Rotterdam to find the jewels! Scratching Below the Surface for Some Rotterdam Fest Gems - indieWIRE. Kudos! I wish I could have seen these!
Howard spotted this one: "A young woman named Rusudan Pirveli brought to the 'Bright Future' section Susa, another story of hard financial times. 'The Lost Generation' is represented here by the absent father of an adolescent boy, who, working for his mother, sells bootleg vodka in bottles. Sadly, he lives under the delusion that dad’s return would ease his and his mom’s hardship. Like Koguashvili, Pirveli eschews unnecessary authorial intervention: Both directors understand all too well that they are living amidst powerful, if sad, narratives, which can carry their own weight without a lot of artsy fuss.
Other women directors of festival films: Les signes vitaux aka Morbid Fascination by Sophie Deraspe (France) which will also be in SXSW, the multi prize winning and Latina too! Agua fria de mar by Paz Fabrega (Costa Rica), Fuwaku no Adagio aka Autumn Adagio byInoue Tsuki (Japan), Li fa dian de nu er aka My Daughter by Charlotte Lay Kuen Lim (Malaysia), La vie au Ranch by Sophie Letourneur (France), Mama by Nikoly Renard and Yelena Renard (Russia), My Queen Karo by Dorothee van den Berghe (Belgium/ Netherlands), Ejszaka, hajnal aka Europa, East by Anita Doron (Hungary), Everyday is a Holiday by Dima El-Horr (France/ Germany/ Lebanon), Listicky aka Foxes by Mira Fornay (Czech Replblic/ slovakia/ Ireland), God No Say So by Brigitte Uttar Kornetzky (Sierra Leone/ Switzerland), My Tehran for Sale by Granaz Moussavi (Australia/ Iran), Paju by Park Chan-Ok (So. Korea), El Pasante aka The Intern by Clara Picasso (Argentina), Pepperminta by Pipilotti Rist (Austria/ Switzerland), Separations by Andrea Seligmann Silva, Mieke Bui (Netherlands), Lost Persons Area by Caroline Strubbe (Belgium/ Hungary/ Germany/ Netherlands), Hotel Atlantico by Suzana Amaral (Brazil), White Material by Claire Denis (France), Once Upon a Time Proletarian by Guo Xiaolu (UK), Lourdes by Jessica Hausner (Austria/ France/ Germany), Tian shui wei di ye yu su aka Night & Fog by Ann Hui (Hong Kong), Ruzhaye Sabz aka Green Days by Hana Makhmalbaf (France/ Iran), Russian Lessons by Andrei Nekrasov and Olga Konskaya (Russia/ Norway), Zanan bedoone mardan aka Women Without Men by Shirin Neshat (Austria/ France/ Germany), A falta que me faz aka Like Water Through Stone by Marilia Rocha (Brazil), Synok aka Sonny by Larisa Sadilova (Russia), Vlees aka Meat by Maartje Seyferth and Victor Nieuwenhuijs (Netherlands), De vliegenierster van Kazbek aka The Aviatrix of Kazbek by Ineke Smits (Belgium/ Netherlands), Mundane History by Anoucha Suwichakornpoing (Thailand). Total: 30 films, hardly a record breaking number.
Cinemart projects have a better percentage with 11 of the 33 projects and include By the Time It Gets Dark by Anocha Suwichakornpong (Thailand) awarded the Prince Claus Fund Film Grant of €15,000. The jury, chaired by documentary filmmaker Bregtje van der Haak, was impressed by the “unconventional episodic storytelling” of Suwichakornpong's proposal – a highly personal take on contemporary Thailand. The award, now in its tenth year, is given to a CineMart project by a filmmaker from Africa, Asia, Latin America or the Caribbean, to support early-stage development. Anocha Suwichakornpong's feature debut, Mundane History, was also competing the IFFR 2010 Tiger strand.
Other Cinemart women's project included Erased by Patrice Toye (Belgium) who arrived directly from Sundance where her latest project The Spring Ritual was awarded the NHK Award, Island by JO Eun-kyung (South Korea), Je suis mort mai j’ai des amis by Guillaume Malandrin and Stephanie Malandrin (Belgium), Layla Fourie by Pia Marais (So. Africa/ Sweden/ Germany) winner of Art France Cinema Award for the best CineMart 2010 Project. The drama, written by Marais (who won a 2007 Tiger for her debut Die Unerzogenen), is set in present-day South Africa and revolves around a single mother who works as a polygraphist in a casino. The €10,000 prize is intended to support the production of independent filmmaking.
Also in the Cinemart: Leones by Jazmin Lopez (Argentina), A Life Half Lived by Denie Pentecost (Australia), Malmi Murderaz by Susanna Helke (Finland), My Sister Came By Today by Yan Ting Yuen (Hong Kong), Ola’s Universe by Coco Schrijber (Netherlands), Postcards from the Zoo by Edwin (Indonesia), Todos Nosotros by Paz Fabrega (Costa Rica) Tiger Award winner for Agua fria de mar.
And Latino directors: Agua fria de mar by Paz Fabrega, prize winning Alamar by Pedro Gonzalez-Rubio (Mexico), El Sol aka The Sun by Ayar Blasco (Argentina), El camino entre dos puntos aka The Way Between Two Points by Sebastian Diaz Morales (Argentina/ Netherlands), Vaho aka Becloud by Alejandro Gerber Bicecci (Mexico) and Los viajes del viento aka The Wind Journeys by Ciro Guerro (Argentina/ Colombia/ Netherlands/ Germany), Avenida Brasilia Formosa aka Defiant Brasilia by Gabriel Mascaro (Brazil), El calambre aka The Cramp by Matias Meyer (Mexico/ France), Manuel De Ribera by Christopher Murray and Pable Carrera (Chile), Norteado aka Northless by Rigoberto Perezcano (Mexico/ Spain), El Pasante aka The Intern by Clara Picasso (Argentina), The Sentimental Engine Slayer by Omar Rodgriguez Lopez (USA), Hiroshima by Pablo Stoll (Uruguay/ Colombia/ Argentina/ Spain), Hotel Atlantico by Suzana Amaral (Brazil), Rabia by Sebastian Cordero (Colombia/ Mexico/ Spain), Moscou aka Moscow by Eduard Coutinho (Brazil), Todo, en fin, el silencio lo ocupaba aka All Things Were Now Overtaken by Silence by Nicolas Pereda (Mexico/ Canada), A falta que me faz aka Like Water Through Stone by Marilia Rocha (Brazil). Cinemart projects include Another World by Alexis Dos Santos (Argentina/ Germany/ Mexico), Heli by Amat Escalante (Mexico), Leones by Jazmin Lopez (Argentina)