Christian Berger

Cinematographer, director, producer and author of numerous documentary, TV and cinema films. He is emeritus professor at the Vienna film academy and teaches masterclasses at several international film schools. He is founding member of the Bartenbach light academy (Innsbruck) and member of the Academy of Motion Pictures and Sciences. For his camera work in „The White Ribbon“ he was nominated for the Oscar in 2010. The opening film of the INNSBRUCK film CAMPUS 2015 is a documentary about his work.

Masterclass: Bright Spots

Light philosophy is the basis of Christian Berger’s cinematography. Based on what we have seen in the documentary film about him, in his master class he will discuss his approach to light, how he has developed his Cine Reflect Lighting System CRLS and how he uses lighting in his camera work by use of several examples.

Hubert Sauper

was born in Kitzbühel, a village of Tyrol, in the Austrian Alps. He has lived in Great Britain, Italy, the USA, and since twenty years in France. He studied film directing in Vienna (Univ. of Performing Arts) and in Paris (Univ. de Paris VIII.) and graduated B.A. (Mag. art.). In 2004 his documentary „Darwin’s Nightmare“ was nominated for the Oscar. He teaches film classes in Europe and USA. The last two documentaries he wrote and directed were awarded twelve International Film Prizes. His latest film „We Come As Friends“ is the opening film of this year’s International Film Festival Innsbruck.

Masterclass: The Art of Mastering Non-Fiction Film

Ever since the terrorist catastrophe at Charlie Hebdo (in my district of Paris) it became clear that one of the great ideals of our civilization is in question: “Free Speech”. But if you look closely, there are very few “frontier zones” of real freedom of expression. Maybe (author) documentaries are one of the last bastions of this “utopia”. Is it worth it to fight for this freedom at any price?
What are the biggest questions of each author of nonfiction films? After the question of the subject and the research of the facts immediately comes the question of form, the “creation”: what is it supposed to look like in texture, mood, rhythm, the narrative mode of the film? What is the obvious statement and what is the subtext, which is not shown, the tangible of a movie? As an author you have to mentally “see” the film long before making it. A film must probably be dreamt of.
In the practical sense, there is the challenge: How do I get inside the world, physically and mentally, of the people who are featured in the film. It’s about “access”: access to places where cameras are forbidden most strictly (eg Chinese oil fields in deepest Sudan, or military airports in the civil war, or government meetings) and access into the conscience, even the subconscious, of the people who ‘carry’ the film by their presence.
Is it “a game”, a science, a special form of seduction a filmmaker or a wandering poet must master? Art or “non-art”?

Andreas Pichler

Grimme Prize winner that since 2000 has implemented numerous films as a director and producer in the field of cinema and television documentaries, many of them award-winning. His last films that could be seen in cinema and/or TV are „Das Venedig Prinzip“ and „Ausverkauf Europa“. In 2012 he co-founded the production company „Echo Film“ at Bozen.

INDUSTRY MEETS TALENTS – Talk 

“Cross-border distribution in the Alpine Area“

A talk with Andreas Pichler and Dietmar Zingl about how national boundaries work and how they can be crossed. A collection of ideas for a new structure of distribution.

 

Dietmar Zingl

since 1981 working in various cinemas and theaters. Programmer of Leokino and Cinematograph. Since 1989 director of Cinematograph Filmverleih with focus on arthouse distribution in Austria. He also helped founding the Cinematograph Filmverleih in Switzerland.

INDUSTRY MEETS TALENTS – Talk 

“Cross-border distribution in the Alpine Area“

A talk with Andreas Pichler and Dietmar Zingl about how national boundaries work and how they can be crossed. A collection of ideas for a new structure of distribution.

Teboho Edkins

was born in the USA in 1980 and grew up mainly in Lesotho, South Africa but also in Germany. He studied Fine Art at the University of Cape Town, followed by a 2-year post-graduate residency at le Fresnoy, “studio national des arts contemporains” in France and then a post-graduate film directing programme at the dffb film academy in Berlin.

His films have been shown and awarded at film festivals as well as exhibited in art galleries and museums.

Masterclass: Processing Film 

„I would like to talk about ‘the process’ in my filmmaking. When I make films I often find the process more interesting then the subject. Being aware of the process involves being flexible, looking for solutions at how one makes the work, rather then what one is making it of.

For me this is quite nerve-racking at times. I will be discussing this in regards to my three most recent films which are shown at the International Film Festival Innsbruck.

