APERTI AL PUBBLICO / Open to the Public
Now for the 15th time, this section illuminates European working worlds and realities in times of globalization and economic crises. This year the series, curated by Katharina Riedler, revolves around the theme of “Dream/Nightmare Work” under the title Dreaming Under Capitalism.
Starting from the meanwhile scientifically proven fact that work is among the most frequent contents of our dreams, the four hand-picked documentary films revolve around the analysis of workers’ nightly nightmares (RÊVER SOUS LE CAPITALISME), the stressful working environment in the Office for Social Housing in Naples (APERTI AL PUBBLICO) and the wishful dream of a successful business idea or a successful new start in working life (YRITTÄJÄ) or a better job far from home (FAREWELL YELLOW SEA). – Another former Tribute guest is also represented in this program section with Virpi Suutari (CE 2006).
Essay Working Worlds HERE
In cooperation with the Upper Austrian Chamber of Labor/Culture)
CROSSING EUROPE presents the section Architecture and Society, curated by Lotte Schreiber, now already for the nineth time. Under the title Space, Power, Control, this section examines the various interplays between space and power, or more precisely architectural spaces and delimited territories that demonstrate various various political, social, and economic power relations.
The architectural self-presentation of totalitarian regimes is present in Europe up to today. Benito Mussolini’s power obsession, for instance, is reflected in the “Corte d`Assise”, the Court of Justice in Milan, setting of the award-winning documentary La Convocazione. The short film Due focuses on the district of “Milano Due”, built in the 1970s, which was Berlusconi’s first major investment project. The crime scene of the concentration camp Buchenwald, now a memorial site, is sensitively approached in Der Mensch ist ein schöner Gedanke. Volkhard Knigge und Buchenwald. The power of media is the theme taken up by Letztes Jahr in Utopia, a reconstruction of a media-staged group experiment. The village of Braguino is located in Siberia, setting of a feud between two family clans. Power structures manifested through the control of space in the eponymous district of Brussels is the theme of the trenchant short film NETTOYER Schaerbeek.
Essay Architecture and Society HERE.
(in cooperation with afo Architecture Forum Upper Austria)
In 2015 CROSSING EUROPE first set a focus on the “next generation” of European filmmakers in cooperation with the young talents initiative Cinema Next Europe. This section, which is intended to be a platform for pan-European exchange and networking, thus goes into the fourth round this year, curated by Wiktoria Pelzer and Dominik Tschütscher.
The emphasis is again on discovering fresh voices and promoting young European cinema. Strong positions of young European film are presented in six hand-picked film programs under the title Sense and Sensibility: young filmmakers who present a strong calling card with their current works.
With Cinema Next Europe a European platform for young talents in film is to be created within the festival. This section is addressed, on the one hand, to all those filmmakers who want to go a step further in the direction of a professional “film career” and on the other to an audience interested in the filmmaking work of the “next generation”.
Essay Cinema Next Europe HERE.
This competition section comprises a total of eleven documentary works, which probe the current disposition of Europe at the social, political, economic and contemporary historical level.
The entries in this section deal with the drastic (late) consequences of armed conflicts (METEORLAR), totalitarian regimes and misguided economic policies (MZIS QALAQI, OUĂLE LUI TARZAN), illuminate the situation of young people in search of their place in society (MR GAY SYRIA, NIC JAKO DŘÍV) and families buffeted by fate (DRUGA STRANA SVEGA, DRUŽINA, HUGO), and seek answers to currently “hot” questions like integration (ZENTRALFLUGHAFEN THF), right-wing populism (MONTAGS IN DRESDEN), human dignity and economic exploitation (A WOMAN CAPTURED).
Serbia / France / Qatar 2017
Eleven Austrian premieres are found this year in this section, which covers a broad spectrum of themes and forms.
In the selected feature films we see young people at the crossroads (KÖRFEZ), ready to take the leap into “real” adult life (ANTÓNIO UM DOIS TRÊS) or trapped between two cultures (CHARMØREN, HVA VIL FOLK SI), dysfunctional family and sibling relationships (IL CRATERE, VINTERBRØDRE), female self-empowerment (SASHISHI DEDA), and relationships in an emotional state of emergency (HJÄRTAT, MARTESA, MORIR, SOLDAŢII. POVESTE DIN FERENTARI).
