Baltic Sea Docs 2024

28th Edition of Baltic Sea Docs set to showcase 26 film projects…

The 28th edition of Baltic Sea Docs documentary pitching forum is set to take place in Riga, 1-8 September. This year, the forum will feature the presentation of 26 film projects, alongside screenings for local audiences in Riga and various regional towns across Latvia.

Baltic Sea Docs is dedicated to showcasing feature-length creative documentary projects that originate from or focus on the wider Baltic Sea region, Eastern Europe and Caucasus. 22 new projects at various stages of development and production will be presented at the forum, with an additional four projects in post-production returning to the Baltic Sea Docs as they seek festival partnerships and sales agents.

This year, half of the projects are represented by production companies from Baltic countries – Latvia, Lithuania, Estonia – while others are produced in Poland, Ukraine, Georgia, Hungary, Sweden, Azerbaijan, Kazakhstan, Uzbekistan, and beyond. The topics covered are as diverse as they are timely, ranging from films addressing urgent geopolitical events and pressing environmental issues to poetic explorations of societal shifts and popular culture.

The new project teams will refine their pitch presentations in a training workshop preceding the pitching sessions led by renowned documentary film consultants Tue Steen Müller and Mikael Opstrup from Denmark. The workshop will be facilitated by a team of international industry experts: film editor Phil Jandaly (Sweden), directors Giedrė Beinoriūtė (Lithuania) and Kumjana Novakova (North Macedonia / Bosnia & Herzegovina), marketing strategist Paul Rieth (Germany), and producer Simon Kilmurry (USA).

The pitching sessions will take place on 5-6 September with the projects being presented to an international panel of decision makers: representatives of sales and distribution companies (e.g. Lightdox, filmdelights, CAT&docs, Rise and Shine), production companies, TV channels (NHK, YLE, Current Time TV), and film festivals (Tallinn Black Nights, FIPADOC, Sheffield DocFest, Thessaloniki IDFF), among others, followed by one-to-one meetings.

The forum will continue collaboration with several industry partners presenting a number of prizes for the participants. East Doc Platform Award will grant accreditation and access to one-on-one meetings for one team at the next edition of the East Doc Platform in Prague, while IDFA and Baltic Sea Docs Collaboration Award for Baltic filmmakers will provide accreditation and guidance for a director and a producer at the next edition of IDFA in Amsterdam. BBposthouse, an end to end digital post production company that provides personalised services across the entire film post production process, will offer an award of post-production services in the value of 3,000 Euro. This year Baltic Sea Docs has also initiated collaboration with Movies That Matter and Sheffield DocFest that will contribute awards including accreditation and access to the respective industry events. Finally, the Baltic Sea Docs will offer an award consisting of a consultancy session with an industry expert in the field of the project’s choice.

Alongside pitching sessions, on 4 September, the Creative Europe MEDIA Desks of Latvia, Estonia and Lithuania will host two seminars: the first will feature audience developer Paul Rieth (Germany) in conversation with marketing specialist Sergejs Timoņins (Latvia) on ‘Tools for Documentary Audience Reach: AI and Beyond,’ offering insights into better connecting with audiences. The second seminar will feature Basil Tsiokos, a senior non-fiction programmer at the Sundance Film Institute, in conversation with film producer Uldis Cekulis (VFS Films, Latvia) sharing tips on how to maximize documentary’s chances at the Sundance Film Festival.

In parallel with the industry events, the Baltic Sea Docs film programme will kick off on 3 September at Splendid Palace cinema with Maka Gogaladze’s Ever Since I Knew Myself (2024), which was originally pitched at the 2019 edition of Baltic Sea Docs. The film programme will also include screenings of Agent of Happiness (dir. Arun Bhattarai, Dorottya Zurbó), Life is Beautiful (dir. Mohamed Jabaly), Hollywoodgate (dir. Ibrahim Nash’at), Balomania (dir. Sissel Morell Dargis), among other notable titles, and have filmmakers present meeting with the audiences.

More information about the participating film projects and the full programme is available on the Baltic Sea Docs website: http://balticseadocs.lv/.