Hans-Christian Mahnke

As director and founder of the Namibian branch of AfricAvenir, Hans-Christian Mahnke has been showing quality African films since 2004 at various places in Namibia and Germany on a regular and systematic basis, tackling challenges like distribution, screening culture and accessibility of African cinema to African audiences. Mahnke has co-created the Namibian Movie Collection to store, showcase, promote and distribute Namibian film products in- and outside Namibia.

He is the founder of Namibia’s sole distribution company Independence Avenue Films.

He is a member of the African Federation of Film Critics and Namibian representative of the short film fund ETISAL. From 2010-11 he served as  Filmmakers Association of Namibia (FAN) Vice-Chairperson and organized the 1st Namibia Theatre and Film Awards in 2010. He currently is a board member of FAN (Filmmakers’ Association of Namibia).

Lecture: The Art of Doing a Lot With Very Little

In his lecture, Hans-Christian Mahnke will be discussing his work as a cinema programmer in Namibia: how difficult it is to find money to pay for distributors, to select films without being able to travel to festivals, without belonging to a big company, without an infrastructure to promote and without something like a film culture in the country.

Maren Niemeyer

Maren Niemeyer has worked as a journalist, editor and documentary filmmaker for national and international radio and TV channels, mainly for ARD, ZDF, Deutsche Welle -TV and the German-French culture channel ARTE. In 2006 she was a workshop-leader and jury member of Afghanistan’s first short film festival in Kabul. In 2007 Niemeyer produced the ARTE/ ARD documentary series about the magic hippie trail to Kathmandu in the late sixties and in 2008 she produced a worldwide broadcasted series about the myth of German Design for Deutsche Welle TV. In 2009 Maren Niemeyer was Commissioning Editor for NDR / ARTE. Since 2010 she has been working as Programme Advisor for the Film Department of the Goethe-Institut Headquarter in Munich.

Masterclass: The European Documentary-Market is booming, but how exactly does it work?

A seminar to guide you through the jungle of the European documentary-market. 

Whether on TV or in the movie-theaters, documentary movies are booming. Worldwide, there is a growing longing for true stories about real people. Yet, at the same time, it has never been so complicated to successfully launch a story and guide it through the labyrinth of pitching, of documentary-markets, channels and sponsors towards the right partners in order to obtain sufficient financial support.

This masterclass is about shedding some light on the documentary jungle. Practical exercises and case studies will help the participants to learn how to target European broadcasting companies and co-producers for their documentary projects and shortfilm Ideas for television and cinema.

Goran Paskaljevic

is probably the best known film director from Serbia. He graduated from the well-known Film Faculty of the Academy of Performing Arts in Prague. He has made 30 documentaries and 16 feature films, presented at the most prestigious international film festivals (Cannes, Berlin, Venice, Toronto…). The rise of nationalism in Yugoslavia forced him to leave his country in 1992. In 1998 he went back to make „Bure Baruta“, which won international critics’ prizes (FIPRESCI) at the Venice Film Festival and at the European Film Awards. The Museum of Modern Art in New York (MoMA) presented a full retrospective of his work in 2008. He is guest of honor at this year’s IFFI where eight of his films are shown in a retrospective.

Masterclass: A Retrospect.

In his masterclass, Goran Paskaljević will be talking about his filmmaking, based on the stages of his artistic work and his experiences relating to a whole life dedicated to tell stories with film as instrument.

The masterclass will be translated to english by Mascha Dabic.

(c) Joze Rehberger

Eduardo del Llano

Eduardo del Llano

(born 1962 in Moscow) is a Cuban director, screenwriter, university professor and novelist.

Del Llano graduated with an Art History degree from the University of Havana in 1985. During the 1980s he joined the theatre and literary group NOS-Y-OTROS, which he also founded. He collaborated on screenplays with Jorge Goldenberg, Tom Abrams, and Walter Bernstein while teaching the history of Latin American art and photography in the Faculty of Arts and Letters at the University of Havana. After years of writing screenplays, in 2004 he started a very successful series of short films – the Nicanor series – and soon made his first feature length films. His latest feature OMEGA III is in the competition of this year’s International Film Festival Innsbruck.

Masterclass: Sci Fi in the Third World

Eduardo del Llano’s film OMEGA III is the first Science Fiction film ever made in Cuba. The director will talk about what it is like to cross the line of making a ‘third world film’ coming from Cuba and instead using a universal topic and making a sci fi movie out of it. His background of being a writer of – sometimes – fantasy literature may also play a role in his filmmaking.

Sponsorship: Innsbruck Tourismus