25th AnniversAry of hfM - Nederlands Film Festival

Transcription

27 Sep -1 ocT uTrechT filmfeSTival.Nl
GERMAN/
DUTCH
PRODUCERS
MEETING 2012
-The New
GeNeraTioN
29 SepTemBer
25th
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s
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e
v
i
Ann
of hfM
iNTerNaTioNal SecTioN of The NeTherlaNdS film feSTival
Contents
German/Dutch Producers Meeting 2012The New Generation
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Foreword
Producers: Germany
augenschein Filmproduktion, Jonas Katzenstein and Maximilian Leo
Project: FATHER
Beleza Film, Jessica Landt and Falk Nagel
Endorphine Production, Fabian Massah
Gringo films, Sonja Ewers and Steve Hudson
Project: DUISBURG
Weydemann Bros., Jakob D. Weydemann
Project: EUROPE’S BORDERLAND
zischlermann Filmproduktion, Susanne Mann and Paul Zischler
Producers: The Netherlands
Baldr Film, Frank Hoeve
Pupkin Films, Iris Otten
CTM LEV Pictures, Sander Verdonk
Project: KESSELS
Keren Cogan Films & Phanta Vision Film International, Keren Cogan Galjé
Project: BETWEEN 12 AND 14
Smarthouse Films, Danielle Guirguis
Projects: LA HOLANDESA, CARMEN’S WORLD, DUTCH DANCE-AFROJACK IN DA HOUSE
Viking Film, Marleen Slot
Project: LUNA
2012 GERMAN / DUTCH PRODUCERS MEETING 1
Foreword
Welcome to the German/Dutch
Producers Meeting –
The New Generation
Organized in close cooperation with the FFA (German Federal
Filmboard) and the Netherlands Film Fund, the Meeting aims at
enhancing the existing synergies between our countries. We like
to create ample opportunities –formal and informal- for German
& Dutch producers to meet and greet, to talk about projects and
to explore coproduction potential. Enthusiasm for intensifying,
deepening and expanding of the relation between the young
generations of German and Dutch film producers, these terms
describe the frame of mind of all parties involved while preparing
the Meeting.
How does the German film industry market function? What are
the chances for Dutch and German producers? Is there common
ground, are there common subjects to cover? What genre film,
what kind of content could successfully find an audience in the
respective countries, what not? And why? Is there a blueprint?
What do the figures say? As one of Europe’s smaller countries how
does the Netherland Film Fund relate to the several individual
German Funds and Länder? How to strengthen the funding?
This one-day event is a continuation of previous discussions on
German/Dutch co-productions and will hopefully be the first of a
regular series of meetings between the two film industries.
The Meeting consists of an open and a closed session, reflecting
the nature of the event. On the one hand, analyzing the formal status quo of the co-production structure between the countries and
discussion of future steps during the morning panel; The –closedafternoon session on the other hand will be solely dedicated to
meetings between the participating producers.
This Meeting would not have been possible without the support
of the Netherlands Film Fund and the FFA and the encouraging
enthusiasm of the participating producers. A special thank you to
FFA’s Nicola Jones. We wish you a productive and enjoyable day!
Ellis Driessen
Coordinator Meeting
Signe Zeilich-Jensen
Head Holland Film Meeting
Programme
11:30-11:45 hrs
11:45-12:15 hrs
12:15-12:30 hrs
12:30-13:30 hrs
Saturday September 29th
Word of Welcome
Short introduction of the program and panelists
State of German/Dutch Affairs
Film policy: Present & Future
Doreen Boonekamp, CEO Netherlands Film Fund
Peter Dinges, CEO Filmfoerderungsanstalt (FFA)
Keynote
by Leontine Petit, Lemming Film (NL) / Hamster Film (G)
Coproduction Germany - The Netherlands
With representatives of German Film Funds and
the Netherlands Film Fund
13:30-14:30 hrs
Lunch
14:45-17:30 hrs
17:30 hrs
Closed session: Project exchange & Networking
Closing
augenschein
Filmproduktion
Company profile
augenschein Filmproduktion was founded in 2008 by Jonas
Katzenstein, Maximilian Leo and Keve Zvolenszky. Based in
Cologne, Germany, augenschein focuses on international
co-productions and national first-time directors, for both
fictional and documentary feature films.
Our filmography includes:
Tour du Faso, feature documentary; 90 mins; in production
Who Is Thomas Müller?
crossmedia feature documentary; 90 mins; in production
End-times
documentary; 60 mins; in production
Amid Valleys and Mountains
drama; 90 mins; co-producer; 2012
Kid
drama; 90 mins; co-producer; 2012
The Hardest Time
documentary; 45 mins; 2012
Next Tenant
short; 30 min; 2010
Project
Father
Logline
Experiencing 1990s Kosovo through the eyes of 10-year-old Nori,
Father offers a very special perspective. Nori will not accept being
abandoned by his father – not at any cost.
Synopsis
Yugoslavia is about to collapse. Miloševic is in power; terror
dominates everyday life; and trafficking seems to be the only
profitable business. The father of 10-year-old Nori wants to
escape Kosovo, too, but without his son. Nori is supposed to
remain with his uncle. When Nori is in hospital one day, his father
Gezim (45) takes advantage of the situation and secretly hits the
road.
In order to follow his father, Nori steals his uncle’s wedding
money and teams up with his friend Valentina (30). Together they,
too, leave for Germany. Valentina wants to be reunited with her
husband, but does not have sufficient money for a journey on her
own. After a horrifying trip they reach Germany. To get rid of the
illegal child, Valentina’s husband helps find Nori’s father.
When father and son meet, Gezim is thunderstruck. But Nori, still
deeply disappointed, beats him with a chair. Nori quickly sees that
his father is weak and unable to deal with the situation. Gezim
is soon to be deported: the fact that Nori is now illegally in the
country does not make things any easier. His father cannot even
take him into the refugee hostel, so they secretly climb over the
fence at night.
Gezim sees moving to the Netherlands with his son as his last
hope. He demands that Valentina’s husband return the money with
which she came to Germany, but he refuses and beats up Gezim in
front of his son. When they try to climb the fence again, the father
gets stuck. The barbed wire cuts into his flesh. Gezim, hanging on
the fence, tells his son to run away to avoid their deportation. Nori
runs away.
