25TH ANNIVERSARY OF HFM - Nederlands Film Festival

27 SEP -1 OCT UTRECHT FILMFESTIVAL.NL
25TH
ANNIVERSARY
OF HFM
NPP
DOSSIER
2012
INTERNATIONAL SECTION OF THE NETHERLANDS FILM FESTIVAL

Contents
Netherlands Production Platform 2012
2
3
4
6
8
10
12
14
16
18
20
22
24
26
28
30
32
34
36
38
40
42
44
50
Credits and acknowledgments
Foreword
International Projects
Again and Again by Cristina Ionescu (Romania)
Bergman´s Video by Jane Magnusson and Hynek Pallas (Sweden)
Death of a Salaryman by Adrian Sitaru (UK)
Dust Cloth by Ahu Öztürk (Turkey)
Europe’s Borderlands by Jakob Preuss (Germany)
Father by Artur Urbański (Poland)
Motherland by Senem Tüzen (Turkey)
Mudo by Daniel Martín Novel (Spain)
Paradise Trips by Raf Reyntjens (Belgium)
Parisienne by Gintautas Dailyda (Lithuania)
Pilgrimage by Brendan Muldowney (Ireland)
Runt by Ieuan Morris (UK)
Second Life by Gabriele Dettre (Hungary)
South Facing Wall by Kutluğ Ataman (Turkey)
Dutch Projects
In the Heart by Nicole van Kilsdonk
Into the Blue by Jaap van Heusden
Johanna’s Son by Martin Krejci
Kessels by Erik de Bruyn
Knuckles’ Last Tape by Jos de Putter
The Year I turned 30 by Sacha Polak
NPP projects, 2002-2011
Index
2012 NPP 1

The Holland Film Meeting 2012 takes place in cooperation with:
HGIS-Cultuurmiddelen
Filmproducenten
Nederland
With Thanks to
Alan Fountain
Claudia Landsberger
Dominique van Ratingen
Ellis Driessen
Esther Bannenberg
Ger Bouma
Gülin Üstün
Ido Abram
James Hickey
Marjan van der Haar
Marten Rabarts
Nick Roddick
Nicola Jones
Peter Dinges
Sonja Heinen
Stienette Bosklopper
Head Holland Film Meeting
Signe Zeilich-Jensen
Producer Holland Film
Meeting
Eva Laurillard
Coordinator Netherlands
Production Platform
Mercedes Martínez-Abarca
Moderators
Ido Abram
Nick Roddick
Editing
Nick Cunningham,
Mercedes Martínez-Abarca
Design
Marinka Reuten
Printing
MediaCenter Rotterdam
Netherlands Film Festival/
Holland Film Meeting
P.O. Box 1581
3500 BN Utrecht
The Netherlands
Tel. +31 30 230 38 00
Fax. +31 30 230 38 01
hfm@filmfestival.nl
www.filmfestival.nl
The information on the
projects in this NPP Dossier
and the update on pages 5 - 43
was supplied by the producers.
This project is supported
by the Government of the
Republic of Turkey within the
framework of the celebrations
of the 400th anniversary of the
establishment of diplomatic
relations between Turkey and
the Netherlands.
2 NPP 2012

Foreword
Welcome to the Holland Film
Meeting and the Netherlands
Production Platform 2012
The Holland Film Meeting celebrates its 25th birthday this year. What started
in 1987 as a two-day programme called ‘Holland Meets…’ has, over the years,
developed into a flourishing film market and meeting place for more than 200
film professionals from all over Europe. The recurring programme components
- the Netherlands Production Platform, the Cinema Militans Lecture (this year
in co-operation with our new partner Sight & Sound magazine) and the Binger
Screen Interview - are accompanied by a growing number of seminars, panels
and debates. They can all be found in the programme under the heading ‘Dutch
Industry Days’.
Despite the changes over the years our aim has remained the same: to
support filmmakers and film financers to meet and exchange knowledge and
experience; to help those European countries with smaller film production
capacities to find new markets and obtain wider distribution of their films; and -
last but not least - to make business happen.
More than 100 films have found their way from development and financing onto
the screen via the Netherlands Production Platform, with the latest premiering
as the opening film of this year’s festival: Nono, the Zigzag Kid, directed by
Vincent Bal and produced by Bos Bros. Meanwhile, this year’s NPP selection
consists of 20 projects originating from Belgium, Ireland, Germany, Lithuania,
Romania, Spain, Sweden, Poland, Turkey, the UK and the Netherlands. For
the selection of the three Turkish projects we have relied on the expertise and
connections of our colleagues in Istanbul at Meetings on the Bridge, who are
also co-hosting this year’s focus programme ‘Holland Meets Turkey’.
Turkish cinema is on the march. In our country focus of this year we are paying
homage to one of its most sophisticated filmmakers: Semih Kaplanoğlu. On
Sunday September 30, he will deliver the annual Cinema Militans Lecture. The
festival is also showing a retrospective of his ‘Yusuf’ trilogy: Yumurta (Egg), Süt
(Milk) and Bal (Honey).
Our programme would not have been possible without the help of our partners
and friends inside and outside the Netherlands. A big thank-you to all of you.
Special thanks go to our Turkish colleagues and friends for their enthusiasm and
support for this year’s edition.
The staff of the Holland Film Meeting will do their best to provide assistance
wherever and whenever it is needed. We hope that you will feel at home and
wish you a fruitful and enjoyable stay in Utrecht.
With best wishes,
Signe Zeilich-Jensen
Head Holland Film Meeting
Willemien van Aalst
Director Netherlands Film Festival
2012 NPP 3

Again and Again
Temple Film, Romania
The desire to reach the West,
to escape from a Romania
which is stuck in dictatorship
and terror, pushes young
Lucian to try and cross the
border illegally…
Synopsis
After swimming the Danube to enter Serbia illegally, Lucian and
two friends are arrested and sent back home to Romania.
But Lucian doesn’t give up on his desire for freedom and plans
another escape with Victor, a local dentist, who plans to leave his
wife and children behind, convinced this is the only way he can offer
them a better life.
They cross the Danube through the same place, Victor almost
drowning in the attempt, but in the end they both make it to the
other shore. They take themselves to the authorities but end up
in a prison in Padinska Skela. Enraged by the bad conditions and
the atrocious treatment they receive, Lucian convinces the other
prisoners to riot. He is sent back to the Romanian authorities.
Lucian ends up in one of the most feared communist prisons,
a nightmarish place where political prisoners often disappear
without trace. He is sentenced to 20 months but, on the same day,
the revolution in Timisoara erupts and the prison is soon under assault
by the other inmates. Lucian is set free a few days later and
he returns home.
A week later he gets news from Victor, the dentist he ran away
with. Victor has settled down in Vienna and is offering him his help.
Lucian leaves the country again, this time with a passport in hand.
He makes it to Vienna and Victor tries to find him a job, but he ends
up with a group of Romanians who regularly break into houses. He
soon realises the mess that he has got himself into and determines
finally to take life into his own hands. This was not the freedom for
which he was searching, so he decides to return home one last time.
Director’s statement
Again and Again is a story about immigration and about what happens
to us when we become pawns of a political system we bear the
burden of being born into.
For anyone who has lived in any of these communist countries, the
term ‘Occident’ represented a mirage and the supreme life goal.
In the 80s, crossing the border illegally was a very common activity
but it was kept a secret by the authorities as well as by the families
that stayed behind.
I lived through those years and during the first period after the fall
of communism I sought to gather the histories of those who had left
the country. Both an adventure and a love story, the film looks at the
delicate issue of emigration which one may understand and filter
with more compassion through these fragments of very human
experiences and emotions.
Director’s filmography
Cristina Ionescu is a director and film producer. Born in 1968, she
graduated from Bucharest Film Academy and worked mainly in
advertising and for media agencies.
She also worked as 2nd AD on the French-Romanian co-production
directed by Bertrand Tavernier. Her debut feature Following Her was
released in 2007.
She produced the much-awarded feature film Occident by Cristian
Mungiu.
Some of the most important Romanian directors collaborated with
Cristina in making their debut works, such as Cristi Puiu, whose
Coffee and Cigarettes won the Golden Bear Award at Berlinale in
2003, and Cristian Nemescu (California Dreamin’).
Producer’s filmography
Temple Film is an independent film production company founded
by Dan Badea and Cristina Ionescu in 1998. In 2001 Temple Film
produced the award-winning feature Occident by Cristian Mungiu.
Other titles are:
Coffee and Cigarettes by Cristi Puiu (Golden Bear, Berlinale 2003).
California Dreamin’ by Cristian Nemescu (2007), co-produced by
Temple Film.
4 NPP 2012

Cristina Ionescu
Dan Badea
Current status
Script development status (3rd draft). Partner attached: CNC
(Romania).
Aims at the NPP
We are looking for co-producer(s), distributors and sales agent. In
terms of co-producers we would ideally like to find a partner from
Serbia, Austria or Germany where the story take place but we are
open to other countries as well.
The development of the project through international co-production
would add value to a story of interest not only to former East-
European countries but also to countries facing emigration issues
today.
Director
Cristina Ionescu
Producer
Dan Badea
Screenwriters
Tudor Voican
Cristina Ionescu
Based on
the novel Again and Again
by Lucian Trif
Languages
Romanian, Serbian,
German
Genre
Drama, Adventure
Format
35 mm color
Running time
100 mins
Target audience
16+
Budget
€1,148,611
Contact
Cristina Ionescu
Temple Film
Zosima 80 A
05137 Bucharest
Romania
Tel: +40 723 23 21 21
Email: templefilm2009@yahoo.com
www.templefilm.ro
2012 NPP 5

Bergman’s Video
Gädda Five, Sweden
When Swedish film director
Ingmar Bergman died in 2007
he left behind a collection
of 1711 films on VHS. This
documentary focuses on the
films within the wide-ranging
Bergman archive.
Synopsis
Swedish film director Ingmar Bergman was an avid film buff. In
addition to having a private cinema in his home on the small island
of Fårö, where he saw movies daily, he also had his own personal
VHS library. More than 1,500 films can be found on the shelves
in Ingmar Bergman’s screening room. The collection, carefully
arranged in alphabetical order, with personal notes on favourites,
remains exactly as Bergman left it when he passed away on July
30 2007.
In the spirit of Ingmar Bergman, Bergman’s Video is a new feature
length documentary, just as mixed and wide-ranged as the Swedish
director’s library of films. The film will feature the filmmakers
and actors who are represented in the Bergman collection but
also a younger generation of directors who are working with the
same themes and issues as Bergman.
Bergman’s Video will give new insight into the genius of Bergman
but will also, as importantly, portray the greatest filmmakers
of today. How they work, why they choose the themes they keep
returning to and why film is an art-form like no other.
Directors’ Statement
When we first entered Bergman’s TV room we were struck by the
strange mix. There were the expected highbrow films by Fellini,
Truffaut and Kieslowski, but also more lowbrow entertainment,
such as The Thing, The Blues Brothers, and Romancing the Stone.
There was a predominance of red and yellow VHS covers, mixed
with softer hues that signalled ‘quality’. Some of the tapes had
handwritten titles, penned by Bergman himself, and yet another
few were marked with an X to indicate Bergman’s degree of approval.
Sunset Boulevard, Bergman’s favourite film, is the only tape
in the collection which warranted a full five Xs. During two dark
October days we had the honour of documenting Ingmar Bergman’s
whole collection, emerging into the light with an altered
vision of the great director. Thus began our work on documentary
series Bergman’s Video.
We heard that Michael Douglas had been granted a private tour of
Bergman’s house. When he saw that the collection included Wall
Street he exclaimed, “He has seen my film!” Inspired by Michael
Douglas’ reaction we contacted the actors and directors who are
represented in Bergman’s video library and interviewed them
about the films that Bergman had in his collection.
Directors’ filmography
Jane Magnusson has a BA in film and media studies and 20 years
of journalist experience within print, radio and television media.
She wrote the screenplay for feature The Swimsuit Issue (Tribeca
2009). Her full length documentary Ebbe – the Movie won the Guldbagge
for best documentary (Swedish equivalent of the Oscar).
Hynek Pallas has worked as a Swedish journalist and film critic
for more than ten years, mainly writing for the daily Svenska
Dagbladet and other publications. He has a PhD in Film studies
from the University of Stockholm and has published two books on
Swedish film.
Production Company
Gädda Five is a Stockholm-based production company, mainly focusing
on TV and documentary. Since the company’s debut in 2006
Gädda Five has, so far, produced the highly acclaimed documentary
Ebbe – The Movie as well as co- produced the feature Allt Flyter
(The Swimsuit Issue, dir. Måns Herngren). Gädda Five’s goal is to
develop strong ideas and produce high-end film and television for
an international audience.
Current Status
Finance currently in place from Gädda Five, The Bergman Estate,
Gotland Filmfund, SVT, and presales to France and Australia.
Aims at the NPP
To find Dutch participation and support.
6 NPP 2012

Jane Magnusson
Hynek Pallas
Fatima Varhos
Director
Jane Magnusson
Hynek Pallas
Producer
Fatima Varhos
Screenwriters
Jane Magnusson
Hynek Pallas
Fatima Varhos
Language
English
Genre
Documentary, Culture
Running time
90 mins
Target audience
25-75 years
Budget
€1,138,681
Contact
Fatima Varhos
Gadda Five AB
Åsögatan 130
11624 Stockholm
Sweden
Tel: +46 733 522 075
Email: info@gaddafive.se
2012 NPP 7

