Interview with the film director Ivona Juka

See the INTERVIEW with IVONA JUKA (director of YOU CARRY ME which has been awarded with 14 international awards and available on Netflix) talking about her experience working with me as a script consultant on her new project WOLF IN LAMBSKIN during the  (ewa) in Berlin- a great initiative to support female filmmakers.

https://www.ewawomen.com/ewa-network/ivona-juka-at-the-ewa-network-scriptwriter-residency/


Berlinale 2019 – 3. Female Scriptwriter´s Residency @ EFM

It was great to work as a script consultant with the award winning screenwriter and director IVONA JUKA from Croatia (director of „You carry me“ on Netflix) on her new project during the „Female Scriptwriter Residency Programme“ of the European Womens´s Audiovisual Network (EWA) – a great initiative dedicated to supporting the next generation of screenwriting talents among EWA members.
It helps them to enter the industry with the best script 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 the script consultant SUZANNE PRADEL, to work with her before the Berlinale and to attend the EFM at the Berlinale to make connections.

Photo: Anita Juka, Alessia Sonaglioni, Ivona Juka, Suzanne Pradel


SerienScout @ Berlinale – Drama Series Days

SerienScout ist Ihr Partner bei der Entwicklung von herausragenden Serien
Suzanne Pradel hat im Januar 2018 die SerienScout Agentur gegründet. Wir suchen, entwickeln und bearbeiten dramaturgisch originelle Serienprojekte für den nationalen und internationalen Markt.

SerienScout versteht sich als Creative Content Developer
Die SerienScout Agentur screent regelmäßig den Buchmarkt nach den neuesten erzählerischen und thematischen Trends. Unsere langjährige Erfahrung als Dramaturginnen und Gutachterinnen sowie der Besuch von Messen und Festivals gibt uns weitreichende Einblicke in das aktuelle Filmgeschehen auf dem europäischen Markt. Dieses Wissen kommt Ihnen zugute, weil es mit in unsere Beratung einfließt.
Wir beliefern Sie mit herausragenden neuen Stoffideen – seien es Originalideen oder Adaptionen – und erstellen marktfähige Konzeptpapiere für die Suche nach Partnern.
Wir beraten den Entwicklungsprozess Ihrer Serie von der ersten Idee bis zu den fertigen Drehbüchern nicht nur dramaturgisch, sondern auch die strategisch zielgerichtete Konzeption, so dass Ihre Serie so innovativ wie hochwertig und vor allem international tragfähig gestaltet ist.

SerienScout ist Ihr Partner bei der Entwicklung von Originalstoffen
Agentur: Wir vermitteln Ihnen Serienkonzepte, die wir aufgrund ihres Potenzials für den nationalen und internationalen Markt in unseren Rechtekatalog aufgenommen haben und die wir als Creative Developer in Ihrem Auftrag gemeinsam mit den AutorInnen bis zum drehfertigen Buch entwicklen.
Scriptconsulting: Wir begleiten dramaturgisch ergebnisorientiert die Entwicklung von Konzepten oder einzelner Folgen – vom Lektorat über die Script Analyse bis hin zur dramaturgischen Betreuung einer ganzen Staffel.
Autorensuche: Wir unterstützen Sie bei der Suche nach passenden nationalen wie international erfahrenen AutorInnen für Ihre Serie.
Serienkonzept: Wir konzipieren, überarbeiten und schreiben Ihnen ein markttaugliches Serienkonzept.

SerienScout ist Ihr Partner bei der Adaption von Romanen
Romansuche: Wir suchen für Sie Ihrem Produktionsprofil entsprechend Romane auf dem Buchmarkt zur seriellen Vermarktung.
BuchMarktÜbersicht: Wir beliefern Sie mit aktuellen Trendlisten vom Buchmarkt.
Romanrechtevermittlung: In seltenen Fällen bieten wir Ihnen direkt Romanrechte von Romanen, die wir aufgrund ihrer aussergewöhnlichen Thematik oder künstlerischen Besonderheit in unsere Agentur aufgenommen haben und die sich seriell vermarkten lassen.

