saint Petersburg and getting inspired by the impressive halls of the Hermitage and Prado museums, the spaces that will shape the universe of an artist who feeds off the acoustic of the galleries and the outside, from the streets and corners of his city. A very personal style that invites the viewer to introduce himself into an unprecedented creative world. At the end of his journey, we will witness a unique concert in the auditorium of the Prado Museum where Oleg will play the piece that he has been composing through the experience suggested by this film. S Marta Andreu Producer ESTUDI PLAYTIME Passeig del Canal, 5, porta Sant Feliu de Llobregat (Spain) Tel marta@playtime.cat

26 to complete postproduction of this film already shot at 90%. Producer, Director & Script Françoise Gallo Photography Eric Genillier 2006: Stessa Luna Broadcaster: France : Sempé rêver pour dessiner Broadcaster: France 5 TV5 Monde 2001: Sempé-Paris, un trait d humour Broadcaster: France 3 Françoise Gallo Producer PUCCINI Puccini s Love and Art, based on his personal and professional correspondence. Correspondence which lays bare the vulnerable, but vigourous man, in the process of becoming an exacting creator and an autonomous artist. And who exhorts the artist to not be afraid of being singular, to speak to men of all races and of all epochs. (Quotations from Puccini). FRANCE French, English & Italian 52 HD CAM Arts, music, culture Confirmed Financing (74%) ,000 Financing Sought (26%) ,000 Total Budget ,000 ARTE FRANCE ,000 CNC ,000 FRANÇOISE GALLO France Tel francoise.gallo@free.fr What interests me about Puccini is to draw a lesson from his artistic life. His preoccupation is that of all artists: how to remain sensitive, sentimental, sincere, poetic and animated by an irrepressible desire to please and be loved, while at the same time bringing to life his new self, ensuring his personal accomplishment, and at the same time banishing triviality and professional intrigue from his life? SYNOPSIS Giacomo Puccini wrote approximately letters and notes, of which 670 have been published. This published correspondence constitutes a gold-mine, revealing more about the man than the most zealous of his biographers. The film is based on his personal correspondence and photos, and aims to reveal the profoundest aspects of the composer and, underlying his appearance of an epicurean dandy, his constant efforts to impose his unique style and to claim his place in posterity. Puccini, handsome, elegant, melancholy and humorous, remains the Master of Melody adored by the Italians and his huge international public. Despite his status as the most famous and most-performed composer of opera with just ten published works, the disdain of the critics has always detracted from his popularity. We know that Puccini retained the lessons of Bellini and Verdi; open to music of his time, he adopted certain Wagnerian techniques, and interested himself in the music of Schönberg, dropping virtuoso arias in favour of a lyrical conversational style and using the orchestra in a role of confidant. But what do we know about the sources of his melodic invention, so personal and inspired, so easy to memorise even if difficult to sing? Where did he acquire his exceptional mastery of the orchestra, his harmonic originality, and his profoundly modern theatrical sense? He belonged to no School and founded none. If he was linked with any school, it is to that of his contemporaries, Verism. However Puccini, descendant of a family of five generations of musicians, cultivated and well-off, had a total aversion to the trivial and sordid characters encountered in Verism. He sought above all to be simple and eloquent, understood everywhere and by everyone. He wished to win the hearts and souls of his public, attain what is common to all of us, without demagogic effects to influence his public, who he wished simply to captivate and enchant at the same time as he innovated and advanced his art. While the public continues to sing his airs, the musical world, particularly the Italians, refuse to include him among the greatest composers. Is this the paradox which makes Puccini an enigma? In the film, by accompanying Puccini in the major events of his life, by listening to his words, often amusing, we shall elucidate this enigma and follow the development of post-romantic opera, verist and Wagnerian, movements to which Puccini was attached without belonging to any, in his preoccupation with developing his own unique expression

