SUNDAY 17 MAY 2009

NisiMazine Cannes

A Magazine Published By NISI MASA, European Network Of Young Cinema

Police, Adjective Felix van Groeningen

Rap in Iran

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NISIMAZINE CANNES

Sunday 17 May 2009 / #3A magazine published by NISI MASA

with the support of

the ‘Youth in Action’ programme of the EU

EDITORIAL STAFF

Director of Publication Matthieu Darras Editors-in-Chief Maartje Alders

Jude ListerLayout Maartje Alders

Contributors to this issue

Natalia Ames, Bruno CarmeloEftihia Chatzistefanidi

Andrea Franco, Mariana Hristova Niloofar Kianmehr

Luis Sens, Laura Talvet Rebecca Wilson

Coordinators Joanna Gallardo Maximilien van Aertryck, Gulçin Sahin

NISI MASA 10 rue de l’Echiquier,

75010, Paris, France.

+ 33 (0)6 32 61 70 26

europe@nisimasa.com

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editorial The madness has begun.

In Cannes, people are already craving for invita-tions, selecting their gowns, organizing schedules for the screenings and finding time to eat quickly between so many activities. Some hours of sleep? Only if you’re lucky.

The impulse of watching as many movies as possible so-metimes blurs the importance of selection. Some prefer to stick to the safe option and watch only the movies by consecrated directors. Others are more curious and want to know more about a new name, a country with an incipient film industry or an innovative cinematographic approach.

For those who come from countries where distribution companies keep a monopoly dominated by Hollywood ci-nema, Cannes is the occasion to watch those movies that will not -for sure- be released in their theatres. This does not mean that they will only go to the screening with the most “independent” profile; it means that this is going to be their only chance to see the latest Coppola film on the big screen, because lately not even the big masters’ new works have been arriving in regions like Latin America or Africa.

Beyond the glamour, the red carpet, the business, the conferences and the frenzy of

the daily activities, it’s good to remember the passion for the films, the good feeling that you get when you watch a masterpiece, and of course, the fact that a lot of cinema addicts in the world are not able to experience this. Wat-ching a good movie is, dange-rously, becoming a privilege for few people in the world, and in Cannes we should be thankful for having so many options in the current situa-tion of inequality of access to this art.

by Natalia Ames

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picture of the day

Mia is a troubled teenage girl living with her promis-

cuous mother and younger sister in Essex. Between dance moves and an imposed adulthood, she falls for her mother’s young boy-friend, and the energies start to become slightly more fragile.

As clichéd as this storyline may sound, don’t make any swift conclusions about Fish Tank. What starts out as a British council estate family (melo)drama turns out to be an intense observation of the dynamics of human relationships.

Andrea Arnold knows how to set the mood for her gifted actors to perform. The feminine gaze upon them is consciously intimate, with a striking light that favours texture and tone. However, Fish Tank’s extraordinary certain re-gard on personal desires is the use of a sensuous slow-motion accompanied by a stylized accen-tuation of sound; once the brea-thing slows down, it’s all about heartbeats. Still, even when we return to the hard realities of life, Arnold manages to maintain a dose of relief and the film avoids drowning in despair.

From a certain point through the film you might feel that cre-dits could roll at any time, but each new chapter is a revelation,

and ultimately, a reassurance that Britain’s got talent!

Police, AdjectiveCorneliu Porumboiu (Romania) UCR

by Eftihia Chatzistefanidi

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review Fish Tank Andrea Arnold (UK) OC

by Laura Talvet

picture of the day

Camera d’or winner in 2006 with 12:08 East of Bucharest,

pioneer of the so-called Romanian nouvelle vague, Porumboiu is back with his second East-side story. No Christmas shows this time: Police, Adjective deals with small town police inspector Cristi’s eve-ryday life, focused on his current task of following a teen suspected of selling pot.

The slow-motion scenes, mini-malistic dialogues and camera movements may seem endless and somewhat drawn-out at first sight. Yet it is precisely in this endless and monotonous rhythm that Porumboiu’s discrete and in-tellectual humour is brought out

with precision. Observing Cristi’s life from a distance allows for a slightly ironic, yet melancholic point of view of both the police station’s bureaucratic microcosm and human moral hesitations in general.

