THE NOISE OF TRAINS / EL RUIDO DE LOS TRENES by Cristian Saldía | CL 2015 | 67'
WORK IN PROGRESS, LAB and PITCH
2015 BAL, Buenos Aires Lab, BAFICI, Argentina
2014 Docs in Progress, Visions du réel, Switzerland
2014 Sanfic Net, Chile
2013 Pitch DocMontevideo, Uruguay
2013 Pitch Atlantidoc, Uruguay
2012 WIP BoliviaLab
2012 WIP FIDOCS, Chile
2012 WIP Cine B_5, Chile
Until the late ‘70s, one of the most important railway premises of Chile operated in a small town in the South called San Rosendo. Today, only two trains pass during the day, one early in the morning, which stops a while at the old station and takes passengers, and another at the end of the afternoon, carrying wood and fuel, crossing the town without stopping.
The film narrates what happens in the town between the trains passing: the activities the inhabitants have, the spaces they use and the routes they go over. Small gestures that show the relation between the man and the landscape in a place that is disappearing.
director, writer, producer, cinematography and sound CRISTIAN SALDÍA
executive producer CATALINA DONOSO
editors SOLEDAD SALFATE, CRISTIAN SALDÍA
production 3 TIGRES FILMS / CUSICANQUI FILMS
Cristian Saldía, is an Architect, Screenwriter and Filmmaker. Teacher of Audiovisual Communication at the University St. Thomas, in Concepcion, Chile. He has specialized in: documentary direction (Chile), documentary screenwriting (Uruguay), film distribution (Cinemascope, Venezuela), film editing (Doculab Guadalajara) and filmmaking projects development (Talent Campus Buenos Aires). In 2013 he founded 3 Tigres Films' production company.
THE NOISE OF TRAINS is his first documentary film.
2016 The Wind Blows Where it Feels Like (in Development)
2015 The Noise of Trains / El ruido de los trenes
THE COW FARM by Ali Sheikh Khudr | Syria & Egypt 2016 | 60'
* nominated for the NETPAC AWARD
Portrait of a Syrian farmer, the filmmaker’s cousin who, in spite of the war, tries to live his daily life.
In 2010, this film started out as an ordinary documentary about the maker’s family and the city of Salamya where they live. However, it immediately fixates on its first subject: Hassan, the maker’s farmer cousin with a shed full of cows he is very fond of. When Ali Sheikh Khudr returned two years later, the war proved to have inflicted deep wounds.
Produced Filmed Edited and Directed by Ali Sheikh Khudr
Co-Producer Daydream Art Production (Muhammad Samir)
Sound Mix Simon About Assali
ALI SHEIKH KHUDR (1987, Damascus, Syria) started working as a filmmaker in 2006, mainly as a cinematographer and editor for local films with both independent and professional directors.
His first film City of Emptiness (2008) was screened at the IFFR in 2012.
SWIMMERS / ЗАПЛЫВ by Kristina Paustian | DE, RUS, HU 2015 | 77'
2015 Jihlava International Documentary Film Festival. East Silver Market
2015 Duisburger Filmwoche ***ARTE Documentary Award***
2015 Torino Film Festival - TFFDOC/INTERNAZIONALE.DOC
2015 ArtDocFest Moscow, Russia
2016 Arsenal Berlin
2016 Nova Cinema Echos of Jihlava, Brussels
A controversial Soviet scientist Boris Zolotov decided to leave the scientific circles to follow private beliefs. He has gathered around him hundreds of disciples. Like many in the group, young Ekaterina was led there by many unanswered questions. Together with Boris Zolotov, she discusses concepts of happiness in today´s Russia. Swimmers is an observation of this extraordinary attempt to achieve and maintain collective belief, on the border of cosmology, science and psychedelic trance theater.
director, cinematography and editing KRISTINA PAUSTIAN
producer KRISTINA PAUSTIAN
executive producer GYÖRGY GATTYÀN
production UNIVERSITY OF THE ARTS BERLIN
in collaboration with KRISTINA PAUSTIAN and GYÖRGY GATTYÀN
Kristina Paustian, born 1985 in Omsk, Russia. 2003 she moved to Germany to study “Communication in Social and Economic Context" and "Art and Media" at the University of the Arts in Berlin. She worked as a director of photography and editor for other artists before starting out as a video artist herself. Today Paustian's artistic practice covers video art, film and installations. In her art she always tries to find and preserve a particular human constant into cinematographic forms. This constant (if there is any) goes far beyond language barriers, geographical borders, collective and social concepts or political structures.
