Previous projects include Nathalie Biancheri’s ‘Wolf’ starring George MacKay and Lily-Rose Depp.
European training and coaching development programme Less Is More has selected 16 low-budget feature projects for its 2020 scheme, as well as 12 ‘development angels’ to join the development process.
Open to projects at script development stage from first to third-time feature filmmakers from across the globe, the scheme received 460 applications from 90 countries – a 37% increase on the previous year’s total.
See full list of projects below.
12 of this year’s projects are European productions, with one each from Tunisia, Rwanda and Mexico plus a Palestine-Denmark co-production.
Less Is More...
European training and coaching development programme Less Is More has selected 16 low-budget feature projects for its 2020 scheme, as well as 12 ‘development angels’ to join the development process.
Open to projects at script development stage from first to third-time feature filmmakers from across the globe, the scheme received 460 applications from 90 countries – a 37% increase on the previous year’s total.
See full list of projects below.
12 of this year’s projects are European productions, with one each from Tunisia, Rwanda and Mexico plus a Palestine-Denmark co-production.
Less Is More...
- 2/24/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
School of Film Agents celebrated its third edition in Wroclaw, Poland, bringing together, once again, some of the best and most promising young players active in the European film industry today. The unique, core philosophy behind Sofa is the initiative's continuous commitment to strengthening the film landscape of countries in Central and Eastern Europe, Central Asia and the Caucasus States where unstable political and economical conditions result in an underdeveloped film industry.
Sofa-Founder Nikolaj Nikitin: "Granted, many films from these countries are being successfully screened at the big film festivals. Nonetheless, they are still lacking the necessary infrastructure and institutional support that not only acknowledges and strengthens the position of film as an art form and relevant socio-cultural and economic factor, but also backs the much-needed film mediators managing these initiatives - such as film festival-makers, distributors and cinema operators."
The Program
Ten intensive days of workshop participation were made available to the eight film agents and their top-class tutors, where, together, they were given the opportunity to successfully develop and push their promising ideas forward towards realization. Strengths and weaknesses of the projects pitched were openly and constructively discussed in close dialogue with some of the biggest names in the European film industry. Lectures and panel discussions dealing with the central topics at hand were visited and numerous in-depth one-to-one meetings took place. In comparison to last year's edition, this year, an intensive exchange between mentors and participants was able to take place already in advance guaranteeing optimal preparation for the workshop activities ahead.
The film agents and their film projects
In its third year, Sofa was, once again, able to pave the way towards realization for eight particularly committed projects. The eight participants were selected out of over one hundred applicants in total - the rising number of applications in 2015 is a clear confirmation of the growing popularity of Sofa.
The goal of strengthening the regional film culture and industries in their respective countries unified most of the participants' projects in 2015. Additionally the production and distribution of European co-productions within the international theatrical market also took center stage at this year's Sofa edition.
With her project Lviv Film Commission the Ukrainian participant Olha Reiter pursued the establishment of the first regional film commission in the Ukraine, a project which already commenced with its important work in August earlier this year.
The Dushanbe Documentary Film Center from Sergey Chutkov serves as a place for film education in Tajikistan - a platform providing space, equipment and seminars for the production of documentary films by young filmmakers.
The project Criss-Cross Film Lab developed by the Serbian participant Milica Bozanic would also like to provide a space for workshops and networking. In addition to bringing together young filmmakers with producers, business skills and marketing strategies will also be taught.
A mobile film educational project will be put into motion by the Polish participant Malgorzata Tusk. With her project Cinebus - Mobile Center of Audiovisual Education she would like to bring the already well-established workshop initiative "Film Spring Open" (led by the world-renowned Dop Slawomir Idziak) into light in Poland.
With his project Cuz We Are Talented, the Czech participant Michal Kracmer plans to steer the attention to young talents from countries in Central Europe while promoting co-productions between these countries.
Conceptualized as a full-service agency, the project Kaleidoscope, developed by the Slovakian participant Katarina Tomkova, intends to offer consultation and internationalization strategies from script to theatrical release.
The Romanian participant Dorina Oarga aims to digitize student films from the National University of Theatre and Film Archive and make them available online with her project Cinepub 2nd Life - a pilot project with the intention of preserving the film heritage of Romania.
Creating new visibility for ambitious children's films is the goal of the möwe. derKinderFilmVerleih, conceptualized by the German Sofa-participant Hella Riehl.