Death of a Salaryman
Vernon Films, UK
An epic journey of a man
whose life begins just as he
thinks it’s all over.
Synopsis
Frank is a naive, clumsy family man and researcher at a TV corporation
in London. He dreams of a life where he can make the
ideas he jots down in his notebook into TV shows, but on his 45th
birthday he gets fired. As he watches his dreams fall apart before
him, Frank is introduced to the world of underground gambling by
Dev, a travelling salesman and Elvis impersonator.
But just as he begins to make friends and earn some money, his
wife Amy finds out that Frank was fired and, with the help of his
hated mother-in-law, finds him a demeaning job in a mailroom,
which he is forced to take. Now Frank has to juggle a job which he
hates with a magical world of wacky friends and late night smoky
card games. Here Frank finds the true meaning of friendship in
the funny and heartwarming bond that he forms with his gambling
coach Doppo.
Via a bizarre chain of events Frank gets hit by lightning and has a
brilliant idea for his own reality TV show, inspired by his motherin-law’s
addiction to magazine competitions. But then his new best
friend Doppo dies of a heart attack. Unwilling to make any more
compromises, Frank decides to finally take his life into his own
hands and make his dream show into a reality. What follows is a
roller-coaster ride of misadventures as Frank desperately tries to
put out fires, with an alcoholic suicidal presenter, a backstabbing
executive and his mother-in-law as the accidental star of the show.
Frank meets truly spectacular people, falls in love, finds acceptance
and friendship and is tested to his limits on a journey of painful,
but life-changing, self-discovery.
Director’s statement
With Death of a Salaryman I knew I had found that once-in-a-lifetime
universal story that speaks of something which is in all of us:
a want, a need and a dream, to be extraordinary. But ultimately I
realised that we have the opportunity to make a unique movie that
will not only make you laugh out loud, but will also make you cry.
It will remind you that there is always something within you, which
only you possess. And if you harness it you can become a winner,
and rise above all obstacles.
This movie is so filled with unexpected turns that it will make you
feel invincible, it will leave you breathless, and when you leave
the cinema you will feel like anything is possible. Because if this
ordinary man can find freedom and happiness than surely so can
you. For Frank as for me: the end is but a beginning.
Director’s Profile
Adrian Sitaru is a BAFTA (LA) winning director and Golden Bear
nominee. His short and feature films have been selected at Sundance,
Milan and Venice, sold widely in the European and Asian
markets, and have been circulated around the international festival
circuit with phenomenal success, winning him over 80 international
awards.
His debut feature film Hooked was chosen for Venice Days, Toronto,
Busan, London BFI, won 8 international awards and sold in over
12 territories. His second feature Best Intentions, premiered in the
summer of 2011 receiving distribution after its first screening and
winning him best director at Locarno International Film Festival.
His third feature film was completed in April 2012.
Production company
Vernon Films is a UK film and media production company, founded
in 2010 with the aim of producing commercially driven independent
cinema. Vernon Films is striving to create films which push the
boundaries of their genre while reaching the widest possible audiences.
Vernon Films focuses on feature films and documentaries
whilst aiming also to expand into television drama and comedy.
Vernon Films is currently in post-production on Making Ugly, a
feature film thriller, in production on Chuck Norris vs Communism, a
feature film documentary, in pre-production on Neurotica, a feature
length comedy, and in development with feature film adaptation
Death of a Salaryman.
Current status
In development. Partner attached: 4Proof Film (Romania)
Aims at the NPP
Co-production, financing possibilities, advice and networking.
8 NPP 2012

Adrian Sitaru
Mara Adina
Director
Adrian Sitaru
Producer
Mara Adina
Screenwriter
Adrian Sitaru
Based on
the book Death of
a Salaryman
by Fiona Campbell
Language
English
Genre
Black comedy
Format
HD
Running time
100 mins
Target audience
Young audience interested
in reality TV, family life,
male camaraderie, underground
gambling, love, sex
and the source material
Budget
€ 4.780.000
Contact
Mara Adina
Vernon Films
110 Deptford High Street
London SE8 4NS
UK
Tel: +44 758 593 8274
Email: vernonfilms@gmail.com
www.vernonfilms.co.uk
2012 NPP 9

Dust Cloth
Toz Bezi
Ret Film, Turkey
Two cleaning women,
trapped between the Istanbul
ghettoes and its bright lights,
try to understand life and
survive in their own individual
ways.
Synopsis
The lives of Nesrin (30) and Hatun (37) run like a wagon between
the ghettoes of Istanbul and its city lights. The cleaning ladies’
routine revolves around leaving their homes, entering the houses
of others, cleaning these private spaces, and returning back
home again. While Nesrin tries to find her run-away husband, she
dreams a better life for her daughter Asmin (5). While Hatun tries
to exist within her compulsory marriage to waiter Şero (45), and
with her not-so-promising son Oktay (13), she sees hope in Asmin,
a daughter that she never had, and dreams of buying a house just
like the ones she works in...
Director’s Statement
It was one of the clearest memories from my childhood. We came
to Istanbul to visit our relatives. First stop was my aunt and one
day I travelled from her one-roomed flat to a three-roomed one.
This was the first time that I encountered the private space of the
middle-classes. When we were there, I touched objects that I had
never seen before, and I was astonished. We were alone and I felt
that I was so close to everything. I could even lie on the bed, but
there was an imaginary wall that prevented me from doing it. This
represented a distance that I knew intuitively from my indigent life.
Being annoyed about this sense of distance, my mum gave me a
secret when we returned. The secret was that my aunt was a cleaning
woman and I should not tell this to anyone. After my college
years (where I met with leftist ideology) I retained a sense of class
resentment. When I started working, the conversation of my colleagues
would turn to their problems with their cleaning women,
and I was reminded of this feeling again. They hired a cleaning
woman because they saw it as a symbol of the class to which
they wished to belong, and these long conversations became the
expression of this thought.
I thought a lot about how to tell this story of my aunt. First, I looked
for answers from cultural, political, and ethical perspectives.
But the point I reached was a feeling of shame. Not shame about
these women of my family, it was rather the shame of feeling this
shame. So I decided to write the story, knowing that it is the only
way to recover.
Director’s profile
Ahu Öztürk studied philosophy and cinema. In 2004, she directed
her first documentary Chest. In 2010, she participated in the Tales
from Kars film project with her short film Open Wound which has
been shown in many international film festivals such as Rotterdam,
Istanbul, Jerusalem, Sarajevo, Beirut. Dust Cloth is her first
feature film project and received the CNC Award at the Meetings
on the Bridge Film Development Workshop in Istanbul (April 2012)
as well as the EAVE Scholarship award at Cinelink Co-Production
Market in Sarajevo (July 2012).
Production company
Ret Film was founded in 2012 by Çiğdem Mater and Nesra Gürbüz.
The company aims to produce independent features, documentaries
and shorts. Ret Film aims to support young directors with
new ways/styles of narration. Dust Cloth is the company’s debut
feature film project.
Current status
Pre-production.
Aims at the NPP
Looking for co-producers, funds, sales agents and distributors
(cinema & TV) and script development.
10 NPP 2012

Ahu Öztürk
Nesra Gürbüz
Çiğdem Mater
Director
Ahu Öztürk
Producer
Nesra Gürbüz
Çiğdem Mater
Screenwriter
Ahu Öztürk
Based on
an original story
Languages
Turkish, Kurdish
Genre
Drama
Format
35 mm
Running time
94 mins
Target audience
People who are interested
to small worlds, small
stories, film lovers, and
festival audiences
Budget
€405,000
Contact
Nesra Gürbüz
RET FILM
Sofyali Sok. Hamson Apt. 20/7
Asmalimescit, Beyoglu,
34430, Istanbul
Turkey
Tel: +90 535 969 0319
Email: nesrag@gmail.com
2012 NPP 11

Europe’s Borderlands
Europas Grenzen
Weydemann Bros., Germany
An exploration of Europe’s
borders both in their literal
geographical sense and in
their metaphorical sense of
freedom of movement and
openness.
Synopsis
German Filmmaker Jakob Preuss sets out to explore the periphery
of the European Union – the geographical borders as well
as the borders of identity and integration. As a child growing up
in West Berlin, Preuss lived with the physical presence of the
Berlin Wall every day. Now, after the reunification of Germany, the
Schengen agreement and the enlargement of the European Union
to the former Soviet satellites of Eastern Europe, the nearest land
border lies about 1000 km away from his home. Jakob starts a
personal journey to find out what these borders look like today.
Are there new Berlin Walls out there? Who protects them and who
is in charge? Are they doomed to vanish or do they have a definite
character? Who determined them and does their actual placement
make sense? What do they mean for the people living on either
side of them?
In the course of the journey we meet different people in very different
locations. Some risk their life in order to protect the borders,
some risk their lives in order to cross them, some make a living
by trading or smuggling goods across them, some want to abolish
them and some are just bored to death by waiting in the passport
and customs queues. Europe’s Borderlands is at times a melancholic
meditation and a persistent examination of the political
situation, underpinned by one crucial question: will the European
Union replace sovereign national states any time soon?
Director’s statement
I have always been fascinated by the European idea. I grew up in
West Berlin, surrounded by a border, the Berlin Wall. When I was
16 I moved to France. Afterwards I spent some time in Spain and
later studied Law in Cologne and in Paris. For my civil service I
went to work in Russia, after having done a Master’s degree at the
College of Europe in Warsaw. Wherever I went, borders seemed
to disappear. Heavily guarded borders became somehow anachronistic
in Europe. But this seems to be a deceiving impression.
The outer borders of the European Union might soon resemble
the former Berlin wall. Borders are seeing a revival and there are
more borders in today’s world than ever before. Did we just move
that wall that was once separating the Cold War opponents further
to the south and the east? What does the reality of life at these
borders look like? And what do people living at them think about
the EU? I want to follow these questions, looking for personal stories
at the outer borders of the EU, to find out more about the idea
of Europe as a cosmopolitan community of values - something I
was advocating so ardently when I was a student.
Director’s profile
For his feature documentary The Other Chelsea – A Story from
Donetsk, Jakob Preuss was awarded (in 2011) the most important
prize for young German filmmakers, the Max Ophüls Preis, as
well as the First Steps Award. In 2012, he was nominated for the
Deutsche Fernsehpreis and was awarded the prestigious German
TV prize, the Adolf-Grimme-Preis.
Filmography:
The Other Chelsea Dir: Jakob Preuss / P: Kloos&Co / 2010 / ZDF
The Unburied War – Srebrenica 10 years later Dir.: J. Preuss and F.
Korfmann / 2005 / broadcast on ZDF Documentary Channel
Torn Iran Dir.: J. Preuss and F. Korfmann / 2003 / broadcast on
ORF – Phoenix
Production company
Weydemann Bros produces films for the national and international
market. We have a vision of a narrative cinema that is both
entertaining and political. For us film always involves a critical
look at the world and the times we live in. With our films we do not
only hope to get people laughing and crying, but to inform them
and inspire them to contemplate. Weydemann Bros was founded
on November 2008 in Berlin, Germany and opened a second office
on January 2011 in Cologne, Germany.
Current status
In development. Partners attached: ZDF Kleines Fernsehspiel,
Film & Medienstiftung NRW.
12 NPP 2012

Jakob Preuss
Jonas Weydemann
Jakob Weydemann
Aims at the NPP
Looking for co-producer(s) and world sales.
Director
Jakob Preuss
Producers
Jonas and
Jakob Weydemann
Screenwriter
Jakob Preuss
Languages
Polish, Greek,
English, German
Genre
Documentary
Format
HD, 16:9
Running time
two versions of
80 and 52 mins
Target audience
45-65
Budget
€467,200
Contact
Jakob D. Weydemann
Weydemann Bros. GmbH
Körnerstr. 45
50823 Köln
Germany
Tel: +49 221 63060529-0 /F -9
Email: jakob@weydemannbros.com
www.weydemannbros.com
2012 NPP 13

Father
Ojciec
Apple Film Production, Poland
An uncompromising tale
about dealing with the
passage of time.
Synopsis
Konstanty and his English-speaking, career model girlfriend live
in Canada. Malgo is nine months pregnant and expects to give
birth any day now.
One day, the couple learns that Konstanty’s father, who was living
alone in Poland, has died in a fire. Konstanty decides not to go to
the funeral, preferring to be present at the birth of his son.
This is a film about a man whose son is born just as his father
dies. The shock brought about by this coincidence causes the hero
to engage in imaginary conversations and encounters with his late
father in order to know himself better, and understand who he
really is and how he came to be that way. Konstanty’s plunging into
the imagined world lead to a breakdown of his relationship with
Malgo.
Director’s statement
With this film I would like to tell the story of a father-son relationship,
explore the complexities and consequences it involves, and
show how difficult, if not impossible, it is for a son to give up the
role model his father had been. I believe this relationship is seminal
in defining the way we interact with the world at large.
There is a film about growing up, family responsibilities, aging
and, finally, letting go of life. The first layer of the film is the
gradual falling apart of the relationship between Konstanty and
his girlfriend; the second takes place in Poland and consists of
Konstanty’s meetings with his father and the persons who had
been close to him. The two parts are intertwined.
The storytelling is fragmented, blending the real and the imaginary,
a stream of images that affect one another to produce tension
and all manner of associations. Such films were made by Tarkovski,
Sokurov, Godard, and Guy Maden, which is not to say that the
director seek to emulate their style of storytelling: it is their way of
thinking about film and narrative in general that inspires him.
As the screenplay will rely largely on dialogue, I would like the
finished movie to draw on the work of film and theatre directors
such as John Cassavetes or Mike Leigh, I specifically have in mind
the stage preceding the actual shooting when script and dialogue
are still being developed. I want actors to be fully involved in this
process, so that their lines will be an organic expression of their
personalities. Such an approach greatly helps enhance the dramatic
structure of individual scenes, and lends psychological credibility
to the characters. Most importantly from my point of view, it
encourages actors to take ownership of the project.
The cinematography should revolve around the actors and focus on
depicting their psychological states. This would entail drawn-out
shots, enabling one to get a good look at the characters. In counterpoint
to this, I plan to include intensely shot details and portraits.
Actors’ faces are of paramount importance to me, and not just
those of the two male leads. Apart from supporting characters
appearing in the screenplay, I would like to include portraits of
people the father mentions in his stories. It’s as if he were creating
a mental gallery of the people who had somehow affected his life.
Similar attention will be paid to details and objects.
Parts of the film will be collages made using various film media:
35 mm, 16 mm, 8 mm, video, slides, and archive material such as a
newsreel from 1964.
Director’s filmography
Polish film and theatre director, graduated from Lodz Film School
in Acting and in Directing.
During his studies he already directed short movies that were
screened and awarded at European and American festivals and
were shown during contemporary art exhibitions.
His debut Bellissima got numerous awards a.o. Young Marco Polo
Premio for the Best Young Director ITF Venice 2001, Canal Grande
Award for The Best Female Role ITF Venice 2001, Best Director’s
Debut at the Polish Film and Best Actress Awards at the Polish
Film Festival Gdynia. The film was also shown at Toronto IFF in
Discovery section. Father will be his second feature after 10 years
directing for the theatre.
Production company profile
One of the first and leading independent production companies in
Poland, established 22 years ago by Dariusz Jabłoński, director and
producer, assistant to Krzysztof Kieślowski on Decalogue.
The company is a very active co-producer, working internationally.
14 NPP 2012

