EAVE May News 2021
- Equity and inclusion - an exclusive Interview with EAVE graduate Tamara Dawit
"I think there are a lot of the same barriers repeating themselves."
- EAVE project VICENTA B supported by Sørfond
In Development May 2021
- DETECTIVE BRUNO is shooting
In Production May 2021
- A BALLADE is in post-production
In post-production May 2021
- THE LAST SHELTER wins at CPH:DOX
Awards May 2021
- EAVE project NOT A WORD selected for Cinefondation’s Atelier de Cannes
Nominations May 2021
- EAVE project BULLHORN LULLABY in Hungarian cinemas
In Cinemas May 2021
- EAVE project THE LAST NOMADS selected for HotDocs Forum
Festivals and Markets May 2021
- MEET EAVE IN JUNE!
- EAVE Yoga Corner
- Call for EAVE Producers - Galway Film Fair 2021
- Call for Applications: CHANGE Co-production training course 2021-2022
EAVE ON DEMAND for documentary projects from Armenia, Azerbaijan, Belarus, Georgia, Moldova, and Ukraine
- PUENTES ITALIA 2021: Call for Italian producers and professionals interested in co-producing with Latin America
- Key survey findings show EAVE’s major impact on European film industry
Equity and inclusion - an exclusive Interview with EAVE graduate Tamara Dawit
EAVE graduate Tamara Dawit is an Ethiopian-Canadian producer and director. She is based in Toronto and in addition to producing works part time at the Canadian Media Fund (CMF) as Lead for Equity and Inclusion.
With EAVE, Tamara talks about her work on equity and inclusion and why this could raise more awareness and food for thoughts for many players in the film industry.
At DOK.fest München earlier this month you were participating in a panel called “Kill the Documentary as We Know It”. You emphasized that to end racism and discrimination in film one has to change the way films are financed. Why is the money side so important?
I think that whether it’s a documentary or a web series or an animated film, it’s really about the financing. A lot of the work I’ve been doing for equity and inclusion, among the first things were: a) count the people - who is there and what community do they represent, and b) follow the money. I think in any industry you need to understand how it functions and money basically provides access. For communities who are underrepresented in films, for those that are equity or sovereignty seeking, it’s often the lack of money that hinders their career. Or there can be an easier access to money for other filmmaking communities that allows them to make films faster, to produce more content, and to be able to access markets more easily. So, there are always barriers, but those barriers can fall away more quickly when you have more money. So that’s the first step in accountability to understanding where we are at: who is receiving money and who is not receiving money, and are some of these funds perhaps just the barriers that are unintentionally excluding certain communities.
So if you give access to money, you allow people who are underrepresented to have access to film and to be heard?
Yes, but that’s not the only solution. I think it’s a number of things that need to occur. I think the conversation that is happening now, specifically in Canada, and more frequently also in circles in which I’m working in Africa, is around the ownership control of intellectual property. Is it enough to say: we are doing equity things, we are being inclusive because we have funded a television show with Black writers, or a movie with a Vietnamese director; is that enough? At the surface level you can then say: here are these above the line crews who come from these communities. Or there can be a disabled person, or a LGBTQ+ person, or whoever it is, but we are much more interested in the ownership control of intellectual property, and this is still sitting predominately with straight white male owned film companies. And they are actually the companies that are being empowered through making these shows. These companies are being stabilised and they are growing, they are the ones who are dealing and controlling the business relationships with broadcasters, sales agents and buyers. When we look at the benefit back to the community and the filmmaker: is that Vietnamese director any further ahead in controlling his career and stabilising his filmmaking practice, because he didn’t own the content that he meant to create? Also, by not owning it, how much control did he have in the distribution, and how has this perhaps perverted his editorial control, because maybe now the producer and the broadcaster are sitting in a seat above the author/director?
You have been developing the Canadian Media Fund’s midterm strategy for film funding, and you have working on measures to enable the diversity of voices in Canada. What are these measures?
I was part of the team that led the work on setting up a strategy for equity and inclusion at the Canadian Media Fund (CMF). The CMF is not really a film fund, it funds television content, so sometimes that could include films that are working with the broadcaster, but it’s primary television content: children’s content, documentaries, TV dramas and also digital experimental content such as AR, VR, video games, web series. In terms of the CMF’s strategy, it sits within three pillars of thoughts: It was, first of all, in community consultation, so it’s not something we thought of alone in a room or alone in our homes connected over zoom. We really wanted to start consulting with communities understanding their issues with the CMF. We wanted to hear about those issues within the industry and what are their ideas for solutions and changes, and the ways that CMF can maybe act sometimes as a bridge to bring up and connect other institutions in the screen-based sector in Canada.
And when you look at the things that we are now going to do, there’s a sort of inward-facing change. So, how can we work to improve the diversity of the members of the board at CMF? How can we work on inclusion within staff? How can we provide training and support for the staff and how can we make sure that equity and inclusion isn’t a thing that is somewhere sitting on a shelf but that it’s something that crosses the organisation, and that it’s a part of the thought process in all corporate decisions. So that means: if you are hiring a supplier for shooting a corporate video, or if you are redesigning the website, or if you are hiring an accountant, how can you think about equity and inclusion? So it’s not a boring internal thing but it also has to happen for more external things.
So you had an integrated approach.
Of course, the big bucket is looking at the funds administered by the CMF and trying to start to understand about the data. We don’t really know who has access to our funds from an analytical perspective because we don’t have this personal race-based data information. We also don’t have any information about who has been identified as deaf or disabled, we don’t know much about people’s genders or sexualities, and how does that play into who is receiving money and who isn’t.
The bottom line is to start from there and to look at the company’s ownerships, and also to work on systems with other larger institutions in Canada such as Telefilm Canada, which administers feature films funding. We need to understand how we can set up a system whereby creators in the screen sector can self-identify, because we don’t want a situation where you are a producer and you are told to identify your director, writer, editor, DOP, along all these categories.
What did you find out about company’s ownerships?
We have a bit of a baseline of information on the participation of racialised or Indigenous owned companies in the CMF’s funding pools, because of money distributed in regard to COVID-19. As it became quite clear when the government started to roll out money to the film and television sector for COVID-19, that of course this was only going to these big white owned companies. There are other companies who are also active but were not able to access it. So, we set up a specific fund, whereby those creators could apply as company owners, which means basically producers, and self-identify as being from a racialised community. Money for Indigenous communities was administered through the Indigenous Screen Office, so that started to give us a bit of baseline information of how many companies are out there. We did a survey with these companies, which will be coming out soon, to try to understand what type of content they produce, how often they produce content and at what budget levels, how many company owners do they have, how long have they been existing, etc. So, we are starting to get an understanding of those companies and their needs, and they also told us about their needs and challenges in that survey.
Those are the things that we are using to inform programmatic changes, so the CMF this year at least will have a pilot programme for racialised communities, which means for companies who are owned and controlled by majority of racialised persons, this is Black and/or person of colour. There is a separate call for Indigenous communities. It’s called a pilot programme, because we are still learning about the needs of this community and the type of content that they are trying to create, at what budget levels and with what partners, and what issues they are facing.
What are these issues?
We know, of course, that the CMF’s funding system is set up with the requirement of triggers, because it was set up to support broadcasting Canadian content, so there are still larger barriers, external to the CMF, in regard to the appetite of the Canadian broadcasters to greenlight and to license the content from racialised and Indigenous companies. So, we will learn who is willing to come to the table to support the content from these communities, because that will of course be a part of the trigger to make those projects eligible for the financing with the CMF.
