Aug 04 2009

Bady Minck am Jury zu Venedeg

Published by at 01:02 under Festival

source: http://www.labiennale.org/en/cinema/news/orizzonti_jury.html

The five members of the Jury have been named for the Orizzonti section of the 66th Venice International Film Festival (September 2-12, 2009), chaired – as was announced earlier – by the master of Spanish independent cinema Pere Portabella, author of The Silence before Bach (Die Stille vor Bach), presented in Venice in 2007 following which it became one of the greatest successes on the European art film circuit.

Maestro Portabella will be joined on the Jury of Orizzonti by four distinguished cineastes: artist and independent filmmaker Bady Minck (Luxembourg), formerly a participant in the 2007 Music Biennale in the music-film performance, Free Radicals; director Gina Kim (Korea), one of the significant new authors of Asian American film; the most famous Indonesian director Garin Nugroho, who received his international breakthrough in Venice in 2006 with the success of Requiem from Java (Opera Jawa) in the Orizzonti section; and Italian-American director Gianfranco Rosi, winner of the Orizzonti Doc Award in Venice in 2008 and of major international awards for documentaries with Below Sea Level.

The 66th Venice International Film Festival (September 2–12, 2009) is directed by Marco Müller and organized by the Biennale di Venezia, chaired by Paolo Baratta.

The Jury will give the Orizzonti Award and the Orizzonti Doc Award to one of the feature-length films selected for the Orizzonti section, which for five years has been providing an overview on new trends in cinema on the border between fiction and documentary.

Up to now the winning films in this section have been: The Grand Sons (Les Petits Fils) by Ilan Duran Cohen (Orizzonti Award 2004), Vento di Terra by Vincenzo Marra (Special Mention Orizzonti 2004), East of Paradise by Lech Kowalski (Orizzonti Award 2005), First on the Moon (Pervye na lune) by Aleksey Fedorchenko (Orizzonti Doc Award 2005), Courthouse on Horseback (Mabei shang de fating) by Liu Jie (Orizzonti Award 2006), When the Levees Broke: A Requiem in Four Acts by Spike Lee (Orizzonti Doc Award 2006), Autumn Ball (Sügisball) by Veiko Õunpuu (Orizzonti Award 2007), Useless (Wuyong) by Jia Zhang-ke (Orizzonti Doc Award 2007), Death in the Land of Encantos (Kagadanan sa banwaan ning mga engkanto) by Lav Diaz (Special Mention Orizzonti 2007), Melancholia by Lav Diaz (Orizzonti Award 2008), Below Sea Level by Gianfranco Rosi (Orizzonti Doc Award 2008), A Lake (Un Lac) by Philippe Grandrieux (Special Mention Orizzonti 2008), We (Wo men) by Huang Wenhai (Special Mention Orizzonti 2008).

Pere Portabella – President of the Jury (director – Spain)
Since the Sixties, Pere Portabella (born in 1927, Figueres, Girona) has maintained a political commitment towards those movements against the Franco dictatorship that supported democratic and civil liberties. In 1977 he was elected Senator in the first democratic elections, and participated in the drafting of the Spanish Constitution (1978). Since 2001 he has been president of the Fundación Alternativas. Before working as a director, Pere Portabella was one of the most significant figures in the development of New Spanish Cinema starting in the late Fifties. With Films 59, he produced some of the most emblematic films in the history of that country’s cinema: The Delinquents (Los Golfos) by Carlos Saura (1959), The Wheelchair (El Cochecito) by Marco Ferreri (1960) and Viridiana by Luis Buñuel (1961). Forced to move to Italy following the scandal created by the latter, he wrote the screenplay with Francesco Rosi for The Moment of Truth (Il momento della verità) (1964), the film about bull-fighting that Portabella produced the year he returned to Spain.