SerienScout verbindet Sie international mit den richtigen Partnern
Die SerienScout Agentur behält einen fürsorglichen Blick über die reine Stoffentwicklung hinaus, denn wir stehen Ihnen weiter mit Tat und Rat zur Seite. Sie profitieren von unserem über viele Jahre hinweg aufgebauten europäischen Netzwerk. So unterstützen wir Sie bei der Suche nach den passenden und vertrauenswürdigen europäischen PartnerInnen (KoproduzentInnen, AutorInnen, RegisseurInnen, AnwältInnen…).

SerienScout sorgt auch viral für die notwendige Aufmerksamkeit
Die SerienScout Agentur verbreitet und bewirbt wichtige Neuigkeiten unseres gemeinsamen Projektes in den sozialen Netzwerken.

Dafür steht SerienScout
gesellschaftlich relevant – erzählerisch durchdacht – ökologisch-politisch visionär – ethisch-philosophisch inspiriert – kulturell seismographisch – audiovisuell revolutionär – artistisch originell

 

Kontakt: 

   

   Suzanne Pradel
   info@serienscout.net

   www.serienscout.net

 


First European Anti-War Film By An Award Winning Female Writer/Director In Development

Happy to work with the award winning Croatian writer/director IVONA JUKA (director of „You Carry Me“) on the new script for her Anti-War film.

Hrvatski branitelji su oslobodili državu, a još nije napravljen ni jedan film o pobjedi‘: domaća redateljica otkrila zašto je za temu odabrala oslobodilačku akciju Maslenica

 Na jesen počinje snimanje filma o oslobodilačkoj akciji “Maslenica ’93”, potvrdila je to za medije producentica Anita Juka na obilježavanju dana ove vojno-redarstvene operacije u Zadru 21. siječnja. Potvrdila je, također, da će redateljica filma biti njezina sestra Ivona Juka koju javnost možda najviše pamti po filmu „Ti mene nosiš“, ujedno i prvom hrvatskom filmu koji je platforma Netflix otkupila za prikazivanje u cijelom svijetu.

Ono što je sestre posebno privuklo da priču o „Maslenici“ dovedu i na veliko platno, jest činjenica da još nije snimljen ni jedan igrani film o ovoj vojnoj operaciji te da je to bila pobjednička bitka, a dosad ni jedan hrvatski film nije obradio hrvatsku ratnu pobjedu. Redateljica Ivona Juka trenutno se nalazi u Berlinu na usavršavanju scenarija za navedeni film te proučava autentično gradivo iz Domovinskog rata kako bi se temeljito pripremila za ovaj novi veliki projekt o kojem nam je u razgovoru otkrila zanimljive pojedinosti.

Kako to da ste za snimanje ratnog filma odabrali upravo „Maslenicu“, a ne neku drugu akciju Domovinskog rata, primjerice, „Oluju“? Namjeravam napraviti film iz perspektive branitelja, aktivnih sudionika Domovinskog rata, stoga sam istraživala koju vojnu operaciju da uzmem kao okvir za filmsku priču. U istraživanju, tražila sam bitku koja je pobjednička, jer napokon hrvatski branitelji su pobijedili u Domovinskom ratu, oslobodili Hrvatsku, a do sada još nije napravljen niti jedan film koji govori o pobjedi. S obzirom na moje istraživanje i namjere, povjesničar dr. sc. Ante Nazor mi je sugerirao Maslenicu, jer je upravo operacija „Gusar“, popularno zvana „Maslenica“ bila prekretnica u oslobađanju okupiranih teritorija Hrvatske. Oslobađanje masleničkog područja nije bilo značajno samo kao povrat teritorija, povezivanje sjevera i juga Hrvatske, već i za daljnji tijek oslobađanja cijele Hrvatske. Bez pobjede na Maslenici, pitanje je bi li bilo „Oluje“ ili kakve već vojne operacije. Nakon Maslenice međunarodna zajednica je shvatila da Hrvati neće pristati na pregovore o kompromisima oko okupiranih dijelova Hrvatske, da će se itekako boriti dok se ne oslobodi cijela zemlja, dakle „Maslenica“ je utjecala i na pregovore o mirnim integracijama.

