What a pleasure to be back in Cannes !!! ūüíę Meet us in the Village International.
For appointments contact us:

BUCHSCOUT & SERIENSCOUT Agency offers an international film script consultancy and content creation ‚Äď from the initial idea to the finished shooting scripts. We create, search, develop and broker sophisticated series, TV or cinema movies, novel-to-film adaptations to become a unique experience and success on the national and international markets.¬†

April 7-10, Suzanne Pradel will lecture @ 1st European edition of the American Writers Lab (TWL)

BuchScout is happy to announce that Suzanne Pradel will teach at the first European edition of the successful American Writerrs lab (TWL)

The Writers Lab (TWL), the script development programme for women and non-binary writers over 40.

The non-profit initiative will run virtually from April 7-10, and is designed to discover an intersectional range of diverse new voices in the film sector. The successful participants will be connected with leading screenwriters and producers in the industry. 17 writers from 13 countries have been selected.

Mentors and guests include directors Susanne Bier (The Night Manager), Jasmila ŇĹbanińᬆ(Quo Vadis, Aida?), Isabel Coixet (Secret Life Of Words), Nadine Labaki (Capernaum),¬†Agnieszka Holland (Europa Europa),¬†producer and writer Jantje Friese (Dark), playwright and writer Christina Ham (Them), and producer¬†Ameenah Ayub Allen¬†(Rocks, Ali and Ava), script consultant Suzanne Pradel (BuchScout Agency).

TWL Europe is produced by co-founders Elizabeth Kaiden and Nitza Wilon in partnership with Untamed Stories, lead by Julia Berg and Ruth Spencer. The UK and Ireland TWL programme backed by Cate Blanchett¬īs Dirty Films was launched last year, whilst the US iteration¬†started in 2015, is produced by¬†NYWIFT¬†and counts Meryl Streep and Nicole Kidman among its supporters.

The 17 participants of The Writers Lab Europe 2022:

  • Regine Anour,¬†Underdoc (Comedy, Austria)
  • E Coleman,¬†Dumas¬†(Historical Drama, Switzerland)
  • Ilaria Freccia & Bebetta Campeti,¬†Hold Me Tight¬†(Feature Drama, Italy)
  • Mumta Mala Ghedia,¬†No Monsters in Berlin (Drama, Germany)
  • Virginie Gourmel,¬†Concussion¬†(Feature Thriller, Brussels – Belgium)
  • Tuija Halttunen,¬†Hard Boiled Eggs¬†(Feature Comedy, Finland)
  • Orla Hannon,¬†Bereft of a Talisman¬†( Drama, Ireland)
  • Marta Hopfer-Gilles,¬†Good Enough¬†(Comedy, Norway)
  • Nicole van Kilsdonk & Marijke Schermer,¬†Breakwater¬†(Feature Drama, Netherlands)
  • Tereza Kotyk,¬†Faith: A Fair Balance of Pain¬†(Feature Drama, Austria)
  • √Ālfr√ļn √Ėrn√≥lfsd√≥ttir,¬†Shitballs¬†(Feature Comedy, Iceland)
  • Carlota Pereda,¬†The Blondes¬†(Feature Comedy/Thriller, Spain)
  • Ninon Schubert,¬†The Plague Doctor¬†(Feature Horror, Germany)
  • Raquel Stern,¬†Imperfect Cadence¬†( Comedy, Germany)
  • Francesca Tasini,¬†Unclean¬†(Drama, Italy)
  • Dorotea Vucic,¬†Hadi¬†( Sci-Fi, Croatia)
  • Agnieszka Zwiefka,¬†She¬†(Feature Drama, Poland)

Welcher Roman eignet sich zur Verfilmung?

Wussten Sie. dass mehr als 80% der erfolgreichsten Filme auf Romanen basieren?

Aber welcher¬†Roman eignet sich zur Verfilmung? Wie √ľbersetze ich den Text in einen gelungenes audiovisuelles Erlebnis, dass ein Hit an der Kinokasse wird?
Eine erfolgreiche Adaption fordert nicht nur eine richtige Einschätzung des Potenzials, sondern auch viel Geschick in der Umsetzung. 