Norway / Germany / Sweden 2017
Romania / Serbia / Belgium 2017
The EUROPEAN PANORAMA Documentary brings together current productions from all over Europe. The cinematic positions in this section are just as diverse as European filmmaking itself. It shows films which earned international acclaim during the last season and were awarded in other festivals, it presents film higlights as premieres for the Austrian audience, including many past film guests contributing new films.
The European Panorama Fiction brings together current productions from all over Europe. The cinematic positions in this section are just as diverse as European filmmaking itself. It shows films which earned international acclaim during the last season and were awarded in other festivals, it presents film higlights as premieres for the Austrian audience, including many past film guests contributing new films.
France / Germany / Lithuania / Netherlands 2017
A total of 150 works were entered for this program section. For this year’s festival edition, 58 productions were selected, which are presented in 18 program positions – including 16 world premieres, 8 Austrian premieres and one international premiere.
Once again, the very popular LOCAL ARTISTS section offers an attractive overview of current Upper Austrian filmmaking, ranging from experimental film to socio-political documentary. This year there are also discoveries to be made among the mid-length films and in the music video field; 15 music videos are competing for the CREATIVE REGION MUSIC VIDEO Audience Award (€ 1.500,-). Further awards that will also be presented to films/videos from this section are the CROSSING EUROPE Award – Local Artist with a value of € 7.000,- (€ 5.000,- Province of Upper Austria/Culture & € 2.000,- The Grand Post-Audio & Picture Post Production) and the CROSSING EUROPE Innovative Award – Local Artist (€ 3.500,-), which is covered by the Upper Austrian Culture Quarter and goes to a work with an innovative artistic approach.
Two world premieres lead the field of this year’s LOCAL ARTISTS selection. One is the documentary film project THE EUROPEAN GRANDMA PROJECT (AT, IL, GB, IS, IT, TR, BG, GR, RU 2018) by the Linz filmmaker and actress Alenka Maly and eight further directors (Hadas Neuman, Fleur Nieddu, Anna Ólafsdóttir, Giorgia Polizzi, Berke Soyuer, Desislava Tsoneva, Maria Tzika, Ekaterina Volkova) – a harmonious panorama of European contemporary history, which is also part of the festival opening on 25 April. The other is Fiona Ruckschcio’s second part of her documentary treatment of the theme of everyday sexism, < COMMON.PLACES 2 >, which focuses on persons and their personal stories of harassment, mobbing and racism.
// Both directors additionally present installation works in the kulturtankstelle in the Upper Austrian Culture Quarter, ORAL HISTORIES: Alenka Maly (all GRANDMA portraits in full length and VERORTUNGEN: Fiona Ruckschcio (< COMMON.PLACES 1 > (AT 2000) and an additional work); 25 to 30 April, Opening: 26 April at 6:00 pm // In addition, on Monday, 23 April, at 7:30 pm, Alenka Maly is welcomed as a guest at Kepler Salon Linz and tells of the origins and development of the “Grandma Project”. // THE EUROPEAN GRANDMA PROJECT will also be shown again as part of a cooperation with the Programmkino Wels on 29 April at 8:15 pm and on 1 May at 6:30 pm. //
Two feature-length documentary films in this section are thematically strongly “rooted” in Upper Austria and deal with two prototypes in terms of founding identity: Local Artists award-winner 2014, Jakob Kubizek, traces his own socialization as a music-loving adolescent and brings the development history of the alternative cultural association Röda in Steyr to the screen (JEDEM DORF SEIN UNDERGROUND). Dominik Thaller, on the other hand, devotes his feature-length debut to the richly historical and much-beloved Linz football club Blau Weiß Linz (IMMER WIEDER GEHT DIE SONNE AUF).