27 SYNOPSIS To get broadcaster interest and/or funding in European markets. Producer Katia Saleh Director & Script Zahra Mackaoui Photography Ferruccio Goia 2010: Shankaboot, the world s first Arabic web drama series; it won the 2011 International Digital Emmy Award and the 2010 Reflet D Or at Geneva s Cinema Tous Ecrans. 2006: Beirut under Siege Best Editing at the Palermo Doc. Festival 2005: Ashura: Blood and Beauty Outstanding Short Film at the San Francisco Arab Film Festival 2006 and 2007 Noor Award. Zahra Mackaoui Director RESIDENCE OF ORANGES Set in the isolated heartlands of Sicily, Residence of Oranges is a cinematic portrait of Cara Mineo, Europe s largest reception centre for asylum seekers. Observational in style, the film will follow the story of a cross section of characters who live and work here, revealing an unseen world where time stands still. LEBANON English, French, Italian, Mandinga & Wolof 52 Stereo Human rights Confirmed Financing: (3.79%) ,000 Financing Sought: (96.21%) ,112 Total Budget ,112 Zahra Mackaoui ,000 BATOOTA FILMS Ground Floor, 67 Sami el Yarziji St, Geitawi el Ghabeh, Ashrafieh Beirut (Lebanon) Tel & katia@batootafilms.com Via the intersecting narratives of our characters filmed over the period of one year, Residence of Oranges will provide a compelling and cinematic portrait of the closed world of Cara Mineo. Frank watches as the fortified gates open of Cara Mineo open. A bus enters carrying new arrivals, people who only hours before were floating in the Mediterranean Sea. Frank sees the apprehension and relief on the faces of all those inside. They believe they have reached the safety of Europe. But this is only the beginning, for they are entering Cara Mineo, Europe s largest reception centre for asylum seekers. Residence of Oranges is an observational, character driven portrait of Cara Mineo. Set in no man s land in the middle of the Sicilian countryside, Cara Mineo was initially built to house US Navy Seals. But now this urban development has become an immigrant ghetto, housing over 4,500 people. And the barbed wire fence and 24-hour security that protected the former residents now has a different use. This time it is keeping the inhabitants inside. In this enclosed world, the management rarely welcome outsiders. But we have gained unique access to Cara Mineo and this film will provide a cinematic portrait of a forgotten world, where time stands still for the thousands of people waiting here. Within these gates, the days blend into months, even years. No one knows what their future will be; all live suspended in uncertainty. Yet amidst the apparent passivity, resistance is emerging. Dotted between the terraced houses are barbers, beauty parlours, photographic studios, shops. No one can survive on 2.50 they get every day. Every few months demonstrations erupt as frustration levels peak. Committees are being formed and the residents want answers. The management claim it is all under control, but they know they cannot intervene in the slow machinations of Italian bureaucracy in an island that has the highest number of asylum cases in Italy. They also know that the calm maintained here is only due to the presence of 24-hour police. Via the intersecting narratives of our characters chosen from residents and staff, filmed over the period of one year, Residence of Oranges is a compelling yet cinematic portrait of the closed world of Cara Mineo. By following real human stories, the film will provide a contemplative and in-depth insight into the highly controversial issue of illegal immigration, looking beyond the headlines to reveal a much more complex reality. For this film is at heart a story of survival and resistance, of the search for safety in Fortress Europe

28 Co producers, Funds and pre-sales. Producer Carole Abboud Director & Script Anthony Chidiac Photography Anthony Chidiac S 2013: Guardians of Time Lost Special Jury prize at the Dubai International Film Festival 2013 Presented at Medimed Carole Abboud Producer ROOM FOR A MAN A young Lebanese filmmaker who shares a Beirut apartment with his mother, sister and pet dog sets about reconstructing his identity by renovating his bedroom. But as the male construction workers come and go in the freshly embattled household, new questions, old arguments and unexpected passions get stirred. LEBANON Arabic 80 HD CAM Stereo 16/9 POV Confirmed Financing: (28.5%) ,000 Financing Sought: (71.5%) ,000 Total Budget ,000 C.CAM Production ,000 Arab Fund for Arts and Culture ,000 C.CAM PRODUCTION Hazmieh Commercial Center Bloc B 1st floor 961 Hazmieh (Lebanon) c.camproduction@yahoo.com I have been struggling with definitions my whole life without even knowing it. I ve never felt like a man, or maybe I have? SYNOPSIS Ever since I was old enough to do anything about it, I ve been decorating my bedroom with objects and furniture. Each item selected reveals a story. In actuality, my room is 16m 2. It has a small window with a view of the street; a pink backdoor that leads to the terrace of my neighbors and another door that connects to the rest of the apartment I share with my mother, sister and my two-year old Doberman. In the absence of my divorced father, roles at home have been confused and life together with the women of my family has turned out to be a mutually disappointing experience: I m 26 years old and both my mother and sister agree that I am not man enough to handle any responsibilities let alone to protect them and the home