As a matter of fact, the more Cristi gets involved by following the 16-year-old teenager, the less wil-ling he is to continue. Instead, he starts to feel empathy towards the youngster and feels responsibility in case he ruins his life only for smoking pot. Thus, he avoids his superior for some time and does everything he can to prove that the boy is just a child. At some point, Cristi’s behaviour reminds

one of the young teacher’s attitude in Laurent Cantet’s feature The Class, winner of the Golden Palm last year. Both are finding it hard to choose between official, in-flexible rules and their inner urge to be human, to remain faithful to themselves. However, by feeling empathy towards their young and unwitting criminals, they lose si-ght of their duties, without even noticing it.

While Cristi keeps following the teen on the streets, Porumboiu goes further and follows Cristi not only in his professional en-vironment but also at home. An intimate but still somewhat ironic look is given to the dialogues in

which Cristi’s wife Anca, liste-ning to romantic love songs on youtube, reminds him about the correct use of the grammar rules of the Romanian Academy. And about wearing the same pullover every day.

Finally, in a splendid last but not least scene, worth waiting for, Cristi is confronted by his superior, who only speaks the language of the law and the Ro-manian Academy, he is forced to decide whether to arrest the boy or leave his job. He finally chooses the first option. Was this right or wrong? In whose opinion and in what language?

All children know that their toys start to live when left alone. So

does the life-size air-inflated doll (Bae Doo-Na), owned by a middle-aged man suffering from loneliness. She is a perfect substitute for an ideal wife. Until the day she wakes up and discovers she has a heart... Starting a double life as a human, she meets other people who are as empty and lonely as she is - from the inside. They all are scared of getting old, alone. Reality is magical only for her, as she looks at everything with the eyes of a new-born child. Known for exalting, poetically sur-prising aesthetics, Kore-eda here creates a modern fairytale of Japa-nese metropolitan life (in fact, of any kind of city in the world), where everybody is searching for tender-ness. The film brings up (as well as answering) many crucial questions: what is the meaning of the time between birth and death? Is it good to have a heart after all? What is left when we loose everything?

With a deeply feminine approach to sexuality, Kore-eda symbolically draws out the basic need of a woman in love: the air to breath. And being paid attention to. Nozomi’s symbo-lic death on her “birthday” together with another little doll reminds one of a baroque-trash icon of a mother and child. When somebody

by Laura Talvet

review Kuki Ningyo / Air DollKore-Eda Hirokazu (Japan) UCR

Andrea Franco

critics’ week shorts

Known as one of the best animators of his country, and nominated for an

Oscar for two of his four shorts, Canadian Cordell Barker returns seven years after his last work with a new story full of funny moments and his usual unpredictability. As in The Cat Came Back (1988), in which a single man goes to increasingly ridiculous lengths to get rid of a cat, Runaway mocks adults, their behavior and their clumsiness.

The film returns to an undefined moment in the eighteenth century, to recreate the journey of a locomotive which collides with an unhurried cow that is crossing the tracks. The passengers then invent a curious solution in order to keep the train moving up the hill.

Through a baroque style with some simi-larities to Sylvain Chomet’s strokes, the author animates a fully-detailed set, shot with almost all the narrative resources: panoramas, close-ups, overheads… which makes the story richer. The music also plays an important role. An orchestrated rhythm, sometimes frenetic and sometimes slug-gish, emphasises this little fable in which each and every element is part of the bigger machine.

A criticism of the bourgeoisie seems to be beneath this not so childlike tale, when Barker shows how the upper classes deprive the plebeians of their salvation when peril is close. In the end, a moral lesson punishes the wicked. A small story becomes a great tale.

RunawayCordell Barker (Canada)

INTERNATIONAL FILM FESTIVAL BRATISLAVA

CONTACT ADDRESS

International Film Festival Bratislava

Lovinského 18 811 04 Bratislava

Slovak Republictel : -421-2-5441 0673 fax : -421-2-5441 0674

e-mail: iffbratislava@ba.sunnet.sk www.iffbratislava.sk

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dies, there’s always a child that has been born, they say. A new life with a new illusion of being irreplaceable and unique. Is it really possible? Or perhaps we just need some moments to breath, until we leave again.

