TRIESTE FILM FESTIVAL – 24th edition

17-23 January 2013

Press Release The 24th edition of the Trieste Film Festival - Italy’s leading event dedicated to the cinema of Eastern and Central Europe - is proud to announce a few novelties for 2013. This year for the first time the Festival’s longstanding director Annamaria Percavassi is joined at the helm by Fabrizio Grosoli. Moreover, the Festival’s usual location for screenings - the Teatro Miela - is being supplemented by a new theatre – the Sala Tripcovich, located in Largo Santos. This space, kindly made available to the TFF by the municipal authorities through an agreement with the local opera company - the Teatro Lirico Giuseppe Verdi Foundation - will be turned from concert hall to cinema for the occasion. The programme, as usual, will include the three international competitions (features, shorts and documentaries), special events, tributes and talks (public talks and press events will take place at the Caffè Tommaseo). Il viaggio della signorina Vila by Elisabetta Sgarbi will open the Festival on 17th January at the Sala Tripcovich. With a screenplay written by the director and Eugenio Lio, and a sound-score by Franco Battiato, this is a love story between a man and a woman from the past, who have landed in today’s Trieste. It is also the love story of an intellectual who exchanges himself with and mirrors himself in his past, real or literary as it may be, and the past of his city – Trieste. The city was chosen, according to Sgarbi: “from a kind of fascination - almost an obsession - both for its cultural heritage and its natural beauty, which co-exist very closely in this city. I tried to avoid any clichés and to describe the living, often disputed and ever-changing image of this place.” In Il viaggio della signorina Vila, the narrating voices are those of Toni Servillo and Lučka Počkaj, and we see appearances of, among others, authors Claudio Magris, Luciana Castellina, Gillo Dorfles, Giorgio Pressburger, Boris Pahor, Pino Roveredo and Susanna Tamaro. The core of the programme remains the three international competitions, which every year highlight the best productions from the countries traditionally associated with the Festival. Prizes for Best Feature, Best Short Film and Best Documentary will be chosen by the audience, as in previous editions. In the INTERNATIONAL FEATURE FILM COMPETITION (all films are Italian premieres) we would like to single out Klip (winner of the “Tiger Award” in Rotterdam). This is the debut work by Maja Miloš, a young Serbian director, describing Jasna’s adolescence, spent between sex, drugs and partying. Also worth mentioning is Rocker by Romanian Marian Crişan (already the recipient of awards at Cannes and Locarno for his previous work), a film on the relationship between a forty-year-old father and his drug addicted son. Finally, it would be impossible not to mention V Tumane (In the Fog), by Sergei Loznitsa, a director to whom the Festival dedicated a retrospective in 2011. V Tumane (set in 1942 on the USSR’s Western border), which will receive its Italian release on 24th January, (distributed by Moviemax), was greeted very warmly by critics at Cannes in 2012, where it was awarded the Fipresci Prize. Among the SHORT FILMS that have been selected to compete for the Premio Mediterraneo

Cinema, offered by the Fondazione Mediterraneo, we would like to draw attention to the following: Italian Cargo by Carlo Sironi, a delicate story of love, prostitution and immigration set on the outskirts of Rome; German Memo by female director Banu Kepenek, where tradition and modernity clash in a tragicomic story with a Turkish father and his two children, who feel by now completely German, during the Muslim ‘Feast of the Sacrifice’; and Uskršnja jaja (Eastern Eggs) in which Croatian director Slobodan Karajlović offers a personal and almost autobiographical take on 1970s Communist Yugoslavia. Uskršnja jaja is included, with 5 other titles from this section (Abgestempelt, Deda, Hatch, Unser Lied, and Un Alt Crăciun), in Sunday 20th January’s programme, at 2pm at the Sala Tripcovich, dedicated entirely to children. This year there will also be a non-competitive selection of 13 animation shorts from Central and Eastern Europe, including the world premiere of De versicoloribus naturalium ludis by young Russian director Artem Ludyankov, produced by Benetton’s Fabrica. The International DOCUMENTARY Competition includes 9 films – all Italian premieres, coming from the countries that are traditionally associated with the Festival. Among the most interesting titles is Madein Albania, by Stefania Casini, a road movie where the three young heroes, through touching encounters, offer a portrayal of contemporary Albania – poised between past and future. Other interesting films include: Dragan Wende-West Berlin by Lena Müller and Dragan von Petrović: a tragicomic Balkan documentary, where young Vuk from Belgrade meets up in Berlin with his uncle Dragan – king of the road and the nightclubs in ‘70s West Berlin; and Tzvetanka by Youlian Tabakov, which retraces the recent history of Bulgaria through the life experiences of the protagonist. Born to a wealthy family, dreaming of becoming an actress and with a passion for science, Tzvetanka Gosheva (the director’s grandmother) tells us how she survived the three eras that marked her country, amid innumerable difficulties: the monarchy, the Communist regime and democracy. This Ain’t California by Marten Persiel (not in competition) takes us on a journey of discovery to the world of the “Rollbrettfahrer”, as skaters were known in the former DDR – young rebels for whom the desire for freedom becomes, thanks to a skateboard, a way of life. The new section GENRE SURPRISES, aims to broaden the Festival’s scope to include new and more "popular" trends within the cinema industries of Central and Eastern Europe. Does genre cinema exist, or is there a type of cinema, which intends to relate to the classical genres? What are the narrative modes, which in different countries turn local films into box office hits that are accessible to international audiences? In the wake of these considerations, the Festival will show a range of films to include a Lithuanian science-fiction movie, a Serbian thriller, a Slovenian sentimental comedy, and so on. This confirms that in those geographical areas there are producers and filmmakers able to find successful formulas for the international global circuit, which is more interested in good ideas and new talents than their nationality. The 6 titles in this new section comprise: Lithuanian Aurora (Vanishing Waves) by Kristina Buožytė, the most garlanded European science-fiction film of 2012 (distributed in Italy by P.F.A. Films); the comedy Despre oameni şi melci (Of Snails and Men) by Tudor Giurgiu, the biggest-grossing Romanian film of the past decade; and the delicate love stories of Une estonienne à Paris (A Lady in Paris) by Ilmar Raag (Italian distrib. by Officine UBU) and of Vaje v objemu (Practicing Embrace) by Slovenian director Metod Pevec (winner of Best Documentary with his Aleksandrinke at last year’s Trieste Film Festival); the thrillers Die vierte macht (The Fourth State) by German director Dennis Gansel, with an international cast starring Moritz Bleibtreu, Kasia Smutniak and Rade Šerbedžija, and Ustanička ulica (Redemption Street) by Serbian director Miroslav Terzić, starring Gordan Kičić, again with the great Croatian actor Rade Šerbedžija in a supporting role. Another novelty of 2013 is ITALIAN SCREENINGS, trying better to integrate the Festival and its industry events, namely “When East Meets West” (WEMW). For the first time WEMW is a totally integrated part of the Trieste Film Festival (taking place, as it does, between 21st and 23rd January at Hotel Savoia) and, above all, it is open to the public; in return, the Festival offers a selection of films aimed at industry insiders, in addition to the talks and workshops already scheduled at Hotel Savoia. “Italian Screenings” presents a selection of Italian independent films that have been well-received on recent festival circuits but are likely to be still unknown to potential international distributors. These wide-ranging films, in terms of genre and format, are: Bellas Mariposas by Salvatore Mereu; In uno stato libero by Paola Piacenza; Isqat al Nizam-Ai confini del regime by