Broadcaster triggers are something that we heard a lot about through consultations and is a part of a larger consultation that the CMF is doing now; what is a way forward for our industry, for this fund in Canada, and what other types of triggers should be allowed or how they should be rethought. So, at this point, everything is on the table in terms of redesigning and rebuilding and listening. Right now, we are trying to learn specifically about racialised communities through this programme this year.
What made you as a filmmaker and a producer to concentrate on these funding strategies and measures?
Maybe a few things: before I worked full time in the film industry, I worked in the music industry. I worked specifically on funding to industry through a lot of funding of exports, capacity building and industry initiatives, so through that job I started looking at how can the music industry start to improve around equity and inclusion. This was ten years ago, and no one was thinking about those things in the music industry, and I don’t think that anyone is thinking about them that much, sadly, today. So, I had that experience in terms of fund administration and that was also a Canadian fund that was similar to the CMF. There is a mix of companies that own the broadcasters, like the big satellite telecommunication companies, and it’s the government funding.
And then also for myself. I moved to Ethiopia because I found that there were no opportunities for me to have a career in the screen sector in Canada as a Black producer/director. I felt it was too challenging. I felt that especially because the system was set up to require broadcasters to do anything, but the broadcasters didn’t want to work with me. The film I produced in Canada, I had to give all of the intellectual property to a white production company, because that was the only way that the system was willing to engage with me on that type of content. I guess I was a part of a brain drain. I didn’t find any space for me to create, and I found that there was much more opportunity for me to work in the screen sector by being in Ethiopia. Also, a lot of the content that I was working on was set there, so it made sense not to be in Canada.
So why did you return?
Because of COVID-19, it then became difficult to be in Ethiopia, because the way that I was earning money completely dried up. All film production stopped. I also had concerns about the health system and the Canadian government was constantly messaging that everyone should come back. So, I came back to Canada at the point when the Ethiopian government turned off the internet because of political insecurity. I was doing the EAVE 2020 Producers Workshop online, I was doing festivals online, and I couldn’t be offline. The last few things that I was doing and that were making me money, I couldn’t access because of the political situation, so I came back to Canada.
I’ve already been involved in Canada for about 2 years with an organisation called the Racial Equity Media Collective (REMC), which is an organisation that looks at policy and research around racial equity in the screen sector. Because of what was happening in the US following the death of George Floyd and similar deaths that happened around the same time here in Canada, there was a lot of activity and conversation happening in the screen sector. So, through the REMC I started to participate more actively in those conversations, and that’s how I started to work more closely with the CMF. First as a consultant and now as a part-time contract worker with them. It was an unexpected turn of events, maybe somewhat because of COVID-19, but it’s also something that really interests me. That’s why I was a board member and I continue to be on the board of the REMC, because I always thought it doesn’t have to be as difficult as it was for me. That’s why I volunteer with that organisation and that’s why I do all of these public speaking events when people invite me.
What do you think are the challenges you’ll have to face in the next years?
I think that the CMF has a genuine interest in making these changes. Of course, there are barriers with the government because the government is always a slow-moving machine. I think, as much as the government is open to making changes, it’s a longer process for them to be convinced and to think through how to make these changes. And sometimes that means that perhaps to community and to industry it seems that we are moving slowly, but it’s because we are trying to do things in a meaningful way. So, for me, that’s one of the things that I appreciate, and I like that approach, because I like to be quite strategic. I also come from working in international development and a lot of that work was done with the end results and all of the tactics that measure up to it. I look at things in that sort of process and I think, of course, and I understand people are frustrated, but if we did something that is rushed, it may not be in the end the best thing.
I think sometimes another challenge is to bring everyone to the table. Because we may have the mindset within the CMF that these are the things we have agreed should be done, it doesn’t necessarily mean that all the other institutions will follow, or that the broadcasters will agree to trigger these contents or agree to work with us in the same way that we want to work with them. I think there are always those challenges, but we cannot ignore the fact that there is when we talk about Indigenous people and people of colour there is a systemic racism. That’s a thing in Canada. Sometimes people think that’s only the thing in the US, but it’s exactly the same thing here. We had slavery as well for nearly as long in Canada. I think that internationally the world often forgets that and thinks that Canada is some sort of nation where everyone is singing Kumbaya, which is not the case. We still have large barriers. Is it easy for someone to get a broadcaster if all the decision makers don’t come from their community? But then suddenly a lot of institutions want to hire racialised and Indigenous staff. We have never as an industry promoted and trained and made space for these individuals to have entry levels positions, let’s say in film festivals, in film institutions, as sales agents, broadcasters, and now that you want to hire someone in a decision-making role, because you are being pressured that you don’t have a Black or Indigenous staff person, where will you find them?
At the same time, we are also trying to prop up organisations to work with these communities like the Indigenous Screen Office and the Black Screen Office, and the organisation called BIPOC TV & Film, and then at the same time the Francophone organisations. Where do we find the people with the administrative skills to run those organisations? I think, as much as sometimes we talk about a brain drain or a lack of experienced producers in Canada from these communities, because we haven’t ever let them go beyond doing a calling card film, or their first short or a web series, we haven’t given them a bigger budget because we didn’t trust those people, or we didn’t want to work with these companies that we didn’t know. Now we are having the same issue on the industry side: how do we have enough staff people to fill these positions we are suddenly feeling pressured to hire.
You participated in the EAVE Producers Workshop, so do you think the situation is similar in Europe?
I think that there are many similarities in Europe. I haven’t worked first-hand in the industry there, so these are only the things that I have noticed through being in programmes in Europe and through talking to my colleagues. When I sit in Ethiopia and look to finance an Ethiopian film, it means I’m going to work with European co-producers. One of the main reasons I went to EAVE is to help me with that. But that also means that likely all of the co-producers that will be willing, prepared and positioned to work with me, will be white. And I know there are producers who are some other racialised communities, but I don’t know where they are. I think I met only one non-white European through EAVE. I’ve done Torino, Berlinale Talents, the Rotterdam Lab, CineMart, the Producers Network in Cannes, etc. and I have found hardly any European producer who was not white.
In the last year I talked to a number of funding institutions in Europe, and it’s not often that I find someone that understands why this is even something to think about. So I think that’s because there’s a lack of civil society type of organisations. I’m not sure that there has been in Europe the same pressure applied on the industry to make change. But I don’t know if this is correct, maybe these institutions exist, and I just can’t find them. Or maybe it’s again what we talked about earlier, like access. It’s expensive to get into a lot of these programmes and it’s expensive to go to a lot of these markets. If you are not hooked in to your funder who can get you there, then you probably won’t show up and meet me when I’m flying from Ethiopia. I mean, I know when I look at the Canadians who are funded primarily through Telefilm Canada and some of the provincial funds who come to Cannes and the EFM and the Rotterdam Lab, they are predominantly white Canadians. Because those are the people who understand how to access the system and how to tap into it, and how to put their hand up and say “yes, I’d like to be considered for those programmes”. I think there are a lot of the same barriers repeating themselves, and I’d like, personally, to meet these people and to find them, because I think it would be a really interesting exchange.