we share with one another from any potential threat or harm (and the dog wouldn t be much use here either). But what is a man after all? Since my room is my sanctuary, the place that most represents me, I will start by upsetting the very thing that I spent years creating as a way to regenerate my sense of self and to answer these questions which my mother and sister, and Lebanese society, are so demanding about. For 30 days, I will deconstruct, renovate and recreate my room as a way to recreate myself; throwing out my Queen-size bed, removing the violet velvet couch as well as paintings, pictures, papers, souvenirs etc. In the process, I will turn my self-styled paradise into a construction site. And I will film The process of reconstruction will be a provocation as much as it will be a necessity: After all, my mother and sister are convinced that I am completely useless at performing manly tasks, so I will employ a small army of men to help me realize my project; for furniture removal, renovation, carpentry, painting, plastering, etc. Each morning, as my mother and sister leave for work, I will be inviting in - and spending the day with - each man; observing him perform his work, talking, eating etc. Spending time alone and being close to these men will eventually raise questions about my identity, my notions of gender, my sexuality, my (supposed) non-belonging to the Arab standards of manhood Will it provoke fears and cause insecurities in us? Will it be amusing? Will the women in my family welcome having a real man s presence around them at last? And as time goes by, my frustration increases in unbearable ways What kind of strength will it take to break out of the fishbowl that I feel I am submerged in; to jump into the greater ocean beyond and swim towards new horizons? It is time for my world, this world, and the Arab world to change; to widen its space; to create more room for a man 56 57

29 SYNOPSIS Financing pre-sales. Producer Bartek Glinski Director & Script Maciek Hamela 2013: Shale Gas Eldorado ; Planet Doc Film Festival. 2013: Honour Killing STARING AT THE SUN Four different activists, four different stories of civil engagement. We follow the backstage of the Maidan revolution. Stories of people, who left their jobs without hesitation to fight for a better future and find themselves looking for meaning in life in the aftermath of the revolution. POLAND Ukrainian 52 & 90 Beta Dolby Current affairs Confirmed Financing: (16.25%) ,000 Financing Sought: (83.75%) ,000 Total Budget ,000 Impakt Films ,000 Maciej Hamela ,000 Polish Film Institute (pending confirmation) ,000 TVP Kultura (pending confirmation) ,000 Four different activists, four different stories of civil engagement. Staring at the Sun is story of broken illusions traced through four characters from completely different worlds. Their lives were linked to one place for a period of 3 months and to one idea, that of an independent and democratic Ukraine. Eugenia, a young volunteer and pacifist organized the first warm clothes distribution center on Maidan, she also helped build barricades and carried ammunition for demonstrators during the violent clashes with police. After Maidan she leaves for 1 year to work part-time as an au-pair in Belgium. On her free days she hitchhikes around Europe and interrogates her drivers about the situation in Ukraine. She films these random conversations with her small camera. Igor, a war veteran happens to be in Kiev when the revolution erupts. He decides to stay and is put in charge of one of the key barricades. After the revolution he returns to his hometown in the East where he anxiously awaits to join one of the volunteer batallions. In the mean time he organizes the Museum of Maidan in Zaporozhyia. Max is an ex-policeman who takes part in capturing of the Kiev City Hall and becomes an important figure in Maidan s security forces, negotiating prisoner exchanges and training security guards. When war in Donbas erupts he joins one of the right-wing volunteer batallions fighting in the Mariupol area. Natalia is one of the most recognized Ukrainian journalists and works for the independent station Hromadske TV. When Maidan starts Hromadske TV is the only internet television to relate the events and invite some of its participants as studio guests. Through her live coverage of ongoing events and voice over she becomes a unique participating narrator of the film. Staring at the Sun is not just a story of a momentary upheaval. It is a story of an amazing engagement and lost illusions of silent heroes of the Maidan revolution. These three stories rarely intertwine but they provide a unique inside in what the Ukrainian society has been going through since November S Maciek Hamela Director Anna Fertak Production Manager IMPAKT FILM Hoza 5a/ Warsaw (Poland) Tel office@impaktfilm.com

