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HOME AFFAIRSSTORIES FROM HOME“HOME AFFAIRS – PRIVACY, FILMS AND POLITICS“ – THE CENTRAL THEME OF THIS YEAR’S BERLINALE TALENT CAMPUS WILL BE DISCUSSED INSEVERAL PANELS AND WORKSHOPS THAT EXPLORE THE RELATIONSHIP BETWEEN THE LOCAL AND THE GLOBAL, THE PRIVATE AND THE PUBLICASPECTS OF MAKING FILMS.In recent years, the power of cinema as a platform for politicaldebate has been rediscovered. In effect, politics havereentered cinemas on the red carpet. But what makes today’sfilms political and what makes individuals love or hate a film?The answer lies in the power of identification – a deeply privaterelation and an empathy that grows for a character, twolovers, a family or a set of equal-minded people – and it istheir side you take, right or wrong.Part of the “Home Affairs” Film Programme: NEONORANGENE KUH by Mischa Leinkauf/Matthias WermkeThe Berlinale Talent Campus #5 takes a good long look at“Home Affairs – Privacy, Films and Politics“, its focus for 2007.How does the “personal” home fit into the framework of anincreasingly globalised political world? “Home“ can meannumerous things: a bed for the night or where you wereborn, a place of comfort and safety or a place of fear andrepression. Home Affairs can be a private emotion, an explicitlypolitical agenda or a starting point for reflection onwhere you come from or where you are headed.The sense of being “at home”, whether by choice or by circumstance,has an enormous influence on the path a filmmaker’sproject may take. It is one’s “home base” that shapesevery aspect of film production, starting with the initial ideafor a new film and leading to the various decisions madeabout the genre, format, work methods, financial models,languages and routes of distribution.“The necessity for filmmakers to find their own path throughthe globalised film industry is perhaps the most importantthing that we can try to get across at the Campus“, says CampusDirector, Dorothee Wenner, to best describe the significanceof the focal theme.The globalisation of cinema also offers new resources whilesimultaneously rendering the necessary reaffirmation ofone’s own cinematic culture. On the one hand, there is astrong tendency worldwide to streamline cinema productioneyeing the variety of existing film markets. On theother hand, depending on where they are created, filmsare produced under very different conditions. Cinema is nolonger a western concept. It has a different home in differentcountries. So then whose Home Affairs are being portrayedin each individual film? People in Egypt, China, Nigeria orIndia often prefer watching movies produced in their owncountries, movies that tell stories from their own shores,show places familiar to them with stars hailing from similarcultural backgrounds. The same holds true for people inthe diaspora who are likely to desire films from the countriesof their origin. As such, Home Affairs, whether for the filmmakeror the audience, is the search for cultural identity inan increasingly globalised film industry.One of the strategies filmmakers use to empower themselvesis to create self-organised networks – film co-operatives– to discuss the problems of working as autonomousfilmmakers. Such independent initiatives are represented inthe Campus through the panel “Making Films With Friends”.Panelists will share their insight on what a co-operation isand how it can help when no infrastructure exists. The filmco-op concept has also taken on the form of a long-termsustainability project which is being initiated in three countriesthrough a collaborative effort of the Berlinale TalentCampus and the House of World Cultures.10BERLINALE TALENT CAMPUS #5