EAVE project VICENTA B supported by Sørfond
Film Fund Luxembourg
Film Fund Luxembourg supports sixteen film projects, among them:
- AUX SOURCES DE LA FANTASY by EAVE graduate Stephan Roelants
- BACHMANN & FRISCH by Margarethe von Trotta, producer: EAVE + graduate Alexander Dumreicher-Ivanceanu
- BOSS by Bogdan Mirica, producer: EAVE graduate Gilles Chanial
- FLOATING WITH SPIRITS by Juantia Onzaga, producer: EAVE graduate Emmy Oost
- LOTRENGEN by Rui Eduardo Abreu, producer: EAVE graduate Gilles Chanial
- MOTHER MARA by Mirjana Karanovic, producer: EAVE graduate Paul Thiltges
- SAVING MOZART Gérard Corbiau, producer: EAVE graduate Alexandra Hoesdorff
The Norwegian Sørfond has granted support for six international co-productions with Norwegian minority producers. Among them:
- THE NIGHTS STILL SMELL OF GUNPOWDER by Inadelso Cossa, producer: Creative Producer Indaba participant Thomas Kaske
- EXCURSION by Una Gunjak, producer: EAVE graduate and National Coordinator Bosnia-Herzegovina Amra Baksic Camo
- EAVE project VICENTA B by Carlos Lechuga, producer: EAVE graduates Dag Hoel, Claudia Calvino
- THE PASSION OF STEFAN by Alexandru Maftei, producer: EAVE graduate Iuliana Tarnovetchi is in preparation. The film will explore one day in the life of Stephen the Great who ruled Moldavia between 1457 and 1504. The screenplay centres on a day in the life of Stephen the Great, a military leader who fought against the Ottoman invasion and who has since become known as one of the greatest rulers in Romania’s history. The project was granted by the Romanian National Film Center. The shoot will take place in the second half of 2021 and at the beginning of next year, both in the studio and on location in various areas within the Romanian region of Moldavia.
- TIGER by Andrei Tanase, producer: EAVE graduate Anamaria Antoci is in preparation. EAVE graduate Alexa Rivero is co-producing through Altamar Films (France) together with EAVE graduate Konstantina Stavrianou from Graal (Greece). The screenplay, written by Tanase, and inspired by a real event that took place in 2011 in the city of Sibiu, centres on Vera, a veterinarian working for a provincial zoo. Following a personal tragedy, Vera has become more and more estranged from her husband, Toma, and when she realises that he has been cheating on her, her distress leads to the escape of Rihanna, an adult tiger that has just been bought by the zoo. As the entire town hurries to take part in the desperate search for the tiger, Vera will go through various misadventures that will challenge her entire view on life. The film is supported by the Romanian National Film Center. The shoot is scheduled over 26 days, in July and August, in Bucharest and the city of Targu Mures. Producer Anamaria Antoci says that the most challenging aspect of her project is working with a real tiger.
- WINDLESS by Pavel Vesnakov, producers: EAVE graduates Veselka Kiryakova, Alessandro Amato is in pre-production. Through the relationship between a grandfather, a father and a grandson, Vesnakov’s second feature portrays three Bulgarian generations and their attitude towards roots, memories and the past. The plot revolves around a small town where a major investor is buying up people’s land – even the local graveyard. The only one who opposes the deal is Kaloyan, the oldest protagonist. His stubbornness sparks a conflict within the community, as well as within the family. WINDLESS, co-produced by Bulgaria’s Red Carpet and Italy’s Disparte, participated in the Les Arcs Coproduction Village and is now receiving supervision from the Sam Spiegel Jerusalem Film Lab’s script consultants. Financial support secured so far comes from the Bulgarian National Film Center and the MiC minority co-production fund in Italy. The film will be shot entirely in Buhovo, slated to start in November 2021.
http://redcarfilms.com | www.disparte.com
- DECONSTRUCTION by Pavel Vesnakov, producer: EAVE graduate Veselka Kiryakova is in development. In the meantime, Vesnakov is developing his third feature, centring on a 50-year-old astronomer working in the biggest observatory in Southeastern Europe. When he learns that the state intends to close down the observatory, the protagonist decides to preserve its giant lens, which he believes he has photographed God with. Although the project has sci-fi elements, Vesnakov claims that ever since the conception of the idea, he has wanted to realise the film in the most intimate and simplified way possible. Once again, Red Carpet is the production company behind the project, and it has already secured financing for development from the Bulgarian National Film Center. DECONSTRUCTION participated in the Sofia Meetings co-production market, where it was given the FOCUSFOX Award for Best Project.
- REMAINS OF LIFE by Sevda Shishmanova, producer: EAVE graduate EAVE graduate Veselka Kiryakova is in development. After directing several TV documentaries on hot political topics, experienced Bulgarian TV reporter and journalist Sevda Shishmanova is developing her first feature, based on the circumstances surrounding an explosion on a bus carrying Israeli tourists at Burgas airport in 2012, which resulted in seven deaths. The project is a co-production between Bulgaria’s Red Carpet and German outfit 42films GmbH, which are currently negotiating with a third partner from Israel, since shooting will take place partly there. So far, funding has been secured from the Bulgarian National Film Center. The plot is fictional; however, it does reflect actual events to a significant degree. In parallel, it narrates the personal stories of the seven victims, including the murderer. In particular focus is the story of the Bulgarian bus driver of Muslim origin who died in the attack, while emphasis has also been placed on the dramatic clash between a photographer and the lead investigator in the case. While working on the script, co-writers Shishmanova and Berlin-based scriptwriter Milena Petrova made use of interviews with the victims’ loved ones, the surviving passengers and the individuals involved in the investigation, as well as records of interrogations of witnesses, photos, and footage from the investigative analysis of the planning and execution of the attack.
- MOTHER MARA by Mirjana Karanovic, producer: EAVE graduate Snezana van Houwelingen, co-producers: EAVE graduates Paul Thiltges and Adrien Chef is in development. Mara (50), a successful businesswoman and single mother, suddenly loses her son Nemanja (18) to a heart attack. Incapable of dealing with the loss of her only child, she shuts herself out from her family and friends. She buries the trauma deep inside and when she meets Milan (25), she agrees to a no-strings-attached physical relationship with him. MOTHER MARA is produced by Snezana van Houwelingen through Serbia’s This and That Productions in co-production with Paul Thiltges and Adrien Chef through Luxembourg’s PTD, Vladimir Bulajic through Slovenia’s December, Nemanja Becanovic through Montenegro’s VHS and Damir Ibrahimovic through Bosnia and Herzegovina’s Deblokada. The project has received production grants from Film Fund Luxembourg, Film Center Serbia, the Slovenian Film Centre, Film Centre of Montenegro, the Sarajevo Film Fund and the MEDIA - Creative Europe programme. Shooting is expected to commence in the spring of 2022.
DETECTIVE BRUNO is shooting
- CROSSING by Jacqueline van Vugt, producers: EAVE graduates Raymond van der Kaaij, Sinisa Juricic is filming. Principal photography on the debut fiction feature by Dutch writer-director started last week in Pula, Croatia, and will continue on location in Rijeka, Zadar and Zagreb. The multi-character drama consists of three stories that intertwine in real time during a ferry-boat crossing from Morocco to Spain. Desperate in their fear of loss, the protagonists struggle to find a way to reach each other, but their powerlessness leaves room for the inevitable. The co-production between Revolver Amsterdam, Belgium's A Private View and Croatia's Nukleus Film was supported by the Netherlands Film Fund, the Flanders Audiovisual Fund and the Croatian Audiovisual Centre, and has accessed tax-incentive schemes in all three countries.
