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8/2/2012

Berlinale 2012

Different venues, Berlin

Berlin: an exciting, cosmopolitan cultural hub that never ceases to attract artists from around the world. A diverse cultural scene, a critical public and an audience of film-lovers characterise the city. In the middle of it all, the Berlinale: a great cultural event and one of the most important dates for the international film industry.

The public programme of the Berlin International Film Festival shows about 400 films per year, mostly international or European premieres. Films of every genre, length and format find their place in the various sections: great international cinema in the Competition, independent and art house in Panorama, films for young audiences in Generation, new discoveries and promising talents from the German film scene in Perspektive Deutsches Kino, avant garde, experimental and unfamiliar cinematography in the Forum, and an exploration of cinematic possibilities in Berlinale Shorts. The programme is rounded out by a Retrospective as well as an Homage, which focuses on the œuvre of a great personality of cinema, curated by the Deutsche Kinemathek – Museum für Film und Fernsehen.

The film industry at the Berlinale
The Berlin International Film Festival is a source of inspiration in the global film community: film programmes, workshops, panel discussions, joint projects with other social and cultural actors – the forms of cooperation and the possibilities for creative interaction are countless.

The most important meeting point is the European Film Market (EFM). Around 400 companies and 7,000 professionals from 90 countries build and foster contacts here, strengthen their position in the industry or negotiate film rights.
The Berlinale Co-Production Market, affiliated to the EFM, offers fertile ground for international co-productions.
The Berlinale Talent Campus brings high profile professionals attending the Berlinale to workshops and discussions with 350 promising young film talents from all over the world. Both sides benefit. The talents profit from the experience of the professionals, who in turn gain fresh ideas from taking part.
The World Cinema Fund (WCF) provides financial support to film projects in countries with weak film infrastructure thereby helping strengthen the regions’ position on the international film market.
The close connection between the festival and market is a unique characteristic of the Berlinale and always results in exceptional synergies.


Panorama Programme 2012

This year’s Panorama is presenting 53 feature films: 18 in the main programme, 15 in Panorama Special and 20 in Panorama Dokumente. A few of the topics explored in them will be examined again in four short supporting films.
34 productions from 33 countries are screening as world premieres. Six fictional films are directorial debuts. There are 12 German productions, and 24 women filmmakers presenting 16 films.
The premiere showings of Panorama’s main programme and Panorama Dokumente will be held at their unusual venues: CinemaxX 7 and Cinestar 7. Panorama Special will be screening at the Friedrichstadt-Palast and Kino International again, and for the first time also at the Cinestar Event Cinema in the Sony Center.

The most important organisational change is Panorama’s new admission regulations for the accredited press: for all public screenings it is now necessary to get tickets in advance at the ticket counter in the Hyatt. This change is due to the ever-growing number of international film professionals coming to the Berlinale. In other words, these tickets have been introduced to ensure the press continued access to Panorama’s public screenings. If by chance there are empty seats available right before a film starts, then you may still try using your Berlinale press badge to gain admission.


Berlinale Generation: Discoveries and Discoverers

With another eleven world premieres and four international premieres, Generation’s feature-length film programme is now complete. A total of 58 short and full-length films from 32 countries have been selected for the Generation Kplus and Generation 14plus competitions. Two of these films will be screening out of competition. “New discoveries and curious discoverers,” remarks section director Maryanne Redpath about the programme that includes twelve full-length directorial debuts.
Eleven children from Berlin between the ages of eleven and 14 as well as seven young adults have been invited to be on the Children’s and Youth Juries. They will award Crystal Bears for the best short and feature-length films.


18 films will be vying for the Golden and Silver Bears in the Berlinale Palast. A total of 23 films will be showing in the Competition programme. There will also be two special screenings in the Berlinale Palast.

“Say Goodbye to the Story”: Leitmotif of the Berlinale Shorts
27 films from 22 countries will be competing for the Golden Bear and Silver Bear Jury Prize, the DAAD Short Film Award and a short film nomination for the European Film Prize. German actress Sandra Hüller, Palestinian artist Emily Jacir as well as filmmaker David OReilly will be picking the winners in 2012

More than 4000 filmmakers from 137 countries apply for the Berlinale Talent Campus #10 / Ryūichi Sakamoto to mentor the Score Competition / First-ever Talent Campus Tokyo in November 2011