At the suggestion of poet Joan Brossa, he made his directing debut in 1967 with the medium-length film No contéis con los dedos, and the following year completed his first feature film, Nocturne 29 (Nocturn 29), starring Lucia Bosé. His next film Vampir (Vampir-Cuadeduc, 1970), is a key work in his screen career. Portabella, invited to New York to present his film at the MoMA, was not authorized by the regime to leave Spain. Vampir and his next film Umbracle (1972), represented a radical break with the production of those years and established his as one of the most original visions in underground and avant-garde films. A long interval would ensue between the 1976 Informe General and his next film: he did not return to directing until 1989 with The Bridge of Warsaw (El pont de Varsòvia). In 2001, his films entered the collection of the Museum of Contemporary Art of Barcelona (MACBA). In 2002 he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2003, the Centre Pompidou organized a tribute to Portabella and purchased some of his films for its cinema collections. Philadelphia, Baltimore, Chicago and New York organized screenings of his films, the BAFICI (Buenos Aires) and the Pesaro Film Festival presented retrospectives of his work. His latest film, The Silence before Bach (Die Stille vor Bach), selected in 2007 for the Orizzonti competition at the 64th Venice International Film Festival, enjoyed great success and after its debut in Venice, it was shown in many festivals and art film theatres throughout the world, from Spain to Holland, from Mexico to Korea, from Germany to New Zealand. The MoMA in New York organized a complete retrospective of Portabella’s work in 2007.

Bady Minck (artist and filmmaker – Luxembourg)
Born in Luxembourg, she has worked as an artist and independent filmmaker in Vienna and in Luxembourg, exploring the relationship between cinema and the fine arts. She studied sculpture at the Academy of Fine Arts in Vienna, and experimental film at the University of Applied Arts. Her work crosses the borders between the various artistic disciplines and has been presented in movie theatres, festivals, in museums, art galleries, public spaces and on the web.

Her intervention-art includes graffiti, performance, “eat-art” and “mail-art” in the early Eighties, objects, installations, “net-art”, political intervention-art and art-to-science-transfer. She was a founding member of Amour Fou Film in Vienna and Minotaurus Film in Luxembourg, where she produced Nebel by Matthias Müller and Fast Film by Virgil Widrich. Her films have been presented in retrospectives, and invited to more than 300 international festivals, including Cannes (Semaine de la critique 1989, Quinzaine des réalisateurs 2003), the Berlinale, Karlovy Vary, Locarno, London, New York, Pesaro, Rotterdam, Seoul, Tokyo, Toronto, where they have often won awards and special mentions. They have been purchased for various collections, including those of the Centre Pompidou in Paris; the University of Kentucky, Lexington; the Cinémathèque de la Ville de Luxembourg; the Roland Collection in London; the New York Filmmakers Coop; the Fine Arts Collection of the University of Florida and the Rockefeller Library at Brown University, in Providence.

Her artworks and films have been shown at the Museum of Modern Art at the Centre Pompidou in Paris; at Expo ’98 in Lisbon; at the Houston Fine Arts Museum; at the Centre d’Art Contemporain Fribourg; at the Kunsthalle in Vienna and in many other museums, centres and institutions. As curator, she put together film programmes for the Art Academy in Berlin; the Bogazici University at Istanbul; the Independent Film Festival in Naples; and the Cinéthèque de la Ville de Luxembourg.

In 2003 she was the curator of the special programme reisation at the Oberhausen International Short Film Festival. She has taught art and film and has been a visiting professor at universities and art academies in many countries, including the Bogazici University in Istanbul, the Fachhochschule Joanneum in Graz, the University of Udine, the Kunstuniversität of Linz, the Academy of Fine Arts in Munich. She has held lectures and workshops at festivals and symposiums in many different countries. She participated in the 2007 Music Biennale in Free Radicals, a performance between music and film.

Gina Kim (director – Korea/USA)
Gina Kim (born 1973, Seoul, Korea,) studied at the Seoul National University and in the United States at CalArts. There she made video-diaries on the theme of female identity that won awards all over the world. Anorexia (Flying Appetite, 1998), the commercialization of the female body (OK Man, This is Your World, 1995), and isolation (Morning Becomes Eclectic, 2001), and the conflict with her mother (Kim Gina – Eui Bidio Ilgi, 2001) are the themes she addressed in her early works. In her works as director, she brought together the formal precepts of feminist video-art and dramatic narrative art, winning critical acclaim. Gina Kim’s Video Diary (Kim Gina- Eui Bidio Ilgi, 2002) and especially the successive Invisible Light (2003) were presented at festivals throughout the world, including Berlin, Locarno, Rotterdam, Turin and Vancouver. Invisible Light opened new frontiers for Korean cinema. Totally self-financed by Kim and by Kim Kyung-hyung, Invisible Light received the friendly support and encouragement of many filmmakers through each phase of its realization (from Lee Chang-dong to Im Kwon-taek, from Hong Sang-soo to Park Kwan-su) who saw in this “experiment” by the young director a new direction for Korean cinema, intransigent and courageous, that should be supported and helped. And in fact Gina Kim’s work is uncompromising and highly personal thanks to the coherence of its language and the emotional charge that addresses the issue of individual identity. Her latest work, the melodrama Never forever, produced by Lee Chang-dong and starring American actress Vera Farmiga (The Departed), was presented in competition at the Sundance Film Festival 2007. Currently Gina Kim is preparing a new feature film in English, produced by Martin Scorsese.