Visar Morina
Jonas Katzenstein
Director’s statement
Kosovo during the 1990s. The social climate during that time is
hard to describe. The amazing thing was not so much the prewar atmosphere itself but rather the way people dealt with it: the
constant state of fear had become so normal for everyone that, as
long as there was no immediate threat, we actually forgot about it.
It was prompted by experiences like these and by my own escape
to Germany that I had the idea for this film. It tells a very personal
and subjective father-son story in times of foreign domination.
I don’t want to make a political statement: the context is far
too complex. So I focused on my personal experiences while
writing the screenplay. There is hardly any scene in it I haven’t
experienced myself or witnessed in my immediate surroundings.
Current status
€415,000 secured in Germany and Kosovo. Shooting planned Fall
2013.
Aims at the HFM
Looking for a Dutch co-producer.
Maximilian Leo
Director
Visar Morina
Producers
Jonas Katzenstein
Maximilian Leo
Co-producer
Visar Krusha (Kosovo)
Broadcaster
WDR (Germany)
Screenwriter
Visar Morina
Based on
an original story
Languages
Albanian, Serbian,
German
Genre
Drama
Running time
90 mins
Budget
approx €1,500,000
Contact
augenschein Filmproduktion
Lupustrasse 36
50670 Köln
Germany
Tel: + 49 221 16 95 05 00
Email: info@augenschein-filmproduktion.de
www.augenschein-filmproduktion.de
Beleza Film
Falk Nagel
Jessica Landt
Company profile
Projects
Beleza Film, headed by Jessica Landt and Falk Nagel, produces
feature films, documentaries and audiovisual products for the
national and international markets.
From the very beginning, our projects have had a strong
international objective. In 2010, Beleza organised the film
workshop ‘One Day in the West Bank’ together with 10 young
filmmakers in Palestine in co-operation with the Goethe-Institut
in Ramallah. Other completed projects are the short film Little Red
(nominated for the Berlin Today Award 2011), which was directed
by Eva Pervolovici, and several other short films.
Currently in post-production is the documentary Make Me a Match,
about matchmaking in Israel. The Turkish-German co-production
Küf premiered in this year’s Venice Critic’s Week. We are in
development with the feature documentary I Am a B-Boy, about
break-dancing, and the transmedia project Tell Me Who You Are/
yourbeat.org has just been launched. A feature documentary about
Australian pianist David Helfgott is in production.
Little Red (2011)
Short; director Eva Pervolovici; funded by Medienboard BerlinBrandenburg
Premiere: February 2011
Küf (Mold, 2012)
Feature; director Ali Aydin; co-production with Motiva Film
and Yeni Sinemacılar; backed by Turkish Ministry of Culture,
Filmförderung Hamburg Schleswig-Holstein
Premiere: Venice Critic’s Week 2012
Tell Me Who You Are (2012)
Transmedia project/dance platform, backed by First Motion,
Filmförderung Hamburg Schleswig-Holstein, European Union,
Baltic Sea Region, Medienboard Berlin-Brandenburg
Launch: September 2012
Mach mir ein Date (Make Me a Match, 2012)
Documentary feature; director Wendla Nölle, backed by
Filmförderung Hamburg Schleswig-Holstein
Release: End of 2012
Helfgott (2013); feature documentary; director Cosima Lange
In production
I Am a B-Boy (2013)
Feature documentary; director Eric Ellena; co-production with
French Connection Films (Paris); backed by Filmförderung
Hamburg Schleswig-Holstein, Centre National du Cinéma et de
l’Image Animée, Procirep/Angoa
Contact
Beleza Film GbR
Jenfelder Allee 80
22045 Hamburg
Germany
Tel: + 49 40 66 88 47 78
Anklamer Strasse 4
10115 Berlin
Germany
Tel: + 49 30 70 03 46 30
Email: info@belezafilm.de
www.belezafilm.de
Endorphine Production
Company profile
Endorphine Production is an independent production company
based in Berlin and dedicated to producing films which appeal to
the international market. The company was founded in 2004 by
German Film & TV Academy Berlin (dffb) graduates Marc Malze
and Fabian Massah, who also gained experience as line producers
on feature films such as the award-winning drama 4 Minutes.
Massah is also a member of the ACE producers’ network and of
the European Producers Club.
The company’s German/Turkish/Dutch co-production Men on
the Bridge, directed by Asli Özge, was completed in 2009 and
won Best Film awards at festivals in Istanbul, Ankara, London
and Adana. Following its international premieres in Locarno and
Toronto, the film has been shown at more than 40 film festivals to
date, including Rotterdam, Goa and Thessaloniki. It has also been
released in Germany, the UK, the US, Turkey and the Netherlands,
with France, Romania, Hungary and other countries still to come.
Upcoming feature films in development include Unsettled, the
fiction debut of writer/director Willem Droste, which was funded
by the German/Polish Co-Development Fund and is co-produced
by Opus Film from Lodz; and the English language supernatural
thriller Rehab, directed by Marc Malze, which is currently being
packaged with an international cast.
Endorphine Production is also involved as a co-producer in the
upcoming feature films Land, directed by Jan-Willem van Ewijk, a
Dutch/German/M0roccan/Belgian co-production, which received
funding from the Medienboard Berlin-Brandenburg; Luton, a
Greek/German co-production directed by Mihalis Konstantatos;
and Arunoday (Sunrise), an Indian/German/Netherlands coproduction directed by Partho Sen-Gupta, which was selected for
the Locarno Film Festival’s Open Doors market in 2011.
Fabian Massah
Contact
Endorphine Production GmbH
Schliemannstrasse 5
10437 Berlin
Germany
Tel: + 49 30 28 86 77 77
Email: mail@endorphineproduction.com
www.endorphineproduction.com
Gringo Films
Company profile
Gringo Films is a feature film company based in Cologne,
Germany. Our work is to develop and produce strong cinematic
stories that appeal across borders. To this end, Gringo specialises
in international co-productions, both as a majority and minority
partner.
Gringo was founded in 2008 by Steve Hudson and Sonja Ewers.
Collectively, their experience in international co-productions
includes True North, which premiered at the Toronto Film Festival
and went on to win numerous international awards; and Lebanon,
which won the Golden Lion at the Venice Film Festival. Gringo’s
next film, Bethlehem, is currently in post-production.
Project
Duisburg
Logline
The true story of the bloodiest mafia killing in German history.