Baltic Sea Docs is organized by the National Film Centre of Latvia, with support from the Creative Europe MEDIA programme, the Ministry of Culture of the Republic of Latvia, and Cēsis municipality.

27.08.2024.

Information prepared by

Ieva Lange

Baltic Sea Docs media coordinator

+371 22189061

ieva.lange@nkc.gov.lv

Nils Vest 1943-2024

Såvel min kollega Allan Berg som døde i marts i år og jeg har altid sat Nils Vest og hans dokumentariske virke højt, ligesom møderne med ham altid var præget af gensidig respekt. Vii har som filmkonsulenter støttet hans altid fine kunstneriske arbejde og skrevet derom.

I juni 2010 skrev Allan en anmeldelse af Nils film om Københavns Rådhus:

“Den koncentreret vedholdende og omhyggeligt researchende Niels Vest er klar med en ny arkitekturfilm. 17. juni er der i Grand Teatret, København premiere på hans seneste værk i rækken af bygningshistorier vævet sammen med arkitektbiografier, filmen om tilblivelsen af Københavns Rådhus fra 1905 og om husets arkitekt, Martin Nyrop. Den har fået titlen Et rådhus til alvor og fest. Den handler om intrigerne i byggeudvalget, hvor Nyrops modstandere havde indflydelse, om arkitektkonkurrencerne, om Nyrops vældige forarbejder med studier, især i italiensk renæssancearkitektur, om hans frodige detaljeglæde og især om den snedige stædighed, hvormed han sikrede sig, at hans oprindelige idé og plan ad omveje blev gennemført. Et tema om den suveræne arkitektpersonlighed som er centralt i hele Vests række af skildringer af hovedpersoner og monumenter fra den danske bygningskulturelle arv: Laurits Thura og Vor Frelsers Kirke, Nicolai Eigtved og Frederiksstaden, C.F. Hansen og Vor Frue Kirke, Christian 4. og Rosenborg. 

Niels Vest modtager en af dagene Europa Nostra Prisen 2010 for sit arbejde med at organisere bevarelsen af visse bymiljøer som især Christiania og senest for eksempel modstanden mod en nutidig tilbygning ved Holmens Kirke.

Still: Niels Vests film boltrer sig i detaljer: ”Den store indgang fra Vester Voldgade, hvor der engang løb en å, har både to krabber, en havmand, en havfrue og et søpindsvin placeret rundt om portåbningen foruden kalkmalerier med tang og en søstjerne oppe under loftet inde i porten.” Men filmen fortaber sig ikke et øjeblik, overblikket mærkes som en sikkerhed, ikke som en stramhed.”

Arkitekturfilmene er en vigtig del af Nils Vest filmiske eftermæle. Men han spændte vidt. Fra min tid i Statens Filmcentral husker jeg og glædes over stavnsbåndsfilmen “Fejemanden og Friheden” og “Af Jord er du kommet” og selvfølgelig hans Christiania-film og det politiske hovedværk “Et undertrykt folk har altid ret”, hvorom jeg skrev i 2007: “den nåede folketingets talerstol, blev voldsomt kritiseret og trukket tilbage af Statens Filmcentral for at blive genindlemmet i distributionen i en meget lidt redigeret version. Den pro-palæstinensiske film, der i 1975 var kontroversiel pga sin kritik af Israel, blev et hit i SFC’s distribution.” I tilbageblik er det rystende at huske hvordan Nils og filmen blev angrebet af ledende danske jøder, bortset fra overrabiner Melchior.

Med Nils Vest har vi mistet en stor dansk dokumentarist. I 2022 skrev han til mig at han samlede materiale til en bog om sine film, ligger der måske et utrykt manuskript i hans gemmer? RIP

Audrius Stonys on The Baltic Way

The Baltic Way for me and for my whole generation, those who survived this event, will remain as a genetic code that is deeply and substantially engrained in the consciousness. As a believer, I see this event from a theological perspective. It seems to me that, for a very brief moment, God opened the gates of history to us and showed us what we could be—brave, tolerant, loving, altruistic and noble. Allowed a glimpse into the preserved heart of the soul of the nation. Souls that have been raped, strangled, tortured and paralyzed for so many years, yet remained and unbroken.