Garin Nugroho (director – Indonesia)
Garin Nugroho (born 1961, Yogyakarta, Indonesia) is the most famous Indonesian director, author of a lively pulsating cinema, innovative and surprising, in which reality and fiction meet in the recurring theme of the search for identity, exploring the social and cultural disintegration of Indonesia. In the Nineties he developed as the only avant-garde author of Indonesian cinema, and his films participated in festivals such as Berlin, Cannes and Tokyo. Nugroho won international acclaim in 2006 at the 63rd Venice International Film Festival thanks to the critical and audience acclaim of his incredible film-opera Requiem from Java (Opera Jawa), presented in the Orizzonti section.

Garin Nugroho graduated in 1985 from the Film Academy in Jakarta, and the same year he made his debut with the documentary Hand Clapping which, like his next film Land of Challenges (1986), won the national Indonesian festival. His documentary production continued in 1989 with Water and Romi (Air dan romi), the year Nugroho made his first fiction feature-film: Love is a Slice of Bread (Cinta dalam sepotong roti, 1991), a road movie on the sexual incapacity of a man and the truth that in the past had made him free, the best debut work at the Asia Pacific Film Festival in South Korea. Two films analyzing the cultural roots of Indonesia would follow: Letter for an Angel (Surat untuk bidadri, 1994), filmed on the island of Sumba, and And the Moon Dances (Bulan tertusuk ilalang, 1995), dedicated to the traditional music of Yogyakarta, which won awards at the Festivals of Berlin, Nantes and Singapore. In 1998, his Leaf on a Pillow (Daun di atas bantal, 1997), which told the story of street children, won the Special Jury Prize at the 11th Tokyo International Film Festival and first prize in the “Certain Regard” section at the Cannes Film Festival. In 2000 in Locarno he won the Silver Leopard award in the video competition with A Poet (Puisi tak terkuburkan), a reflection on the mass repressions by the Indonesian government in the Sixties. In parallel, he continued the production of documentaries, which he often used as a basis for the study of the places and traditions at the heart of his fiction films, which always took the shape of melodrama and choral narration. The television commercials which Nugroho filmed for the democratic elections in 1998, after the fall of the Suharto regime, were dedicated to political action in favour of his own country, as was his next fiction film Bird-Man Tale (Aku Ingin Menciummu Sekali Saja, 2002), presented in Berlin, a splendid example of “docu-fiction” which reflects the contraposition between local emergencies and global “icons” in Papuasia’s claim to independence. In 2004 he participated in the Rotterdam Festival with Of Love and Eggs (Rindu kami padamu, 2004); in 2006 he presented the collective film Serambi (2006) at Cannes, and in Venice the musical Requiem from Java (Opera Jawa) in which he used the Ramayana, an ancient epic poem written in Sanskrit, to reflect in universal terms on violence in contemporary society.

In 2008 Nugroho filmed Teak Leaves and the Temples (Babi buta yang ingin terbang) presented at the Festivals in Vancouver and Rotterdam, and Under the Tree (Dibawah pohon) presented in Toronto and London. His latest work, The Blue Generation (Generasi biru), screened this year in Berlin in the Forum section, is a collective documentary filmed with directors John De Rantau and Dosy Omar, dedicated to the Indonesian rock band Slank, a group known for its politically-motivated lyrics that has played together for twenty-five years and has an enormous following throughout the country. Acting president of the social and cultural committee of the Indonesian National Film Board, Nugroho also works as a producer and through the years he has sustained and encouraged the work of each new generation of Indonesian directors.