Antonio Martino; Nadea e Sveta by Maura Delpero; Noi non siamo come James Bond by Mario Balsamo and Guido Gabrielli; Pinuccio Lovero Yes I Can by Pippo Mezzapesa; and Tutto parla di te by Alina Marazzi. The Trieste Film Festival’s programme includes, as ever, numerous and noteworthy SPECIAL EVENTS. One such is the homage paid to the 50th anniversary of a great Italian classic – Dino Risi’s Il sorpasso (The Easy Life), celebrated also in the documentary, which Gloria De Antoni has dedicated to it, entitled L’estate di Bruno Cortona. Another special event is the ironic and compelling monologue on cinema, ideology and psychoanalysis by philosopher-cinéphile Slavoj Žižek, who is the protagonist of the film The Pervert’s Guide to Ideology by Sophie Fiennes. Finally, the Festival turns the spotlight on Hungarian cinema, to highlight the dramatic cultural situation the country is undergoing, with some of the best works of 2012: Csak a szél (Just the Wind) by Benedek Fliegauf; Magyarorszag 2011 produced by the great Béla Tarr and made by eleven of the leading Hungarian directors; and Final Cut, Hölgyeim és Uraim (Final Cut-Ladies and Gentlemen) by György Pálfi, which draws the Festival to a close. This year, the Festival is characterised by a significant female presence, both in the number of female directors in the various sections, and for the extraordinary personalities starring in some of the Festival’s films. Such as the wonderful Jeanne Moreau, playing the lead role in Une estonienne à Paris (A Lady in Paris) by Ilmar Raag; the unforgettable Hanna Schygulla, long associated with Fassbinder, who stars in Avanti (in the feature competition), a debut work by videoartist Emmanuelle Antille, with a cast that also includes Miou Miou; the ravishing Kasia Smutniak, playing a mysterious Russian woman, in the thriller Die vierte macht by Dennis Gansel; the multi-award winner Monica Bîrlădeanu here in the Romanian comedy Despre oameni şi melci (Of Snails and Men) by Tudor Giurgiu. There is also a tribute to Triestine actress Laura Solari, on the occasion of her centenary. She was the diva of popular post-war Italian cinema, as well as a fine theatre actress. This tribute will be the first project of the ‘Associazione Casa del Cinema’ and will be jointly organised by the Trieste Film Festival, Maremetraggio and iMilleocchi throughout 2013. The ongoing collaboration between the Festival and the Associazione Corso Salani continues this year. The Corso Salani Award, created in memory of the filmmaker who passed away in June 2010, will be assigned to one of the five finalists who have been selected among the ever growing number of applicants: Aishiteru my Love by Stefano Cattini; Artic Spleen by Piergiorgio Casotti; Miriam delle crociere by Alessandra Gori; Il mondo di Nermina by Vittoria Fiumi; Senza di voi by Chiara Cremaschi. 10,000 Euros will be awarded to one of the projects, deemed to have been developed in the spirit of Salani’s work. Projects must already be in production, and the winner must commit to complete the film within the next twelve months. For the first time this year, the five projects will also be presented to international industry insiders taking part in “When East Meets West”. The two previous winners were Palazzo delle Aquile by Stefano Savona in 2011 (winner at Paris Cinéma du Réel in the same year) and, in 2012, Materia oscura by Massimo D’Anolfi and Martina Parenti, which will be shown in an incomplete version as a 'work in progress' during this year’s Festival. The winner of the 2013 edition will be announced during the prize giving ceremony. WALLS OF SOUND, organised by Giovanna Tinunin and Beatrice Biggio, is the Festival’s section dedicated to music films. This year it features a selection of Italian premieres: four documentaries representing the research conducted by this section in the four years since its inception – music becomes just a starting point in works that deal with the broader concept of history. Such as in Balkan Melodie by Stefan Schwietert (Switzerland/Germany/Bulgaria, 2012), a story of a married couple who, in the middle of the Cold War, recorded and documented - often in an adventurous way - sounds which, until then, had never been heard in the West, including the female choir of Le Mystère des Voix Bulgares. Or in Kaip mes žaideme revoliuciją (How We Played the Revolution) by Giedrė Žickytė, a Lithuanian-French co-production set in 1984, when ‘perestroika’ burst onto the scene in the USSR and Lithuania. In Zvonky šťastia (Bells of Happiness), by Jana Bučka and Marek Šulík, two cousins live in a Roma camp in Eastern Slovakia and are great fans of two pop stars, one Czech, the other Slovak. They decide to send them a video-clip where they sing their

