及时的主题和一个危机世界的世界在塞萨洛尼基纪录片节投球论坛上占据中心舞台
Timely Topics and a World in Crisis Take Center-Stage at Thessaloniki Documentary Festival’s Pitching Forum
在过去三个版本中，塞萨洛尼基纪录片节第二次面对前所未有的全球危机，面临着突然的破坏。两年前，由于冠状病毒大流行在欧洲席卷时，该节日是最早被迫在线上网的音乐节之一。今年，俄罗斯军方在开幕之夜前两周就开始入侵乌克兰。节日行业部门负责人阿格拉（Agora）的负责人Yianna Sarri负责监督塞萨洛尼基（Thessaloniki）投球论坛的项目选择，并指出了进展活动的文档，并指出了这一点。“当我们做出选择时，一切都不一样，”萨里告诉《综艺》。“我们只是有一天醒了，欧洲发生了战争。虽然战争及其扩大影响并不影响Agora的推销论坛或正在进行的部分文档的决策过程，但Sarri指出，人道主义问题有一个Lways对音乐节的选择有很大的影响。难民危机，#MeToo运动，民族主义的日益浪潮以及性别和家庭动态的不断变化的面貌都在今年的一系列项目中展出。最近的活动浪潮还说明了Thessaloniki纪录片节目如何设法设法设法适应不确定性。去年，冠状病毒大流行连续第二年迫使节日。尽管去年夏天在这座城市举行了较小的面对面活动，但这标志着自2019年以来的第一次，来自希腊，欧洲和世界其他地区的行业专业人士首次可以面对面为Agora Docs计划面对面。尽管全球电影业有能力适应过去两年的中断，但萨里说，身体联系是使该行业运作的组成部分。 “电影制作的本质是合作。这是一个集体过程。您不能自己做任何事情。”她说。 “ Col劳动，会议，网络，这对我们的工作非常重要。这就是为什么我们真的讨厌在网上做所有事情，因为那部分失踪了。前往沙罗尼卡湾的这座历史悠久的城市。对于Sarri来说，返回正常之类的事情的效果是“显而易见的”。“您可以在来到塞萨洛尼基的人们的脸上看到它 - 他们很高兴能够再次与其他人见面，”她说。 “这是塞萨洛尼基的本质。他们之所以来，是因为他们知道结识其他专业人员非常容易，而且谈话和交流想法非常容易。”她补充说，与戛纳电影节或欧洲电影市场等繁忙的活动相比，塞萨洛尼基市场的亲密关系已成为AGO的电话卡RA。 “他们知道他们会在这里发现[亲密关系]，并且他们的项目信任我们。”今年塞萨洛尼基纪录片节选出的七部电影是Agora Docs行业链的校友，包括国际竞赛冠军“ Tilos Weddings” ”，由Panayiotis Evangelidis讲述，讲述了希腊有史以来在希腊举行的前两个同性恋和女同性恋民事婚礼的故事，以及肖恩·王（Sean Wang）的2021年IDFA首映“大理石旅行”（如图所示），遵循从一块白色大理石的旅程中希腊采石场给中国雕塑家，他们用它来创建希腊风格的纪念品 - 其中许多然后返回欧洲出售给中国游客。本年的项目选择在Thessaloniki Pitching Forum上寻找国际合作伙伴的项目及时交叉 - 影响世界中世界的问题部分。在某些情况下，与Grzegorz Paprzycki的“十二月”一样，这些故事变得更加主题。由Macie制作J Kubicki在波兰的电视公园中，这部电影着眼于难民的困境，因为寒冷的冬季遍布欧洲，以及导演长期以来一直表现出欧洲对难民危机的反应的“冷漠或不愿帮助”。对许多人对另一个人造成的歧视，种族主义和冷漠的愤怒感到愤怒。对我们的自私感到愤怒，这告诉我们要开展自己的生活，从事职业并花钱（通常是不必要的），” Paprzycki告诉多样。 “我们中的许多欧洲人对难民的非法抵抗，在试图越境，在我们旁边的存在的同时，对他们的死亡没有反应。仅在最初的两周内，难民就强调了董事的伪善。 “目前在我国，乌克兰难民受到张开双臂的欢迎，而[非欧洲]难民或移民经常死于邦德嗯，”他说。 “这是一个双重标准，将人们分为'更好'或'更糟'。它有权引起愤怒。有必要谈论这种人类对他人造成的伤害的看法。一个独特的日本机构，男人可以喝酒和娱乐女性。意大利 - U.S.-Canada联合制作是由Mo Scarpelli制作的Rake Films和Jorge Thielen Armand拍摄的La Faena电影。这部电影跟随其主角Ryuki，在反思自我感知和自我毁灭的同时导航了不足东京。 Scarpelli.souza说：“ [Souza]不受限制地进入这个独特的世界，使观众成为我们自己的生活，充满投影，面具和镜子的镜子。” 10年前在东道主俱乐部。这些人开始与女性的复杂关系，既是他们的客户又成为女友。”他说。 “这个双曲线世界反映了我们在自恋社会中寻找联系时，我们如何在网上或现实生活中掩盖自己。西班牙电影制片人Ariadna Seuba Serra发现自己在两年前在她的女友打破了她试图通过辅助生殖怀孕时，许多这些主题都会引起人们的共鸣。 