Gianfranco Rosi (director – Italy/United States)
Born in Asmara in Eritrea, and holding dual citizenship (Italian and United States), Gianfranco Rosi is a cosmopolitan filmmaker and not just officially: a graduate of the New York University Film School, he has lived in Istanbul, New York, Rome and Los Angeles. He produced, directed and was director of photography for the medium-length film Boatman. Filmed in India, Boatman successfully participated in many international festivals (Sundance, Locarno, Toronto, London, Amsterdam, New York, Bombay, Hong Kong), winning many awards. The film was released in theatres and was broadcast by the major international television networks (BBC, ARTE’, WDR, RAI, PBS). Rosi also directed many Pubblicità Progresso commercials, industrial videos and five short films (Car wash, Coney Island, Roosevelt Island, Vaudeville) and was director of photography on numerous documentaries, including Face Addict, which won great acclaim in Locarno. He freelances as creative supervisor of dubbing for Universal, Fox, Paramount and Dreamworks. He is a guest lecturer at the New York University Film School. Below Sea Level is his first feature film as a director, for which he has received important acknowledgments and unanimously positive reviews. Set in a no-man’s land 40 metres below sea level, in an abandoned military base 250 km southeast of Los Angeles, in a vast desert, the documentary recounts the life of a group of people living on the edge of the world, with no electricity, no water, no police, and no government. They seem to be homeless, but they have nothing in common with the homeless on the street. They live their lives in extreme conditions and yet reproduce normalcy. They have not refused society, conventions, normalcy, but each of them, for different reasons, has been left “out”. They are the new poverty. The film, which won the Orizzonti Doc Award at the 65th International Film Festival of Venice after its triumph as Best Italian Documentary 2008 in Bari, also won the One World International Film Festival in Prague and the Grand Prix at the Festival Cinéma du Réel, the prestigious event dedicated to documentaries and held every year at the Centre Pompidou in Paris. It also won the Prix des Jeunes in Paris, confirming the vitality and potential (yet to be exploited in Italy, where the film has not been distributed or purchased for television broadcast) of a documentary that also recently triumphed at the Bellaria Film Festival.

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source: http://www.labiennale.org/en/cinema/news/orizzonti_jury.html

The five members of the Jury have been named for the Orizzonti section of the 66th Venice International Film Festival (September 2-12, 2009), chaired – as was announced earlier – by the master of Spanish independent cinema Pere Portabella, author of The Silence before Bach (Die Stille vor Bach), presented in Venice in 2007 following which it became one of the greatest successes on the European art film circuit.

Maestro Portabella will be joined on the Jury of Orizzonti by four distinguished cineastes: artist and independent filmmaker Bady Minck (Luxembourg), formerly a participant in the 2007 Music Biennale in the music-film performance, Free Radicals; director Gina Kim (Korea), one of the significant new authors of Asian American film; the most famous Indonesian director Garin Nugroho, who received his international breakthrough in Venice in 2006 with the success of Requiem from Java (Opera Jawa) in the Orizzonti section; and Italian-American director Gianfranco Rosi, winner of the Orizzonti Doc Award in Venice in 2008 and of major international awards for documentaries with Below Sea Level.

The 66th Venice International Film Festival (September 2–12, 2009) is directed by Marco Müller and organized by the Biennale di Venezia, chaired by Paolo Baratta.

The Jury will give the Orizzonti Award and the Orizzonti Doc Award to one of the feature-length films selected for the Orizzonti section, which for five years has been providing an overview on new trends in cinema on the border between fiction and documentary.

Up to now the winning films in this section have been: The Grand Sons (Les Petits Fils) by Ilan Duran Cohen (Orizzonti Award 2004), Vento di Terra by Vincenzo Marra (Special Mention Orizzonti 2004), East of Paradise by Lech Kowalski (Orizzonti Award 2005), First on the Moon (Pervye na lune) by Aleksey Fedorchenko (Orizzonti Doc Award 2005), Courthouse on Horseback (Mabei shang de fating) by Liu Jie (Orizzonti Award 2006), When the Levees Broke: A Requiem in Four Acts by Spike Lee (Orizzonti Doc Award 2006), Autumn Ball (Sügisball) by Veiko Õunpuu (Orizzonti Award 2007), Useless (Wuyong) by Jia Zhang-ke (Orizzonti Doc Award 2007), Death in the Land of Encantos (Kagadanan sa banwaan ning mga engkanto) by Lav Diaz (Special Mention Orizzonti 2007), Melancholia by Lav Diaz (Orizzonti Award 2008), Below Sea Level by Gianfranco Rosi (Orizzonti Doc Award 2008), A Lake (Un Lac) by Philippe Grandrieux (Special Mention Orizzonti 2008), We (Wo men) by Huang Wenhai (Special Mention Orizzonti 2008).