Synopsis
12 March, 2009. A tactical police unit storms an unprepossessing
flat on the outskirts of Amsterdam. The police arrest Giovanni
Strangio, 28 - the man identified by the authorities and the media
as responsible for the Duisburg massacre of 14 August, 2007.
On that day, six young men were executed by machine pistol in
front of an Italian restaurant. One had been celebrating his 18th
birthday that very evening. In his pocket, the burnt image of the
Archangel Michael - a sign that he had just been initiated into the
‘Ndrangheta, the Calabrian mafia. In return for lifelong loyalty, he
was promised protection until the day he died.
The Duisburg killings were the highpoint and finale of a brutal
vendetta that had lasted 16 years. This feud stretched back from
Germany’s post-industrial wasteland to San Luca, a village high
in the Calabrian Aspromonte, in whose cramped underground
bunkers the bosses of the ‘Ndrangheta lie hidden from the police
- and each other.
Neither the victims in Duisburg nor their murderers had much to
do with the vendetta. They were simply pawns in a larger game,
put there to kill and be killed. The massacre - like Strangio’s arrest - was above all a theatrical performance designed to show
the world that the powers that be had regained control, and order
had been restored.
Through unprecedented, unpublished Carabinieri wiretap transcripts and court protocols, Duisburg brings the dead back to life, to
tell both their own self-mythologizing tales of heroism, self-sacrifice and revenge, and to reveal the banality, pettiness and brute
incompetence of organised criminality in everyday life. Ultimately,
everyone – be it the media, the police, or the mafia - has more to
gain by emphasising the former. Duisburg flips the coin to show the
reality beneath.
Steve Hudson
“Aren’t you afraid?”, people sometimes ask. In fact, the risk is
essentially zero - there’s nothing in Duisburg that hasn’t already
been through the courts. But the vague, generalised fear behind this question is fascinating, since it is the true source of the
’Ndrangheta’s power. The sub-text is clear: don’t get involved, look
away - this is a big frightening monster that will bite your head off.
It’s not just the ‘Ndrangheta who benefit from this fear. Journalists use it to sell papers, the police to lobby for higher budgets.
We all love monsters.
But the real monster is much more interesting than that… not
just ruthless, cynical and violent, but also incompetent and banal.
At times, we see the human face behind the monster mask. And
that’s when it’s most frightening of all.
Current status
In development
Aims at the HFM
Looking for a Dutch co-producer
Sonja Ewers
Director
Steve Hudson
Producer
Sonja Ewers
Screenwriter
Steve Hudson
Based on
authentic material
Languages
German, Italian
Genre
Crime epic
Running time
120 mins
Target audience
Male, 18-49
Budget
€3,500,000
Contact
Gringo Films GmbH
Neue Maastrichter Strasse 12-14,
50672 Köln
Germany
Tel: + 49 221 16 84 26 58
Email: mail@gringo-films.com
www.gringo-films.com
Weydemann Bros
Company profile
Weydemann Bros was founded on November 2008 in Berlin,
Germany and opened a second office in January 2011 in Cologne.
The company produces films for the national and international
markets. We have a vision of a narrative cinema that is both
entertaining and political. For us, film always involves a critical
look at the world and the times we live in. With our films, we do not
only hope to get people laughing and crying, but to inform them
and make them think.
Project
Europe’s Borderlands
Europas Grenzen
Logline
An exploration of Europe’s borders, both in their literal
geographical sense and in their metaphorical sense of freedom of
movement and openness.
Synopsis
German filmmaker Jakob Preuss sets out to explore the periphery
of the European Union – the geographical borders as well as the
borders of identity and integration. As a child growing up in West
Berlin, Preuss lived with the physical presence of the Berlin Wall
every day. Now, after the reunification of Germany, the Schengen
Agreement and the enlargement of the European Union to include
the former Soviet satellites of Eastern Europe, the nearest land
border lies about 1000 km away from his home.
Jakob starts a personal journey to find out what these borders
look like today. Are there new Berlin Walls out there? Who
protects them and who is in charge? Are they doomed to vanish or
do they have a definite character? Who determined them and does
their actual placement make sense? What do they mean for the
people living on either side of them?
In the course of the journey we meet different people in very
different locations. Some risk their life to protect the borders,
some risk their lives to cross them, some make a living by trading
or smuggling goods across them, some want to abolish them
and some are just bored to death by waiting in the passport and
customs queues. Europe’s Borderlands is both a melancholic
meditation and a persistent examination of the political situation,
underpinned by one crucial question: will the European Union
replace sovereign national states any time soon?
Jakob Preuss
Jonas Weydemann
I have always been fascinated by the European idea. I grew up in
West Berlin, surrounded by a border, the Berlin Wall. When I was
16, I moved to France. Afterwards, I spent some time in Spain and
later studied law in Cologne and in Paris. For my civil service, I
went to work in Russia, after having done a Master’s degree at the
College of Europe in Warsaw. Wherever I went, borders seemed
to be disappearing. Heavily guarded frontiers became somehow
anachronistic in Europe.
But this could be deceptive. The outer borders of the European
Union might soon resemble the former Berlin wall. Borders are
making a comeback and there are more of them in today’s world
than ever before. Did we just move that wall that once separated
the Cold War opponents further to the south and the east? What
does the reality of life at these borders look like? And what do
people living at them think about the EU? I want to follow these
questions, looking for personal stories at the outer borders of the
EU, to find out more about the idea of Europe as a cosmopolitan
community of values - something I was advocating so ardently
when I was a student.
Current status
In development. Partners attached: ZDF Kleines Fernsehspiel;
Film & Medienstiftung NRW
Jakob D. Weydemann
Director
Jakob Preuss
Producers
Jonas Weydemann
Jakob D. Weydemann
Screenwriter
Jakob Preuss
Languages
Polish, Greek,
English, German
Genre
Documentary
Format
HD, 16:9
Running time
Two versions - 80 mins
and 52 mins
Target audience
45-65
Budget
€467,200
Aims at the HFM
Looking for co-producer(s) and world sales.
Contact
Weydemann Bros. GmbH
Körnerstrasse 45
50823 Köln
Germany
Tel: +49 221 63 06 05 29-0
Email: jakob@weydemannbros.com
www.weydemannbros.com
zischlermann
filmproduktion
Company profile
Susanne Mann and Paul Zischler both studied production at the
German Film and Television Academy Berlin (dffb).