Recently in the post-production is Polish-Dutch-Russian-Slovak
co-production Aftermath by Władysław Pasikowski (2012), presented
at Netherlands Production Platform at 2010 (premiere November
2012). In the production is a Dutch-Polish co-production Nude
Area by Urszula Antoniak (Code Blue, Quinzaine des Réalisateurs
Cannes 2010 and Nothing Personal, a.o. six awards including the
best debut, best actress and FIPRESCI prize at Locarno IFF 2009).
Both, Aftermath and Nude Area, are a co-productions with Frans van
Gestel and Arnold Heslenfeld, Topkapi Films, Holland.
Current status
In development/financing. Partners attached: Polish Film Institute,
Films du Boulevard (Canada).
Aims at the NPP
We are looking for co-producers, willingly from Holland, as a place
of partly shooting and postproduction, also for distributor(s) and
sales agent.
Artur Urbánski
Director
Artur Urbánski
Producers
Dariusz Jabloński
Violetta Kamińska
Izabela Wójcik
Screenwriter
Artur Urbánski
Based on
an original story
Languages
Polish, English
Genre
Drama
Format
35 mm
Running time
100 mins
Target audience
Well-educated young
people
Budget
€1,490,000
Dariusz Jabloński
Contact
Apple Film Production
Bukowińska 22/ 3B
02-703 Warsaw, Poland
tel: +48 22 851 84 40
Email: applefilm@applefilm.pl
www.applefilm.pl
2012 NPP 15

Motherland
Anayurdu
Yeni Sinemacılar / Tato Film / Zela Film, Turkey
Nesrin leaves the chaos
of Istanbul for the family
house in the country, seeking
privacy and solitude to finish
her first novel, but when
her invasive mother arrives
unannounced, old conflicts
resurface…
Synopsis
Nesrin (35) is headed to her family’s empty village house in rural
Turkey to finish her first novel. The publisher wants it in a month,
but Nesrin is suffering writer’s block. She is an urban, uppermiddle
class woman, and imagines that a return to her roots will
allow her to make the deadline. But when she arrives, her overprotective
and invasive mother Halise turns up uninvited.
Old tensions between them resurface. Halise, religious and conservative,
begins to impose her will on her daughter, and Nesrin
resists, revealing the schisms dividing modern Turkey. Nesrin
cannot write and wants her mother to go. Driven by anger, but
held back by guilt, she tries to reclaim her private space, but her
mother digs in deeper. As time passes, Nesrin realises that despite
her resistance, she is subtly being moulded to her mother’s
will. At a religious festival, Nesrin gives in to her mother’s pressure
and accepts having a sheep slaughtered in her name despite
being a vegetarian, as long as her mother agrees to leave.
At the same time, Nesrin’s rose-tinted view of village life gives
way as the weight of social pressure reveals itself. This new
consciousness reaches a climax when her childhood friend is
driven to suicide after rumours that she’s cheated on her husband
spread through the village. After the funeral, Nesrin goes to
finally buy her mother a bus ticket out of town but on the way
she runs into the butcher who slaughtered the sheep that day.
They have wild sex and in the act the young man bites off part of
Nesrin’s earlobe. She lets out a terrible scream, sending children
running who had been peeping from a distance. She returns home
to face her mother with blood trickling down her neck…
Director’s statement
It was seven years ago that I began to examine the nature of the
mother-daughter relationship. My interest came from my own
experiences with my mother and the other women around me. I
noticed a common pain sometimes talked about with caution, but
usually hidden in subtle smiles.
To ask oneself, “Who am I?” is to face the shadow of the mother
and the father as a starting point of any journey into the self. A
woman who hopes to individuate, to establish herself as a unique
whole, and must accept the shadow of the mother living inside
her while at the same time distancing herself from it. How she
balances this is critical, and is not easy.
What’s more, rural and urban values can be equally present in the
same person, creating an internal conflict that can lead to a crisis,
as we see with the film’s main character.
Director’s profile
Born in Ankara in 1980, Senem Tüzen holds a degree in cinema
and television from Mimar Sinan Fine Arts Academy, Istanbul. She
has directed short films that have been screened and awarded in
national and international film festivals. She has also worked as
an editor, cinematographer and producer on short, feature and
documentary films. Motherland, her debut feature, has been supported
by the Ministry of Culture’s Project Development Fund and
has participated recently in the Sundance Screenwriter’s Lab. It
was also awarded best film project in the Meetings On The Bridge
Co-Production Market at the Istanbul International Film Festival.
Producer’s profile
Director/producer Senem Tüzen created Zela Films to produce
feature and documentary films. The first documentary film Life
Without Words won the Best Documentary at the 24th Cinélatino
International Film Festival (Toulouse, France).
Sevilay Demirci, producer, established the production company
Yeni Sinemacilar in 1997. In 2006 the company co-produced Takva
with Corazon Int.(Germany) and in 2009 Men on the Bridge with
Endorphine Production (Germany).
16 NPP 2012

Senem Tüzen
Sevilay Demirci
Olena Yershova
Olena Yershova has worked for 3 years at SOTA Cinema Group
(Ukraine) as international manager. She was an executive producer
on My Joy (Sergei Loznitsa) that was presented in competition
at Cannes 2010 and received more than 15 awards on the international
film festivals.
Current status
Partners attached: Ministry of Culture of Turkey, M3Film, Kamera,
Isik, Grip Istanbul.
Aims at the NPP
To find a co-producer, distributor and sales agent.
Director
Senem Tüzen
Producers
Senem Tüzen
Sevilay Demirci
Olena Yershova
Screenwriter
Senem Tüzen
Based on
an original story
Language
Turkish
Genre
Drama
Running time
100 mins
Target audience
Female and male
audience 20 - 60
Budget
€610,000
Contact
Senem Tüzen
Zela Film
Aga Hamam cad. Kuloglu Mah. No: 5/3
Beyoglu, Istanbul
Turkey
Tel: +90 212 245 8734
Email: info@zelafilm.com
www.zelafilm.com
Olena Yershova
Tato Film
Gelincik sk. Yildiz apt 7/11, Dikilitas,
Besiktas, Istanbul
Turkey
Email: o.yershova@gmail.com
2012 NPP 17

Mudo
Impronta Films, Spain
Orphan Mudo lives with
Alfredo, sheep owner and
small-time drug dealer.
The boy’s life is irrevocably
changed when Alfredo
sells his livestock to a cruel
farmer, because part of the
deal is Mudo.
Synopsis
Our protagonist is a nameless boy who we call Mudo. Aged 15,
who lives in a hut in the outskirts of a city in the Salinas Grandes
desert, Córdoba, Argentina. He looks after a flock of sheep for
Alfredo, a man with a bad temper who lives in an old caravan and
makes a meagre living as a drug dealer. Alfredo lives with María, a
young prostitute, and his dog Toro.
While grazing his flock in an esplanade near a ruined area, Mudo
finds the corpse of a man. In one of his pockets he finds a wallet
with the picture of a teenage girl in it. From that moment on, the
boy is caught in a spiral from which he can’t escape.
A succession of events turns Mudo’s life upside down. While
peeking through the windows of Alfredo’s caravan, he discovers
sex in a violent manner. Later, he learns that Alfredo has sold the
flock to an old farmer without telling him, and the deal includes
Mudo. The boy is forced to spend time alone with the old man, who
abuses him.
After this, Mudo isolates himself from the world in the ruins of an
old house. He hangs the picture of the girl on the wall, and looking
at it gives him comfort in his time of hardship.
María, until then a powerless spectator, comes to Mudo’s rescue.
The woman and the boy develop a sincere friendship under Alfredo’s
cold gaze. Still, María’s affection proves not to be enough to
help the boy reach the happiness he craves, and Mudo, misinterpreting
things, ends up assaulting her.
Fearful of Alfredo’s reaction, Mudo runs away to the city, to look
for the girl in the picture. It is the only hope he has left, as unrealistic
as it may seem...
Director’s statement
Mudo was born of two sources: the first, the image of a little
boy kneeling in the middle of the forest, nose bleeding, cleaning
himself with his forearm after being hit by his ill father. This
comes from Tarkovsky’s Sacrifice and is one of the most beautiful
and disturbing images I’ve seen on screen. The second source is
An Encounter, one of the short stories collected in James Joyce’s
work Dubliners. This is a horrifying story about two young boys
skiving off school, who are approached by a strange old man who
tries to sate their fantasies by telling them about the possible
ways to punish a bad-mannered son. Joyce’s story grabbed my attention
because of the terrible sensation of defenselessness that
lingers in you after reading it, the harshness of the image drawn
by the author, the contrast between the innocence of the boys and
the evil of the old man.
Director’s profile
Daniel Martín Novel worked for several companies as a producer
and a writer until he joined the Prisa TV team as a filmmaker.
He has been involved in national and international productions
such as Andalucia (Alain Gomis), Operation Ursula and The Last
Tycoon (2011), both by José Antonio Hergueta; Out of Cordoba
(Jacob Bender), Algeria (Jean Pierre Lled) and the BBC series Mike
Bassett: Manager, among many others.
He obtained his first success in 2007 with his short fiction film Arconada
Syndrome, a finalist for Best Screenplay at the Malaga Spanish
Film Festival. In 2008 he was nominated for best screenplay
at the Navarra Disability Film Festival for his short film El Frontón.
His first medium-length documentary, Hiking, premiered at the
Malaga Spanish Film Festival 2011, where he received the Award
for Best Video Creation.
Producer’s profile
In 2010 Ana Fernández Sáiz worked as main producer in the development
stage of the documentary film Ushca, which received the
recognition of the Morelia Lab (Mexico) and Miradas Doc (Tenerife,
Spain) film festivals.
In 2007 she worked as assistant director and producer for the documentary
Paco: Youth Addiction, about the addiction to coca paste
18 NPP 2012

Daniel Martín Novel
Ana Fernández Sáiz
among the youth of Buenos Aires’ poor neighborhoods.
She has worked on many short films (fiction, documentary and
animation) in various capacities such as producer, director and
camerawoman. She is currently working on the development of
three European art-house films.
Current status
In development. The project won the script development prize
from the National Institute of Cinema and Audiovisual Arts (ICAA),
in Spain. It has also participated in the Iberoamerican Films Crossing
Borders (Mexico, 2012), Puenteslab (Uruguay, 2012) EAVE,
and Australab (Chile, 2012) EAVE.
Aims at the NPP
Our main goal is to present the project to potential partners and
investors, to create a network with other production companies,
seeking broadcasters and distributors.
Director
Daniel Martín Novel
Producer
Ana Fernández Sáiz
Screenwriter
Daniel Martín Novel
Based on
an original story
Language
Spanish
Genre
Drama
Running time
90 mins
Target audience
Male and female 25-60
Budget
€650,000
Contact
Ana Fernández Sáiz
Impronta Films
Avda. del Mar 34 E
12003 Castellón de la Plana
Spain
Tel: +34 622005294
Email: a.fernandezsaiz@gmail.com
www.improntafilms.com
2012 NPP 19

Paradise Trips
Caviar Films, Belgium
A trip to a psychedelic festival
in Spain confronts bus driver
Mario with his disowned son.
The discovery that he has a
grandson urges him to take
steps towards reconciliation.
Synopsis
Bus driver Mario Dockers has spent his entire life shuttling old
age pensioners to the sunny Mediterranean south. Now, on the
verge of his own retirement, he’s asked to bring a motley crew
of squatters to a psychedelic festival in Spain. On the road, he
takes an immediate dislike to the dreadlocked and tattooed, antiglobalist
youth and is furious when their gathering turns out to be
an illegally organised rave where drugs run free. Isolated in this
lawless place where boundaries don’t exist, Mario finds himself
face to face with his long lost son, Jim.
Years ago Mario turned Jim over to the police on drug charges,
and they haven’t seen each other since. After four years in prison,
Jim turned his back on society and now lives in a camper van
with his wife Miranda and their little son Sunny. Mario is shocked
to discover he has a grandson who knows nothing about him. Jim
wants Mario to leave his family alone, but Mario manipulates his
way into meeting Sunny on his own. Sunny turns out to be quite
a materialistic little boy who rebels against his parents’ hippie
lifestyle. They hit it off and Mario soon realizes that the bond with
his grandchild means the world to him, but in order to be part of
Sunny’s life, he will have to confront his own prejudices and face
down his demons with Jim...
Director’s statement
Paradise Trips is an intimate, yet universal portrayal of a conflict
between generations, focusing on the broken relationship
between a father and a son.
The story is set in the world of contemporary psychedelic
subculture, a safe haven for drop-out kids who turn away from a
system that lacks the values they stand for: Peace, Love, Unity &
Respect. Its tolerant attitude towards illegal drugs has positioned
this movement at the margins of our society. The biases related to
this have caused the film’s protagonists to increasingly drift apart.
Paradise Trips begins as a road movie, but the physical journey of
bus driver Mario soon becomes a psychological one. The landscape
affects and transforms his mindset as the story unfolds,
from the grey reality he flees from to a utopian manifestation of
the sunny and carefree life he’s yearning for. I want to take the
audience along on his trip.
Director’s filmography
Ponie & The Death of Zorro (feature in development)
Savage Film
Script supported by VAF (Flemish Audiovisual Fund) 2011
Script selected for Torino Filmlab Script & Pitch 2011
Tunnelrat (18’-2008) Potemkino / Claxon Utd.
*Special Mention – Tirana International Film Festival
released on DVD – Selected Shorts 9
(Best Flemish Shorts Of 2008)
A Message from Outer Space (10’-2004)
Fobic Films / Claxon Utd. (co-directed by Roel Mondelaers)
Production company profile
Caviar Films is a production company based in Brussels, Los Angeles,
Paris and Amsterdam. In the past five years the company
has produced 12 motion pictures, two prestigious fiction series
and several documentaries and has become one of the leaders in
the Belgian movie-making industry. Both domestically and internationally,
Caviar strives to produce high quality entertainment
that intrigues and inspires. Therefore the company frequently
combines fresh new acting talent with experienced actors and
writers.
Current status
In development/gap financing. Main cast already selected.
Partners attached: VAF (Flemish Film Fund), IJswater Films (NL),
Climax Films (BE), KFD (distributor, Belgium),
Script developed at the Binger Filmlab, Amsterdam 2009 -‘10.
20 NPP 2012

Raf Reyntjens
Marie van Innis
Aims at the NPP
To find a co-producer who could bring in 200K - 300K€. The
story would take place partly in the co producer’s country and we
would shoot and spend part of the budget there.
Director
Raf Reyntjens
Producer
Marie van Innis
Screenwriter
Raf Reyntjens
Based on
an original story
Language
Dutch, Spanish
Genre
Tragicomedy
Running time
100 mins
Target audience
16 - 99
Budget
€1,600,000
Contact
Marie van Innis
Caviar Films
Havenlaan 75
1000 Brussels
Belgium
Tel: +32 2 423 23 00
Email: marie.van.innis@caviarcontent.com
www.caviarcontent.com
2012 NPP 21