30 Pre-sales & co-productions. Producer Jean-Pierre Devorsine Directors Sylvie Gilman & Thierry de Lestrade 20: Banking Nature Pre-sold to ARTE, MBC, ORF, SVT, YLE, RTS, SBS, XPLORA and TVI. Will be released November : GPS: A Global War Sold to HRT, FRANCE 5, TVI, VRT, DR2, TV4, MBC, RTS, BEIJING TV, CHANNEL NEWS ASIA, ORF, MEDI1SAT, NTV, TVE, RTL, NRK, TVI, NKS MEDIA, XPLORA, LAYEN, TVP2, MACRON AND GLOBOSAT Jean-Pierre Devorsine Producer THE ALTRUISM REVOLUTION La revolution altruiste The Altruism Revolution reveals how we draw scientifically measurable benefits from acting unselfishly and examines the reasoning behind the for a more caring society. FRANCE French 90 & 52 HD CAM Science, knowledge, education Confirmed Financing: (60%) ,000 Financing Sought (40%) ,2 Total Budget ,233 ARTE ,000 2eme diffuseur France ,000 Région Pays de la Loire ,000 Procirep Angoa ,000 VIA DECOUVERTS PRODUCTIONS 7 Rue Chalgrin Paris (France) vdecouv@orange.fr The Altruism Revolution examines the scientific reasons behind the call for a more caring society. SYNOPSIS For generations, we have believed that man is driven by ruthless self-interest. In the words of Richard Dawkins - whose international best-seller, The Selfish Gene, popularised the gene-centred view of evolution we are born selfish. But over the past decade, this idea has been increasingly challenged. New research from fields as diverse as political science, psychology, sociology and experimental economics is forcing us to rethink human actions and motivation. There are strong biological reasons to believe why group co-operation may beat being selfish. Young children exhibit spontaneous altruistic behaviour with one year olds demonstrating the ability to form and commit to a joint goal with adults. There are countless examples of selfless behaviour in nature. Female lions will suckle other lions cubs, birds will risk their lives to warn the flock of an approaching hawk and mice will starve rather than hurt other mice. In many cases, there s a biological imperative to co-operate especially amongst individuals who are closely related and survival of the group can trump survival of the individual. Co-operation, together with mutation and selection, is now thought to be the third component of the Darwinian story of evolution. But if altruism is intrinsic in man and we can all benefit from acting in a selfless manner then a society structured around altruism should be possible. Best-selling author Matthieu Ricard is pioneering a new movement which uses cooperation to address global challenges. His works is now taught at Harvard Business School and has influenced everyone from the CEO of Mars to the economist Jeffrey Sachs

31 International co-production in France, Finland, Arabic World, fund from foundations and NGO s, pre-sales. Producer Serena Gramizzi Director Antonio Martino Script Antonio Martino & Nancy Porsia 20: The Beauty is your Head. World Premiere at Vision du Reel. Presented at Medimed. 2013: The Human Horses. Jury Award at London Award Festival : Hometown. Mutonia. World Premiere at Rome Film Festival. Presented at Medimed. Serena Gramizzi Producer THE BLACK SHEEP Ausman is a young Libyan Amazigh. In 2011, he left his PhD program in the US to go back to Libya to free his country from dictatorship. Three years after, Libya is in a state of chaos, and has turned into a theocratic system, stuck in a quicksand that denies a bright future to young people. Ausman is now torn apart between his love for his fatherland and the desire to leave because of the failure of the revolution. He feels betrayed and lost. ITALY Arabic, Tamazight & English 52 & 75 HD Stereo Human interest Confirmed Financing: (35.63%) ,500 Financing Sought: (64.37%) ,160 Total Budget ,660 Bo Film ,750 Piran e Argia (Italy) ,750 BO FILM Via Marconi 51 C Bologna (Italy) Tel serenagramizzi@bofilm.it Ausman not only represents the difficulties experience by young Libyans, he is also emblematic of the all other migrants obliged to leave their country and their roots because of major political, social and economical problems, without really aiming to do it. SYNOPSIS Libya 20. Ausman, Amazigh former rebel fighter, educated and atheist, come back from his PhD in the US in 2011 to fight for his country and free it from Gaddafi s dictatorship. Today, walking in Bab al Azyzyia, former regime s macabre altar, where many of his friends lost their lives fighting for freedom, he wonders what was the meaning of it. He works as an oil plants security trainer in a country armed to the teeth, where militiamen are mixed up with the national security forces. He plays black metal music, which is considered the direct emanation of devil. He does a lot of sport, despite everybody s judgmental look as he spends time on material values. Ausman is a Black Sheep. He does not feel safe in a country in which the stand next to the songbird shop on Rashid Avenue, in downtown Tripoli, offers a great selection of cheap weapons. Ausman has decided to leave. He plans to go to Finland where efficiency and safety are mixed with the right of playing heavy metal. Every day, his friends remind him that he