It seems to me that this moment of truth and love was essential for that, later, when everything is covered by the dust of everyday life, when the burden of injustice and hurt will no longer allow you to see the real person in a person, when selfish politicians are all over the place, the person will lose hope and the way, and when it will seem that there is no other way and it can’t be, we could stop and tell ourselves that we could be different.

And it’s not the numbers that count. We can leave the numbers to the composers of the Guinness Book. The important thing is that we were able to reach out to a stranger who was sitting next to him. Holding hands is a very intimate act that requires mutual trust. We did not ask the person standing next to him what his religion, what his orientation, or even what his nationality was.

Later, the Baltic Way repeated, but not in an occasion handshake on some anniversary years of the Baltic Way, when the shape was repeated, but the contents remained empty, and on the night of January 13. Back then people defended Lithuanian freedom by joining hands. Loreta Asanavičiute died under a tank of caterpillars, but didn’t let go of the hand of her friend who was standing next to her until the last moment. I think this contains the greatest meaning of the Baltic Way.

And still, above all this transparent and festive Baltic Way, there was some unnamed sadness prevailing at that time. Maybe it was a painful realization that entire generations of people who were waiting with their lives and sacrifice approaching our Freedom Day, did not get it. Maybe it was a historical feeling that everything is just beginning, that Freedom is not an event, but a long and sometimes very difficult process. We tried to record that unexplainable feeling in the fabric of the movie “Baltic Way”. Many were surprised at that time and some were even outraged by Handel’s music minor, which played in the movie and Vytautas Machernys verses read by his sister, about people walking through the storm and the blazing rain, falling a thousand times, rising and walking away. Now we can remember and name all the political, moral, valuable storms and rains that we had to pass in those 35 years since the Baltic Way. A strange paradox—the movie sent a message that even the filmmakers themselves understood only after many years.

The movie “Baltic Way” itself traveled the whole world, from Seoul to Montevideo and continues. The nearest movie stop – Paris Pompidou Center in November this year.

The Baltic Way continues. Not in external, artificial repetitions of forms, occasional hugging, but in real acts of love and brotherhood. When Lithuania collected millions of support for Ukraine fighting for its and our freedom in a few days, I felt like we were standing on the Baltic Way again.

***

Jãnis Abele: The Last Will

A copy-paste from FNE (FilmNewEurope) about a film that I have seen close to final cut thanks to the producer Guntis Trekteris, loved it:

RIGA: Latvian director/writer Jānis Ābele is currently in postproduction with his documentary The Last Will, which is expected to be released in the autumn of 2024.

Anatols Imermanis, a poet, founder of the Latvian detective genre and a famous bohemian, draws us in his last detective story 20 years after his death. He could call himself a successful, financially stable Soviet writer. But he wanted more. Being free in the West, especially in Paris, was a life-long dream for Imermanis. As he was never allowed to leave the Soviet Union, he created his own personal Paris: bohemian lifestyle, sexual freedom, ignoring all the puritan norms of the Soviet world. He died alone without fulfilling his dream about Paris.

“Anatols Imermanis was one of the most genuine dissidents in the Baltics. His unique life gave rise to the desire to study it more profoundly, because such stories about unusual personalities who, despite the pressure of the regime, dared not to fit into the normality, are of great importance. The personality of Imermanis clarified the intention of the authors to create an unusual film in form and content, evidenced by the applied detective story genre and shameless game elements. In our perspective, this is a great way to appeal to the audience of today”, producer Guntis Trekteris told FNE.

Guntis Trekteris and Dita Birkenšteine are producing through Latvian company Ego Media with the support of the National Film Centre of Latvia.

The article is signed by Alexander Gabelis, photo-credit: Toms Šķēle.

The total budget is 181,447 EUR.

The film was shot in Latvia and France in 2023.