Die BuchScout Agentur ist¬† seit 2009 spezialisiert auf die¬† Evaluierung von Romanen und begleitet Produzenten in ganz Europa bei der dramaturgischen Umsetzung ihrer Kinohits – ¬†so wie unter anderem auch bei den Zuschauermillion√§ren im Kino: „Ich bin dann mal weg“ oder „Hanni und Nanni“)

Vera Feb 22:Dreams Of The Sea # Ingmar Bergmann Competition @ Göteborg Film Festival

BuchScout is happy to announce that¬†„Vera Dreams of the Sea“ premieres in #Sweden this #February– We are honored that our film is selected in #IngmarBergmanCompetition of the 45th edition of G√∂teborg Film Festival
In selectors words:
‚ÄúThe moving feature film debut is a sophisticated portrayal of female compliance and empathic capabilities in collision with a male honour code.‚ÄĚ

More information:



BuchScout is pleased to announce that the dramatic thriller¬†„VERA DREAMS OF THE SEA„, dramaturgically supervised by Suzanne Pradel, has begun its successful journey around the world:¬†

Italy –¬†La Biennale di Venezia¬†
Awards: ‚≠źÔłŹInclusion Edipo Re Award & ‚≠źÔłŹAuthors under 40 Award – Orizzonti Competition at Venice 2021
Japan –¬†Tokyo International Film Festival 2021
Award: ‚≠źÔłŹGrandPrix – Tokyo International Film Festival 2021¬†
Greece- Thessaloniki International Film Festival 2021
Award: ‚≠źÔłŹSpecial Jury Prize | Silver Alexander in Meet the Neighbors Competition at 62nd Thessaloniki International Film Festival
Slovakia –¬†Cinematik International Film Festival 2021
Germany –¬†Mannheim – Heidelberg Film Festival 2021
France –¬†Arras Film Festival 2021
Luxembourg. –¬†CinEast Film Festival 2021
USA –¬†AFI Fest 2021
Brazil –¬†Mostra Internaticional de Cinema / Sao Paulo International Film Festival 2021
Bosnia and Herzegovina –¬†Sarajevo Film Festival 2020 ¬†¬†
Award: ‚≠źÔłŹPost Republic Award – 26th Sarajevo Film Festival

Read more about the film:

Director: Kaltrina Krasniqi
Production: Isstra Creative Factory (Shkumbin Istrefi), Dream Factory (Ognen Antov), Papadhimitri Production (Dionis Papadhimitri)
Screenplay: Doruntina Basha
Script Consultant: Suzanne Pradel (BuchScout Agency Berlin)
Country: Kosovo, Albania, North Macedonia
Main Cast: Teuta Ajdini Jegeni, Alketa Sylaj, Astrit Kabashi, Refet Abazi, Arona Zyberi
Cinematographer: Sevdije Kastrati
Editor: Vladimir Pavlovski, Kaltrina Krasniqi
Production Designer: Burim Arifi, Blendina Xhema
Costume Designer: Albulena Borovci
Music: Petrit Çeku, Genc Salihu
Sound: Igor Popovski, Darko Spasovski

The first Kosovar film to World Premiere in La Biennale di Venezia, wins the Inclusion Edipo Re Award and the „Female Authors Under 40“ Award!

BuchScout is happy to announce that the Film VERA DREMAS OF THE SEA premiered at¬†La Biennale di Venezia, wins the Inclusion Edipo Re Award and the „Female Authors Under 40“ Award!

Director: Kaltrina Krasniqi
Screenplay: Doruntina Basha
Script Consulting: Suzanne Pradel (BuchScout Agency)
Camera: Sevdije Kastrati
editor: Vladimir Pavlovski, Kaltrina Krasniqi
Music: Petrit Çeku, Genc Salihu
Actors: Teuta Ajdini, Alketa Sylaj, Astrit Kabashi, Refet Abazi
Production: Isstra Creative Factory, Vera Films, Dream Factory and Papadhimitri Film Production

„Vera dreams of the sea“ erh√§lt den Post Republik Award auf dem 26. Sarajevo Film Festival

Der von Suzanne Pradel (BuchScout Agentur) dramaturgisch betreute dramatische Thriller ‚ÄěVera dreams of the sea‚Äú¬† hat auf dem 26. Sarajevo Film Festival im August 2020¬†den¬†POST REPUBLIC AWARD¬†in H√∂he von ‚ā¨50.000.- erhalten.
Regisseurin:             Kaltrina Krasniqi
Produktion.              Isstra Creative Factory
Autorin:                     Doruntina Basha
Script Consultant:   Suzanne Pradel


