DVD Movie Review: Room 237 (2012)

1682657-poster-1280-room-237-unlock-doc-enlists-kubrick-obsessives-to-decode-secretsDull boys

Picturenose welcomes writer, screenwriter and all-round film expert Paul Morris with his thoughts on Rodney Ascher‘s dissection of Stanley Kubrick‘s The Shining (1980).

There are little boys who love nothing better than passing a lazy summer’s day pulling the legs off spiders – then there are those who like to watch others remove the limbs of said unsuspecting arthropods. The nine disembodied guests gathered around a mike in Room 237 are certainly in the voyeur category.

Room 237 is a conspiracy theory in miniature, or rather in the minutiae wherein they claim lie the hidden messages in Stanley Kubrick’s horror – I prefer psychological – classic The Shining (1980). If you believe the nine ‘experts’ in this insanely detailed work these messages have been breeding faster than a colony of rabbits that has stumbled upon a packet of Viagra. They are, it appears, to be found in every frame, and someone has to be obsessed enough to check every frame, making the film last days rather than its original running time of 146 minutes.

Room 237 is as billed as a documentary but it feels more like a film school test set by a permanently sozzled professor who didn’t quite cut it in Hollywood. Director Rodney Ascher is clearly teacher’s pet. It has the feel of early 1970s commercial films, for some small city attempting to attract first-time buyers to its corner of the dust bowl: in other words, the budget didn’t quite stretch to images that always match or enhance these nine voices of God.

It has been described as “head-spinning” and it has that effect as we are bombarded with the evidence of the secret intentions of one of Hollywood’s most maverick – to put it mildly – filmmakers. In this film the devil in so much in Jack Torrance but in the detail, and there’s lots of it. At times it’s positively hallucinogenic. I had to pause it and take a breather after I watched a very, very slow zoom in on a poster until the camera found a fuzzy image of a skier – you’ll have to watch it to find out the significance of that blurry character.

You have to really buy into this malarkey from the off or you’ll find yourself shouting at the screen ‘Come on!’, ‘Seriously!’, followed by umpteen ‘For real!’s. Kubrick was renowned for being difficult – more, I think, a power struggle with producers than anything to do with creative juices – but the notion that he planted so many little secrets on his set is dubious, not to say ludicrous. I directed my own humble low-low budget feature some time back and the set designers could have dumped a blood-soaked thoroughbred’s head in my hospital bed scene and I wouldn’t have spotted it, such is the frantic nature of no money filmmaking.

The nine different earnest views of what the film is really about range from the genocide of Native Americans to the Apollo 11 moon landing (yes, that old turnip again), rather than simply a very well-made film based (loosely) on a bestseller by Stephen King – “an entertainment”, as Graham Greene used to call some of his novels. I can picture these creative conspiracy theorists staring at the back of the cornflakes packet in the morning until it reveals its true meaning.

A friend of mine took his Granny to the cinema, to see Star Wars (1977). Driving her back home he asked: “So what did you think of the film?” She replied: “It’s a bit far-fetched.”

PS. It’s heartening to know that director Ascher admitted to not believing any of these theories. Thanks for the ride, Rodney.

102 mins.

DVD Movie Review: Le Temps du Loup (The Time of the Wolf) (2003)

vlcsnap2010112215h25m10Not with a bang…

As official selection way back in Cannes 2003, Le Temps du Loup (The Time of the Wolf) (2003) was loved and loathed in equal measure. Both sides have a point – director Michael Haneke had not been so aggressive since the nightmarish but hysterical Funny Games (1997). A disquieting tale of a nameless apocalypse that has reduced Europe to third-world poverty, and the capacity for cruelty revealed in the survivors, Le Temps… is not easy viewing.

But the depth of characterization, coupled with Haneke’s willingness to show that people are capable of good as well as evil in extreme circumstances, makes it impossible to dismiss the film as exploitation.

Things fall apart very quickly – a family arrives at their holiday country cottage, only to have a gun held on them by a wild-eyed man, Fred (Pierre Berriau). Despite attempts to defuse the situation (which are, in fact, early indicators that all is definitely not right in the world), the husband is shot dead – whether by accident or intentionally is never made clear. The perpetrator allows the shell-shocked widow Anna (Isabelle Huppert) and her two children Ben (Lucas Biscombe) and Eva (Anaïs Demoustier) to leave – and they are quickly at the mercy of an increasingly hostile environment. With food and clean water scarce, no electricity and money worthless, the outlook is grim.

Huppert excels in a role that combines the steely determination needed to protect her children as best she can with sincere altruistic overtones, as Anna battles to prevent herself from degenerating to the level of an animal. Solid support is also provided from the child stars, who deliver very mature performances. Refreshing also to see the recently under-used Betty Blue icon, Béatrice Dalle, in a role worthy of her talents, as a forthright, painfully honest member of the makeshift commune to which the wandering family becomes attached.

The concept of society’s threads unravelling is powerful, and, with only one or two unfortunate lapses into grand guignol, the otherwise slow-burn pacing and sense of gathering doom make for an uncomfortable but illuminating journey into darkness.

113 mins. In French.

More Than 1,000 Supporters Across Europe Sign Letter to Free Oleg Sentsov

oleg-sentsov-croppedIn the face of a verdict of the Ukrainian filmmaker expected for 25 August – the prosecution has called for 23 years – supporters, institutional and individual, have gathered well over 1,000 signatures for the EFA letter to the President of Russia and Russian authorities asking for Sentsov’s immediate release. The filmmaker was arrested by the Federal Security Service of the Russian Federation (FSB) in his house in Simferopol on 11 May 2014 and imprisoned in Russia for over a year before his trial even began. Although the key witness has retracted his testimony as given “under duress”, the trial based on the accusation of Oleg Sentsov (pictured) having committed “crimes of a terrorist nature” has continued, the prosecution has now called for a 23-year sentence, and the verdict is expected on 25 August.

On an initiative by the EFA Board a letter has been sent to President Putin and the Russian authorities asking for Oleg Sentsov’s immediate release. With the support by national film academies and individual calls by the Polish Film Academy, the German Film Academy, the Austrian and the Czech Film Academies as well as the Union of Russian Filmmakers, well over 1,000 supporters, most of them from the world of filmmaking, but also members of the public who feel passionately about the case, have added their names to this letter and are calling for Sentsov’s release.

These are their names:

Kasia Adamik, director, Poland

Anastasia Alekseeva, producer, Russia

Tomaily Alekseyb, programmer, Russia

Prof. Claudia von Alemann, director, Germany

Leif Alexis, producer, Germany

Anton Alfimov, journalist, Russia

Willeke van Ammelrooy, actress, Netherlands

Esther Amuser, costume designer, Germany

Kjell-Åke Andersson, director, Sweden

Angeliki Antoniou, director, Greece

Stefan Arsenijevic, director, Serbia

Stanislav Babitsky, retired, Volgograd, Russia

Marion Bailey, actress, United Kingdom

Julie Baines, producer, UK

Vincent Bal, director, Belgium

Roman Balayan, director, Ukraine

Jan Balej, director, Czech Republic

Michael Ballhaus, cinematographer, Germany

Leonardo Baraldi, documentary producer, Italy

Pavel Bardin, filmdirector, Russia

Juliana Bardolim, Berlin, Germany

Elena Barskova, engineer, Saratov, Russia

Agda Bavi Pain, writer and scriptwriter, Slovakia

Maria Becker, actress, Moscow, Russia

Meret Becker, actress/musician, Berlin, Germany

Giedrė Beinoriūtė, director, Lithuania

Tatiana Belikova, banker, Moscow

Bianca Bellová,Czech Republic

Annette Benmussa, France

Raphaël Berdugo, producer, France

Vjosa Berisha, festival director, Kosovo

Eddie Bertozzi, festival manager, Italy

Irina Bezrukov, company head/teacher    education, Russia

Graziella Bildesheim, director of Maia     Workshops, Italy

Martina Bleis, festival, Germany

Linda Boije af Gennäs, technician, Sweden

Mark Bond, artist, UK

Jan Bonny, director, Germany

Olena Bramska, translator, Poland

Alfred B. Broer, creative director, Netherlands

Beata Bubenec, Russia

Jeton Budima, director/film critic, Kosovo

Janez Burger, director, Slovenia

Agata Buzek, actress, Poland

Victoria Cadogan-Rawlinson, USA/UK

Enzo De Camillis, Director, ANAC National Association of Cinematographic Authors, Italy

Philippe Carcassonne, producer, France

Evgenia Cartozo, Marseille/France

Kujtim Çashku, director, Albania

Fabio Cavalli, screenwriter, Italy

Veaceslav Cebotari, cinematographer, Moldova

Sehad Čekić, producer, Montenegro

Sergi Cervera, actor/director, Spain

Olga Chajdas , director, Poland

Natalia Chepik, writer, Russia

Adriana Chiesa di Palma, distributor/exhibitor, Italy

Gaga Chkheidze, director Tbilisi IFF, Georgia

Alexey Chupov, director, Russia

Tom Conroy, production designer, Ireland

Tanya Creedon, Dublin, Ireland

Radu Crihan, director, Russia

Manuel Martin Cuenca, writer/director, Spain

Ludmila Cvikova, film curator, Netherlands/Slovakia

Ketie Danelia, producer, Georgia

Jean-Pierre Dardenne, director, Belgium

Luc Dardenne, director, Belgium

Svetlana Demidova, translator, Bulgaria

Dominique Deruddere, director, Belgium

Tania Detkina, Hruška a Krys s.r.o (Storytelling/Media Consulting), Czech Republic

Andrea Diers, physiotherapist, Germany

Evgenia Dodina, actress, Israel

Christine Dollhofer, festival director, Austria

Marion Döring, EFA Director, Germany

Jaco Van Dormael, director, Belgium

Oleg Dorman, director/screenwriter, Russia

Saulius Drunga, scriptwriter/director, Lithuania

Nenad Dukic, institutional, Serbia

Roman Dymny, sound designer, France

Pascal Edelmann, press officer, Germany

Svetlana Epifanova, manager of corporate culture, Russia

Marina Fedina, actress/psychologist, Russia

Pawel Ferdek, director, Poland

Davide Ferrario, director, Italy

Olena Fetisova, director, Ukraine.