Baltic Sea Docs Film Program

As usual the Baltic Sea Forum launches a strong film program parallel to the Industry section with its development workshop and pitching. Let me mention the wonderful “Agent of Happiness” by Arun Bhattarai and Dorottya Zurbó, reviewed on this site, as is “Balomania” by Danish Sissel Morell Dargis, the poetic “Ever Since I Knew Myself” by Georgian Maka Gogaladze is there as the journalistic “Hollywoodgate” by Ibrahim Nash’at.

And bravo, that the selectors are bringing two Ukrainian masterpiece to Riga in the period 3-8. September: “Intercepted” by Oksana Karpovych and “A Poem for little People” by Ivan Sautkin.

Five more films will be on the screen – check it out here: https://dokforums.gov.lv/blog/portfolio_category/films-2024/

A quote from the review of “Intercepted” (PHOTO) on this site:

“The film (also) includes a sequence with Russia war prisoners lining up to get some food. No comments here. And observations from an underground cellar with two old women, cut to a younger woman who is preparing soup for them. Compassion. And people queuing for food, Ukrainians helping each other. Not to forget a beautiful scene, where a husband is caressing a cow, while his wife is milking it. When the bucket is full, they leave on a scooter. Life goes on… makes me think of Humphrey Jennings and his propaganda films during WW2.A clever thought film, so well built, shocking sound pieces to images of devastation but like in Alain Resnais “Night and Fog” no corpses. The right choice. The director is a true “auteur”.

Zlatko Pranjic & Nanna Frank Møller: The Sky Above Zenica

A brief content description taken from the catalogue of the Sarajevo FF, where it was shown at the 16th Human Rights Day, a beautiful initiative this is: A quarter of the Bosnian city of Zenica is a giant steel plant. It is the largest employer in the area, and spews smoke day and night. Zenica has been deemed one of the world´s most polluted cities with multiple occurrences of cancers, childhood diabetes and respiratory diseases. Now the citizens have had enough. They form the organisation Eko Forum and demand change…

It took the filmmakers seven years to make the film being as stubborn and committed as the protagonist, activist Samir Lemes and his fellow citizens fighting for a city, where you can breathe…

Don´t talk about it, let the images speak! They do very much so with this film. Again and again the sky above Zenica is brought to full screen through the cinematography of Nanna Frank Møller. Sometimes with a zoom in and out. They stay for a while for us to think and understand where we are and what is at stake. It is simply Cinema and that is for me the amazing narrative quality of the work the two filmmakers have done, far away from journalistic reportage, having found the right rythm, being respectful towards subject and protagonists. At the same time as the step by step fight with authorities is brought clearly to the screen. It brings us from the sky to the people, stay with them when they meet and talk – and gives us the necessary information, when there are meetings with a mayor or a minister or banker. (Oh, the absurd scene with the man, who talks about a future green city, where the citizens can walk and bike freely!)

You can see, how the filmmakers have succeeded to get the trust of the activists. You sense it in the well built scene in the carpenter’s garage (?), where one after the other enter to sit down and talk about the activist strategy with charismatic Samir Lemes as the one, who leads the discussion but also listen to those, who – he does the same – argue that they do not want the plant to be shot down meaning hundreds of people will lose their jobs. It’s about creating scenes, where you as a viewer feel that you are there together with those on the screen.

Let the white and dark smoke disappear from the sky over Senica, and the red river have clear water so the people in Zenica can have a decent life…

Bosnia, Denmark, 90 mins. 2024.

Docu Talents from the East

It was the 20th edition of this precious initiative developed at the Jihlava FF and co-hosted here in Sarajevo by the festival. Head of the festival in Czech Republic Marek Hovorka and Sarajevo Industry boss Masha Markovic led the presentation of 8 projects. But first some background taken from the IDF page:

“Docu Talents from the East is a presentation of newest documentary crop from the region Central and Eastern Europe.

Each year since 2005, ten documentary projects in the stage of production and post-production are selected by representatives of the Ji.hlava IDFF.