Flight and integration are the themes of the two documentary films SARGIS - DAS LEBEN IST SO EINE SACHE and THE FIRST GENERATION - ZWISCHEN ÖSTERREICH UND KAMBODSCHA. In his sensitive portrait of an athlete, Stefan Langthaler documents Sargis Martiroysan’s years of “fighting” to finally be able to officially compete for Austria in weight-lifting. The documentary work by the brothers Abraham and Kemara Pol centers around five members of the Cambodian community and their fates in Austria.
With “Introducing Sarkaut Mostefa” CROSSING EUROPE presents a work by a young Kurdish Iraqi, who has now found a home in Austria. The filmmaker Sarkaut Mostefa already made short films before he fled. Thanks to the MORE program at the Art University Linz, he can now work as an artist in Austria. Three of his works are part of the festival program (REMOTE CONTROL, DU RU and XIRIS).
Represented again at CROSSING EUROPE is also the director Bernhard Sallmann, originally from Upper Austria, now based in Berlin. Last year he presented the first part of his Fontane tetalogy with Oderland.Fontane and was distinguished for it with the LOCAL ARTIST Award. Now he returns with the international premiere of the second part, RHINLAND. FONTANE, of his experimental documentary film project. Here again he has created a montage of literary quotations with authentic, static location and landscape shots. In her first feature-length documentary film KEIN HALBES LEBEN Sybille Bauer focuses intently on the relationship between humans and animals, or more precisely between human and dog, and the potential in this for consolation in the face of loss.
// KEIN HALBES LEBEN will be shown again in conjunction with the cooperation with the Programmkino Wels on 30 April at 8:15 pm and on 2 May at 6:15 pm. //
With the short and mid-length works, the audience can expect a multifaceted survey with two “mixed” short film programs, which are distinguished by a diversity of genres, themes and styles – the filmmakers include past award-winners such as Remo Rauscher, Leni Gruber and Maria Czernohorszky. The program LOCAL ARTISTS – DOCUMENTARY comprises new works, among others by Violette Wakolbinger and Herwig Kerschner, Thomas Draschan, Reinhold Bidner and the award-winners Gerhard Treml and Leo Calice.
In the experimental field the audience can look forward to high-quality experimental filmmaking: filmmakers include the master Dietmar Brehm (29 PUNKTE PROGRAMM), Karin Fisslthaler (ALICE REMIXED), Siegfried A. Fruhauf with PHANTOM RIDE PHANTOM as well as Conny Zenk and Tanja Brüggemann (REGLOS). A special highlight in this context will certainly be the screening of selected LOCAL ARTISTS experimental films in DEEP SPACE 8K in the Ars Electronica Center (29 April, 3:00 pm) with wall and floor projections – physical cinema in the truest sense.
Alenka Maly, Hadas Neuman, Fleur Nieddu, Anna Ólafsdóttir, Giorgia Polizzi, Berke Soyuer, Desislava Tsoneva, Maria Tzika, Ekaterina Volkova
Austria / Israel / UK / Iceland / Italy / Turkey / Bulgaria / Greece / Russia 2018
Abraham Pol, Kemara Pol
For music-lovers, the music video competition again offers an exquisite selection of altogether 15 local works. With a broad range of music genres local filmmakers present their most recent works. Additionally a one further film will be presented – out of competition – in this program strand, the short documentary ATITA (AT/IN 2017).
For the eleventh time, the film journalist and festival producer Markus Keuschnigg has again curated the Night Sight at CROSSING EUROPE. Five films will be presented again this year – all of them to be categorized as “fantastic film”. This year the curator places the section under the motto: “The Stranglehold of Good Taste. This year’s Night Sight is accordingly proud of allowing the (in the best sense) deviant and the painful to win out and to whisk the audience away into five more or less dangerous worlds of imagination.”
The Night Sight opener The Cured unfolds a contemporary political allegory, in which “cured” ex-zombies struggle for social re-integration (see p. 10). The (presumed) hunters become the hunted, both in REVENGE by Coralie Fargeat and in Benjamin Barfoot’s Double Date, as strong women ultimately set the tone. In Bertrand Mandico’s Les garçons sauvages the wild boys from the title are loaded onto a galley for the purpose of domestication and brought to a mysterious island with luxurious (and supernatural) vegetation. A “parallel world” also unfolds in HOUSEWIFE, as an old acquaintance (presumed to have disappeared) entices a well-to-do woman into a sect, where a guru seeks to tear down all boundaries between dream and reality.
