Thursday, September 18, 2014

NFDC Film Bazaar 2014 Calls for Entries for the Producer’s Lab-
--The last date of submission is September 30th

NFDC Film Bazaar 2014 is calling for entries for the second edition of Producer’s Lab, a segment which was introduced in the Film Bazaar in 2013 and was a huge success.
The deadline for submission of application is 30th September 2014. This year, the NFDC Film Bazaar will be held from November 20-24, 2014 at the Goa Marriott Resort alongside the International Film Festival of India 2014.
The aim of the Lab is to provide training and networking opportunities to upcoming Independent Producers from across the world. The Lab will consist of Workshop Sessions, Case Studies and Master Classes spread over the five days of the Bazaar.
The first day of the Lab will essentially consist of a short session on Pitching and an introduction to the Lab. The next 4 days will consist of intensive sessions/classes that the participants will need to attend. At the end of each day, there will be a networking cocktail that will be attended by all the delegates attending Film Bazaar.
The non-refundable application fee for the Producers’ Lab is INR 50,000 (Rupees Fifty Thousand). Only applicants who have been shortlisted to participate at the Lab will need to pay the fees. NFDC will intimate the shortlisted applicants via email by the end of October 2014.
Applicants should have worked in the capacity of a Producer or Line/Supervising/Executive Producer on EITHER one of the following and completed the same. Projects that are under production will not be considered: Feature-length film, Short film, Documentary film, Television Commercial and TV Serial.  Applicants should be proficient in English.
The highlights of Producer’s Lab 2013: The mentors for the NFDC Film Bazaar, Producer’s Lab 2013 included the likes of Cedomir Kolar (producer – No Man’s Land; Co-producer – The Lunchbox), Clare Stewart (Director – London Film Festival), Charles Tesson (Delegue General- Semaine De La Critique / Critics’ Week at Cannes Film Festival), Ben Rekhi (IM Global), Pawan Kumar (Director- Lucia), Teresa Hoefart de Turegano (Funding Consultant- Medienboard), Urmi Juvekar (Screenwriter) amongst others.
For applications and inquires please click the following link:

Wednesday, September 17, 2014

65. Internationale Filmfestspiele Berlin (5. - 15. Februar 2015)

Press Release

Berlinale Co-Production Market:
Experienced Producers and “Berlinale Directors” May Submit New International Feature Film Projects until October 22

Until October 22, experienced producers from around the world may submit new feature film projects to the Berlinale Co-Production Market 2015. With budgets between one and twenty million euros, the projects should be suitable for international co-production and have 30% of their financing already in place.

Special this year is that “Berlinale directors” (directors who have previously shown a film in one of the Festival’s sections) may enter their new projects even if they do not meet all the Berlinale Co-Production Market’s financing criteria. Like last time, budget requirements have also been waived for Greece, Spain and Portugal in order to support producers there to participate in the international market even though the financial situation in their countries remains difficult.

By December, roughly 25 projects will have been selected from the entries for the Berlinale Co-Production Market. Another ten projects will be presented at the “Talent Project Market” in cooperation with Berlinale Talents. During the 12th Berlinale Co-Production Market (February 8-10, 2015), the team will again organise over 1000 customised one-on-one meetings for the selected projects with potential co-producers, financiers, world sales agents, distributors, as well as representatives of TV channels and funding bodies.

Some 180 feature films selected for previous Berlinale Co-Production Markets have been realised to date, i.e., more than 40% of the projects have been made into films. Eight of them have just had or will soon have their international premieres at festivals in Venice, Toronto and San Sebastian: Voice Over(directed by Cristián Jiménez), Urok/The Lesson (directed by Kristina Grozeva and Petar Valchanov), Cut Snake (directed by Tony Ayres), Dukhtar (directed by Afia Nathaniel), Challat of Tunis (directed by Kaouther Ben Hania), Chrieg/War (directed by Simon Jaquemet), The Farewell Party (directed by Sharon Maymon and Tal Granit), and Waste Land (directed by Pieter Van Hees).