will not find the eldorado out there, and that freedom of expression is counterbalanced by economic slavery due to a crazy tax system. The Western World for them is a place to visit for vacation, not where to live because of its stressful rhythm. And yet, Ausman is ready, so is his visa for requesting asylum. In Zuwarah, his Berber hometown, Ausman is saying goodbye to everybody. There, he meets his brother, Fathi, exiled for years in The Netherlands for his struggle for the Amazigh cultural minority s rights. He is currently the President of World Amazigh Conference. Fathi describes to his younger brother how hard it is to share the pain of his own people and not having the chance to come back without risking his life. Ausman starts having doubts. Alone on the coast, he asks himself to which world he belongs and to which he would like to be part of. Both worlds have their beauty and their nightmares. What will Ausman choose? The Black Sheep follows Ausman s uncertain search for his place in the modern world

32 12 THE BRIDE OF THE NILE La fiancée du Nil Co-production, pre-sales, sales, distribution worldwide. Producer Nadège Hassan Director Edouard Mills-Affif Script Sheriff El Ramly & Edouard Mills-Affif 2011: Heat Wave, produced by Explicit Film in co-production with Neon Productions. 2010: Jean Genet, produced by Temps Noir with the participation of France 5, TV5 Monde and Canal France International; selected by more than thirty festivals. 2007: Words We Burning, produced by Temps Noir in co-production with ARTE France. Nadège Hassan Producer In a remote village in the Nile Delta, in a traditional Egyptian family, almost ancient drama plays out. Like thousands of girls worldwide, Heba must marry a man that she has not chosen when she loves another. The sentimental drama gradually turns to family psychodrama, with its secrets, intrigues and lies. With the backdrop of the Egyptian chaos, at a time when everything wobbles: power, institutions, economics and morality. FRANCE Arabic (Egyptian) 60 DV CAM Stereo Human Interest Confirmed Financing: (51.67%) ,090 Financing Sought: (48.33%) ,500 Total Budget ,590 France 3 Via Stella ,000 CNC ,375 Temps Noir ,715 TEMPS NOIR 13 quai de l Oise Paris (France) Tel nodegehassan@tempsnoir.com An intimate and political film aiming at challenging entrenched views; an adventure with an unknown ending; bringing one surprise after another, rushing to its outcome DIRECTOR S STATEMENT The Bride of the Nile is an immersion in Egyptian society. We avoid approaching tose issues in a simplistic manner, designating victims on one side and bad guys on the other. The only binary divide would be the conflict between generations, between those longing for change and those resisting it. Our characters are neither heroes nor bastards. They are ambivalent, complex, and distraught by their own contradictions. Even though our thematic isn t light, the film s tone isn t one of desolation or lament. There are some screams and tears of course, since love stories often end badly, as the French saying goes. But there is also laughter and humour, the Egyptian weapon to deal with everyday reality. In Egypt, more than anywhere else in the world, humour is the politeness of despair. If the story told here has all the ingredients one finds in fiction films, it still is an authentic documentary, by its approach, its form, its ethics. Throughout shooting, reality wrote its own script, behind our back, without asking for our opinion. It s in the confrontation between our interventions, our intuitions and the succession of coincidences that it built up into a story, day by day. At this point where the filming is completed, we need to add some substance to the first storyline which got built through writing a developed synopsis, which itself is based on the film s rushes. We need to give some breathing space to a compact storyline, with some scenes without dialogue, little instances of vacant time. We are thinking mostly of everyday life moments, which will immerse us more deeply in the life of this family and will permit the viewer to catch his breath. The story must also be integrated in its natural environment. It takes place in a rural village, a life rythmed by agriculture and sheep farming. We shall thus integrate our story in a place, a geography. We shall share the village s atmosphere through sounds and visuals. These short sequences will be spread throughout the film, accumulated fragments that shall draw the portrait of a territory, a rural community. The plot outline will obey a classical narrative construction, with a three step structure: the exposition of the drama (Heba s secret revealed), the development of the plot (will Sherif manage to turn over the situation?) and the outcome (the wedding of Heba). Except for the first 15 minutes (which mix present action with flashbacks from a close past) the rest of the film is set in the present tense, respecting the linearity of facts, reversing very few of the scenes chronology