。 “我很震惊，”塞巴说，她承认她对这一过程的运作有“不知道”。 “我立即感到有必要讲述她的故事，这也很快就成为了我的故事以及每个经历过这样一个过程的每个人的故事。”由塞拉（Serra）执导，由西班牙完整电影的玛丽亚·诺瓦·洛佩兹（MariaNovaLópez）制作，“妈妈”，接下来塞拉（Serra）和她的女友在导演形容为“过山车的颠簸，痛苦的旅程中IDE。”这是对欧洲和美国越来越多的妇女决定推迟母亲的妇女的选择以及随后的后果的个人探索。对生活的影响：它如何影响您的未来计划，身体的变化，每次失败后打电话给家人的困难，当别人怀孕时的矛盾情绪或在办公室里有多奇怪的感觉塞巴说：“很幸运的是，对观众（对我来说，作为导演），'妈妈'不是一部戏剧，而是更悲惨的，”她补充说。 “这部电影什么都不会告诉您，但向您展示了一切。这是一段旅程，您将被邀请加入起伏，并带有疑问和确定性的困难和希望。 - 由dafni kal生产阿法蒂（Afati），导演史蒂夫·克里克里斯（Steve Krikris）（“服务员”）深入探讨了他对黄金时代的记忆，当时他是1970年代的十几岁的时候，他在希腊的米科诺斯（Mykonos）度过了暑假 - 他将这个地方描述为“一个天堂，是一个天堂电影制片人说，““超级天堂”是一部关于我们对自由和自我表达的渴望的电影，这是一部在1970年代达到高处的米科诺斯（Mykonos）的电影，”这家电影制片人说。克里克里斯（Krikris）与目前在全球泛滥的地缘政治危机进行了比较，他说，他关于过去，沉没的时代的故事已经更新了相关性和紧迫性。混乱，不确定性，战争和社会动荡定义了我们的时代。他说：“我们从来没有更加“联系”，但我们的生活比以往任何时候都更加孤立和复杂。” “有了我们的电影，我们有一个独特的机会讲述一个普遍的故事，讲述一个更简单的时光，幸福和幸福的时光。”可以在下面找到Ssaloniki投球论坛和正在进行的Agora文档。正在进行的Agora文档的亮点包括“ Lesvia，Eressos的Herstory”，导演制片人Tzeli Hadjidimitriou（Anemos Dimiourgias），讲述了莱斯沃斯岛的故事，该岛是古希腊诗人Sappho的出生地，这是该故事。成为来自世界各地的女同性恋社区的常见聚会点；导演罗宾·克瓦皮尔（Robin Kvapil）和制片人马丁娜·斯特伦克（Martina Strunc）（丝绸电影）的“公民米科”（Citizen Miko），在捷克共和国约有一名半罗马卡车司机，他们努力说服该国的政客帮助移民危机的受害者。 panellinion”，来自导演Spyros Mantzavinos和Kostas Antarachas和制片人Leonidas Konstantarakos（阿拉斯加电影），探索了雅典中心的同名，现场和定时象棋咖啡馆，这是一个避难所的避难所现代生活的条件；和“ #metisofia，”玛丽亚·西迪罗普洛（Maria Sidiropoulou）和阿米达·利瓦诺（Amanda Livanou）导演瓦尼亚·特纳（Vania Turner）和制片人奥纳西斯（Onassis）文化，讲述了奥林匹克奖牌获得者索非亚·贝卡托（Sofia Bekatorou）的故事，她在小时候就因教练反复被教练强奸而引发了希腊的#MeToo运动。Thessaloniki投球论坛的项目是：谨慎，出现展览的风险！：mo scarpelli（耙子电影）联合制片人：豪尔赫·蒂伦·阿曼德（Jorge Thielen Armand）（La Faena电影）法国连接（爱尔兰）导演：杰米·戈德里克·普罗沃德（Jamie Goldrickproducer）：凯文·布兰尼根（Kevin Brannigan）（Pushpull）Harvest Mood（Jordan）董事（JORDAN）导演：Rama Ayasraproducer：Mariam Salim Salim Salim Salim Salim Salim Salim Salim Saliam Saliam Salim Saliam Saliam Salim Saliam Saliam Salim Pafoftuctions：）联合制片人：Asmahan Bkerathoneydew（意大利/瑞典）董事：Marco Bergonzi，MichaEl Petroliniproducer：Simone Catania（Indyca）共同制作人：Costanza Julia Bani（Fellonica Film）SAR（法国/北马其顿/斯洛文尼亚）董事：Petra Seliskarproducer：Victor Ede（Cinéphage）联合生产者：Petra Seliskar（Cinéphage））联合制片人：我家（克罗地亚/德国/荷兰）的Dafni