- DIRTY, DIFFICULT, DANGEROUS by Wissam Charaf, producer: Interchange graduate Charlotte Vincent is shooting. The story revolves around Ahmed, a Syrian refugee who had hoped to find love with Mehdia, an Ethiopian cleaning lady, but it seems impossible in Beirut... Will this pair of sentimental refugees successfully find the path towards freedom, despite the fact that Syrian War survivor Ahmed seems to be consumed by a mysterious illness which is slowly transforming his body into metal? DIRTY, DIFFICULT, DANGEROUS is produced by Charlotte Vincent on behalf of Parisian firm Aurora Films and is co-produced by Lebanon’s Né à Beyrouth Films and by Marco Valerio Fusco on behalf of Italy’s IntraMovies. The feature film enjoys the support of the Italian Ministry for Culture (MiC), the French-Speaking Film Fund - OIF, the Collectivity of Corsica, the Doha Film Institute and the CNC (via its emergency fund for Lebanon). The five-week film shoot will unfold until 2 July between Corsica and Beirut.
- TEN IN A HALF by Danis Tanovic, producer: EAVE graduate and National Coordinator Bosnia and Herzegovina Amra Baksic Camo, executive producer EAVE graduate Adis Djapo started in Sarajevo. The film takes place in a pandemic-stricken Sarajevo and follows two Sarajevan cevap-makers, friends and antipodes who have clashes over quality of cevaps in their shops, actually questioning life decisions and accepting inevitable changes. The film is produced by Obala Art Centar, Sarajevo Film Festival and Turkish State Radio and Television (TRT) as part of joint project of Sarajevo City of Film for Global Screen (SCF GS). Film producers are Mirsad Purivatra, Amra Baksic Camo and Jovan Marjanovic, the executive producer is Adis Djapo. The Sarajevo City of Film for Global Screen (SCF GS) project focuses on directors from Southeast Europe whose films have previously been screened and awarded at Sarajevo Film Festival. Tanovic's film is the third one within that project.
- THE UNCLE by Andrija Mardesic and David Kapac, producer: EAVE graduate and Serbian National Coordinator Milan Stojanovic is shooting. The story seems to be set in Yugoslavia in the late 1980s, when a family welcomes their beloved uncle, who has returned home for the holidays from Germany. All is well until a smartphone starts ringing, a sign that it is not the 80s and not even Christmas. Ivan Kelava and Tomislav Vujic are producing through Eclectica in co-production with Milan Stojanovic through Serbia’s SENSE Production. The project is supported by the Croatian Audiovisual Centre and the Croatian Radiotelevision (HRT). The film will be shot in Zagreb and Zagorje till Mid-June.
- DETECTIVE BRUNO by by Mariusz Palej and Magdalena Niec, producer: EAVE graduate Joanna Szymanska is currently shooting in Warsaw. The script tells the story of eight-year-old Oscar, a big fan of the series DETECTIVE BRUNO. He lives in an orphanage and on his birthday he finds an envelope with a clue leading to the last gift hidden by his parents. He decides to hire the best detective he knows to help him solve the mystery. Joanna Szymanska is producing through Shipsboy and the coproducers are the Mazovia and Warsaw Film Funds, Aeroplan Studios, and Wojciech Stuchlik Film Production. The project was supported by the Polish Film Institute.
A BALLADE is in post-production
- A BALLADE by Aida Begic, producer: EAVE graduate Adis Djapo is currently in post-production. The film follows 30-year-old unambitious Meri, a housewife and a mother of an 8-year-old girl Mila, whose 14 years older husband Hasan throws her out of their home in a fit of jealous rage. After returning to her parents’ home without her daughter, whom Hasan decided to keep, Meri realises she is trapped in a wicked circle of provincial laws and rules, and her family’s needs and ambitions. Trying to find herself, Meri auditions for a film that is to be shot in the neighbourhood. Adis Djapo, Aida Begic and Erol Zubcevic are producing through Film House in co-production with their regular French co-producer Francois d’Artemare of Les Films de l'Après Midi. The film is expected to premiere in 2022.
THE LAST SHELTER wins at CPH:DOX
David di Donatello Awards
- Three awards for MISS MARX by Susanna Nicchiarelli, producer: Interchange graduate Marta Donzelli, TTB graduate Valérie Bournonville at the Italian David di Donatello Awards. The film won Best Producer, Best Music and Best Costume Design.
- THE LAST SHELTER by Ousmane Samassekou, producer: EAVE graduate Estelle Robin You scooped the main prize, the Dox:Award at CPH:DOX.
- SCHOOL OF HOPE by Mohamed El Aboudi, producer: EAVE graduate Pertti Veijalainen won the Special Jury Prize – International Feature Documentary at the Canadian HotDocs.
Bolzano Film Festival
- WHY NOT YOU (HOCHWALD) by Evi Romen, producer: EAVE+ graduate Alexander Dumreicher-Ivanceanu won Best Film at the Bolzano Film Festival, Bozen.
Cyprus Film Days Festival
- EAVE project SOLE by Carlo Sironi, producer: EAVE graduate Giovanni Pompili & Agnieszka Wasiak scooped the Glocal Images Best Film Award at the Cyprus Film Days Festival.
- Two awards for OASIS by Ivan Ikic, producers: EAVE graduate and Serbian National Coordinator Milan Stojanovic & EAVE graduate Marija Stojanovic, co-producers: EAVE graduates Miha Cernec, Derk-Jan Warrink, Adis Djapo, EAVE graduate and National Coordinator Bosnia and Herzegovina Amra Baksic-Camo at the Belgrade International Film Festival FEST. The film won the Belgrade Victor for Best Film and the Nebojsa Djukelic Award
- TEREZA37 by Danilo Serbedzija, producer: EAVE graduate Irena Markovic was awarded Best Actress (Lana Baric)
- THE LIVING MAN by Oleg Novkovic, co-producer: EAVE + graduate Borislav Chouchkov won Best Actor (Nikola Djuricko).