Docu Talents is held as part of CineLink Industry Days at the Sarajevo Film Festival. Directors and producers of the selected feature-length documentaries introduce their projects during eight-minute presentations and the most promising project receives the Docu Talent Award accompanied by a financial prize in the amount of 5,000 USD.

Since 2005, Docu Talents has been a launch pad for a number of documentaries, including Rabbit a la Berlin, Blind Loves, Matchmaking Mayor, The Mosquito Problem and Other Stories, Cooking History, René, Fortress, Pipeline, Daniels´s World, Under the Sun, FC Roma, Close Relations, The Road Movie and Honeyland.”

Happy to read this list of former participants, most of them are projects I know from my time at the Ex Oriente training programme.

Of the 8 films-to-be I was mostly impressed by two, “The Big Chief” by Polish Tomasz Wolski and “Give Love Create” by Hungarian Márton Vizkelety.

Wolski is a master in archive based documentary, no surprise that he has been working with Sergei Loznitsa – a quote from filmkommentaren:
“Wolski is one of the excellent documentary film directors from Poland, together with Pawel Lozinski and Wojciech Staron and many many others. I say so from having seen ”Ordinary Country” (http://www.filmkommentaren.dk/blog/blogpost/4759/and now ”1970”. His “The Big Chief” is also an archive based story on the fascinating troubled life of Leopold Trepper (Photo Wikipedia), legendary “spy mastermind”, Jewish, and to say the least not popular in anti-semitic Poland after the war, as it is written in the paper from the presentation yesterday afternoon, “the USSR, his former ally, saw him as a burden”.

The Hungarian “Give Love Create”, produced by Eclipse Film, headed by Julianna Ugrin, who with director Márton Vizkelety, stood behind “Holy Dilemma” and behind the brilliant “A Woman Captured”, is a portrait of scientist Gyula Dékány, a charismatic personality who “is working on synthesizing compounds to cure Parkinson’s and Alzheimer’s. Is life just a chemical information system”? The teaser was the best I saw yesterday, Cinema!

Good luck to all the makers and congratulations again to the organisers having found a fine format of presentation for a huge crowd at the Industry Cinelink new venue at SwissHotels.

Sarajevo FF True Stories & Your Life Without Me Premiere

Early departure from Hotel Europe, the classic Sarajevo hotel with a fabulous outdoor terrasse, an indoor swimming pool, a huge breakfast assortiment, with the same elderly waiters I have met year after year, indeed my wife and I feel at home here. Close to everything. Thanks for the invitation.

Early departure to the new venue for the industry part of the festival, Cinelink. To take part in the rehearsal for the True Stories presentation sunday (at 17.45). “It features seven carefully curated cases…” within the Dealing with the Past category that also includes a film program to be shown during the week on the other side of the street at the CinePlexx that has 8 cinema halls. As said in the catalogue about the True Stories Market it “facilitates a platform for sharing untold true stories, primarily from the Western Balkan countries to address the enduring consequences of past conflicts”. The mastermind behind Dealing with the Past is Masha Markovic, who this year has young efficient and warm-hearted Emina Kovacevic as producer with Croatian Robert Zuber as the skilled moderator of the presentation as well as being the trainer AND Serbian editor Natasa Damnjanovic, who is the one preparing excellent teasers to accompany the verbal pitch. My job was – coming from outside he region – to comment on the presentations. Curious to see the reaction of the filmmakers sunday afternoon – to whom the projects are pitched.

And then late afternoon to the big hall in Cineplexx to the world premiere of Hungarian “Your Life Without Me” by Anna Rubi, who had tickets for me and my wife. I knew the project from a workshop in Budapest two years ago and was already then convinced that the director had material for an important social documentary with charismatic elderlymothers to disabled kids, like Magdi with her 39 year old son Feri. One thing is the social relevance and the story, shot over 7 years, about Magdi and a group of other women in the same situation and with the same worry: What will happen to our grown-up kids, when we are no longer there – with a state care system that is inhuman. The women takes the state to court… the film catches the moments of daily life, goes with the women to court, characterises pain and joy – and does so with cinematic skills that gives the film many facets and a universal appeal. It´s simply a very good film!