The Lecturers
Each of the eight participants had a tutor by his/her side offering project feedback from his/her own special and professional perspective. The following mentors lent their expertise to Sofa this year: Claudia Dillmann (Deutsches Filminstitut, Frankfurt), Maciej Jakubczyk (New Horizons Association, Wroclaw), Matthijs Wouter Knol (European Film Market, Berlin), Roberto Olla (Eurimages, Strasbourg), Katriel Schory (Israel Film Fund, Tel Aviv), Riina Sildos (Baltic Event, Tallinn), Tamara Tatishvili (Ablabudafilm, Tbilisi) und Kristina Trapp (Eave, Luxemburg). An additional lecture dealing with the topic of Marketing and Consumer Psychology was presented by Domenico la Porta (Cineuropa, Brussels).
Four further experts - each of whom have been an integral part of the Sofa-Team since the inception of the initiative - accompanied the participants from the first day to the very last of the workshop. Participants were able to develop individually tailored marketing strategies for their projects with Renaud Redien-Collot (Novancia Business School, Paris), while Pitching Expert Sibylle Kurz (Frankfurt am Main) ensured that projects are presented with a sense of confidence and ease. Oliver Baumgarten (Programme Director, Max Ophüls Preis, Saarbrücken) und Oscar-Winner Ewa Puszczynska (Opus Film, Lodz) were also present, offering individual feedback-meetings aimed at stylistically and conceptually enhancing the participants' concept drafts as well as helping them to work out appropriate budgeting and realistic timeline schemes for their projects.
The Sofa-participants and lecturers were invited to attend a Film-Preview of the Cannes-premiered Swedish-Polish co-production "The Here After" in Wroclaw's largest arthouse cinema. After the screening director Magnus von Horn and producer Mariusz Wlodarski spoke about opportunities within and the challenges facing the European co-production scene.
Film culture for the future - success stories
A look back at the last two editions of Sofa proves that the pan-European Thinktank dedicated to the future of cinema is truly making waves with sustainable signs of change and the first projects bearing fruit. Many of the projects from the last two years have been able to be successfully realized or are close to realization and implementation.
The Eurimage-backed Serbian Sofa-project Fbo - Festival Box Office by Sonja Topalovic was launched as a beta version in February at the Berlinale. A presentation of the interactive online-database for film festivals followed in the Spring in Cannes. Meanwhile, Fbo is closely cooperating with the Film Center Serbia, officially evaluating for them the number of visitors and ticket sales of art house theaters participating at Serbian film festivals. Moreover, negotiations are continuously taking place with numerous international film festivals, not only keeping the project's network flow in full-swing, but also helping to supplement their valuable database at the same time. As an innovative business tool, Fbo has long-term, world-wide plans to evaluate the success of art house films screened at festivals, thereby giving key players in the industry invaluable insight into understanding public taste.
Leana Jalukse's project Doktok - a distribution initiative for Estonian documentary films was able to be realized with the help of Sofa. Leana was also able to participate in a six-week German language course in Munich where she completed a creative internship with Beta Cinema. This combination of language training with professional internship possibilities is the result of cooperation between Sofa and the Goethe-Institut Prague and will be continued in 2016. Former Sofa-participants Anna Bielak (Poland) and Gábor Böszörményi (Hungary) have also been able to take part in a German language course whilst building up their networks of German business contacts.
The Romanian Sofa-project Transilvania Film Fund by Cristian Hordila is close to being fully implemented and the Lithuanian Sofa-project Front - Film Republic of Networked Theatres by Kestutis Drazdauskas is making headway with the digitalization of cultural centers in Lithuania. The first agreements with local government administrative agencies have been reached and plans are being made to incorporate the private sector into the overall financing scheme of the project. Kestutis is also working out further financial support with Fatima Djoumer (Europe Cinemas), who plans to visit with him in Lithuania this Fall.
Sofa-Founder Nikolaj Nikitin: "Granted, many films from these countries are being successfully screened at the big film festivals. Nonetheless, they are still lacking the necessary infrastructure and institutional support that not only acknowledges and strengthens the position of film as an art form and relevant socio-cultural and economic factor, but also backs the much-needed film mediators managing these initiatives - such as film festival-makers, distributors and cinema operators."