33 12 THE CHANGING MAP OF LEBANON Production and post production grant and we are open to all kind of support we are now working on 36 to 40 minutes sequences for fund raising it can be delivered soon. Producer Elias Khalil Director George Tarabay 2012: Tall Znou Short documentary, in collaboration with the Lebanese ministry of environment and other ecological NGOs. 2011: Law Short movie, winner of the creative director award in the Lebanese Cinema Festival Elias Khalil Producer This documentary shows the complexity of the situation in Lebanon, the biggest country of Syrian refugees (25% of the total population); Lebanon is the only place where Syrian refugees can work and travel freely inside the country, and can come without any border control, and join any private or public school, stressing on the importance that any refugee has the right for a safe place of refuge, with all minimal standards of living. Could the Lebanese and Syrians succeed to share the insufficient infrastructure and wealth, or will it lead to more tension and conflicts? LEBANON Arabic 52 Full HD Stereo Human rights Confirmed Financing: (26.6 %) ,001 Financing Sought: (73.4 %) ,735 Total Budget ,736 Pellicule Productions ,215 Sundance Institute ,786 Jacob Burnes Film Center one month post production PELLICULE PRODUCTIONS Sfara Keserwan St George Street, Jean Tarabay Building, first floor 99 Safra (Lebanon) Tel ekhalil@pelliculeproduction What happens when the number of Syrian refugees exceeds 25% of Lebanon s population? TREATMENT The large number of Syrian refugees, expected to reach two million by early 20 according to UNHCR officials, flooding into Lebanon over the past two years, has exasperated tensions between Lebanese and Syrians, and drastically heightened nationalism and discrimination between the two people. Lebanon, a small country of four million citizens that is already facing a political, economical and security crises, is receiving an enormous amount of Syrian refugees, more than any other country in the region. This documentary will show how the civil unrest in Syria is having lasting and dire repercussions, not just on the Syrian refugees trying to create a new and decent life in Lebanon, but also the hardships and discomforts on the Lebanese who s country has quickly become the home of the largest number of Syrian refugees in the world, now forming 25% of Lebanon s total population. Lebanon is the only country where Syrian refugees are able to work, Syrian refugees can move freely from north to south Lebanon, and have legal access to all public and private schools, where in other countries as Turkey and Jordan, Syrian refugees are not allowed to leave their limited and closed space of refugee camps, and eventually not allowed to work. However, the Lebanese government in many ways is not taking full responsibility to confront the growing tensions surrounding the enormous influx and increase of refugees in its country. The government refuses to build adequate, temporary housing for the Syrian refugees, thus leaving hundreds of thousands homeless, or living in despicable tents, without any financial support from the government and the international community. This documentary explores the rights of refugees to have a safe place of refuge, the right to work and to be educated, and most of all, to have a shelter, a small house, a secure place where they can sleep and cover their bodies from cold and rain, while simultaneously exploring the enormous heavy weight that the Syrian refugees and their extraordinary situation have placed on Lebanon and its people. The complexity of this situation is exploring alternative or different solutions than traditionally explored, so that both sides can realize feel safe physically and culturally, but unfortunately, solutions are not in the hand of the Lebanese citizens, neither in the hand of the Syrian refugees, and the Lebanese government and international community seem to be far away from solving this conflict. What would another million of Syrian refugee coming in 20 add to the crisis? 66 67

34 Pre-sales and co-producers. Producer Nima Sarvestani Director & Script Maryam Ebrahimi : No Burqas Behind Bars (Director). Best documentary and other awards at several festivals (Brooklyn FF, Rome Independent FFF, Creteil Int. Women s FF, WATCH DOCS, International TV Festival Bar, San Francisco Iranian FF, Paris IFF on Human Rights). 