SWIMMERS is her first feature film.
FILM AND VIDEOGRAPHY (Selection)
2016 Positions. Video (10:20 Min)
2015 ZAPLYV (SWIMMERS). Documentary film (77 Min)
2015 Meditations. Video (6:36 Min)
2015 Sleeping Man. Video installation (31:31 Min)
2014 Performance with a Wash bowl. Video performance (12:12 Min)
2013 Priez Dieu qu’il m’envoie un peu de génie […]. Video (6:44 Min)
2012-2013 Wälder & Steppen. Video (2:43 Min)
2011 Karavaj. Video installation (28:22 Min)
2007 Drowned Man. Video performance (7:46 Min)
WHITE COAL by Georg Tiller | Austria 2015 | 70'
2015 Rotterdam IFF (Bright Future) ***Nominated for FIPRESCI Award***
2015 Jeonju IFF (Expanded Cinema)
2015 Dokufest Prizren ***Special Jury Mention***
2015 Festival do Rio
2015 Planeta Dok / Brazil
WHITE COAL is less a film about coal, although it uses the material as its source of investigation, than an exploration into motifs of industrial films from the 1920s to the present. Loosely inspired by Hermann Melville's The Confidence Men, a story about a blind messenger aboard a Mississippi steamboat, one thread of the film follows a crew of workers on a Polish coal ship. A second thread portrays the architechture and circumstances of coal burning at the world's largest coal burning power plant, located in Taychung, Taiwan.
Director, Script Writer, Sound: Georg Tiller
Cinematography: Claudio Pfeifer
Editor: Viktor Hoffmann
Sounddesign: Jochen Jezussek
Cast: The crew of the Polish Coal Ship Bizon 58, Ladislav Gombrowicz, Grzegorz Szymánski, Miroslav Radzikowski and Franz Amann & workers and employees of the Taichung Coal Power Plant
A production of Subobscura Films (Austria) supported by Innovative Film Austria and the Austrian Film Institute
Georg Tiller, was born 1982 in Vienna, Austria.
After unfinished philosophy and theater studies, he studied film studies first with Harun Farocki at the Academy of Fine Arts Vienna, then film directing and cinematography with Michael Haneke and Christian Berger at the Film Academy Vienna and later film directing at the German Film and Television Academy Berlin (dffb). Since early on he has been working as a freelance artist and filmmaker later also as a producer of his own and his friends work, initially with the artist collective naivsuper. His films have been shown at numerous film festivals around the world and he has exhibited his work at the Bienal de Såo Paulo, the Centre Georges Pompidou and the Luleå Vinter Bienal among many other places. He is one of the co- founders of the production company Mengamuk Films and managing director of Subobscura Films. Georg currently lives in Vienna and Berlin.
2015 White Coal – 70 min
2014 DMD KIU LIDT – 55 min
2011 Persona Beach – 140 min
2010 Vargtimmen – nach einer Szene von Ingmar Bergman – 7 min
2008 Der Turm des Ornithologen – 13 min
2007 km 43.3 Der transsylvanische Holzfall 43 min
VARYA by Aliona Polunina | Russia 2014 | 47'
Interims, uncertainties, illustrated by the great search engine powers: for Yandex, the Crimea is Russian territory, for Google it is Ukrainian. And the realm of Facebook is only a keystroke away, not to be underestimated as a platform for ideological positioning. When Aliona Polunina tries to shoot a film about the Russian-Ukrainian war she meets Varya, a simple Moscow mathematics teacher with frizzy grey hair, naive eyes, health sandals, plastic bags and a notebook. Varya is strange, but a heroine: she canvasses her Facebook contacts in the country that became the declared enemy of her government overnight. Varya goes Ukraine to explore a whole spectrum of political and national euphoria there (be it militant or pacifist, idiosyncratic or collective), which she emphatically tries to understand and communicate to her Russian fellow campaigners in defiance of the delusions propagated by the mass media.