Marta Figueras, producer, Spain

Anton Filatov, filmcritic FIPRESCI, Ukraine

Silvia Finazzi, office production Directorate-Generale Cinema, Italy

Konstantin Fisenko, actor/producer, Russia

Dagmar Forelle, Berlin IFF, Germany

Jamie Forshaw, production manager, Europe & America

William Edouard Franck, sound designer, Germany

Molly von Fürstenberg, producer, Germany

Giovanni Galavotti, screenwriter, Italy

Javor Gardev, director, Bulgaria

Massimo Gaudioso, scriptwriter, Italy

Tanja Georgieva, producer, Germany

Nicole Gerhards, producer, Germany

Krzysztof Gierat, festival director, Poland

Yevgeny Gindilis, producer, Russia

Prof. Zuzana Gindl-Tatarova, screenwriter, Slovakia

Shai Goldman, cinematographer, Israel

Vladimir Golovnitski, sound designer, Lithuania

Leon Golterman, screenwriter/director, Netherlands

Mike Goodridge, Chief Executive Officer, Protagonist Pictures, UK

Stanislav Gorshover, programmer, Dortmund, Germany

Igor Gorsky, pharmaceutical technology consultant, USA

Oli Gots, Producer/Writer, Co-founder of Film Doctor, UK/Bulgaria/Ukraine

Irina Grantovskaya, producer, Russia

Angela Gregovic, actress, Austria

Alena Gres, costume designer, Ukraine

Grigory Grishin, Russia

Rajko Grlić, director, Croatia

Vladimir Gromov, screenwriter, Russia

Rémy Gruenenberger, France

Alex Gryazin, engineer, Ukraine

Irina Gubernik, choreographer, Dortmund, Germany

Renée Gundelach, Media Expert and Film Consultant, Berlin, Germany

Grigory Guryanov, architect, Russia

Roman Gutek, distributor/festival director, Poland

Arto Halonen, director, Finland

Filmfest Hamburg, Germany

Birch Hamilton, executive director Screen Directors Guild of Ireland

Per Hanefjord, director, Sweden

Christine Haupt, producer, Germany

Stefan Haupt, Fontana Film GmbH, Switzerland

Markos Holevas, director, Greece

Lena Holosiy, director, Russia

Michal Holubec, technician, Czech Republic

Sherry Hormann, director, Germany

Damir Ibrahimovic, producer, Bosnia and Herzegovina

Maria Iliou, director, Greece

Beate Jensen, actress, Germany

Grimar Jonsson, Producer, Iceland

Radu Jude, director, Romania

Sergej Jurisdizki, cinematographer

Laszlo Kantor, producer, Hungary

Marit Kapla, institutional, Sweden

Valeria Kasiyanenko, manager, Russia

Petri Kemppinen, institutional, Finland/Norway

Petr Khazizov, filmmaker

Ilya Khrzhanovskiy, director, Russia

Vladimir Kilburg, producer/director, Russia

Rainer Klausmann, DOP, Switzerland

Olga Kolisnichenko, Italy

Masha Kondakova, director, Ukraine

Oksana Konstantinovska

Elena Konyushikhina, researcher, Russia

Olga Kovaleva, saleswoman, Moscow, Russia

Damjan Kozole, director, Slovenia

Krakow Krakow Film Festival, Poland

Aleksey Krasovsky, writer/director, Russia

Zuzana Kronerova, actress, Slovakia

Elena Kuznetsova, personnel officer, Russia

Giorgi Kvachadze, producer, Tbilisi, Georgia

Claudia Landsberger, institutional, the Netherlands

Rolf Lassgård, actor, Sweden

Felice Laudadio, institutional, Italy

Evgeniy Lavrentev, director/screenwriter, Russia

Tony Lawson, editor, United Kingdom

Mikhail Lemkhin, journalist/photographer, USA

Piotr Lenar, cinematographer/President of AMA Film School, Poland

Sanna Lenken, director, Sweden

Ellen Lens, costume designer, the Netherlands

Lise Lense-Møller, producer, Denmark

Anne Leppin, institutional, Germany

Dani Levy, director, Germany

Vigdis Lian, film advisor, Norway

André Libik, producer, Hungary

Marge Liiske, institutional, Estonia

Elizabeth Likhachev, artist, Russia

Vladimir Lissitzky, architect, Israel

Konstantin Lopushansky, director, Russia

Marcel Lozinski, director, Poland

Aina Lubarova, translator, Russia

Prof. Tadeusz Lubelski, historian of cinema, Poland

Lada Luna, Russia

Angelina Maccarone, director, Germany

Łukasz M. Maciejewski, writer, Poland

Christa Maerker, director, Germany

Montserrat Majench, institutional, Spain

Vlada Malaeva, sociologist, Russia

Vitaly Manskiy, director/President Artdocfest, Russia/Latvia

Svetlana Manukova, Russia

Lele Marchitelli, composer, Italy

Alexandra Maringer, production designer, Austria

Gesa Marten, film editor/lecturer, Germany

Boris T. Matić, producer/festival director, Croatia

Victor Matizen, cinema critic, Russia

Ulrich Matthes, actor, Germany

Chris McCormack, Assistant Editor and Production Manager, UK

Juliette Ménager, Joule Studio, France

Natasha Merkulova, director, Russia

Anastasiy Mikhaylov, DOP, Russia

Anne Milne, director, United Kingdom

Paco Mir

Phyllis Mollet, Consultant International Film Industry, former FIAPF’s director of festivals, France

Tatiana Morozova, manager, Russia

Edik Moshkovich, cinematographer, Russia

Pawel Mossakowski, producer, Russia

Richy Müller, actor, Germany

Nelly Muminov, editor/columnist, Russia

Iya Myslytska, producer, Ukraine

Suzanna Nagao, manager, Russia

Alexander Nagrudny, producer, Russia

Elena Nayman

Paul Negoescu, director, Romania

Simona Nobile, screenwriter/story editor

John Nordling, producer, Sweden

Olga Okrepilova, director, Russia

Floor Onrust, producer, the Netherlands

Arsen Anton Ostojic, director, Croatia

Ivan Ostrochovsky, director/producer, Slovakia

Valerii Otstavnyh, documentary film director, Russia

Hynek Pallas, Journalist/writer/documentary filmmaker, Sweden/Czech Republic

Isabella Parkinson, actress, Germany

Uberto Pasolini, producer, United Kingdom

Robert Adrian Pejo, director, Hungary

Annie Perier, costume désigner, France

René Perraudin, director, Germany

Claire Pijman, cinematographer, the Netherlands

Paco Poch, producer, Spain

Waldemar Pokromski, make-up artist, Poland

Mariia Ponomarova, director, Amsterdam, the Netherlands

Ventura Pons, director, Spain

Aleksandr Popov, builder, Stockholm, Sweden

Lucy Poulton, Artist, UK

Maggie Poulton, UK

Martin Provost, director, France

María Luisa Pujol Canals, institutional, Spain

Sarah Radclyffe, producer, United Kingdom

Aleksandr Rakhilkin, entrepreneur, Samara, Russia

Natalya Rapoport Evseevna, architect, Russia

Marina Razbezhkina, director, Russia

Grigory Riajski, writer/screenwriter/producer, Russia

Kateryna Rietz-Rakul, Autorin, Berlin

André Rigaut, sound engineer, France

Jana Ripplová, KineDok project manager Institute of Documentary Film, Czech Republic