EAVE project NOT A WORD selected for Cinefondation’s Atelier de Cannes
Producers on the Move 2021
EFP (European Film Promotion), the network of 37 European film promotion institutions, has selected 20 European producers for its networking and promotion platform, among them the EAVE graduates:
- EAVE graduate Annabella Nezri, Kwassa Films (Belgium)
- EAVE graduate Bojan Kanjera, Peglanje snova (Croatia),
- EAVE graduate Marek Novák, Xova Film (Czech Republic)
- EAVE graduate Maite Woköck, Telescope Animation (Germany)
- EAVE graduate Sára László, Campfilm (Hungary)
- EAVE graduate Ruth Treacy, Tailored Films (Ireland)
- EAVE graduate Marica Stocchi, Rosamont (Italy)
- EAVE graduate Gary Cranner, Chezville (Norway)
- EAVE graduate Beata Rzezniczek, Madants (Poland)
- PUENTES graduate Tathiani Sacilotto, Persona Non Grata Pictures (Portugal)
- EAVE graduate Katarína Tomkova, Kaleidoscope (Slovak Republic)
- PUENTES graduate Nima Yousefi, HOBAB (Sweden)
- EAVE graduate Sarah Born, Catpics (Switzerland)
Cinefondation’s Atelier de Cannes
Selected for Cinefondation’s Atelier de Cannes:
- CARAVAN by Zuzana Kirchnerova, producer: EAVE participants Jakub Viktorin, Dagmar Sedlackova, co-producer: EAVE + graduate Carlo Cresto Dina
- CORA by Evi Kalogiropoulou producer EAVE graduate Amanda Livanou
- EAVE project NOT A WORD by Hanna Slak, producer: EAVE graduate Michel Balagué
- FIDELIDAD by César Diaz, producer: PUENTES graduate Mauricio Escobar
- JILAH AND THE MAN WITH TWO NAMES by Yosep Anggi Noen, producer: TTB graduate Yulia Evina Bhara
- LANDSCAPES OF FEAR by Lukas von Rinner, producer: EAVE graduate and group leader Michael Kitzberger
- TTB project MANDAI RIVER by Michael I. Serwandono, producer: EAVE graduate Raymond van der Kaaij
- VIET AND NAM by Minh Quy Truong, producers: TTB graduate Bradley Liew, TTB group leader and National Coordinator Asia Bianca Balbuena
Les cinémas du monde / La Fabrique
Selected for Les cinémas du monde | La Fabrique cinéma de l’Institut français:
- ALIS by Clare Weiskopf and EAVE graduate Nicolas van Hemelryck, producer: EAVE graduate Nicolas van Hemelryck
- EAVE project LES FRESQUES DES OUBLIÉS (FRESCOS OF THE FORGOTTEN) by Amédée Pâcome Nkoulou, producer: EAVE graduate Samantha Biffot
- TTB project DANCING THE TIDES by Xeph Suarez, producer: TTB graduate Alemberg Ang
South African Film and Television Awards
- EAVE project STAM by Louw Venter, producer: EAVE graduate Elias Ribeiro nominated 7 times for the South African Film and Television Awards (SAFTA): Best writer and Best director (Louw Venter), Best editor (Matthew Swanepoel, Best actress (Inge Beckmann), Best actor (Gideon Lombard), Best supporting actress (Tarryn Wyngaard), Best film (Urucu Media).
Austrian Film Awards
- WHY NOT YOU (HOCHWALD) by Evi Romen, producer: EAVE + graduate Alexander Dumreicher-Ivanceanu is nominated 9 times for the Austrian Film Awards: Best Feature Film, Best Leading Actor, Best Supporting Actor, Best Screenplay, Best Cinematography, Best Film Editing, Best Costume, Best Make Up & Best Score
- TROUBLE OF BEING BORN by by Sandra Wollner, producer: EAVE graduate David Bohun has 6 nominations: Best Film, Best Director, Best Script, Best Make Up, Best Sound Design, Best Music
- EIN BISSCHEN BLEIBEN WIR NOCH by EAVE graduate Arash T. Riahi nominated for Best Film, Best Director, Best Production Design, Best Leading Actress, Best Costume Design
- 7500 by Patrick Vollrath, producer: EAVE + graduate Jonas Katzenstein has 3 nominations: Best Supporting Actor, Best Director, Best Screenplay
- EPICENTRO by Hubert Sauper is nominated for Best Documentary and Best Sound Design
The Award Ceremony will take place in Vienna on July 8th.
Romanian Film Awards
Multiple nominations for EAVE graduates at the Gopos, the the Romanian Film Awards:
- IVANA THE TERRIBLE by Ivana Mladenovic, producer: EAVE graduate and Romanian National Coordinator Ada Solomon received the most nominations (12 each) at the 15th edition of the Gopo Awards, which will be announced during a gala held in a physical format on 28 June 2021
- UPPERCASE PRINT by Radu Jude, producer: EAVE graduate and Romanian National Coordinator Ada Solomon received 10 nominations
- ACASA, MY HOME by Radu Ciorniciuc, producer: EAVE graduate Monica Lazurean-Gorgan received seven nominations.
- COLLECTIVE by Alexander Nanau, producer: EAVE graduate and Luxembourgish National Coordinator Bernard Michaux has five nominations including Best Film
- EVERYTHING WILL NOT BE FINE by Adrian Pirvu and Helena Maksyom, producer: EAVE graduate and Romanian National Coordinator Ada Solomon has three nominations
- WOOD by EAVE graduates Ebba Sinzinger, Monica Lazurean-Gorgan, Michaela Kirst, producers: EAVE graduates Ebba Sinzinger, Monica Lazurean-Gorgan is nominated for Best documentary.
EAVE project BULLHORN LULLABY in Hungarian cinemas
In Italian cinemas
- PUENTES project MATERNAL (HOGAR) by Maura Delpero, producers: PUENTES graduate Alessandro Amato, Interchange graduate Marta Donzelli. May 13.
In Hungarian cinemas
- EAVE project BULLHORN LULLABY by Viktor Oszkar Nagy, producer: EAVE graduate Sara Laszlo.
In UK and Irish cinemas
- I NEVER CRY by Piotr Domalewski, producer: EAVE graduate Jan Kwiecinski released in the UK and Ireland. July 23.
EAVE project THE LAST NOMADS selected for HotDocs Forum
Hot Docs Festival (April 29 – May 9)
- ALL-IN! by Volkan Üce, producer: EAVE graduate Emmy Oost
- FAITH AND BRANKO by Catherine Harte, producer: EAVE graduate Snezana Van Houwelingen
- FOUR SEASONS IN A DAY by Annabel Verbeke, producer: B’EST graduate Lukas Trimonis
- GENERATION UTØYA by EAVE graduate Sigve Endresen
- JUST A MOVEMENT by Vincent Meessen, producer: EAVE graduate Geneviève de Bauw
- LIFE OF IVANNA by Renato Borrayo Serrano, producer: EAVE graduate Pertti Veijalainen
- SCHOOL OF HOPE by Mohamed El Aboudi, producer: EAVE graduate Pertti Veijalainen
- THE LAST SHELTER by Ousmane Samassékou, producer: EAVE graduate Estelle Robin You
- EAVE project THE LAST NOMADS by Biljana Tutorov, Petar Glomazic, producer: EAVE participant Biljana Tutorov
- MADE IN ETHIOPIA by Xinyan Yu, Max Duncan, producer: EAVE graduate Tamara Dawit
- MY MOHAMED IS DIFFERENT by Ines Marzouk, producer: EAVE participant Kesmat El Sayed
International Documentary Film Festival Munich (May 5 – 23)
- DARK RIDER by Eva Küpper, producer: EAVE graduate Ellen de Waele, co-producers: EAVE graduates Hanne Phlypo, Denis Vaslin, Fleur Knopperts
- EVA-MARIA by Lukas Ladner, producers: EAVE graduates Arash T. Riahi, Sabine Gruber