Pere Portabella – President of the Jury (director – Spain)
Since the Sixties, Pere Portabella (born in 1927, Figueres, Girona) has maintained a political commitment towards those movements against the Franco dictatorship that supported democratic and civil liberties. In 1977 he was elected Senator in the first democratic elections, and participated in the drafting of the Spanish Constitution (1978). Since 2001 he has been president of the Fundación Alternativas. Before working as a director, Pere Portabella was one of the most significant figures in the development of New Spanish Cinema starting in the late Fifties. With Films 59, he produced some of the most emblematic films in the history of that country’s cinema: The Delinquents (Los Golfos) by Carlos Saura (1959), The Wheelchair (El Cochecito) by Marco Ferreri (1960) and Viridiana by Luis Buñuel (1961). Forced to move to Italy following the scandal created by the latter, he wrote the screenplay with Francesco Rosi for The Moment of Truth (Il momento della verità) (1964), the film about bull-fighting that Portabella produced the year he returned to Spain.

At the suggestion of poet Joan Brossa, he made his directing debut in 1967 with the medium-length film No contéis con los dedos, and the following year completed his first feature film, Nocturne 29 (Nocturn 29), starring Lucia Bosé. His next film Vampir (Vampir-Cuadeduc, 1970), is a key work in his screen career. Portabella, invited to New York to present his film at the MoMA, was not authorized by the regime to leave Spain. Vampir and his next film Umbracle (1972), represented a radical break with the production of those years and established his as one of the most original visions in underground and avant-garde films. A long interval would ensue between the 1976 Informe General and his next film: he did not return to directing until 1989 with The Bridge of Warsaw (El pont de Varsòvia). In 2001, his films entered the collection of the Museum of Contemporary Art of Barcelona (MACBA). In 2002 he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2003, the Centre Pompidou organized a tribute to Portabella and purchased some of his films for its cinema collections. Philadelphia, Baltimore, Chicago and New York organized screenings of his films, the BAFICI (Buenos Aires) and the Pesaro Film Festival presented retrospectives of his work. His latest film, The Silence before Bach (Die Stille vor Bach), selected in 2007 for the Orizzonti competition at the 64th Venice International Film Festival, enjoyed great success and after its debut in Venice, it was shown in many festivals and art film theatres throughout the world, from Spain to Holland, from Mexico to Korea, from Germany to New Zealand. The MoMA in New York organized a complete retrospective of Portabella’s work in 2007.

Bady Minck (artist and filmmaker – Luxembourg)
Born in Luxembourg, she has worked as an artist and independent filmmaker in Vienna and in Luxembourg, exploring the relationship between cinema and the fine arts. She studied sculpture at the Academy of Fine Arts in Vienna, and experimental film at the University of Applied Arts. Her work crosses the borders between the various artistic disciplines and has been presented in movie theatres, festivals, in museums, art galleries, public spaces and on the web.

Her intervention-art includes graffiti, performance, “eat-art” and “mail-art” in the early Eighties, objects, installations, “net-art”, political intervention-art and art-to-science-transfer. She was a founding member of Amour Fou Film in Vienna and Minotaurus Film in Luxembourg, where she produced Nebel by Matthias Müller and Fast Film by Virgil Widrich. Her films have been presented in retrospectives, and invited to more than 300 international festivals, including Cannes (Semaine de la critique 1989, Quinzaine des réalisateurs 2003), the Berlinale, Karlovy Vary, Locarno, London, New York, Pesaro, Rotterdam, Seoul, Tokyo, Toronto, where they have often won awards and special mentions. They have been purchased for various collections, including those of the Centre Pompidou in Paris; the University of Kentucky, Lexington; the Cinémathèque de la Ville de Luxembourg; the Roland Collection in London; the New York Filmmakers Coop; the Fine Arts Collection of the University of Florida and the Rockefeller Library at Brown University, in Providence.