The company, working in the German regions of Berlin,
Brandenburg, Saxony and Baden-Württemberg, was formed
some three years ago and has produced two feature films,
one documentary and several shorts. We also work with other
companies (film, TV and commercials) as line producers and
production managers on a freelance basis.
We are interested in both fictional and non-fiction stories: that
is where our hearts beat strongest. Our goal, in addition to
regionally located films, is to make international co-productions.
We have been nominated twice for the Robert Bosch C0Production Prize for projects from Serbia; have twice been
nominated for German Film Awards for our shorts; and were also
nominated for a European Film Award for one of our shorts.
Because of our network of contacts and regular crew, we are able
to make films on a limited budget, while our experiences working
with international teams have confirmed that, in the long run, we
want to be part of stories from parts of the world whose people
and places are far from our own.
Susanne Mann
Susanne took part in several national and international
productions as a production assistant and coordinator over five
years.
In her own responsibility projects like commercials („Michael
Ballhaus Environment Initiative“, „Give Chances – German public
children aid“), Imagefilms (Philipp Morris, Dubai Properties u.a.),
Musicvideos („Juli – Dieses Leben“) und shorts (z.B. „What´s left“,
„The New Dawn“, „The world is your oyster“ a.o.) she got nominated,
together with her associate Paul Zischler, for the German Film
Award and the European Film Award. She also works on a
freelance basis for partner companies like Komplizenfilm, New
Road Movies, Lagofilm and cine+ filmproduction.
Paul Zischler
Paul worked as a producer on several commercials and
imagefilm-productions (“Hewlett Packard”, “Audi”, “Pepsi”),
Musicvideos (“Juli”) and shorts as VERWEHTE starring Ulrich
Mühe (for ARTE), the German- Israeli NACHTGEBET (financed by
Medienboard and nominated for First Steps ), WHAT´S LEFT (as
above). He also took part in the Feature Documentary “Football
under Cover” (Winner First Steps, Berlinale 2008), worked for
Wim Wenders “PALERMO SHOOTING”. Together with Susanne
he coproduced the ZDF- Das kleine Fernsehspiel „Like Sailors“
with his company, which was shown at competition at Max-Ophüls
Festival 2010 and Festival of German Film. As an assistant
producer he joined “A Dangerous Method” by David Cronenberg in
Berlin, Cologne und Vienna as well as for companies like Essential
Film/ Coproduction Office, Cine Plus Production und New Road
Movies.
Susanne Mann
Paul Zischler
Filmography
In distribution
Adams Ende (Max-Ophüls-Award 2011, Diagonale Competition
2011), dir: Richard Wilhelmer; feature, associate producer
Not in My Backyard (Premiere: Locarno 2011; opening film,
Semaine de la Critique, Max-Ophüls; competition, IDFA 2012;
Planète Doc Warsaw; Doc Ville Leuven), dir: Matthias Bittner;
documentary; co-producer
In post-production
Land of the Free (working title), dir: Moritz Laube; political satire;
expected release: January 2013; producer
In production
War 0f Lies (working title), dir: Matthias Bittner; documentary;
producer
Codename Pirat, dir: Eric Asch; documentary; co-producer with
Imbiss Film, Munich
Financing
Humidity (working title), dir: Nikola Ljuca; drama; co-producer
with Dartfilm (Serbia), ASAP Films (France)
Miss Julie (working title), dir: Liv Ullmann; drama; co-producer
with Maipo Films (Norway); Miss Julie Ltd, The Apocalypse Film
Co, UK
In development
The Eremites (working title), dir: Ronny Trocker; drama; producer
The Fifth Colour (working title), dir: Heiko Aufdermauer; drama;
executive producer
Shadows (working title), dir: York-Fabian Raabe; sci-fi; producer
Other Life (working title), dir: tba; sci-fi; producer
Contact
zischlermann Filmproduktion GmbH
Alexandrinstrasse 4
10969 Berlin
Germany
Tel: + 49 30 577 09 75 20
Email: kontakt@zischlermann.com
www.zischlermann.com
Baldr Film
Company profile
Baldr Film is the newly-founded production company of Katja
Draaijer and Frank Hoeve. For many years, the pair collaborated
at production company Ijswater Films, where they worked on such
titles as Deep, Skin, Win/Win and the international co-productions
22 May, Ellektra and Headrush. They have branched out on their
own to make films that represent their personal vision.
With Baldr Film, they will focus on developing and producing
features and documentaries for a select number of filmmakers
with a distinctive personal signature. In doing so, they plan to offer
support in matters of content, so that the form and originality of
the production always comes first.
Their aim is for Baldr Film to develop into a company that
produces innovative projects for an international market – a place
where emerging, talented filmmakers feel at home.
Katja Draaijer obtained her doctorate at the University of
Amsterdam in cultural studies & film and television studies. She
worked for 12 years at Ijswater Films as head of development
and producer for fiction projects and documentaries. Since 2010,
she has been a freelance script editor for fiction projects and
a member of the advisory committee for feature films at the
Netherlands Film Fund.
Frank Hoeve graduated from the Haarlem Business School with
a bachelor of economics degree. In 2004, he attended a course
in film studies at the University of Barcelona. He worked as a
producer at Ijswater Films for six years and for one year at Talent
United, where he is still attached to the feature film Ola’s Universe
(dir: Coco Schrijber) as executive producer.
Projects in production
Sevilla, short fiction; dir: Bram Schouw; in co-production with
NTR; supported by the Netherlands Film Fund, Dutch Cultural
Media Fund & the CoBo Fund.
Little Mo, short documentary; dir: Sjoerd Oostrik; in co-production
with VPRO; supported by the Dutch Cultural Media Fund.
Aims at the HFM
Discussing projects. Seeking sales agent and international
distribution partners for Ola’s Universe by Coco Schrijber
Frank Hoeve
Contact
BALDR Film
Oudezijds Achterburgwal 77
1012 DC Amsterdam
Tel. +31 6 16080755
E-mail frank@baldrfilm.nl
www.baldrfilm.nl
Pupkin Film
Company profile
Pupkin Film is a Dutch production company based in Amsterdam.
We produce feature films and television drama based on bold and
thought-provoking stories. We hope to inspire the widest possible
audience. We work with authentic filmmakers and we are proud of
the long-lasting relationships we have built with all our partners.