Često se o „Maslenici“ govori kao o najkrvavijoj bitci Domovinskog rata u kojoj je u zadarskom zaleđu poginulo 127 branitelja. Možete li nam otkriti što će biti u posebnom fokusu filma? Hoće li to biti film o herojstvu? Scenarij se ne bavi cijelom vojnom operacijom „Maslenica“, jer je toliko opsežna da se ne može obuhvatiti jednim filmom. U toj bitci Domovinskog rata sudjelovali su branitelji s područja cijele Hrvatske i iz različitih postrojbi, a trajala je mjesecima, pa bi cijela bitka zahtijevala vrijeme tv serije. U mojem fokusu je trenutno područje Kašića i Novigrada, gdje su bili najžešći udari srpskih specijalnih postrojbi i nekadašnje JNA i gdje je bila ogromna razlika između hrvatskih i srpskih snaga. Fascinantno je kako su hrvatski branitelji uspjeli odbiti napade značajno nadmoćnih brojčano i po oružanju srpskih vojnika. Naravno, to je odmah priča o nevjerojatnom herojstvu. Međutim, želim napraviti i antiratnu priču, ali bez ulizivanja „tko nas zavadi“ i sličnih pamfleta, već s porukom o vrijednosti mira, mostovima suradnje, prijateljstva koje trebamo graditi sa susjedima Srbima, ali s dostojanstvom, ljubavlju prema svome i poštovanjem prema drugima. Ne želim napraviti film koji će biti samo puka besmislena akcija, s mnogo smrti koja ne vodi nikamo. Napokon, hrvatski branitelji su se i borili za mir.
Kako teku pripreme za snimanje, s kim razgovarate, izlazite na teren, rekonstruirate događaj? Jeste li možda razgovarali i s generalom Gotovinom?

Razgovarala sam s mnogim braniteljima iz različitih postrojbi, i pošto trenutno radim u Berlinu, nemam vremena pitati dopuštenje mogu li ih navesti. Osim razgovora u uredu, s pripadnicima 4. gardijske brigade, 3. gardijske brigade, 2. gardijske brigade i domobranima sam bila i na terenu gdje se odvijala bitka. Naravno, bilo je i sudionika drugih postrojbi. Izuzetno mi je dragocjena pomoć Danijela Kotlara, koji je svim srcem podržao projekt. On je jako zanimljiv čovjek, Zadranin, obrazovan, dragovoljac Domovinskog rata, poznaje umjetnost i ima sjajan ukus za glazbu, od rocka do jazza pa sve do soula, što je važno kad s nekim provedete mnogo vremena u automobilu, obilazeći lokacije gdje su se odvijale borbe. Preko njega sam upoznala još mnogo zanimljivih ljudi čija su mi svjedočanstva bila od pomoći da stvorim autentičnu sliku operacije. Mnogo mi je pomogao i Tihomir Bakarić, sudionik Maslenice, a također domaći s tog područja, koji jako dobro poznaje operaciju, teren i ljude.
Je li vas neka situacija ili osoba posebno fascinirala tijekom priprema za film?

Mnogo me toga me fascinira, ali ajmo ostaviti to za film.