Start of EWA’s „Female Scriptwriter’s Residency“ in Berlin

Beginning of the „4th Female Scriptwriter’s Residency of the European Women’s Audiovisual Network“ in Berlin.
The international script consultant Suzanne PRADEL will work with Oonagh KEARNEY is a Irish screenwriter and filmmaker and Celia Rico CLAVELLINO is a Spanish screenwriter and filmmaker on their next cinematic feature films.
EWA’s Female Scriptwriter’s Residency is an initiative dedicated to supporting the career of the next generation of screenwriting talents. It helps them to enter the industry with the best script (feature films only)¬†possible by working on the strategic positioning of their project.¬†Its purpose is to give¬†a selected woman scriptwriter or director the¬†opportunity to be mentored by a script consultant, to work with her before the Berlinale and to attend¬†the EFM¬†at the¬†Berlinale 2020 to make connections.

Spielfilm „DU BIST DRAN“ mit Lars Eidinger bis zum 29.02.20 in der ARD Mediathek

Eines der von mir dramaturgisch betreuten Lieblingsprojekte l√§uft wieder in der ARD Mediathek (bis zum 29.02.2020): „DU BIST DRAN“ mit Lars Eidinger in der Hauptrolle; Buch & Regie: Sylke Enders; Premiere auf dem Filmfest M√ľnchen 2013; hochgelobt von der Kritik als Qualit√§tsfernsehen. Juliane Bartels Preis 2014.
Viel Vergn√ľgen!!

Finalist EWA Scriptwriters‘ Residency 2020

I look forward to be working with two of these talented female screenwriters during the Berlinale residency of the European Women’s Audiovisual Network (EWA). Selection will be out soon.

Celia Rico, The Little Loves

Celia Rico Clavellino (1982) is a Spanish screenwriter and filmmaker graduated in Media Studies and Comparative Literature. She also has a postgraduate in Script Editing and a PhD in Film Theory.

‚ÄúJourney around a Mother‚Äôs Room‚ÄĚ her first feature film, premiered at San Sebastian Film Festival in 2018. The script participated in the Script Station of Berlinale Talents 2015. Her previous work as a director was ‚ÄúLuisa is not home‚ÄĚ, a short film that participated in the Official Selection of La Biennale di Venezia, in the Cannes Short Film Corner and in other important national and international film festivals. Between other awards, it won a Gaud√≠ (Catalan Cinema Academy Awards) as a best short film in 2013.

She is the scriptwriter and co-director of the project „Mironins“, an animated TV series for kids (currently in development) with the collaboration of Joan Mir√≥ Foundation. Celia¬†has worked as an assistant to Claudia Llosa, and was the Second Unit Director on her latest film, ‚ÄúAloft‚ÄĚ. She has directed the project ‚ÄúFilm Diaries‚ÄĚ, an experimental documentary project for old women social integration, in collaboration with La Caixa Foundation and Barcelona City Council.

She has worked for several Spanish film companies such as Arcadia Motion Pictures (‚ÄúBlancanieves‚ÄĚ, ‚ÄúAloft‚ÄĚ, ‚ÄúBlackthorn‚ÄĚ) or Oberon Cinematogr√†fica (‚ÄúThe Milk of Sorrow‚ÄĚ, ‚ÄúChildish Games‚ÄĚ, ‚ÄúElisa K‚ÄĚ).


Ani (70) takes a fall walking her dog and breaks her femur. Her daughter Teresa (42), who lives in the city, changes her vacation plans and moves into her mother’s house in the countryside to look after her until she can walk again.

For the first time in many years, mother and daughter spend day and night together. The mother is completely dependent on her daughter, who is useless at housework, and the daughter fully immerses herself into the temporality of her mother, whose griping is insufferable. To make matters worse, the heat is suffocating, and the threat of a summer storm looms heavily in the air they breathe, already dripping with mutual disapproval, memories, and the constant doubting of each other‚Äôs decisions. Teresa, childless and without a steady partner, ferociously defends her independence. Ani, widowed and with the sole¬†company of her dog ‚Äďwho‚Äôs been missing since her fall‚Äď, still harbours the hope that her daughter will not be alone in the future. Otherwise, who will look after her when she, too, takes a fall in her old age?