Congratulations on being selected. How did you react?Actually my producer phoned the festival and we were told we hadn’t been selected. But then a few days later we were told we were. I don’t know what went wrong there, I didn’t dare ask. On the phone I stayed calm but when I hung up it dawned on me and I went “Oh my God, this is completely unbelievable.” And then we had to finish the sound editing and stuff in three weeks when normally it would take us months.

The film is based on the award-winning autobiographical novel of the same name by the much heralded Flemish author Dimitri Verhulst. Why did you choose this story?Before I started shooting Dagen zonder lief I was already looking around for a story for my third film, because the whole filmma-king process just takes so long.

I knew Dimitri because I’d acted in a play he wrote. I had once suggested he write a screenplay based on an idea of mine. He’d said no, suggesting instead that I base a film on a short story he was working on, about an uncle of his who’d devised this drin-king game based on the Tour de France. That didn’t appeal to me at all. Too absurd. Although I’d always loved his books so of course I read De helaasheid, not knowing that story had ended up in there. First I thought no, you can never make a film out of this. But everything comes together at the end of the book. When I finished it I thought yes, you can!

Was Verhulst involved in writing the screenplay?No, we spoke about it a few times. The story was too close to home, he didn’t want to be involved. He basically said: “Go ahead, do what you want with

it.” A pity, but also fantastic. We wrote many versions and chan-ged a lot from the original story. Like what?There are beautiful and impor-tant chapters in the book where the main character says some outrageous stuff as an adult. It’s so well written that you un-derstand and believe him, even though there has been a huge jump in time and you don’t really know this adult Dimitri. That didn’t work in the film, so we had to add a whole storyline in the present about how he is struggling to be a writer. Ve-rhulst was troubled by this be-cause it turned out to be a little too close for comfort.

Despite the different setting, are there similarities between this and your earlier work?Yes. I’m interested in portraying specific social environments. Dagen zonder lief was about my own. Steve + Sky was about small time crooks and prostitu-tes. Maybe I like it because I’ve never really been part of one. And the other thing is dealing with time. All films have a sim-ple yet complex structure, in which the past and the present affect each other in a dreamy, associative way.

You’re famous for using natu-ral-sounding spoken Flemish in your films. What dialect is this in?It’s Aalsters, near the actual village where Verhulst grew up. It’s kind of a funny dialect. We’d happened to cast an actor from the region as the father, then for the boy we went looking in the area and found this fantastic kid who’d never acted before. He had just the right rawness and matter-of-fact-ness. The father then recorded all the parts in his dialect so everybody could listen to it on their ipod and we’d sit around the kitchen table and rehearse, with him correcting everyone The actors loved it, it was a way to get deeper into the roles.

Is this a typically Flemish story?I don’t know. Sure, I’ve looked for locations with a nostalgic feel, but not because they felt ‘Flemish’. I think Dimitri’s great strength is that anyone can feel they know the world he portrays. He is so sweet about people and so hard at the same time that it just feels right.

Director Felix van Groeningen has made two feature films since graduating in audiovisual arts in Ghent in 2000. Both films, Steve + Sky (2004) and Dagen zonder lief (2007), were tales from contemporary urban Belgium. His third feature, selected for the Quinzaine, chronicles a coming of age deep in the Flemish heartland. Which means that De helaasheid der dingen is about boys, beers and nude bicycle racing.

by Rebecca Wilson

Kuki Ningyo / Air DollKore-Eda Hirokazu (Japan) UCR

Director of De Helaasheid der dingen, QR

Felix van Groeningen

Andrea Franco

interview

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Despite being affected by western rap, Rape-e Farsi

has developed with its own set of particular features, influenced by the social context. Very popu-lar with teenagers, the lyrics are about subjects such as poverty, unemployment, addiction, pros-titution, child labour, economic corruption, homelessness, the Iran-Iraq war and the soldiers killed on the fronts. Rappers portray young people’s everyday lives, describing parties and nei-ghbourhoods; reflecting what life in Iran is like today.

Rape-e Farsi emerged in 1991. Hich-kas, (which means Nobo-dy) and the US-based Dive Sepid (White Beast) were amongst the first who experimented in the field. Later on, Yas highlighted its social aspects. In 2005, Hich-kas released a track named Vatan Parast (Patriotic) in defence of Iran’s nuclear program. Mahdyar Aghajani, musician and produ-cer of this album, integrated rap and Iranian traditional music in a creative way. At the same time as the Hijab (womens’ Islamic dress) crackdown in Iran, the release of a track by Mahour, named Ettehan (Accusation), with a critical theme about the treatment of women, resulted in a more serious government campaign against rap music. As a result, several websites were filtered, some underground rap-pers arrested and illegal studios closed. Amid this mayhem, rap-pers like Shahin Najafi, Bahram and Yas released some tracks critical of executive policies in the country.