The 10th edition of the Berlinale Talent Campus received applications from 4382 up-and-coming filmmakers from 137 countries. On February 11, 2012, the doors of the Theater "Hebbel am Ufer" will open for 350 selected participants during the 62nd Berlin International Film Festival. With the theme "Changing Perspectives", the Talent Campus offers this new generation of filmmakers a prominent programme featuring many Berlinale guests and international experts. In addition, these young filmmakers gain practical experience from mentors in the hands-on-training programmes or may further develop their submitted screenplays in one-on-one meetings with expert script consultants. Producers and directors with completed screenplays are selected for the Talent Project Market and introduce their films to financiers and co-producers as part of the Berlinale Co-Production Market. The Campus will increasingly deal with expanding distribution and sales structures and look at new ways of attracting audiences. For the first time, young distributors could also apply for the Campus.

The internationally renowned Japanese musician, composer and music producer Ryūichi Sakamoto will mentor the Score Competition, the Berlinale Talent Campus competition for composers and sound designers. Ryūichi Sakamoto was born in Tokyo in 1952 and has found a home in a variety of musical genres.


The Museum of Modern Art Is the Retrospective’s New Partner

Each year, the Retrospective of the Berlin International Film Festival devotes itself to showcasing an important director or a topic relevant to film history. Organised by the Deutsche Kinemathek – Museum für Film und Fernsehen since 1977, this popular Berlinale section often gives younger viewers a first look at the oeuvre of a filmmaker, an epoch or a genre in a larger context, and provides confirmed cineastes with unexpected discoveries.

Entitled “The Red Dream Factory. Mezhrabpom-Film and Prometheus 1921 – 1936”, the 2012 Retrospective launches a long-term cooperation with The Museum of Modern Art (MoMA). Rainer Rother, Artistic Director of the Deutsche Kinemathek and Section Director of the Retrospective comments: “I’m extremely pleased to have our New York colleagues as our new partner. We share a long history of cordial relations. This new partnership will allow the Retrospective, which is frequently the outcome of extensive preparations over years, to reach more audiences worldwide.” In April 2012, MoMA will also present a large portion of this year’s programme under the title The Red Dream Factory. This will make it possible for audiences in New York to explore a little-known period of film history, one that, nevertheless, had a far-reaching impact on the development of cinematic language around the world.

In the future, the Berlin International Film Festival, the Deutsche Kinemathek and The Museum of Modern Art will cooperate closely in selecting themes and curating the Retrospective section. “This collaboration between MoMA, the Deutsche Kinemathek and the Berlinale represents the culmination of a decades-long tradition of cooperation and intellectual exchange between our institutions. The opportunity to jointly organize and present the Retrospective section at the Berlin Film Festival brings these efforts together in a coherent and highly visible manner. We are thrilled to announce this important new phase of our partnership,” says Rajendra Roy, The Celeste Bartos Chief Curator of Film at MoMA.

In the past, the Deutsche Kinemathek and MoMA have teamed up in a similar fashion on projects such as the film series East Side – West Side. Treasures from the MoMA Film Archives that screened in Berlin in 2004; and on the comprehensive presentation Weimar Cinema, 1919 –1933: Daydreams and Nightmares that was shown in New York in 2010/2011. The Berlin International Film Festival has also enjoyed close ties with The Museum of Modern Art, most recently, when Dieter Kosslick had the opportunity to present his vision of film, culture, cuisine and environment under the title Carte Blanche: Dieter Kosslick, the Culinary Cineaste successfully in New York this past summer.

“By cooperating with MoMA, we are expanding the Berlinale’s international network and increasing the sustainability of our commitment to explore film history,” comments Berlinale Director Dieter Kosslick.

Retrospective 2012: The Red Dream Factory. Mezhrabpom-Film and Prometheus 1921 –1936
62nd Berlin International Film Festival
February 9 – 19, 2012
Press Contact Berlinale: Phone: +49 30 30090325 retrospektive@berlinale.de


7th Forum Expanded

In addition to the exhibitions at the Kunstsaele Berlin (Critique and Clinic) at Gutschow-Haus and the various events to be held at HAU, Forum Expanded will also be presenting ten film programmes at the Arsenal and Delphi cinemas. The programme is open for a wide range of different lengths and formats, with the works presented trying out individual forms of expression in experimental fashion in order to create new, critical perspectives on the world. Perhaps the most radical of these attempts is whiteonwhite:algorithmicnoir by Eve Sussman/Rufus Corporation, a film edited live in real time which shows a man under surveillance in a fictional East European city. Put together newly and differently at each showing, we will be presenting the film daily at Arsenal 2.