After the film there was a long Q&A session conducted by Rada Sesic (PHOTO), the programmer of the documentary competition in which the film takes part. Rada Sesic did the moderation in a beautiful manner, giving the floor to the director to answer the many question, repeating the questions from the audience, translating from English to Bosnian, it´s an art to do so, Rada is a star simply! So important to have her in the international documentary community.

Sarajevo FF CineLink Talks

In collaboration with various partners, the panels will cover a wide range of relevant topics, including best practices in managing intellectual property, co-productions, artificial intelligence, gaming, representation, and intimacy coordination. The 2024 CineLink Talks will revolve around three core themes: intellectual property (IP), industry challenges, and co-producing.

The industry is increasingly recognizing its responsibility to create a safer, more conscious environment for everyone involved. This means addressing not only the environmental impact of filmmaking but also the mental and emotional well-being of those who work within the industry. Panels will explore what it truly takes to be more responsible today, from implementing sustainable practices that reduce the industry’s carbon footprint to tackling the mental health challenges posed by imposter syndrome, particularly among women in film. The evolving role of intimacy coordinators will also be a focal point, with experts from the U.S., the Baltics, and the Balkans sharing their experiences on navigating scepticism around this new industry field. Through our panels, representation and the amplification of diverse voices, which are essential to the evolution of the industry, will be addressed. To this end, CineLink Industry Days has set up a panel that explores the role of the European Film Academy in promoting and supporting filmmakers from Southeast Europe, emphasizing the increasing significance of voices from smaller European territories in contrast to the leading high-production countries.

As we explore the importance of diverse representation in the industry, we also turn our attention to how emerging technologies are reshaping the landscape. The rapid advancement of artificial intelligence is changing the relationship between filmmakers and audiences. Panels will delve into the ethical and practical implications of AI in film, discussing how this technology can be used responsibly to maintain trust and authenticity in storytelling. Furthermore, the integration of gaming technology, particularly tools like Unreal Engine, will be explored, showcasing how these innovations are opening new avenues for creativity and efficiency in filmmaking.

GENDERED DOUBTS: WOMEN IN FILM AND IMPOSTER SYNDROME PRESENTED BY MASTERCARD

Explore the impact of gendered expectations and industry pressures on self-doubt among successful women in film in this engaging panel discussion, which delves into the 4 P’s of imposter syndrome—perfectionism, people-pleasing, project paralysis, and procrastination—and how they affect women in the industry. Join established industry professionals as they share their personal experiences and practical strategies for confronting and overcoming these challenges. This conversation aims to empower women and promote a more supportive and inclusive creative community. 

 TAMARA TATISHVILI | Head, Hubert Bals Fund | NL

MISAN SAGAY | Screenwriter | UK 

DANIELLE TURKOV WILSON | Founder and CEO, Think-Film Impact Production | UK 

UNA GUNJAK | Film Director | BA 

MODERATED BY Mia Avdagić | CineLink Industry Days Training and Skills Coordinator, Sarajevo Film Festival | BA 

REDEFINING BOUNDARIES: CREATING SAFE SPACES IN THE AUDIO-VISUAL INDUSTRY—INSIGHTS FROM INTIMACY COORDINATORS

In recent years, the role of the intimacy coordinator has become increasingly vital in the audio-visual industry, as they ensure that scenes involving physical and/or emotional intimacy are conducted with the utmost care and respect for all involved parties. As a relatively new position in the industry, it has faced growing skepticism. This panel focuses on sharing the experiences of industry professionals from three different regions and professional environments, delving into the responsibilities and practices of intimacy coordinators and highlighting their contributions to fostering safe and supportive on-set environments. The discussion sheds light on how intimacy coordinators balance maintaining a production’s creative vision with providing actors with a secure environment in which to deliver their best work. Topics include the evolution of the role, best practices for coordinating intimate scenes, the importance of clear communication and consent, and the impact of intimacy coordination on both the creative process and the well-being of cast and crew. 