Alongside those who use the for-mat to criticise the socio-politi-cal situation (Shahin Najafi, Yas) or speak about social values and moralities (like Salome, the first female rap artist), there are also

those who are more interested in the violent aspects of American-style gangsta rap and obscene lyrical content (Zedbazi, Reza Pishrou) or simply creating entertaining pop music (Amir Tataloo, Sasy Mankan).

Despite the restrictions, rap musicians are the demigods of Iran’s underground music scene, an expression that applies to any group which fails to obtain a re-cording license from the minis-try of culture. One of the main ways to get their music out is through the internet. There may be fame, but there is little money in the business: most CD shops fear raids, as if caught they face imprisonment and huge fines. CDs are sold illegally or passed from hand to hand, copied with little regard to copyrights.

The music industry in Iran has not improved much because of the Islamic context, which com-pared to other countries impo-ses many restrictions on it. The Iranian authorities blame such genres for luring the youth away from Islamic culture. Of course, this only serves to increase its appeal. Youths are attracted by its novelty and different rhythm in general, and the upbeat atti-tude of certain tracks. At the end of the day though, most people like it because they consider it as a tool to express their feelings and freedom of speech.

In No One Knows About Persian Cats, the young rappers can only dream of making it to Europe to perform their art in public. Hopefully though the thought of having their voices heard by Cannes audiences is at least of some comfort.

in focusRAP IN IRAN

by Niloofar Kianmehr

Iran may be well-known internationally for

its celebrated poets, but few may have heard

about Iranian rappers. As most rap music in Iran

is circulated through unauthorised channels,

there is no reliable source of information about

the activities of groups, because the whole

process is so hidden. Kasi Az Gorbehaye Irani

Khabar Nadareh (No One Knows About Persian

Cats), selected for Un Certain Regard this year,

delves into this growing underground scene.

Bahman Ghobadi filmed - illegally - in Tehran

over a period of 17 days to produce this docu-

fiction, putting himself at the same risk as the

two young musicians he was following with his

camera.

Rapper Hich-kas

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Kamen Kalev was born in 1975 in the Southern Bul-

garian coastal city of Bourgas, where he graduated from a French language high school in 1994. Two years later he started studying cinemato-graphy at the National Film Academy in Sofia but decided to continue his education in Paris. Back in Bulgaria he shot commercials and music videos while his short movies Get the Rabbit Back and Rabbit Trou-bles (both co-directed by Di-mitar Mitovski) were selected for the Critics’ Week, in 2005 and 2007 respectively. After this success, Kamen was quite impatient to shoot his feature debut. As Bulgarian film fi-nancing is slow and not very flexible, Kamen and his produ-

cer Stefan Piryov (a childhood friend who studied film pro-ducing in New York) decided to take the difficult road - a to-tally independent production supported by private sponsors and the help of friends. They presented the project at the 5th Sofia Meetings pitching, which is part of the Sofia Film Festival, then shot the movie in the summer of 2008. Soon afterwards the international company Memento Films bought the distribution rights. That’s how Eastern Plays was born and dropped straight into the Director’s Fortnight at Cannes this year for its international premiere. This hasn’t happened to a Bulgarian film since the early 90s, when two of the first and strongest

post-socialist reflections were competing for the camera d’or – Margarit and Margarita by Nikolay Volev and The Camp by Georgi Djulgerov. And it’s no coincidence that Eastern Plays is the next one after so many years. This film is also an evaluation of the Bulgarian presence as a result of the gap between generations who have grown up in different socie-ties; an updated reflection of the current social crisis which is creating lost and confused human beings.