Many of the other works explore the ways in which they have been pre-fashioned by figures and ghosts from the past. These include role models such as William S. Burroughs and Brion Gysin, whose cut up method is taken up by Lebanese filmmaker Geith Al-Amine, or Luc Moullet, whose uncompleted project about two thieves (mother and daughter) in pursuit of a 35mm Aaton camera is updated in the form of French filmmaker Isabelle Prim’s La Rouge et la Noire. Pier Paolo Pasolini’s unfinished novel Petrolio was also chosen by Rosalind Nashashibi as the starting point for her film Carlo's Vision (United Kingdom/Italy). Eva Heldmann’s r I v e r r e d is an homage to Cocteau’s Orpheus, while The Last Days of British Honduras by Catherine Sullivan and Farhad Sharmini (United Kingdom/USA) is an adaptation of Ronald Tavel’s play of the same name. This cinematic adventure of the absurd will be brought to the stage at HAU 1.

Such deliberate affiliations are not the only links to leave their mark, with the bonds to the parental home also coming up repeatedly. In Vater, Mutter, was soll ich heute filmen? (Father, Mother, What Should I Film Today?), Isabell Spengler (Germany) attempts to realise her parents’ cinematic fantasies, while Canadian video artist Steve Reinke’s series of short films returns again and again to his family roots in bitingly ironic fashion in their exploration of queer and Canadian identity.

Grappling with family history is also at the centre of the video works from the Arab world: Ahmad Gossein (Lebanon/United Arab Emirates) gives his film the title My father is still a communist, intimate secrets to be published, in which a mother writes audio letters to her absent husband. In As they say, Hicham Ayouch (Morocco/United Arab Emirates) tells the brutal story of a father-son conflict, which is settled by physical means. Paul Geday (Egypt/The Netherlands) bids farewell to his parents’ piano in the midst of the Egyptian Revolution in Bye Bye.

There are many ways of using cinema aesthetics in order to discover cinema afresh from within itself. Chris Kennedy (Canada), Guillaume Cailleau and Ben Russell (Germany), Joshua Bonnetta (Canada) and Nicolas Rey (France) place the purported end of celluloid within an artistic and political context.

Yet digitalisation is not the only thing to affect the cinema landscape, as powerful political forces such as censorship and economics also have a regulatory influence on cinema. Mohammadreza Farzad’s Blames and Flames explores the Iranian revolution from the perspective of cinema, while Azin Feizabadi (Germany/USA/Iran) stages a court hearing as a performance in which the accused is a filmmaker.

Forum Expanded sets itself the task of taking apart cinema, putting it back together or even rediscovering it from anew. Although this often occurs in playful fashion, it inevitably involves discussion, which once again provides the impetus for the five international panel discussions in this year’s programme:

Cairo: The City, the Images, the Archives with Khalid Abdalla, Hala Galal, Maha Maamoun and Sarah Rifky, chaired by Marcel Schwierin

Programming the Archive with Entuziazm, Vinzenz Hediger, Angela Melitopoulos, Constanze Ruhm, Christoph Terhechte and various participants of the “Living Archive” project, chaired by Stefanie Schulte Strathaus

Working the Crisis with Minze Tummescheit, Duncan Campbell and Anjalika Sagar, chaired by Stephan Geene

Written by: The Artist with Deimantas Narkevičius, chaired by Jan Verwoert

Psychosphere and Capitalism with Kodwo Eshun, Angela Melitopoulos and Iram Ghufran, chaired by Anselm Franke.

The foyer of the Arsenal cinema will be turning green for the second time courtesy of Prinzessinnengärten, who will also be running the Filmhaus bar. As every year, the b_books collective will also be on hand with books, magazines and DVDs.
Forum Expanded is curated by Stefanie Schulte Strathaus (head curator), Anselm Franke, Nanna Heidenreich, Bettina Steinbrügge and Ulrich Ziemons (assistent curator).

http://www.arsenal-berlin.de/en/berlinale-forum

For press questions relating to the Berlinale Forum, please contact:
James Lattimer Telephone: +49-30-26955-231 Email: jl@arsenal-berlin.de


Focus on the Arab Spring - “From and About the Arab World”

A little more than a year ago, radical political and social changes in the Arab world were triggered by a series of mass uprisings and demonstrations. At times bloody, the revolutions in Tunisia and Egypt were only the start. Gaddafi’s fall in Libya followed, as did unrest in other countries of the Maghreb and Mashreq. Civil war-like conditions still prevail in Syria today.