favourite hit song. And finally, Noseland, the directorial debut of Russian violinist, composer and conductor Aleksej Igudesman. This was shot in Dubrovnik during a music festival featuring world-renowned musicians, actors and composers – including Sir Roger Moore and John Malkovich. EASTWEEK, now in its fifth edition and co-ordinated by Elena Giuffrida, is a project that facilitates networking opportunities between cinema schools and academies in Central and Eastern Europe. In 2013, Eastweek is again delighted to receive the support of CEI - Central European Initiative. As in previous years, the collaboration with WHEN EAST MEETS WEST and with the PREMIO MATTADOR also continues. EASTWEEK is thrilled to welcome among its guest speakers the Greek screenwriter Nicos Panayotopoulos and a master of Italian cinema – Giuseppe Tornatore, who will give a public talk at the Teatro Miela. His latest film - The Best Offer - will be screened, with support from the FVG FILM COMMISSION, in its original English version. The movie was partly shot in Trieste and stars Geoffrey Rush, Donald Sutherland, Jim Sturgess and Sylvia Hoeks. As well as arranging sessions with professionals, the project this year also offers an international training programme: MIDPOINT – a platform dedicated to scriptwriting, providing advanced training tools to cinema students or graduates; and a video-storytelling workshop (organised together with the REDLIGHT association), with the aim of creating an actual team in charge of video-documenting the Festival. The schools which have been involved in the 2013 edition are: the ‘Fakultet Dramskih Umetnosti’ in Belgrade (Serbia); the ‘Akademija za gledališče, radio, film in televizijo’ in Ljubljana (Slovenia); the ‘Akademija Scenskih Umjetnosti’ in Sarajevo (Bosnia Herzegovina); the ‘National Academy for Theatre and Film Arts’ in Sofia (Bulgaria); the ‘Filmová a televizna fakulta - Vysoka Škola Múzických Umení’ in Bratislava (Slovakia); and the ‘Filmová a Televizní Fakulta Akademie Múzických Umení’ in Prague (Czech Republic). Concluding the 2013 edition is the very popular CINEMA ZONES section, showcasing the most interesting examples of local cinema production and supported by the Provincia di Trieste. The Cinema Zones Award will be determined by the audience. Among the films included in this section are: Vedo rosso. Anni ‘70 tra storia e memoria degli italiani d’Istria (Seeing Red) by Sabrina Benussi; My Private Zoo by Gianni Sirch and Ferruccio Goia (presented in competition at the Festival dei Popoli in Florence last year); and Unwired by Nicole Leghissa. The section’s special event is Archeo, the latest film by Slovenian director Jan Cvitkovič (archeologist, actor, screenwriter and director) accompanied by the documentary Making Archeo Films by Ivan Gergolet, which will receive its world premiere at the Trieste Film Festival. This year, the Festival’s trailer by Simone Vrech pays tribute to the event by finding inspiration in local landmarks. A woman enters a bric-a-brac shop and notices a small toy carousel. As she touches it, she is propelled into a vivid dream. Her initial bewilderment turns to joy, when she realizes that she has suddenly landed in Piazza Unità... PRESS OFFICE Catia Donini 335-1737040 catia.donini@gmail.com Ilaria Zanzi 347-7262822 --images can be downloaded from www.triestefilmfestival.it/press-- Press Release published on 12.01.2013

FABRIZIO GROSOLI ANNAMARIA PERCAVASSI Artistic Direction Trieste Film Festival Despite all the bitter considerations made in the catalogue introduction last year regarding the objective difficulties of the moment and the general uncertainty for the future of the world of culture penalised by the current political and economic crisis in a way no other sector supported by public institutions has suffered, we are nevertheless satisfied, even though the situation has not improved at all: the balance we can present to our public after a difficult and suspenseful 2012 is still a positive one. The work group has withstood the stormy winds that have blown as never before with extraordinary resistance and has perhaps even drawn new energy from the constant hope that those intentions expressed officially by the mayor of Trieste at the start of the year might actually come true, his aim being to find a solution to the longstanding and oft-lamented problem of the lack in Trieste of spaces suited to hosting film festivals of an international standing and which are extremely popular with the public. And these intentions have – almost miraculously – actually been followed through, thanks to a farsighted agreement between the City Council, which intends to help the city’s film sector, and the “Teatro Lirico G. Verdi Trieste” Foundation: together, they have agreed to adapt the large Sala Tripcovich for screening films, and have set up a collaborative agreement with the Associazione Alpe Adria Cinema and with La Cappella Underground, thus opening the way to the possibility of hoped-for synergetic projects between cinema and theatre. The cohabitation that began in 2011 of all the city’s film festivals plus the FVG Film Commission and Teatro Miela in the Casa del Cinema (the former Palazzo del Lavoratore portuale), following a proposal by the Province of Trieste, which made the building available, is showing itself to be a positive intuition, encouraging a close relationship between the various institutions in the new Casa del Cinema. And as we hoped from the outset, it is beginning to deliver the first fruits on a level of collaborative projects too. For example, starting in January on the occasion of our festival, a project dedicated to the memory of Laura Solari on the centenary of her birth will be launched in collaboration with the Assessorato alla Cultura del Comune di Trieste. Today, the famous Trieste-born actress is perhaps forgotten, but she was a leading star of popular Italian post-war cinema, a grande dame of the stage and the prima donna of the Nuovo Teatro Stabile di Trieste from its foundation in 1954 to 1957. This tribute to Solari will be the Casa del Cinema’s first project, and is curated by the Trieste Film Festival, by Maremetraggio and Mille Occhi film festivals. It will take place in a series of phases during the three festivals during the course of 2013, and will conclude in January 2014, with the start of the celebration planned by the Comune for the 60th anniversary of the foundation of the Nuovo Teatro Stabile. This shared project concerning Solari will present what will be a laborious research to bring together lost, or vanished, films in which Laura Solari starred. Albeit with a number of stimulating new features, the festival will maintain its traditional outline. The central nucleus of the programme remains the series of three international competitions that annually presents the most interesting film production from the countries we cover and the most responsive to the present reality. On top of the felicitous discovery of new talent as it first emerges, there is the return of established directors who confirm their reputation with their latest works. Alongside the competitions, there will be musical interludes with “Walls of Sound”, and the regular focus on directors from our own region (“Cinema Zones”), even when they move on to increasingly distant worlds to discover whence come the new people seeking a future amongst us. And this year again, there will be the Corso Salani Award held during the Festival – organised with the association named after the film-maker who died young in 2010. Now in its third edition, the prize is set aside for independent works in the spirit of Corso and which are still in production. The five finalists will present their materials in progress during a session open to the public but addressed expressly at the jury, which includes the winners of the last edition, Massimo D'Anolfi and Martina Parenti (for their film, Materia Oscura, which will be shown in an incomplete version as a ‘work in progress’ at the Teatro Miela). Despite the crisis, we are happy to be able to confirm that some sections of the festival, such as the parts of the programme that directly examine the world of production (WEMW) and Film Schools (EASTWEEK) have an incredible capacity for spontaneous growth, as evidenced by the increasing number of participations and requests from many countries; which in turn, of course, confirms the international level attained by these two sections in such a short time. We are sad that this edition will not be accompanied by any special publication, as occurred until the last edition; the difficulties of the University of Trieste, our scientific partner for the “Cinema People of Trieste” project, have made it impossible to realise either the research or the book for the theme planned for this edition. Unfortunately, we fear that the current difficulties investing culture and research will make the realisation of the major retrospectives that have characterised our festival since its inception and which are documented in fine books published during the long and valuable research, increasingly unlikely in the future. The responsibility of artistic direction, which from this year will be shared by two people within the same workgroup and already accustomed to working together, will certainly help the festival find ever more

