纪录片自媒体解说素材-新闻动态参考-Circle Women Doc Accelerator揭幕了戛纳Docs展示的四部电影（独家）/Circle Women Doc Accelerator Unveils Four Films for Cannes Docs Showcase (EXCLUSIVE)
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0508/2828edjhnhe1tyo.jpgCircle Women Doc Accelerator揭幕了戛纳Docs展示的四部电影（独家）
Circle Women Doc Accelerator Unveils Four Films for Cannes Docs Showcase (EXCLUSIVE)
Circle Women Doc Accelerator是一项针对女性纪录片制片人的培训计划，专注于南欧和东欧，已经选择了将参加其展示的四个项目，作为戛纳电影市场戛纳Docs计划的一部分，多样性可以揭示。从该计划在巴尔干地区的后院到达巴西和台湾遥远的地方，该选择反映了该计划现在第四年的雄心壮志。该计划的总监Biljana Tutorov兼项目经理Antigoni Papantoni说。“今年的选择证明了Circle所取得的国际规模。”“ Cent'Anni”由斯洛文尼亚电影制片人Maja Doroteja Prelog执导，并由RokBiček（Cvinger Film，Slovenia），Alessandro Leone（Alessandro Leone）（Agresywna Banda，Polanda，Polanda）制作。和Massimo Casula（意大利Zena电影）。个人供认关于疾病对关系的影响的离子，它遵循Prelog的伴侣Blaž，白血病幸存者Blaž，踏上了非凡的自行车旅行，从创伤经历中治愈。 Tutorov和Papantoni说，这部电影“见证和质疑爱情如何从疾病中成长出来，同时探索一个女人在浪漫关系中承担的不同角色。”“我父亲的课程，克罗地亚导演达利贾·迪兹特（Dalija Dozet），探索了复杂的动态性导演和她已故的父亲，摄影师。 Dozet在一份声明中说：“它是由DanaBudisavljević（克罗地亚Hulahop）和VladoBulajić（斯洛文尼亚12月）制作的。 “每个家庭聚会都将在他的相机前一个混乱的Mise-en-Scène结束。他突然去世，享年52岁。现在他和他的相机已经消失了，我们无法交流。这部电影是家庭的元化学肖像，纽带的关系由巴西电影制片人Bárbaracunha执导，由ChicaMendonça（巴西CháCinematográfico，巴西）执导，“上帝是女人”（图片），讲述了Alexya Salvador的故事 - 巴西妇女。一位已婚母亲三岁的母亲（包括两个跨性别女孩）过着正常的生活，直到横跨巴西的暴力保守浪潮，迫使她追求一个召唤。 Tutorov和Papantoni说，这部电影“带我们去了巴西，向我们展示了一个比生活更大的角色，这是第一位跨性别者和激进主义者成为Bolsonaro当今巴西统治的LGBTQI+人的牧师。”台湾电影制片人的粉丝Wu，由WU（Svemirko Visual Art Productions，Taiwan），威尼斯·阿提耶扎（Svemirko Atienza）（菲律宾Svemirko电影制作）和Alex Tondowski（德国Tondowski电影）制作。它跟随中国即兴创作艺术家吴和Xixi之间的友谊校长在完成学业后在欧洲的最后一年。“一段时间以来，我们摆脱了长大的意识形态，”吴在一份声明中说。 “通过多年的视频日记交流，我们的友谊是通往自由的窗口，演变成一个房间，沉默的声音发现了它的声音，迫使我们面对我们从未意识到的自主权所带来的脆弱性。”这四部电影将在混合动力活动期间向节日程序员，销售代理商和其他决策者推销，并在戛纳电影市场上进行现场和在线音调。这是与来自世界各地的合作伙伴节日和组织合作，在戛纳Docs期间展示的八个展示柜之一。Tutorov和Papantoni指出，所有四部电影都“探索当今的女性状况”。激进主义者，寻找不同文化之间的解放，成为女儿或照顾伴侣，”嘿说。 “所有四个项目都使用奇异的电影手写，像纪录片一样探索电影语言的新领土。关于女人的角色一如既往地相关的讨论，这些项目的国际潜力从他们的参与，诚实和个人的风格中升起，也从她们探索的视觉语言的独特性中升起。” Circle于2018年推出女性电影制片人的创新培训计划制作长篇纪录片。它源于通过支持女性身份的电影制片人的创造力和故事来填补电影业的差距，并为他们提供一个平台，以表达自己的声音，结合并形成相互支持的圈子，以成长和理解不断的人 - 改变行业格局。通过三个量身定制的模块，参与者与专家合作，以推进其项目，了解现有的生态系统并为未来做准备。参加CPH：论坛，CPH：DOX Festival的融资和共同制作活动：摩尔多瓦的记者和电影制片人Lina Vdovii，他的个人电影“ Tata”跟随她的旅程，她回到摩尔多瓦面对虐待父亲的父亲。她逃跑了；丹麦电影制片人林·艾鲁纳（Lin Alluna）和她的纪录片《两次殖民》（Twie Clonized）遵循着著名的因纽特人律师阿阿胡·彼得（Aaaju Peter）为自己的人民权利而奋斗。 “塔塔”在联合制作论坛上获得了Euromages联合制作开发奖。与他们在戛纳Docs期间将要展示的四个项目，Circle还将组织一个小组作为Doc Talks计划的一部分，女性纪录片在其中电影制片人和制片人的作品在节日巡回演出中引起了轰动。充他们的项目。” Tutorov和Papantoni说。“合并与戛纳文档的合作伙伴关系是一种强调女性创意纪录片在世界上最大的电影庆祝活动中的重要地位的方式。”
The Circle Women Doc Accelerator, a training program for women documentary filmmakers conceived with a focus on Southern and Eastern Europe, has selected the four projects that will take part in its showcase as part of the Cannes Docs program of the Cannes Film Market, Variety can reveal.