Social networks as well as the many films of these major protest movements and the ensuing violence have contributed substantially to the perception of these uprisings in the Arab world. Pictures from Tahrir Square in Cairo have already become a part of our collective visual memory.

The programme of the Berlinale 2012 addresses what has become known as the “Arab Spring”, and examines its developments from different perspectives and in a variety of forms:
There are documentary films that depict the region and recent events from the viewpoint of Arab directors and of filmmakers from other parts of the world. Though there are also fictional and documentary films by Arab directors that explore these regions without directly addressing the revolution. Instead they deal with crucial existential questions and the need to define their identity; in some cases this has been done with much humour. Besides the films screening in the different Berlinale sections, Arab cinema will be making a good showing at the European Film Market (EFM).

The Berlinale is also organising a number of panel discussions on the Arab world and filmmaking. Guests include writer Tahar Ben Jelloun (Morocco/France), filmmakers Mahmoud Hojeij (Lebanon) and Nadia El-Fani (Tunisia/France), filmmaker and journalist Mohamed Ali Atassi (Syria/Lebanon), artist and curator Maha Maamoun (Egypt), curator Sarah Rifky (Egypt), director and film activist Hala Al Abdallah (Syria/France), producer and filmmaker Hala Galal (Egypt), and producer Javier Bardem (Spain).


Twelve Works Selected to Premiere during “Books at Berlinale” at Berlinale Co-Production Market

On February 14, producers will once again have the opportunity to discover exciting new literary material for the screen at the Berlinale Co-Production Market. Twelve novels that have outstanding potential for the screen will be presented at “Books at Berlinale“. During the breakfast following the presentation, interested producers can speak directly with their rights holders, i.e., international publishers and literary agents. For those interested in specific works, individual meetings can also be scheduled.
This year, 81 books from around the world were submitted, more than ever before. The selection for 2012 includes classics and new discoveries, serious, as well as light and humorous material: absurd and comic situations between neighbours, clingy visitors from another world, suspenseful criminal investigations as well as dramatic scenes from World War II. The books are from Finland, Germany, France, Italy, Great Britain, Belgium, the Netherlands and Switzerland.


More Films in the Berlinale Special 2012
As part of the Festival’s official programme, the Berlinale Special 2012 will be presenting recent works by contemporary filmmakers, film portraits of outstanding personalities, extraordinary formats and restored cinema masterpieces. In addition to the six films already announced (see press releases from Dec. 19, 2011, and Jan. 9, 2012), twelve more titles have been confirmed for this year’s Berlinale Special programme.
In 2012 talks will be hosted following the screenings of a number of Berlinale Special films. The venue for this new format is the movie theatre in the Haus der Berliner Festspiele at Schaperstraße 24.


“Trust in Taste” in the Culinary Cinema 2012
“Trust in Taste” is the motto of the 6th Culinary Cinema of the 62nd Berlinale that will be held from February 12 to 17, 2012. Fifteen films about food and the environment will be presented in the Martin-Gropius-Bau. Following the screenings, at 7:30 pm, renowned chef Sonja Frühsammer and star chefs Michael Kempf, Christian Lohse, Marco Müller from Berlin as well as Andoni Luis Aduriz from the Basque Country will each serve a meal inspired by the films in the “Gropius Mirror” restaurant, an elegant tent lined with mirrors.


Berlinale Camera for Ray Dolby
Since 1986, the Berlin International Film Festival has presented the Berlinale Camera to film personalities or institutions to which it feels particularly indebted and wishes to express its thanks.
At the 62nd Berlin International Film Festival, Ray Dolby will be awarded the Berlinale Camera in recognition of his work as one of the most important engineers and inventors in the film industry.


Berlinale Camera for Haro Senft
Since 1986, the Berlin International Film Festival has presented the Berlinale Camera to film personalities or institutions to which it feels particularly indebted and wishes to express its thanks.
At the 62nd Berlin International Film Festival, Haro Senft, one of the pioneers of New German Cinema as well as a tireless advocate of German children films will be awarded the Berlinale Camera.
The Award Ceremony will be held on February 18, 2012.

Head of Press and Publicity Frauke Greiner
Personal Assistant Anja Franke
phone +49 30 25920737 fax +49 30 25920799 press@berlinale.de

Opening February 9, 2012

Press Office
Potsdamer Straße 5 10785 Berlin

Berlin International Film Festival Potsdamer Straße 5 10785 Berlin

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