JUST TALKING 15/11
Valerie Donzelli, (The Queen of Hearts), Calin Netzer ( Medal of honor ), Margaret Corkery, (Eamon), Sofia Papachristou, (Biloba), Damien Chazelle, (Guy and Madeline on a park bench), Mahmut Fazil Coskun, (Wrong Rosary), Darko Lungulov, (Here and There)
Distribution of commercially unsuccessful films outside film festivals, the difficulties in securing financing, along with the “battle” between the big screen and the internet were among the issues brought into the limelight of the first “Just Talking” event, held on Sunday, November 15, at the Old Pump Station, coordinated by journalist Elena Christopoulou.
The first in a series of events which offer film industry professionals the opportunity to meet in person, exchange views and share experiences, included participant film directors Valerie Donzelli (The Queen of Hearts), Calin Netzer (Medal of honor), Margaret Corkery (Eamon), Sophia Papachristou (Biloba), Damien Chazelle (Guy and Madeline on a park bench), Mahmut Fazil Coskun, (Wrong Rosary) και Darko Lungulov (Here and There).
Valerie Donzelli’s feature film The Queen of Hearts is a comedy about a young woman, who upon breaking up with her great love is trying to get over him and make a fresh start. The protagonist (played by the director herself) strives to make up for the lost time in her relationships with men.
In Medal of honor, Calin Netzer tells a true story of “post-communist madness,” as described in the director’s own words, when a Romanian senior disdained by his family in a sudden twist of fate receives a letter offerring him a medal of honor on the grounds of supposed heroic acts during WWII.
The motion picture Eamon resulted from Margaret Corkery’s entrance into an Irish competition. The filmmaker was given very little time to write a script and then upon winning the first prize to shoot the film. “A blessing in disguise, because without pressing deadlines it might have taken me a lifetime,” she admitted. The film explores a boy’s obsession with his mother. As Margaret Corkery remarked, “it explores the nature of the so-called Ireland’s ‘Tiger generation,’ namely the generation who grew up at the climax of the so-called ‘Celtic Tiger.’”
Sophia Papachristou’s film, Biloba, takes place on the tiny Pera Kassiros island, where a German engineer arrives in order to materialize a European Union project. The villagers, peculiar at first glance, assist him in redefining his personal values and viewpoint on the meaning of life. “The island plays a leading part, actually providing the resolution. The hero needs to go somewhere far away –hence the compound ‘Pera’ (Over) in the island’s name, in order to rediscover the lost magic in his life,” the director pointed out.
Miles Davis’s jazz, Hollywood musicals’ jazz and the jazz loved by the young generation all coexist in Damien Chazelle’s Guy and Madeline on a Park Bench. At the film’s backround the director paints the portrait of Boston, which “had it been human, she would have had a romantic personality,” Damien Chazelle commented.
Wrong Rosary by Mahmut Fazil Coskun relates an unusual love story, which highlights the complex social, cultural and religious landscape of Istanbul. “If to some people Istanbul resembles a whore, to me she is like a mother who grew up in a big family and now leads the poor and lonely life of an old woman,” he remarked.
Here and There, by Serbian director Darko Lungulov, touches upon the subject of emigration through a Serb’s struggle to get the coveted green card. “We all seem to be looking for what we miss. This goes for me as well; upon my return to Belgrade after spending 12 years in New York, I discovered that the young today are trying to flee the country in every possible way,” commented the director.
Following the introductory presentations, the directors had the opportunity to exchange views and experiences regarding the production process of a film, along with the differences between Europe and the USA. Darko Lungulov who had to seek financing by private capital in the States, was categorically certain that the situation in Europe is clearly better. “For us, certain things are taken for granted, maybe this is the reason why we are complaining. In the USA there is no state funding for cinema. My profits from the film will pay off my sponsors who demand a 20% rate,” he added. American director Damien Chazelle agreed and described his effort in finding funds in the USA as a “nightmare.” “In the States, one is all alone, there is no support from the State. There can be no comparison with the European approach,” he noted. The fact that Margaret Corkery’s film was funded by a competition prize attracted the interest of the other directors. However, Corkery was rather pessimistic whether this process would continue next year, as Ireland’s economy has been severely afflicted by the financial crisis.
“Funds allotted are scarce and, what is more, they are not received when you most need them, but a full year-and-a-half after the completion of the film,” argued director Sophia Papachristou about the situation in Greece, estimating that it is getting worse every year. “The chronic and unsolved problems in the cinema industry and the demand for new legislation have led cinematographers to abstain from this year’s Festival; it’s a pity, because the Festival is their home, they belong here,” Sophia Papachristou stressed.
The issue of distribution of commercially unsuccessful and low budget films outside international festivals was another question discussed by participating directors in “Just Talking.” Margaret Corkery mentioned that “apart from the Festivals’ audience, at the same time I’m particularly interested in how our films can reach mainstream cinema theaters.” Darko Lungulov pointed out that European filmmakers are fortunate in being able to screen their works at various festivals, whereas Damien Chazelle referred to a colossal distributor’s bankruptcy, a fact further aggravating the bad situation in the USA.
“When you work on a project for five years, you want to see it screened on the big screen, not on a cell phone screen.” He went on to admit that the internet is an inevitable advancement, but also argued that as long as cinema exists cinematographers must fight to screen their films on the big screen. Calin Netzer and Mahmut Fazil Coskun expressed their anxiety regarding the protection of works on the internet, as they agreed upon the fact that viable solutions must be found regarding both downloading and the way creators are paid.