Alexander Ris, managing director/producer, Germany

Vladуslav Robski, film director, Ukraine

Olga Romanova, producer, Ukraine

Johannes Rosenberger, producer, Austria

Christian Rouaud, director, France

Maxim Rozhkov, director, Russia

Siemen Rühaak, actor, Germany

Lisa Maria Russo, producer, United Kingdom

Jožko Rutar, producer, Slovenia

Oriol Sala-Patau, producer, Spain

Martin Samper, director, Spain

Pierre Santini, actor/director, France

Dr. Giacomo Scarpelli, screenwriter, Italy

Alexandra Schmidt, Festival Director FILMFEST DRESDEN, Germany

Gerhard Schmidt, producer, Germany

Ute Schneider, producer, Germany

Pierre Schœller, director, France

René Schoenenberger, actor, Switzerland

Andrew Schutsky, director/playwright, Lithuania

Reinhard Schwabenitzky, director, Austria

Kenneth Scicluna, director, Malta

Konstantin Seliverstov, director, Russia

Sergei Shavshukov, Moscow, Russia

Natalia Shematinova, film critic/director/editor, Russia

Uliana Shilkina, director, Russia/Montenegro

Alex Shiriaieff

Dmitry Shlikov, cinematographer, Russia

Alik Shpilyuk, institutional, Ukraine

Asya Shulbaeva, retired journalist, Russia

Kirill Shuvalov, production designer, Ukraine

Kati Sinisalo, critic/journalist, Finland

Áron Sipos, producer, Hungary

Elena Slaboshpitskaya, producer, Ukraine

Myroslav Slaboshpytskiy, director, Ukraine

Marianne Slot, producer, France

Yuri Snop, Russia

Ada Solomon, producer, Romania

Liudmila Somova, Russia

Elena Sorokine, designer, France

Svetlana Stasenko, director, Russia

Aleksandra Staszko, costume designer, Poland

Sergiy Stepansky, sound designer, Ukraine

Bill Stephens, UK

Olivia Stewart, producer, United Kingdom

Tania Stöcklin, editor, Switzerland

Heather Storr, script supervisor, UK

Karsten Stöter, producer, Germany

Prof. Juliana Stoyanova – writer, Bulgaria

Pavel Strnad, producer, Czech Republic

Katia-Anna Taguti, artist, Moscow, Russia

Alin Taşçıyan, institutional, Turkey

Micha Terjung, producer, Germany

Andrey Timofeev, projectionist, Latvia

Katarina Tomkova, film consultant, Slovakia

Giorgio Treves, director, Italy

Arina Trostyanetskaya, dancer/choreographer, Denmark

Caroline Troubetzkoy, director/producer, France

Vitaliy Tsekhanovich, driver, Belarus

Andreea Valean , writer and director, Romania

Štěpán Maria Valenta, Institute of Documentary Film, Prague, Czech Republic

Lluís Valentí, Versus Films, Spain

David Vashadze, Georgian National Film Center, Georgia

Artem Vasiljev, producer, Russia

Valentyn Vasyanovych, producer, Ukraine

Vyacheslav Verbin, playwright/poet /screenwriter, Russia

Gianni Vezzosi, editor, Italy

Julia Vikentieva, producer, Russia

Marc-Henri Wajnberg, producer, Belgium

Alex van Warmerdam, director, the Netherlands

Marc van Warmerdam, producer, the Netherlands

Florian Weghorn, festival, Germany

Maja Weiss, producer/director, Slovenia

Hansjörg Weißbrich, editor, Germany

Franziska Weisz, actress, Germany

Sasha Wieser, distributor/exhibitor, Austria

Andrea Tatjana Wigger, Berlin, Germany

Monika Willi, editor, Austria

Andy Wooding, director/writer, Co-founder of Film Doctor, UK

Marcin Wrona, director, Poland

Olga Yakovleva, Russia

Elena Yankelevich, journalist/documentary filmmaker, Russia

Olena Yershova, Ukraine

Serhii Yevdokymov, entrepreneur, Illichivsk, Ukraine

Marek Zawierucha, production designer, Poland

Alrun Ziemendorf, Mitteldeutsche Medienförderung GmbH, Germany

Marek Żydowicz, festival CEO, Poland

Hermes Zygott, artist, Russia


From the Polish Film Academy:

Jerzy Hoffman, reżyser

Paweł Pawlikowski, reżyser

Małgorzata Szumowska, reżyserka

Juliusz Machulski, reżyser

Jerzy Skolimowski, reżyser

Joanna Kos-Krauze, reżyserka

Andrzej Żuławski, reżyser

Ewa Piaskowska, scenarzystka

Janusz Majewski, reżyser

Janusz Głowacki, pisarz, scenarzysta

Olena Leonenko, pieśniarka, kompozytorka

Jan Kidawa-Błoński, reżyser

Wojciech Smarzowski, reżyser

Andrzej Jakimowski, reżyser

Allan Starski, scenograf

Violetta Kamińska, producentka

Ryszard Bugajski, reżyser

Filip Bajon, reżyser

Jacek Bławut, reżyser

Feliks Falk, reżyser

Izabela Wójcik, producentka

Stefan Laudyn, dyrektor Warszawskiego Festiwalu Filmowego

Marcel Łoziński, reżyser

Paweł   Łuczyc-Wyhowski, autor dźwięku

Marcin Krzyształowicz, reżyser

Dżamila Ankiewicz, scenarzystka, reżyserka

Andrzej Kiełczewski, producent

Grzegorz Kędzierski, autor zdjęć

Ewa Smal, montażystka

Arkadiusz Jakubik, aktor

Joanna Doroszkiewicz, scenografka

Milenia Fiedler, montażystka

Leszek Dawid, reżyser

Łukasz Barczyk, reżyser, scenarzysta

Rafał Maćkowiak, aktor

Jan Kozikowski, scenograf

Jagna Janicka, scenografka, kostiumografka

Wit Dąbal, autor zdjęć

Małgorzata Braszka, kostiumografka

Maciej Strzembosz, producent

Agata Buzek, aktorka

Sławomir Fabicki, reżyser

Łukasz Dzięcioł, producent

Józef Romasz, autor zdjęć

Eryk Lubos, aktor

Grzegorz Pacek, reżyser

Jerzy Kolasa, scenarzysta

Maciej Grzywaczewski, producent

Grzegorz Łoszewski, scenarzysta

Vita Želakevičiūtė, reżyserka

Dorota Roqueplo, kostiumografka

Wojciech Pacyna, reżyser

Andrzej Seweryn, aktor

Maciej Buszewicz, grafik

Adam Ferency, aktor

Dorota Segda, aktorka

Stanisław Radwan, kompozytor

Jarosław Kamiński, montażysta

Marek Świerkocki, scenarzysta

Magdalena Boczarska, aktorka

Wojciech Niżyński, scenarzysta

Karina Kleszczewska, DoP

Wojciech Zimiński, scenarzysta

Maciej Karpiński, scenarzysta

Magdalena Szwarcbart, reżyserka obsady

Ewa Wencel, aktorka, scenarzystka

Grzegorz Daroń, kompozytor

Zbigniew Niciński, montażysta

Andrzej Chyra, aktor

Irena Strzałkowska, przedstawiciel Polski w Eurimages

Mirosław Dembiński, reżyser, producent

Jacek Mierosławski, operator

Hanna Skowrońska-Zbrowska, montażystka

Czesław Paweł Poppe, kierownik produkcji

Dariusz Pietrykowski, producent

Adam Bajerski, autor zdjęć

Ryszard Brylski, reżyser

Bogdan Sölle, scenograf

Violetta Buhl, reżyserka obsady

Karolina Bielawska, reżyserka

Aleksandra Staszko, kostiumografka

Ewa Puszczyńska, producentka

Maria Zmarz-Koczanowicz, reżyserka

Magdalena Łazarkiewicz, reżyserka

Dorota Kamińska, aktorka

Wojciech Biedroń, reżyser

Maciej Drygas, reżyser

Andrzej Górny, pisarz, krytyk teatralny, scenarzysta

Wojciech Kabarowski, producent

Anna Jadowska, scenarzystka, reżyserka

Radosław Piwowarski, reżyser

Andrzej Żuławski, reżyser

Radek Ładczuk, autor zdjęć

Krzysztof Dumieński, producent i dystrybutor

Janusz Yanina Iwański, kompozytor

Jan Mogilnicki, operator, dystrybutor filmowy

Dominique Lesage, producent

Marek Żydowicz, dyrektor Międzynarodowego Festiwalu Sztuki Autorów Zdjęć Filmowych “Camerimage”

Waldemar Pokromski, charakteryzator

Mikołaj Pokromski, producent

Dorota Kędzierzawska, reżyserka

Ryszard Maciej Nyczka, reżyser

Bodo Kox, reżyser, scenarzysta

Joanna Macha, scenografka

Andrzej Dziurawiec, pisarz, scenarzysta

Bartłomiej Woźniak, reżyser dźwięku

Maciej Melecki, poeta, scenarzysta filmowy

Anna Nehrebecka, aktorka

Krzysztof Jastrząb, autor dźwięku

Roman Suszyński, autor zdjęć

Ewa Machulska, kostiumografka

Jacek Lipski, producent

Jowita Budnik, aktorka

Dawid Ogrodnik, aktor

Krzysztof Kopczyński, producent

Maria Nowakowska-Majcher, scenarzystka

Nikodem Wołk-Łaniewski, reżyser dźwięku

Mateusz Pospieszalski, kompozytor

Barbara Sikorska-Bouffał, kostiumografka

Maciej Maciejewski, scenarzysta

Jerzy Stuhr, aktor, reżyser

Antoni Krauze, reżyser

Anna Świerkocka, scenarzystka

Małgorzata Zacharska, kostiumografka

Ewa Braun, scenografka

Marek Król, montażysta

Andrzej Titkow, reżyser

Marek Drążewski, reżyser

Andrzej Piekutowski, reżyser

Wiesław Znyk, operator dźwięku

Maja Komorowska, aktorka

Michał Urbaniak, kompozytor

Weronika Marczuk, producentka

Marcin Kot-Bastkowski, montażysta

Michał Fojcik, operator dźwięku

Tadeusz Król, reżyser, scenarzysta, producent

Borys Lankosz, reżyser

Dariusz Gajewski, reżyser

Michał Kosterkiewicz, operator dźwięku

Grzegorz Warchoł, reżyser

Piotr Wojtowicz, operator filmowy

Paweł Borowski, reżyser

Henryk Sawka, rysownik

Jerzy Satanowski, reżyser

Wojciech Nowak, reżyser

Jakub Śladkowski, montażysta

Maciej Kozłowski, montażysta

Barbara Komosińska, scenografka

Marian Dziędziel, aktor

Urszula Antoniak, reżyserka

Elżbieta Galińska, muzykolog

Maciej Bochniak, reżyser

Małgorzata Karolina Piekarska, pisarka

Wojciech Chmielewski, pisarz

Irena Makarewicz, tłumaczka literatury węgierskiej

Leszek Engelking, pisarz, tłumacz, krytyk literacki, nauczyciel akademicki

Jacek St. Buras, tłumacz

Katarzyna Bieńkowska, poetka, tłumaczka, krytyk literacki

Jakub Ekier, pisarz i tłumacz

Michał Głowiński, historyk literatury, pisarz

Michał Jagiełło, pisarz

Anita Janowska, pisarka

Barbara Grzegorzewska, tłumaczka

Piotr Sommer, pisarz

Jan Strękowski, reżyser

Anna Przedpełska-Trzeciakowska, eseistka

Rafał Wojasiński, pisarz, dramatopisarz

Rafał Holewiński, pisarz

Aleksandra Ziółkowska-Boehm, pisarka

Jacek Bocheński, pisarz

Zofia Korzeńska, poetka i eseistka

Zbigniew Żbikowski, pisarz

Tamara Bołdak-Janowska, pisarka

Marek Zaleski, literaturoznawca, IBL PAN

Dorota Jovanka Ćirlić, redaktor, tłumacz literatur byłej Jugosławii

Konrad Sutarski, polski pisarz na Węgrzech, członek SPP

Iza Pająk, montażystka

Wiesław Juszczak, członek redakcji “Kwartalnika Filmowego”