It’s that simple step of turning addresses in a virtual social network into real contacts that enables Polunina and us, via the documentary camera, to regain access to a public that is threatening to sink under the military and media war – by regulated exclusion or an overkill of unregulated self delusion. Varya fights against both wars. Courageous.
- Barbara Wurm for the festival catalogue DOK Leipzig, 2014
2014 DOK Leipzig, Germany (World Premiere)
2015 Debut National Film Festival "Dvijenie" Omsk, Russia
2015 Moscow International Documentary Film Festival DOKer
2015 Moscow International Film Festival, Russian Programme
2015 Riga International Film Festival 2ANNAS, Latvia ***Winner Mid-Length Competition***
2015 Festival Film Dokumenter Yogyakarta, Indonesia
2016 DocuTIFF, Tirana International Film Festival
Director: Aliona Polunina
Producer: Nastya Velskaya & Aliona Polunina
Cinematographer: Dmitry Rakov
Length: 46 min
Format: HD-Video / color
Language: Russian, Ukrainian
Country/Year: Russia 2014
Production: Well Sky Productions, Moscow, Russia
Available Formats: DCP / Blu-ray / DVD
DE CORPORE MORTIS by Rudolf Domke | Germany | 2015 | 124'
De Corpore Mortis describes the harsh life of a small German community of people in a remote area of Paraguay, after all dreams are shattered. It is about the will to survive and find a new home.
German, Spanish, Russian, Guarani with English subtitles
2015 Filmfest München, New German Cinema (WP)
2015 Duisburger Filmwoche
An ethnic German colony in Paraguay is in ruins. Although the colony exists less than 10 years, the dream of a social utopia that existed in this place, belongs to the past. Nikolai Neufeld, founder of the colony, is imprisoned for economic fraud, he has 60 million euros of debt and 1,700 creditors. About 15 years ago he bought a lot of land in a remote area of Paraguay and promoted settling there aggressively. His audience was a minority in Germany, that is known as Russian-Germans, most of whom have German roots and left the former Soviet Union for Germany since the late 80's and lived there 10 to 20 years already. Neufeld's great promise was a municipal, carefree life in the rural idyll far away from all disappointments and constraints of modern civilization. Most of the houses in the colony are abandoned by now. Many families returned to Germany or tried their luck elsewhere, in other places in Paraguay, Argentina or Canada, - if they have relatives there. The film is about the people who stayed in the colony and try to survive, as self-sufficient farmers, as ranchers and missionaries. They must pay for school themselves or teach their children on their own. Those willing to integrate send their children to the Paraguayan schools in the surrounding villages. All entrepreneurial efforts have proved to be experiments that went bankrupt.
The bold vision Neufeld's to become the largest macadamia producer in the world has remained an illusion. The film is a meditation on their hard life after all dreams went down the drain. It is also about subliminal aggression within a community that is isolated, divided and feels threatened in its existence, if not willing to adapt. Many of the settlers are armed now and the will to communicate peacefully is fading more and more.
The cow that is slaughtered, keeps alive those who consume it. A seed dies and becomes something new. An ethnic German colony in South America disintegrates and provides opportunities for new forms of existence. This film is an examination of the textures of such deaths and of what it contains within itself.
Rudolf Domke, was born 1978 in Kustanaj, former USSR (Kazakhstan). Since the age of eleven he lived in Germany. After finishing school he traveled by foot several years. Then learned the craft of a stone sculptor. Since 2008, he is a film directing student at the German Film and Television Academy Berlin, DFFB.
2012 Schuld und Sühne
2010 Der Vagabund
2009 Ein halber Tag im Leben eines Eichbeamten
2008 Herr Schäfer
Country of production: Germany
Year of production: 2015
Running time: 124 min
Screening format: DCP
German, Spanish, Russian, Guarani with English subtitles
FESTIVALS & SALES
Laure Tinette | German Film and Television Academy Berlin (dffb) firstname.lastname@example.org www.dffb.de
A PROLETARIAN WINTER'S TALE by Julian Radlmaier | Germany 2014 | 63'
An absurdist fairy tale about three young Georgians who have to clean a German castle for an exhibition and get revolutionary ideas.