Parisienne
Seansas Film / Fralita Films, Lithuania
Early 1991. Vilnius. Lithuania
is passing through ‘the
singing revolution’. A
young Frenchman meets a
Lithuanian woman. A fateful
encounter at the barricades
turns into passion and love...
Synopsis
Vilnius. The beginning of 1991. Lithuania, like other countries
on the Baltic coast, is passing through ‘the singing revolution,’
seeking to restore its independence. Through the collapsing Iron
Curtain a young Frenchman, a postgraduate in archeology and
history, arrives in the city, hoping to witness the revolution with
his own eyes. He meets a young Lithuanian woman who studies
French language. A fateful meeting at the barricades instantly
turns into mutual passion and love. However, it will unexpectedly
tear them apart...
They meet each other again after twenty years. What binds them
together now? Do they still need each other?
True events are the basis for a story about love - born within the
barricades of ‘the singing revolution’ - and the dramatic efforts to
save it.
Director’s statement
We all are children of revolution: big or small. I’m no exception.
This story is partly about me and my own background, although it
is not related to me personally. I was also part of the revolution,
which was called ‘singing’. This is a unique phenomenon, when
you can win through singing, and not dying. The song as a weapon
- against it brute force did not know what to do. It’s impossible to
shoot the song, to imprison it, to impose handcuffs on it, or to exile
it to Siberia.
A non-violent resistance. Mahatma Gandhi spoke about this
method of resistance in India in the middle of the 20th century. It
was repeated on the Baltic coast, 50 years later, at the beginning
of the 1990s. With the same content, just in another form. Nonviolent
civil disobedience was transformed into singing songs in
front of tanks and weapons. The inhabitants of three small nations
- Estonia, Latvia and Lithuania - were singing to pass through the
Iron Curtain.
Director’s filmography
Reflection of Being (short/fiction) 35 mm, 17 min - 1992.
Only Love… (short/fiction) 35 mm, 15 min - 1992.
Saxman from Cafe Versailles (doc) Betacam TV, b/w 20 min -
1996
(for Kanal4, Köln, Germany, broadcasting on SAT-1 program
“European Pilgrims).
Producer’s profile
Zivile Gallego has received an MA degree in European Affaires
Management at South Bank University, London and Leonardo da
Vinci University, Paris. She took filmmaking course at New York
Film Academy branch in Los Angeles.
After her graduation Zivile Gallego made an internship at Canal+
channel in Paris. She was employed after by the Swedish Company
MTG (Modern Times Group) at Viasat Broadcasting Center in
London. In 2011she graduated from EAVE.
Production companies
Seansas, established in 1992, is one of the first independent film
companies in Lithuania after the country regained its independence
in 1990. Seansas Film is a creative team that produces feature
film, documentaries and TV productions. The primary output
of the company is artistic productions (arthouse) for theatrical
release and TV.
Fralita Films was established in 2009 by producer Zivile Gallego,
where she is currently working with documentary and feature
films production. Currently in production: Name in the Dark, a
feature film based on a novel written by Renata Serelyte, directed
by Agne Marcinkeviciute, in co-production with Braidmade Films
(UK/Poland). Currently in development: Emilia, a feature film written
by Jonas Banys, to be directed by Donatas Ulvydas, project has
participated in EAVE 2011, and Sangaile, a feature film written and
to be directed by Alante Kavaite, in co-production with Les Films
d’Antoine (France).
22 NPP 2012

Gintautas Dailyda
Zivile Gallego
Current status
In development (1st draft). Partners attached: Film Fund Ministry
of Culture, Lithuanian Television (National Broadcaster).
Aims at the NPP
Looking for co-production partners, preferably France/
Luxembourg or other French-speaking areas.
Director
Gintautas Dailyda
Producers
Zivile Gallego
Gintautas Dailyda
Screenwriter
Gintautas Dailyda
Based on
an original story
Languages
French, Lithuanian,
Polish
Genre
Melodrama
Running time
90 mins
Target audience
16+
Budget
€1,600,000
Contact
Gintautas Dailyda
Seansas Film
Varniu 45/27
LT48413 Kaunas
Lithuania
Tel: +370 67 54 00 11
Email: seansas@seansas.eu
www.seansas.eu
Zivile Gallego
Fralita Films
S.Staneviciaus 5/28
LT 07131 Vilnius
Lithuania
Tel: +370 64 33 00 22
Email: zivile.gallego@fralita.com
www.fralitafilms.com
2012 NPP 23

Pilgrimage
SP Films, Ireland
A group of monks escort a
holy relic across the perilous
war-torn landscape of 13th
century Ireland - but at what
cost to their faith and sanity?
Synopsis
Ireland, 1209. An island on the edge of the world. A small group
of monks begin a reluctant pilgrimage across an island torn
between centuries of tribal warfare and the growing power of
Norman invaders.
Escorting their monastery’s holiest relic – a rock used in the
martyrdom of St. Mathias, the thirteenth apostle – to Rome, the
monks’ progress is seen through the eyes of a pious young novice
and a mute lay-brother with a violent past.
As the true material, political and religious significance of the
bejeweled relic becomes dangerously apparent, their path to the
east coast becomes increasingly fraught with danger.
The monks belatedly realise that in this wild land of ancient superstitions,
the faith that binds them together may ultimately lead
to their destruction.
Statement on the world of Pilgrimage
Everything about Pilgrimage is small and intimate, a story told on
the outskirts, and this is what allows us to discover and understand
the workings of 13th century Ireland – a truly unusual and
shifting world, and this background fabric enriches the eerie and
unsettling journey of the monks.
Gaelic chiefs, disgruntled brigands, Norman Lords and the Roman
church all exist uncomfortably side-by-side –with an imbroglio of
alliances shifting dangerously under the surface as they all vie for
power.
The undiscovered wonder of this time is its shifting sands of political
allegiance – an enthralling, dark and interesting world, with no
stymieing preconceptions, a time and place that can drench any
audience with its universal mystery.
The strangeness of the journey, the ominous echoes of the relic,
and the overpowering reek of faith and church, allow for a highly
successful layering of tone within the actual structure and story.
Director’s profile
Brendan Muldowney is a graduate of IADT (The National Film
School). He has just completed his second feature film Love
Eternal, following his IFTA nominated debut Savage. He has written
and directed nine award-winning short films. Innocence won the
Tiernan McBride – Best Irish Short Film Award at the Galway Film
Fleadh 2002 among many others, while The Ten Steps has won
twelve awards throughout the world including Best Short – Sitges
Film Festival 2004.
Producer’s profile
Irish Producer Conor Barry graduated from the IADT in Dun
Laoghaire (the National Film School). He has worked very closely
with the writer/director – Brendan Muldowney over the years,
producing his IFTA award-winning feature film Savage, and eight
short films including Innocence and The Ten Steps. He has also
produced two IFTA nominated documentaries In Sunshine or in
Shadow and Gualainn le Gualainn (w/d – Andrew Gallimore). He is
currently producing the feature film Love Eternal (w/d – Brendan
Muldowney) with Morgan Bushe and Macdara Kelleher in Fastnet
Films. He attended EAVE 2010 and ACE21.
Production company
SP Films (Savage Production Ltd) is an award winning Dublinbased
film production company founded by Brendan Muldowney
and Conor Barry, with the aim of developing and producing feature
films for an international audience. SP Films established its reputation
by producing nine short films, which have collected over 20
international awards. It’s debut feature film Savage was funded by
the Irish Film Board and received a total of 8 Irish Film & Television
Award (2010 IFTA) nominations.
Current status
Advanced development with the Irish Film Board.
Aims at the NPP
To introduce the project to suitable co-producers and sales
agents.
24 NPP 2012

Brendan Muldowney
Conor Barry
Jamie Hannigan
Director
Brendan Muldowney
Producers
Conor Barry
John Keville
Screenwriter
Jamie Hannigan
Based on
an original story
Languages
English, Irish,
French, Latin
Genre
Historical drama, Action
Format
Arri Alexa
Running time
90 mins
Target audience
International and National
- Period Action Adventure
Fans
International and National
- Audience with Celtic /
Irish Interest
Budget
€4,500,000
Contact
Conor Barry
SP Films (Savage Production Ltd)
Unit F5
Riverview Business Park
Nangor Rd
Dublin 12
Ireland
Tel: +353 86 368 2654
Email: conor@spfilms.ie
www.spfilms.ie
2012 NPP 25

Runt
Fragrant Films, UK
Turning the coming-of-age
story on its head, a savant
with a deep affinity with
the natural world helps his
stricken uncle come to terms
with a devastating personal
tragedy.
Synopsis
In a small market-town, sixteen-year-old Boy arrives home after
his last day at school, only to be thrown out by his mother’s
violent boyfriend. His kindly uncle (Drunkle) takes him (and his
dog Aarn) into his care for the summer, high up on the hills on
his now dormant farm.
In the wake of the last foot-and-mouth epidemic, it is a year
since Drunkle’s wife hanged herself after the authorities culled
her entire flock of sheep – undertaken, she was told, as a
‘precautionary measure’. Since then, Drunkle has neglected
the farm and taken to the bottle.
Drunkle believes that Boy has special powers as a ‘healer’
and we soon realise that, as a ‘savant’, he can gain profound
insights during his epileptic fits. Making manifest his affinity
with the creatures of the natural world around him (Boy
‘understands’ the calls of birds and animals and can seemingly
‘become’ the creatures he observes), his kaleidoscopic visions
convey the inevitability of death and decay, bestowing on him
an inner calm and a maturity beyond his years.
It is this that enables Boy to stand up to another farmer, the
formidable, bullying Arthur when he accuses him of allowing
Aarn to kill his sheep. He is also able, on one hand, to
take delight in his first sexual experience with Arthur’s wife,
Rhiannon, while on the other accepting the inevitability of her
subsequent rejection.
After some months, Boy’s presence changes Drunkle’s outlook
for the better and he starts, at last, to look after himself. His
newfound self-respect leads him to enjoy the company of
others – specifically (and secretly) Rhiannon.
Told strictly from Boy’s point-of-view, this unconventional
coming-of- age story reaches its climax when, in a frenzy of
violence, Arthur attacks both Rhiannon and Drunkle, seeking
revenge for his wife’s disloyalty and Drunkle’s deception...
Director’s statement
I responded to two main challenges in the adaptation. Firstly,
I wanted to match the novel’s richness and complexity in its
evocation of the protagonist’s inner life. I have attempted to do
this through both linguistic and visual means. Drawing from the
inventive and poetic language of the novel, I have given Boy a
distinctive speech style that is intended to articulate his singular
worldview.
Secondly, I wanted to evoke Boy’s idiosyncratic and compelling
relationship with the natural world. He is a character that draws
energy from nature in all its manifestations, his understanding of
the natural world around him encompassing the reality of decay,
cruelty and death as well as its potential for beauty, solace and
rebirth. In the film therefore, images of landscape and nature
will be used either to show the ‘repressed’ in nature (the cruelty
and decay) or as a way of externalising the Boy’s inner life.
Director’s profile
Ieuan Morris made the Wales Bafta-winning When Pele Broke Our
Hearts in 2002. In the same year, he was contributing director to
‘Dal Yma: Nawr’, a feature-length ‘creative documentary’ on the
traditions of Welsh poetry, for S4C. ‘Dal Yma: Nawr’ was awarded
a number of Wales BAFTAs in various categories and gained the
‘Spirit of the Festival’ Award at the Celtic Film Festival 2003.
In 2003, Ieuan wrote and directed the innovative and awardwinning
interactive short film ‘Textual @traction’ (12 mins, 35mm).
The film was nominated for a UK BAFTA Interactive Award 2005.
In 2008, Ieuan wrote and directed ‘Watch Me!’ (13mins, HD video)
nominated Best Short Film BAFTA Wales 2008 and selected for
Interfilm Berlin International Short Film Festival 2008.
Producer’s profile
Fizzy Oppé established Fragrant Films in March 2008 after nearly
thirty years’ experience in the film and television industries
of England and Wales. During this career Fizzy worked creatively
with some of Britain’s most innovative and creative writers and
26 NPP 2012

Ieuan Morris
Fizzy Oppé
Kate Crowther
directors including Michael Eaton (Darkest England: Channel 4
1985), Penny Woolcock (Women in Tropical Places: BFI, Tyne Tees
Television, Channel 4 1990) Eric Styles, Wyndham Price, Catrin
Clarke and Margaret Constantas (Four Shorts for the Centenary
of Cinema – BBC 1994) Marc Evans (Dal/Yma Nawr: S4C Feature
Documentary 2003) Ieuan Morris (Textual @traction 2005) and
Tim Price (Y Pris 21 episodes S4C 2008).
Current status
The project has been allocated development finance in the UK
and from MEDIA. A pilot has been shot and is available for viewing
at https://vimeo.com/36501047
Aims at the NPP
To meet with a potential European co-producer and raise coproduction
finance.
Director
Ieuan Morris
Producers
Fizzy Oppé
Kate Crowther
Screenwriter
Ieuan Morris
Based on
the novel Runt
by Niall Griffiths
Language
English
Genre
Upside Down Coming
of Age Rural Drama
Running time
90 mins
Target audience
Young Adult
Budget
€1,075,000
Contact
Fizzy Oppé
Fragrant Films Ltd
89 Fairwater Rd
CF5 2LG Cardiff
UK
Tel: +44 7773360794
Email: fizzyoppe@fragrantfilms.co.uk
www.fragrantfilms.co.uk
2012 NPP 27