2009: I Was Worth 50 Sheep (Director & Producer). Best documentary and other awards at several festivals (Asia Pacific Screen Awards, Sole Luna Festival, London IDFF, Human Rights Arts Film Festival, Ljubljana IDFF, ONE WORLD, Gothenburg IFF, Apchat IFF). Maryam Ebrahimi Director & Script THE CONFISCATED IMAGES Saeed Sadeghi is the Iranian photographer responsible for images from the Gulf War, used to propel the myth of a holy war. Having seen thousands die, often as martyrs, he has renounced the use of these photos, but the regime continues exploiting them. Now he goes on a journey to find the real stories behind those who he photographed. Through his encounters, the film unravels the history of the propaganda machine in Iran. SWEDEN Persian 80 HD Stereo Human rights Confirmed Financing: (25%) ,766 Financing Sought: (75 %) ,234 Total Budget ,000 SVT, Swedish Television (Development) ,106 Swedish Film Institute (Development) ,000 Swedish Arts Grants Committee ,660 NIMAFILM SWEDEN Hölövägen Stockholm (Sweden) Tel info@nimafilmsweden.com Through Saeed Sadeghi s story a complex web of war propaganda, in the past, present and future is unravelled. THE FILM STORY, CHARACTER, PERSPECTIVE The film follows the journey Saeed Sadeghi makes to find the truth behind the images he took decades ago. When the war between Iran and Iraq raged in the eighties he was covering it firsthand for Islamic Republic, the conservative newspaper. His photos were systematically used by the propaganda machinery to glorify the war. To consolidate the idea of a holy defense of Islam, cultural producers were appointed to organize war glorifying activities, to celebrate past martyrs in Holy Defense ceremonies which are still held all over the country. Photographers and artists so called Holy Defense artists were engaged to fabricate the image of the holy war. Many of these images were made from photos taken by Saeed Sadeghi. He was not only one of the first photographers on sight when Iraqi troops invaded the southern parts of Iran, he was himself a devoted young revolutionary who believed in Islam and martyrdom and risked his life by documenting from the eye of the events. Since Sadeghi s days as a young conservative, his relation to the regime has drastically changed. He now views himself as being responsible for sending thousands of boys to their graves because he provided the establishment with photos used for war propaganda. Despite Sadeghi s declared opposition, his photos are still manipulated and used to keep the memory of the war fresh amongst the population and to create an illusion of an ever-present threat. By illuminating the real stories behind his photos through his encounters with his subjects, Sadeghi sheds light upon the bloody face of war. He wants to unravel the real reasons behind it and the truth about the profit that was made by continuing a war that could have ended after only a few months, for nearly a decade. It is a story about photo manipulation, confiscated images and the use of religion for political purposes. It is the story about the inner struggle of a man looking back on his life in the light of the truth about his country s history, as we follow him back to the places and people he photographed more than twenty years ago. In essence, it is a film about a man s journey toward redemption

35 12 Pre-sales and co-producers. Producer Duki Dror Director Yoram Schaffer Photography Philippe Bellaiche 2012: Mendelsohn s Incessant Visions Best Documentary FILAF, Best Documentary ARTDOC ROME, Best Doc Documentary Edge New Zealand 2006: The Journey Of Vaan Nguyen Remi Award HOUSTON WORLDFEST 2002: Raging Dove Best Documentary DOCAVIV, Duki Dror Producer THE DARKNET Beneath the visible and familiar face of the Internet lies another network altogether the Darknet. ISRAEL English 54 Human interest, Current Affairs Confirmed Financing: (45%) ,000 Financing Sought: (55%) ,000 Total Budget ,000 Channel 1 Israel ,000 ZYGOTE FILMS LTD. Hatiltan 4 street POB Binyamina (Israel) Tel dukid@zygotefilms.com The Darknet is home to weapons trading, drugs ordered take away, hitmen for hire and the chance to freely watch child pornography. SYNOPSIS We all know that in the world of the Internet everything is possible. Or almost everything. Even half-legit actions and misdemeanors would not require special camouflage or hiding: one can simply log on using the wireless network from the local coffee shop and you re protected. Yet the Darknet users are not merely concerned just in privacy. It is a different story altogether. The Darknet is home to weapons trading, drugs ordered take away, hitmen for hire and the chance to freely watch child pornography. The chances of being caught are limited. Law enforcement is hardly built to take on the Darknet, neither in terms of personnel nor in terms of the skills of its investigators. Even in Israel, where the larger-thanlife reputation of the country s security services would seem to speak to the government s ability to track illegal activity, it just so happens that Big Brother doesn t see all. And as in all other areas of the Internet, Israelis are leading the Darknet s technological advances. The film follows several characters who are active in the Darknet, those who make a living in its dark corners and realize through its networks the need for thrills, revolt, and even sexual pleasure. The identities of all characters will be concealed and distorted, but what they will show us more than compensates for their anonymity. In the style of first-person narrative, the director will take