Jeste li, ili možda tek namjeravate, razgovarati s pripadnicima srpskih postrojbi? Svakako, ali trenutno sam na stipendiji u Berlinu, gdje brusim novu verziju scenarija sa Suzanne Pradel, konzultanticom za scenarij, a koja vodi i uglednu agenciju za scenariste u Berlinu. Osim rada s njom, koji je vrlo intenzivan, ova stipendija je značajna, jer stipendiju dodjeljuju samo jednoj osobi godišnje, a u okviru programa, predstavit će naš projekt o „Maslenici“ u Berlinu njemačkim i stranim producentima, tako da se nadamo međunarodnoj koprodukciji. Čim se vratim iz Berlina, namjeravam kontaktirati ljude koji mi mogu pomoći da razgovaram s pripadnicima srpskih postrojbi. Do njih nije lako doći, ljudi se boje, nemaju povjerenja, ali meni zbilja nije namjera prikazati ih kao karikature niti kao psihopate. Uostalom, bilo kakvo ponižavanje protivničkih vojnika, ponižava i hrvatske branitelje. Hrvatski branitelji na Maslenici su se borili protiv vrlo obučenih i dobro naoružanih srpskih vojnika koji su bili opasni i jako dobri borci.
Koji je vaš dojam o dosadašnjoj produkciji filmova ratne tematike u Hrvatskoj? Hoće li se vaš film o Maslenici razlikovati od ostalih i po čemu posebno?

Nadam se da moj film neće ni malo sličiti na hrvatske filmove. Prezirem oportunizam nekih naših autora i već tu nema ni malo sličnosti između njih i mene. Trebate ih vidjeti na festivalima kad su daleko od zemlje, čuti što pričaju i kako opisuju ovu zemlju. Dok ih tako slušam kako su ugroženi, kako se tobože bore za ljudska prava, dođe mi da ih pitam: “Od čijih ste hrvatskih kuna napravili te filmove koji su tobože hrabri u Hrvatskoj?

Kako možete biti ugroženi od onog tko vas financira?“ Naravno, naučila sam da nema smisla da s njima raspravljam, radije ću uložiti svu energiju u film koji pripremam i pred kojim strahujem. Strahujem zbog opsežne i komplicirane, teške teme, strahujem, jer je silno skup, težak logistički, produkcijski iznimno složen i zahtjevan. No, branitelji mi govore „tko ti kaže da ga nije bilo strah, taj laže“. Strahujem, ali dat ću sve od sebe da ovaj film bude doista hrabar.
Je li već poznata glumačka postava ili bar netko od glavnih aktera? Što nam smijete otkriti?

Razmišljam o mnogim glumcima, ali još uvijek se ne bavim podjelom. To je tek preda mnom. No, glavni protagonisti će trebati proći vojnu obuku, jer je radnja iz perspektive vojnika na bojištu, pa će i to vjerojatno biti izazovno za neke glumce.


BuchScout & SerienScout Weihnachtsnewsletter

Liebe Geschäftspartner, Kollegen und Freunden,

wieder geht ein aufregendes Jahr zu Ende. 

Anbei übersenden wir Ihnen einen kurzen Überblick über unsere diesjährigen Aktivitäten, denn neben unserer vertrauensvollen Zusammenarbeit mit Produktionsfirmen, Regisseuren, Autoren, Drehbuchautoren, Sendern, Förderern und Verleihern, an anspruchsvollen TV- und Kinofilmen, hat sich viel Neues getan. So haben wir unseren Arbeitsbereich auf serielles Erzählen ausgedehnt und Drehbuchautoren mit ihren Projekten bei uns aufgenommen.

BuchScout wünscht Ihnen besinnliches Weihnachtsfest und für das Neue Jahr unzählige glückliche Momente! Wir bedanken uns für Ihr Vertrauen und freuen uns darauf, mit Ihnen neue spannende Projekte aus der Wiege zu heben.

Ihr BuchScout & SerienScout Team

Gründung der SerienScout 

Suzanne Pradel hat im Januar 2018 die SerienScout Agentur für seriellen Content gegründet. Zusammen mit der Seriendramaturgin, Katrin Merkel, sucht, entwickelt und bearbeitet das SerienScout Team dramaturgisch originelle Serienprojekte für den nationalen und internationalen Markt. SerienScout versteht sich als Creative Content Developer.