The festival already starts this year in the morning of the opening day (25 April) with the start of films from all program sections. The opening of CROSSING EUROPE is then celebrated in the evening with six selected film premieres, presenting a representative cross section of this year’s festival program and the program sections – with numerous film guests present.
Ada Solomon (*1968) from Romania has been working as a producer for over 20 years extremely successfully, and that all over Europe. Her apparently infallible sense of talent has already catalyzed a number of careers. For instance, she set the tracks for the feature film debuts by Radu Jude (Cea mai fericita fata din lume), Melissa de Raaf and Razvan Radulescu (Felicia inainte de toate), and Paul Negoescu (O luna in Thailandia). In addition, she is also known for her versatility, so that short films, feature films AND documentaries are listed in her filmography. Ada Solomon also co-founded the NexT Int. Film Festival Bucharest.
Productions from her companies HiFilm Productions (founded 2004) or Parada Film are invited to the most prestigious festivals in the world, whether it is Berlin, Cannes, Locarno or Venice, and are also distinguished with awards: e.g. Din dragoste cu cele mai bune intentii (RO, HU, FR 2011; D: Adrian Sitaru) in Locarno, Pozitia Copilului (RO 2012; D: Călin Peter Netzer) with the Golden Bear at the Berlinale, and Aferim! (RO, GB, CZ 2015; D: Radu Jude) with the Silver Bear at the Berlinale.
At the European Film Awards in 2013, Ada Solomon was awarded the PRIX EURIMAGES – European Co-Production Prize for her “decisive role in the field of European co-productions”. It is therefore hardly surprising that she was also involved as executive producer in one of the prime examples of European co-productions in recent years: TONI ERDMANN (DE, AT, CH, RO 2016; D: Maren Ade). Further ties to Austria in her work are found with Katharina Copony’s documentary film OCEANUL MARE (AT, DE, RO 2009) and the new documentary film by Johannes Holzhausen, THE ROYAL TRAIN (AT, RO 2018).
Films produced by Ada Solomon have already been shown at past editions of CROSSING EUROPE, such as in 2011 the two feature films Principii de viata / Principles of Life (RO 2010; D: Constantin Popescu) and Cea mai fericita fata din lume (RO, NL 2009; D: Radu Jude). In the SPOTLIGHT section of the coming festival, a presentation of seven feature-length films and a short film program is planned, including two current works (a feature film and a documentary in the competition sections). SOLDAȚII. POVESTE DIN FERENTARI / Soldiers. A Story from Ferentari and OUĂLE LUI TARZAN / Tarzan's Testicles.
More information HERE.
Melissa de Raaf, Răzvan Rădulescu
Romania / France / Croatia / Belgium 2009
CROSSING EUROPE devotes this year’s TRIBUTE to the Italian director Edoardo Winspeare, an auteur filmmaker par excellence. Through decades of intense engagement with his home region, the social, political and economic changes and the cultural shifts in Apulia, he is an important representative of so-called “regional” cinema.
Edoardo Winspeare was born in 1965 in Klagenfurt, Austria, but since his earliest childhood he has lived in Salento in the south of Italy. He began his career in film as an assistant editor in New York; in 1988 he was accepted at the University of Film and Television in Munich, which also co-produced his feature film debut PIZZICATA. In the course of his nearly 30-year career, Winspeare has created about 40 works. In addition to the six feature films, these also include documentaries, short films and advertising films. In 1992 he co-founded the the band Officina Zoé, which has been influential in reanimating the traditional rhythms and dances (like Pizzica and Tarantella) of Salento and has also provided music for Winspeare’s films. He also organizes cultural festivals in his home region and is actively involved in the protection of the regional landscape.
For the coming festival edition, a presentation of his six feature films is planned in conjunction with the TRIBUTE section, including his current film LA VITA IN COMUNE, which celebrated its world premiere at the Venice International Film Festival in 2017.
More information HERE.