innovative proposals and new goals aiming at the future development of the event on the basis too of the prestigious new venue for the screenings as of this year, and at a new public to woo and win over with programmes offering a wide-ranging appeal. This first edition directed by two minds already presents some pleasing new features in this regard. The first concerns the non-competitive section aiming to broaden our look towards what we might dub more “popular” trends within the film production of Central and Eastern Europe. Is there a genre cinema or one that in some way aims to tackle – and perhaps innovate – the classic film genres? What are the narrative processes enabling local films in different countries to become box office successes and perhaps gain an international public? The truth is that we have for some years been seeing interesting works that are no longer the second-division versions of a post-Hollywood mainstream, but which intelligently and creatively explore the borders of a narrative form that has been global for some years already. And this is why, for our own pleasure and that – we hope – of Trieste’s public, we offer Lithuanian science-fiction films, Serb thrillers, Slovene sentimental comedies, and so on. It should be stressed that these are not marginal operations or fill-in gaps for film freaks. On the contrary, these films are merely the confirmation that there are in these countries producers and directors who have learned how to join the truly global international circuit (which we can define as independent cinema), which no longer deals in single nationalities but in the ideas of new talent wherever it might be found. The second novelty concerns above all a closer integration between the festival and “When East Meets West”. For the first time in this edition, WEMW appears wholly within the dates of the Trieste Film Festival. But above all, it opens to the public, and reciprocally, the Festival offers a selection aimed at the group of trade operators, and on top of the intense programme planned at the Hotel Savoia. The opportunity arises from the first edition of the “Italian Screenings” section, independent Italian films, some of which already noted on the recent festivals circuit but substantially unknown to potential international distributors. These are films selected without reference to genres and formats (this year, there are 5 documentaries and 2 fiction films that are also in some way “experimental”), but all have a clear directorial style and expressive originality that is increasingly sought out by trade operators in the film world globally. Naturally, we hope that our experiment, the “shop window” offered talented young Italian directors and producers in Italy, will be well-received by the public of the Teatro Miela, and that it will meet wtih a material demonstration of interest from those who could assure these films a long life in the cinemas and through various forms of digital distribution around the world. As fascinating interludes between the various sections, the programme includes numerous major special events, including the tribute to a great film that has achieved its 50th anniversary, The Easy Life by Dino Risi, re-proposed here in a documentary by Gloria De Antoni and in a new book by Oreste De Fornari; then there is the tribute to Trieste by Elisabetta Sgarbi in Il viaggio della signorina Vila (Miss Vila’s Journey), which opens the festival, a long, ironic and entertaining monologue on the cinema, ideology and psychoanalysis by film-buff and philosopher Slavoj Žižek, the protagonist of The Pervert’s Guide to Ideology, and, finally, the close focus on the present difficult situation in Hungarian film production, which closes the festival with the latest works by leading directors. This is the general outline of the programme which is packed as ever. As usual, after a year of hard work, we hope to meet the expectations of our public, which this year will be responsible for assigning the prizes; as ever, we hope to see a numerous and faithful public. I wish to thank all those who have worked with us in organising the event, and all the local, national and international institutions that have supported us for so many years, despite various ups and downs, perhaps because they appreciate the importance and coherence of this moment of reflection marked by the festival in Trieste at the start of the year; a reflection that is not merely cultural, but also historical and political and explores all of today’s Europe.