Geraldine Creed, WANT

She is a filmmaker and writer with vast experience of both drama and documentary production. My most recent documentary Mercury 13 was made for Netflix in 2018. My promo for the film won the ‚ÄúCuban Hat for Best Pitch‚ÄĚ at the Hot Docs International Documentary Festival, Canada in 2015. I have a keen sense of narrative and an exceptional visual flair. My experience of film and media production is extensive from feature films to factual and observational documentaries to arts and history documentaries. Currently, I am developing two feature film scripts Want ( formerly Nightcrawler) and Mercury Rising, both have received financial support from Screen Ireland.


Jess Whelan has an eating disorder. Her mother, a nurse, cannot accept this. They are trying to rebuild their lives after Jess’ latest hospitalisation. Single parent, Bee works shift hours in a local old folks home while Jess returns to school but is expelled for putting her hand through a window. When a tree is felled on their housing estate, Jess finds an old ivory comb nearby. She also finds Anna, a brash and out-going ally. The girls attempt to out do each other with obsessive starvation. They meet Red (a local council worker), at a niteclub. Red takes things too far with Anna.

Meanwhile, Bee is getting grief from the bank and education officers but still no support for Jess, who is on a waiting list for a referral to a psychologist. Bee decides to investigate returning home to Canada ‚Äď at least they‚Äôll get more support for Jess there. Red turns up at Jess‚Äô house and rapes her, Anna helps her kill him. They bury¬†the body in the area where Jess found the ivory comb. Jess meets Billy, a local boy¬†who tells her that the school and surrounding housing estate used to be a workhouse in famine times. Bee wears the ivory comb to work one evening and an elderly patient tells her it should be put back where it was found, no good will come of it, its a death¬†comb, she warns. One evening, Billy and Jess discover the cops digging up the green area. When Jess hears a body has been found, she panics. At home, Bee is waiting for¬†her. She has uncovered Jess‚Äô diary and realises that her daughter is in a psychotic state. Anna and Jess are one and the same person. With the police closing in, Bee decides to make a break for Canada earlier than planned. At the airport, Bee and Jess hear that a famine burial mound has been revealed on the site where Red was buried.

A jet stream rises high into the sky, the famine woman looks up and smiles, we see blood dripping from her mouth. Beside her, in the bushes, sits Red’s baseball hat.

Katharina Suckale, BETWEEN OUR WORLDS

After her masters at the University Paris IX, Dauphine Katharina started in film distribution and sales at MK2 РMarin Karmitz in Paris 1988, moving to film production in Toronto, Canada, where she got to know the American film business. She has been working on the sets in feature film and TV-production in Europe over 16 years, also directing documentaries, short and experimental films.
Furhermore, she was producing under her own banner in Germany, France, Italy, Africa and India. She developed and wrote feature films for the cinema and developed concepts for TV and internet in cooperation with German, French, Italian and Indian producers, channels, studios and web platforms. 2011 she founded the production company Bombay Berlin Film Productions with Arfi Lamba, based in Berlin, Germany and Mumbai, India.


The deserted countryside of Maharashtra. An Indian farmer, his wife and four children are eating plain rice in their small hut. Suddenly he starts vomiting and dies on the spot. While his wife still desperately tries to save him, her son discovers that his father has put pesticides in his own rice.

Johanna (35), a warm-hearted and ambitious lawyer is working in Berlin, where the Rondo headquarters are based in a majestic skyscraper at Potsdamer place overlooking the city. As the most senior lawyer at Rondo, she will fight a case in which Rondo is accused of suicides committed by 300.000 Indian farmers between 1998 and now, as a result of the companies genetically modified, high yield seed schemes. Being informed by her boss Mr. Schneider (65) that she is a runner up for the Board of Directors, this case is a great chance to push her career, or break it.

At the steps of the International Court of Justice in The Hague she has a first encounter with her opponent Shaantanu (39), at which Johanna makes it clear that it is not Rondo Agricorp, but the corrupt Indian political system, the uneducated farmers and the greedy moneylenders that have caused the wave of suicides.