2nd Female Scriptwriter Residency 2018

Zum 2. Mal betreute Suzanne Pradel die 1-monatige “Female Scriptwriter Residency “ des European Women’s Audiovisual Network in Berlin. Diese Kooperation mit EWA wird 2019 fortgesetzt.
Interview mit der diesjährigen Gewinnerin Andrea Culkowahttps://www.ewawomen.com/interviews/andrea-culkova-about-ewa-network-s-scriptwriter-s-residency/

Workshop: This is a man’s and a woman’s world

Auf dem EAVE Producer Workshop hinterfragten die Dramaturginnen Simona Nobile und Suzanne Pradel die patriarchalischen Denkmuster im filmischen Erzählen und zeigten in ihrem Workshop Wege auf, diese zu durchbrechen.

23. Filmfest Türkei Deutschland

Die Jury vergab den Preis für den besten Spielfilm an Christian Petzold für seinen Kinofilm „TRANSIT“; Ender Özkahraman gewann den Spezial Preis der Jury für seinen Film „EINE SCHWIERIGE ENTSCHEIDUNG“. Sener Senerhielt den Preis für den besten Schauspieler und Stephanie Amarell den Preis für die beste Darstellerin

6. Bosphorus Film Festival 2018

Auf dem Panel „Principles of Screenwriting“, den die Drehbuchautorin Selin Tunc moderierte, diskutierte Suzanne Pradel zusammen mit ihren Kollegen über die Veränderungen des filmischen Erzählens.
Die Jury der „Pitching Platform“ vergab den TRT Co-production Award an den Regisseur Ümit Köreken und der Digiflame VFX Post Production Support Award ging an Korhan Günay and Canan Çelik.

Jury: Faruk Güven (TRT), Suzanne Pradel, Dervis Zaim (Regisseur).

SERIENSCOUT AT BERLINALE

Suzanne Pradel und Katrin Merkel

EWA AT BERLINALE

(v.l.n.r.) Suzanne Pradel, Alessia Sonaglioni (EWA Direktorin), Andrea Culkova (Regisseurin & Drehbuchautorin)

EAVE PRODUCERS WORKSHOP

(v.l.n.r.) Suzanne Pradel, Tina Trapp, Alessia Sonaglioni, Simona Nobile

JURY 23. FILMFEST TÜRKEI DEUTSCHLAND

(v.l.n.r.) Tuba Ünsal (Schauspielerin, Producerin), Mahmut Fazil Coskun (Regisseur), Suzanne Pradel, Klaus Eder (Filmkritiker Fipresci), Kyra Scheurer (Dramaturgin)

BOSPHOROUS FILM LAB 2018

(v.l.n.r.) Massimiliano Nardulli (Less Is More), , Suzanne Pradel, Selin Tunc (Drehbuch-autorin) Giovanni Rabbiano (Drehbuchautor & Regisseur)


Winner of 3rd Female Scriptwriter´s Residency of the European Women’s Audiovisual Network 2019

Lambs in Wolfskin by Ivona Juka has been selected for the 3rd EWA’s Scriptwriter’s Residency

We are pleased to announce that Lambs in Wolfskin, written by Ivona Juka, has been selected for the 3rd edition of EWA’s scriptwriter’s residency in Berlin. She will work with Suzanne Pradel who is the attached script consultant to the programme on her script.

The high quality and diversity of the projects submitted made the hard decision-making process both complicated and inspiring but we are also pleased to announce the other shortlisted projects.

LAMBS IN WOLFSKIN, AN ANTI-WAR DRAMA WINNER OF THE SCRIPTWRITER’S RESIDENCY.