WALLS OF SOUND Giovanna Tinunin and Beatrice Biggio WALLS OF SOUND is presenting four titles this year (all Italian premieres), from countries as different as Switzerland and Bulgaria, and including Lithuania, Romania, Austria and Slovakia. The Festival has passionately explored the cinema of Central and Eastern Europe over the last 24 years; this section aims to do just that, but focussing specifically on music. The four documentaries in question are representative of the research conducted by this section in the four years since its inception: music becomes a mere starting point in works that actually deal with broader historical issues. In some instances these include very serious topics such as the transition towards political independence experienced by many countries belonging to the former Soviet block; or examples of areas in contemporary Europe, where poverty is still too evident. On a lighter note, these works also show ample evidence of that distinctive surreal twist which Eastern European documentary filmmakers can often impress on their style; or they are dedicated to the rediscovery of forgotten idols of a rich but often unfamiliar musical landscape. WALLS OF SOUND has always presented people’s stories, though these are usually representative of generational or artistic trends. These can be small experiences in themselves, but with a highly innovative message or vehicles of much broader issues. It is fascinating to discover, for example, that it’s thanks to the passion of a Swiss married couple, who from the early ‘60s decided to travel to Romania and Bulgaria (which in those days were not easy to access) with a car full of film rolls and audio-recorders, that we know about the legendary female choir “Le Mystère des Voix Bulgares”. They can also be credited with discovering the unforgettable pan flute player - Zamfir - who features in the scores of Ennio Morricone (and in films by Quentin Tarantino and Peter Weir). BALKAN MELODIE by Stefan Schwietert (Switzerland/Germany/Bulgaria, 2012), is a documentary about the life-long marriage of a couple who, in the middle of the Cold War, crossed those difficult Eastern borders to record and document - often in an adventurous way - sounds which, until then, had never been heard in the West. This becomes a journey into a period of contemporary history as it also describes how people and places have changed. Also historically informed is KAIP MES ŽAIDEME REVOLIUCIJĄ (How We Played the Revolution) by Giedrė Žickytė, a Lithuanian-French co-production set in 1984, when ‘perestroika’ burst onto the scene in the USSR. In Kaunas, Lithuania, a group of architects decides to celebrate the New Year by creating a new band. Rumours about this new rock band, which will be called Antis, travel fast and wide, with the speed and efficiency of an unconscious but highly effective marketing campaign: in the band’s striking look and sets, in their performances and curious lyrics, one can read a savage caricature of Soviet propaganda, with the ability to discredit the absurdities of Soviet society. In a short period of time, what had been meant as an intellectual joke grows to produce actual “rock parades”: mass events, involving thousands of people. These become, in turn, massive demonstrations for Lithuanian independence – which was recorded in the history books as the “sung revolution”, proving that even the small spark of a song can ignite big fires, if it is the expression of a widespread sentiment. Quirky and in many ways touching is the story of Mariena and Roman, two cousins living with their respective families in a Roma camp in Eastern Slovakia. They share a great passion - they are both huge fans of two pop stars, one Czech, the other Slovak: Dara Rolins and Karel Gott (the latter a real legend in his country). One day, they decide to sing their favourite hit, ZVONKY ŠŤASTIA (Bells of Happiness, which inspired the title of this very documentary by Jana Bučka and Marek Šulík) and send them a video-clip they have made of it. In a game of mirrors where roles are continually changing, these two ordinary people challenge our understanding of who the real celebrities are. The roles become blurred: who is the pop-star? Who is actually filming? In conclusion, a film produced in Austria but set in Croatia: NOSELAND by the Russian Aleksey Igudesman. Igudesman is a curious character – not satisfied with touring the world with his recitals (as a renowned violinist and composer), one day he decides that classical music also needs its very own mockumentary. How could one present a musical world, which is traditionally considered very serious (if not, by some, even boring), in a light and entertaining way, challenging preconceived ideas which surround it? The opportunity is presented to the director by another world-famous musician, who also happens to be a life-long friend – violinist Julian Rachlin. Once a year, Rachlin takes over the Croatian city of Dubrovnik with a classical music festival where he invites some of the biggest names of the international circuit, including actors and composers. The festival spreads over two weeks and is aptly named "Julian Rachlin & Friends”. Igudesman offers to make a documentary, which gives an insider’s perspective on the festival, but things start going wrong from the very beginning. We see Rachlin while he watches a screening of the film, unaware of being its producer: he is confronted with a total disaster, in which Igudesman manages to offend, one after the other, all the artists and guests he interviews, including Sir Roger Moore and John Malkovich...

WALLS OF SOUND is organised once again by its creator and longstanding Festival contributor - Giovanna Tinunin, with Beatrice Biggio, a passionate music and cinema reporter, who was captivated by Walls of Sound from the beginning and is joining Giovanna this year in putting this section together. Screenings will take place both at Teatro Miela and the Sala Tripcovich (please see the programme for further details on dates and times). Enjoy the films and the music!

