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SARAJEVO 2018 Industria

El programa Avant Premieres toma el liderazgo en Sarajevo

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- La quinta edición de la sección profesional del Festival de Sarajevo orientada a los distribuidores y exhibidores ha sido la mayor y más productiva hasta la fecha

El programa Avant Premieres toma el liderazgo en Sarajevo
A Good Day's Work, de Martin Turk

Este artículo está disponible en inglés.

The fifth edition of the Sarajevo Film Festival's Avant Premieres section, launched in 2014 with the intention of strengthening the regional cinema network, improving placements, and promoting and distributing films from the region, was its largest so far. 

The Avant Premiere Gala, in which new, highly anticipated films and TV series are screened, included the first two episodes of the Norwegian TV series Home Ground by director Arild Andresen (Handle with Care [+lee también:
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entrevista: Arild Andresen
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) and production companies Motlys and NRK; the first two episodes of the second season of the Croatian series The Paper by Dalibor Matanić and production company Drugi Plan, which is the first product from the Balkan region picked up by Netflix; the first three parts of the Serbian series Morning Changes Everything, directed and created by Goran Stanković, Vladimir Tagić and Milica Tomović, and produced by This and That Productions for Serbian national broadcaster RTS; and the world premiere of Slovenian director Martin Turk's Sarajevo-shot feature A Good Day's Work [+lee también:
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, which was developed and funded through the Sarajevo City of Film scheme and is being distributed in Bosnia by Obala Art Centar.

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The section dedicated to Balkan distributors, Avant Premiere Trailers, showcased 31 films represented in the region by Serbian companies Art Vista (two upcoming Serbian titles, South Wind and Taxi Blues) and Megacom Film (no fewer than 11 films, including Cold War [+lee también:
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Q&A: Pawel Pawlikowski
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, Dogman
 [+lee también:
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and Everybody Knows [+lee también:
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); Croatia's 2i Film (Pula opener Aleksi [+lee también:
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and the highly anticipated new Vinko Brešan title, What a Country!), Blitz (attractive titles such as Asterix: The Secret of the Magic Potion and Gilles Lellouche's Sink or Swim [+lee también:
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, but also F20 by Croatian director Arsen Anton Ostojić), and the independent, Split-based Kino Mediteran (Gustav Möller's The Guilty [+lee también:
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and Marcelo Martinessi's The Heiresses [+lee también:
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, among others); and Bosnia's Film House Sarajevo with Aida Begić's Never Leave Me [+lee también:
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, Obala Art Centar with the SFF competition title One Day [+lee también:
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entrevista: Zsófia Szilágyi
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and Birds of Passage [+lee también:
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, and Una Film with Universal's Johnny English Strikes Again [+lee también:
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and the Serbian children's film The Witch Hunters [+lee también:
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.

Finally, the Avant Premiere Lab, an educational programme founded to address the most pressing issues in film exhibition and distribution, this year focused on audience development.

In the section entitled "Creating a Sustainable Business Model", Edita Bilaver Galinec, from Croatia's Kids Meet Art, spoke about the long-term strategy for audience development, and the BFI's Laura Glanville discussed how this institution supports this particular important aspect of distribution. 

Juliette Duret, from Belgium's BOZAR Centre for Fine Arts, Csenkiné Túri Edit, from Hungary's Otthon Mozi, and Stefan Kitanov, from Bulgaria's Cinema House, described how their institutions and cinemas create popular programmes and events.

Finally, in the "Sow Today and Reap Tomorrow" section, Živa Jurančić, from Slovenia's Kinodvor, Darko Bašeski, from the Giffoni Macedonia Youth Film Festival, and Elise Jalladeau, from the Thessaloniki IFF, related their experiences with attracting young audiences and keeping them interested.

(Traducción del inglés)

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