The company’s three producers/owners are Sander van Meurs,
Pieter Kuijpers and Iris Otten. Our latest projects are the series
Godforsaken, Freshers and Doctor Cheezy; and the features
Manslaughter, Bellicher, Cel and The Deflowering of Eva van End.
Aims at the HFM
While producing our latest feature film, The Deflowering of Eva
van End, which premiered in Toronto, we found that Dutch and
Germans get along just fine; the film has a German actor in the
lead role, has a German sales agent on board but is a typically
Dutch film.
Pupkin has yet to find the right production partner in Germany;
hopefully this will change after September 29.
Iris Otten
Contact
Pupkin Film
Weesperzijde 4
Amsterdam 1091 EA
Netherlands
Tel: +31 20 489 5088 Email: iris@pupkin.com
www.pupkin.com
CTM LEV Pictures
Company profile
CTM LEV Pictures is the result of the recent merger between CTM
Films and LEV Pictures, and is run by Denis Wigman and Sander
Verdonk, who have between them over 30 years’ experience in
producing feature films and documentaries. The projects initiated
by CTM LEV Pictures are characterised by originality, creativity
and – always - an eye for commercial and international potential.
Recent credits include the documentary Anton Corbijn Inside Out,
which premiered this year in the Berlinale Special programme
and is being sold worldwide by HanWay Films; and the feature Plan
C. The latter recently had its world premiere at the Fantastic Fest
in Austin, Texas, with Protagonist handling the international sales
and XYZ Films the US remake rights.
Over the last few years, CTM Films and LEV Pictures have
won many prizes, including a Golden Calf for Best TV Drama
with Inside; Best Dutch Short for Sunset From a Rooftop; and,
at Clermont-Ferrand, the Audience Award and prize for Best
Comedy for Sugar.
The company has many new projects in the pipeline, with both
new and established directors. These include Satan’s Sonata from
Alejandro Agresti.
Project
Kessels
Logline
Kessels is the outrageous account of an unplanned trip by writer
Frans and his favourite character, J. Kessels in an old Toyota
Kamikaze to the Hamburg Reeperbahn. It’s a quest to return
a philandering crook to his wife, and finally fulfill Frans’s prepubescent sexual dreams.
Synopsis
Frans, a crime writer, is finishing the opening line of his new
bestseller - “It all started with one of those telephone calls that
you hope you won’t receive” – when the phone starts to ring
annoyingly in his study. Frans answers it… and off goes the film!
Kessels is both a hilarious road movie and a bittersweet trip down
memory lane. The film is a crazy ride in a flame-trimmed Toyota
Kamikaze from provincial Tilburg to the Hamburg Reeperbahn
and back. It’s also a hallucinatory trip through the mind of an
author who no longer knows if his novel is a product of his own
imagination or if he is a supporting character in someone else’s
story.
The lead character is J. Kessels, a chain-smoking tough guy with
a heart of gold. Kessels and Frans are ageing youngsters who
like nothing better than to consume nicotine, beer and country
& western music. However, in Frans’s novels, Kessels and he
are fearless crime fighters - heroes! - who create a flurry of
misunderstanding wherever they go.
The man at the other end of the phone asks Frans if he and
Kessels want to travel to Hamburg to kidnap a philandering
criminal and return him to his wife. Frans accepts the task
because the caller is the younger brother of BB, aka Brigitte, the
scorching hot stunner from a diner called The Old Days, who was
once the focus of little Frans’s pre-pubescent sexual dreams
and awakening. Frans expects that, after 35 years of lonesome
wandering and writing, the trip will finally drive him into the arms
of the object of his childhood affection.
The missing person case doesn’t amount to much; but what
don’t the two come across along the way? Steaming tarmac,
burning rubber and J. Kessels’s Kamikaze. Booze and nicotine
binges. Deafening country & western. Totenköpfe. Reeperbahn
Sander Verdonk
porn versus courtly love. Flying Burritos. Prostitutes. A Turkish
pimp who quickly becomes a bothersome corpse in the trunk of
Kessels’s car. Recalcitrant characters – even Kessels goes on the
run with Frans’s ingeniously constructed plot. And Frans has still
to meet BB, who is also – small oversight on Frans’s part– pushing
50.
Kessels is an adaptation of J. Kessels the Novel, the cult literary
work by P.F. Thomése.
Filmography Erik de Bruyn – Director
Erik de Bruyn’s first feature WILD MUSSELS was the opening film
at the Dutch Film Festival 2000. Nominated for Best Script and
Best Actor, it received the Dutch Film Critics Award of Best Film,
the Russian Film Critic Award and the Youth Award for Best Film.
Ten years later, it has become a Dutch cult classic.
In September 2007 NADINE, Erik’s second feature film was
released. The film was Opening Film at the International
Mannheim Heidelberg Film Festival. His third feature film THE
PRESIDENT, a comedy, was released in 2011.
Erik de Bruyn also directed several short films (SPRING SONG
2005) Nominated for the NPS Award, THE WITNESS (nominated
as BEST SHORT Golden Calf 2006 and winner of the Best Short
Film Award of the Italian Republic, IFF Montecatini) and many
commercials.
Erik de Bruyn is also a scriptwriter.
Erik de Bruyn
Producers
Sander Verdonk
Denis Wigman
Director
Erik de Bruyn
Screenwriter
Jan Eilander
Based on
J. Kessels: The Novel
by P.F. Thomése
Languages
Dutch, German
Genre
Absurdist road movie
Format
HD
Running time
90 mins
Target Audience
primary men/women,
35+, arthouse; secondary,
students, 20-28
Budget
€1,400,000
Current status
Finished script; financing.
Aims at the HFM
To find German and Belgian co-producers, as well as meeting
international distributors and sales agents.
Contact
CTM LEV Pictures
Emmastraat 21
1211 NE Hilversum
Netherlands
Tel: +31 35 647 40 40
Email: sander.verdonk@ctmlevpictures.com
Keren Cogan Films
& Phanta Vision Film
International
Company profile
Keren Cogan was born in Beer – Sheva, Israel in 1981. In 1993
she moved to the Netherlands. As she always had a passion for
film, she started working on film sets in various positions. After a
few wanderings she began studying production at the Dutch Film
Academy (NFTA) in 2004. In her third year at the Academy Keren
worked as a junior producer (internship) at Phanta Vision Film
International. In 2009 Keren graduated, working as a producer
on two films: the documentary film TZIRK by Nova van Dijk and
fiction film WES by Peter Hoogendoorn (Cineville Audience Award
2009,Leids Film festival IJzeren Haring Award 2010, Cinestud film
festival Audience Award 2010).