The Berlinale Co-Production Market is part of the European Film Market. Since 2004 its main partner has been the MDM – Mitteldeutsche Medienförderung.

Application forms and general guidelines for submitting projects for 2015 may be found at

Press Office
September 8, 2014

as pdf-file download on our website:
Notice: Due to different versions of Acrobat Reader, problems with the PDF may occur. In the event of such a problem , just click the right mouse button (Windows) or keep mouse button pressed with the link clicked on (MacOS) until a menu appears. Then choose the "Save as" option.
65. Internationale Filmfestspiele Berlin
05. - 15.02.2015

Ein Geschäftsbereich der KBB
Kulturveranstaltungen des Bundes in Berlin GmbH (KBB)

Amtsgericht Charlottenburg HRG Nr. 96 HRB 29357

Geschäftsführung: Prof. Dieter Kosslick, Dr. Thomas Oberender, Prof. Dr. Bernd M. Scherer
Charlotte Sieben (Kaufmännische Geschäftsführerin)
Vorsitzende des Aufsichtsrates: Staatsministerin Prof. Monika Grütters MdB



Nilesh Maniyar Cameron Bailey TIFF Awards Brunch 2014 Toronto 1

Awards luncheon: Filmmaker Nilesh Maniyar, winner of the NETPAC Award for "Margarita, with a Straw" (L) and TIFF Artistic Director Cameron Bailey.

Toasts were raised to Shonali Bose’s “Margarita”  at the traditional Sunday luncheon held exclusively for the media on the day after the festival closes.  This is when the festival’s many sponsored awards in different film genres are announced,  most of them carrying sizeable cash prizes and the attention of major sales agents and exhibitors.  

“Margarita” won the NETPAC Award for Best First or Second Asian Film in a year what was rich and weighty with films from the Pan Pacific rim. The NETPAC Jury comprising Lekha Shankar (Bangkok), Hannah Fisher (Canada) and Anderson Le (Hawaii) remarked, “Margarita, with a Straw is both universal and groundbreaking. Director Shonali Bose and actress Kalki Koechlin have jointly created a character and a world that embody a love letter to life, with all its highs and lows, in spite of overwhelming physical limitations.”

Shonali had already left for her Los Angeles home. The award was collected by the film’s charged and elated co-director and producer, Nilesh Maniyar. He bounded on stage and in his speech made no bones about the leap in status and recognition the award brings to a fledgling  film made on a daunting and daring subject.

“Margarita” is on the coming of age of a spunky young girl, resigned to a wheel chair with cerebral palsy, who sets out to discover and establish her identity.  Shonali sent a message that was read out by Nilesh in which she said she had dedicated the film to her young son she lost four years ago and that he was there with her always and now to accept the award. The film, now highlighted with a Toronto glow, heads for more glory at the  Busan and BFI London film festivals.  Kudos are also to the production company, Viacom 18, for taking on a film that excels in content and creativity.

This award has gained in esteem and anticipation because in recent years it has increasingly served as a precursor for an Oscar winner  (“Slumdog Millionaire”, “The King’s Speech” and  “12 Years a Slave”).”

This year’s  People's Choice Award went to  the  US/UK film, “The Imitation Game” by Norwegian director Morten Tyldum.  The bio-pic is set in the darkest days of the Second World War when Alan Turing was a brilliant Cambridge mathematician hired by the British military to break Nazi codes. His work leading a group of misfit genius did not only shorten the war, it pushed technology to the point where computers could be imagined.  But  Turner was prosecuted for homosexuality in 1952  and died two years later. Keira Knightley portrays his close friend, Joan Clarke.  Tyldum’s earlier film “Headhunters”  which played in 2011 Toronto,  also created a stir for its gripping pace and suspense.  

It was a different Toronto this year.  For one, the weather went from high to low, hot at the outset turning to windy cold, then sudden  downpours , adding to the task of accessing the best of Toronto’s avalanche of films.  