The Program
Ten intensive days of workshop participation were made available to the eight film agents and their top-class tutors, where, together, they were given the opportunity to successfully develop and push their promising ideas forward towards realization. Strengths and weaknesses of the projects pitched were openly and constructively discussed in close dialogue with some of the biggest names in the European film industry. Lectures and panel discussions dealing with the central topics at hand were visited and numerous in-depth one-to-one meetings took place. In comparison to last year's edition, this year, an intensive exchange between mentors and participants was able to take place already in advance guaranteeing optimal preparation for the workshop activities ahead.
The film agents and their film projects
In its third year, Sofa was, once again, able to pave the way towards realization for eight particularly committed projects. The eight participants were selected out of over one hundred applicants in total - the rising number of applications in 2015 is a clear confirmation of the growing popularity of Sofa.
The goal of strengthening the regional film culture and industries in their respective countries unified most of the participants' projects in 2015. Additionally the production and distribution of European co-productions within the international theatrical market also took center stage at this year's Sofa edition.
With her project Lviv Film Commission the Ukrainian participant Olha Reiter pursued the establishment of the first regional film commission in the Ukraine, a project which already commenced with its important work in August earlier this year.
The Dushanbe Documentary Film Center from Sergey Chutkov serves as a place for film education in Tajikistan - a platform providing space, equipment and seminars for the production of documentary films by young filmmakers.
The project Criss-Cross Film Lab developed by the Serbian participant Milica Bozanic would also like to provide a space for workshops and networking. In addition to bringing together young filmmakers with producers, business skills and marketing strategies will also be taught.
A mobile film educational project will be put into motion by the Polish participant Malgorzata Tusk. With her project Cinebus - Mobile Center of Audiovisual Education she would like to bring the already well-established workshop initiative "Film Spring Open" (led by the world-renowned Dop Slawomir Idziak) into light in Poland.
With his project Cuz We Are Talented, the Czech participant Michal Kracmer plans to steer the attention to young talents from countries in Central Europe while promoting co-productions between these countries.
Conceptualized as a full-service agency, the project Kaleidoscope, developed by the Slovakian participant Katarina Tomkova, intends to offer consultation and internationalization strategies from script to theatrical release.
The Romanian participant Dorina Oarga aims to digitize student films from the National University of Theatre and Film Archive and make them available online with her project Cinepub 2nd Life - a pilot project with the intention of preserving the film heritage of Romania.
Creating new visibility for ambitious children's films is the goal of the möwe. derKinderFilmVerleih, conceptualized by the German Sofa-participant Hella Riehl.
The Lecturers
Each of the eight participants had a tutor by his/her side offering project feedback from his/her own special and professional perspective. The following mentors lent their expertise to Sofa this year: Claudia Dillmann (Deutsches Filminstitut, Frankfurt), Maciej Jakubczyk (New Horizons Association, Wroclaw), Matthijs Wouter Knol (European Film Market, Berlin), Roberto Olla (Eurimages, Strasbourg), Katriel Schory (Israel Film Fund, Tel Aviv), Riina Sildos (Baltic Event, Tallinn), Tamara Tatishvili (Ablabudafilm, Tbilisi) und Kristina Trapp (Eave, Luxemburg). An additional lecture dealing with the topic of Marketing and Consumer Psychology was presented by Domenico la Porta (Cineuropa, Brussels).
Four further experts - each of whom have been an integral part of the Sofa-Team since the inception of the initiative - accompanied the participants from the first day to the very last of the workshop. Participants were able to develop individually tailored marketing strategies for their projects with Renaud Redien-Collot (Novancia Business School, Paris), while Pitching Expert Sibylle Kurz (Frankfurt am Main) ensured that projects are presented with a sense of confidence and ease. Oliver Baumgarten (Programme Director, Max Ophüls Preis, Saarbrücken) und Oscar-Winner Ewa Puszczynska (Opus Film, Lodz) were also present, offering individual feedback-meetings aimed at stylistically and conceptually enhancing the participants' concept drafts as well as helping them to work out appropriate budgeting and realistic timeline schemes for their projects.
The Sofa-participants and lecturers were invited to attend a Film-Preview of the Cannes-premiered Swedish-Polish co-production "The Here After" in Wroclaw's largest arthouse cinema. After the screening director Magnus von Horn and producer Mariusz Wlodarski spoke about opportunities within and the challenges facing the European co-production scene.
Film culture for the future - success stories
A look back at the last two editions of Sofa proves that the pan-European Thinktank dedicated to the future of cinema is truly making waves with sustainable signs of change and the first projects bearing fruit. Many of the projects from the last two years have been able to be successfully realized or are close to realization and implementation.