Marcin Piątkowski, montażysta filmowy

Maria Pakulnis, aktorka

Agnieszka Sopoćko, montażystka

Wiesław Juszczak, historyk, członek redakcji “Kwartalnika Filmowego”

Stanisław Kuźnik, reżyser

Rafał Marszałek, krytyk i historyk filmu

Małgorzata Łukasiewicz, filolog

Bogna Janiec, producent

Grzegorz Królikiewicz, reżyser

Anna Frajlich, poetka, eseistka, wykładowca języka i literatury polskiej na Uniwersytecie Columbia w Nowym Jorku

Hubert Pusek PSM, montażysta

Barbara Fronc montażystka

Maciej Taras, montażysta

Janusz Wróblewski, krytyk filmowy

Andrzej Stembarth Sawicki, pisarz

Andrzej Barański, reżyser

Magdalena Rutkiewicz Luterek, kostiumografka

Alicja Gronau, kompozytor

Tomasz Nowak, muzykolog

Krzysztof Knittel, kompozytor

Marek Ławrynowicz, pisarz

Sławomir Idziak, operator obrazu

Zofia Beszczyńska, pisarka

Jacek Prosiński, operator obrazu

Marek Kazimierz Siwiec, prof. nadzw. w Bydgoszczy

Zbigniew Wichłacz, operator obrazu

Zbigniew Bagiński, kompozytor

Anna Pęcherzewska-Hadrych, kompozytorka

prof. dr Krzysztof Dybciak, literaturoznawca, eseista (członek SPP, UKSW)

Barbara Toruńczyk, redaktor, wydawca

Maria Jentys-Borelowska, krytyk literatury, poetka, członkini Stowarzyszenia Pisarzy Polskich

prof. Mieczysław Lewandowski PSC, operator filmowy, profesor zwyczajny sztuki filmowej

Leszek Badiak, scenograf

Janusz Anderman, pisarz

Jacek Pankiewicz, pisarz

Bartosz Piotrowski, operator

Artur Żurawski, operator

Karolina Stankiewicz, członek redakcji portalu Stopklatka.pl

Janusz Rudnicki, pisarz

Jerzy W. Ryll, pisarz

Ewa Małkowska

Anna Dorota Wardęszkiewicz, montażystka

Michał Marczak, reżyser

Jerzy Zieliński, autor zdjęć-reżyser

Arkadiusz Tomiak, autor zdjęć filmowych

Katarzyna Kotowska, pisarka

Jędrzej Kotowski, reżyser dźwięku

Ilona Łepkowska, scenarzystka

Włodek Pawlik, kompozytor

Jacek Mierosławski, operator

Krzysztof Mieszkowski, Teatr Polski

Andrzek Kotkowski, reżyser

Janusz Zaorski, reżyser

Tomasz Naumiuk, operator

Andrzej J. Jaroszewicz, operator filmowy

Anna Kazejak, reżyserka

Włodzimierz Bolecki, scenarzysta

Piotr Szulkin, reżyser

Stanisław Brejdygant, aktor, reżyser, pisarz

Jacek Korcelli, operator

Anna Sokołowska-Korcelli, reżyser

Jacek Laskus, operator filmowy

Bartek Konopka, reżyser

Piotr Kukla, operator filmowy

Krystyna Kofta, pisarka

Piotr Lenar, operator filmowy

Mieczysław Kuźmicki, producent

Stanisław Śliskowski, operator filmowy

Magdalena Sendecka, dziennikarka filmowa, psychoterapeutka


From the Czech Film Academy:

Ivo Andrle – distributor

Jan Balzer – producer

Eliška Balzerová – actress

Jan Bernard – film theoretician, pedagogue

Pavel Borovan – producer

Jaroslav Brabec – director, director of photography

Jan Budař – actor

Josef Císařovský – dokumentarist

Karel Czaban – script-editor, producer

Karel Čabrádek – script-writer, pedagogue

Antonín Daňhel – director of photography

Jan Drbohlav – script-writer

Noro Držiak – director

Martin Duba – director of photography, director script-writer

Ján Ďuriš – director of photography

Petr Dvořák – manager, Czech Television

Viktor Ekrt – sound engineer

Marek Epstein – script-writer

Ivan Fíla – director, script-writer

Jan Gogola – script-editor

Michal Holubec – sound engineer

Eva Holubová – actress

Jan Hřebejk – director

Ivan Hubač – script-editor, script-writer

Kristian Hynek – director of photography, pedagogue

Marek Janda – director of photography

Pavla Janoušková Kubečková – producer

Jiří Ježek – producer

Jan Jíra – distributor

Jan Jirásek – composer

Zdeněk Jiráský – script-writer, director

Dušan Klein – director, script-writer, pedagogue

Josef Klíma – script-writer, journalist

Karel Kochman – production manager, producer

Vít Komrzý – producer

Petr Kružík – musician

Milan Kuchynka – producer

Milan Lasica – actor

Pavel Liška – actor

Miloš Lochman – producer

Tomáš Luňák – director

Martin Mareček – director dokumentarist

Václav Marhoul – producer, director

Ivo Mathé – president od the Czech Film and Television Academy, television expert, pedagogue

Jan Mattlach – film editor

Taťjana Medvecká – actress

Vladimír Michálek – director

Matej Mináč – director

Juraj Mravec – sound engineer

Daniel Němec – sound engineer

Karel Och – artistic director at Karlovy Vary International Film Festival

Petr Ostrouchov – composer

Petr Oukropec – producer

Michaela Pavlátová – director

Jana Plodková – actress

Radek Rondevald – sound engineer

Simona Rybáková – costume designer

Tereza Rychnovská – executive director, Czech Film and Television Academy

Jiří Schmitzer – actor

Viktor Schwarcz – producer

Bohdan Sláma – director

Olga Sommerová – director, dokumentarist

Ondřej Soukup – composer

Jiří Stránský – script-writer

Pavel Strnad – producer

Jan Baset Střítežský – director of photography

Kristian Suda – script-editor

Jan Svěrák – director, producer

Václav Šašek – script-editor, script-writer

Jaromír Šofr – director of photography

Radim Špaček – director

Ivo Špalj – sound engineer

Petra Špalková – actress

Josef Špelda – director of photography

Milan Šteindler – director, actor

Ondřej Štindl – script-writer

Jan Šuster – producer, pedagogue

Miroslav Táborský – actor

Ondřej Trojan – producer, director

Helena Třeštíková – director, dokumentarist

Petr Turyna – film editor

Petr Václav – director, script-writer

Magdalena Vášáryová – actress

Roman Vávra – director

Petr Weigl – director

Eva Zaoralová – film theoretician, artistic consultant KVIFF

Petr Zelenka – director, script-writer

Zdeněk Zelenka – director, script-writer


From the German Film Academy:

Peter R. Adam, (editor)

Felix Adlon, (screenwriter)

Dirk Ahner, (screenwriter)

Jane Ainscough, (screenwriter)

Fatih Akin, (director)

Leif Alexis, (producer)

Adriana Altaras, (actress)

Frank Amann, (director of photography )

Anke Apelt, (director)

Stefan Arndt, (producer)

Emily Atef, (director)

Beatrice Babin, (editor)

Martin Bach, (producer)

Tayfun Bademsoy, (actor)

Ute Badura, (director)

Michael Ballhaus, (director of photography )

Manfred Banach, (sound designer)

Elisabeth Bartel, (screenwriter)

Monika Bauert, (production designer)

Jonathan Beck, (actor)

Dirk Beinhold, (producer)

André Bendocchi-Alves, (sound designer)

Iris Berben, (actress)

Edward Berger, (director)

Wolfgang Bergmann, (producer)

Michel Bergmann, (screenwriter)

Sebastian Blomberg, (actor)

Hans-Christoph Blumenberg, (director)

Claus Boje, (producer)

Mathilde Bonnefoy, (editor)

Detlef Bothe, (actor)

Alice Brauner, (producer)

Fred Breinersdorfer, (screenwriter)

Jutta Brückner, (director)

Daniel Brühl, (actor)

Reinhard Brundig, (producer)

Natja Brunckhorst, (screenwriter)

Thomas Brussig, (screenwriter)

Franziska Buch, (director)

Silke Buhr, (production designer)

Uwe Bünker, (casting director)

Sven Burgemeister, (producer)

Käte Caspar, (producer)

Hansa Czypionka, (actor)

Oliver Damian, (producer)

Lorenz Dangel, (composer)

Pepe Danquart, (director)

Anika Decker, (screenwriter)

Heikko Deutschmann, (actor)

Uwe Dierks, (producer)

Alexander Dittner, (editor)

Jonas Dornbach, (producer)

Doris Dörrie, (director)

Christof Ebhardt, (sound designer)