Second Life
Második élet
HVD Productions, Hungary
After a life-changing
experience of mountain
climbing, John decides not to
go home any more. Instead,
he moves into his friend’s
car, parked in the middle of
a bustling European city… for
good.
Synopsis
At a certain point in his successful life, John questions everything
that has so far made sense.
He returns from his first hill-climbing adventure with his childhood
friend Vadim, in the latter’s car. The glorious mountain
peaks still glint in his eyes, every step of the climbing still
aches in his muscles, his ears still ring with the silence of the
mountain, and when standing beside the car in the middle of
the bustling city, staring at his own hand stretched out for a
farewell handshake, he realises that his life has been changed
fundamentally and forever.
It dawns on him that nothing he ever existed for, or worked
towards, or dreamed of as a child, is what it seemed. He also
feels with frightening clarity that this very moment is the
pivotal one in his life. So, he withdraws his hand, refuses to
say good-bye to his friend, and decides to live inside the car.
Indefinitely.
From that moment he experiences the strangest alienation
from society and life. In his solitude, he soon understands that
his choice wasn’t simply one of whimsy, nor was it the result of
disillusionment, Rather, it was a response to the call of an irresistible,
higher power. Still unsure of himself, yet strengthened
by the foresight of a different future, he starts to wait with
a sense of firm resolution. Until his environment, which had
regarded his behaviour as madness, not only accustoms itself
to his peculiarities but, due to the force of his personality, starts
to change for the better too…
Director’s statement
The events follow a chronological order, but they are coloured by
the psychical motivations of the main protagonist. What seems
real, turns out to be imagined and vice versa.
Purely designed or chosen sets. Rich 19th Century exteriors, modern,
hard-edged interiors and occasional dilapidated areas. No
incidental details, charismatic nick-nacks, decorative solutions,
background actions or extras. Edward Hopper meets Gregory
Crewdson.
Psychedelic lighting will mix reality with the fantastic. No realism,
but accordance to the inner state of the protagonist. Lighted
and dark areas, neon-cold blues and greens will melt into
Rembrandt-like golden-yellows, burgundies and browns.
Meticulously composed images, no search for beauty or accidental
camera movements will be needed or accepted. Constant
movements will emphasise the interdependence of the protagonist
and his surroundings and his attempt to distance himself
from the outside world.
Terse dialogue, long silences with dreamlike effects. Simplicity,
honesty, with little manipulation.
Director’s filmography
Gabriel Dettre is Hungarian, but has lived in New York City,
Budapest and currently resides in Brussels. He has produced
award-winning features such as Anna (USA, 1987, Oscar nominee
Sally Kirkland) and Chico (2001, Hun-Ger-Croa-Chilean), which
won Best Film Award in Karlovy Vary a.o.
He directed the features Cloud Over the Ganges (selected for European
Awards) and Tableau (Karlovy Vary, Mar del Plata and several
awards). As a director, he has just finished an experimental
feature drama, based upon Sophocles’ Antigone, with some of the
best actors of Hungary. Antigone has won at the Hungarian Film
Week in 2011 and has been invited to many festivals.
Production company profile
HVD Productions has been achieving continuous success in
Hungary. The company has won several tenders from the statefunded
organisation NKA (National Endowments for the Arts
28 NPP 2012

Gabriel Dettre
Viktor Huszár
of Hungary) and has gained the support of various universities
(Moholy Nagy Architecture University etc.) and organisations
(National Lottery Fund, Telekom Hungary). Internationally, HVD
Productions’ projects have been selected and invited to various
workshops like Sources2, ScripTeast, and EAVE.
Our initial projects, Antigone (feature) and Chat-Film (documentary)
were in the program of 42nd Hungarian Film Week (2011)
and have won both the critics and the audiences. Antigone was
awarded with a certificate of merit.
Current status
In development. Selected by the Sarajevo Talent Campus’s Pack
and Pitch program, Galway Film Fair, Meetings at the Borders
(Tesin) and Neighboring Countries Co-Production Meeting (Ljubljana).
Aims at the NPP
Looking for co-production partners and shooting locations.
Director
Gabriel Dettre
Producer
Viktor Huszár
Screenwriter
Gabriel Dettre
Based on
an original story
Language
English,
Hungarian
Genre
Drama
Format
35 mm
Running time
120 mins
Target audience
Adult
Budget
€1,378,763
Contact
Viktor Huszár
HVD Productions
Victor Hugo u. 11-15
H-1132 Budapest
Hungary
Tel: +36 30 3106944
Email: hvd@hvdprodukcio.hu
www.hvdprodukcio.hu
2012 NPP 29

South Facing Wall
Güneye Bakan Duvar
The Institute for the Readjustment of Clocks, Turkey
As Medine dreams about
a feast for her son’s
circumcision her husband
falls for another woman, and
the village shuns her. Feeling
trapped she decides to teach
everyone a lesson.
Synopsis
Medine, the 27-year old wife within the village’s poorest family,
wishes to make her mark in the community by putting on a feast
for the circumcision of her 5-year old son, Ismail. According to the
traditions of Eastern Anatolia she must serve oven- roasted lamb
to her guests. Medine’s insistence on this worries her unemployed
husband Ibrahim.
Jealous of the attention Ismail is receiving, his sister Vicdan (9)
tells him that if their father cannot find a sheep, he will slaughter
him instead. Ismail believes her.
Luckily Ibrahim finds a job at the slaughterhouse but he faints at
the sight of blood. His colleagues pressure him to go to the casino
with them to see Banu, a travelling prostitute.
Meanwhile, Ismail runs around to look for a sheep so he can be
saved. A motorcyclist finds Ismail and returns him home, promising
to come back with a sheep. Ismail arrives home, encouraged,
but the motorcyclist never shows up.
The next day Medine waits for Ibrahim to take her shopping but he
goes to see Banu instead, but Banu takes advantage of Ibrahim’s
naivety and asks for more money. He gives everything he has to
her. Medine has to lie to her neighbours, pretending she has been
shopping all the time.
Medine finally takes the matter in hand and goes to the city to
confront Banu. Surprisingly, Banu sympathises with her. Medine
then asks for help from the villagers but they support Ibrahim
unconditionally, and continue to isolate her. Medine’s sense of aggrievement
gradually increases.
So when the day of the feast arrives Medine serves meat to the
guests but declares that she has served them her own little lamb,
Ismail...
Director’s statement
When common values defended by a community cannot be acted
upon for one or another reason, what happens to individuals within
that community? The story of South Facing Wall is about Medine
and her children, left alone by their own community just when they
need its support most, and who feel forced to teach that community
a lesson.
Oral storytelling, which reconstructs and reaffirms common
cultural values and traditions has always been a strong force
behind what are called ‘family values’ in Anatolia, as it is in many
other older societies. In this geographical setting storytelling does
not solely have the function of entertainment, but is also able to
answer other vital needs of the community. This story interrogates
these values and the community itself.
My aim is to talk about the confrontation between the current
modernising forces and traditional ones through a local story that
nevertheless has universal values to an international audience.
Director’s filmography
1996 - The Serpent’s Tale: Best Film, Director and Screenplay from
the Turkish Film Critics Association at the Istanbul International
Film Festival. Jury Prize at the Ankara International Film Festival.
1998 - Lola+Bilidikid: Selected to open the Panaroma section of the
49th International Berlin Film Festival. Jury Special Prize at the
Berlin Festival. Best Film Prize at New York’s The New Festival
2005 - 2 Girls: Best Director and Best Film Prizes at Ankara Film
Festival. Best Film at the India Asian Film Festival
2009 - Journey to the Moon.
Production company profile
The Institute for the Readjustment of Clocks is a film production
company established by Kutluğ Ataman. We are committed to fostering
new and fresh talent and content in our region. We aspire to
contribute to European art house cinema by way of international
co-productions. This is not easy, but we are working tirelessly,
and having lots of fun in doing so.
Kutluğ Ataman is a writer, director and producer. He studied at
UCLA and the Sorbonne. He has made award-winning feature
films in Turkey and in Germany including Lola + Bilidikid and 2 Girls.
30 NPP 2012

Kutluğ Ataman
Yasemin Kutluğ
Yasemin Kutluğ is a producer. She studied Economics at the Bosphorus
University until she woke up one morning and decided that economics
was too theoretical for her taste and switched to the fulfilling
world of film and TV production. She is presently producing films as
well as raising a daughter.
Current status
Working on film finance and evaluating co-production possibilities.
Aims at the NPP
To find co-production possibilities.
Director
Kutluğ Ataman
Producers
Kutluğ Ataman
Yasemin Kutluğ
Screenwriter
Kutluğ Ataman
Based on
an original story
Language
Turkish
Genre
Drama
Running time
105 mins
Target audience
Drama fans,
festival-oriented
Budget
€950,000
Contact
Kutluğ Ataman
The Institute for the Readjustment of Clocks
Emir Rüştü Paşa Sokak, No: 7 Nur Apartmanı Daire: 9,
Teşvikiye, İstanbul,
Turkey
Tel: +90 212 259 22 25
Email: kutlugataman@me.com
www.theinstituteforthereadjustmentofclocks.com
2012 NPP 31

In the Heart
Onder het hart
Waterland Film, The Netherlands
Masha (37) is in an intense
relationship with Luuk,
divorced and father of two.
Nothing seems to stand in
their way until Luuk becomes
incurably ill, leaving Masha
without status.
Synopsis
Masha (37) meets Luuk (47) in the butterfly garden where she
works as a biologist. Luuk, recently divorced, accidentally sits
on a butterfly. The way that he apologises in the presence of his
daughters, Fleur (11) and Sofie (15), clearly indicates that Masha
and Luuk are well matched and that this is no ordinary encounter.
An overwhelming infatuation develops. But there are obstacles.
Since his divorce, Luuk has been living in a chalet in a holiday
park. He regularly has his children over and Sofie is not pleased
with Masha’s presence in Luuk’s life. Luuk has trouble deciding
who to be loyal to. His ex-wife, Suzanne, visits Masha uninvited in
the butterfly garden. If Masha is not serious about Luuk then quit
right away, is Suzanne’s message.
But Masha is very serious indeed. Luuk and her are deeply in
love. Luuk suggests they find a place for the two of them together,
despite all their obstacles.
But the next day Luuk doesn’t show up for their appointment. He
is in hospital and it’s serious. The whole situation is turned upside
down. Masha isn’t allowed to see him; she has no status.
Luuk decides that his sickbed will be in his former house with his
children. A painful decision for all - but Masha, it is decided, will be
tolerated at the sickbed. She regularly visits him, and sometimes
all four women are standing around Luuk’s bed together, which is
extremely uncomfortable for each of them.
Then Luuk dies. After Masha and Sofie accidentally meet at Luuk’s
chalet, the two continue to make contact and a sense of mutual
understanding develops. This enables both of them to go forward.
Masha now also has the courage to go and see Suzanne, but they
are unable to comfort each other. They will each have to go their
own separate way.
Director’s statement
I believe a universal story can have individuality, such as Another
Year by Mike Leigh, creating authentic characters we can sympathise
with and whose lives we can understand, using cinematic
narrative means without them getting too stylised or abstract.
Most importantly, In the Heart is an actor’s film. This is what
interests scriptwriter Peer Wittenbols and me. I didn’t seek out a
writer who examines interpersonal relationships for no reason.
And although I’ve made different types of film in the past, most of
those films are about interpersonal relationships, genuine personalities
and beautiful and surprising acting.
This goes for Richting West as well as for Patatje Oorlog, but also
for Deining, Genade or Het Ravijn. Each film is a new search for
authentic stories in which accessibility and individuality compete
with each other, in which I’m looking for a way to express emotion
without totally forgetting the lightness (even if it’s in nothing more
than a dead butterfly…).
Director’s filmography
2010/2011 Patatje Oorlog: Youth feature film, Script: Lotte Tabbers.
Lemming Film, Cinekid, Best Dutch Youth Film 2011. Selected at:
Generation Berlinale 2012, Buff 2012: ECFA-Prijs. Golden Trophy
ICFF INDIA 2012, Kristiansand 2012, Giffoni 2012.
Richting West: Feature film, director & script. Keyfilm/Trent.
2008/2009 Sekjoeritie: Script: Bert Bouma. Steztfilm.
2007 Hoe overleef ik mezelf Feature film, based on the books of
Francine Oomen, Script: Tamara Bos. Prod: Bos Bros. Audience
Award, Filmfest Giffoni.
2006 De Taxi van Palemu Youth series, VPRO /Lemming Film,
script: Marielle van Sauers & Jolein Laarman. Sound and Vision
Award, Youth 2007.
32 NPP 2012

Nicole van Kilsdonk
Peer Wittenbols
Jan van der Zanden en Wilant Boekelman
Production company filmography
Waterland Film has produced and co-produced amongst others:
Abrir puertas y ventanas. Co-production with Argentina by Milagros
Mumenthaler. ‘Golden Leopard’ for Best Film and Best Actress,
Locarno 2011.
Bullhead. Co-production with Belgium by Michael R. Roskam.
Oscar Nominee for Best Foreign Language Film 2012.
Night Run by Dana Nechusthan. ‘Golden Calf’ Award 2006, Best
Male Actor and Best Male Supporting Actor.
Sleeping Rough by Eugenie Jansen. ‘Tiger’ Award - IFFR 2002.
Kauwboy by Boudewijn Koole. Grand Prix Best Youth Film and Best
First Feature Award, Berlinale 2012.
Current status
The script has been developed by artistic intendant Frank Peijnenburg
of the Netherlands Film Fund. We are searching for foreign
financing. Partners attached: Netherlands Film Fund, NCRV,
Benelux Film Distributors, Grobbendonk Films (Belgium).
Aims at the NPP
To meet financiers and co-producers from Belgium and Germany.
Director
Nicole van Kilsdonk
Producers
Jan van der Zanden
Wilant Boekelman
Screenwriter
Peer Wittenbols
Based on
an original story
Language
Dutch
Genre
Cross-over
Format
HD
Running time
90 min.
Target audience
25+, Higher education,
living in the suburbs.
Not only interested in
art-house but also in
crossover/mainstream
films. Interested in film
and theatre, and regular
newspaper readers.
Budget
€1.401,000
Contact
Elleke Swaans
Waterland Film
De Kempenaerstraat 11a
1051 CJ Amsterdam
The Netherlands
Tel: +31 20 6822164
Email: elleke@waterlandfilm.nl
www.waterlandfilm.nl
2012 NPP 33