The Eurimage-backed Serbian Sofa-project Fbo - Festival Box Office by Sonja Topalovic was launched as a beta version in February at the Berlinale. A presentation of the interactive online-database for film festivals followed in the Spring in Cannes. Meanwhile, Fbo is closely cooperating with the Film Center Serbia, officially evaluating for them the number of visitors and ticket sales of art house theaters participating at Serbian film festivals. Moreover, negotiations are continuously taking place with numerous international film festivals, not only keeping the project's network flow in full-swing, but also helping to supplement their valuable database at the same time. As an innovative business tool, Fbo has long-term, world-wide plans to evaluate the success of art house films screened at festivals, thereby giving key players in the industry invaluable insight into understanding public taste.
Leana Jalukse's project Doktok - a distribution initiative for Estonian documentary films was able to be realized with the help of Sofa. Leana was also able to participate in a six-week German language course in Munich where she completed a creative internship with Beta Cinema. This combination of language training with professional internship possibilities is the result of cooperation between Sofa and the Goethe-Institut Prague and will be continued in 2016. Former Sofa-participants Anna Bielak (Poland) and Gábor Böszörményi (Hungary) have also been able to take part in a German language course whilst building up their networks of German business contacts.
The Romanian Sofa-project Transilvania Film Fund by Cristian Hordila is close to being fully implemented and the Lithuanian Sofa-project Front - Film Republic of Networked Theatres by Kestutis Drazdauskas is making headway with the digitalization of cultural centers in Lithuania. The first agreements with local government administrative agencies have been reached and plans are being made to incorporate the private sector into the overall financing scheme of the project. Kestutis is also working out further financial support with Fatima Djoumer (Europe Cinemas), who plans to visit with him in Lithuania this Fall.
- 11/12/2015
- by Sydney Levine
- Sydney's Buzz
The Europe-wide, one of a kind workshop program Sofa - School of Film Agents - which supports international film professionals and mediators in the realization of film cultural projects will take place from August 15th – 24th, 2014 in the Polish city of Wroclaw (Breslau). Founded in 2013, the second edition of Sofa’s workshop-initiative will invite young "film agents“ from Central and Eastern Europe, Germany, Central Asia, the Baltic Republics and, for the first time, Greece to work together with experts on their projects with the goal of further developing the regional film culture and industries in their respective countries.
Within the framework of the Works in Progress« screenings at the 49th International Film Festival Karlovy Vary (Czech Republic) – the most important film cultural event for the Sofa-relevant territories – Director, Nikolaj Nikitin introduced the eight participants to take part in the second edition of Sofa. "From innovative VoD solutions to a large-scale national cinema / theatrical digitialization project, to the founding of a regional film subsidy initiative: the breadth of these participating projects reflects - with impressive ideas - the film-structural challenges we are attempting to address in those respective regions“, states Nikitin.
In the presence of numerous Sofa partners and former participants, Nikitin presented the following eight participants of the second edition:
Anna Bielak, Poland : Aur! Magazine – Awesome / Unique / Radical!«. A high-quality cinema magazine in print for Poland. Dániel Deák, Hungary : Festivalised - Community Platform for Film Festival Guests«. A film festival advisory system which helps filmmakers to find the right festivals for their particular projects. Kestutis Drazdauskas, Lithuania : Front – Film Republic of Networked Theaters«. A cinema digitialization network for Lithuania. Cristian Hordila, Romania : Cluj City Film Fund. A film fund with which Cluj-Napoca intends to re-open its doors to the film world, re-creating a film production center around the city. Marija Stojanovic, Serbia : What I See - Program for Audience Development and Stimulation of Critical Approach in the Field of Audio-Visual Culture and Arts«. What we see is what we are: an educational film project for Serbia. Angeliki Vergou, Greece : Octapus - A delicious new way to watch Greek films«. A VOD-Platform for Greek films. Jakub Viktorín, Slovakia : Dds – Digital Database of Slovakia: Your Personal Online Library of All Film Content Slovakia can Provide. An internet-based database revolving around the film culture of Slovakia. Jonas Weydemann, Germany : »Directors Collection«. A b2b platform connecting producers/worldsales directly with national cinemas around Europe, providing a transparent system for licensor and licensee. From August 15th – 24th, 2014 the eight participants will work intensively on their projects with internationally experienced experts and mentors in the Polish city of Wroclaw (Breslau) - European Capital of Culture 2016. They will be supported by Sibylle Kurz (pitching expert, Frankfurt), Roberto Olla (Eurimages, Strasbourg), Ewa Puszczynska (Opus Film, Lodz), Renaud Redien-Collot (Novancia Business School, Paris), Peter Rommel (Peter Rommel Film, Berlin), Katriel Schory (Israel Film Fund, Tel Aviv) among others.