Jörg Elsner, (sound designer)

Anne Fabini, (editor)

Veronica Ferres, (actress)

Undine Filter, (producer)

Günther Fischer, (composer)

Pia Frankenberg, (director)

Hayo Freitag, (director)

Susanne Freyer, (producer)

Karlheinz Freynik, (screenwriter)

Gunter Friedrich, (director)

Inka Friedrich, (actress)

Felix Fuchssteiner, (director)

Molly von Fürstenberg, (producer)

Bruno Ganz, (actor)

Franz Xaver Gernstl, (producer)

Thomas Geyer, (producer)

Mario Giordano, (screenwriter)

Niko von Glasow, (director)

Aelrun Goette, (director)

Christian M. Goldbeck, (production designer)

Eberhard Görner, (screenwriter)

Wolfgang Groos, (producer)

Michael Gutmann, (screenwriter)

Michael Gwisdek, (actor)

Hendrik Handloegten, (director)

Hans W. Geißendörfer, (producer)

Corinna Harfouch, (actress)

Christine Hartmann, (director)

Maximilian Haslberger, (director)

Nina Haun, (casting director)

Clementina Hegewisch, (producer)

Sabine Hehnen-Wild, (make up artist)

Kaspar Heidelbach, (director)

Jo Heim, ( director of photography )

Felix Hellmann, (actor)

Barbara Hennings, (editor)

Michael Bully Herbig, (director)

Ralph Herforth, (actor)

Irm Hermann, (actress)

Benjamin Herrmann, (producer)

Johannes Herrschmann, (actor)

Andreas Hildebrandt, (sound designer)

Leopold Hoesch, (producer)

Michael Hofmann, (director)

Alfred Holighaus, (honorary member)

Susanne Hopf, (production designer)

Sherry Hormann, (director)

Grischa Huber, (actress)

Hermine Huntgeburth, (director)

Birgit Hutter, (costume designer)

Markus Imhoof, (director)

Monika Jacobs, (costume designer)

Beate Jensen, (actress)

Grete Jentzen, (editor)

Hansi Jochmann, (actress)

Johann von Bülow, (actor)

Vanessa Jopp, (director)

Rüdiger Joswig, (actor)

Eberhard Junkersdorf, (producer)

Peter Kahane, (director)

Katy Karrenbauer, (actress)

Anne Kasprik, (actress)

Klaus Keil, (honorary member)

Petra Kilian, (costume designer)

Johannes Kirchlechner, (director photography)

Philipp Kirsamer, (director of photography )

Burghart Klaußner, (actor)

Stefan Kloos, (producer)

Daniela Knapp, (director of photography )

Maria Knilli, (director)

Hanka Knipper, (editor)

Britta Knöller, (producer)

Markus Knüfken, (actor)

Imogen Kogge, (actress)

Thomas Kohler, (editor)

Juliane Köhler, (actress)

Alexandra Kordes, (producer)

Dieter Kosslick, (honorary member)

Lars Kraume, (director)

Chris Kraus, (director)

Krista Stadler, (actress)

Titus Kreyenberg, (producer)

Ulrike Kriener, (actress)

Lenn Kudrjawizki, (actor)

Stefan Kurt, (actor)

Dieter Landuris, (actor)

Mirko Lang, (actor)

Irene Langemann, (director)

Markus Lehmann-Horn, (composer)

Anne Leppin, (producer)

Alina Levshin, (actress)

Michael Loeken, (director)

Christian Lonk, (editor)

Nils Loof, (director)

Juliane Lorenz, (editor)

Toni Lüdi, (production designer)

Stefan Lukschy, (director)

Georg Maas, (director)

Sophie Maintigneux, ( director of photography )

Heta Mantscheff, (casting director)

Dagmar Manzel, (actress)

Robert Marciniak, (producer)

Nicole Marischka, (actress)

Alexander Martens, (producer)

Robert Matt, (composer)

Eva Mattes, (actress)

Ulrich Matthes, (actor)

Martin May, (actor)

Maxim Mehmet, (actor)

Isabel Meier, (editor)

Saskia Metten, (editor)

Detlef Michel, (screenwriter)

Axel Milberg, (actor)

Anne Misselwitz, (director of photography)

Eoin Moore, (director)

Eric Moss, (producer)

Ray Müller, (screenwriter)

Richy Müller, (actor)

Matz Müller, (sound designer)

Dorothea Neukirchen, (screenwriter)

Andreas Nickl, (actor)

Rainer Oleak, (composer)

Anke Osterloh, (production designer)

Götz Otto, (actor)

Sabine Panossian, (sound designer)

Isabella Parkinson, (actress)

Zoltan Paul, (director)

Ina Peichl, (production designer)

Peter F. Bringmann, (director)

Roland Platz, (sound designer)

Anja Pohl, (editor)

Stefany Pohlmann, (casting director)

Mikolaj Pokromski, (producer)

Waldemar Pokromski, (make up artist)

Sven S. Poser, (screenwriter)

Anne Ratte-Polle, (actress)

Rosa von Praunheim, (director)

Dominik Reding, (director)

Benjamin Reding, (director)

Edgar Reitz, (director)

Lena Rem, (editor)

Steffen Reuter, (producer)

Giulio Ricciarelli, (producer)

Pit Riethmüller, (producer)

Martin Ritzenhoff, (screenwriter)

Josef Rödl, (director)

Nic Romm, (actor)

Patricia Rommel, (editor)

Andreas Ruft, (sound designer)

Gudrun Ruzicková-Steiner, (producer)

Yasemin Samdereli, (director)

Pierre Sanoussi-Bliss, (actor)

Anno Saul, (director)

André Schäfer, (director)

Nadine Scherer, (make up artist)

Clemens Schick, (actor)

Monika Schindler, (editor)

Till Schmerbeck, (producer)

Johannes Schmid, (director)

Hans-Christian Schmid, (director)

Katharina Schöde, (producer)

René Schoenenberger, (actor)

Dorothee Schön, (screenwriter)

Chiara Schoras, (actress)

Gudrun Schretzmeier, (costume designer)

Steffen Schroeder, (actor)

Ilona Schulz, (actress)

Torsten Schulz, (screenwriter)

Matthias Schwab, (sound designer)

Oswald Schwander, (sound designer)

Jessica Schwarz, (actress)

Herbert Schwering, (producer)

Heide Schwochow, (screenwriter)

Hanna Schygulla, (actress)

Xaõ Seffcheque, (screenwriter)

Savas Ceviz, (director)

Katja Siegel, (producer)

Hubertus Siegert, (director)

Rolf Silber, (screenwriter)

Heide Simon, (actress)

Stefan Soltau, (sound designer)

Silke Sommer, (costume designer)

Thomas Stammer, (production designer)

Christian Steyer, (composer)

Karsten Stöter, (producer)

Sabin Tambrea, (actor)

Eckhard Theophil, (screenwriter)

Barbara Toennieshen, (editor)

Ruth Toma, (screenwriter)

Graziella Tomasi, (production designer)

Monika Treut, (director)

Joachim Tschirner, (director)

Tom Tykwer, (director)

Hannelore Unterberg, (director)

Joseph Vilsmaier, (director)

Yoliswa von Dallwitz, (director photography)

Petra K. Wagner, (director)

Franziska Walser, (actress)

Connie Walther, (director)

Guntbert Warns, (actor)

Börres Weiffenbach, (director photography)

Philipp Weinges, (screenwriter)

Eleonore Weisgerber, (actress)

Hansjörg Weißbrich, (editor)

Franziska Weisz, (actress)

Wolfgang Widerhofer, (producer)

Heike Wiehle-Timm, (producer)

Gert Wilden Jr., (composer)

Uwe Wilhelm, (screenwriter)

Dieter Zeppenfeld, (producer)

Simone von Zglinicki-Splanemann, (actress)

Petra Zieser, (actress)

Hanns Zischler, (actor)

Ingrid Zoré, (costume designer)

Dennenesch Zoudé, (actress)


From the Austrian Film Academy:

Bernhard Bamberger

Caterina Czepek, costume design

Andrea Eckert, actress

Lucky Englander, casting agent

Brigitta Fink, costume designer

Michou Friesz, actress, Vienna

Martin Gschlacht

Eva Herzig, actress

Katrin Huber, production design,Vienna

Karl Markovics, actor/director

Cornelius Obonya, actor

Johanna Orsini-Rosenberg

Hary Prinz, actor

Marlene Ropac, director Austrian Film Academy,

Thomas Roth

August Schmölzer, actor

Gregor Seberg

Franz Solar, actor

Susi Stach, actress

Erwin Steinhauer

Margarethe Tiesel, actress

Monika Willi, editor, Austria


From the Russian Filmmakers Union Kinosoyuz:

Андрей Смирнов, режиссер

Алексай Федорченко, режиссер

Борис Хлебников, режиссер

Алексей Попогребский, режиссер

Виталий Манский, режиссер

Александр Зельдович, режиссер

Андрей Плахов, кинокритик

Даниил Дондурей, кинокритик

Зара Абдуллаева,кинокритик

Михаил Липскеров, аниматор

Нина Зархи,кинокритик

Владимир Двинский, режиссер

Виктор Матизен, кинокритик

Валерий Тодоровский, продюсер, режиссер, сценарист

Марина Разбежкина, режиссер

Андрей Звягинцев, режиссер

Василий Сигарев, режиссер

Яна Троянова, актриса

Любовь Аркус, режиссер

Владимир Персов, звукорежиссер

Валерий Балаян, режиссер

Галина Красноборова, режиссер

Михаил Лемхин, кинокритик

Михаил Баркан,

Дмитрий Федоров,

Михаил Коломенский, сценарист

Наталья Манская, продюсер

Иван И. Твердовский, режиссер

Александр Белобоков, режиссер

Юрий Богомолов, кинокритик,

Диляра Тасбулатова, кинокритик

Сергей Карандашов, режиссер

Геннадий Островский, сценарист

Артем Васильев, продюсер

Татьяна Сергеенко, кинокритик

Елена Гремина, сценарист

Инна Харитонова,

Виктор Калабин,

Ольга Шервуд, кинокритик

Андрей Великанов,

Татьяна Петрик, продюсер

Наталья Мещанинова, режиссер

Наталья Журавлева,

Татьяна Чистова, режиссер

Наталья Талалова,

Дмитрий Завильгельский, режиссер

Елена Завельская,

Инга Лизенгевич,

Григорий Глуантс,

Олег Михайлов

Сергей Грабов

Сергей Винокуров, режиссер

Евгений Митта, режиссер

андрей Дерябин, режиссер

Мадина Мустафина, режиссер

Лола Абдураимова,

Андрей Ша,

Алексей Бармичев

Дмитрий Долинин, оператор, режиссер

Павел Финн, сценарист

Елена Хорева, режиссер

Аскольд Куров, режиссер

Мария Чупринская, продюсер

Диляра Заляльдинова

Маргарита Обшивалкина

Ксения Гапченко

Валерий Гавель

Надежда Леонтьева

Оксана Саркисова

Екатерина Бойкова

Михаил Басов

Олег Пшеничный

Анатолий Скачков

Анастасия Александрова

Александр Гоноровский, сценарист

Ирина Луковская

Александр Маноцков

Максим Трапо

Андрей Сильвестров, режиссер

Марина Ильинская

Елена Грачева

Наталия Михайлова

Борис Филановский

Айсылу Кадырова

Михаил Баркан

Александр Колбовский, кинокритик

Валентин Ткач

Дмитрий Геллер

Всеволод Бродский

Михаил Смоляницкий, сценарист

Елена Немых, продюсер,режиссер.

Александра Соколовская, режиссёр, сценарист

Михаил Соколовский, сценарист, друматург

Александр Архангельский, писатель, публицист

Александр Долгин, кинооператор

Ираида Юсупова, композитор

Ольга Леонтьева, журналист

Елена Литвинова, актриса

Мария Козырева

Василий Дьячковский

Евгений Висков

Андрей Дойников

Нигина Сайфуллаева

Вера Прокопьева

Сергей Кушнир, сценарист

Елена Демидова, режиссер

Анна Брандуш

Анна Меликян, режиссер

Иван Алексеев

Сергей Куцевалов

Светлана Адоньева

Александра Стреляная, режиссер

Надежда Хворова, режиссер

Ксения Сахарнова, режиссер

Юлия Жаворонкова

Вадим Островский

Петр Хазизов, кинорежиссер

Сергей Зиневич, режиссёр монтажа.

Андрей Черных, кинорежиссёр

Татьяна Рахманова

Мазурова Юлия

Георгий Молодцов, режиссер

Олег Чернов

Раду Крихан, сценарист, режиссёр.

Татьяна Рудина, актриса

Наталья Меркулова, режиссер

Алексей Чупов, режиссер

Тамара Дондурей, режиссер

Михаил Угаров, режиссер

Ольга Юхновская

Татьяна Зима

Александр Амиров

Нияз Игламов

Владимир Зимин, монтажёр

Катерина Третьякова,

Мария Манаурина,

Петр Филиппов,

Ольга Крутилона,

Елена Заритовская,

Алла Джакелли,

Ольга Дибцева,

Николай Бельдюгин,

Оксана Ковалевская,

Вера Кириллова,

Елена Науман,

Наталья Курбатова,

Наталья Людвиг,

Ирина Ситкова,

Александр Лист,

Вероника Сильченко,

Андрей Бильжо, художник

Анна Медведева,

Елена Аросьева,

Ким Долгин, режиссер

Олег Сулькин, кинокритик

Павел Фоминцев, оператор-постановщик

Евгения Димант, преподаватель, библиограф

Мария Новикова

Лена Левина, сценарист

Дана Жанэ, сценарист

Синельник Наталья

Владимир Харченко-Куликовский

Мария Ошмянская, сценарист

Ирина Луковская, актриса, сценарист.

Андрейс Аболс,

Александр Ярош.

Юлия Завьялова

Ольга Вершинина

Григорий Катаев

Павел Лопарев

Степан Богданов,

Александр Нахимсон,

Владимир Чутко, режиссер

Майя Кузина, продюсер

Анна Моисеенко, режиссер

Мария Турчанинова

Галина Бильдеева

Ирина Любарская, кинокритик

Смольянинова Мария

Леонид Симбирский,

Екатерина Брезгунова,

Виталий Замковой,

Янишка Риплова,

Роза Гиматдинова,

Исер Гуранц,

Мария Гаврилова,

Анастасия Сурова,

Андрей Загданский, режиссер

Сэм Клебанов, продюсер

Татьяна Вигер,

Андрей Владимиров,

Марина Зорина,

Фируза Мирзоалиева,

Анна Качко, продюсер

Лариса Овадис,

Игорь Овадис,

Наталья Долгова,

Юлия Калльмайер,

Арсений Гончуков, режиссер

Лана Беров,

Инга Шерман,

Юлия Латынина,

Юлия Крондор,

Ирина Изместьева,

Александра Головина,

Виолетта Багдасарова,

Наталья Дубровская,

Дмитрий Черносвитов,

Ирина Грантовская,

Александра Назарова,

Дарья Боснякова

Константин Панфилов

Олеся Буряченко, режиссер

Илья Утехин

Артем Барышников

Иван Чувиляев

Тамара Ларина, продюсер

Дарья Варденбург, писатель, журналист

Ася Шулбаева, журналист

Ирина Любарская, кинокритик

Владимир Ризун, звукорежиссер

Дмитрий Ланчихин – сценарист, режиссер

Лихачева Александра, режиссер

Вера Смоляницкая, актриса

Нина Цыркун, кинокритик

Олег Зинцов

Мария Антонян, аспирантка МГУ

Инна Денисова, режиссер

Наталья Корецкая, сценарист

Евгений Майзель, кинокритик

Лариса Юсипова, кинокритик

Мария Козлова

Людмила Трахтенберг

Галина Ворона

Тамара Сергеева

Леонил Ситников

Егений Зубин,

Ирина Лукьянова,

Галина Шандакова,

Григорий Жихаревич – режиссер, сценарист,

Ольга Богатова,

Ольга Гуркова,

Анна Алешковская,

Елена Янкелевич, режиссер-документалист,

Кирилл Гребенщиков,

Геннадий Виксман,

Ирина Гавра – художник,

Петр Алешковский,

Алина Купервассер,

Дмитрий Шушарин,

Наталья Рапопорт,

Дарья Белова,

Даша Степанова – артист, режиссер,

Дмитрий Васильев, телевизионный режиссер,

Елена Гуткина,

Генрих Игнатов,

Катерина Федулова,

Анастасия Левикова,

Елена Карт,

Аркадий Дубнов, журналист,

Мария Кондакова,

Сергей Нехаев,

Анастасия Архипова,

Ольга Дедова,

Мария Денс,

Нелли Гуткина,

Илья Заславский,

Алексей Войтих,

Евгения Врадий,

Ольга Ровнова,

Ольга Галицкая – кинокритик,

Наталья Шематинова,

Елена Махрова,

Наталья Рюрикова,

Нина Хеймец,

Арина Борисова,

Ксения Перетрухина,

Федор Павлов-Андриевич,

Евгений Малышев,

Наталия Дзергач,

Анна Фенченко – режиссер,

Наталья Павленкова,

Чингиз Русулзаде,

Григорий Папиш

The Presidium of Slovak Film and Television Academy (SFTA):
Marek Leščák, president of SFTA/screenwritter
Ondrej Šulaj, screenwritter
Martin Šulík, director/producer
Peter Dubecký, director of Slovak Film Institute
Ján Ďuriš, cinematographer
Ján Meliš, cinematographer
Miro Remo, director
Ján Oparty, director/producer
Peter Michalovič, film theoretist

NTU and Fellini Foundation for Film (Switzerland) announce co-operation agreement

guido1The NTU School of Art, Design and Media (ADM) and the Swiss-based Fellini Foundation for Film have signed a co-operation agreement to implement a series of cultural activities and exchanges between the two institutions. The event took place at the ADM Library on Tuesday 18 August, with other project partners that include the Embassy of Italy, the Embassy of Switzerland, and the Italian Cultural Institute in Singapore. This important project will open a cultural co-operation inSchool of International Studies, Earth Observatory of Singapore, and Singapore Centre on Environmental Life Sciences Engineering – and various leading research centres such as the Nanyang Environment & Water Research Institute (NEWRI), Energy Research Institute @ NTU (ERI@N) and the Institute on Asian Consumer Insight (ACI).

A fast-growing university with an international outlook, NTU is putting its global stamp on five peaks of excellence: Sustainable Earth, Future Health Care, New Media, New Silk Road, and Innovation Asia.

Besides the main Yunnan Garden campus, NTU also has a satellite campus in Singapore’s science and tech hub, one-north, and a third campus in Novena, Singapore’s medical district.

For more information, click here.

This collaboration will include:

1) An exhibition on Federico Fellini and the Circus opening in November 2015 at the ADM Gallery as part of a larger exhibition about the Italian maestro that will continue through early February 2015. For the first time in Asia, important original documents about the famous Italian movie director will be presented.

2) A PHD course on Fellini by ADM to commence in January 2016. The Fellini Foundation will provide important research materials for the course.