After graduating Keren got the chance to start her own company
Keren Cogan Films in partnership with Phanta Visions Film
International, working on the
development and financing of various film projects, of which the
first one
KATTENKWAAD (Cat and Mice). (Dutch entry Academy Awards
Life Action Short 2010, Best Short Live Action Film (15 and
under) Palm Springs International Shortfest). She is now bust
financing a feature film BETWEEN 10.00 -12.00 by director
Peter Hoogendoorn, and has two Israeli co-productions in
postproduction.
Filmography Keren
Cogan Films
2012
2010
2009
2008
Show Me Love, short fiction; dir: Peter Hoogendoorn
Kattenkwaad, short fiction; dir: Nova van Dijk
8 hoog, short fiction; dir: Galed Hamed
Wes, short fiction; dir: Peter Hoogendoorn
Tzirk, short documentary; dir: Nova van Dijk
Filmography Phanta Vision Film International
2012
Istanbul, feature; dir: Ferenc Török
2010
Kattenkwaad, short fiction; dir: Nova van Dijk
2009
Great Kills Road, feature; dir: Tjebbo Penning
Piet Esser: Verbeelden van het zien, documentary;
dir: Hansje Ran
Project
Between 10 and 12
Tussen 10.00-12.00
Logline
When it comes to death, life is full of futility. This futility colours
our perception of time - time that passes, that is lived and is being
experienced. Time stops for no one, is irreversible and can pass
agonisingly slowly.
Synopsis
On a beautiful summer’s day, two policemen are on their way
to bring a family the news that their daughter has died in a car
accident…
At that moment two young lovers, Raymond and Katja, unaware
of any of this, have just begun a new day. They are preparing to go
to the beach. Just as Katja is boiling her four-minute egg, with the
beach bag already packed, the doorbell rings…
The warm sand is exchanged for the plastic-protected back seat of
the police car heading for Gerard, the father of the deceased girl.
We glide in a straight line across the city, until we arrive at the bus
depot where Gerard works.
Unaware of what has happened, Gerard tells one of his employees
off, tries to tie his tie, eats some bits of apple and sees a police car
in the distance - a police car out of which steps his son Raymond…
The ordinary working day in which the time passes as always has
given way to the back seat of a police car where time seems to
stand still.
Again, we glide in a straight line across the city until we meet
Cristina, the mother of the dead girl, who is at work and worrying
about a run in her tights…
Until she sees Gerard.
Keren Cogan
Peter Hoogendoorn
Director’s filmography
2012
Show Me Love, premiere at NFF
2009 Wes (graduation film; Cineville Audience Award,
Leids Filmfestival; Ijzeren Haring Award;
Cinestud Filmfestival Audience Award)
2009
Earth Water, commercial
2008
Lost Persons Area, making of
Spaarlamp, commercial
2008
Broers, short
2007
Liefje kom je nou nog?
Zonder morgen
2006
Le lait, le lait
Kleurenblind
2005
Doen
Mijn plek
2004
Acrofobia, Duistere Openbaringen Award
2000
The Hoover, First Prize Reject Filmfestival
Petra Goedings
Producer
Keren Cogan
Director
Peter Hoogendoorn
Screenplay
Peter Hoogendoorn
Based on
an original story
Language
Dutch
Format
Digital
Length
90 mins
Budget
€1,463,725
Current status
Financing.
Aims at the HFM
Seeking co-production partners / International sales.
Contact
Keren Cogan Films & Phanta Vision Film International
Gijsbrecht van Aemstelstraat 16-18
1091 TC Amsterdam
Netherlands
Tel: +31 6 48 33 32 44
Email: info@kerencoganfilms.com
www.kerencoganfilms.com
www.phantavision.com
Smarthouse Films
“Smarthouse = Commercial arthouse or vice
versa, linking music, arts and graphic design
into the world of film, serving a young global
audience.”
Company profile
Danielle Guirguis started her career working for production
company Fu Works on Tim Oliehoek’s Vet Hard and Paul
Verhoeven’s Black Book. She then joined Academy Award winning
Eyeworks Film & TV, as an Assistant Producer and Marketing
Manager on The Letter for the King and later as Executive Producer
on Reinout Oerlemans’ Stricken and Antoinette Beumer’s The
happy Housewife.
In 2010 she set up her own production company Smarthouse Films
that focuses on commercial arthouse or vice versa, linking music,
arts and graphic design into the world of film and documentary,
serving a young global audience. In 2011 she produced the short
Undertow, selected for the Netherlands Film Festival and in 2012
the short film Ten Minutes Left. Besides, she freelances for Dutch
production company Shooting Star Filmcompany, for which she
produced Furious and De Groeten van Mike.
Project
La Holandesa
Logline
What happens to a woman when her desire to become a mother
cannot be fulfilled?
Synopsis
Maud (40) has only one desire: to become a mother. Although
doctors have told her this is not going to happen, Maud still has
sparks of hope. Her boyfriend Frank (43) tries to save their fragile
relationship by taking Maud to Chile and trying to get her to focus
on a future for the two of them. But he soon discovers that Maud
is desperately holding onto the idea of having a baby and that
nothing will stop her. He can’t bear to see her destroying herself
and leaves.
Maud stays on alone in Chile and loses all connection with herself
and reality. She has only one overwhelming goal: to have a child
no matter what. In a desperate attempt to keep herself sane,
she invents Messi, an eight-year-old who keeps her company
and prevents her from doing things she would regret. He has no
expectations and loves her unconditionally.
But during her trip from the cold majesty of the south of Chile to
the sweltering desert in the north, Maud starts to realise that she,
not a child, is the only one who can make herself happy. So she
has to let go of her dream. And of Messi.
Danielle Guirguis
Writer’s statement
La Holandesa is a film about desire and a person’s drive to fulfill
this desire, whatever it takes. For Maud, the desire to become
a mother is under her skin. It’s her oxygen; it keeps her going.
Threatening her sanity, it is destructive for her relationship both
with herself and with Frank.