FESTIVALS & AWARDS
2014 International Film Festival Rotterdam (World Premiere)
2014 International Debut Film Festival "Spirit Of Fire", Khanty Mansiysk, Russia
2014 Bildrausch Filmfestival Basel
2014 Prague International Festival of First Features and Student Films / Fresh Film Fest
2014 Viennale - Vienna International Film Festival, Austria
2014 UNDERDOX Filmfestival für Dokument und Experiment, Munich, Germany
2014 Sevilla Festival de Cine Europeo
2014 Ljubljana International Film Festival, Slovenia
2014 Human Rights Film Festival Zagreb, Croatia
2014 Berlin Art Film Festival
2015 Festival Internacional de Cine UNAM, International Competition, Mexico City, Mexico ***AUDIENCE AWARD***
2015 FICIC - Festival Internacional de Cine Independiente de Cosquín, Argentina
2015 Olhar de Cinema - Festival Internacional de Curitiba, Brazil
2015 Festival Internacional Independiente De La Plata Festifreak, La Plata, Argentina
Hope for cinema!
Gerwin Tamsma, IFF Rotterdam
A playful, unclassifiable, and barefaced film. Magnificent use of the depth of field.
"2nd best first feature 2014"
Roger Koza, Otro Cines, Argentina
Bold, symbolic, political cinema. With a brechtian attitude and marxist vocabulary. Ironic and colourful, but also unwieldy and theatrical. Totally different from the German cinema of the last Decade.
Brigitte Haring, Schweizer Radio und Fernsehen
A true fairy tale the author of which succeeds to ask some actual and some eternal questions about the world, class struggle, neoconservatism, the return of reactionary rhetorics and the discreditation of leftist ideas. Surprisingly mature but with a youthful freshness. Between Straub, Athina Rachel Tsangari and Monty Python's Flying Circus.
Vladimir Lyashchenko, Gazeta.ru
In a very interesting way, the film constructs an idiosyncratic cinematic space – somewhere between the asceticism of Straub and the playfulness of Iosseliani. A modern leftist cinema.
Evgeniy Maisel, Iskusstvo Kino (Kino Art)
A PROLETARIAN WINTER'S TALE has a lot to do with Brecht and his conception of the folk play. In this regard, one must think of the anarchistic humour of Liesl Karlstadt and Karl Valentin on the one hand, and, on the other hand, of that vivid abstract dream called MACHORKA-MUFF, which stands at the beginning of the oeuvre of Danièle Huillet and Jean-Marie Straub. The result is funny, proudly dialectic, simple but full of unexpected excentricities. And amdist all that: a trio looking so defiantly melancholic as if it came out of an early Kaurismäki.
Olaf Moller, Bildrausch FF Basel
A film that proves that Radlmaier is one of the few exciting young German filmmakers working today. It also provides another hope that the marginalization of serious and formally relevant German cinema in a national and international context might stop. His political comedy about three Georgian workers testing their revolutionary cabability during an art exhibition at a castle, is full of wit and intelligent use of stylistic devices.
Patrick Holzapfel, twitchfilm. com, Canada
Very elegantly, Radlmaier created a modern fairy tale and proves that German cinema can be thriving beyond Mumblecore and the Berlin School.
Dunja Bialas, Artechok, Germany
A SPECTRE IS HAUNTING EUROPE by Julian Radlmaier | Germany 2013 | 46'
Berlin, a summer in the age of neoliberalism: the spectre of the soviet avant-garde is haunting the city. A young Georgian contract-worker is surprised to find the ghost of the Russian revolutionary poet Vladimir Mayakovsky in his kitchen. At the same time, his friend Kasimir inherits a big fortune, but what shall he do with all this money? Framed by a travel through time leading to Flaubert’s 19th Century und the shooting of a revisionist melodrama for German television, the film follows the adventures of these three characters in contemporary Berlin. A suprematist digital comedy about the transmission of emancipatory energies.
FESTIVALS AND AWARDS
German Film Critics Award for The Best Experimental Film 2014
2013 International Short Film Festival Oberhausen, Germany
2013 Viennale, Vienna International Film Festival, Austria
2014 Filmfestival goEast, Wiesbaden, Germany
2014 UNDERDOX Filmfestival für Dokument und Experiment, Munich, Germany
Short Fiction, 46 min, colour
Shooting format: Red MX,
Screening format: DCP (2K), 25 fps (original) / 24 fps (DCP),
Aspect ratio: 1:1,78 letterboxed to 1:1,33