CINEMA ZONES 2013 Nicoletta Romeo Again this year the section “Cinema Zones” proves to be a stimulating forum for discussion and an opportunity for directors living and working in our Region to showcase their work. These are professionals whose excellence has by now become well-established. Despite the current crisis and its worrying ramifications for the local audiovisual sector, many directors managed to complete their projects against the odds and often at considerable personal cost. The films which are competing in this section for the audience prize, awarded with the support of the ‘Provincia di Trieste’, are works by directors who, for the most part, have set up their own production companies, dealing with private and public institutions to find the necessary funds for filming, and who have previously worked abroad, in film or television. While broadening their human and work horizons, many directors have looked outside the Region for topics that are different from the ones traditionally associated with our land (such as border identities and the recovery of memories). They have tackled stories set in other countries: the ever current issue of clandestine immigration in Mohamed e il pescatore; the life of an illiterate midwife, acting as the spiritual guru of a whole community in a secluded and impoverished Brazilian village in Dona Zefa da Guia; the life of a South-African artist, caught between the pride for his spiritual roots and political and social disillusionment in My Private Zoo; and finally, the efforts of some engineers of the ICTP (International Centre for Theoretical Physics) in Trieste who build sustainable wireless networks to try to bring communication to Third World countries, in Unwired. Among the films that are set locally, La rosa di Valentino tells the story of the love of an elderly couple for their rose-garden - the biggest in Europe - seen as a metaphor for a life spent together, among petals and thorns; La treccia di Monfalcone, made by a group of pupils from the Liceo Scientifico Buonarroti high school in Monfalcone, through some interviews with foreign students, manages to highlight some controversial issues in a social situation which is still often hostile to sudden changes in society; and finally Vedo Rosso, a documentary on the life of the Italian community in the Istria Peninsula (especially children and teenagers) between the end of the Seventies and Tito’s death in 1980, made with archive material, interviews and personal memories from the director who grew up in Rovinj. Virtù constitutes a segment of a larger multimedia project, and is set in a Trieste transfigured in places of pain and abandonment. The film is devoted to violence against women, in a morally and culturally degraded urban setting. But Trieste can also be seen as a stopping-off point on a journey between the wind and the sea, from the Swiss Alps as far as the Balkans and the Mediterranean, as in Il viaggio di Arnold - another brief segment of a wider project involving a range of artistic forms. Concluding the section and enriching it with its presence, we host a special event by internationally celebrated Slovenian director Jan Cvitkovič, whom our demanding and affectionate audience has already got to know and like. His Archeo - a visually and socially poetic representation of the Karst area near Trieste - is about the meeting of a man and a woman, coming from some distant place, and a child - three solitary atoms exposed to, by turns, harmonious or menacing natural surroundings. They will have to interact more closely, to recreate the oldest social unit - the family. It is almost a prayer, a primaeval and pure tale, with no dialogue, examining the fundamental questions of life. To conclude proceedings, the documentary Making Archeo Films will reveal and show how the film was shot - this will be a short journey in the poetical and visual universe of an unconventional director.

EASTWEEK new talents, great masters Elena Giuffrida Project Curator EASTWEEK, now in its fifth edition, is a project that facilitates networking opportunities between cinema schools and academies in Central and Eastern Europe. Every year it becomes increasingly clear how vital training is in this sector – providing young people, who are just starting in the world of cinema, with very important professional tools. And every year we also realise how many and how deep are the links between the various institutions, which deal with teaching, producing and promoting cinema. Building on the feedback from past editions, this year we have put together a very rich programme, combining dedicated and “technical” events with wide-ranging talks by internationally-renowned cinema luminaries. And to do it, we have worked increasingly closely with a range of institutions and initiatives, which have been helping us to shape the programme of this year’s EASTWEEK. First of all, we have been able to rely on the support of CEI - Central European Initiative -, which has always been very keen to showcase new talents coming from Eastern Europe. In a more and more structured way, the collaboration with the WHEN EAST MEETS WEST project continues. This year we have jointly organised a seminar dedicated to how best present one’s work, given by producer Stefano Tealdi. Cinema students will be allowed to attend the pitching sessions, during the co-production forum days. Our collaboration with the PREMIO MATTADOR also returns, for which we are delighted to have screenwriter Nicos Panayotopoulos among our speakers. He will give a lecture on the subtle line that divides (or unites) screenwriting from directing. And finally we are greatly honoured to present a public talk by the great master of Italian cinema, Giuseppe Tornatore, whose latest film, The Best Offer (which was partly shot in Trieste) will be shown at the Festival, with support from the FVG FILM COMMISSION. As well as co-ordinating meetings with professionals, the project this year also introduces an international training programme, MIDPOINT – a platform dedicated to scriptwriting, providing highly sophisticated training tools to cinema students or graduates coming from institutions such as the prestigious FAMU in Prague, which is this year participating in EASTWEEK. In trying to provide useful training tools and to teach with a “hands-on” approach, this year we are happy to host our first video-storytelling workshop, organised together with the REDLIGHT association, with the aim of creating an actual team in charge of video-documenting the festival. EASTWEEK, however, is not just about training opportunities, but also about good cinema and networking. That’s why we are continuing with the established tradition of showing films realised by our host students; and to increase further the opportunities for collaboration and exchange between students and tutors, this year we are introducing a round-table event to highlight the activities of the various schools. Finally, in wishing everyone an exciting edition of EASTWEEK, we would like to thank all the cinema schools which have been involved in the project this year: the Fakultet Dramskih Umetnosti in Belgrade (Serbia); the Akademija za gledališče, radio, film in televizijo in Ljubljana (Slovenia); the Akademija Scenskih Umjetnosti in Sarajevo (Bosnia Herzegovina); the National Academy for Theatre and Film Arts in Sofia (Bulgaria); the Vysoka Škola Múzických Umení in Bratislava (Slovakia); and the Filmová a Televizní Fakulta Akademie Múzických Umění in Prague (Czech Republic).

CORSO SALANI AWARD THIRD EDITION Fabrizio Grosoli The Associazione Corso Salani and the Trieste Film Festival are once again organising the Corso Salani Prize this year. It has now reached its third edition, and we can say that this Prize has already become an important benchmark for Italian independent film makers. This is clearly shown by their increasing attention and, materially, by the number of projects sent, which increases year by year. This is certainly thanks to the considerable prize (€10,000 for the winner), but we hope also for the awareness of young film makers today wishing in some way to continue the legacy of Corso’s work. Not only an independent cinema, but also a truly free, personal and borderless one. The selection of 5 finalists has been made by Gianluca Arcopinto, Federico Chiacchiari, Filippo D'Angelo, Marta Donzelli, Giuseppe Gariazzo and Malgorzata Orkiszewska Salani. The selectors were asked – as in the preceding editions – to identify projects developed in the spirit of Corso Salani’s style of film-making. These were to be works currently being made and with a commitment by the winner to complete the film in the 12 months following assignment of the prize. The main intent of the prize is to enable the effective complete of a work in progress that is already at an advanced stage. The finalists will present the film material they have prepared on the last day of the Festival and discuss it with the jury, which this year comprises Gregorio Paonessa, Laura Muscardin, Vanessa Picciarelli, Sara Ferrari, Martina Parenti and Massimo D'Anolfi. For the first time, in this edition the 5 projects will be presented also to the international professionals participating in “When East Meets West”, and the presentation session will take place in the Hotel Savoia. Lastly, we would like to recall that the 2 previous winners were: in 2011, Palazzo delle Aquile by Stefano Savona (winner the same year at the Cinéma du Réel in Paris), and in 2012, Materia Oscura by Massimo D'Anolfi and Martina Parenti, which will be shown in an incomplete version as a 'work in progress' during this year’s edition of the Trieste Film Festival.