The plot of Eastern Plays is compelling and sincere. It has been able to preserve a specific atmosphere of Sofia’s streets, full of young people who have lost their meaning in life. One of them is Itso, a thirty-five-something who tries to give up heroine by following a metha-done programme and spends his evenings drinking beer. He is trying to get (re)sociali-zed by working as a carpenter (instead of painting, which is his cherished dream) and has a passionless relationship with a young drama student. He is alienated from his family: an always angry father, his silly mistress and a younger brother who is involved in the local

Nazi subculture. Itso’s medio-cre existence changes when he becomes a witness of a racist attack on a Turkish family and his heart wakes up to a jolt of real human communication.Hristo Hristov, who plays Itso, is a non-professional who per-forms his own life. The story of Eastern Plays was invented by Kamen, but the details are Hristo’s own - clothes, places, habits, specific slang. Most of the other actors are professio-nals and Kamen admits it was quite tough to unite the whole cast in an organic mixture of senses and emotions. The en-semble is also joined by talen-ted Turkish actresses Hatice Aslan (recently seen in Three Monkeys by Nuri Bilge Cey-lan) and the young and promi-nent Saadet Isil Aksoy, who is director-producer Semih Ka-planoglu’s favourite discovery. Unfortunately though Eastern Play’s story doesn’t finish with the credits. Only a week after the film wrapped Hristo Hris-tov died of an overdose, which turns Kamen Kalev’s movie into a sad providence on the edge of art and reality.

portrait

by Mariana Hristova

Kamen KalevDirector of Eastern Plays, QR

Kamen Kalev is a brave man: after Zornica Sofia’s Mila from Mars (2004), his feature debut, Eastern Plays is the second post-socialist Bulgarian film made without any government support. In spite of this, Kamen admits he wouldn’t try it again - it’s too hard, too risky and too low-paid to become a regular practice. But for the audience most of his difficult moments on the set are hidden far behind the screen, and we are only involved in Itso’s story - the main character and actor whose real lifestyle became Kamen’s inspiration to write the script of Eastern Plays.

N I S I M A S A European Network of Young Cinema

DOUBLE TAKER: JOHAN GRIMONPREZP: ZAPOMATIKS: U MEDIA

TIED TOGETHERR: ERIK LAMENSP: CAVIARS: BRIDGE ENTERTAINMENT

MY QUEEN KAROR: DOROTHÉE VAN DEN BERGHEP: CAVIAR S: DOC & FILM

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LUKE AND LUCY AND THE TEXAS RANGERSR: MARK MERTENS + WIM BIENP: SKYLINE ENTERTAINMENT

ALTIPLANOR: BROSENS & WOODWORTHP: BO FILMSS: MERIDIANA FILMS

THE OVER THEHILL BANDR : GEOFFREY ENTHOVENP: A PRIVATE VIEW

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R: BEN STASSENP/S: NWAVE

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LE CINEMA BELGEV O T R E P R O C H A I N C O U P D E C O E U R

www.fl andrimage.be

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fl anderimageIssue #11 | Summer 2008 | € 3.50

Cover photo Barbara Sarafi an by Bart Dewaele

CREDITS

EditorChristian De Schutter

Deputy Editor / Photo ResearchNathalie Capiau

Sub editorsJohn AdairSimon Wullens

ContributorsGeoffrey MacnabIan MundellHenry Womersley

Photo credits Sofi e Silbermann : p2, p9, p28-29Kris Dewitte : p 10-11, p12-13, p18All other stills copyrighted by the respective producers

Design MIA/Graph-X

Print Wilda NV

Subscriptions:€ 25 / year (three issues + Flanders Yearbook)Info: fl andersimage@vaf.be

Published byFlanders Image/VAFHandelskaai 18/B3B-1000 BrusselsBelgium/EUT: +32-2-226 0630F: +32-2-219 1936E: fl andersimage@vaf.bewww.fl andersimage.com

Flanders Image is a division of the Flanders Audiovisual Fund (VAF)

Special thanks to:Myriam De Boeck, Aurore Boraczek, Bianca Candreva, Dirk Cools, Pierre Drouot, Siebe Dumon, Brecht Van Elslande, Tom Van der Elst, Hans Everaert, Tania Nasielski, Karla Puttemans, Stef Rycken, Dirk Schoenmaekers, Karl De Smet, Katrijn Steylaerts, Eveline Vanfraussen, Inge Verroken and all the fi lmmakers and producers who helped us with this issue.

When you have fi nished this publication, please give it to your library or recycle it

www.fl andersimage.com

Get the FULL picture!