Into the Blue
IJswater Films, The Netherlands
A Dutch stewardess pays a
Kiev street-boy so she can
pretend to be his mother.
With the money he and his
little sister can survive. But
when their relationship
intensifies, their double lives
become untenable.
Synopsis
Dutch stewardess Lin (49) pays street-boy Yuri (13) in Kiev so she
can pretend to be his mother once in a while. Yuri is happy with this
strange but gentle lady because of the money that helps him to
survive with his little sister Nicki, which he keeps hidden from Lin.
The relationship between Lin and Yuri is based on just a couple of
encounters so far. Each time, they meet each other on the same
bench at the Hydropark station, where they talk in a mishmash of
languages. While Lin loves to take care of Yuri, he assumes it is
sex that she is after, and plays his role as her boyfriend.
When the relationship between the woman and the boy becomes
more close, both their double-lives become untenable.
Lin realizes that her busy social life as a stewardess has always
been a perfect cover for another desire that awakes deep in her
heart: that of being a mother.
Yuri slowly starts to believe that Lin indeed wants to take care
of him and it is not sex she is after as he first suspected. Slowly
something that resembles a mother-son-relationship develops
between the two of them.
Only after feeling confident that Lin is really willing to take care
of him, Yuri introduces her to his little sister, hoping Lin will take
them to the Netherlands. When Lin doesn’t, Yuri feels betrayed
and leaves her for life on the streets again.
Back home, Lin can’t get back into her daily round. Now that Yuri
and Nicki are gone, Lin realizes the mistake she’s made. Impossible
as it may seem, she is prepared to leave her old life to be a
mother for both Yuri and his sister Nicki. She returns to Kiev, collects
the children, and together they set course for the airport...
Director’s statement
Yuri in our story became a boy who is too mature for his age, and
must dare to take the risk of being a child. Lin became the opportunist
mother that must fully embrace her maternity, with all
the responsibilities that entails. One of the goals for the further
development of the script is to flesh out and strengthen these
storylines.
The process described above shows how the characters the and
story become clearer and clearer during the process of hands-on
research. Of interviewing and hanging out on the streets.
As the script continues to grow into a film that goes beyond the
borders of the Netherlands, it is essential that we are able to get
deeper into the locations where the script will be filmed and to get
closer to the children and actors that will embody the film.
Jaap van Heusden’s partial filmography
The New World (feature, co-writer & director, in production 2012)
Drone (single play, writer & director, 2011/2012).
Win/Win (feature, writer & director, 2010 Winner Best Script Prix-
Europa Genève, Winner Best Actor Brooklyn Filmfest, Golden Calf
Nomination Best Sound Design.
Once (single-play, director, 2008), Golden Calf Nomination Best TV
drama.
Anderman (documentary, writer & director, 2006) Tribeca Film
festival selection.
Jan Willem den Bok’s partial filmography
Het land van melk en Misgano (Dutch doc, writer, director, editor,
2012).
De vier muren van Dina (documentary, writer, director, editor, 2011)
Oranjekoorts en Liefdesverdriet (feature, treatment-development
2010, director: Nicole van Kilsdonk).
De Achtste Broeder (feature, treatment-development 2009,
director: Jaap van Heusden).
Once (single-play, writer, 2008) (director: Jaap van Heusden)
Nominated for a Golden Calf 2008.
Production company
IJswater Films, founded in 1994 by producer Marc Bary, focuses
34 NPP 2012

Jaap van Heusden
Marc Bary
Jan Willem den Bok
on new and established talent and develops/(co)produces high
quality feature films, such as Golden Globe Nominee / Cannes Critic’s
Choice The Polish Bride, Skin (Emmy Award Nomination), Win/
Win (Prix Genève Europe Script Award), shorts, documentaries
and TV drama, also for children (Papa’s Tango, Berlinale Generation
Kplus). International co-productions a.o. Belgian/German/NL
22nd of May (Koen Mortier, Toronto selection), Irish/UK/NL Headrush
(Shimmy Marcus, Miramax Script Award). In postproduction:
Supernova by Tamar van den Dop (with Revolver, German Coin and
Belgian Epidemic) and The New World by Jaap van Heusden.
Besides Into the Blue, also present at NPP: Paradise Trips by Raf
Reyntjens in coproduction with Caviar (BE).
Current status
In development. Script support from the Netherlands Film Fund
and MEDIA+ Single Development.
Aims at the NPP
To find European co-producer(s)/financiers (Belgium/Germany/
Ukraine/Russia). We also want to interest European Film/TV
Funds and international sales agents.
Director
Jaap van Heusden
Producer
Marc Bary
Writers
Jan Willem den Bok
Jaap van Heusden
Based on
an original story
Languages
Dutch, English, Ukrainian
Genre
Drama
Running time
90 mins
Target audience
Women 20-50
Budget
€1,300,000
Contact
Marc Bary
IJswater Films
Kromme Mijdrechtstraat 110-4
1079 LD Amsterdam
The Netherlands
Tel: +31 20 4421760
Mob: +31 654235736
Email: marc@ijswater.nl
www.ijswater.nl
2012 NPP 35

Johanna’s Son
Johanna’s zoon
Rinkel Film, NL / Stink London, UK /
Dawson Productions, CZ
Thirty years after World War
II Johanna is finally reunited
with her son during the Cold
War. But a mother’s love is
blind...
Synopsis
1975. Johanna Schippers (47) is a teacher from The Hague. She
is a lonely woman who takes care of her elderly father and has
a tense relationship with her brother Steven. During the war
she gave birth to the child of a German soldier and was forced
by her father to give the baby up.
Against the will of her family Johanna decides to look for
her son, Erwin. The trail leads to London. Erwin managed to
escape from behind the Iron Curtain and now lives in London.
Johanna meets with Erwin, who is surprised and happy to
see his mother. The reunion with Erwin fills a void in her life.
Johanna is proud of her son; a charming man of 30, who does
translation work for Conscience – an organization that helps
Jewish people flee from the Soviet Union.
When Erwin discovers that his father was German, he is furious
with Johanna. He is afraid to lose face at Conscience. It’s
the first crack in their relationship. But Johanna isn’t the only
one who has secrets, but she ignores the signs.
Her world collapses when Erwin is arrested on suspicion of
kidnapping and espionage. Nevertheless, she decides to support
Erwin as much as she can, because he is still her son. But
when a DNA test proofs that he is not her son, she doesn’t want
to believe it. When she comes face to face with a cold-hearted
Erwin in court, she finally sees the truth. She wasn’t his mother,
but his cover.
Despite the sorrow of what she’s been through, it has changed
Johanna in a good way. Her relationship with Erwin, although ultimately
fake, has taught her to laugh, love and ultimately to forgive.
Director’s statement
From the first moment I was introduced to Johanna’s story, I was
not only deeply moved, but saw it had the potential to be one of
those rare cinematic narratives - one unfolding in a specific place
and time, yet having the universality necessary for worldwide
audiences to relate to it on a primal human level.
On a structural level, the film should involve the audience in two
ways – not only the real life drama, but also its natural and organic
elements as a psychological thriller. Though this thriller aspect is
powerful and will engage the audience, it has to be done in such
a way as not to threaten our story’s basis in reality. That’s what
makes Johanna’s story so amazing: it really happened.
Director’s profile
Martin Krejci (1978) directs commercials and films. His commercial
work includes a period piece for Stella Artois, the awardwinning
Lurpak ‘Kitchen Odyssey’, Adidas, Heineken and more. He
won Gold at the Cannes Lions Young Director Awards. His short
film Fricasse won critical acclaim on the International festival
circuit, most notably Cannes, Rotterdam and Toronto. MAFRA was
similarly feted. He is currently working on Americana, written by
Tim Macy and produced with Robert Resnikoff, to be shot end of
2012 in Los Angeles. Other projects slated include Mixing With the
Folks Back Home, an adaptation of an AL Kennedy short.
Production company filmographies
Rinkel Film
Brand New-U (2012 feature - in production. Simon Pummell);
Love Eternal (2012. feature - in postproduction); Cool Kids Don’t
Cry (2012. feature); Süskind (feature. 2012. Rudolf van den Berg);
Bringing Up Bobby (feature. 2011. Famke Janssen); The Other Side
Of Sleep (feature. 2011. Rebecca Daly); Nothing Personal (feature.
2009. Urszula Antoniak); Blood Brothers (feature. 2008. Arno Dierickx);
Off Screen (feature. Pieter Kuijpers); Godforsaken (feature.
2003. Pieter Kuijpers).
36 NPP 2012

Martin Krejci
Reinier Selen
Monika Kristl
Daniel Bergmann
Dawson Productions (selection)
10 Rules (in production. Karel Janak); 3 Seasons In Hell (2009.
Tomas Masin); Fricasse (short. 2003. Martin Krejci); Weg! (2002.
Michael Baumann); The Sub (short. 1999. Martin Krejci), Dokolac
(TV series. 1999, Martin Krejci).
Stink
Besides having several features in development (including
Johanna’s Son), Daniel Bergmann and Robert Herman have produced
several features; Terapie (HBO - Czech Rep. 2011), Sentiment
(Czech Rep. 2003) and The Idiot Returns (Czech Rep. 1999). Dominic
Buchanan has also recently produced Gimme the Loot (USA. 2012),
which won the Grand Jury Prize at SXSW and premiered at Cannes
in Un Certain Regard.
Current status
Writing script. Development finance in place.
Aims at the NPP
To meet financiers and sales agents.
Dominic Buchanan
Director
Martin Krejci
Producers
Reinier Selen
(Rinkel Film - NL),
Monika Kristl
(Dawson Productions -
CZ),
Daniel Bergmann,
Robert Herman,
Dominic Buchanan
(Stink - UK)
Screenwriter
Mieke de Jong
Based on
a true story
Mieke de Jong
Language
Dutch, English
Genre
Historical drama
Running time
90 mins
Target audience
Primary - Men/women,
20-49, higher education,
socially engaged.
Secondary - people of
50 and over who have
experienced the Cold
War wittingly.
Budget
€3,500,000
Contact
Rinkel Film BV
Rapenburgerstraat 109
1011 VL Amsterdam
The Netherlands
Tel: +31 20 616 32 31
Fax: +31 20 530 71 19
Email: reinier.selen@rinkelfilm.com
Dawson Productions
Pstrossova 21
110 00 Prague 1
Czech Republic
Tel: +420 224 999 911
Email: monika@dawson.cz
www.dawson.cz
Stink
1 Alfred Mews
London
W1T 7AA
UK
Tel: + 44 (0) 20 7462 4000
2012 NPP 37

Kessels
CTM LEV Pictures, The Netherlands
Writer Frans and his favourite
character J.Kessels go to
the Hamburg Reeperbahn to
return a philandering crook
to his wife and to finally fulfill
Frans’ pre-masturbatory
sexual dreams.
Synopsis
Frans, a crime novelist, is finishing the opening line of his new
bestseller – “It all started with one of those telephone calls that
you hope you won’t receive” – when his phone starts to ring annoyingly
in his study. Frans answers… and the film gehts los!
Kessels is both a hilarious road movie and a bittersweet trip down
memory lane, a crazy ride in a flame-adorned Toyata Kamikaze
from provincial Holland to Hamburg’s Reeperbahn and back. And
a hallucinatory trip through the mind of an author, who no longer
knows if his novel is a product of his own imagination, or if he is
actually living it.
The lead character is Kessels, a chain smoking tough guy with
a heart of gold. Kessels and Frans are ageing youngsters who
like nothing better than to consume nicotine, beer and country
& western music. However, in Frans’ novels Kessels and he are
fearless crime fighters: heroes even, but the world around them is
unaware of it. Heroes who create a flurry of misunderstanding at
every step.
Frans accepts the assignment for Kessels and him to kidnap a
philandering criminal in Hamburg and return him to his wife, because
the caller is the younger brother of BB, or Brigitte, once the
focus of little Frans’ prepubescent sexual dreams and awakening.
Frans expects that, after thirty-five years, the trip will finally drive
him into the arms of his childhood fantasy.
Well, the missing person case doesn’t have much to it, but what
do the two heroes not encounter along the way? Steaming tarmac,
burning rubber and J. Kessels’ Kamikaze. Booze and nicotine binges.
Deafening country & western. Totenköpfe. Reeperbahn porn
vs. courtly love. Flying Burritos. Prostitutes. A Turkish pimp who
quickly becomes a bothersome corpse in the trunk of Kessels’ car.
Rebellious characters – even Kessels goes on the run with Frans’
ingeniously constructed plot. And then Frans has yet to meet BB,
who is also – a small oversight of Frans’ – pushing 50…
Director’s statement
I knew immediately I should turn the cult novel J. Kessels into a
movie. The black humour within the dialogue, the road elements
and references, and the specific style and locations are what
give both the novel and the script its original flavour. But what’s
important to me is not only the comedy, but also (with two main
characters around the age of 50) the themes of growing older, lost
ideals and a midlife crisis.
Their generation is also my generation. One that lived through
the rise of hard rock and punk, took part in the protests against
authority, refusing the comforts of a middle-class life, choosing
instead to lose themselves chasing a vague dream of what life
should be like - and losing themselves as a consequence. Dreams
of passion, lustful love and the revelation of musical mirages. By
framing their story with absurdist and, sometimes, surreal humour
and plot twists, I hope to make a film about two men fighting
against their own mortality and failing hilariously.
Director’s filmography
Erik de Bruyn’s first feature Wild Mussels was the opening film at
the Dutch Film Festival 2000. Nominated for Best Script and Best
Actor, it received the Dutch Film Critics Award for Best Film, the
Russian Film Critics Award and the Youth Award for Best Film.
Ten years later, it is a Dutch cult classic.
In September 2007 Nadine, Erik’s second feature film was released.
The film was Opening Film at the International Mannheim
Heidelberg Film Festival. His third feature film The President, a
comedy, was released in 2011.
38 NPP 2012

Erik de Bruyn
Sander Verdonk
Erik de Bruyn has also directed several short films and commercials.
The Witness was nominated for a Best Short Golden Calf in
2006 and won Best Short Film Award of the Italian Republic, IFF
Montecatini.
Erik de Bruyn is also a scriptwriter.
Production company
CTM LEV Pictures is the result of the recent merger of CTM
Films and LEV Pictures, and is run by Denis Wigman and Sander
Verdonk, combining over 30 years of experience in producing feature
films and documentaries. The projects initiated by CTM LEV
Pictures are characterized by originality, creativity and, always,
with an eye for commercial and international potential.
Recent credits include the documentary Anton Corbijn Inside Out,
which premiered this year in the Berlinale Special programme
and is being sold worldwide by Hanway Films, and the feature Plan
C. The latter has recently had its world premiere at the Fantastic
Fest in Austin, Texas, with Protagonist handling the international
sales and XYZ Films the US remake rights.
Current status
Finished script, financing. Partners attached: Netherlands Film
Fund, Cineart, Contact Publishing, Imagem.
Director
Erik de Bruyn
Producers
Sander Verdonk
Denis Wigman
Screenwriter
Jan Eilander
Based on
the novel J. Kessels: The
Novel by P.F. Thomése
Language
Dutch, German
Genre
Absurdist road movie
Format
HD
Running time
90 minutes
Target Audience
Primary Men/Woman 35 +
Arthouse.
Secondary: Students 20-28
Budget
€1.400.000
Aims at the NPP
To find German and Belgium co-producers, as well as meeting
international distributors and sales agents.
Contact
Sander Verdonk
CTM LEV Pictures
Emmastraat 21
1211 NE Hilversum
The Netherlands
Tel: +31 (0) 35 647 40 40
Mob Sander Verdonk: +31 (0) 6 53 39 48 75
Email: sander.verdonk@ctmlevpictures.com
www.ctmlevpictures.com
2012 NPP 39