Her artworks and films have been shown at the Museum of Modern Art at the Centre Pompidou in Paris; at Expo ’98 in Lisbon; at the Houston Fine Arts Museum; at the Centre d’Art Contemporain Fribourg; at the Kunsthalle in Vienna and in many other museums, centres and institutions. As curator, she put together film programmes for the Art Academy in Berlin; the Bogazici University at Istanbul; the Independent Film Festival in Naples; and the Cinéthèque de la Ville de Luxembourg.

In 2003 she was the curator of the special programme reisation at the Oberhausen International Short Film Festival. She has taught art and film and has been a visiting professor at universities and art academies in many countries, including the Bogazici University in Istanbul, the Fachhochschule Joanneum in Graz, the University of Udine, the Kunstuniversität of Linz, the Academy of Fine Arts in Munich. She has held lectures and workshops at festivals and symposiums in many different countries. She participated in the 2007 Music Biennale in Free Radicals, a performance between music and film.

Gina Kim (director – Korea/USA)
Gina Kim (born 1973, Seoul, Korea,) studied at the Seoul National University and in the United States at CalArts. There she made video-diaries on the theme of female identity that won awards all over the world. Anorexia (Flying Appetite, 1998), the commercialization of the female body (OK Man, This is Your World, 1995), and isolation (Morning Becomes Eclectic, 2001), and the conflict with her mother (Kim Gina – Eui Bidio Ilgi, 2001) are the themes she addressed in her early works. In her works as director, she brought together the formal precepts of feminist video-art and dramatic narrative art, winning critical acclaim. Gina Kim’s Video Diary (Kim Gina- Eui Bidio Ilgi, 2002) and especially the successive Invisible Light (2003) were presented at festivals throughout the world, including Berlin, Locarno, Rotterdam, Turin and Vancouver. Invisible Light opened new frontiers for Korean cinema. Totally self-financed by Kim and by Kim Kyung-hyung, Invisible Light received the friendly support and encouragement of many filmmakers through each phase of its realization (from Lee Chang-dong to Im Kwon-taek, from Hong Sang-soo to Park Kwan-su) who saw in this “experiment” by the young director a new direction for Korean cinema, intransigent and courageous, that should be supported and helped. And in fact Gina Kim’s work is uncompromising and highly personal thanks to the coherence of its language and the emotional charge that addresses the issue of individual identity. Her latest work, the melodrama Never forever, produced by Lee Chang-dong and starring American actress Vera Farmiga (The Departed), was presented in competition at the Sundance Film Festival 2007. Currently Gina Kim is preparing a new feature film in English, produced by Martin Scorsese.

Garin Nugroho (director – Indonesia)
Garin Nugroho (born 1961, Yogyakarta, Indonesia) is the most famous Indonesian director, author of a lively pulsating cinema, innovative and surprising, in which reality and fiction meet in the recurring theme of the search for identity, exploring the social and cultural disintegration of Indonesia. In the Nineties he developed as the only avant-garde author of Indonesian cinema, and his films participated in festivals such as Berlin, Cannes and Tokyo. Nugroho won international acclaim in 2006 at the 63rd Venice International Film Festival thanks to the critical and audience acclaim of his incredible film-opera Requiem from Java (Opera Jawa), presented in the Orizzonti section.