Encompassing the gamut of genres in cinema today, the films were satisfying and well attended. But the spark that ignites a festival on an unexpected discovery, which has characterised Toronto over the years, lay dormant. There was a quieter, more reflective mood, caused perhaps by the gauntlet thrown at the thronging delegates (1200 media and 5,000 registered delegates) of close to 400 films with umpteen daily talks, meetings and master classes to be imbibed within just ten days. There was also an all-day Asian Film Summit which this year highlighted South Korea.

The Toronto film festival is highly valued by the city’s people and also the State government. This year for the first time the space around the main theatre, TIFF Bell Lightbox, became a street festival for the festival’s first four days. No traffic was permitted and the street was turned into a kind of carnival where entertainment plus food counters attracted hundreds of  people in celebration of TIFF.


Friday, September 12, 2014


Fri, Sept 12, 2014


Learning to Drive

Running themes at Toronto’s ten-day overload of close to 400 films are on the vagaries that overtake the human psyche in the course of life. The subjects vary from family and gender confrontations to identities being eroded by today’s impinging technology. Here are three examples.

Spanish filmmaker Isabel Coixet’s  “Learning to Drive” is on life  in New York city when two completely different beings are brought together in one of life’s quirky juxtapositions.  One is a classy lady who is a reputed critic and writer. The other is a down-to-earth, upright Sikh taxi-driver leading a lonely and thin-line existence in the city. They meet when the lady and her husband have a huge marital fight in the back-seat of his car. The distraught woman has just found out that her husband is leaving her for a younger woman. 

Painfully adjusting to her single status, she decides to learn driving from the Sikh in order to be able to visit her daughter in a distant suburb.  Their trysts on driving extend further into imbibing healing lessons on life for both. She finds succour in the Sikh’s unshakeable belief in religion and tradition. He learns from her open transparency and vulnerability as a woman and also her sophisticated mind and upbringing.  When his arranged marriage brings a small-town woman from India into his life he finds himself distanced from her. However, he learns to cope from looking at how his driving student has come to terms with her own domestic upheaval. 

The film’s witty dialogue and brisk script keeps the audience chuckling and responding to the couple’s strange bonding.  However, Ben Kingsley as the Sikh taxi driver and Sarita Choudhury as his home-spun wife lack conviction in their Indian roles and surrounds,  whereas the American social scene is scintillating, enhanced by the sparkling performance of  Patricia Clarkson as the stricken ex-wife.

From Chile, “I Am not Lorena”, directed by Isidora Marras, is on how a   wrong telephone number can stalk, threaten and destroy lives of ordinary people. The film centres on the young girl Olivia, an aspiring actress, who is rehearsing for a play.  She begins to worry when she gets increasingly persistent calls on her mobile for a woman called Lorena.  The calling party insists that she is Lorena and when she protests, the voice  on the other end says that she is trying to bluff  her way out of trouble.   Lorena  then tries to validate her identity but  the intractable records in the computer networks of the administrative  institutions she visits corroborate that the number is that of Lorena. Completely cornered, Olivia knows she has to unravel the mystery if she wants to lead a normal life. What ensues is an eerie web of debt and accidental imposters in the dark, shady underworld of Santiago.  The play that Olivia is rehearsing reflects the tortuous psychological space she is in and serves as comment on what the film is saying.

From France, “The New Girlfriend” directed by François Ozon, is a complicated and many-layered study of gender preferences and breaking social taboos and how both affect our behavior and choices in life. Claire and Laura have been the closest of  friends since their childhood. They remain bonded until they both marry. When Laura dies after giving birth to a daughter, Claire reaches out to her grieving husband, David.  She then discovers that David likes to dress as woman, and that Laura knew about this.  Claire then secretly becomes a party to David’s need and masquerades him in his woman’s gear as her girlfriend, Virginia. They go out together as women and Claire derives a certain satisfaction from this subterfuge. But then, David in every other way and sexually as well is a man. He begins to fall in love with Claire  and she with him.  The two then live together as girlfriends. They together raise David’s daughter and Claire is pregnant with his child.  This film is masterful and convincing as it unravels  its emphasis  on femininity and the masculine role model in many different ways. 

Courtesy: - India's first independent on-line daily which was launched on January 27, 2014.reproducing Uma da Cunha's column