3) The transfer of the Fellini Foundation digital library to the ADM Library, in order to create a research area dedicated to Fellini`s documents.

4) Collaboration on the development of cultural internet sites.

About the Fellini Foundation

The Fellini Foundation for film, established 2001 in Sion, owns the largest collection in the world related to Federico Fellini and thousand other directors. These 15,000 documents, including drawings, photographs, scripts, letters, posters, artifacts, costumes, production stuff and press releases, were presented by the Fellini Foundation in fifty exhibitions and events in Paris (Galerie Nationale du Jeu de Paume), Rome (Macro), Venice (Palazzo Benzon), Milan (Gallery Cartiere Vannucci), Madrid and Barcelona (la Caixa Centres), Moscow (House photo), New York (Center548 ), Toronto, Rio de Janeiro and Sao Paulo (Instituto Moreira Salles), in Switzerland, Lausanne (Musée de l’Elysée) and Sion where the foundation is based and has its cultural center. The Fellini Foundation has edited 25 publications including two books and monographs published by Gallimard in Paris. The Fellini Foundation established a cultural network in Switzerland and around the world between different partners sharing its cultural purposes.

This project was presented to several international institutions, including the European Centre of Culture (CEC) in Geneva which supports our activities. This network of partners is far beyond the field of cinema and also relates to the art. Two partnerships have been concluded in 2012 with the Ludwig Museum Koblenz and Deutsch Museum, museum for Modern and Contemporary Art in Belmont-sur-Lausanne, which offers one of the best exhibition spaces in Switzerland. Finally, through these partnerships with the Cinémathèque Suisse, the Musée de l’Elysée, the Cinémathèque de France, the Historical Archives of cinema in Rome, Archives cinema of Cinemazero cultural center in Pordenone, la Maison d’Ailleurs in Yverdon/Switzerland, the Loubeau Brothers’ Collection in Paris, Fellini Foundation can also rely on more than his own collection to produce exhibitions about cinema.

Cinema Movie Review: Irrational Man (2015)

screen-shot-2015-04-29-at-5-58-10-pmCatherine Feore returns with Picturenose‘s 900th post and her thoughts on Woody Allen‘s latest.

Sipping on a beer before the film, I overheard a wonderfully Allenesque conversation – words that he might have given to a character: ‘J’ai jamais fait du sport, je suis plutot intello’ (I’ve never been sporting, I’m more of an intellectual).

This was said without a trace of irony, I think I managed to stifle a giggle. The guy probably was an intellectual, but to utter this phrase in the Anglo-Saxon world would be an open invitation to savage derision (happily, it was uttered in Belgium). This raised a worrying question in my mind – there appear to be two camps when it comes to Woody Allen, those who are generally in the ‘he is so over-rated’ camp and those who are ‘devotees’. Am I an intello, who doesn’t like sport? All I can say is that to one of these questions, my answer is a resounding ‘Yes’.

To those in the haters camp, I might be considered incapable of critical judgement when it comes to Allen’s films. I would have to query this a little, but will confess that while I have found some of his films unsettling and some not quite as good as others, I have always found them interesting and I always get some sort of insight from them – I even liked Melinda and Melinda (2004).

Irrational Man is a reference to a book of the same name by William Barret on existentialism; the film also leans on Allen’s fascination with the novels of Dostoyevsky, in this instance Crime and Punishment. When it comes to films that address existential questions, I would place Allen somewhere between Bergman and the director of The Fast and the Furious 3, let’s say near the top. So, if this is your bag, you are in for a fun night at the cinema.

The eponymous irrational man is Abe, played by Joaquin Phoenix, a philosophy professor who is resigned to the pointlessness of existence; I say pointlessness, because he has already transcended meaninglessness and despair. Refreshingly, Allen has allowed Phoenix to play an angst-ridden man without forcing him to adopt Woody-like mannerisms – other actors have been less able to resist.

Abe’s arrival on campus is widely anticipated – Rita (Parker Posey), a bored chemistry professor, who has been serially unfaithful to her often-absent husband, is particularly looking forward to meeting the new professor and potential conquest. The other main character, Jill (Emma Stone), is a student who sparks Abe’s interest with an essay where she heavily critiques one of his books.

Jill comes to idolize Abe, and fails to see that ‘he’s a wreck and he smells’. Jill is not the most interesting character, especially compared to the sassy Rita. It would be difficult to see Jill’s attraction to Abe, if it weren’t for her insipid and clinging boyfriend. Abe’s capitulation to Jill’s advances is another aspect of his moral decline.


Abe and Jill overhear a discussion in a diner, where a women tells her friends about how a judge has given the custody of her child to her ex-husband who has shown little or no interest in his child to date – she has been impoverished by the legal process and sees no point in an appeal, especially since the judge seems unlikely to move and is an acquaintance of the errant father. Abe decides that he is going to intervene and murder the judge. Initially, he verifies that the judge is the despicable person he appears to be, then he starts to follow his movements and plan his crime. Abe is liberated by his action and feels no guilt afterwards, just a new found love for life. Predictably, things start to go very wrong; when Jill discovers what he’s done, she urges Abe to turn himself in.

I can’t say that I enjoyed this film as much as other Allen work; at times it felt like there had been a lot of cutting and pasting from earlier films. There were a couple of brilliant moments, for example when Abe demonstrates how Russian roulette works to a bunch of optimistic, preppy students, but on the whole, there weren’t many laughs and this can definitely be classed as one of Allen’s darker films, alongside Crimes and Misdemeanors (1989).

Feeling nostalgic for cheerier works, I turned to Hannah and her Sisters (1986), my preferred take on existence where – after dabbling with various religions – Mickey (Allen) finds meaning through the Marx Brothers film Duck Soup (1933), concluding: “What if the worst is true, what if there is no God and you only go round once, and that’s it? Well don’t you want to be part of the experience? It’s not all a drag and I should stop ruining my life searching for answers I’m never going to get and just enjoy it while it lasts. And afterwards, who knows…”

Is this a great Woody Allen? No, it is not, but ultimately he is still the best at this kind of stuff – maybe too comfortable with it, as I sometimes felt in this film. To pull off a work that explicitly addresses existentialist  ideas with any aplomb requires skill – I wouldn’t place this movie (his 50th!) in the top ranking of his work to date; however, to my mind, 97 minutes in a cinema exploring existential ideas beats several evenings in reading Kierkegaard.

97 mins.

EFA Awards Potemkin Stairs in Odessa ‘Treasures of European Film Culture’

1(2)On the occasion of the Odessa International Film Festival, taking place from 10-18 July, the European Film Academy will award the Potemkin Stairs in Odessa the title Treasure of European Film Culture.
Sergei Eisenstein shot his masterpiece Battleship Potemkin (1925) 90 years ago at the Black Sea port. The Potemkin Stairs are undoubtedly one of the world’s most famous historical film locations. During a ceremony, a special Treasure of European Film Culture emblem will be inaugurated next to the Potemkin Stairs.
With this title, the European Film Academy wishes to raise public awareness for places of a symbolic nature for European cinema, places of historical value that need to be maintained and protected not just now but also for generations to come. The Potemkin Stairs are the fifth location to be awarded by the European Film Academy. The first four institutions that were adopted to be part of the Treasures of European Film Culture list were:

•     The Eisenstein Memorial Centre in Moscow
•     The house of the brothers Lumière in Lyon
•     The Bergman Center in Faro
•     The World of Tonino Guerra in Pennabilli

The list of Treasures of European Film Culture will be added to over the years and contain places that can be visited, including memorable film locations such as the Potemkin stairs. Since its foundation in 1910, every year the Odessa Film Festival invites the public to open air screenings of international film classics accompanied by live music. This year, British composer Michael Nyman will conduct his live score for Dziga Vertov’s documentary A Man with a Movie Camera (1929).

DVD Movie Review: The Quatermass Xperiment (1955)

rexfeatures_409088doSuch was my recent enjoyment in writing a review for Roy Ward Baker‘s seminal Quatermass and the Pit (1967), I felt it was only fair to go back to the character’s beginnings with director Val Guest‘s film adaptation of the original BBC series, which became famous on its release for clearing the streets and bars, such was its popularity in the UK.

So, how does Hammer’s The Quatermass Xperiment (1955) (so called to cash in on its ‘X’ certificate, which was new in those days) compare? Well, first up, it unfortunately has American actor Brian Donlevy in the title role – Quatermass creator Nigel Kneale expressed his enormous displeasure at this casting, with Donlevy delivering a performance that was brusque, uncaring and automaton-like, which is not at all in keeping with Professor Quatermass as originally created by Kneale – his scientist was a driven, focused but caring, moral and compassionate man (much more like Andrew Kier, who played him in …Pit, or Sir John Mills, who played him in Quatermass (1979)).

No matter, however – the film has many strengths that have endured outside its lead performance, not least of which is the utterly creepy locked-room mystery at its core. Quatermass, the founder and head of the British Rocket Group, has launched the first manned rocket into space. Shortly after, all contact is lost with the rocket and the three crew: Carroon (Richard Wordsworth), Reichenheim, and Green. The rocket later returns to Earth, crashing into an English field.

Quatermass arrives at the scene, along with the emergency services. Opening the rocket’s access hatch, they find only Carroon inside; there is no sign of the other two crew members. Carroon appears to be in shock, only able to mouth the words ‘Help me’. He is taken to hospital while Quatermass investigates what happened to the rocket and its two missing crew – and it quickly becomes evident that Carroon has been altered by something he encountered in space; he can absorb any living thing with which he comes in contact…Quatermass realizes that the rapidly mutating Carroon creature is on the verge of sporing, which will threaten all of humanity. The clock is ticking…

The screenplay, written by Richard Landau and Guest, presents a heavily compressed version of the events of the original television serial. It was the first Hammer production to attract the attention of a major distributor in the US, in this case United Artists, which distributed the film under the title The Creeping Unknown.