WHEN EAST MEETS WEST

A total of 22 international projects from 11 countries will participate in the third edition of the Trieste-based co-production forum When East Meets West, one of the important platforms for successful co-productions between Western and Eastern Europe. Trieste, January 12, 2013. A total of 22 international projects from 11 countries will participate in the third edition of the Trieste-based co-production forum When East Meets West, one of the important platforms for successful co-productions between Western and Eastern Europe. WEMW’s 2013 roster will include 12 fiction and 10 documentary features. Organized by the Friuli Venezia Giulia Audiovisual Fund and the Trieste Film Festival, When East Meets West will take place in Trieste from January 21-23. As customary, it will put the spotlight on a specific Western European region. Focus of the 2013 edition will be the German-speaking countries, Switzerland, Germany and Austria. Participating projects were selected by an expert jury among 136 applications from 24 European countries. All of them are looking for potential co-production partners and will be pitched over the course of three days to an audience of film sector professionals consisting of producers, distributors, international sales agents, broadcast editors and representatives of regional film funds. The East West Forum will accompany these presentations with a series of panels and discussions on co-production-related topics, confirming the region of Friuli Venezia Giulia as a point of reference for Eastern European producers looking for Western European partners and vice versa. A novelty this year is the first WEMW Development Award, the prize for the best project awarded by an international jury consisting of Nikolaj Nikitin (FILMPLUS), Matthieu Darras (TORINO FILM LAB) and Kristina Trapp (chief executive EAVE). Additionally, projects will also compete for a grant for the participation in the next edition of the EAVE EUROPEAN PRODUCERS WORKSHOP. With a special mention is that for the first time, WEMW will receive financial support through the MEDIA Programme, a clear recognition of the value of the initiative that will enable WEMW to continue on its dynamic growth trajectory. When East Meets West is organized by the Friuli Venezia Giulia Audiovisual Fund (Fondo per l’Audiovisivo del Friuli Venezia Giulia) and the Trieste Film Festival. WEMW would like to thank its supporters and partners: MEDIA Programme, Mibac, Central European Initiative, Regione Autonoma Friuli Venezia Giulia, EAVE, MAIA. Full list of the projects to be pitched at WEMW 2013: 3 BROTHERS Director: Katalin Barsony, Producer: Marion Kurucz, ROMEDIA FOUNDATION, HUNGARY, Documentary ANISHOARA Director: Ana-Felicia Scutelnicu, Producer: Jakob Weydemann, WEYDEMANN BROS, GERMANY, Feature film APPROACH Director: Tony Likouressis, Producer: Vicky Miha, BOO PRODUCTIONS, GREECE, Feature film ASHDRIVER Director: Greg Zglinski, Producer: Lukasz Dzieciol, OPUS FILM, POLAND, Feature film CHRIS THE SWISS Director: Anja Kofmel, Producer: Samir, DSCHOINT VENTSCHR FILMPRODUKTION, SWITZERLAND, Documentary DEEP INTO THE FOREST Director: Roberto Dordit, Producer: Igor Princic, ARCH PRODUCTION/TRANSMEDIA, ITALY, Feature film FIEBER Director: Elfi Mikesch , Producer: Alexander Dumreicher-Ivanceanu, AMOUR FOU, AUSTRIA, Feature film

FIZZ, LITTLE SHOP OF JUICES Director: Stefan Tolz, Producers: Nana Djordjadze, Jana Sardlishvili, Heino Deckert, Stefan Tolz, FILMPUNKT/MAJADE, GERMANY, Feature film FLORENCE, THE CONSUL AND ME Director: Gianmarco D’Agostino, Producer: Gianmarco D’Agostino, GD FILM, ITALY, Documentary GREY CARNATIONS Director: Zijad Ibrahimovic, Producers: Andres Pfaeffli, Elda Guidinetti, VENTURA FILM, SWITZERLAND, Feature film FRAULEIN Director: Caterina Carone, Producer: Carlo Cresto-Dina, TEMPESTA, ITALY, Feature film FROM KREMONA TO CREMONA Director: Maria Averina, Producers: Martichka Bozhilova, Ana Alexieva, Erica Barbiani, AGITPROP, BULGARIA, Documentary GAY MEN STRAIGHT DICTATORSHIPS Director: Mária Takács, Producer: Julianna Ugrin, ECLIPSE, HUNGARY, Documentary IN PRAISE OF NOTHING Director: Boris Mitić, Producer: Boris Mitić, DRIBBLING PICTURES, SERBIA, Documentary JEW’S HARP – From Sicily to Yakutia, the road to rhapsody Director: Diego Pascal Panarello, Producer: Edoardo Fracchia, STEFILM, ITALY, Documentary JUST CLOSE YOUR EYES Director: Jure Pavlović, Producer: Luka Venturin, SEKVENCA, CROATIA, Feature film KALOGHERO Directors: Andrea Magnani, Davide Del Degan, Producer: Chiara Barbo, PILGRIM, ITALY, Feature film OLD RUSSIA FROM ABOVE Directors: Peter Moers, Heike Nikolaus, Markus Reher, Producer: Sven Heiligenstein, MOERSMEDIA, GERMANY, Documentary PASSPORT Director: Mihajlo Jevtic, Producer: Natalia Imaz, PARABELLUM FILM, GERMANY, Documentary PERSEVERANCE Director: Miha Knific, Producer: Sinisa Juričić, NUKLEUS FILM, SLOVENIA, Feature film RIGHT TO LOVE Director: Barbara Zemljic, Producer: Branislav Srdic, A ATALANTA, SLOVENIA, Feature film WILD Director: Shawn Convey, Producers: Gregor Streiber, Friedemann Hottenbacher INSELFILM PRODUCTION, GERMANY, Documentary Press Office claudiatomassini & associates International Film Publicity Saarbrucker Str. 24 | Haus B | 2. OG 10405 Berlin Cell it: + 334 3075056 Cell Germany :+49 173 205 5794 www.claudiatomassini.com