AMANDA BLUMENTHAL | Intimacy Coordinator and Founder, Intimacy Professionals Association | US 

VIRGINIJA VAREIKYTĖ | Intimacy Coordinator, Baltic Intimacy Professionals | LT 

MARKO MARČEC | Intimacy Coordinator | Intimacy Coordinators Serbia | RS 

ANĐELA RAJIĆ NOVAKOVIĆ | Intimacy Coordinator | Intimacy Coordinators Serbia | RS 

MODERATED BY Timka Grin | Casting Director, T.G. Casting | BA 

THE POSITION OF SOUTHEAST EUROPEAN FILMMAKERS IN THE EUROPEAN FILM ACADEMY 

This panel explores the role of the European Film Academy (EFA) in promoting and supporting filmmakers from Southeast Europe, emphasising the increasing significance of voices from smaller European territories in contrast to the leading high-production countries. It will delve into the EFA’s importance for the region, examining both its impact on regional cinema and its relationship with local filmmakers. Producers from the region whose films have been nominated for and won European Film Awards share their experiences, illustrating what these accolades have meant for their projects and careers. The discussion highlights how the EFA amplifies voices from Southeast Europe, thereby helping filmmakers gain greater visibility and recognition, fostering opportunities for collaboration and growth in the European and global film industry, and contributing to the diversity of the European film landscape. 

 MATTHIJS WOUTER KNOL | CEO and Director, European Film Academy | DE 

MILJENKA ČOGELJA | Producer, Pipser | HR 

JASMILA ŽBANIĆ | Director and Screenwriter, Deblokada | BA 

MODERATED BY Nebojša Jovanović | Talents Sarajevo Programme Manager, Sarajevo Film Festival | BA 

LIGHTS, CAMERA, SUSTAINABILITY: WHAT DOES IT TAKE TO BECOME A GREEN FILM CHAMPION  

From Sweden to Croatia, with experiences from Germany and Portugal in between, a panel of change agents is working to transform the industry; these are the stories of the challenges faced, the inspiration found, and the successes achieved. In conversation with the guests, current best practices in energy conservation, transportation, accommodation, catering, and production design, as well as education, training, awareness-raising, and obtaining green certificates is explored. An inquiry is made into how anyone can become a film industry sustainability champion, fostering a positive impact on the environment and the industry as a whole. Remember: It doesn’t matter where you are now; what matters is what you do starting now. 

DÖRTE SCHNEIDER GARCIA | Certified Green Consultant | PT 

HANNA NYBESON | Sustainability Advisor, Nybeson Solutions | SE 

MAJA DOMJAN | Sustainability Manager, Eventful | HR 

MODERATED BY Garret Patrick Kelly | Sustainability Advisor, Sarajevo Film Festival | BA 

FILMMAKING WITH UNREAL ENGINE 

Renowned Serbian director Sava Živković shares his filmmaking journey, focusing on how emerging real-time technologies, particularly Unreal Engine, have had a positive impact on animation production. This panel explores how these advancements have opened the doors for new, unconventional approaches to filmmaking, thereby enhancing creativity and efficiency in the industry. Živković’s expertise in blending cutting-edge technology with compelling narratives highlights the evolving landscape of animation and visual effects. 

SAVA ŽIVKOVIĆ | Film Director | RS 

MODERATED BY Igor Simić | Creative Director, Demagog Studio | RS 

AI IN FILM: THE CHANGING RELATIONSHIP BETWEEN FILMMAKERS AND AUDIENCES 

With the introduction and rapid development of generative AI, such that the tools of disinformation are available to everyone, questions of what is real, reliable information have become more valid than ever. Most people cannot distinguish between deepfakes and real images and this technology is developing at high speed. Traditionally, audiences have been able to place their trust in documentary films and journalism as carriers of true, authentic, reliable stories. Documentary audiences do not want to be manipulated. However, filmmakers too have an increasing choice of AI tools available to them, and these can be used not just to speed up the filmmaking process but also to generate ideas, and to create images and audio. How can we ensure that audiences can still trust documentary filmmakers in the age of AI? What kinds of measures and procedures should be in place to ensure transparency and credibility? Is there something for audiences to be excited about, like personalised content? Join us for a discussion about the changing relationship between filmmakers and their audiences in the age of generative AI. 