Being a woman who can’t have children myself and having had
some desperate moments as well, I was wondering how far a
woman would go and what it would bring her. How do you go from
(false) hope to denial and even despair and finally acceptance?
That’s what I would like to explore with La Holandesa.
Maud does not just feel the pain of not having what she wants:
she also starts to feel like an outsider. She doesn’t think much of
herself as a woman. On her road trip through beautiful Chile - I
see the landscape as a major character in the film - Maud leaves
victims and chaos, something you wouldn’t think of her doing in
her better days. Fortunately, there is the invented Messi, the only
positive factor in her life. But Maud also realises that Messi can’t
be with her for ever.
In the end, La Holandesa, is a film about hope - hope that there are
other desires and things to live for - and beauty in every person.
Daan Gielis
Producer
Danielle Guirguis
Director
tbc
Screenplay
Daan Gielis
Languages
Dutch, Spanish, English
Genre
Drama
Shooting format
RED
Length
90mins
Target audience
Women, 25-45
Current status
La Holandesa originated as the short film Undertow which Daan
Gielis wrote and Danielle Guirguis produced. The script is being
developed at the ‘Script & Pitch’ lab in Turin and is supported by
the Netherlands Film Fund. Within the next couple of months, we
will attach a director and apply to the Netherlands Film Fund for
production money. Shooting is scheduled for autumn 2013.
Aims at the HFM
To find a co-production partner for a Dutch project to be shot in
Chile, plus a sales agent and a broadcaster.
Contact
Smarthouse Films
Amstel 352
1017 AS Amsterdam
Netherlands
Tel: + 31 6 21 24 37 31
Email: danielle@smarthousefilms.nl
www.smarthousefilms.nl
Smarthouse Films
Project
Carmen’s World
Logline
Carmen lives in her own dream world, in which everything
revolves around her, until the moment she falls madly in love
with a male version of herself. Then he dumps her, and Carmen is
transformed into a goddess of vengeance…
Synopsis
Carmen: it’s all about Carmen. That is how she sees the world and
that is how she shapes it. She can’t help it; her father has always
told his little princess that life is what you make of it and that she
could have everything she always wanted.
Now she is an art student in her twenties. Her father was right:
what she wishes for happens and this is how she lives in her
magic-realist dream. Every Tuesday, she buys her dad a present.
The other day it was The Encyclopaedia of Psychoactive Drugs, Series
2: Bad Trips.
Emil from Iceland is a vegetarian and is hopelessly in love with
Carmen. He knows he doesn’t stand a chance and accepts the
‘best friend’ role. He kills seagulls as a side job, to make sure they
die with dignity. He drops them off at the abattoir.
At a food-fight-party, covered in liverwurst, Carmen meets Chris.
For a moment, her world stops. From then on, it’s all about Chris.
Carmen’s aunts try to warn her but she won’t listen.
Carmen and Chris tour the canals of Amsterdam, go swimming
for a day in Nice, and have the best sex ever. This is how love is
meant to be, just like in the movies. Emil is history. In Paris, where
Chris’s parents have an apartment, things start to change. But,
blinded by love, Carmen doesn’t notice a thing.
And then it’s over. Carmen has met her male version, seduced
him and suffocated him. For the first time in her life, she’s been
dumped. Emil is allowed back into her life to comfort her, but
instead he makes her furious. Nobody understands her. She has to
do something so she can slip back into her dream world. She can’t
live like this. Neither can Chris.
Chris has to die. Only then will it be all about Carmen again.
Stephane Kaas
Writer’s statement
Carmen: egocentric and raised with the idea that everything can
be achieved in life. She meets Chris, a male version of herself. He
also believes he is completely in control of his own world, which
he can shape and mold in every way. They fall in love. He dumps
her, she is furious, he is dead. That is one way to look at this story.
What makes the story interesting and worthwhile is the
radically individualistic and egocentric aspect of the characters.
Conforming to the zeitgeist, their focus is on fun. Everything they
do is driven by the thought that it should be fun and amazing, as
far away as possible from mediocrity.
But fun is like a Big Mac: you stuff it in and you’re hungry again.
Only the moment of consumption is pleasant, but that is followed
by a hung-over feeling, a void. In Carmen’s magical-realist world,
there is only one way out of the void; Chris must die, so the world,
the stars and the planets can get back into balance again.
Current status
Carmen’s World is in development; a treatment is available and,
within the next couple of months, the script will be written and we
will start financing. Shooting is scheduled for autumn 2013.
Director
Stephane Kaas
Screenplay
Tjeerd Posthuma
Based on
the book Alles is Carmen
by Alma Mathijsen
Producer
Danielle Guirguis
Language
Dutch
Genre
Magic realism/crossover
Shooting format
RED
Length
90 mins
Budget
€1,000,000
Target audience
25-45 male/female
Aims at the HFM
To find a co-production partner, a sales agent and a broadcaster.
Contact
Smarthouse Films
Amstel 352
1017 AS Amsterdam
Netherlands
Tel: + 31 6 21 24 37 31
Smarthouse Films
Project
Dutch Dance – Afrojack
in the House
Logline
Immerse yourself in the energetic, mega cool and crazy world of
Dutch dance music. With superstar DJ/producer Afrojack’s career
as a leitmotiv, the film seeks to answer the question of where the
massive international Dutch success in this field comes from.
Synopsis
Armin van Buuren, Tiësto, Fedde le Grand, Chuckie and the
hottest DJ/producer of this moment, Afrojack, have millions of
fans all over the world and make shitloads of money with their
gigs. The Dutch, in case you hadn’t noticed, are taking over. For
25 years, dance has been deeply rooted in urban youth culture
and nightlife and DJ’s have grown to be superstars. Never before
were the Dutch so involved and influential on the international pop
scene.
The film seeks answers to the question of where the success of
the Dutch in this field comes from, using the career of Afrojack as
a leitmotiv throughout the film. The 24-year-old Nick van de Wall
from Spijkenisse, a suburb of Rotterdam, makes over $150,000 for
a gig, remixes the records of Madonna, Lady Gaga and Rihanna
and headlines the biggest international festivals and clubs like
the Ultra Music Festival, Coachella, Sensation and the notorious
Pacha on Ibiza. He was nominated twice for a Grammy Award and
won once.