WEMW INDUSTRY GUESTS Supranational, national and regional funding bodies Anton Calleja EURIMAGES (COE) Enrico Jakob CINESTYRIA (AT) Esther Krausz MEDIA DESK AUSTRIA (AT) Iris Zappe-Heller AUSTRIAN FILM INSTITUTE (AT) Philippe Reynaert WALLIMAGE (BE) Corinna Marschall MEDIA DESK SWITZERLAND (CH) Laurent Steiert SWISS FEDERAL OFFICE OF CULTURE (CH) Jana Cernik CZECH FILM CENTER (CZ) Gabriele Brunnenmeyer KURATORIUM JUNGER DEUTSCHER FILM (DE) Ingeborg Degener MEDIA DESK GERMANY (DE) Britta Erich MEDIA DESK GERMANY (DE) Cornelia Hammelmann FFA (DE) Sven Ilgner FILM- UND MEDIENSTIFTUNG NRW (DE) Heike Meyer-Doring MEDIA DESK GERMANY (DE) Malika Rabahallah FFHSH (DE) Klaus Schaefer FFF (DE) Manfred Schmidt MDM (DE) Susanne Schmitt MEDIA DESK GERMANY (DE) Tamara Tatishvili GEORGIAN NATIONAL FILM CENTRE (GE) Hrvoje Hribar CROATIAN AUDIOVISUAL CENTRE (HR) Sanja Ravlic CROATIAN AUDIOVISUAL CENTRE (HR) Martina Petrovic MEDIA DESK CROATIA (HR) Agnes Havas HUNGARIAN NATIONAL FILM FUND (HU) Balazs Zachar HUNGARIAN NATIONAL FILM FUND(HU) Fabio Canepa GENOVA-LIGURIA FILM COMMISSION (IT) Federico Poillucci FVG FILM COMMISSION (IT) Cristina Priarone ROMA & LAZIO FILM COMMISSION (IT) Camilla Ravina FIP (IT) Silvia Sandrone Antenna MEDIA Torino (IT) Daniele Segre FILM COMMISSION TORINO PIEMONTE (IT) Paolo Vidali FVG AUDIOVISUAL FUND (IT) Christiana Wertz BLS (IT) Darko Basheski MACEDONIAN FILM FUND (MK) Robert Balinski POLISH FILM INSTITUTE (PL) Anastasiya Pavlovich RUSSIA CINEMA FUND (RU) Sabrina Briski MEDIA DESK SLOVENIA (SI) Jozko Rutar SLOVENIAN FILM CENTER (SI) Jelka Stergel SLOVENIAN FILM CENTER (SI) Katarina Tomkova SLOVAK FILM INSTITUTE (SK)

Broadcasters Ines Pedoth ORF (AT) Namik Kabil RTVFBIH (BA) Sven Walti SRG SSR (CH) Ulrich Brochhagen MDR (DE) Silke Heinz MDR (DE) Sabine Rollberg WDR (DE) Lucas Schmidt ZDF (DE) Soren Schumann RBB (DE)

Katja Wildermuth MDR (DE) Christine Reisen ARTE (FR) Hrvoje Juvancic HRT Croatia (HR) Hanka Kastelicova HBO Europe (HU) Lorenzo Hendel RAITRE (IT) Federico Pedroni RAI CINEMA (IT) Andrzej Fidyk TVPoland (PL) Lejla Dedic ALJAZEERA BALKANS (RS) Andraž Pöschl RTVslovenia (SI)

World sales/ Buyer Karin Haager FLIMMIT (AT) Ulrich Mueller Uri FLIMMIT (AT) Peter Jaeger AUTLOOK FILMS (AT) Sasha Wieser EASTWEST DISTRIBUTION (AT) Esther Van Messel FIRST HAND FILMS (CH) Christos Acrivulis MISSING FILMS (DE) Simone Baumann GERMAN FILMS (DE) Tassilo Hallbauer BETA CINEMA (DE) Diana Karklin RISE AND SHINE (DE) Sarah Stolle M-APPEAL (DE) Marie-Pierre Vallè WILD BUNCH DISTRIBUTION (FR) Thomas Bertacche TUCKER FILM (IT) Marco Valerio Fusco INTRAMOVIES (IT) Anja Sosic NEW EUROPE FILM SALES (PL) Miroslav Mogorovic SOUL FOOD (RS) Igor Stankovic MCF MEGACOM FILM (RS) Ivan Hronec FILM EUROPE (SK) Peter Gerard DISTRIFY (UK)

Co-Production markets Jovan Marjanovic SARAJEVO FILM FESTIVAL – CINELINK (BA) Nadia Dresti LOCARNO – OPEN DOORS (CH) Bernd Buder CONNECTING COTTBUS (DE) Nikolaj Nikitin FILMPLUS (DE) Riina Sildos BALTIC EVENT (EE)

Training organisations Giovanni Robbiano – MEDITERRANEAN FILM INSTITUTE (GR) Tamara Babun ZAGREBDOX (HR) Graziella Bildesheim – MAIA WORKSHOPS (IT) Alessandra Pastore MAIA WORKSHOPS (IT) Matthieu Darras TORINO FILM LAB (IT) Tina Trapp EAVE (LU)