Hailing from the program’s backyard in the Balkans to as far afield as Brazil and Taiwan, the selection reflects the growing ambition of a program now in its fourth year.
“Although Circle started off as a regional initiative for Southeast European filmmakers, it quickly expanded to the whole world,” said the program’s director Biljana Tutorov and project manager Antigoni Papantoni. “This year’s selection is proof of the international scale that Circle has achieved.”
“Cent’Anni” is directed by Slovenian filmmaker Maja Doroteja Prelog and produced by Rok Biček (Cvinger Film, Slovenia), Alessandro Leone (Agresywna Banda, Poland), and Massimo Casula (Zena Film, Italy). A personal confession about the impact of illness on a relationship, it follows Prelog’s partner, Blaž, a leukemia survivor who embarks on an extraordinary cycling journey to heal from the traumatic experience. Tutorov and Papantoni said the film “witnesses and questions how love can grow out of illness while exploring the different roles that a woman takes on in a romantic relationship.”
“My Dad's Lessons,” from Croatian director Dalija Dozet, explores the complex dynamic between the director and her late father, a cameraman. It’s produced by Dana Budisavljević (Hulahop, Croatia) and Vlado Bulajić (December, Slovenia).
“Throughout his life, my dad Danko considered the camera as an extension of his hands,” Dozet said in a statement. “Every family gathering would end as a chaotic mise-en-scène in front of his camera. He died suddenly, age of 52. Now that he and his camera are gone, we are not able to communicate. This film is a metacinematic portrait of the family and the relationship between the cameraman father and the director daughter.”
Directed by Brazilian filmmaker Bárbara Cunha and produced by Chica Mendonça (Chá Cinematográfico, Brazil), “God Is a Woman” (pictured) tells the story of Alexya Salvador, a trans, indigenous, Afro-Brazilian woman. A married mother of three—including two trans girls—she lives a normal life until a violent conservative wave sweeps across Brazil, compelling her to pursue a calling as a reverend. Tutorov and Papantoni said the film “takes us to Brazil and presents to us a character bigger than life, the first transgender person and activist to become a reverend for LGBTQI+ people in today’s Brazil ruled by Bolsonaro.”
Finally, “XiXi” is directed by Taiwanese filmmaker Fan Wu, and produced by Wu (Svemirko Audio Visual Art Productions, Taiwan), Venice Atienza (Svemirko Film Productions, Philippines), and Alex Tondowski (Tondowski Films, Germany). It follows the friendship between Wu and XiXi, a Chinese improvisational artist, during the director's final year in Europe after finishing her studies.
“For a time, we were free from the ideologies we grew up in,” Wu said in a statement. “Through years of video diary exchanges, our friendship that was a window to freedom, evolved into a room where what was silenced found its voice, forcing us to face the vulnerability that comes with the autonomy we never realized we’ve always possessed.”
The four films will be pitched to festival programmers, sales agents, and other decision makers during a hybrid event, with both onsite and online pitches taking place during the Cannes Film Market. It's one of eight showcases of docs-in-progress presented during Cannes Docs in collaboration with partner festivals and organizations from around the world.
Tutorov and Papantoni noted that all four films “explore the state of womanhood today."
"Being a female-identifying activist, searching for emancipation between different cultures, being a daughter or a care-giving partner,” they said. “All four projects use a singular cinematic handwriting, exploring new territories of film language as documentaries often do. The discussion of a woman’s role being as relevant as ever before, the international potential of the projects rises from their engaged, honest and personal style, but also from the uniqueness of the visual languages that they explore.”
Circle was launched in 2018 as an innovative training program for women filmmakers developing feature-length documentary films. It was born out of the need to fill the film industry gap by supporting female-identifying filmmakers’ creativity and stories and providing them with a platform to articulate their voices, bond, and form a circle of mutual support to grow and understand the ever-changing industry landscape. Through three tailor-made modules participants work with experts in order to advance their projects, understand the existing ecosystem and prepare for the future.
This year two Circle 2020 alumnae were selected to take part in CPH:FORUM, the CPH:DOX festival’s financing and co-production event: Lina Vdovii, a journalist and filmmaker from Moldova, whose personal film “Tata” follows her journey as she returns to Moldova to confront the abusive father she fled; and Danish filmmaker Lin Alluna, with her documentary “Twice Colonized,” which follows the renowned Inuit lawyer Aaju Peter on her lifelong fight for the rights of her people. “Tata” won the Eurimages Co-production Development Award at the co-production forum.
Along with the four projects they’ll be presenting during Cannes Docs, Circle will also organize a panel as part of the Doc Talks program, in which women documentary filmmakers and producers whose works have made a splash on the festival circuit will be invited to talk about their success.
“Cannes Docs offers important visibility to our alumnae participants and projects, while providing them with access to a wide network of decision makers and opportunities to make the most of their projects,” said Tutorov and Papantoni. “Consolidating a partnership with Cannes Docs is a way to underline the important place of female creative documentary in the world’s biggest celebration of cinema.”
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