- HE'S MY BROTHER by Cille Hannibal, Christine Hanberg, producer: EAVE graduate Monica Hellström
- HOLGUT by Liesbeth De Ceulaer, producer: EAVE graduate Tomas Leyers
- PRESIDENT by Camilla Nielsson, producer: EAVE graduate Signe Byrge Sørensen
- SCHOOL OF HOPE by Mohamed El Aboudi, producer: EAVE graduate Pertti Veijalainen
- THE LAST HILLBILLY by Diane Sara Bouzgarrou, producer: EAVE graduate Jean-Laurent Csinidis
- THE LAST SHELTER by Ousmane Samassékou, producer: EAVE graduate Estelle Robin You
Belgrade International Film Festival FEST (May 7 – 16)
- ALL THE DEAD ONES by Caetano Gotardo, Marco Dutra, producer: EAVE graduate Clément Duboin
- HOPE by Maria Sødahl, co-producers: EAVE graduates Lizette Jonjic, Peter Possne
- KIDS RUN by Barbara Ott, producers: EAVE graduates Martin Heisler and Gabriele Simon
- MISS MARX by Susanna Nicchiarelli, producer: Interchange graduate Marta Donzelli, TTB graduate Valérie Bournonville
- NIGHT OF THE KINGS by Philippe Lacôte, producer: EAVE+ graduate Yanick Létourneau
- OASIS by Ivan Ikic, producers: EAVE graduate and Serbian National Coordinator Milan Stojanovic & EAVE graduate Marija Stojanovic, co-producers: EAVE graduates Miha Cernec, Derk-Jan Warrink, Adis Djapo, EAVE graduate and National Coordinator Bosnia and Herzegovina Amra Baksic-Camo
- TEREZA37 by Danilo Serbedzija, producer: EAVE graduate Irena Markovic
- THE DAWN by Dalibor Matanic, producer: EAVE group leader and Croatian National Coordinator Ankica Juric Tilic
- THE LIVING MAN by Oleg Novkovic, co-producer: EAVE + graduate Borislav Chouchkov
- THE MAN WHO SOLD HIS SKIN by Kaouther Ben Hania, producers: EAVE graduates Annabella Nezri, Martin Hampel
Docs Barcelona (May 18 – 30)
- AS I WANT by Samaher Alqadi, co-producer: INDABA participant Thomas Kaske
- ARICA by Lars Edman and William Johansson Kalén, co-producer: EAVE participant Hanne Phlypo
- KARAOKE PARADISE by Einari Paakkanen, producer: EAVE graduate Liisa Karpo
- THE CORPORATE SPY by Havard Bustnes, producer: EAVE graduate Carsten Aanonsen
- THE TRANS SYRIAN EXPRESS by Alina Rudnitskaya, producer: EAVE graduate Pertti Veijalainen
DocumentaMadrid (May 26 – June 6)
- ATLANTIQUE by Mati Diop, producer: Interchange graduate Judith Lou Lévy, co-producer: EAVE + graduate Jean-Yves Roubin
International Thriller Film Festival - Reims Polar (May 26 – 30)
- BERLIN ALEXANDERPLATZ by Burhan Qurbani, producers: EAVE graduates Léontine Petit, Derk-Jan Warrink, Marleen Slot
- UNIDENTIFIED by Bogdan George Apetri, co-producer: EAVE graduate Aija Berzina
- VAURIEN by Peter Dourountzis, producer: EAVE graduate Sebastien Haguenauer
- ROUNDS by EAVE graduate Stephan Komandarev, producer: EAVE graduate Katya Trichkova
- ULBOLSYN, by Adilkhan Yerzhanov, producer: EAVE graduate Guillaume de Seille
- SHORTA by Anders Ølholm and Frederik Louis Hviid, producer: EAVE graduate Signe Leick Jensen
Zlín Film Festival (May 28 – June 1)
- BEYOND THE HORIZON by Delphine Lehericey, co-producer: EAVE graduate Sebastien Delloye
- KUESSIPAN by Myriam Verreault, producer: EAVE graduate and National Coordinator Canada Félize Frappier
- SCHOOLGIRLS by Pilar Palomero, producer: EAVE+ graduate Valérie Delpierre
Southeast European Film Festival Los Angeles (May 28 – June 1)
- FAITH AND BRANKO by Catherine Harte, producer: EAVE graduate Snezana Van Houwelingen
- QUO VADIS‚ AIDA? by Jasmila Zbanic, producer: EAVE graduate Cristian Nicolescu
Molodist Kyiv International Film Festival (May 29 – June 4)
- ACASA, MY HOME by Radu Ciorniciuc, producer: EAVE graduate Monica Lazurean-Gorgan
- ATLANTIS by Valentyn Vasyanovych, producer: EAVE graduate Vladimir Yatsenko
- BAD LUCK BANGING OR LOONY PORN by Radu Jude, producers: EAVE graduate and Romanian National Coordinator Ada Solomon, EAVE group leader and Croation National Coordinator Ankica Juric Tilic, EAVE graduates Paul Thiltges, Adrien Chef, Jiri Konecny, associate producer: EAVE graduate Dan Wechsler
- BLISS by Henrika Kull, producer: EAVE graduate Martin Heisler
- CELTS by Milica Tomovic, producer: EAVE graduate Vladimir Vasiljevic
- EAVE project THE PENULTIMATE by Jonas Kærup Hjort, producer: EAVE graduate Rikke Tambo Andersen, co-producer: EAVE graduate Gary Cranner
- EPICENTRO by Hubert Sauper, producer: EAVE graduate Gabriele Kranzelbinder
- NIGHT OF THE KINGS by Philippe Lacôte, producer: EAVE+ graduate Yanick Létourneau
- QUO VADIS‚ AIDA? by Jasmila Zbanic, producer: EAVE graduate Cristian Nicolescu
- SAINT-NARCISSE by Bruce LaBruce, producer: EAVE graduate Nicolas Comeau
- WALCHENSEE FOREVER by Janna Ji Wonders, producers: EAVE graduates Martin Heisler and Gabriele Simon
We Are One: A Global Film Festival (May 29 – June 7)
- ELECTRIC SWAN by Konstantina Kotzamani, producer: EAVE graduate Maria Drandaki
- NASIR by Arun Karthick, producer: EAVE graduate Reinier Selen
- THE BRIDGES OF SARAJEVO by Aida Begic, Leonardo di Costanzo, Jean-Luc Godard, Kamen Kalev, Isild Le Besco, Sergei Losnitza, Vincenzo Marra, Ursula Meier, Vladimir Perisic, Chisti Puiu, Marc Recha, Angela Schanelec, Teresa Villaverde, producer: EAVE group leader graduate Titus Kreyenberg
- THE DOUBLE STEPS by Isaki Lacuesta, producer: EAVE graduate Dan Wechsler
Krakow Film Festival (May 31 – June 7)
- LIFE OF IVANNA by Renato Borrayo Serrano, producer: EAVE graduate Pertti Veijalainen
- THE RED RING by EAVE graduate Joonas Berghäll
- WALK WITH ANGELS by Tomasz Wysokiński, producer: EAVE graduate Piotr Kobus
Festivals cancelled or postponed
- Udine Far East Film Festival postponed to June 24 – July 2
- Docaviv – Tel Aviv International Documentary Film Festival postponed to July 1 – 10
- Cannes Film Festival postponed to July 6 – 17
- Transilvania International Film Festival, Cluj-Napoca postponed to July 23 – August 1
- Karlovy Vary International Film Festival postponed to August 20 – 28
- IndieLisboa – International Film Festival postponed to August 21 – September 6
- Schwerin International Film Festival postponed to August 31 – September 5
- Millenium Docs Against Gravity Film Festival, Warsaw postponed to September 3 – 12
MEET EAVE IN JUNE!
@PUENTES ITALIA, June 21 - 24, Bressanone (IT)
EAVE CEO Kristina Trapp
@TIES THAT BIND/FOCUS ASIA, June 29 - July 2, Udine (IT)
EAVE CEO Kristina Trapp
EAVE Yoga Corner
Dear EAVE Yogis!
Before summer holidays in July, you can join me for yoga in JUNE.
Here a simple thought for your practice:
In yoga, you can keep the body and the mind relaxed, even as you stretch, extend, rotate and flex your body.
Yoga refreshes the body.