Kalafatipeople：Tatjana bozicproducer：Magdalena Petrovic（Lewa Productions）联合制作者：FrankMMüller（Doppelplusultra filmproduktion）电影）Quixote的相机 - 来自Light（德国/斯洛文尼亚/希腊）导演的10封信：Cordeliadvorákproducers：CordeliaDvorák（Paloma Films），DanielHočevar（Vertigo）（Vertigo）共同制作人：Leonidas Liambeys（Leondas Liambeys（Leon Run Productions））Sunken（Greece）总监：Dimitris Gkotsisproducer：Mina Dreki（Marni Films）无名项目（德国/爱沙尼亚）董事：AyşeToprakproducer：Ekinçalışır（Purple Pigeon Productions）（purple pigeon Productions）的共同制作者：JuliaCouration croperation crounderation crounderation crounder crounder crounder crounder crounderfilmm croundfilmmm croundfilmmm croundfilmmm crounfilmmmm）董事：Shorena Tevzadze，Giorgi Pridonishviliproducers：Shorena Tevzadze（Diafilm），Tamar Mshvenieradze（Actmedia）I（西班牙）我有一名救生（西班牙）董事：Octavio Guerraproducer：Elisa Torres（Elisa Torres（Calibrando Producerer）：tzeli hadjidimitriou（Anemos dimiourgias）爱情室（北马其顿）导演制片人：Suzana Dinevski（Suzi Kju Production）共同制作人：Vladimir Stojcevski（FrançoisPerlier（语料库）计时员（意大利/德国/俄罗斯）主任：Kristina Paustianproducers：Paolo Maria Spina（Revolver），Margarita Amineva-Jester（Voices Filmess）（Voices Films）联合制作人：Tamara Bogdanokak（Kinokult），Yanna Buryak（Yanna Buryyak）迈向快乐的小巷（保加利亚/印度/德国/芬兰）董事：Sreemoyee Singhproducers：Boris Despodov（Arthouse Blockbusters），Sreemoyee Singh（快乐的巷子电影）
For the second time in its past three editions, the Thessaloniki Documentary Festival has faced a sudden disruption in the face of an unprecedented global crisis. Two years ago, the festival was among the first to be forced online as the coronavirus pandemic swept across Europe. This year, the Russian military launched an invasion of Ukraine just two weeks before opening night.
Yianna Sarri, the head of the festival’s industry arm, Agora, who oversees the selection of projects for Thessaloniki’s Pitching Forum and Docs in Progress events, notes that it was “a different world” when that selection process took place just one month ago. “When we did the selection, everything was different,” Sarri tells Variety. “We just woke up one day and there was war in Europe. It’s totally insane.”