Garin Nugroho graduated in 1985 from the Film Academy in Jakarta, and the same year he made his debut with the documentary Hand Clapping which, like his next film Land of Challenges (1986), won the national Indonesian festival. His documentary production continued in 1989 with Water and Romi (Air dan romi), the year Nugroho made his first fiction feature-film: Love is a Slice of Bread (Cinta dalam sepotong roti, 1991), a road movie on the sexual incapacity of a man and the truth that in the past had made him free, the best debut work at the Asia Pacific Film Festival in South Korea. Two films analyzing the cultural roots of Indonesia would follow: Letter for an Angel (Surat untuk bidadri, 1994), filmed on the island of Sumba, and And the Moon Dances (Bulan tertusuk ilalang, 1995), dedicated to the traditional music of Yogyakarta, which won awards at the Festivals of Berlin, Nantes and Singapore. In 1998, his Leaf on a Pillow (Daun di atas bantal, 1997), which told the story of street children, won the Special Jury Prize at the 11th Tokyo International Film Festival and first prize in the “Certain Regard” section at the Cannes Film Festival. In 2000 in Locarno he won the Silver Leopard award in the video competition with A Poet (Puisi tak terkuburkan), a reflection on the mass repressions by the Indonesian government in the Sixties. In parallel, he continued the production of documentaries, which he often used as a basis for the study of the places and traditions at the heart of his fiction films, which always took the shape of melodrama and choral narration. The television commercials which Nugroho filmed for the democratic elections in 1998, after the fall of the Suharto regime, were dedicated to political action in favour of his own country, as was his next fiction film Bird-Man Tale (Aku Ingin Menciummu Sekali Saja, 2002), presented in Berlin, a splendid example of “docu-fiction” which reflects the contraposition between local emergencies and global “icons” in Papuasia’s claim to independence. In 2004 he participated in the Rotterdam Festival with Of Love and Eggs (Rindu kami padamu, 2004); in 2006 he presented the collective film Serambi (2006) at Cannes, and in Venice the musical Requiem from Java (Opera Jawa) in which he used the Ramayana, an ancient epic poem written in Sanskrit, to reflect in universal terms on violence in contemporary society.

In 2008 Nugroho filmed Teak Leaves and the Temples (Babi buta yang ingin terbang) presented at the Festivals in Vancouver and Rotterdam, and Under the Tree (Dibawah pohon) presented in Toronto and London. His latest work, The Blue Generation (Generasi biru), screened this year in Berlin in the Forum section, is a collective documentary filmed with directors John De Rantau and Dosy Omar, dedicated to the Indonesian rock band Slank, a group known for its politically-motivated lyrics that has played together for twenty-five years and has an enormous following throughout the country. Acting president of the social and cultural committee of the Indonesian National Film Board, Nugroho also works as a producer and through the years he has sustained and encouraged the work of each new generation of Indonesian directors.

Gianfranco Rosi (director – Italy/United States)
Born in Asmara in Eritrea, and holding dual citizenship (Italian and United States), Gianfranco Rosi is a cosmopolitan filmmaker and not just officially: a graduate of the New York University Film School, he has lived in Istanbul, New York, Rome and Los Angeles. He produced, directed and was director of photography for the medium-length film Boatman. Filmed in India, Boatman successfully participated in many international festivals (Sundance, Locarno, Toronto, London, Amsterdam, New York, Bombay, Hong Kong), winning many awards. The film was released in theatres and was broadcast by the major international television networks (BBC, ARTE’, WDR, RAI, PBS). Rosi also directed many Pubblicità Progresso commercials, industrial videos and five short films (Car wash, Coney Island, Roosevelt Island, Vaudeville) and was director of photography on numerous documentaries, including Face Addict, which won great acclaim in Locarno. He freelances as creative supervisor of dubbing for Universal, Fox, Paramount and Dreamworks. He is a guest lecturer at the New York University Film School. Below Sea Level is his first feature film as a director, for which he has received important acknowledgments and unanimously positive reviews. Set in a no-man’s land 40 metres below sea level, in an abandoned military base 250 km southeast of Los Angeles, in a vast desert, the documentary recounts the life of a group of people living on the edge of the world, with no electricity, no water, no police, and no government. They seem to be homeless, but they have nothing in common with the homeless on the street. They live their lives in extreme conditions and yet reproduce normalcy. They have not refused society, conventions, normalcy, but each of them, for different reasons, has been left “out”. They are the new poverty. The film, which won the Orizzonti Doc Award at the 65th International Film Festival of Venice after its triumph as Best Italian Documentary 2008 in Bari, also won the One World International Film Festival in Prague and the Grand Prix at the Festival Cinéma du Réel, the prestigious event dedicated to documentaries and held every year at the Centre Pompidou in Paris. It also won the Prix des Jeunes in Paris, confirming the vitality and potential (yet to be exploited in Italy, where the film has not been distributed or purchased for television broadcast) of a documentary that also recently triumphed at the Bellaria Film Festival.

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