It is a remarkably successful adaptation – Wordsworth is excellent as the plague astronaut, desperate to save himself from what is consuming him. And look out for a performance from a very young Jane Asher, as the little girl who falls into Carroon’s path.

Scary, genuinely creepy and thrilling – so long as you can get past Donlevy.

82 mins.

DVD Movie Review: Quatermass and the Pit (1967)

large_quatermass_and_the_pit_blu-ray_8With this review, it’s time for a tribute – Thomas Nigel Kneale (18 April 1922–29 October 2006, commonly referred to as Nigel Kneale) was one of the very best science fiction and horror writers of the 20th century and, while he was responsible for a huge amount of other great stuff, such as The Year of the Sex Olympics (1968) and The Stone Tape (1972), his singular creation, that of the intelligent, highly moral, courageous but also somewhat ruthless British man of science, Professor Bernard Quatermass, is what guarantees his place in posterity.

And so it should be – in just four stories (The Quatermass Experiment (first as a BBC series in 1953, remade as Hammer film The Quatermass Xperiment (1955)), Quatermass II (again a BBC series in the first instance, again remade by Hammer in 1957), Quatermass and the Pit (1959) (BBC first, then the film I am shortly about to bang on about) then Quatermass (1979) (an ITV series that was the first big programme for the channel after its strike of that year)).

Now, as you will see from my review of Quatermass if you give our link a cheeky little click, I wrote at the time that I thought the final series was the best of the entire canon. I no longer think so – it’s going to have to be Quatermass and the Pit (1967) for me from now on.

And why? Because Kneale knew, perhaps better than anyone, how to blend sci-fi and horror, and this is demonstrated amazingly well in …Pit.

Workers on site at an extension to the Hobbs End London Underground station first dig up a fossil skull – but then are amazed and horrified to discover a number of seemingly human skeletons deep within the earth. Work is halted immediately, and palaeontologist Dr Matthew Roney (James Donald) is called in – he deduces that the finds are the remnants of a group of apemen aged more than five million years, which is far more ancient than any previous finds of mankind’s ancestors.

Meanwhile, Professor Bernard Quatermass is furious to learn that his planned colonization of the moon, with his British Experimental Rocket Group, is to be turned over to the military, in order to ‘police’ the Earth with thermonuclear missiles. He is further enraged when the abrasive, hawk-like Colonel Breen (Julian Glover) is assigned to join his group (“I’ll fight this right at top level!” – “I shouldn’t, it came from there”), but then Breen is called to the Hobbs End dig, as it would appear that Roney’s researchers may have uncovered a World War II V-weapon, a subject on which the colonel is expert. Curious, Quatermass accompanies him, and finds that the as-yet unidentified artefact is clearly not of this Earth, whatever Breen might think…

And so begins one of the very best combinations of science fiction, mystery and, ultimately, horror, ever committed to film – there will be no further spoilers from me, apart from to say that Kneale, as he did in The Stone Tape and Quatermass, expertly touches on the idea that ‘supernatural’ occurences, ghosts, may well be, in Quatermass’s words “phenomena that were badly observed and wrongly explained”.

But a science-based rationale does not mean an end to the terror – just check out the finale. The devil, you say?

This is horror from a time when the genre was still taken very seriously, hence the inclusion of actors of the calibre of Donald, Glover and, most of all, Kier – the latter was Kneale’s personal favourite Quatermass, and he was even allowed to return to the role in 1996, when Kneale wrote an excellent radio series that dances wonderfully around all four stories, The Quatermass Memoirs.

So, why not join the good professor on his journey into mankind’s origins? Enjoy Quatermass and the Pit here.

DVD Movie Review: Etz Limon (Lemon Tree) (2008)

Lemon+TreeLemon tree, ‘green line’?

Once, when we lived in Oman on the Arabian Peninsula, writes Gerald Loftus, we visited a village perched in the rocky hills of the interior. We were there to see a falaj, one of the ancient irrigation canals cut into the stony hillsides, carrying precious water to small gardens and orchards. An Omani farmer took a liking to our small children, and offered us lemons plucked from one of his dozen or so trees. In hot, arid climates, these bright beautiful yellow fruit, standing out against the dark green leaves, are things of beauty.

And so it is in the West Bank – or more precisely, on the ‘Green Line’ that on paper separates Israel from the Occupied Territories – where Eran Riklis’s Lemon Tree (2008) is filmed. Never has a glass of fresh lemonade looked so inviting. That’s what visitors to the home of lead character Salma are offered, from her father’s orchard that she has inherited. From trees that she must protect when politics intrude into her simple life.

Riklis has visited this human terrain before, notably in his 2004 masterpiece, The Syrian Bride. Watching Lemon Tree, you have to remind yourself that this is an Israeli film, or rather, a film made by an Israeli director. But, as Riklis said in a Tikkun interview apropos of The Syrian Bride, when asked if it was a ‘political film’.

First and foremost, this is a humane film. It deals with people who are caught inside politics, inside a political world. It’s a pro-people film. On the other hand, of course it contains political elements. In the Middle East in particular, almost everything that you do and refer to is political. Everything has consequences.

The same could be said of Lemon Tree, though it is political to a much greater degree. When you have the ‘Separation Barrier’, the Supreme Court in Jerusalem, and an Israeli cabinet minister as backdrops or characters in a film, it is political. Everything is political in Israeli-Palestinian relations.

Just as Riklis is sensitive to the nuances of the complex relationship between occupier and occupied, he is a particularly talented observer of the relationships between men and women, in both Israeli and Arab cultures. Nazareth-born Hiam Abbass, who has already appeared in Riklis’ films, plays Salma with innate grace and intelligence. Not only does she have to confront Israeli neighbors bent on separating her from her lemon trees, but also has to navigate a male-dominated Palestinian society. Palestinian officialdom is shown as more troubled over matters of propriety than demonstrating any concern for this defiant widow’s attempts to protect her property.

On the Israeli side of the fence (literally), there is tension in the Minister’s household, where wife Mira (played by revelation Rona Lipaz-Michael) begins to see for herself the human costs of occupation. Eventually they must face the question: is it better to look out onto a luscious orchard (owned, admittedly by Palestinians of unknown security credentials) or to enjoy’ the security offered by watchtowers and the Separation Barrier?

At the time, my viewing of Lemon Tree was sponsored by the women of Brussels film club Cinefemme (whose website has an insightful interview with Riklis), and whose members have been invited by the film’s distributor to provide commentary for a DVD ‘bonus’ segment. They will have much to discuss.

Awards: Click here for details.

Gerald Loftus

106 mins. In Arabic, Hebrew, French and English.

European Film Academy: The Invisible Boy Wins Young Audience Award 2015


In a truly European vote, 12-14-year-olds in:

  • Aalborg/Denmark
  • Amsterdam/the Netherlands
  • Athens/Greece
  • Barcelona/Spain
  • Belgrade/Serbia
  • Bratislava/Slovakia
  • Budapest/Hungary
  • Cluj/Romania
  • Erfurt/Germany
  • Istanbul/Turkey
  • Izola/Slovenia
  • Kiev/Ukraine
  • London/UK
  • Malmö/Sweden
  • Prizren/Kosovo
  • Riga/Latvia
  • Skopje/FYR Macedonia
  • Sofia/Bulgaria
  • Tallinn/Estonia
  • Tbilisi/Georgia
  • Tel Aviv/Israel
  • Turin/Italy
  • Valletta/Malta
  • Wroclaw/Poland
  • Zagreb/Croatia

have elected The Invisible Boy by Gabriele Salvatores (Italy) as the winner of the European Film Academy (EFA) Young Audience Award 2015.

Having watched the three nominated films on today’s Young Audience Film Day, the young cinema-lovers across Europe had the opportunity to discuss the films before electing their favourite. The results were then reported live via video conference to Erfurt (Germany) where German TV host, author and director Thomas Hermanns moderated the awards ceremony transmitted online as a live stream.

EFA Director Marion Döring presented the award to screenwriter Stefano Sardo who said: “Thank you so much, this was unexpected! We made a film for kids and we’re *so* happy that they like it!”

This year’s fourth edition of the EFA Young Audience Award with a record 25 participating countries was realized with the following partners: Art Fest (Bulgaria), BFI British Film Institute, BUFF (Sweden), Children KinoFest (Ukraine), Cinematheque Tel Aviv (Israel), Creative Europe Desk Malta&  Culture Directorate Ministry for Justice, Culture and Local Government (Malta), DokuFest (Kosovo), EducaTIFF (Romania), Estonian Film Institute, EYE Film Institute Netherlands, Film Center Serbia, Filmoteca de Catalunya (Spain), German Children’s Media Foundation GOLDEN SPARROW, Hellenic Film Academy (Greece), Hungarian National Film Fund, Macedonian Film Agency, Museo Nazionale del Cinema & Film Commission Torino Piemonte (Italy), National Film Centre of Latvia, New Horizons Association (Poland), NNLE Noosfera Foundation (Georgia), Otok – Institute for the Development of Film Culture (Slovenia), University College Northern Jutland, The Centre for Educational Resources (Denmark), Visegrad Film Forum (Slovakia), Yapimlab & Edge (Turkey) and Zagreb Film Festival (Croatia).

The European Film Academy Young Audience Award is organised and presented by the European Film Academy and EFA Productions with the support of the Mitteldeutsche Medienförderung (MDM). The DCP production is supported by dcinex, Ymagis Group. Media partner was FRED FM Film Radio.