Once social, every victimhood is painful, aggressive and explicit. The systems which we have constructed sometimes safeguard numerous forms of victimhood as freedoms that we in the West have to be thankful for, and should not question
if we want to remain true to our (Western) selves. We like bright colors here, although on the outside we might look dull and blandish without much talk of sex. But “we know how babies are made”.
Erlendur Sveinsson, fiction, 12′, Iceland, 2017
Set in the suburbs of Reykjavik, Iceland; Thick skin explores a new perspective on rape and rape culture and raises important questions about boundaries, masculinity and society.
Contact: [email protected], Columbia University School of the Arts
Giancarlo Sanchez, fiction, 50′, Netherlands, 2016
Everyone is concerned about fiery 16-year old Lieke who just lost her mother. Despite her grief, Lieke finds healing in the swimming pool where, as a great diving talent, she enjoys the training sessions with her coach Jorg. Lieke is managing fine until Jorg decides to train an additional girl. Jealous Lieke tries to keep herself in check, but slowly and surely she loses control over herself. In the chaos she unleashes, Lieke becomes the girl everyone is so afraid of, most of all she herself.
Contact: Wouter Jansen, [email protected], Netherlands Film Academy
Anna-Lea Schmitt, animation, 3′, Germany, 2018
Reverie is a 2D-animation project about the inner image of our outside reality. Imagination and fantasy are important factors of our sexual desires, nothing seems more personal than our own thoughts. It’s up to us if we share them or keep them for ourselves.
Contact: [email protected], Berliner technische kunsthochschule
Alexis Vandersmissen, animation, 6′, Belgium, 2017
A questioning about manhood. Forms with flashy colors attract, repel, influence themselves as they grow up.
Contact: Vincent Gilot, [email protected], ENSAV La Cambre
One of the most exciting things in the world (and one of the most threatening and boring as well) is transformation. If anything can distribute a well-executed transformation,
we will call it “magic” and reward it with our social love. However, if the “magic” is taking too long to happen – then that was no magic at all, it’s rather a burden.
Özgür Anil, fiction, 5′, Austria, 2018
A young woman wakes up to a couple of missed calls, after spending the night with a young man. A sensitive observation of society and corporeality.
Contact: [email protected], Filmakademie Wien
El Escarabajo al final de la calle
Joan Vives Lozano, fiction, 19′, Spain, 2017
Amadeo is a good person. He lives in a small village of Valencia, and since his wife died, he sacrifices himself in taking care of his father-in-law, Agustín, who is disabled. Due to this, he doesn’t participate much in social life in the village. One day Lolín, the fishmonger, has a magic foresight while decapitating an eel: Amadeo has only seven days to live. This fact will develop a series of events that will change his life completely.
Contact: Patricia Naya, [email protected], Escola Superior de Cinema i Audiovisuals de Catalunya
Marko Brkić, fiction, 9′, Bosnia and Herzegovina, 2018
On their way to a party three friends encounter a girl who wants to jump of a bridge.
Contact: [email protected], Academy of arts Banja Luka
Michal Blaško, fiction, 30′, Slovakia, 2017
2003, four years before Slovakia entered the Schengen Area. Martin and Denisija, a young couple from Ukraine, are trying to illegally enter Germany through Slovakia, as so many people before them. The border between Slovakia and Ukraine will soon become one of the most secured borders in Europe, but in 2003 it is still open for smugglers and for desperate immigrants. Martin and Denisija both dream about getting to Germany, a place they have never been to, ready to sacrifice everything they have to reach it.
Contact: Jakub Spevák [email protected], Academy of Music and Performing Arts in Bratislava
Catherine Prowse, animation, 5′, Great Britain, 2017
The story of a gardener in a Middle Eastern war zone, fighting the destruction around her with life-giving plants.
Contact: Geoff Grandfield, [email protected], Kingston University
In Summer and Fall
Maria Francisca Pinto, animation, 4′, Portugal, 2017
After losing her mother, a little girl does what she feels right in her heart: she brings her mom’s favorite flowers to her grave. This 2D animation means to portrait the innocence of a child when dealing with the hard truth that is death.
Contact: Jaime Neves, [email protected], Escola das Artes – Universidade Católica Portuguesa
Mind the Gap!, 20:30
What is the relationship between personal and social responsibility and who are we to turn to when the social structures fail us? All too often the individual is forced to take on the burden of managing
the issues of a dysfunctional and dehumanized modern society institutions whose main purpose should be to serve their citizens. In an endless chain of subordination, the responsible authority is nowhere to be found.
Sacha Ferbus, Jeremy Puffet, fiction, 13′, France, 2017
First in first out (FIFO) is a supermarket shelving technique. Stephan must place the freshest products behind the oldest ones. Products nearing their sell-by date must be destroyed. When going to the bins in the basement, Stephan will have to face people who need food, but are excluded by the system. He will also have to confront who he was before getting a job.
Contact: Julie Dreucci, [email protected], Institut-des-Arts-de-Diffusion (IAD)
It’s Really Awesome
Katarzyna Warzecha, fiction, 28′, Poland, 2017
Iga finds out about being awarded an abroad scholarship, for which her father applied without her knowledge. She packs her bags and leaves her home in anger, but upon realising her father is seriously ill, she comes home to spend the last week of his life with him and to also look within herself.
Contact: Michal Hudzikowski, [email protected], University of Silesia in Katowice
Alex Klexber, animation, 7′, Israel, 2017
A young woman, who has been carrying her grandmother on her back for her whole life, tries to escape a tenement, whose buildings form a wall, imprisoning it’s inhabitants.
Contact: [email protected], Bezalel Academy of Arts and Design, Jerusalem
Maria Eriksson – Hecht, fiction, 17’, Sweden, 2017
It’s John’s first day at school. Unexpectedly his eleven-year-old big brother Mika shows up to follow him to assembly. But Mika has plans other than just taking John to school. Mika sees it as his mission to teach John the hard facts of the world, starting with the merciless demands of the schoolyard.
Contact: Lena Kempe, [email protected], Stockholm Academy of Dramatic Arts