Two best friends, members of a special military unit, Tomica (23) and Robert (23) are  separated on the battlefield. They go off in different directions of combat, each leading their own group of soldiers. In fierce battle, the enemy gets closer and retreat is inevitable. Tomica sees Robert’s group returning, but Robert is not with them. He asks a soldier where Robert is, but nobody gives him an answer. Tomica heads off to search for his missing friend. He goes from battle to battle which do not stop for months on a broad battlefield. He joins various Croatian military troops who interchange with one another due to the intensity of the combat areas. The war for him becomes a quest too; he goes from village to village, through the wild, goes behind enemy lines and searches for his friend, – dead or alive.


Ivona Juka‘
s most successful film is You Carry Me. This strong drama had its international premiere at Karlovy Vary IFF, it was invited to more than 20 film festivals around the world and been awarded with 14 international awards. “You Carry Me” was competing for the title of the Best European Film and it was also the official entry for the 88th Academy Awards®. During the Oscars® campaign, the film was  applauded by Variety and The Hollywood Reported, which led to Netflix noticing the remarkable „You Carry Me“ and offering to buy world rights. In 2016, „You Carry Me“ became the first film, not only from Croatia, but from the whole region, to be bought by the gigantic VOD service – Netflix and at this point, it is available for 125 million people to watch. Ivona Juka is a member of the European Film Academy, represented by ICM talent agency in LA.

The EWA Network’s Scriptwriter’s residency programme has shortlisted the following projects:

Al Alba, a dramedy by the Spanish scriptwriter/ director Fany De La Chica.

The Great Adventure, a mystery drama by the Romanian scriptwriter/ director Cecilia Ştefănescu

AL ALBA, A DRAMEDY BY FANY DE LA CHICA

Triana is a jazz singer who works at the famous club Paris Blues in Harlem (New York). Alcoholic and excessive, her songs express the feeling of lack of love that floods her life after the break up with her boyfriend. Triana’s grandmother is dying and she needs to travel to Spain. „Mama Lola“ used to be a famous flamenco singer and before she died, she claims that Triana needs to follow the tradition and become and flamenco singer. After her death, Triana receives in heritage a land with olive trees and she has to decide whether to go back to New York and pursue her dream as a singer or stay in Andalusia (Spain) and follow the tradition related with flamenco and olive oil.


Estefania de la Chica
, nicknamed Fany, is from a city surrounded by olive fields called Jaen, in southern Spain but she’s based in New York. Her Mum and aunts learned how to become strong, independent women from her grandmother, as she, in turn, has.  With the supoprt of scholarships, she has studied cinematography at the School of Cinema Studies of Catalonia, in Barcelona, a MA in Documentary at the Royal Holloway University of London and the MFA in Directing/Screenwriting at Columbia University of New York.

THE GREAT ADVENTURE, A MYSTERY DRAMA BY CECILIA ŞTEFĂNESCU

Lucia a 35-year- old woman, goes with her husband, their boy, and another couple, who are their friends, at the beach, in a Bulgarian village by the border with Romania. Delighted with the villagers’ hospitality, with the places and the nice weather, the four adults and the boy seem to be spending a restful, carefree and uneventful holiday. But the newly-arrived Vladimir, a man who also turns out to be from Romania, spending his holiday in the small Bulgarian village, comes to perturb the stability of the group. Although ostensibly a stranger to them, he is revealed to be acquainted with Lucia, who is reluctant to  acknowledge her relationship with Vladimir. Concurrently with the stranger’s arrival, there is an unforeseen occurrence in the peaceful village by the sea: a local child disappears without a trace, which puts both the police and the villagers on the alert. The testimonies of the people who were the last to see the child indicate Vladimir might be involved in the disappearance. A web of guilt, half-truths and betrayals is woven around this unexpected couple, formed by Lucia and Vladimir, who at first seem not to know one another, but turn out to be connected by a common past and driven apart by the recent occurrences.


Cecilia Ștefănescu
studied Literature at the Bucharest University, where she later took a master of arts degree in Theory of Literature and Comparative Literature.