While the war and its widening impact didn’t affect the decision-making process for the Agora’s Pitching Forum or Docs in Progress sections, Sarri notes that humanitarian issues have always had a strong influence on the festival’s selections. The refugee crisis, the #MeToo movement, the growing tide of nationalism, and the changing face of gender and family dynamics are all on display in this year’s crop of projects.
The recent tide of events also illustrates how the Thessaloniki Documentary Festival has managed to adapt to uncertainty. Last year, the coronavirus pandemic forced the festival online for the second straight year. Though a smaller, in-person event was held in the city last summer, this marks the first time since 2019 that industry professionals from across Greece, Europe and the rest of the world can gather face-to-face for the Agora Docs program.
Despite the ability of the global film industry to adapt to the disruptions of the past two years, Sarri says that physical connection is an integral part of what makes the industry run. “The essence of filmmaking is collaboration. It’s a collective process. You cannot do anything on your own,” she says. “Collaboration, meetings, networking, it’s very important for what we do. That’s why we really hated doing everything online, because that part was missing.”
Four months ago, the festival’s sister event, the Thessaloniki International Film Festival, held its first in-person edition since the start of the pandemic, with hundreds of industry professionals making the journey to this historic city fronting the Gulf of Salonika. For Sarri, the effect of returning to something like normalcy was “obvious.”
“You could see it in the faces of the people that came to Thessaloniki – they were so happy that they were able again to meet other people,” she says. “It’s the essence of Thessaloniki. They come because they know that it’s very easy to meet other professionals, and it’s very easy to talk and exchange ideas.” She adds that the intimacy of the Thessaloniki market, compared to busier events like Cannes’ Marché du Film or the European Film Market, has become something of a calling card for the Agora. “They know that they will find that [intimacy] here, and they trust us with their projects.”
Seven of the films selected for this year’s Thessaloniki Documentary Festival are alumni of the Agora Docs industry strand, including the international competition titles “Tilos Weddings,” by Panayiotis Evangelidis, which tells the story of the first two gay and lesbian civil weddings ever performed in Greece, and Sean Wang’s 2021 IDFA premiere “A Marble Travelogue” (pictured), which follows the journey of a block of white marble from a Greek quarry to the Chinese sculptors who use it to create Hellenistic-style souvenirs – many of which then return to Europe to be sold to Chinese tourists.
This year’s selection of projects looking for international partners at the Thessaloniki Pitching Forum offers a timely cross-section of issues affecting a world in flux. In some cases, those stories have become even more topical, as with Grzegorz Paprzycki’s “December.” Produced by Maciej Kubicki for Poland’s Telemark, the film looks at the plight of refugees as the cold winter months sweep across Europe, and the “indifference or unwillingness to help” that the director says has long characterized the European response to the refugee crisis.
“I am angry at discrimination, racism and indifference of many people to harm done to another human being. Angry at our selfishness, which tells us to go about our own lives, make a career and spend money on our – often unnecessary – whims,” Paprzycki tells Variety. “Many of us Europeans do not react to the illegal pushbacks of refugees, to their death while trying to cross the border, to their presence next to us.”
The war currently raging in Ukraine, which according to the U.N. created more than two million refugees in its first two weeks alone, only underscores the hypocrisy for the director. “Currently in my country, Ukrainian refugees are welcomed with open arms, while [non-European] refugees or migrants often die at the border,” he says. “It’s a double standard, dividing people into 'better' or 'worse.' It has the right to arouse anger. It is necessary to talk about this human view on the harm done to others.”
“The Floating World,” from director Fernando Souza, tells the story of a transgender Japanese man who attempts to silence his inner demons by working in a Host Club, a uniquely Japanese institution where men get paid to drink with and entertain women. The Italy-U.S.-Canada co-production is produced by Mo Scarpelli for Rake Films and Jorge Thielen Armand for La Faena Films.
The film follows its protagonist, Ryuki, as he reflects on self-perception and self-destruction while navigating the underbelly of Tokyo. “[Souza’s] unfettered access to this unique world allows the audience a mirror into our own lives which are full of projections, masks and mirrors,” says Scarpelli.