Knuckles’ Last Tape
Dieptescherpte, The Netherlands
A portrait of famous and not
so famous chimpanzees in
retirement homes in the US.
A tragic-comic, sometimes
bitter, poetic recapturing of
the intriguing relationship
between Chimp and Man.
Synopsis
There are various retirement homes for senior apes in America.
Famous film apes, circus apes, stunt apes, dancing apes, pet
apes of celebrities and apes used for scientific experiments in the
area of language acquisition and social skills live there. But there
are also traumatized cases from laboratories where they were
subjected to experiments for years. For the worst cases, there is a
special counseling room with a psychiatrist. There is also a swimming
pool, an art room (some occupants enjoy making watercolors),
a fitness room and a television.
The film portrays, as if from flashbacks, the life history of several
senior chimpanzees. Some were born in America, some were
shipped from Africa. We see how they were captured, sold, how
they were trained, where they performed, what they went through,
which curious relationships and cooperations took place, how they
were exploited, cheered and shown affection only to be rejected
again.
How some tried to escape, how they took revenge on their environment,
closed themselves off from the outside world, or developed
horrific traumas. And how one of them watches her heroic
acts in Tarzan movies every evening before she goes to sleep.
A documentary about chimps’ lives, about the relationship
between chimps and humans. From the viewpoint of, and as ‘remembered’
by, the chimpanzee!
Director’s statement
A stunning photograph on the website of a radio-program initiated
the idea for this documentary. An elderly chimpanzee sits on a
lounge chair next to a swimming pool, glancing at a comic book. I
found out that the chimp was residing in a home for various animals
(mainly chimpanzees) who had retired from the film-industry. This
made me think about the possible range and meaning of a film about
our evolutionary predecessor, looking back on history.
It is almost impossible to look at an ape, a chimpanzee or bonobo
in particular, and to see nothing but an ape. In a certain sense, a
glance at an ape is always a glance in the mirror – this has been the
case for all of human memory, both for the layman and the scientist
alike. Consequently, a documentary that takes place in a retirement
home for elderly apes is also a picture of human civilization – old,
sometimes tired, sometimes happy, sometimes amazed, sometimes
violent, sometimes playful. This the goal that I have in mind.
Director’s filmography
Since working as a film critic, Jos de Putter has been making documentaries
since 1993. In 2005, Jos de Putter was honoured with a
presentation of all his films in the National Gallery of Art (Washington),
the Brooklyn Academy of Music (NY), and the Berkeley Art
Museum and Pacific Film Archive in California. His films have been
selected for numerous festivals across the world.
1993: It’s Been a Lovely Day (Dutch Film Prize for Best Debut, Best
Film of the Year by the Dutch Film Critics Association). 1994: Solo,
the Law of the Favela (Joris Ivens Award). 1999: The Making of a New
Empire (selected for Berlin and Toronto). 2002: Dans, Grozny Dans
(winner at 8 international film festivals and sold to numerous countries).
2004: Alias Kurban Saïd. 2006: How Many Roads. 2008: Beyond
the Game.
Producer’s filmography
My People of All People (2010 / producer)
Beyond the Game (2008 / producer)
Babaji, an Indian Love Story (2009 / producer)
Hallelujah (2010 / producer)
Current status
Development / Financing
Aims at the NPP
Searching for finances in order to complete the budget.
40 NPP 2012

Jos de Putter
Wink de Putter
Director
Jos de Putter
Producer
Dieptescherpte /
Wink de Putter
Screenwriter
Jos de Putter
Language
English
Genre
Documentary
Format
Single / 75’ / HD (Scr.
format: HDcam)
Running time
70 mins
Target audience
Art house, wildlife
Budget
€542,830
Contact
Wink de Putter
Dieptescherpte BV
WG PLEIN 259
1054 SE Amsterdam
The Netherlands
Tel: +31 20 6124478
Email: wink@deepfocus.nl
2012 NPP 41

The Year I Turned 30
Het jaar dat ik 30 werd
Family Affair Films, The Netherlands
In the pursuit of happiness
a ‘living statue’, struggling
with her long distance/on-off
relationship with a New York
writer, takes a wild leap and
jumps his way across the
ocean.
Synopsis
Unsupported by her family (who are against everything) and her
aimless circle of friends (who are unconditionally loyal) Aag, a neurotic
living statue, struggles with her turbulent on/off relationship
with the charming Mister, a famous writer, who lives thousands of
miles away across the ocean.
On her 30th birthday (the age at which one should commit to a
steady relationship, a good job, and a mortgage - in that order) Aag
decides to bet everything on him. Flying back and forth and taking
trips to exotic destinations, she even endures the company of Mister’s
mother, an eccentric Holocaust survivor. Little by little, Aag
starts to realise what has been obvious to her family and friends all
along: Mister doesn’t want a relationship with anyone – except his
mother. But just when she is offered a dream job, Mister suddenly
asks her to move to New York.
In New York, Aag is painfully confronted with Mister’s fear of commitment:
he puts her into a Jewish retirement home and travels
a lot ‘for work’. She suffers badly from homesickness, so Mister
hires a shrink and buys her a beamer for skyping with her family,
but the loneliness just gets worse. So Aag breaks it off again, but
this time for real, and she returns home empty-handed (except for
the beamer).
Reluctantly welcomed back by her anti-everything family and her
static living-statue friends, Aag is is condemned to the life of a
lodger as the person she is subletting her apartment to refuses
to leave. Now a born-again Amsterdammer, she tries to come to
terms with her disillusionment and finally decides to buy her apartment
- with the lodger in it. But the minute she starts to feel like a
genuine single woman again, Mister arrives in town... with a ring,
paternal longings, and the alarming vow that he has ‘changed
forever’ ...
Director’s statement
The Year I Turned 30 is a quirky and slightly absurd ‘romantic comedy’.
Displaying many visual artistic elements, it is a comedy about
the position of a modern young woman who believes she must
have everything, just because everything is in reach. The pressure
is intense, because when you turn 30, like our main character Aag,
you need to have your life in order. But Aag secretly just wants
to sit on the sofa watching dvds with Mister, a man of the world
who is afraid to commit. As a living statue, creating a colourful,
fairytale world with her imaginative costumes, Aag tries to find a
home in New York and Amsterdam, but hers is a life shaped by her
humdrum phobias and her dream to belong to a family one day.
Director’s profile
Sacha Polak (1982) graduated in 2006 From The Netherlands Film
And Television Academy with her short film Teer, which was selected
for a number of international film festivals. Her short films El
Mourabbi (2007), Drang (2008), Under the Table (2008) and Brother
(2011) followed. In 2009, she took part in the Directors’ Lab at the
Binger Filmlab. Hemel is Polak’s feature film debut. IN 2012 both
her short Brother and her debut feature Hemel were selected for
the Berlinale, where she won the FIPRESCI award.
The Year I Turned 30 is her third collaboration with screenwriter
Helena van der Meulen who wrote Hemel and most recently Luna,
which was selected earlier in 2012 for the Berlinale Residency.
Production company
Family Affair Films is an Amsterdam-based production company
founded by Floor Onrust. We produce urgent and contemporary
television drama, short and feature films of high artistic quality
with a strong author-driven vision. We develop projects with new
talent and video artists, and we continue our relation with established
filmmakers.
Our feature film Code Blue by Urszula Antoniak, coproduced with
IDTV Film, VPRO and Zentropa, was selected for Cannes’ Directors
Fortnight 2011. We produced the multi award-winning feature
film Nothing Personal by Urszula Antoniak (6 awards in Locarno),
in coproduction with VPRO, Rinkel Film and Fastnet Films. Family
42 NPP 2012

Sacha Polak
Floor Onrust
Helena van der Meulen
Affair Films produced the video installation Disorient by international
highly acclaimed artist Fiona Tan, with which she was selected
for the Venice Art Biennale 2009. Our latest television production
Mina Moes by Mirjam de With was selected for Prix Jeunesse and
Toronto 2012 and won best short film at International Film Festivals
in Giffoni, Italy and Oberhausen, Germany.
Current status
In development.
Aims at the NPP
To meet potential sales agents, co-production partners and financiers.
Director
Sacha Polak
Producer
Floor Onrust
Screenwriter
Helena van der Meulen
Based on
the book Het jaar dat ik 30
werd by Aaf Brandt Cortius
Language
Dutch, English
Genre
Comedy
Format
HD
Running time
90 mins
Target audience
Women 25-40
Budget
€1,150,000
Contact
Floor Onrust
Family Affair Films
Entrepotdok 77a, 1018 AD Amsterdam
The Netherlands
Tel: +31 20 7071713
Email: floor@familyaffairfilms.nl
www.familyaffairfilms.nl
2012 NPP 43

NPP 2010: Life or Theatre
NPP 2009: À perdre la raison
Previous Departures
from this Platform…
What became of the Netherlands Production Platform projects
from 2002-2011 (as of August 2012)
2011
In post-production
Cool Water
(Ali Samadi Ahadi),
brave new work film
productions,
Germany
Tenderness
(Marion Hänsel),
Man’s Film Productions,
Belgium
The only son
(Project title: The Journey)
(Simonka de Jong),
IDTV Docs,
The Netherlands
Yozgat Blues
(Mahmut Fazil Coskun),
Hokus Fokus Film,
Turkey
In pre-production
Culture Files
(Various),
Gebreuder Beetz
Filmproduktion,
Germany – Transmedia
project: Series of five
TV movies and
downloadable app.
Heinz
(Piet Kroon),
BosBros,
The Netherlands
Korso – 6,220 kilometres
from New York
(Akseli Tuomivaara),
Bufo,
Finland
The Blue wave
(Merve Kayan,
Zeynep Dadak),
Bulut Film,
Turkey
Financing
Liefde & Geluk
(Project title: Metro)
(Marcel Visbeen),
NFI Productions,
The Netherlands
N.N. (Ineke Smits),
N297 entertainment,
The Netherlands
Our House
(Stefan Fjeldmark),
Zentropa RamBUk,
Denmark
In development
All cats are grey
(Savina Dellicour),
Tarantula Films,
Belgium
Black Diamond
(Arthur Harari),
Les Film Pelleas,
France
Eternal Flame
(Andre van der Hout),
Volya Films,
The Netherlands
Folow, Folow, Lead
(Jens Jonsson),
Hepp Film,
Sweden
The Ranger
(PJ Dillon),
Fastnet Films,
Ireland
Theresienstadt Requiem
(Vibeke Idsoe),
Filmkameratene,
Norway
Thomas and the book
of Everything
(Ineke Houtman),
Eyeworks Film & TV Drama,
The Netherlands
Young Boys
(Hugo Lilja and
Pella Kagerman),
StellaNova Film,
Sweden
Whispering Clouds
(Meikeminne Clinckspoor),
Flinck Film,
The Netherlands
44 NPP 2012

NPP 2008: Our Grand Despair NPP 2007: Tony 10
2010
Completed
Life? or Theatre?
(Frans Weisz),
Quintus Films,
The Netherlands - IDFA 2011
Rat King
(Petri Kotwica),
Making Movies,
Finland - Released in 2012
The Bag of Flour
(Kadija Saidi Leclere),
La Cie Cinématographique
Européenne,
Belgium – Tanger 2012
What Richard Did
(Project title: Blackrock)
(Lenny Abrahamson),
Element Pictures,
Ireland – Toronto 2012,
Contemporary World
Cinema
In post-production
Black Sea
(Jorien van Nes),
Circe Film,
The Netherlands
Run and Jump
(Steph Green),
Samson Films,
Ireland
The Aftermath
(Wladyslaw Pasikowski),
Apple Film Production,
Poland
In pre-production
Like the Wind
(Marco Simon Puccioni),
Intel Film/A-Movies
Productions/Les Films
de L’Astre (FR),
Italy
Life According to NINO
(Simone van Dusseldorp)
Family Affair Films/
Waterland Film & TV,
The Netherlands
Financing
Saint Anne in the Field
(Zvonimir Juric),
Kinorama,
Croatia
The Lying Dutchman
(Ulrike Grote),
Fortune Cookie
Filmproduction,
Germany
In development
Devotion
(Martin Gypkens),
cine plus Filmproduktion
GmbH,
Germany
Into the Flame
(Project title:
In The Poet’s House)
(Sander Burger),
NFI Productions,
The Netherlands
The Gadfly
(Project title:
Something Different)
(Jasmin Dizdar),
Sterling Pictures,
UK
The Train Station
(Mohamed Al-Daradji),
Human Film,
UK
The Sky above Us
(Marinus Groothof),
LEV Pictures,
The Netherlands
Toldi
(Project title: T Project)
(György Pálfi),
Katapult Film,
Hungary
2009
Completed
À perdre la raison
(Joachim Lafosse),
Versus Productions,
Belgium - Cannes 2012,
Un Certain Regard
My Brothers
(Paul Fraser),
Treasure Entertainment,
Ireland - Galway Film
Fleadh 2010
My Brother the Devil
(Sally El Hosaini),
S Films,
UK - Sundance
and Berlin 2012
The Inner Zone
(Fosco Dubini),
Dubini Filmproduktion,
Germany – Switzerland -
To be released in 2012
The State of Shock
(Andrey Kosak),
Vertigo/Emotion Film,
Slovenia – Slovenian FF 2011
In post-production
Come to my Voice
(Hüseyin Karabey),
A-Si Production, Turkey
Flying Lessons
(Igor Cobileanski),
Saga Film, Romania
Liza, the Fox-Fairy
(Károly Ujj Mészáros),
Filmteam, Hungary
Mister John
(Christine Molloy/
Joe Lawlor), Samson Films,
Ireland
Shooting
Heaven on Earth
(Pieter Kuijpers),
Pupkin Film,
The Netherlands
In pre-production
Cornea
(Jochem de Vries),
NFI Productions,
The Netherlands and
Riva Films,
Germany
Kneeling on a Bed of Violets
(Ben Sombogaart),
NL Film & Television,
The Netherlands
Land
(Jan-Willem van Ewijk),
Augustus Film,
The Netherlands
2012 NPP 45