his first steps as a newcomer to the Darknet and will document his experiences. CINEMATIC APPROACH AND STYLE OF THE FILM The personal experiences of the director entering this world will touch upon the fear of a normative individual engaging in illegal activity and risking entanglement with criminal elements. The film also addresses the fear of the darkness and the power hidden within such a network and explores a fundamental contradiction in the Darknet: that despite its evils, the Darknet also provides protection to freedom fighters from the indecencies of corrupt and destructive regimes. It places side by side political activists attempting to avoid capture by dictatorial regimes and pedophiles and murderers who use the Darknet to similarly avoid the law. The characters are largely indifferent to the ethical dilemmas brought up by the Darknet. They are drawn to the allure of anonymity in a world where privacy is near obsolete. The film juxtaposes the main characters with a cast of lawyers, investigators, and other members of the establishment who together give voice to the dilemma represented by the Darknet. As the viewer follows the director deeper and deeper into this online netherworld, we are left to wonder: in today s day and age is Darknet a necessary evil or simply evil? 70 71

36 12 SYNOPSIS Broadcasters, funds, all territories. Producer Ulrik Gutkin Director & Script Per Liebeck Photography Casper Hoyberg 20: The Outing. Supported by Norwegian Film Fund, Norwegian & Danish television. 20: Mrs. Soeborgs Sense of Life. Broadcaster: DR. 2012: She Sings. Jury Special Award at Cinema Verite Iran (Teheran IDFF). Ulrik Gutkin Producer THERE WILL BE WATER Story of a man who believes he can make a difference simply by daring to pursue an idea. The idea is simple bring saltwater into the desert evaporate it by means of the sun and create fresh water, food and energy in desert areas, thus creating the potential to change the lives of millions. But it s 50 degrees and it seems that every drop of fresh water requires a drop of sweat. DENMARK English 52 HD Stereo Science, Knowledge, Education Confirmed Financing: (44.40%) ,300 Financing Sought: (55.60%) ,041 Total Budget ,341 DR TV ,300 NRK ,000 Nordvision ,000 Danida Fund ,000 Drejers Fund ,000 Crowd Funding ,300 CFC Production ,000 COPENHAGEN FILM COMPANY, SHORT & DOC Flaeskertorvet 75, Copenhagen (Denmark) Tel ug@cphfilmcompany.dk Is it possible to green the deserts? Can simple ideas become big ideas? Our main character is Bill Watts, an engineer and zoologist who has a quest. Create a saltwater infrastructure in the desert and make saltwater greenhouses in the driest part of the planet, thus being able to supply fresh water, food, energy and jobs to a region desperate for all new working solutions. It s a simple idea, but it s a big idea, and by being a big idea it will make a big difference. Bill Watts. In the first part of the film we see a water truck delivering water in the capital of Jordan and in rural areas. We see people in all walks of life receiving water. We understand water is scarce and that Jordan is amongst the poorest countries in the world concerning water and that things are only getting worse. I think it s pointless thinking about doomsday scenarios and awful things that are going to happen, because it s just a distraction from getting on with things. I am sorry that I am being very practical about it, but I just want to sort things out. Bil Watts The Jordanians realize that Bills project, The Sahara Forest Project, has great potential, but first he and his team have to prove to the world that the technology works. And the only place they can find money to try and build a pilot plant is in Qatar. And an extremely tight deadline is driving the project forward. The climate summit COP18 will be held ten months later and the eyes of the world will be upon them. So first they must build and prove the technology, then they can go ahead in Jordan. But its 50 degrees and things are much more challenging than planned This film will investigate if its possible to turn the desert green and grow food in the driest regions of the world? Can you turn seawater into fresh water while at the same time creating renewable energy by means of the sun? And will it be possible to get this project to market and into society so that the whole world might benefit from this technology? Or will The Sahara Forest just be another good idea? The desert is hot, there are cultural and bureaucratic obstacles to overcome, and things take time much more than the European scientists, engineers and environmentalists care to admit; nevertheless, they keep plugging along. Bills project in Qatar ends up being a success. The technology is better than expected. And Egypt, Jordan and the Middle East desperately need a solution to the water and situation. But Bill realizes that taking it to the next step requires more than just technology. Money, political will and endurance is needed to move forward