Kirsi Liimatainen, with TERKKU

Kirsi Marie Liimatainen was born in Finland in 1968. She has MA degree in Theatre and Drama studies of the University of Tampere. From 1991-1999, she worked as an actress in films, television and in theatres in Finland.
From 1999-2006, she studied directing at the Potsdam-Babelsberg Academy of Film and Television.¬†Kirsi¬†Marie Liimatainen was awarded scholarships by the DEFA-Foundation, the Nipkow-Program, the Academy of Arts in Berlin, the Finnish Cultural Foundation and took part in the Residence program of the Cannes film festival, C√ČCI, Binger Film Lab, Torino Film Lab and the Residence program Saari of the KONEFoundation.


KERTTU (65) comes to the end of her career as a Finnish language and literature teacher in a high school in Southern Finland. Retirement brings long awaited freedom, but also a surprising feeling of loneliness. Kerttu’s husband, SEPPO (67) is still working as a specialist in paper mill engineering and often travels abroad. Kerttu’s grownup daughters, SOFIA (35) and ANNA (32) have their own busy independent lives. Anna is pregnant and even though Kerttu knows her daughter will soon need help with the baby, she feels that her life has become meaningless. She wonders what happened to the young idealistic hippie couple Рshe and her husband Seppo Рand how they became middle class, overweight and old.

Out shopping in the city center with her best friend PIRKKO (63), Kerttu meets PEKKA (32) who is collecting money to help asylum seekers. Pekka tells the women that he is doing a volunteer job at a local reception center. Pirkko is skeptical, but Kerttu is impressed by his youthful idealism. When Kerttu takes the leaflet in her hand, little does she know that everything she takes for granted will be changed forever.

Kerttu and Pekka get to know one another and despite the fact that Kerttu’s husband and her daughters are opposed to the idea, Kerttu starts working as a Finnish language teacher at the reception center. When an Afghan family is threatened with forced repatriation, Kerttu takes action. Together with Pekka, Kerttu hides the family in a summer cottage on the outskirts of the city. Kerttu‚Äôs husband Seppo gets wind of the plan and threatens to report her to the police. The married couple ‚Äď former members of the ‚Äô68 student movement – now stand against each other, no longer side by side.

Oonagh Kearney, with SNOW on BEARA

With a BA in English and Philosophy from University College Cork and M.Phil in Irish Theatre from Trinity College Dublin, Oonagh’s passion for directing was sparked when she got the job as casting director to Ken Loach on his Palm d’Or winning THE WIND THAT SHAKES THE BARLEY in 2005. Since graduating from the NFTS in London, Oonagh has written and directed several award-winning short films, a Reel Art funded feature documentary and TV pilot for RTE. She shadow-directed on the comedy drama series CAN’T COPE WON’T COPE with Deadpan Pictures in 2016 and her most recent short film FIVE LETTERS TO THE STRANGER WHO WILL DISSECT MY BRAIN won Best Director of an Irish Short at the 2018 Cork International Film Festival, Discovery Award and Best Irish Short film at the 2019 Dublin International Film Festival, and Best Short Screenplay at the Irish Writers Guild Awards in June 2019.

As a writer,¬†Oonagh¬†has participated¬†in several Screen Skill Ireland initiatives, Berlinale Talents, She Writes and the ‚ÄėApulia Experience‚Äô a five-week international TV writing workshop.¬†Oonagh‚Äôs¬† feature screenplay SNOW ON BEARA was selected for the Athena IRIS Screenplay Lab in NYC and the BBC Drama Writers Room in 2017 and is in development with Screen Ireland. From January to May 2019,¬†Oonagh¬†was writer-in-residence at Carlow College.


In the wilds of Beara, a remote peninsula in West Cork, three women, English surgeon ESTHER (44), local postmistress NELL (36) and local teenager JO-JO (19), meet on a cliff following a near fatal car accident. While trying to get to the nearest village to find Esther a place to stay, things don’t go to plan and they end up stuck on Nell’s tractor looking for shelter to ride out a massive snow storm. Set in the forty-eight hours when their chaotic lives overlap, we are brought on a wild journey through their personal crises, all of which relate to mothering. To survive the night, they must not only work together, but support each other, as they face painful truths about themselves, the past, and the lives they still hope to lead. In Ireland, snowstorms are rare.