You want to fi nd out what’s going on in Flan-ders and Brussels, Belgium? Who are the emerging talents? What are the must-see fi lms? The hottest projects? Flanders Image has developed a compre-hensive package of electronic and print publications aimed at answering all these questions.

Whether you’re a festival curator, a sales agent, a buyer, a programme executive, a talent agent, or a producer… Make sure you don’t miss out. Get the full picture and nothing but!

FLANDER-SIMAGE.COM website (24/7): with news, product guide, fi lm trailers, downloadable versions of the print publications, and much more

> Check out www.fl andersimage.com

FLANDER-SIMAGE.COM website (24/7): with news, product guide, fi lm trailers, downloadable versions of the print publications, and much moreprint publications, and much more

FLANDERS CONTENT newsletter (3/year): presenting new and upcoming titles produced in Flanders and Brussels

FLANDERS IMAGE magazine (3/year):featuring interviews with the hottest talents and the latest information on all the must-see fi lms from Flanders and Brussels

NEW FLANDERS PROJECTS newsletter (2/year): presenting the hottest projects currently in development in Flanders and Brussels

FLANDRIMAGE.BE website (24/7):la version française du site internet de Flanders Image

THE AUDIOVISUAL EXPORT AGENCY

FLANDERS YEARBOOK (annual): listing all the features produced and released in the past 12 months

Magazine summer2008.indd 39 29-04-2008 13:06:45

39

fl anderimageIssue #11 | Summer 2008 | € 3.50

Cover photo Barbara Sarafi an by Bart Dewaele

CREDITS

EditorChristian De Schutter

Deputy Editor / Photo ResearchNathalie Capiau

Sub editorsJohn AdairSimon Wullens

ContributorsGeoffrey MacnabIan MundellHenry Womersley

Photo credits Sofi e Silbermann : p2, p9, p28-29Kris Dewitte : p 10-11, p12-13, p18All other stills copyrighted by the respective producers

Design MIA/Graph-X

Print Wilda NV

Subscriptions:€ 25 / year (three issues + Flanders Yearbook)Info: fl andersimage@vaf.be

Published byFlanders Image/VAFHandelskaai 18/B3B-1000 BrusselsBelgium/EUT: +32-2-226 0630F: +32-2-219 1936E: fl andersimage@vaf.bewww.fl andersimage.com

Flanders Image is a division of the Flanders Audiovisual Fund (VAF)

Special thanks to:Myriam De Boeck, Aurore Boraczek, Bianca Candreva, Dirk Cools, Pierre Drouot, Siebe Dumon, Brecht Van Elslande, Tom Van der Elst, Hans Everaert, Tania Nasielski, Karla Puttemans, Stef Rycken, Dirk Schoenmaekers, Karl De Smet, Katrijn Steylaerts, Eveline Vanfraussen, Inge Verroken and all the fi lmmakers and producers who helped us with this issue.

When you have fi nished this publication, please give it to your library or recycle it

www.fl andersimage.com

Get the FULL picture!

You want to fi nd out what’s going on in Flan-ders and Brussels, Belgium? Who are the emerging talents? What are the must-see fi lms? The hottest projects? Flanders Image has developed a compre-hensive package of electronic and print publications aimed at answering all these questions.

Whether you’re a festival curator, a sales agent, a buyer, a programme executive, a talent agent, or a producer… Make sure you don’t miss out. Get the full picture and nothing but!

FLANDER-SIMAGE.COM website (24/7): with news, product guide, fi lm trailers, downloadable versions of the print publications, and much more

> Check out www.fl andersimage.com

FLANDER-SIMAGE.COM website (24/7): with news, product guide, fi lm trailers, downloadable versions of the print publications, and much moreprint publications, and much more

FLANDERS CONTENT newsletter (3/year): presenting new and upcoming titles produced in Flanders and Brussels

FLANDERS IMAGE magazine (3/year):featuring interviews with the hottest talents and the latest information on all the must-see fi lms from Flanders and Brussels

NEW FLANDERS PROJECTS newsletter (2/year): presenting the hottest projects currently in development in Flanders and Brussels

FLANDRIMAGE.BE website (24/7):la version française du site internet de Flanders Image

THE AUDIOVISUAL EXPORT AGENCY

FLANDERS YEARBOOK (annual): listing all the features produced and released in the past 12 months

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Riviera A2

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