You are most welcome to join on:
- MONDAYS: 20:30 – 22:00 CEST
- THURSDAYS: 08:15 – 08:55 CEST
- THURSDAYS: 19:00 – 19:40 CEST
Discounted price for the EAVE graduates:
- 50 Euro for a 10-class card (40 min)
- 7 Euro for 40 min class
- 13 Euro for 90 min class
Please register by email: email@example.com
Call for EAVE Producers - Galway Film Fair 2021
Dear EAVE producers,
We are happy to announce that Galway Film Fair 2021 will take place from July 20th – 25th this year and it is now open for applications!
The Galway Fleadh’s marketplace, the Galway Film Fair will remain online for this year, after an extremely successful edition in 2020.
It will once again see over 500 business meetings take place on the Film Fair’s online portal, between filmmakers with projects in development, and financiers, sales agents, distributors, broadcasters and major producers. As well as the marketplace, the Film Fair hosts many ancillary events such as masterclasses, case-studies and most notably, the Fleadh Forum: an annual industry seminar with a state-of-the-industry keynote address, networking opportunities and a range of panel discussions from industry leaders.
Thanks to the successful partnership between EAVE and Galway Film Fair, up to 6 EAVE producers from outside of Ireland and UK will be selected for the online edition of Galway Film Fair 2021.
Priority will be given to low production capacity countries (European countries other than France, Germany, Italy, Spain).
Our partner will waive the entry fee for the Marketplace at the Galway Film Fair for the six selected producers.
Projects can either be in development and/or completed films or documentaries.
If you are interested, please send an email with a CV and motivation letter to Satu Elo firstname.lastname@example.org by June 1st!
If you have further questions, please contact Annette Maye at The Galway Film Fair: email@example.com.
Call for Applications: CHANGE Co-production training course 2021-2022
EAVE, CPH:DOX, and IMS are calling for eight teams with documentary projects in development from Armenia, Azerbaijan, Belarus, Georgia, Moldova, and Ukraine.
We offer a tailor-made programme taking place over three residential workshops with the aim to stimulate and qualify inter-regional co-production and to connect documentary projects to regional and international markets. Participants are tutored by regional and international experts.
The first two workshops will consist of five full days of group work, plenaries, and individual meetings; the third workshop will take place in the framework of CPH:DOX and consists of workshop days, pitching of the projects at CPH:Forum as well as debrief of the pitching and development of strategies for the teams and projects after the workshop.
Between the workshops, participants will be working on project development with specific tasks and assignments.
DEVELOPMENT - Kyiv October 2021
We dig deep into the core of what the teams want to tell, enforce the storytelling, and focus on the ambition for each film in terms of impact, awareness, change.
CO-PRODUCTION - Tbilisi January 2022
We expand the participants knowledge of each other’s reality, production environment, financing structures. The pros and cons of co-production are used to strengthen each project, preparing them to meet the international market.
ENCOUNTER – Copenhagen March 2022
The projects will pitch at CPH:Forum and encounter the international market leading to the formulation of tailored strategies for each project.
Upcoming teams – director and producer – with a documentary project in development from Armenia, Azerbaijan, Belarus, Georgia, Moldova, and Ukraine can apply and we are committed to equal opportunity to all. We focus on projects set in these countries, projects that are open for co-production, and we welcome projects in the crossing field between documentary and journalism.
The working language is English, and participants should be comfortable with reading, writing, and speaking English.
The film project shall:
- Demonstrate to cover topics of public interest in a professional and ethical way.
- Have an idea of how to reach intended audiences and be a call for action.
- Seek to have an impact on the public debate leading to potential social, political, or cultural change.
- Priority is given to productions focusing on issues of gender equality, marginalised groups and minorities, diversity, social change, current affairs, and human rights.
There is no participation fee as CHANGE provides tutoring, travel, lodging, and living. Participants will cover local transportation themselves.
Application deadline: Monday 7th June 2021
Application requirements and the application form can be downloaded here!
For further information, please contact Satu Elo, firstname.lastname@example.org.
This call is organised in collaboration with the film festivals:
- DocuDays – Ukraine
- Moldox – Moldova
- CinéDOC-Tbilisi – Georgia
- Golden Apricot – Armenia
Final selection will be announced on Monday 5th July 2021.
THE PARTNERSHIP BEHIND CHANGE
EAVE, European Audiovisual Entrepreneurs, is Europe’s leading training, development, and networking organisation for producers. In addition to our flagship programme, the renowned European Producers Workshop, we are involved in a variety of programmes in Europe, Asia, Latin America, Russia, Africa and the Middle East. Founded in 1988, EAVE’s objectives are to provide professional training opportunities and to bring producers from different regions of the world together with the aim of facilitating co-production relationships. EAVE’s unique international network comprises over 2,300 producers and key decision-makers.
CPH:DOX, Copenhagen International Documentary Film Festival, is one of the biggest documentary film festivals in the world. A festival that continues to develop and expand, presenting a program that ranges from the works of major international directors to new talents, from large-scale theatrical releases to film/video works in the field between cinema and visual art.
IMS, International Media Support, is promoting journalism and documentary film to strengthen the capacity of media to reduce conflict, strengthen democracy and facilitate dialogue. Our work is geared towards helping locally-based public interest media operating in armed conflicts, humanitarian crises and rapid political change, both positive and negative, to provide the public and “civic organizations” with public interest content they can trust and use. We work in more than 40 countries across four continents with a staff of about 150 people.
PUENTES ITALIA 2021: Call for Italian producers and professionals interested in co-producing with Latin America
EAVE PUENTES ITALIA 2021 on site!
Europe / Latin America co-production workshop
Bressanone (BZ) 21/24 giugno 2021
CALL PER PRODUTTORI E PROFESSIONISTI ITALIANI
Deadline: 20 maggio 2021
Dopo il successo delle precedenti edizioni, EAVE Puentes, il principale workshop di co-produzione tra Europa e America Latina, annuncia una nuova collaborazione con Fondo per l'Audiovisivo FVG, IDM Film Fund & Commission e MiC. All’interno della prima sessione europea del workshop, EAVE organizzerà PUENTES ITALIA, un programma speciale dedicato a produttori italiani interessati ad approfondire le opportunità di collaborazione con l'America Latina.
PUENTES ITALIA si terrà a Bressanone e offrirà a tutti i partecipanti la straordinaria possibilità di:
1. partecipare alle sessioni di gruppo guidate da esperti del mercato sudamericano per analizzare il potenziale di co-produzione e distribuzione dei progetti italiani selezionati per il workshop;
2. prendere parte alle diverse sessioni plenarie dedicate al panorama delle opportunità offerte dal mercato dell'America Latina, al programma IBERMEDIA e alle strategie di vendita internazionale;
3. avere degli incontri individuali con professionisti del network di EAVE Puentes per definire le possibili strategie di sviluppo dei propri progetti con i relativi Paesi con cui si intende co-produrre;
4. sedersi a tavoli tematici dedicati alle opportunità offerte dai diversi territori sudamericani;
5. accedere a un unico network di professionisti provenienti da Europa e America Latina.
Il workshop inizierà lunedì 21 giugno alle ore 15.00 e terminerà giovedì 24 (con arrivo previsto il 21 in mattinata e rientro il 24 pomeriggio).
Tra gli esperti confermati: Agustina Chiarino, Gema Juárez Allen, Fernanda del Nido e molti altri.
- produttori italiani che stiano sviluppando un nuovo progetto di finzione o documentario con un potenziale di co-produzione internazionale con l'America Latina.