The success of Sofa has been proven: numerous projects from the first edition of Sofa 2013 have already been able to be realized or are shortly before. For example, Leana Jaluske’s project "Doktok“ – a distribution initiative for Estonian documentary films – was able to be established with the help of Sofa. Melinda Boros is currently leading the „Tiff Studio Workshops“ in Cluj and Sonja Topalovic was recently able to rejoice over Eurimages funding for her interactive database "Fbo – Festival Box Office“.
Sofa – School of Film Agents is a joint project of the Filmplus gUG (Cologne) and the Fundacja Filmplus (Warsaw) together with the city of Wroclaw (Breslau) and the Polish Film Institute, funded by the Foundation for Polish-German Cooperation, the Federal Foreign Office, the International Visegrad Fund, the Film- und Medienstiftung Nrw, The Creative Europe Desk Poland, The Alfred Toepfer Foundatio and Eave – European Audiovisual Entrepreneurs and supported by the Adam Mickiewicz Institute, in collaboration with the Goethe-Institut in Poland (Krakow), Serbia, Hungary, Slovakia, Romania, Lithuania and its Head Office in Germany, and with the support of the Film Commission Poland and the Wroclaw Film Commission.
Within the framework of the Works in Progress« screenings at the 49th International Film Festival Karlovy Vary (Czech Republic) – the most important film cultural event for the Sofa-relevant territories – Director, Nikolaj Nikitin introduced the eight participants to take part in the second edition of Sofa. "From innovative VoD solutions to a large-scale national cinema / theatrical digitialization project, to the founding of a regional film subsidy initiative: the breadth of these participating projects reflects - with impressive ideas - the film-structural challenges we are attempting to address in those respective regions“, states Nikitin.
In the presence of numerous Sofa partners and former participants, Nikitin presented the following eight participants of the second edition:
Anna Bielak, Poland : Aur! Magazine – Awesome / Unique / Radical!«. A high-quality cinema magazine in print for Poland. Dániel Deák, Hungary : Festivalised - Community Platform for Film Festival Guests«. A film festival advisory system which helps filmmakers to find the right festivals for their particular projects. Kestutis Drazdauskas, Lithuania : Front – Film Republic of Networked Theaters«. A cinema digitialization network for Lithuania. Cristian Hordila, Romania : Cluj City Film Fund. A film fund with which Cluj-Napoca intends to re-open its doors to the film world, re-creating a film production center around the city. Marija Stojanovic, Serbia : What I See - Program for Audience Development and Stimulation of Critical Approach in the Field of Audio-Visual Culture and Arts«. What we see is what we are: an educational film project for Serbia. Angeliki Vergou, Greece : Octapus - A delicious new way to watch Greek films«. A VOD-Platform for Greek films. Jakub Viktorín, Slovakia : Dds – Digital Database of Slovakia: Your Personal Online Library of All Film Content Slovakia can Provide. An internet-based database revolving around the film culture of Slovakia. Jonas Weydemann, Germany : »Directors Collection«. A b2b platform connecting producers/worldsales directly with national cinemas around Europe, providing a transparent system for licensor and licensee. From August 15th – 24th, 2014 the eight participants will work intensively on their projects with internationally experienced experts and mentors in the Polish city of Wroclaw (Breslau) - European Capital of Culture 2016. They will be supported by Sibylle Kurz (pitching expert, Frankfurt), Roberto Olla (Eurimages, Strasbourg), Ewa Puszczynska (Opus Film, Lodz), Renaud Redien-Collot (Novancia Business School, Paris), Peter Rommel (Peter Rommel Film, Berlin), Katriel Schory (Israel Film Fund, Tel Aviv) among others.
The success of Sofa has been proven: numerous projects from the first edition of Sofa 2013 have already been able to be realized or are shortly before. For example, Leana Jaluske’s project "Doktok“ – a distribution initiative for Estonian documentary films – was able to be established with the help of Sofa. Melinda Boros is currently leading the „Tiff Studio Workshops“ in Cluj and Sonja Topalovic was recently able to rejoice over Eurimages funding for her interactive database "Fbo – Festival Box Office“.