In 2002, she made her debut with the novel Love Sick, which has been published in three editions. The novel has been translated into French, Italian, Polish and Spanish. Her second novel, Sun Alley, was translated in English. She wrote the script for Love Sick (2006) directed by Tudor Giurgiu, an adaptation based on her homonym novel. The film had the international premiere at the Berlin Film Festival.

Ferdinand 13, a short movie, was her directorial debut. The film won the special mention in Zagreb Film Festival. Morski Briz (2018), a short movie, was selected in Transilvania Film Festival, Sarajevo Film Festival, Central and Eastern European Film Festival.

THE SCRIPT CONSULTANT ATTACHED TO THE PROGRAMME

Suzanne Pradel is the script consultant attached to the programme. Suzanne is an international script consultant, lecturer and bookscout. For many years, she has been working as a script expert for European Film Funds. In 2009 she founded the BUCHSCOUT AGENCY which specializes in novel-to-film adaptations as well as international script consultancy, developing sophisticated TV features and cinematic features.


The shortlisted for EWA´s 3rd female scriptwriter residency in Berlin

The 3rd scriptwriter residency programme of the EUROPEAN WOMEN´S AUDIOVISUAL NETWORK is a great initiative dedicated to supporting the next generation of screenwriting talents among EWA members. It helps them to enter the industry with the best script 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 the script consultant Suzanne Pradel, to work with her before the Berlinale and to attend the EFM at the Berlinale to make connections.

The shortlisted female scriptwriters for the residency 2019 are:

Spanish scriptwriter/ director Fany De La Chica with her script her dramedy „Al ALBA“.

Kroatian scriptwriter/ director Ivona Juka with her script antiwar-drama „LAMBS IN WOLFSKIN“

Romanian scriptwriter/ director Cecilia Stefanescu with her script for her mystery drama „THE GREAT ADVENTURE“.

 

Suzanne Pradel is the script consultant attached to the programme. Suzanne is an international script consultant, lecturer and bookscout. For many years, she has been working as a script expert for European Film Funds. In 2009 she founded the BUCHSCOUT AGENCY which specializes in novel-to-film adaptations as well as international script consultancy, developing sophisticated TV features and cinematic features.


3.10: Raus aus dem Male-Stream: Weibliche Perspektiven in der Stoffentwicklung

Auf dem von dem Verband der Filmdramaturgie e.V. organisierten Tag der Filmstoffenwicklung diskutierte Katrin Merkel (SerienScout Agentur) mit den Gästen: Dr. Christine Linke (Filmuniversität Rostock), Susanne Bieger (14 Films Around the World Festival) und Antonia Roeller (Dramaturigin) darüber, wie man weibliche Figuren vielschichtiger und interessanter gestalten kann.

9.45 – 11.00 Uhr
Reinhardstr. 12-16, 10117 Berlin


Winner of the Bosphorus Film Lab Pitiching

Focusing on supporting local up-and-coming filmmakers, the Bosphorus Film Lab (BFL), the industry section of the 6. Bosphorus Film Festival, took place from 27-31 October. The Bosphorus Film Lab is organised in partnership with Turkey’s national pubcaster TRT, and in its Pitching platform, 10 projects were presented.

The Jury of Faruk Güven (TRT), Suzanne Pradel (BuchScout Agency), Dervis Zaim (director) gave the  main TRT Co-production Award, provided by Turkey’s pubcaster and a partner of the Bosphorus Film Lab, to A Hope (Bir Umut), directed by Ümit Köreken, (director of Blue Bicycle). It is being produced by the director and his wife, Nursen Çetin Köreken, and shooting is tentatively scheduled for next year.

The 50,000 TL (€8,000) Digiflame VFX Post Production Support Award went to Stick Horse (Değnekten At) by Korhan Günay and Canan Çelik, their debut feature. Produced by Bulut Reyhanoğlu, the film will start shooting next year.