Souza tells Variety the film “has been nothing short of an obsession” since he worked in a Host Club 10 years ago. “These men start complex relationships with women which become both their clients and girlfriends,” he says. “This hyperbolic world reflects how we mask ourselves, online or in real life, as we look for connection in our narcissistic societies. A lot of these themes will hopefully resonate with audiences that have never heard of Host Clubs.”
Spanish filmmaker Ariadna Seuba Serra found herself navigating an equally unfamiliar world two years ago when her girlfriend broke the news that she was trying to get pregnant through assisted reproduction. “I was shocked,” says Seuba, admitting she had “no clue” about how the process worked. “I immediately felt the need to tell her story, which very soon became also my story and the story of everyone that went through a process like this.”
Directed by Serra and produced by Maria Nova López of Spain’s Intactes Films, “Mums” follows Serra and her girlfriend on the bumpy, bitter-sweet journey that the director describes as “a roller-coaster where you don’t want to ride.” It’s a personal exploration of the choices made – and the consequences that follow – for the growing number of women in Europe and the U.S. who decide to postpone motherhood.
“I didn’t want to talk about numbers and statistics but showing what was the real impact in life: how it affects your future plans, how your body changes, how difficult it is to call your family after each failed attempt, the contradictory feelings you have when someone else gets pregnant or how bizarre it is to be at the office the day after you’ve had a miscarriage,” says Seuba.
“Luckily for the audience (and for me as a director), ‘Mums’ is not a drama, but more a tragicomedy,” she adds. “The film won’t tell you anything but show you everything. It’s a journey you will be invited to join, with its ups and downs, with its difficulties and hopes, with its doubts and certainties.”
For his latest feature, “Super Paradise,” which is produced by Paul Typaldos for Filmiki Productions and co-produced by Dafni Kalafati, director Steve Krikris (“The Waiter”) digs deep into his memories of a golden time when, as a teenager in the 1970s, he spent his summer holidays on the Greek island of Mykonos – a place he describes as “a paradise that was lost and never recovered.”
“‘Super Paradise’ is a film about our unquenchable thirst for freedom and self-expression – one that reached its heights in 1970s Mykonos,” says the filmmaker. Drawing a comparison with the geopolitical crises currently roiling the globe, Krikris says his story of a bygone, sundrenched era has renewed relevance and urgency.
“Like in the early 1970s, the world is on fire. Chaos, uncertainty, wars and social unrest define our times. We have never been more ‘connected,’ and yet our lives are more isolated and complicated than ever before,” he says. “With our film we have a unique opportunity to tell a universal story about a simpler time, a time of bliss and happiness.”
The complete list of projects selected for the Thessaloniki Pitching Forum and Agora Docs in Progress can be found below. Highlights from the Agora Docs in Progress section include “Lesvia, the Herstory of Eressos,” from director-producer Tzeli Hadjidimitriou (Anemos Dimiourgias), which tells the story of the island of Lesvos, the birthplace of the ancient Greek poet Sappho, that has become an often-contentious meeting point for the lesbian community from all over the world; and “Citizen Miko,” from director Robin Kvapil and producer Martina Strunc (Silk Films), about a half-Roma truck driver in the Czech Republic who fights to persuade his country’s politicians to help victims of the migrant crisis.
Other notable titles include “Panellinion,” from directors Spyros Mantzavinos and Kostas Antarachas and producer Leonidas Konstantarakos (Alaska Films), which explores the eponymous, out-of-place-and-time chess coffeehouse in the center of Athens, a refuge for people who struggle to adapt to the conditions of modern life; and “#MetiSofia,” by director Vania Turner and producers Onassis Culture, Maria Sidiropoulou and Amanda Livanou, which tells the story of the Olympic medalist Sofia Bekatorou, who sparked Greece’s #MeToo Movement when she sought justice for being repeatedly raped by her coach when she was a child.