It seems as if Afrojack has been catapulted out of nothing into
stardom, but nothing could be further from the truth. He is only
the latest in a long line of successful Dutch DJs such as Armin van
Buuren, Tiësto, Ferry Corsten, Chuckie, Fedde le Grand, Laidback
Luke, Junkie XL, Michel de Heij, Sander Kleijnenberg, DJ Jean,
Paul Elstack and Speedy J.
We go back to the roots of dance music, originating in the 1980s,
touching upon different musical trends and the drug culture, the
rise of massive raves and festivals like Sensation and Dance Valley in the 1990s, to where we are now: a Dutch sound built around
a high-pitched synth packing bags of explosive energy and hip-hop
attitude into a four-four template, with chopped vocal snippets and
military drums giving it a European slant comparable to US club
music.
The crisis of the 1980s was reflected in the music of that era:
negative and ‘against’. The booming economy of the 1990s brought
along a positive, creative and loving sound, enforced by the new
drug XTC, while the 2000s were characterised by a fin de siècle
mentality of huge raves where people partied like there was no
tomorrow. Can these elements help us explain the rise of a true
Dutch sound that gradually finds its way onto a world stage, bringing an underground sound to the overground?
Sacha Vermeulen
The film will portray Afrojack’s life as a DJ/popstar in a critically
observational style, intercutting his story with the history of
dance, fuelled by interviews with experts from the dance scene
(DJs and journalists) and social experts (sociologists, drug
experts, cultural anthropologists). A non-chronological eclectic
visual style will be adopted, complete with witty animation and
voice-overs, delivering an entertaining and ground-breaking
insight into something deeply rooted in modern-day society.
Current status
In pre-production. Shooting October 2012 – July 2013.
Due to premiere at the Amsterdam Dance Event, October 2013.
Aims at the HFM
To find a broadcaster, distributor and sales agent.
Director
Sacha Vermeulen
Producer
Danielle Guirguis
Writers
Sacha Vermeulen
Danielle Guirguis
Editor
Bas Icke
Camera
tbc
Featuring
Afrojack
Armin van Buuren
Tiësto
Laidback Luke
Fedde Le Grand
David Guetta
and many more
Genre
Eclectic music documentary with graphic
elements
Running time
52 mins for TV; 75 mins
for theatrical release
Language
English
Shooting format
Canon 7D
Budget
€150,000
Contact
Smarthouse Films
Amstel 352
1017 AS Amsterdam
Netherlands
Tel: + 31 6 21 24 37 31
Viking Film
Company profile
Viking Film aims to be cross-border and to make high quality
films for both Dutch and international audiences with a special
focus on international arthouse, children’s and family films,
and animation films. Viking has two films in post-production the short animation films Goodbye Mister De Vries (dir: Mascha
Halberstad) and As Boys Grow (dir: Charlotte van Otterloo) - and
the co-production Leones, by the Argentine director Jazmin Lopez,
which was selected for Venice 2012.
Project
Luna
Logline
After his sudden death, Luna discovers that her lover Boris had
been leading a double life. Numb and confused, she secretly runs
away. In the world of truckers, craving for the child she has left
behind, Luna tries to start mourning.
Synopsis
When the love of her life, Boris (44), a lorry driver with a strong
and captivating personality, is killed in an accident, Luna (36) finds
out that he’s been leading a double life. As it turns out, he was
married to someone else and had a second family all along. The
shock of both the sudden loss and the long-term deceit causes her
to collapse.
In this state, as she struggles with strong and contrasting
emotions, the very sight of her daughter, Pien (5), who needs her
now more than ever but who is also the living evidence of both love
and lies, becomes unbearable for her.
After the funeral, during which we witness how sincerely loved
Boris was by many people and how hard the blow of his deception
must have been, Luna’s pain grows to the point where, on the spur
of the moment, she dumps Pien, leaving her in the garden of the
other family.
On the run after having done that, she wanders aimlessly, bursting
with anger, grief and remorse. The only way she can vent her raw
emotions is by singing - an instinctive survival strategy. And thus
the process of getting over her loss slowly begins.
Sacha Polak
Luna shows the beautiful and ugly sides of life, a quality typical
of screenwriter Helena van der Meulen. The same goes for the
subject: heavy at first sight, but never depressing and always
touching. The power and the beauty of the images and the music
that plays an important role in the film will strengthen this even
more.
The plan for Luna stems from the idea of writing a screenplay
with a main part for the famous Dutch singer Wende Snijders, an
expressive as well as intriguing personality. The arena is that of
truckers: transport cafes, pull-ins, lay-bys, motels, petrol station
shops, red-light districts - all places offering brief contacts for
those who are on the road and don’t want to stay anywhere.
We believe Luna has the potential to reach a wider international
audience. We look forward to making an artistic film with a
wide reach and a higher level of ambition by working together
with Wende, but also by organising the film as internationally as
possible both in content and in financing.
Part of the cast can be German and Belgian, which enlarges our
casting opportunities immensely. We want to make a film that is
Dutch but actually feels un-Dutch, giving it crossover possibilities
in the Dutch release as well as in its international distribution and
festival potential.
Current status
At the moment, we are working on the final draft of the script
and are setting up the international financing together with coproducers A Private View (Belgium) and La Dolce Vita (France). We
are still looking for a German co-producer.
The project has been selected for the Berlinale Residency, where
we can work in close contact with individually selected mentors
and market experts to finalise the script and develop production
and distribution strategies on the way to a successful (inter)
national theatrical and festival release.
Aims at the HFM
We are searching for an enthusiastic German co-producer to work
closely with us on the project. We would like to be able to apply to
the Film und Medienstiftung NRW and nordmedia, in whose areas
important parts of the film will be shot.
Director
Sacha Polak
Screenwriter
Helena van der Meulen
Based on
an original story
Producer
Marleen Slot
Languages
Dutch, German,
English, French
Genre
Road movie
Format
tbc
Running time
90 mins
Target audience
18+
Budget
€1,600,000
Helena van der Meulen
Marleen Slot
Contact
Viking Film
Lindengracht 17
1015 KB Amsterdam
Netherlands
Tel: +31 20 625 4788
Email: marleen@vikingfilm.nl
www.vikingfilm.nl
32Nd NeTherlaNdS film feSTival SepTemBer 26 - ocToBer 05, 2012 filmfeSTival.Nl

25th AnniversAry of hfM - Nederlands Film Festival

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