Sofa – School of Film Agents is a joint project of the Filmplus gUG (Cologne) and the Fundacja Filmplus (Warsaw) together with the city of Wroclaw (Breslau) and the Polish Film Institute, funded by the Foundation for Polish-German Cooperation, the Federal Foreign Office, the International Visegrad Fund, the Film- und Medienstiftung Nrw, The Creative Europe Desk Poland, The Alfred Toepfer Foundatio and Eave – European Audiovisual Entrepreneurs and supported by the Adam Mickiewicz Institute, in collaboration with the Goethe-Institut in Poland (Krakow), Serbia, Hungary, Slovakia, Romania, Lithuania and its Head Office in Germany, and with the support of the Film Commission Poland and the Wroclaw Film Commission.
- 7/21/2014
- by Sydney Levine
- Sydney's Buzz
The School of Film Agents 2014 will take place Aug 15-24 in Wroclaw and feature eight projects.
The School of Film Agents (Sofa) will have its second edition in Wroclaw from Aug 15-24, it was announced in Karlovy Vary on Monday [7].
Sofa is a workshop programme which supports international film professionals and mediators in the realisation of film cultural projects, initiated and started last year by Nikolai Nikitin [pictured], the Berlinale delegate for Eastern Europe.
Within the framework of Karlovy Vary’s Works in Progress, Nikitin introduced the eight participants from “Sofa-relevant terrtories”: Central and Eastern Europe, Germany, the Baltic countries and Greece.
“We are looking for projects that are about developing the film infrastructure of their country,” Nikitin told Screendaily. “If you look at France, Germany, UK, they are developed markets with lots of possibilities to finance, show, and archive your movie.
“Further to the east you go, there are less options to finance a film, usually...
The School of Film Agents (Sofa) will have its second edition in Wroclaw from Aug 15-24, it was announced in Karlovy Vary on Monday [7].
Sofa is a workshop programme which supports international film professionals and mediators in the realisation of film cultural projects, initiated and started last year by Nikolai Nikitin [pictured], the Berlinale delegate for Eastern Europe.
Within the framework of Karlovy Vary’s Works in Progress, Nikitin introduced the eight participants from “Sofa-relevant terrtories”: Central and Eastern Europe, Germany, the Baltic countries and Greece.
“We are looking for projects that are about developing the film infrastructure of their country,” Nikitin told Screendaily. “If you look at France, Germany, UK, they are developed markets with lots of possibilities to finance, show, and archive your movie.
“Further to the east you go, there are less options to finance a film, usually...
- 7/8/2014
- by vladan.petkovic@gmail.com (Vladan Petkovic)
- ScreenDaily
Norwegian writer-director Joachim Trier’s second feature — Oslo, August 31st — follows Anders (Anders Danielsen Lie) as he nears successfully completing treatment at a drug rehab in the Norwegian countryside. Anders is permitted to travel to Oslo for a job interview, but he uses the opportunity to attempt to reconnect with friends and family. Anders is as smart and handsome as ever, but he is deeply haunted by all of the past opportunities he has wasted and all of the people he has disappointed. He may feel like his life is already over but he tries to maintain a fleeting glimmer of hope. An official selection at Cannes Film Festival 2011 (Un Certain Regard), AFI Fest 2011, Toronto International Film Festival 2011, Sundance Film Festival 2012 and New Directors/New Films Festival 2012, Oslo, August 31st is a harrowing character study that is certain to leave no viewer unscathed. This is our second interview with Trier...
- 5/23/2012
- by Anna Bielak
- SmellsLikeScreenSpirit
It is 1997 and New York City is in a state of intense flux when documentary filmmaker Erik Rothman (Thure Lindhardt) first meets Paul Lucy (Zachary Booth), a handsome but closeted lawyer in the publishing field. What begins as a highly charged first encounter soon becomes something much more, and a relationship quickly develops. As the two men start building a home and life together, each continues to privately battle their own compulsions and addictions. A film about sex, friendship, intimacy and most of all, love, Keep the Lights On takes an honest look at the nature of relationships in our times. Writer-director Ira Sachs' Keep the Lights On won the Teddy for Best Feature Film at the 2012 Berlin International Film Festival. Our European contributor Anna Bielak chatted with Sachs at Berlinale. Anna Bielak: During the Q&A after the Keep The Lights On screening at the Berlinale you...
- 5/21/2012
- by Anna Bielak
- SmellsLikeScreenSpirit
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