NPP 2007: The Happiest Girl in the World
NPP 2006: Nono, The ZigZag Kid
Nomades
(Project title:
The Boy who did not Cry)
(Olivier Coussemacq),
Local Films,
France
Financing
The President
(Marcel Visbeen),
Selwyn Film,
The Netherlands
In development
Frog Zagreb Tokyo
(Project title: Frog)
(Elmir Jukic),
Refresh Production,
Bosnia and Herzegovina
Mr. Lu’s Blues
(Maria von Heland),
27 Films Production,
Germany
2008
Completed
Beyond
(Project title: The Pigsties)
(Pernilla August),
Hepp Film AB,
Sweden - Venice 2010,
Critic’s Week
Bullhead
(Project title: The Fields)
(Michael R. Roskam),
Savage Film,
Belgium - Berlin 2011,
Panorama
Invasion
(Dito Tsintadze),
Twenty Twenty Vision
Filmproduktion,
Germany - Released in 2012
Isztambul
(Project title: Istanbul) (Ferenc
Török),
Uj Budapest Filmstudió,
Hungary - Dublin 2010
Our Grand Despair
(Seyfi Teoman),
Bulut Film,
Turkey - Berlin 2011
Competition
Playoff
(Eran Riklis),
Topia Communications,
Israel - Released in 2011
Shocking Blue
(Mark de Cloe),
Waterland Film & TV,
The Netherlands -
Rotterdam 2010
Somewhere Tonight
(Project title: 1-900)
(Michael Di Jiacomo),
Column Film,
The Netherlands -
Karlovy Vary 2011
Son of Babylon
(Project title: Um-Hussein)
(Mohamed Al-Daradji),
Human Film,
United Kingdom -
Berlin 2010, Panorama
Sonny Boy
(Maria Peters),
Shooting Star Film
Production,
The Netherlands - Stony
Brook New York 2011
The Runway
(Ian Power),
Fastnet Films,
Ireland - Galway Film Fleadh
2010
The Snow Queen
(Marko Räät),
F-Seitse, Estonia -
Released in 2010
Ursul
(Project title: The Bear)
(Dan Chisu),
Libra Film,
Romania - Released in 2011
In post-production
Shanghai-Belleville
(Show-Chun Lee),
Clandestine Films,
France
In pre-production
A Kronstadt Tale
(Ben van Lieshout),
Another Film,
The Netherlands
Financing
Corps Diplomatique
(Nadia Farès),
Dschoint Ventschr
Filmproduktion,
Switzerland
2007
Completed
Adrienn Pál
(Ágnes Kocsis),
Print KMH, Hungary -
Cannes 2010,
Un Certain Regard
Dusk
(Project title: Without Limit)
(Hanro Smitsman),
Corrino Film,
The Netherlands -
Utrecht 2010
Milo
(Berend Boorsma &
Roel Boorsma),
Fu Works,
The Netherlands – Giffoni
2012
Ob ihr wollt oder nicht
(Project title: Laura)
(Ben Verbong),
Elsani Film,
Germany - Released in 2009
The Flowers of Kirkuk
(Project title: Kirkuk)
(Fariborz Kamkari),
Farout Out Films,
Italy - Rome 2010
The Great Kilapy
(Zézé Gamboa),
David & Golias,
Portugal
The Happiest Girl in the World
(Radu Jude),
Hi Film Productions,
Romania - Berlin 2009,
Forum
46 NPP 2012

NPP 2006: Nadine
NPP 2005: Allez, Eddy!
Tomorrow Will Be Better
(Dorota Kedzierzawska),
Kid Film Sp Zoo,
Poland - Berlin 2011,
Generation Kplus
Tony 10
(Mischa Kamp),
Lemming Film,
The Netherlands -
Released in 2012
Wake Wood
(David Keating),
Fantastic Film,
Ireland - Lund 2009
Shooting
Supernova
(Tamar van den Dop),
Revolver,
The Netherlands
In pre-production
Kurai, Kurai, Tales on the Wind
(Marjoleine Boonstra),
Volya Films,
The Netherlands
Visions of Reality
(Gustav Deutsch),
KGP Kranzelbinder
Production, Austria
In development
A Happy Marriage
(Peter Delpeut),
Waterland Film & TV,
The Netherlands
My Father’s Notebook
(Marleen Gorris),
Eyeworks Egmond,
The Netherlands
2006
Completed
Bon Appétit
(David Pinillos),
Morena Films,
Spain - Malaga 2010
Christmas Story
(Juha Wuolijoki),
Diadik GmbH,
Germany - Sarasota 2008
Here and There
(Darko Lungulov),
Media Plus,
Serbia - Tribeca 2009
Involuntary
(Ruben Östlund),
Platform Production, Sweden
- Cannes 2008,
Un Certain Regard
Love and Other Crimes
(Stefan Arsenijevic),
Art & Popcorn,
Serbia - Berlin 2008,
Panorama
Mission London
(Dimitar Mitovski),
SIA Advertising,
Bulgaria - Released in 2010
NONO, The ZigZag Kid
(Project title:
The Zigzag Kid)
(Vincent Bal),
BosBros,
The Netherlands –
Utrecht 2012
(Opening Film Nederlands
Film Festival 2012)
Practical Guide to Belgrade with
Singing and Crying
(Project title:
From Belgrade with Love)
(Bojan Vuletic),
Art & Popcorn,
Serbia - Released in 2011
Some Other Stories
(Hanna Slak/
Ivona Juka/
Ines Tanovic/
Marija Dzidzeva/
Ana Maria Rossi),
SEE Films,
Serbia/Slovenia/Croatia/
Bosnia and Herzegovina/
Macedonia -
Released in 2010
Summer Heat
(Monique van der Ven),
Zomerhitte BV/Mulholland
Picures,
The Netherlands -
Released in 2008
Swchwrm
(Project title:
My Adventures by
V. Swchwrm)
(Froukje Tan), Flinck Film,
The Netherlands -
Released in 2012
The Hourglass
(Project title: The Sands)
(Szabolcs Tolnai),
Art & Popcorn,
Serbia - Serbia 2007
The Storm
(Project title: 1953)
(Ben Sombogaart),
NL Film & Television,
The Netherlands -
Released in 2009
Two Eyes Staring
(Project title: Dead Girl)
(Elbert van Strien),
Accento Films,
The Netherlands -
Released in 2009
Zero
(Pawel Borowski),
OpusFilm,
Poland - Released in 2009
In development
The Big Bad Wolf,
(Jan Maillard),
BVBA Cine 3 / Prime Time,
Belgium
2005
Completed
Allez, Eddy!
(Gert Embrechts),
Manta Film,
Belgium - Released in 2012
Atlantis
(Digna Sinke),
Waterland Film & TV,
The Netherlands -
San Sebastian 2009
Black Butterflies
(Project title:
Smoke & Ochre)
(Paula van der Oest),
Riba Film,
The Netherlands -
Tribeca 2011
2012 NPP 47

NPP 2004: Mamarosh
NPP 2003: Guernsey
It’s Hard to Be Nice
(Srdjan Vuletic),
Refresh Production,
Bosnia and Herzegovina –
Sarajevo 2007
Kino Lika
(Dalibor Matanic),
Kinorama,
Croatia - Pula 2008
Nadine
(Erik de Bruyn),
Rocketta Film,
The Netherlands -
Utrecht 2007
Projekció
(Tamás Buvári),
Inforg Studio,
Hungary – Released in 2006
The War Is Over
(Mitko Panov),
Kamera 300,
Switzerland -
Rotterdam 2007
In development
Exhibition (N.N.)
Film Events,
The Netherlands
Frozen Tears
(Project title: White)
(Angelina Maccarone),
MMM Film Zimmermann &
Co GmbH,
Germany
48 NPP 2012
2004
Completed
Madonnas
(Maria Speth),
Pandora Film Produktion,
Germany - Berlin 2007,
Forum
Mamarosh
(Moma Mrdakovic),
Yalla Film Productions,
France -
To be released in 2012
Night Run
(Dana Nechustan),
Waterland Film & TV,
The Netherlands -
Utrecht 2006
The World is Big and Salvation
Lurks Around the Corner
(Stephan Komandarev),
RFF International,
Bulgaria - Sofia 2008
Winter in Wartime
(Martin Koolhoven),
Isabella Films,
The Netherlands -
Released in 2008
Wolfsbergen
(Nanouk Leopold),
Circe Films,
The Netherlands -
Berlin 2007, Forum
In development
A Love Supreme
(Pieter van Hees),
Another Dimension
of an Idea, Belgium
Frost Flowers
(Andrea Vecchiato),
Hadaly Pictures, UK
Lingling
(Paddy Jolley),
Zanzibar Films,
Ireland
2003
Completed
Blind
(Tamar van den Dop),
Phanta Vision Film,
The Netherlands - Giffoni
2007
Dennis P.
(Pieter Kuijpers),
Pupkin Film,
The Netherlands -
released in 2007
Dotcom
(Luis Galvão Teles),
Fado Filmes,
Portugal - Coimbra 2007
Duska
(Jos Stelling),
Jos Stelling Films,
The Netherlands -
Utrecht 2007
Ex-Drummer
(Koen Mortier),
CCCP,
Belgium - Warsaw 2007
Guernsey
(Nanouk Leopold),
Circe Films,
The Netherlands,
Cannes 2005 -
Director’s Fortnight
House of Boys
(Jean Claude Schlim),
Delux Productions,
Luxembourg -
released in 2009
P.S. Beirut
(Project title: Benjamin’s
Briefcase)
(Michael Shamberg),
Yalla Film Productions,
France - turned into series
Reykjavik-Rotterdam
(Project title:
SAS Reykjavik-Rotterdam)
(Óskar Jónasson),
Blueeyes Productions,
Iceland - Rotterdam 2010
The Rabbit on the Moon
(Jorge Ramirez Suarez),
Beanca Films, Germany -
Berlin 2005, Special
You Bet Your Life
(Antonin Svoboda),
coop99 Filmproduktion,
Austria - Toronto 2005
When Night Falls
(Ineke Houtman),
Waterland Film & TV,
The Netherlands -
released in 2004
In Pre-production
The Houdini Girl
(Kfir Yefet),
Tomori Films,
UK
In development
Jammed Love

NPP 2002: The Aviatrix of Kazbek
NPP 2002: Calimucho
(Project title:
Those Who Survived the
Plague)
(Barbara Gräftner),
Bonusfilm GmbH, Germany
Soul Mate
(N.N.),
Instigator Films & Media,
Ireland
Summertime
(Esmé Lammers),
Fu Works,
The Netherlands
2002
Completed
Calimucho
(Eugenie Jansen),
Circe Films,
The Netherlands -
Berlin 2009, Forum
Eep!
(Rita Horst),
Lemming Film,
The Netherlands -
Berlin 2010,
Generation Kplus
Floris
(Johan Nijenhuis),
NL Film & Television,
The Netherlands -
Released in 2004
Hidden Flaws
(Paula van der Oest),
Filmproducties de Luwte,
The Netherlands -
Utrecht 2004
Jam
(Lieven Debrauwer),
K-Line, Belgium -
Venice Days 2004
Spoon
(Willem van de Sande
Bakhuyzen),
Lemming Film,
The Netherlands –
Released in 2005
The Aviatrix of Kazbek
(Project title:
Mountains at Sea)
(Ineke Smits),
Isabella Films,
The Netherlands -
Rotterdam 2010
South
(Martin Koolhoven),
Isabella Films, The Netherlands
- Vancouver 2004
In development
Silent Rebels
(N.N.),
Rheingold Films,
Germany
2012 NPP 49

Index
Titles
Again and Again by Cristina Ionescu 4
Bergman´s Video by Jane Magnusson and
Hynek Pallas 6
Death of a Salaryman by Adrian Sitaru 8
Dust Cloth by Ahu Öztürk 10
Europe’s Borderlands by Jakob Preuss 12
Father by Artur Urbański 14
In the Heart by Nicole van Kilsdonk 32
Into the Blue by Jaap van Heusden 34
Kessels by Erik de Bruyn 38
Knuckles’ Last Tape by Jos de Putter 40
Johanna’s Son by Martin Krejci 36
Motherland by Senem Tüzen 16
Mudo by Daniel Martín Novel 18
Paradise Trips by Raf Reyntjens 20
Parisienne by Gintautas Dailyda 22
Pilgrimage by Brendan Muldowney 24
Runt by Ieuan Morris 26
Second Life by Gabriele Dettre 28
South Facing Wall by Kutluğ Ataman 30
The Year I turned 30 by Sacha Polak 43
Production companies
Apple Film Production (Poland) 15
Caviar Films (Belgium) 21
CTM LEV Pictures (The Netherlands) 39
Dawson Productions (Czech Republic) 37
Dieptescherpte (The Netherlands) 41
Family Affair Films (The Netherlands) 43
Fragrant Films (UK) 27
Fralita Films (Lithuania) 23
Gädda Five (Sweden) 7
HvD Productions (Hungary) 29
IJswater Films (The Netherlands) 35
Impronta Films (Spain) 19
Ret Film (Turkey) 11
Rinkel Film (The Netherlands) 37
Seansas Film (Lithuania) 23
Stink London (UK) 37
SP Films (Ireland) 25
Tato Film (Turkey) 17
Temple Film (Romania) 5
The Institute for the Readjustment of Clocks
(Turkey) 31
Vernon Films (UK) 9
Waterland Film (The Netherlands) 33
Weydemann Bros (Germany) 13
Yeni Sinemacılar (Turkey) 17
Zela Film (Turkey) 17
Producers
Mara Adina 9
Kutluğ Ataman 31
Dan Badea 5
Conor Barry 25
Marc Bary 35
Daniel Bergmann 37
Wilant Boekelman 33
Dominic Buchanan 37
Kate Crowther 27
Gintautas Dailyda 23
Sevilay Demirci 17
Ana Fernández Saiz 19
Zivile Gallego 23
Nesra Gürbüz 11
Robert Herman 37
Viktor Huszar 29
Marie van Innis 21
Cristina Ionescu 5
Dariusz Jablonski 15
John Keville 25
Monika Kristl 37
Yasemin Kutlug 31
Çiğdem Mater 11
Floor Onrust 43
Felicity Oppe 27
Wink de Putter 41
Reinier Selen 37
Senem Tüzen 17
Fatima Varhos 7
Sander Verdonk 39
Jakob Weydemann 13
Jonas Weydemann 13
Denis Wigman 39
Olena Yershova 17
Jan van der Zanden 33
Directors
Kutluğ Ataman 31
Erik de Bruyn 39
Gintautas Dailyda 23
Gabriele Dettre 29
Jaap van Heusden 35
Cristina Ionescu 5
Nicole van Kilsdonk 33
Martin Krejci 37
Jane Magnusson 7
Ieuan Morris 27
Brendan Muldowney 25
Daniel Martín Novel 19
Ahu Öztürk 11
Hynek Pallas 7
Sacha Polak 43
Jakob Preuss 13
Jos de Putter 41
Raf Reyntjens 21
Adrian Sitaru 9
Senem Tüzen 17
Artur Urbański 15
50 NPP 2012

32ND NETHERLANDS FILM FESTIVAL SEPTEMBER 26 - OCTOBER 05, 2012 FILMFESTIVAL.NL