HOME AFFAIRSThe discussion “Filming in the Eye of the Storm” will discussthe situation of filmmakers in politically unstable times andregions, for example, in places like the Congo where foreignTV news crews dominate the documentation of events. Itwill attempt to understand how filmmakers in these countriessurvive, artistically and economically, and how theynarrate their stories.Engaging young talents with pertinent questions, intricaciesand challenges, the Campus seeks to embolden them innarrating their stories by developing individual strategies.The various workshops offer subjects for reflection andanalysis. They cover, for example, the challenges involvedin producing local content for international markets or theydiscuss the enormous appeal “fantasy” and “time-travel”have for today’s audiences – just like in the very early daysof cinema. “Film’s Future Lab” will open the floor to discussthe clash of “traditional” and “new” media and the potentialfor a creative co-existence. It attempts to address expectationsof a new generation of media-savvy audiences andfilmmakers. How will the confluence of the big screen withthe internet come about and in turn, how will this influencestorytelling and the production of images?“Home Affairs – Privacy, Films and Politics” attempts thusto react to and make optimal use of globalisation with regionalor even personal efforts. Heartening success storieslike that of last year’s Golden Bear winner GRBAVICA by JasmilaŽbanić is a good example. She persevered in the lightof enormous obstacles to celebrate success and worldwideacclaim. There are numerous similar examples: films thatachieved worldwide attention through outsider strategy.Yet, there is no formula for success, no recipe for fame. Thereare only inspiring stories and encouraging persons who recountthem.Part of the “Home Affairs” Film Programme: ORQUESTA TIPICA by Nicolas Enteland opportunities that shape their future careers in theglobal film village.The Berlinale Talent Campus has set up home in the TheatreHebbel am Ufer and invites you to actively engage in thediscussions and debates with film aficionados and expertsfrom around the world and to embark on a journey of discoveriesand interpretations of the home and its affairs.SUNDAY 11, 17:00 HAU 1VIRTUAL CINEMAMONDAY 12, 14:00 HAU 1FILM CO-OPS – MAKING FILMS WITH FRIENDSMONDAY 12, 17:00 HAU 1WHOSE SIDE IS IT ANYWAYTUESDAY 13, 19:00 HAU 2FILMING IN THE EYE OF THE STORMThis year, 3,678 budding film professionals from 129 countriesapplied to the Berlinale Talent Campus and over 350Talents were selected to meet renowned film professionalsand industry experts to discuss the strategies, challenges,BERLINALE TALENT CAMPUS #511
Page 3 and 4: TALENTS 2007Carwyn Jones / Sushma J
Page 5 and 6: EDITORIALWELCOME HOMEFive years of
Page 8 and 9: GLOSSARYTHE TALENT’S GLOSSARYTHE
Page 12 and 13: HOME AFFAIRSTHE “HOME AFFAIRS“
Page 14 and 15: PORTRAITEMERGING FROM UNDERGROUNDA
Page 16: WORKING CAMPUSWORKING CAMPUSTALENTS
Page 19 and 20: VOLKSWAGEN SCORE COMPETITIONTOP SCO
Page 21 and 22: BERLIN TODAY AWARDGLIMPSES OF BERLI
Page 23 and 24: PORTRAITFILM AS GUERILLA WORKWHETHE
Page 25 and 26: MAKING OFTALENTS ON THE BIG SCREENT
Page 27 and 28: FOUNDATIONSWIN A CO-PRODUCTIONTHE R
Page 29 and 30: PORTRAITTHE 2006 GOLDEN BEARERNOT O
Page 31 and 32: SUSTAINABILITY / EUROMED AUDIOVISUA
Page 33 and 34: EXCURSIONSCLOSE TO HOMEIN ADDITION
Page 35 and 36: TIMETABLEPROGRAMME OF THEBERLINALE
Page 37 and 38: TIMETABLEPRODUCTION DAY TUESDAY FEB
Page 39 and 40: ORIENTATION DAY SATURDAY 10 THORIEN
Page 41 and 42: PHILOSOPHY DAY SUNDAY 11 THPHILOSOP
Page 43 and 44: PHILOSOPHY DAY SUNDAY 11 THSUNDAY 1
Page 45 and 46: PRE-PRODUCTION DAY MONDAY 12 THPRE-
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Page 49 and 50: PRODUCTION DAY TUESDAY 13 THPRODUCT
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Page 54 and 55: POST-PRODUCTION DAY WEDNESDAY 14 TH
Page 57 and 58: PROMOTION DAY THURSDAY 15 THPROMOTI
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INDEX OF EVENTSINDEX OF EVENTSA LIS
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INDEX OF EXPERTSfilm critic and the
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INDEX OF EXPERTSKILZER, ANNETTE (p.
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INDEX OF EXPERTSSUDJIC, DEYAN (p.42
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NOTE OF THANKSAndrea Köhler. DEUTS
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WWW.BERLINALE-TALENTCAMPUS.DE
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