Τhe projects of the Thessaloniki Pitching Forum are:
Caution, Risk of Falling Exhibits! (Slovakia)
Directors: Jana Durajova, Lena Kusnierikova
Producers: Zuzana Mistrikova, Lubica Orechovska, Arkaitz Basterra (PubRes)
December (Poland)
Director: Grzegorz Paprzycki
Producer: Maciej Kubicki (Telemark)
The Floating World (Italy/U.S./Canada)
Director: Fernando Souza
Producer: Mo Scarpelli (Rake Films)
Co-producer: Jorge Thielen Armand (La Faena Films)
The French Connection (Ireland)
Director: Jamie Goldrick
Producer: Kevin Brannigan (PushPull)
Harvest Mood (Jordan)
Director: Rama Ayasra
Producer: Mariam Salim (New productions)
Co-producer: Asmahan Bkerat
Honeydew (Italy/Sweden)
Directors: Marco Bergonzi, Michael Petrolini
Producer: Simone Catania (Indyca)
Co-producer: Costanza Julia Bani (Fellonica Film)
Land of Sar (France/North Macedonia/Slovenia)
Director: Petra Seliskar
Producer: Victor Ede (Cinéphage)
Co-producers: Petra Seliskar (Petra Pan Films), Sara Ferro (PPFP Doel)
Mums (Spain)
Director: Ariadna Seuba Serra
Producer: Maria López (Intactes Films)
Running for Anna (Italy)
Director-producer: Tomaso Aramini
Super Paradise (Greece)
Director: Steve Krikris
Producer: Paul Typaldos (Filmiki Productions)
Co-producer: Dafni Kalafati
People in My House (Croatia/Germany/Netherlands)
Director: Tatjana Bozic
Producer: Magdalena Petrovic (LEWA productions)
Co-producers: Frank Müller (DOPPELPLUSULTRA FILMPRODUKTION), Jacob Gesink (Spacedust production), Wout Conijn (Conijn Film)
Quixote's Camera - 10 Letters From Beyond Light (Germany/Slovenia/Greece)
Director: Cordelia Dvorák
Producers: Cordelia Dvorák (Paloma Films), Daniel Hočevar (Vertigo)
Co-producer: Leonidas Liambeys (Long Run Productions)
Sunken (Greece)
Director: Dimitris Gkotsis
Producer: Mina Dreki (Marni Films)
Untitled Project (Germany/Estonia)
Director: Ayşe Toprak
Producer: Ekin Çalışır (Purple Pigeon Productions)
Co-producer: Julia Cöllen (FÜNFERFILM)
Presented in collaboration with CIRCLE Women Doc Accelerator
The projects of the Docs in Progress section are:
#MetiSofia (Greece)
Director: Vania Turner
Producers: Onassis Culture, Maria Sidiropoulou, Amanda Livanou
Citizen Miko (Czech Republic)
Director: Robin Kvapil
Producer: Martina Strunc (Silk Films)
The Fortress (Georgia)
Directors: Shorena Tevzadze, Giorgi Pridonishvili
Producers: Shorena Tevzadze (Diafilm), Tamar Mshvenieradze (Actmedia)
I Had a Life (Spain)
Director: Octavio Guerra
Producer: Elisa Torres (Calibrando Producciónes)
Lesvia, the Herstory of Eressos (Greece)
Director-Producer: Tzeli Hadjidimitriou (Anemos Dimiourgias)
The Love Room (North Macedonia)
Director-Producer: Suzana Dinevski (Suzi Kju Production)
Co-producers: Vladimir Stojcevski (Award Film and Video), Bonnie Bojana Dinevski (Suzi Kju Production)
Panellinion (Greece)
Directors: Spyros Mantzavinos, Kostas Antarachas
Producer: Leonidas Konstantarakos (Alaska Films)
The Soul of the Bossales (France)
Director: François Perlier
Producers: Odile Méndez-Bonito, François Perlier (Corpus Films)
Timekeeper (Italy/Germany/Russia)
Director: Kristina Paustian
Producers: Paolo Maria Spina (Revolver), Margarita Amineva-Jester (Voices Films)
Co-producers: Tamara Bogdanova (KinoKult), Yanna Buryak (Mimesis Productions)
Toward Happy Alleys (Bulgaria/India/Germany/Finland)
Director: Sreemoyee Singh
Producers: Boris Despodov (Arthouse Blockbusters), Sreemoyee Singh (Happy Alley Films)
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发表于 2022-7-5 01:55:20
发表于 2022-10-22 16:36:06