DOMINIC LEES | Associate Professor of Filmmaking, University of Reading | UK 

PETR SALABA | Film Director, Artificial Intelligence Center | CZ 

EREC BREHMER | Film Director, Kolf Agency | DE 

MODERATED BY Donata von Perfall | Managing Director, Documentary Campus | DE 

ABOUT SEEING AND BELIEVING: ON THE USE AND EFFECTS OF GENERATIVE AI IN DOCUMENTARY FILM

Truth plays a crucial role in documentary filmmaking. Given the rapid development of artificial intelligence and its applications, we should all ask ourselves how we want to produce and receive films in the coming years. What opportunities and challenges will shape the way filmmakers will work in the future? What moral and ethical criteria should we place on ourselves? The possibilities and limits of free AI tools aree discussed in this session using concrete case studies. 

 EREC BREHMER | Film Director, Kolf Agency | DE 

MODEREATED BY Donata von Perfall | Managing Director, Documentary Campus | DE 

DECODING THE DOCUMENTARY INDUSTRY: WHAT DECISION-MAKERS LOOKING FOR? 

This panel aims to demystify the documentary industry by shedding light on the perspectives of decision-makers when they select documentary films. Industry insiders share valuable insight into the trends and considerations influencing their choices. This session offers valuable guidance to filmmakers and content creators seeking to navigate the documentary landscape and seeks to increase their chances of securing funding and distribution opportunities. 

HANKA KASTELICOVÁ | VP, Documentaries, Warner Bros. Discovery/HBO | CZ 

HANNE BIERMANN | Festivals and Marketing Manager, Film Harbour | DE 

MADS MIKKELSEN | Head of Programme, CPH:DOX | DK 

KEONI KAILIMAI | Senior Programme Executive & Executive Producer, BBC | UK 

MODERATED BY Margje de Koning | Artistic Director | Movies that Matter | NL 

The list of previously announced talks, on intellectual property you can find here.

Sarajevo FF Cinelink News

These days I receive many press releases from the Sarajevo FF. About films to be shown and about what is going to happen at the industry platform CineLink that as usual brings makers behind films-to-be together with potential funders. In the category Works-in Progress I see with pleasure that great Ukranian director Alisa Kovalenko will be present with a project called “Frontline”. Also, in the co-production market, old friends Bulgarian Mina Mileva and Vesela Kazakova will present a project that has this annotation: “Overweight ANDREA writes slogans for sex toys for a French company in Bulgaria. Her aim to have a child as a gender fluid person in the Balkans will meet a few obstacles but a mystical ancestor helps…”.

But – take a look at the photo of this two nice people, who have invited me to the festival year after year and read this text taken from one of the press releases about the young man to the right Ishak Jalimam:

The Sarajevo Film Festival’s industry platform, CineLink Industry Days, is entering a new chapter with leadership changes involving long-standing team member. This year, Maša Marković, who continues as Head of Industry for the third year, is joined by Ishak Jalimam, who has been appointed the new Head of CineLink. Amra Bakšić Čamo, Head of CineLink since its inception, has stepped down from this role to focus on developing new projects under Sarajevo Film Festival’s umbrella.

Jalimam, a Sarajevo Academy of Performing Arts graduate, brings extensive experience in production and management, with involvement in prestigious film festivals and as a producer at the Sarajevo War Theater. He has worked on numerous films that have screened at festivals like Sundance, Venice, and Sarajevo. Jalimam is the founder and president of Realstage Productions. In 2020, he received the Young Producers Award at the Sofia Film Festival—Sofia Meetings…

In the film programme I notice that “Intercepted” by Oksana Karpovych is to be shown, it has been reviewed on this site: https://filmkommentaren.dk/oksana-karpovych-intercepted/.

See you in Sarajevo!