- produttori italiani senza progetto interessati a esplorare le opportunità offerte dal mercato dell’America Latina
- professionisti italiani (sales agents, rappresentanti di mercati & workshops, film commissions) interessati a sviluppare la propria conoscenza del mercato sudamericano.
- lettera di motivazione riguardo alla partecipazione al workshop (max 1 pagina)
- profilo società e profilo personale
- *sinossi di 1 pag. del progetto che si desidera approfondire durante il workshop (in italiano e inglese)
- *profilo del regista
- *piano finanziario e budget di produzione
*solo per i produttori interessati a partecipare con un progetto
Dal momento che tutte le sessioni si terranno in lingua inglese, i materiali relativi alla propria candidatura dovranno essere redatti solo ed esclusivamente in lingua inglese.
Costi di partecipazione:
Grazie al sostegno del MiC la partecipazione a PUENTES ITALIA è gratuita e ad ogni partecipante verranno offerte 3 notti di ospitalità e i relativi pasti.
Deadline per l'iscrizione:
Tutti i documenti devono essere inviati via email entro
giovedì 20 maggio 2021 all’indirizzo:
La selezione finale verrà annunciata entro fine maggio 2021 e includerà indicativamente 6-8 produttori con un progetto in sviluppo e 4-6 produttori/professionisti senza progetto.
Per ulteriori info su programma e modalità di iscrizione vi preghiamo di contattare: email@example.com
Key survey findings show EAVE’s major impact on European film industry
Active for over 33 years in the film industry, EAVE, the renowned professional training, project development and networking organization, has conducted an extensive independent survey among the alumni of the past 10 years (producers and professionals from associated branches of the industry), analysing the impact of its programmes on the participants' careers, companies, projects and the European independent film industry in general.
The key findings show EAVE's major impact on the industry through 4 main axes:
A career and confidence booster
and an accelerator for company development
Over 96% of the EAVE graduates interviewed reported a boost in their career, self-confidence and personal development. The impact is even greater for female participants, where more than 98% reported a positive effect.
“Thanks to EAVE, I have increased my knowledges and I have a more global and international approach to my work. In addition to that, I have met great professionals and I have way more opportunities to coproduce and join forces with interesting and stimulating companies from other countries.” Alessandra Principini (DocLab, Italy)
87% of graduates report an acceleration in strategic company development, while 100% of graduates who complete multiple workshops confirm an all-around professional & personal impact.
“EAVE has been the very basis of our growth of the last years from a start up to a sustainable company with a business volume of several million Euro per year.” Jonas Weydemann (Weydemann Bros. GmbH, Germany)
A FACILITATOR OF Integration into a global network of professionals from the entire value chain
EAVE represents a label of trust and quality within the industry.
“Being an EAVE graduate resonates well within the film industry, especially among producers, so it's easier to make new connections.“ Marek Novak (Xova Film, Czech Republic)
93% of EAVE graduates report positive synergies from on their integration into a professional network with 98% reporting a priviledged access to industry contacts through the entire value chain, as a direct result of the workshop.
“What I did not anticipate is that it would become family: we have dinners at festivals, daily contacts on our group website, solve each other’s projects, and coproduce together.” Gary Cranner (Chezville, Norway)
Since their participation, 76% of EAVE graduates reported working with top sales agents, 60% with top film distributors, 68% with TV broadcasters and 39% with online distribution platforms.
A SUPPORTER and catalyst of projects of all genres and
a facilitator of international co-production and co-operation
84% of EAVE graduates report a majour impact on the development of their film project. 47% of EAVE projects are finalized or in production. Graduates also have a better grasp on project assessment and viability and know to abandon projects that are not fit for the market.
“I came with a complicated project and finished EAVE with a weak script, but with the clear idea of what wasn`t working in it. So it was a first step and I have changed writer and got to completely new script after EAVE, which turned out later to be one of the most successful films in Lithuania.” Zivile Gallego (Fralita Films, Lithuania)
Projects developed at EAVE gain access to key industry trainers and decision makers, which accelerates their access to market. 87% of EAVE participants with a film project in production or a released film have a sales agent attached.
“Now, I feel confident in almost every aspect of film - starting from script development, via funding, producing and now marketing/distribution. Not in the sense of: I have to do it all by myself. But I know what to pay attention to and which partners to reach out for support. Hanna Reifgerst (Förderverein Deutscher Kinderfilm e.V., Germany)
A network of exchange and collaboration, EAVE has a real “co-production effect” and contribution to core European values. The number of co-productions recent alumni are involved in, increases by +182% after the training.
“It’s a growing network and a driving force for working together across borders.” Alexander Dumreicher-Ivanceanu (Amour Fou, Austria)
A community platform for life-long training and
in-depth dialogues on shaping the independent EUROPEAN industry
EAVE programs have a deep impact on the independent European industry as a whole by:
- Empowering graduates to become agents of change and shape their local, regional and national communities.
“Above all it helped me setting up a new business with an original approach in my country and for new co-productions.” Paula Cosenza (Ventre Studio, Brazil)
“The more Africans go to EAVE, the more we will master the African narratives we want to make.” Bongiwe Selane (Blingola Media, South Africa)
- Supporting the professionalization of stakeholders across the value chain and their continued dialogue within a strong and supportive network.
“EAVE was a deep dive into film producing, which helps me day by day to understand my counterparts (Film Producer's and their film projects) better.” Birgit Oberkofler (IDM South Tyrol Alto Adige, Italy)
- Building bridges within Europe, while linking the European industry to global markets. “Learned new visions, issues, idea and feedbacks on Europe-Asia co production that will clearly impact the program/fund I’m designing for the FDCP.” Agathe Vinson (Film development council of the Philippines, Philippines)
- Promoting inclusion, diversity and gender equality in the industry. Working to achieve a conscious, engaged and sustainable industry.
Over the past 10 years 44% of EAVE training applicants and 56% of training participants are women. Women make up for 52% of the film industry professionals of the EAVE network.
“I felt encouraged to questioning my position, my duties and to stand up for my projects, my ground in the company. As a result I left my co-founded company after 10 years and created a cooperative and respectful environment with a female team. We work with female filmmakers and POC-filmmakers to support them to tell their stories and to establish themselves in this white and male dominant world.” Jamila Wenske (Achtung Panda! Media, Germany)
- Advocating for best practices, green policies and value systems and setting the benchmark for audiovisual training worldwide.
”I have done many online labs in 2020 but EAVE was the only lab which was organized, enjoyable and well-structured to adapt to the current industry changes.” Tamara Dawit (Gobez Media, Ethiopia)
“EAVE is the backbone of the industry, the skeleton on which the industry builds.” Vladimir Yatsenko (Limelite, Ukraine)
“EAVE is always on top of innovation, they bring you the solutions to today’s issues.” Alessandro Gropplero (Fondo Audiovisivo FVG, Italy)
Read the full Executive Summary here.
EAVE would like to express a heartfelt THANK YOU to our wonderful network of alumni for taking the time to participate in the survey and video interviews, as well as Arnaud Dupont and Headway International for conducting the survey and The Film Agency (Sarah Calderon, Raquel Cabrera) and Michael Arnon for their work on the communication tools.
One of the longest running and most successful training workshops under the Creative Europe umbrella, EAVE empowers producers and professionals in the audio-visual field, helps their projects, companies, and the industry itself evolve, and facilitates exchange of knowledge, creation of networks of experience, opportunity, and partnership.